rolling stones

Rock and Roll Downer: Mick Taylor

Jan 102011

The other day, an eagerly anticipated vuh-deo showed up in the mail from my good buddies at Netflix: a Blu-Ray DVD of the Stones’ legendary Ladies and Gentlemen, the Rolling Stones concert documentary.

In general, it didn’t disappoint: the band was hot (gotta give out mad props to Bill Wyman and a surprisingly eager Charlie Watts), the song selection was choice (how could it not be in 1972?), and — well, it was just pretty dang great from one end to the other.

Except for one little problem: Mick Taylor.

Seriously, I’m a huge Mick Taylor fan. I even love his 1979 solo album! But, for crying out loud, every time the camera was turned on the dude, he brought the party down. Don’t believe me? Check out this clip, of Keef, Mick, and the boys blasting their way through “Happy.”

I swear, this bit of film gives me goosebumps — until MT takes his solo. Instant softie! Come ON, Mick Taylor! Aren’t you feeling the drive, the desperation, the swagger, the booze-n-heroin infused, grab-you-by-the-nutsatchel urgency of this song? Why you gotta go all Steve Howe on us now?! Save that standing in place, showing no emotion shit for some other tune, like “Midnight Mile” or something. No fooling, you don’t have to let the groove take over your body all the time — but, shit, man, would it hurt to give in to the music and at least tap your feet once in a while?

Sheesh. Who knew?

HVB

Mystery Date Revealed: Japan’s Flower Travellin’ Band

Posted by Mr. Moderator

Dec 302010

Will Your Mystery Date Be a Dream or a Dud?

Thanks to Townspeople who played along with, in my opinion, the biggest dud of a Mystery Date to date, and thanks to Townsman dbuskirk for the album, which I believe he thought sounded like a trial run for Boston. But as someone pointed out, Flower Travellin’ Band‘s “Slowly But Surely” at least unintentionally delivered David St. Hubbins-worthy chuckles. This song was from 1973’s double-live set, Make Up. Don’t worry, as with all Revealed posts we’ll leave you with at least one more track.

The band, first known as Flowers, was founded in the late-’60s by Yuya Uchida, who by this time had become friends with John Lennon after touring with The Beatles in 1966. Inspired by the likes of Cream, Jimi Hendrix, and Jefferson Airplane, the band’s first album was, in fact, nothing but covers of their newfound-favorite psych-blues-rock bands. The album cover, as I learned while composing this piece, would have qualified for an old Last Man Standing/giveaway competition.

Buns!

The Make Up tour, you will be interested to know, what recorded on a tour that, originally, was supposed to have featured the band opening for The Rolling Stones. The Stones had to cancel, however, because Mick Jagger was facing a drug bust. Lucky Mick! There are some other odd facts to be found about the band, including mid-’70s work with Frank Zappa, one guy doing a 1980 album with The Wailers, a 2007 reunion and 2008 reunion album, and a planned 2010 tour, which was canceled when one of the members died.

I know you want to hear more from this album. Why not a long track that showcases all the band’s musical strengths and emotional range?

Flower Travellin’ Band, “Look at My Window”

[audio:https://www.rocktownhall.com/blogs/wp-content/uploads/2010/12/Look-at-My-Window.mp3|titles=Flower Travellin’ Band, “Look at My Window”]

In Search of…Evidence That Brian Jones Actually Contributed Anything Worthwhile on Guitar to The Rolling Stones

Posted by Mr. Moderator

Dec 072010

As you may know, there’s no period of The Rolling Stones that I like better than what I call the “Brian Jones era.” I refer to it as such with full knowledge that Jones may not have contributed much, after helping Mick Jagger and Keith Richards to come together and study Da Blooz, beyond his ability to drive the band with his awesome Rhythm Look and an aptitude for coloring songs with his vast collection of “exotic” instruments. What’s never been clear to me, though, is whether Jones actually contributed anything special on the guitar. I, as much as Richard Lloyd, Martin Belmont, and anyone else who’s passed through these hallowed halls, frequently refer to the band’s legendary twin-guitar attack, but can we actually pinpoint what Jones did other than stay out of the way of Richards’ riffs?

A couple of weeks ago E. Pluribus Gergely called me with the following discovery, which he said was the first example he’s seen of Jones playing an audible, prominent rhythm guitar part. It’s the band playing “Oh Carol” on the Mike Douglas Show in 1964. I’ve watched this clip a few times and, although Jones’ part is easily discernable, I think my friend gave Jones a little too much credit. The execution is nothing special, is it?

I’d love to hold onto the belief that Richards-Jones set the template for all that I love about twin-guitar attacks in rock ‘n roll, but please help me find live video evidence of Jones doing anything worthwhile on guitar. Thanks.

By the way, Douglas and his old fart guests’ dismissive intro of the band and the segment at the end of the lip-synched performance of “Tell Me,” when a couple of giddy teenagers come up to meet the band, are priceless.

Finally, it goes without saying that I’m not allowing the following lip-synched performance as evidence, as much as I’d love to:

Martin Scorsese’s Mick Jagger’s Rolling Stones

Posted by Mr. Moderator

Nov 302010

A couple of nights ago E. Pluribus Gergely called me to ask if I’d ever watched Martin Scorsese’s Mick Jagger’s Rolling Stones (aka Shine a Light), the popular, star-studded Stones concert film from a year or two ago that critics agreed was their “best concert film since Let’s Spend the Night Together.” I had not. Although I’d had the opportunity to watch it for free on cable for months, I could not bring myself to watch even a second of what would surely be a shameful spectacle of two of my all-time favorite artists, the Stones and Scorsese, collaborating to get into the ripe pants of the likes of Fergie.

Last night, while waiting to watch Casablanca for the 263rd time I allowed myself a 10-minute peak at this movie, which was playing on basic cable.

I caught Jack White enthusiastically and badly wailing on the boring “Loving Cup” like a 15-year-old boy pulled out of a high school talent show. I can understand being intimidated by singing alongside even a long-washed-up Jagger, but White’s supposed to be a pro. He can’t complete a verse without falling out of character and out of key. Get it together, man! And find your own voice, even if it’s that whiny, “scary” voice you put on for most of your own music!

Then I saw Jagger awkwardly strain to hold a continuous flow of notes on “As Tears Go By.” The guy sounded like he was ready for a nursing home despite the fact that his hair was as healthy and well conditioned as any 68-year-0ld man’s hair has ever been. No wonder Marty’s cameras rarely strayed from Mick!

Finally I saw the Stones play “Some Girls,” with Jagger once more hogging the spotlight by bashing out the song’s two chords whenever he wasn’t talk-singing. Here’s what really irked me: the band bypassed the “dirty” verse on “Some Girls,” the “Black girls just wanna get fucked all night…” verse. In the theatrical release did the band really wuss out and skip that verse, or was it cut for the VH1 broadcast?

Oh, and Keef is as pathetic as anyone in that organization for writing a 500-page, holier-than-thou memoir after appearing in that slop!

And my man Marty should retire from making films and trying to bed cheerleaders. He can, however, continue to talk enthusiastically about the obscure, old films of his childhood.

Undercover Is Awesome!

Posted by 2000 Man

Nov 292010

I remember it was freezing cold when The Stones released Undercover. The winter of 1983 was really brutal around here, so what else was there to do but sit inside and really get to know The Stones’ new album? The album is all new music, as far as I can tell, with “Too Tough” being at least the only song that had been worked on previously that was leaked out and bootlegged. I think what made Tattoo You a little uneven for me was the fact that the songs came from so many different sessions. Undercover is a singular project, and it’s different from almost every other Stones album.

This may be the last album by a band that would be a surefire big seller in the ’80s that didn’t have that horrid drum sound (like Steve Lilywhite almost wrecked Dirty Work with). The drums are big, and integral to the sound, but they aren’t splashing constantly like they have a puddle of water sitting on them. They aren’t Jimmy Miller’s drums, but they aren’t bad, and the more popular sound of the decade is actually used to good effect on “Undercover of the Night.” While the drums are prominent, this is definitely a guitar album, first and foremost.

“Undercover of the Night” is one of those Stones semi-disco songs that their rocker fans can get behind in a way they couldn’t with “Emotional Recue.” I think it’s partly the slashing, machine-gun guitars, and partly really dark subject matter concerning sex and violence. I know, the video is kinda dumb, but is there a video of a song anywhere that makes the song better? I don’t think so, so why would anyone expect this to be any different? At least Tawny Kitaen isn’t washing a car with her tits in it. The other single that made a name for itself was “She Was Hot,” and it’s just a road song of the type that makes up the entirety of what most bands that get a record deal end up calling their second album. Again, the guitars are great, Keith and Ronnie sound like one guy with four arms. The other highlight of side one is Keith’s “Wanna Hold You,” which is about his last fast song with The Stones. His ballads are okay, but this is Keith Richards, International Rocker, and it bums me out that he has chosen to play his guitar with no hands so much lately.

Side two kicks off with the pure dance club record, “Too Much Blood.” I know a lot of people thought it was really disturbing, but I think it’s pretty cool. The 12” version is longer and has more of Mick’s weird carrying on about all that’s going down on the seedy side of things. I really like the second side the best. After the dancefest of “Too Much Blood” it’s pure guitar riffs. Ronnie’s “Pretty Beat Up” is pure groovetastic goodness and lyrically carries on the theme of the album, which I swear is, “Don’t trust anyone, and be afraid of the dark.” “Too Tough” is The Stones finally coming to grips with a middle for a song with a working title of “Cellophane Trousers.” I can listen to it all day. It’s the kind of mid-tempo rocker that The Stones seem to make with ease, but if it were really that easy, there’d be a lot more good songs to listen to.

The guitars just keep cutting and slashing through the last two songs. Mick Jagger sounds like he’s pushing and the band is pulling but it all seems to meet in some dark, slightly disturbing middle. I think that middle is “Don’t go out in the dark, and be afraid.” I love it. It’s one of my favorite Stones albums, and if they had put “Feel on Baby” as the B-side to “She Was Hot” instead of “I Think I’m Going Mad,” which would have worked better on the album if you ask me. “Feel on Baby” is an odd, slow, mostly boring bit of reggae.

I remember reading Steve Simels’ review of this in Stereo Review when it came out. He said something like, “This is a classic Stones album, and most of their fans won’t like it. It’s too dark, and it’s too depressing. But the fans that get to know this will be well rewarded.” I totally agree, and I think one day when some future generation listens to this, they’ll think it ranks as one of the best Stones albums. Like me.

Once and For All: What Is the Best Rolling Stones Single from 1984 (and While You’re At It, Why Don’t You Come Clean With Your Rock-Themed Weird Haircut Experience)?

Posted by Mr. Moderator

Nov 172010

In a recent comment Townsman alexmagic, always one of the Hall’s finest conceptualists/commentators if not the Main Stage trailblazer we all know he could be (we’ll chalk it up to humility), hinted at his desire to discuss a Once and For All topic that developed from a “weird haircut experience,” in which, as he puts it:

…someone was playing a Stones collection that only had late-period songs on it…

The Once and For All topic is this: Reissues, remixes and live songs excluded, what is the best Rolling Stones single from 1984 on? It is crucial that we settle this issue, which has been implied on numerous rock discussion blogs through the years but not once tackled head on!

The broader, possibly more telling topic that needs to be discussed, however, is that of the rock-themed weird haircut experience. I’m sure I’m not the only one curious to know the details of The Magic Man’s rock-themed weird haircut experience, and because I’ve had two of my own rock-themed weird haircut experiences I know alexmagic is not alone in having such an experience. It’s likely you’ve had one too. These experiences usually aren’t discussed in polite circles, so FUCK YOU – let’s drop all pretense of being polite and come clean. I’m sure we’ll find the trading of our experiences extremely healing. Then we can go back to watching what we say at the dinner table.

I’ll start: Continue reading »

Keef’s Life

Posted by KingEd

Nov 102010

That's life!

Last week, as I set Keith Richards‘ memoir, Life, cowritten by novelist and friend James Fox, on my nightstand each night after an hour’s worth of reading I couldn’t help but reflect on the back-cover photograph of a gleefully shambolic Keef, in a pose very similar to the one atop this post. “It must be nice to see yourself in this way,” I thought, “and think, Yeah, that’s the shot for the back cover of my memoir!”

This is probably why I can’t stand having my picture taken. I’m nowhere near as comfortable in my skin as Keef is in his. His comfort with himself also comes out in the writing of this book, which is laid back, down to earth, sometimes rambling, a bit self-satisfied, and surprisingly sweet. Who would have thought Keef was so into cuddling? There’s a brief bit in which he discusses all the women of Mick Jagger who inevitably end up crying on his shoulder. He tops it off with something to the effect of, “No one thinks of me as ‘Uncle Keith,’ but that’s a side of me.” Continue reading »

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