Dec 022020
Go ahead, call this Dad Rock. I dare you.
Let’s jam on it. What random topics are floating your boat in the homestretch of 2020?
Go ahead, call this Dad Rock. I dare you.
Let’s jam on it. What random topics are floating your boat in the homestretch of 2020?
Here’s one of those “most influential records” pieces that Elvis Costello is so good at responding to. I love the fact that he takes an outright potshot at two producers – no-holds barred – but I’m going to get it from a Coronavirus Triangle of friends re: his take on Joni Mitchell’s Court and Spark album.
https://pitchfork.com/features/5-10-15-20/elvis-costello-on-the-music-of-his-life/
https://www.youtube.com/watch?v=li3Lq6tMe1k
Here’s a video of Lou Reed from Paris in 1974. I’ve seen clips of this synched up with the version of Sweet Jane from Rock and Roll Animal but that’s inaccurate because there’s no Steve Hunter or Dick Wagner, so this is the first time I’ve seen the video properly synched with the audio.
Aside from Lou, are there any other performers who A) look as awkward on stage because they are going for something and wildly missing the mark, and B) if they actually accomplished what they seem to be attempting, it wouldn’t look nearly as cool as they seem to think it would?
Van Morrison from the Last Waltz comes to mind but at least he seems like he’s lost in the exuberance of the moment. I think you can actually see Lou thinking, ” …and 1 and 2 and 3 and spin!”
Lou seems determined to push past it with some tough guy bravado and a bunch of amphetamines, but I suspect he knows that he’s not really selling it.
That Lou Reed video of Coney Island Baby hinted at it but he’s cleverly anchored himself with the guitar, restricting is movements and keeping himself largely out of harm’s way.
From what I read, Costello appears to have no issues with Court and Spark. Neither do I. I think you misread his take on the album.
I don’t recall what your beefs are with Life’s Rich Pageant, probably because they didn’t make sense the first 40 times I tried to read through them. I don’t recall a lot about the album. I do recall that I thought ‘Fall On Me” was great, but the rest of the album was kind of weak. I gave up on them at that point.
No, I meant that he digs that album, and now he can join the three of you in calling bullshit on my inability to get past fucking flute flourishes.
I LOVE that Lou Reed clip, cdm. I hadn’t seen that for so long. I think it’s the origin of the old RTH term Mandancing. Great porn staches and bassist Prakish John to boot!
Jon Anderson from Yes is a really awkward frontman, which is especially painful to watch as he shakes a little tambourine during the band’s 3-minute instrumental passages.
OK. I promise to let this go, but I cracked up reading the Costello link you included and found him miraculously participating in our Dad rock debate in that article:
“This idea has been sold to us, usually by people with no talent, that music must be about eternal youth. In the popular music legend, somehow, you become feeble over 30. People that say Bob Dylan can’t sing anymore have literally no idea what singing is.”
Guess that puts Elvis on Team Chicken!
A little internet research shows that this Lou Reed concert occurred just a few weeks after Lou flunked out of one of those Rock & Roll Camps. Although there was one site that said he was expelled when Daltry and Jagger went to the headmaster and said “Either he goes or we stop our “How To Be A Rock & Roll Frontman’ class.”
On the plus side, I think this is Lou the way he was meant to sound.
Check out this song/video that my son showed me:
https://www.youtube.com/watch?v=-VsmF9m_Nt8
The artist is Adriano Celentano. Bio here: https://en.wikipedia.org/wiki/Adriano_Celentano
Song details here: https://en.wikipedia.org/wiki/Prisencolinensinainciusol
To quote: The song is intended to sound to its Italian audience as if it is sung in English spoken with an American accent, vaguely reminiscent of Bob Dylan; however, the lyrics are deliberately unintelligible gibberish with the exception of the words “all right”.
It’s really good – a great rocking song, great high and low concept, nice video (stick around for the chorus line at the end; gams that Micky Chicken would love).
For anyone I’ve offended up here, I offer the following as an olive branch. My apology begins at 1:36:
https://www.youtube.com/watch?v=c_OQNptgv7g
Sincerely,
E. Pluribus Gergely
EPG, there is really nothing to add to the uploader’s description – “Legendary singer Christian Vander killing it”
Agreed! It’s one of my favorites. The moderator had it up here some time ago. We should have an area on the site for our favorite clips.
How ’bout it Moderator? Can the back end set that up for us?
It would be nice if we had a favorite clips section. If we can get the time and energy to take the Hall to it’s next stage of development, that’s worth designing. Magma heals all wounds, doesn’t it?
Indeed. Magma’s healing powers are legendary!
Speaking of EC, dig this long interview between Elvis and Iggy Pop that was posted on the Rolling Stone website today:
https://www.rollingstone.com/music/music-news/elvis-costello-iggy-pop-meeting-1097849/
The spasmodic 1974 Lou scares me, but not like an actual tough guy would. He looks like he weighs about 99 lbs. It’s hard to believe he made some of his best music during his speed and peroxide era.
I know this is beating a dead horse, but I listened to Sticky Fingers today and once again worked myself into a tizzy. Was it really necessary to have Bobby Keys fuck up “Bitch” with his Tonight Show Doc Severinsen horn work? Honestly, it’s antithetical to everything the Stones are supposed to represent. Jagger should have stood up to Richards and said something like, “You know what, man? I’m sick of having your Ed McMahon sycophant heroin buddy around, fucking all our songs up. Get rid of him, or I’m out of here.”
If anyone has a recording of “Bitch” without the horns, let me know.
My dream find is getting into a tape vault loaded with band member conversations regarding the ups and downs of the creative process: McCartney walking out in a huff during the “She Said, She Said” session when he showed up late and found out that Harrison handled his bass chores, Charlie Watts being told that Jimmy Miller would be playing the trickier Stones’ drum tracks, the Nashville guys’ private conversations about Dylan during the recording of Blonde on Blonde, that kind of thing.
One last thing that has absolutely nothing to do with any of this: Pod Save America is absolutely terrific. Thanks, Little Mo!
Al, that song and video were fascinating! Catchy to the point of annoying! The video kept making me imagine an outtake from The Wall, in which Bob Geldof’s drugged-out Roger Waters character is watching himself give that performance on TV.
L-O-L-A Lola!
https://www.nytimes.com/2020/12/01/arts/music/kinks-lola-ray-davies.html?action=click&module=Features&pgtype=Homepage
I’ve never tested this theory, but I think I could listen to either Day Tripper, Jumpin Jack Flash, or Lola twenty-five times in a row and still not get tired of hearing any one of them. Lola is perfect.
Excellent sub-thread, chickenfrank: What songs can you listen to 25 times in a row and not get tired of hearing? I’m with you on “Lola.” My Stones song would be “Under My Thumb.” My Beatles one would be “Revolution” – the single version, not The White Album one.
My brother an I once put Sleepwalk by Santo and Johnny on repeat for about 12 hours.
LSD is a hell of a drug.
Here’s a jam I’m looking forward to revisiting!
http://www.beefheart.com/saturday-night-live/
That Grasshopper kid, by the way, sounds like he needed a wedgie.
Eric Drew Feldman did time with Beefheart, Pere Ubu and PJ Harvey. What a resume!
This was the band that toured Doc at the Radar Station after Drumbo, who played guitar and acted as the bandleader on the record bowed out of the tour because Beefheart wouldn’t settle on a set, but gave him a list of over 40 songs that he “might” do.
This line up was really good. I saw them at Emerald City and then took a trip up to NYC to see them at the somewhere like the Bowery Ballroom.
Remember when you could go see people play somewhere?
geo
80’s day on Many Moods of Ben Vaughn.
Looking forward to Gergley’s comments on Alan Vega, Delta 5, Raybeats, Bush Tetras et al.
I’ve been a pretty devoted fan of SNL through it’s entire run, and I don’t remember ever seeing that. I guess I took part of the Charles Rocket season off. That’s outstanding. The guitars sound fantastic.
They’re coming. Geo. Hang in there! I’ll be listening to the show later tonight whilst grubbing down pizza and playing rummy with the wife.
By the way, I thought you hit the target on the whole Dad Rock thing. Nicely done. The whole rebel thing is gone. What’s cool for junior might also be cool for mom and dad as well. It’s not supposed to work that way.
One more thing, I bought some records today inside the building that was the former home of the Valley Forge Music Fair. I used to love going there for a show. Very 70s. Performers I saw there include the Kinks, Every Brothers, Chet Atkins, James Brown, BB King, etc. I even saw Dennis Miller there, before he turned into a republican dick. He was good, very funny.
Chickenfrank, we all took that Charles Rocket year off. I wish I’d seen that in real time, so I could look back and remember how I reacted. I wonder if I would have been ready for Beefheart before I’d turned into a pothead. I’m not only a fan of that version of the Magic Band, I’m a fan of the guitarists’ dance styles.
Geo, I just caught most of Ben’s ’80s show. I love how when he does those shows he only plays songs that DON’T sound like they came from that decade. I tuned in just as Roky Erickson’s “Starry Eyes” started. It sounded better than I remembered. Chickenfrank, Sethro, and I used to play that when we backed Aldo Jones, as part of his Powderhorn Jones revue. I hated playing that song! It felt so baby-ish, and I never got all the acclaim for Roky Erickson. That was at the height of the underground rock world’s fascination with KEEEEEE-RAAAAAAAY-ZEEEEEE cult artists. It felt exploitative to me. And, like so many things back then, it was tinged with jealousy. Bad times! “Starry Eyes” sounded better than I remembered, but I still think we did a lame, pointless cover of it.
I saw James Brown there twice, about a year apart. The second time he was insane. He took a twenty minute or so organ solo over the intro to It’s a Man’s World, leaving his female.back up singer doing interpretive hand gestures for an eternity waiting for the singing to start.
Toward the end he went off on a very long rap about touring Vietnam with the USO with shout outs to various locales. “Khe- Sahn!” while the band vamped on something like Cold Sweat or Soul Power, went over curfew and proceeded to do repeated false endings. He kept counting the band back in, looking directly at the glowering faces of the venue staff every time the stage came back around to them. It was epically weird.
We did a pointless cover of it too, also with Powderhorn. Only in rehearsal, though. I guess we got replaced by Nixon’s Head!
I did like the 80’s version Ben put out there, although a lot of what I liked was the early 80’s NYC post-punk holdover. Didn’t Links Linkerson have a theory that each decade only established its identity about half way in?
Oh, and the acclaim for Roky is that he had one of the greatest rock voices ever. He might be spotty, but damn can he howl. Starry Eyes is OK, but give me “You’re Gonna Miss Me” or “Don’t Shake Me Lucifer” over that any day. I have an old single disc compilation that is great across the board.
I saw Eric Drew Feldman play with Beefheart and with Snakefinger as well, so you can add that to his amazing resume.
BigSteve, you saw Snakefinger? That’s cool! Did any of you older heads see Beefheart in the early ’70s? I got down a rabbit hole on that Beefheart site this weekend and listened to a recording from Tufts University from before the release of The Spotlight Kid. Live, that version of the band, could have worked as a psych-boogie band, in an almost conventional sense. It got me wondering whether Beefheart could have erased Trout Mask Replica from his catalog and actually been more popular as a weird boogie band. It’s hard to explain what was going through my mind.
I saw Beefheart a lot. First time was at a nearly empty Irvine Auditorium, there were about 50 of us in the 2,000 seat venue. Little Feat, original line-up touring Sailin’ Shoes opened. The band was Zoot Horn Rollo and Winged Eel Fingerling, guitar, Rockette Morton, bass and Artie Tripp, drums. Some of my friends saw him at the Main Point on the Decals Tour with the same line up plus Drumbo. (I remember BigSteve also saw the Tripp/Drumbo lineup.) The show I saw was very good but Spotlight Kid was already a slight slip in quality.
Saw them again when Clear Spot came out. They were opening for Jethro Tull and by that time Estrada had joined on bass, Rockette played mostly guitar and a little bass.Alex St. Snouffer was back in on guitar. Yeah, Zoot Horn was still in, three guitars. They were OK, but suffered from Spectrum opening act sound and, at the time, I was not that thrilled with Clear Spot thinking it a little too conventional. I now think it is far superior to Clear Spot because, although more conventional, it is magnificently played and recorded. (I think the producer went on to do Van Halen.)
After Beefheart recorded Unconditionally Guaranteed with that same line up, except Rockette back full time on bass, the band quit over a battle with Beefheart over money and the sound of the record, which was emasculated by his new manager/producer. I saw the band generally known as the “Tragic Band” at the Main Point on that tour, probably in 1974. It was terrible, completely ill-conceived. He then released Moonbeams and Bluejeans with the new guys and it appeared he was done.
After a year or two, Zappa included him as a vocalist on a tour which I saw in Trenton. And suddenly, after a total artistic collapse, he was touring again with a credible band doing a wide variety of his good material. In late ’77, I saw him in Newark DE with a band that included some of the guys from the original Bat Chain Puller lineup, Denny Walley, Bruce Fowler on trombone, John Thomas on keyboards, Tepper on guitar and, I think Robert Williams had already replaced Drumbo. They were a little raw but really good, hitting material from Safe as Milk, Trout Mask, and Clear Spot.
In late ’78, he toured with the Shiny Beast line up. and they played the Bijou Cafe. It was a fantastic, uncharacteristically slick show, including Tepper and the other guitarist Richard Redus, who was only on that record, as well as Eric Drew Feldman , Williams and Fowler. They busted out accordion for “Harry Irene,” Redus played a fretless bass set up on a stand for “When I See Mommy,” In general, they reproduced the fairly extravagant arrangements from the Shiny Beast album and a nice selection of the classics. It was almost disorienting in its professionalism but did work. There was a nice live documentation of this line up on the Rhino Handmade album called “I’m Going to Do What I Wanna Do.”
After recording Doc at the Radar Station, arguably his best album, he did the tour with the line up that appeared on SNL. They were a lot more aggressive and raw than the Shiny Beat band, but just as good. Although I missed some of the earliest line ups, I’d definitely say that the 78 and 80 shows were better than the earlier 70’s live shows.
Here’s a pretty good 15 minute clip from Beat Club on Youtube that getwho is the very s both some Trout Mask and the weird boogie angle you mention. They do “I Wanna Booglarize You Baby.” This is the same line up I saw at the Spectrum, but a little earlier on before Snouffer replaced Winged Eel, probably actually the European end of the Spotlight Kid tour.
https://youtu.be/G0d0rsW9p3I
Unless this is what you meant which is actually the infamous “Tragic Band.”
https://youtu.be/CiZ_5jWJo_g
Geo, I’m jealous like 10 times over! Thanks for sharing those Beefheart concert experiences regardless. Knowing how bad I am at getting out to see shows, at least in the days when that was an option, I might have seen you at one of them, had I been old enough to know better.
I know that Beat Club clip well. That gets at what I was trying to work out. The Tragic Band stuff couldn’t be more appropriately named. That stuff is painful to watch or listen to. My “What if Beefheart had been marketed as a boogie band?” thing is not something I think was necessary, but while going down the rabbit hole of that Beefheart site and reading interviews with various Magic Band members regretting the fact that they made all this legendary music, only to have to struggle through day jobs like most of us, got me thinking about it.
Let’s take away Trout Mask Replica, which is rightfully the central album of Beefheart’s output – what distinguished him forever from the rest of the world. If we did that (and I’m not suggesting we do, by the way), it would be easier to market Beefheart and his many Magic Bands as a weird hippie boogie band, like Canned Heat mixed with some of the experimentation of the Dead or Jefferson Airplane. We can’t get around the fact that wanting to sleep with Grace Slick must have held the imagination of a lot of people during the Manson Pep Rally moments of the Airplane’s catalog, but that band “got away” with a lot of unconventional music. Same for the Dead, which started its career with a giant hug to the universe. People who don’t like the Dead will forever make fun of Space & Drums, or whatever that obligatory 40-minute improvisational section of their live shows was called, but they’re not defined by it. The Dead is “Truckin'” and other good-time boogie numbers. The Airplane is “White Rabbit” and “Somebody to Love.” Trout Mask Replica robbed Beefheart of being known by any of his more catchy boogie-based numbers, from the Safe as Milk album through even later-period numbers like “Hot Head.” Again, I don’t know if this is good or bad, but it might have saved the Magic Band guys from taking on some shitty day jobs.
The discussion is kind of Zen-like, isn’t it? “Take away Trout Mask Replica from the Beefheart catalogue”?!?!.
I get what you are saying totally. But isn’t one of the things that makes Beefheart and Trout Mask so remarkable is that it is so musically connected to everything else he did. It’s not like it’s Gregorian chants. Amazing that it could be so much a part of the Beefheart quilt and yet be sui generis.
Listening to Exile on Main Street. Always a pleasure, warts and all. And just for the record, “Happy” is that magic track I could listen to over and over again and never get tired of hearing. It is arguably Keith’s finest moment. If you wanna know what Keith is all about, that’s the track that’ll do it.
You all know that I’m a diehard Stones fan, but I take a breather after Exile, go back to loving them with the release of Some Girls, then pull the plug completely after Tattoo You.
Please watch the following clip and provide feedback.
https://www.youtube.com/watch?v=32YQYJuxyn0
My reaction to this little slice of Ripley’s Believe It or Not is something not unlike watching a catfight. It’s sickening, but I have great trouble pulling myself away from it. I would have loved being privy to the conversation the Stones had with Jagger regarding his performance, the conversation Muddy had with the Stones regarding Jagger’s performance, and finally Muddy’s conversation with his neighborhood buddies regarding Jagger’s performance.
Jagger’s Jolson routine is off the charts, really embarrassing shit. I can’t imagine what was running through Muddy’s mind, while that whole thing was going on.
Suggested Discussion Questions:
1) Does Keith appear to enjoy Jagger’s performance, or does he regard it as offensive to Muddy, Muddy’s buddies, and the rest of the Stones as well? Does the upcoming release of Jagger’s first solo outing have anything to do with Keith’s lack of eye contact with Jagger? Was Jagger’s performance the final straw that led to Keith joining the New Barbarians and ultimately forming the Xpensive Winos?
2) At what point does your Ripley’s fascination with the clip turn into sheer boredom? Provide exact time and reason for the shift in interest.
3) Is Jagger wearing a track suit or children’s pajamas designed to look like a track suit?
4) Does Jagger’s performance in any way sully your appreciation of the Stones’ pre Undercover of the Night catalog?
I think we examined this clip years ago, but it never gets old of runs out of angles! I’ll start with an observation: At the 3:31 mark, Muddy has exhausted his appreciation for the coke the band turned him onto backstage and he starts giving Mick some sideways glances, as if to say, “This kid don’t know when enough’s enough.” Soon thereafter, Muddy rises from his stool.
Agreed. I beseech thee to bring all this to the main stage. There’s a lot going on here that needs to be addressed.
Yes I saw Beefheart on the Decals tour, February 7, 1971 to be exact. Ry Cooder opened. I know I saw late period Beefheart, but I cannot remember if it was once or twice. I know I saw him with Eric Drew Feldman in the band, and I know I saw him with Bruce Fowler on trombone. The mental images of those bands seem like two different venues, but it’s possible that it was the same night.
Snakefinger was really good when I saw him live. The main thing I remember is that he didn’t introduce the band members individually, but before the last song he said something like “Thank you very much for being here tonight. I’m Snakefinger, and these [gesturing with upturned palms] are the Residents.” That blew my mind, but I guess it was my introduction to the concept that the Residents were not a band in the usual sense.
Snakefinger backed by The Residents…BigSteve FTW!
I suspect Muddy was thinking “This kid is acting a fool but this beats the shit out of painting and doing maintenance for the Chess Brothers.”
Suggested Discussion Questions:
1) Does Keith appear to enjoy Jagger’s performance, or does he regard it as offensive to Muddy, Muddy’s buddies, and the rest of the Stones as well? Does the upcoming release of Jagger’s first solo outing have anything to do with Keith’s lack of eye contact with Jagger? Was Jagger’s performance the final straw that led to Keith joining the New Barbarians and ultimately forming the Xpensive Winos?
Mick’s album wasn’t until ’85 and the New Barbarians were Keith’s community service for his Canadian drug bust so I don’t think this was the straw that broke the camel’s back. Mick is a great front man but there must have been number of misfires over the years (for instance, I’m guessing Mick was the visionary behind Satanic Majesties Request) so I suspect Keith was just focused on playing a song with one of his heroes and was used to blocking Mick out at that point.
The video of him with Peter Tosh, where Mick foolishly brought coke to a weed party, is notable because even though Keith coproduced the track, he’s nowhere to be seen in the video. While Muddy looked kind of bemused, Tosh looks like a man who’s buzz is in the process of being killed. https://www.youtube.com/watch?v=3o4Fgh0KW_4
2) At what point does your Ripley’s fascination with the clip turn into sheer boredom? Provide exact time and reason for the shift in interest.
10 second into it. I really like some blues but the sheer repetitiveness of this song has never really done much for me. And just because Muddy and Keef can power though Mick’s shenanigans doesn’t mean that I have to.
3) Is Jagger wearing a track suit or children’s pajamas designed to look like a track suit?
I genuinely laughed out loud.
4) Does Jagger’s performance in any way sully your appreciation of the Stones’ pre Undercover of the Night catalog?
No. In fact, I’ve always been very much a Keith guy and disproportionately resented Mick’s misfires, but in recent years, I’ve really come around on Mick. Flaws and all, he’s contributed much more than he gets credit for, not the least of which is keeping things together so Keith is afforded the leeway and luxury of being “Keith.”
Question: Who has had a more enviable career as a performer than Ron Wood? I’m not just talking about a career in music because that would have to go to someone like Tom Waits who can sell out cool theaters whenever he feels like touring but also has enough people like the Eagles, Rod Stewart, Springsteen, Scarlet Johansen, etc. covering his songs that he only has to tour if he wants to. Between playing bass for Jeff Beck, playing on the coolest Faces/Rod Stewart albums, and then becoming a Rolling Stone, which in turn allowed him to record and tour his own projects when he wanted to, it’s got to be Ronnie, right? He’s a good guitar player and all but there is just as strong a case to be made for being a good hang and having the right haircut.
Christ almighty, great responses, CDM! Just a couple of things:
1) Satanic Majesties gets a lot of flack, but the truth of the matter is that it really holds up, and it’s way better than some of the Stones’ long payers that are oddly held in high regard, like Between the Buttons, which has a lot of filler. Ages ago, 2000 man wrote a superb reconsideration of that LP and nailed it. The piece was posted on his blog, which I can’t seem to find. And that sucks.
2) That was a perfect summation of what Ron Wood brings to the table. That said, he also one hell of a trump card in his hand: “Ooh La La.” Along with “Happy”, that’s one of those songs I could listen to all day long and then some. First time I heard it was on a mixed tape the Moderator gave me back in the day. I don’t recall the Moderator writing the names of the artists or song titles one the insert, always a smart move. Right away, it hit me like a ton of bricks: “What the fuck was that?” I find out its “good hang and haircut” Ron Wood. Love getting a left hook from the Underdog.
Aside from the two hits on Buttons, I really like Miss Amanda Jones and Connection. Satanic Majesty’s has about three songs that I really like. Both albums are rounded out with songs that range from pretty good filler to substandard filler. So musically, their fairly close in my book.
But the thing that distinguishes TSMR, and not in a good way, is this seems to be when Mick really started ramping up his flirtations with the Devil/dark side. When he nailed it, like with Sympathy and Midnight Rambler, it was exhilarating because of the creepy undertone. But when he swings and misses, like in Dancing with Mr D, it’s embarrassing, not scary. On the cover of TSMR, that purple wizard getup combined with the album title seems like it’s signaling some sort of flirtation with black magic or the dark arts. Worse, he made Charlie and Keith dress up like their heading to the renaissance faire (Brian is actually selling it and I’m guessing Bill was happy just to be included). I think the concept and production of that album was a bad fit for them because they seem to be trying to play somebody else’s game.
I’d love to read the 2K Man reconsideration because his musical tastes and mine seem to be aligned more often than not.
CDM writes: “Worse, he made Charlie and Keith dress up like their heading to the renaissance faire.” You got a laugh out loud out of me as well!
I always liked Satanic Majesties but never ran my mouth about it until I read 2000 Man’s piece. I finally found my back. Like I said, he nailed it. You may hear it a little differently after reading what he wrote.
@CDM. Don’t discount Woody’s incredible mug from his value.
In the longue durée of the Stones career, while I would still maintain that Satanic Majesties is among their worst, compared to other worsts (oh, I don’t know, Dirty Work) or even to other mediocre works (It’s Only Rock and Roll? almost anything after Tattoo You?) it is nevertheless the Stones at or near the height of their powers at their worst, if you get me. (See also, Goats Head Soup.) Some years ago here I argued that while Satanic Majesties is fatally flawed, the best of it augmented with other “psychedelic Stones” from around the same time could have made a really good record: so it isn’t that they were not capable of working in this vein, just that they were too messed up or whatever to pull it off with that set of songs. I forget the exact details, but something like this.
Keep from Satanic Majesties: Citadel, In Another Land (just for the hell of it), 2000 Man, She’s a Rainbow, The Lantern, 2000 Light Years from Home
Augment with: Please Go Home, Have You Seen Your Mother, Who’s Driving Your Plane, We Love You, Dandelion, Child of the Moon
To me, that’s a pretty cool and solid collection.
Misterioso, that’s all more than fair. And the more I read it, the more I agree with it. That said, the throwaways are embarrassing but sonically pleasing to the ear. I can’t say the same for any of the slop found on the records after Tattoo You.
Misterioso, I just read your take on Satanic Majesties again. It’s brilliant. You really nailed it. Well done.
One more thing, Misterioso. Please take a look at the Stones / Muddy Waters Checkerboard lounge clip. Your responses to the discussion questions would be greatly appreciated. I’m sure you’ll find something noteworthy that I’m missing.
I’d take anything on Satanic Majesties over the leaden Who’s Driving Your Plane,
BigSteve, I’ve always kinda liked “Who’s Driving Your Plane.” Maybe it is the allure of the non-lp b-side that makes me think it is better than it is, I don’t know.
EPG, yes, exactly: even the crap on Satanic Majesties has the advantage of having a cool sound that certainly doesn’t exist on later Stones.
I did, in fact, watch the Stones/Muddy Waters clip. (Dear God, I think I even own the dvd of that performance.) I sort of don’t even know what to say about or where to start. Muddy lived another two years or so after this, so I guess it didn’t do him any permanent damage. (I am not sure I can say the same about myself.) I’d be tempted to say it’s the most embarrassing thing I’ve seen from Mick except that I’ve seen his “movie,” the aptly named Running Out of Luck,to say nothing of “Dancing in the Street.” Your observations on Mick’s outfit cannot be improved upon, really, but I do also wonder if it was purchased at the same athletic wear discount warehouse where he got the placekicker pants and kneepads he wore on the ’81 tour (see https://garage.vice.com/en_us/article/nekk3g/mick-jagger-football-pants), which I’d be inclined to say must be the worst-ever Jagger look except that I am pretty sure if I went looking there would be something even worse. Anyway, the Stones have a pretty godawful track record working with guest stars.
For those of you that may have missed the new, improved version of the Dancing in the Streets video.
https://youtu.be/BHkhIjG0DKc
Almost 9 million views – truly timeless!
Hey everyone, I found a great song!
https://youtu.be/exTMCq0cnLs
Have you guys seen this video by Liquid Tension Experiment yet? I’m going to need some time to wrap my head around this.
https://youtu.be/RmuiAuDmB_g
The music is just giving me a prog headache, but the masks are top shelf.
According to my prog-loving brother, it’s Tony Levin and three of the guys from Dream Theater. And yes, it gave me a prog-ache too.
Is it me or does the Boris Johnson attempted lookalike appear to be the spitting image of Chris Farley? And who the fuck is the Danny DeVito guys supposed to be?
I thought it was supposed to be Farley! Of course, Boris Johnson would make more sense in that context. That sure looks like DeVito though, so maybe it is Farley and DeVito for some reason hooping against the politicians. Hilarious. Both the bass AND guitar have an odd unsanctioned number of strings. Total foul. Happy Christmas Eve Eve, Geo!
Total Farley vibe!!! Funny that it’s Tony Levin and company. I was thinking it was that band with a P-name (?) led by goofy-if-talented (and Ralph Records-loving) bassist Les Claypool.
I thought it was Kim, Putin and trump against Devito, Farley and Bin Laden’s corpse. Why those guys on the second team? I have no idea
Primus.