Written when Neo-con's were seen as being extreme rather than now when they are the crusty lightweight conservatives.
Written when Neo-con's were seen as being extreme rather than now when they are the crusty lightweight conservatives.
I typically don't delete songs from albums when I load a thumb drive for one of the cars. I left Sweet Neo Con out of the A Bigger Bang folder.Originally Posted by Rikk
Last edited by twonabomber; 09-08-2023 at 09:28 AM.
Writing In All Proper Case Takes Extra Time, Is Confusing To Read, And Is Completely Pointless.
Yeah, it's not that I had a problem with them attacking Neo-Cons in principle. It's just that it seemed like a lame way for them to sound current. It had a very UNDERCOVER kind of vibe to it (though, I've always legitimately enjoyed UNDERCOVER).
Roth Army Militia
Originally posted by WARF
Rikk - The new school of the Roth Army... this dude leads the pack... three words... The Sheep Pen... this dude opened alot of doors for people during this new era... he's the best of the new school.
No shit. I remember thinking that the Tea Party were the most extreme Conservatives. Now, they're pretty moderate almost compared to today's fucking crop.Written when Neo-con's were seen as being extreme rather than now when they are the crusty lightweight conservatives.
Commies cannot be billionaires?
News to me.
Well, that's true enough. Roger Waters has pretty much identified as a communist.
I mean, it's not compulsory that anybody listen to the new stuff, but...yeah, Kristy is on the right track to my ears.
The Stones really only came up with stuff worth hearing between 1968 and 1981, along with...I dunno, say a dozen singles during the Brian Jones era. After the title track to Undercover, nothing the band has done studio-wise is anything I'm ever gonna wanna hear again, and they've out out...what, 6 studio albums in the last 40 years?
The Stones at their best is some of the best rock and roll to my ears ever. The last 4 decades have been utterly forgettable.
Scramby eggs and bacon.
What was their last listenable album? For me it was Some Girls with one cover tune the rest of some brilliant writing of Keith "riffage" and Commie Mick's sardonic lyrics. The production and some mixes on that album were rough around the edges but I think with Keith's legal battles at the time and Mick's growing greed sort of killed any futuristic original growth for the albums that followed were largely recycled material. Did not care from them after Undercover which is by far the worst stones album of all time more than Satanic Majesty's Request which Mick called a "comedy album." Dirty Work was made for the emerging CD market place, Steel Wheels was about 6 songs too long and Voodoo Lounge was an exhausting listen.
Where they fucked up is when they stopped making albums and started marketing themselves after seeing how much $$$ the Grateful Dead was pulling in on merch. All they put out in the past 20 years or so is remarketable shit. They never looked back and the music suffered - and still does after hearing that tune.
Just for some outside perspective for what it is worth - pre YouTube obviously someone who wasn't American wouldn't see talk show hosts from the US and vice versa.
As a late adopter IMHO coming with no baggage Letterman comes across a bit of a dick and Leno as a total prick.
The rest are dull and I'm kind of surprised the power of network TV can't do better.
Conan and back in the day Ferguson are the one's that I woiuld have watched if I wasn't not in the US. Ok I've just realised I'm talking irrelevant shit.
Tattoo You was a good album, but it does have a couple of tracks I'd skip if listening to it today.
Some Girls was their last good start-to-finish album.
Undercover had one stellar track, the title track. The rest of the album was weak.
Dirty Work was shit. Steel Wheels has one track, Terrifying, that I think these days is okay...maybe Break The Spell, as well: not a great track, but tolerable.
Eventually, Kristy's extremist rants on any subject are (while hugely entertaining to me when I can't sleep) occasionally tiring.
One fact about The Rolling Stones is that they were not, throughout their career, just a one-trick pony.
It is hard to disagree with the fact that they were, artistically, at their best from 1968 to 1972. This is as close to a fact as rock and roll gets.
BUT...I don't buy the arguments writing off entire decades' worth of their output.
There is NOT (in my opinion) any single Rolling Stones album without at least one worthwhile song.
Here are all the studio albums NOT from 1968-1972. They ALL have (again, in my opinion) at least one good song (I feel that some of these albums have several good songs, but I'm just proving my point by listing the bare minimum of one good song for every album):
THE ROLLING STONES (U.K. LP): Route 66 (also applies to the U.S. version)
12 x 5 (U.S. LP): It's All Over Now (one of the best singles they ever released)
THE ROLLING STONES NO. 2 (U.K. LP): Time Is On My Side
THE ROLLING STONES, NOW! (U.S. LP): Heart of Stone
OUT OF OUR HEADS (U.S. LP): The Spider and the Fly
OUT OF OUR HEADS (U.K. LP): Play with Fire
DECEMBER'S CHILDREN (U.S. LP): She Said Yeah
AFTERMATH (U.K. LP): Under My Thumb
AFTERMATH (U.S. LP): Paint It, Black
BETWEEN THE BUTTONS (U.K. LP): All Sold Out
BETWEEN THE BUTTONS (U.S. LP): Let's Spend the Night Together
FLOWERS (U.S. LP): Mother's Little Helper
THEIR SATANIC MAJESTIES REQUEST: 2,000 Light Years from Home
.
.
.
.
.
GOATS HEAD SOUP: Starfucker
IT'S ONLY ROCK 'N' ROLL: Time Waits for No One
BLACK AND BLUE: Hey Negrita
SOME GIRLS: Shattered
EMOTIONAL RESCUE: Let Me Go
TATTOO YOU: Heaven
UNDERCOVER: Undercover of the Night
DIRTY WORK: One Hit (to the Body) (this was the hardest for me to find a good song...it's admittedly an album with slim pickings...Back to Zero is also a guilty pleasure of mine)
STEEL WHEELS: Terrifying (I also have a soft spot for Continental Drift)
VOODOO LOUNGE: Thru and Thru
BRIDGES TO BABYLON: Out of Control (I also have a soft spot for Saint of Me)
A BIGGER BANG: Rain Fall Down
BLUE & LONESOME: Little Rain
Many of these albums have more than one good song, several good songs...even a ton of good songs. (A few of these albums only have one or two good songs.)
The Stones have always had a good song here and there.
And even though their concerts since the 1981 tour have been exercises in spectacle and showmanship instead of actually being the greatest rock 'n' roll band in the world, there are admittedly interesting periods through even the "professional" (or corporate) years. I previously recommended the 2012 New Jersey concert (recently released on Blu-Ray and CD) as a great concert (one of the best MIDNIGHT RAMBLERs ever).
And another thing I admire The Stones for (in recent years) is being a truly fan-pleasing band when it comes to a multitude of excellent archive releases. I, personally, would like a few more releases of shows from the 1970s (like the L.A. FORUM '75 or EL MOCAMBO '77 releases) and a few less from years like 1997, 2002, 2005, etc. But I typically enjoy most of their concert releases...especially those with more deep cuts (instead of the millionth version of Satisfaction).
Last edited by Rikk; 09-09-2023 at 07:03 PM.
I wouldn't say somebody's opinions are correct or not. The important thing to remember about opinions is mine are always right.
I'd agree wholeheartedly re: the archive releases.
For me, from Dirty Work forward, even when the band managed to scrounge up a good tune it really only tended to serve as a reminder of that 1968 to 1981 period when they were putting out their best work. I always found the Stones albums from Dirty Work forward - really, from Undercover to present - just flat-out lacking all-around, with nothing on those records I'm ever gonna want to hear ever again.
Actually, I find UNDERCOVER a fairly entertaining album. At least it was something different. And I like a lot of the singles from this LP (Undercover of the Night, Too Much Blood, She Was Hot). It's definitely a stronger album than DIRTY WORK and, arguably, any studio album forward. UNDERCOVER at least sounds like its own album. It's no TATTOO YOU...but at least it's not just the band re-treading old glories like every album since.
I put them all on a few times a year and listen all the way through. Well, except for Neo-Con lol.
Are they all on the thumb drives in the Jeeps? No. Mostly Exile, Sticky Fingers, Some Girls, Emotional Rescue, Tattoo You, A Bigger Bang, and Blue And Lonesome. My 300C only plays MP3 (boo) so the Jump Back compilation disc lives in there.
I like some of the throwaway tracks, Too Tight on Bridges and Mean Disposition on Voodoo Lounge. She Saw Me Coming and It Won't Take Long on A Bigger Bang. Maybe Had It With You on Dirty Work. That album is just a mess though, and Jagger solo isn't much better but I like parts of Primitive Cool and most of Wandering Spirit.
Of course they were. They still are.
The success of early Stones was due to Brian Jones who took the band on more experimental paths. A lot of that was due to drugs and Brian could not handle his drugs and creativity. The rest was Mick Taylor who was more than a accomplished musician and he knew how much of a fucking joke Mick And Keith are. Ron Wood who was fresh from sucking Rod Stewart's dick was never a fit for the Stones so yeah, they did churn out decades of shit.
Class dismissed.
The Stones created a vast catalog of rock and roll, hard rock, blues-rock, country, funk-rock, disco, 60s pop, baroque-pop...
And Mick's lyrics (while not as good as Dave's) are fun and have a real sense of danger about them (at least when the band were at their peak).
When the Stones covered a song, they made it their own. I've heard the original LITTLE RED ROOSTER, PRODIGAL SON, YOU GOTTA MOVE, IF YOU NEED ME, LITTLE QUEENIE, etc...and the Stones would so often do something to a song and make it their own.
First off, when people talk about the greatness of the 1968-1972 years, few look at Brian Jones as the reason for the reason for their success during this period.
Brian played a few congas on the original studio version of MIDNIGHT RAMBLER. Keith does all the guitars on this studio version. And the studio version does not hold a candle to almost any live version of this song.
Brian also played autoharp on YOU GOT THE SILVER. That's it. Those are his only appearances on the 1969 LET IT BLEED album.
Brian did play on BEGGARS BANQUET, but outside of his amazing slide in NO EXPECTATIONS, most of his contributions were periphery. He was not the primary reason for the greatness of this LP.
Mick Taylor did make a huge contribution to the 1969-1972 Stones, but he was not the sole reason for it. Hell, after they started hitting a 9/10 instead of a 10/10 on Goats Head Soup and It's Only Rock 'n' Roll, Taylor was still playing at his best. Just listen to his lead guitar in TIME WAITS FOR NO ONE.
Mick Taylor was just one of the reasons for the greatness of those years. Mick was at the top of his game. So was Keith. The two of them wrote so much amazing music during those years, The Stones had a ragged, dangerous and excellent sound during that period. They wrote so much solid music for Exile that when they released an album of outtakes from that album in 2010, it was the best "new" Stones in years. Maybe decades.
I would happily kick anyone in the face if they tried to tell me The Stones were not one of the greatest bands ever when they recorded DEAR DOCTOR, PARACHUTE WOMAN, GIMME SHELTER, LIVE WITH ME, YOU GOT THE SILVER, SWAY, CAN'T YOU HEAR ME KNOCKING, I GOT THE BLUES, MOONLIGHT MILE, ROCKS OFF, SHAKE YOUR HIPS, TORN & FRAYED, VENTILATOR BLUES, FOLLOWING THE RIVER, SO DIVINE (ALADDIN STORY) and ALL DOWN THE LINE.
No, Kristy...class dismissed.
You know what your problem is, hippie? You live in the past. Gee by golly gee whiz wasn't music great some 40 fucking years ago? Back then you hippies had smug proper songs with your smug proper words and you loved your MTV shit show, didn't ya? Why NO ONE wrote a tune after 1985 and you hippies let everyone around know this. Boring, busted, bat shit Boomer generation and your fucking retarded self-serving ignorance. Mick and Keith take a shit or two in a studio and decided "Hey, how terrific if we put this out as an album? Our collective stupid fan base will never know the difference."
And it's not just the Stones. It's ALL your vomit-fucked-puked rock stars.
No, please, tell me what my problem is.
I wasn't even alive when EXILE, let alone IT'S ONLY ROCK 'N' ROLL, were released.
A great amount of the music I listen to was recorded after 1985. (Y'know, that year you turned 46.)
I really think I'm falling in love with you. What color is the sky in your world?
Hey, this is a very under-rated album. It features not only their rock-radio hit SEX FARM but also the disco hit THROB DETECTOR. Do not belittle one of rock's finest LPs.
Go listen to your boring Joni Mitchell collection and get high to it.
That was Jimmy Miller, you dunce. Even the love thieves Mick and Keith has said they owe a lot of their success to him. You fucking hippies, you think you know everything.
Class dismissed.
OK, this really may be the dumbest thing you've ever said (and that's with a lot of competition).
You're saying a producer is the main reason an artist has a fertile or great period? Nothing to do with the quality of the band?
Well, maybe that works for the wonders you somehow find in your Whitney Houston, Britney Spears and Justin Bieber collection...
...but if Jimmy Miller were the reason BEGGARS BANQUET, LET IT BLEED, STICKY FINGERS and EXILE ON MAIN STREET are all considered amazing rock and roll albums, then why are Traffic's albums, while classics on some level, not as brilliant as The Stones' work from this period?
Why is GET YER YA-YA'S OUT considered one of the best albums they ever did? It's a live album, technically produced by Miller even though they basically recorded some concerts and did a few overdubs? Are you saying this album is so brilliant solely because of the mixing?
YOU are the one with Joni Mitchell box sets in your collection. Why do you keep calling me the hippie, you freak?
Yes. It really is dismissed.
Only I get to say class dismissed, you hippie
Class dismissed-edy issed dismissed-issedy-isd!!!!
P.S. Now go and gaze longingly at your pictures of senile Joni walking naked around her home.
Filthy hippies. A dime-a-dozen
Is that a picture of the limey with bad teeth who broke up with you or the Canadian hick?Filthy hippies. A dime-a-dozen
No, that's obviously you and your retarded "wasn't Undercover the best Stones album ever!" meth heads after paying over $600 a ticket to see Jagger do his arthritic shuffle to the classics.
Hey, you must really be taking all this really personally!! You changed your avatar!!
I said, "class dismissed"
It's ok...I've dismissed you now.
I hope you learned your lesson, you insecure hippie-in-hiding.
Now fuck off, please.
Don't try to be cool, hippie.
Limeys on limeys
Go play with your thankless vibrator, you dried-up old bat.
Oh I would but your "perfect teeth" daughter keep stealing it from me.
Fucking asshole.
Hooked-on-phonics, much?
Hey, I'm not making sexual cracks about nine-year-olds.
Have a nice day.
Really wish they had finished this one. It had potential... even with Woody singing.
Eat Us And Smile
Cenk For America 2024!!
Justice Democrats
"If the American people had ever known the truth about what we (the BCE) have done to this nation, we would be chased down in the streets and lynched." - Poppy Bush, 1992
Apparently Keef plays bass on "Angry". If so, I wonder how much of the album is him, as opposed to Darryl Jones. Or Woody?
Yeah I liked this one when it leaked a bit back.
I wish a good quality of I NEED YOU came out. Do you like that one, Ford? It could be pretty good if they finished it.
Emotional Rescue could have been a much better album if CDs had existed in 1980 and Bob Clearmountain didn't have to butcher all the songs to fit them into a 40 minute format....
For some reason I always wondered if "I Need You" was some sort of demo version of "Hand of Fate", even though it's often listed with Some Girls or Emotional Rescue outtakes. If you listen to what Bill & Charlie are playing, it's pretty much a direct copy, though obviously the rest is different. Sort of like how "Living in The Heart of Love" turned into "Luxury".
"I Need You" is hilarious though, because both Mick & Keef are heavily under the influence of one substance or another....
That Adam Driver looking douche is a clueless asshole. I've shit on concrete drunk out of my mind which is a better review than that. Bet he makes about a million a year on GoobTube spewing his low-rent gargle nonsense.
Darryl Jones was on tour. Bass is handled by Richards, Wood, and Watt.
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