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Turner68Quote
His MajestyQuote
Turner68
"She Said Yeah" is arguably *more* punk...
Something that is not punk cannot be more punk.
now you're just being difficult :-) . but you reminded me of this classic argument:
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DandelionPowderman
The song is a riot, a sonical war, fast, heavy and uproar-ish. The roughness and aggressiveness gives me a feeling reminiscent of what we today know as punk.
You have either misunderstood the stones or punk.
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DandelionPowderman
The song is a riot, a sonical war, fast, heavy and uproar-ish. The roughness and aggressiveness gives me a feeling reminiscent of what we today know as punk.
You have either misunderstood the stones or punk.
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DandelionPowdermanQuote
His Majesty
You have either misunderstood the stones or punk.
Or you have a bit of tunnel vision here
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treaclefingers
The Stones were the 'original' punk band.
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His Majesty
What about them?
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treaclefingers
The Stones were the 'original' punk band.
Nonsense.
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Turner68
Interesting hypothesis. However the "never stop" reggae versions of SMU are pretty different from Marley's song. I'm not familiar with a "start it up" version
In any case "stir it up" is one of the all time great songs period.
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NaturalustQuote
DandelionPowdermanQuote
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DandelionPowderman
Yes it was. The good old Stones played three chords r&b in the 60s, in case you forgot. SG was loaded with songs like that. No misquote, btw
Perhaps you are quoting Mick talking about a revival with SG, but certainly not a revival of old fashioned Stones music? It's so obvious SG was a departure with it's punk, new wave and disco stylings, no? Maybe if you produced the quote you are paraphrasing I could understand what context it was made in.....I get the feeling you are just messing with me, which I don't mind of course.
I think you are taking the "punk" in SG too seriously. It was good ol' Stones rock a la Brian era, only with an angrier front man.
IWBYM is a good comparison indeed.
So, no, it was not obvious that SG was a departure. Instead, one might say that songs on GHS and IORR represented a departure from good old Stones rock.
I'm not messing with you. Mick said that the SG were revisiting the Brian era rock - or something similar.
Well we will just have to disagree on this one. IORR and GHS were still firmly rooted in the rock vibe I'm referring to and SG resembles Brian era rock like a giraffe resembles an alligator. I am surprised you can't hear the obvious difference in both sound, style and songwriting that is so clear to me on Some Girls.
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Naturalust
Well Far Away Eyes could certainly be considered classical Stones in the whole country tongue and cheek context. But even there they took it to a new level with even more accentuated vocals and Ronnie's pedal steel work. Before you were unsure if it was a serious attempt or parody but with FAE it was pretty damn obvious. lol.
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swimtothemoon
The exception might be Tatoo you - some of the tunes such as tops, slave and Heaven have a similar feel and we all know those were leftovers from pre SG.
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DandelionPowderman
<Such deep and mature things like "Slave", "Worried About You", "Tops" and "Waiting On A Friend" gives us a totally wrong idea what the band really was like in 1981 (even though Jagger seemed to adapt incredibly well and convincigly into those feelings sand sentiments).>
But, but, aren't No Use In Crying, Down In The Hole, Beast Of Burden and Heaven more mature songs than Slave, Tops and Worried About You?
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Doxa
Yeah, TATTOO YOU is a bridge back to the pre-SOME GIRLS times, and that's why it has depthness and seriousness in such a genuine way that it is a huge contrast to any post-SOME GIRLS album.
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Doxa
Yeah, TATTOO YOU is a bridge back to the pre-SOME GIRLS times, and that's why it has depthness and seriousness in such a genuine way that it is a huge contrast to any post-SOME GIRLS album.
I strongly object to this thesis.
Not really about how some tracks on Tattoo You (naturally) refer to the era before Some Girls,
but about the supposed lack of depth and seriousness on post- Some Girls albums.
First of all, I don't think depth and seriousness were ever THAT important in the creation
of those great songs before 1978. I think there are a lot of lighthearted songs from
that era that are mostly driven by the motive to get people to do the hip shake.
Many of the songs that are considered War Horses by some, are hardly to be considered
serious songs, are they? Nor can I hear any depth in those. Brilliant production,
glorious instrumentation, great arrangements, original song writing? Yeah!
Second, I think there are many songs from 1981 onward that have those same brilliant
aspects as the songs from before 1978. I agree the albums also contain a lot of songs
that don't really stand out in their catalogue. Maybe those take away some of the attention
the great songs deserve, I don't know.
Whatever, I think there are still a lot of songs from the post- Some Girls era, that
can easily stand the comparison with those from the pre- SG era when it comes to song writing,
production, instrumentation and arrangement.
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DandelionPowderman
Are they really untypical of that era? I think we tend to think of the three fast songs on SG (+ FAE, but that's a different bag) too much. There isn't any «fun» about Beast Of Burden to my ears. It's rather melancholic. We Had It All is certainly not «fun». Neither are many other songs from those sessions.
But, ok, I see your point. Although I get the blues big time when I hear Down In The Hole. The whole performance is really as noir as it gets. Jagger is artificial on Winter and TWFNO, too, without it getting in the way of expressing melancholy or helplessness.
A song like All About You is certainly a mature song, especially by Keith standards.
For me, Feel On Baby in a way picked up where Heaven left, at least it has some of the same urge for discovery, melancholy and maturity. There are elements of this also in Sleep Tonight, Terrifying, Slipping Away, Thru And Thru etc, so I wouldn't be as cathegoric as you are about this.
Why is Tops and Worried About You mature songs? They're great, but I always doubt the sincerity of them - more than that of the songs I mentioned.
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swimtothemoon
There does seem to be a dividing line in sound and feel with the pre SG albums and those after. Not necessarily bad, but just different. Pre SG seems less polished with a looser feel and maybe musically deeper. The exception might be Tatoo you - some of the tunes such as tops, slave and Heaven have a similar feel and we all know those were leftovers from pre SG.