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with sssoul
>> Too Tight (Keith-riff, at least) <<

I wrote Flip the Switch, and (Mick) had a lot of input on that. Same with Lowdown and Too Tight.
- Keith Richards, September 1997, quoted on [www.timeisonourside.com]

Yeah, my point exactly. Keith brought in lots of stuff, as did Mick. Some of it they shaped together, other stuff by themselves.

>> Yeah, my point exactly. Keith brought in lots of stuff <<

yep!

Yeah, my point exactly. Keith brought in lots of stuff, as did Mick. Some of it they shaped together, other stuff by themselves. - Dandelion Powerman

I guess what I should have said is that what Keith did contribute was not very memorable. I very much like 'You Don't Have to Mean It', but the rest of it I don't remember. IMO it's the weakest of their post-Wyman studio output.

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24FPS
One of the few cuts I liked off this one. Keith's contributions seem minimal on the entire album. Still, it's so difficult for me to listen to post Wyman studio work. I keep hearing where Bill would have transformed the sound with just a few notes here and there. So sad. And they just don't get, or care, how important their bass sound is in the studio. Can someone suggest a good Daryl Jones jazz track with Miles Davis, or someone else? Because he lacks the presence the Stones demand as a rock bassist. That's the main reason I don't expect a lot from them in the studio ever again. The bottom is gone.

Did Bill really add much to any studio album? I loved his playing live, but studio? Steel Wheels was his last one, and he set out at least three songs off the top of my head. On Exile he plays something like 7 out of 18. Marianne Faithful said in her autobio that Keith played the bass on almost all the 60s songs. So don't use Bill as an excuse not to listen to Bridges. It's all in your head. Give it a chance. It's a great, great album. Gunface is a very powerful track. This was the album I used to turn all my college buddies onto The Stones and they still talk about how amazing it was that The Stones could record an album in their fifties that was AS GOOD as anything they recorded in their twenties.

[www.non-filters.com]

>> the rest of it I don't remember <<

... i am sorry for you. truly.

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24FPS
Yeah, my point exactly. Keith brought in lots of stuff, as did Mick. Some of it they shaped together, other stuff by themselves. - Dandelion Powerman

I guess what I should have said is that what Keith did contribute was not very memorable. I very much like 'You Don't Have to Mean It', but the rest of it I don't remember. IMO it's the weakest of their post-Wyman studio output.

How Can I Stop??? IMO, the best track on the album, maybe the best track they wrote since the early 80s.

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nonfilter

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24FPS
One of the few cuts I liked off this one. Keith's contributions seem minimal on the entire album. Still, it's so difficult for me to listen to post Wyman studio work. I keep hearing where Bill would have transformed the sound with just a few notes here and there. So sad. And they just don't get, or care, how important their bass sound is in the studio. Can someone suggest a good Daryl Jones jazz track with Miles Davis, or someone else? Because he lacks the presence the Stones demand as a rock bassist. That's the main reason I don't expect a lot from them in the studio ever again. The bottom is gone.

Did Bill really add much to any studio album? I loved his playing live, but studio? Steel Wheels was his last one, and he set out at least three songs off the top of my head. On Exile he plays something like 7 out of 18. Marianne Faithful said in her autobio that Keith played the bass on almost all the 60s songs. So don't use Bill as an excuse not to listen to Bridges. It's all in your head. Give it a chance. It's a great, great album. Gunface is a very powerful track. This was the album I used to turn all my college buddies onto The Stones and they still talk about how amazing it was that The Stones could record an album in their fifties that was AS GOOD as anything they recorded in their twenties.

[www.non-filters.com]

That's as wrong as the credits on the album cover.



Edited 1 time(s). Last edit at 2010-10-20 09:53 by DandelionPowderman.

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Justin
I have always loved this track and one that gets multiple repeats when I listen to B2B. I love the anger, the energy and feel of the whole track.

Listening to it now ... Mick's vocals and the scratchy/screechy guitar solo kill! To me, this is in the top 3 since the late 90s: Gunface, Rough Justice, Doom & Gloom. They should be the new warhorses!

Strangely, I love this track. It has something going for it, not sure what. It's just an unusual song, unusual pace and feel. Love it.

Rod

Brutally bad. Not even worthy of being a B-side.

[www.google.com]

What the bleep is this?…..lol

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nonfilter

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24FPS
One of the few cuts I liked off this one. Keith's contributions seem minimal on the entire album. Still, it's so difficult for me to listen to post Wyman studio work. I keep hearing where Bill would have transformed the sound with just a few notes here and there. So sad. And they just don't get, or care, how important their bass sound is in the studio. Can someone suggest a good Daryl Jones jazz track with Miles Davis, or someone else? Because he lacks the presence the Stones demand as a rock bassist. That's the main reason I don't expect a lot from them in the studio ever again. The bottom is gone.

Did Bill really add much to any studio album? I loved his playing live, but studio? Steel Wheels was his last one, and he set out at least three songs off the top of my head. On Exile he plays something like 7 out of 18. Marianne Faithful said in her autobio that Keith played the bass on almost all the 60s songs. So don't use Bill as an excuse not to listen to Bridges. It's all in your head. Give it a chance. It's a great, great album. Gunface is a very powerful track. This was the album I used to turn all my college buddies onto The Stones and they still talk about how amazing it was that The Stones could record an album in their fifties that was AS GOOD as anything they recorded in their twenties.

[www.non-filters.com]

RW is missing on a lot 1975+ tracks as well. He doesn't play on half of ABB if I remember correctly.

This track is top notch in every way, I love it. Only half of B2B´s songs please me, but this one surely does. What power! Kinda reminds of Dirty Work´s best moments. Voice and guitars are great sounding indeed. Modern sounding and at the same time classic Stones. A highlight in their post-DW-catalogue.

Unforgivable. Embarrassing. How anyone can hear "power" yet alone anything worthy in this excuse of a recording is clearly a kook.

I disagree. This is a great later day Stones song. Full of menace and some great production. One of the highlights off of BTB.

Mick sings it like on the worst moments of Dirty Work. The rhythm guitar misses any form of dynamics or groove, it's almost grunge. It's a nothing of a song. A joke.

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HMS
This track is top notch in every way, I love it. Only half of B2B´s songs please me, but this one surely does. What power! Kinda reminds of Dirty Work´s best moments. Voice and guitars are great sounding indeed. Modern sounding and at the same time classic Stones. A highlight in their post-DW-catalogue.

If their post-DW-catalogue is the relevant context, I consider "Gunface" their least commendable song. If DW itself is the reference, even 8 out of 10 songs of that moderate album are to be preferred" to this by me, "Fight" is possibly worse, and maybe there is a tie of comparatively low merit between "One Hit" and "Gunface".

["Melody" and "Tops" irritate me more though than any of these.]

Late edit: One wrong word used.



Edited 1 time(s). Last edit at 2016-07-28 19:36 by Witness.

i like gunface, surprised many dont but its all about opinions.

its the best song on bridges to babylon, which dosent have many good songs.

already over me
anybody seen my baby
flip the switch
you dont have to mean it

being the other good ones.

dont get why out of control and saint of me get all the credit on this album, saint of me especially is one very bad single to release, i was embarrassed when i heard it, and thought , is this what they are reduced to, for a single.

Of the three post Wyman albums this one seems to be the least successful, the one that has not aged well. It didn't seem Mick and Keith spent much time making this a coherent work. I hope their new album is not a crap shoot of solo songs.

Great track from their last great album.

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buttons67
i like gunface, surprised many dont but its all about opinions.

The problem not a few Stones fans have is that the songs from the 'Golden Era' are so transcendentally glorious that everything which comes after is utter shit by comparison, no exceptions. In other words, Gunface is utter shit. I can't argue with their logic but for me BtB IS the exception.

The aggressive vibe on Gunface is reminiscent of Street Fighting Man but modern technology and clever lyrics make Gunface the superior song. This should be a warhorse. It will be someday I suppose when Jagger embarks on another solo tour. He could use Gunface to segue into Mother of a Man, another Jagger masterpiece from which Gunface was obviously spawned, for an incredible one-two punch on his ‘Take No Prisoners’ tour.

Bridges to Babylon is to me what Dirty Work is to HMS. Gunface is a sonic kick to the guts but the album is stuffed with lost classics. Flip The Switch? As an album opener it’s reminiscent of Rocks Off but modern technology and clever lyrics make Flip the superior track. ‘I had the turkey and the stuffing too’ is a way better lyric than ‘the sunshine bores the daylights out of me’ because Jagger’s not just posing, he’s eating, which is refreshingly real. The absence of Taylor doesn’t hurt either...more turkey for everyone else.

Shall I go on or will someone please shoot me...



Edited 1 time(s). Last edit at 2016-07-29 10:47 by Swayed1967.

HA HA HA HA! No! Go on, by all means!

Both Gunface and Mother Of A Man are archetypal Mick-by-numbers, imo.

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DandelionPowderman
Both Gunface and Mother Of A Man are archetypal Mick-by-numbers, imo.

And both fantastic tracks ... although Mother Of A Man is actually the better of the 2.

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LeonidP

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DandelionPowderman
Both Gunface and Mother Of A Man are archetypal Mick-by-numbers, imo.

And both fantastic tracks ... although Mother Of A Man is actually the better of the 2.

That's where our opinions differ.

"I, I, I, just wanna testify", "I, I, I've got a debt to repay.

No, too weak. Doesn't work for me.



Edited 1 time(s). Last edit at 2016-07-29 23:45 by DandelionPowderman.

Horrible

Gunface seems to be a very controversial track... so many very contrasting opinions... I think if you love the "harder" side of the Stones, the songs with dark and aggressive mood, then you gotta love it... sigh... there are so few songs to really like on B2B... and so many I dont like at all...

Greatest songs:
Flip The Switch - 5
Gunface - 5
Too Tight - 5

very good songs:
Might As Well Get Juiced - 4.5
Lowdown - 4
You Dont Have To Mean It - 4

Worst songs:
Thief In The Night - 0
Out Of Control - 0.5
Saint Of Me - 0
Already Over Me - 0
Always Suffering - 0

so-so Songs:
Anybody Seen My Baby - 3
How Can I Stop - 2.5

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24FPS
Of the three post Wyman albums this one seems to be the least successful, the one that has not aged well.

To me it's better than VL or ABB, more exciting and experimental than SW; so yeah BB2B gets my vote as the best album of the comeback era.

BRIDGES TO BABYLON could've been possibly their best post-Wyman LP - and perhaps it is strictly in the sense of adventure - especially with the terrible tracks removed and making a 9 track LP. The only dud in this group is Too Tight but it's amusing, it does kick a bit and it's still better than the 4 terrible tracks.

Flip The Switch
Anybody Seen My Baby?
Low Down
You Don't Have To Mean It
Out Of Control
Saint Of Me
Too Tight
Thief In The Night
How Can I Stop


These songs are terrible, complete atrocities, like 4 HBTs from DIRTY WORK, with two of them beyond sappy bad and the other two just mindless Jagger solo tracks released as The Rolling Stones:

Already Over Me
Gunface
Might As Well Get Juiced
Always Suffering

Flip The Switch? Now that's a steaming pile along the throwaways like Fight. It starts out as a You Got Me Rocking outtake, then come those terrible trash can sound drums and finally Mick singing a weaker version of the weak song Let Me Go.