As for other post-EOMS classics....I heard "Summer Romance" the other day on the radio and it sounded GREAT.
― Alfred Soto (Alfred Soto), Tuesday, 26 April 2005 15:14 (nineteen years ago) link
― gabbneb (gabbneb), Tuesday, 26 April 2005 15:18 (nineteen years ago) link
― A Viking of Some Note (Andrew Thames), Tuesday, 26 April 2005 15:23 (nineteen years ago) link
I don't love one decade more than another either.
― Alfred Soto (Alfred Soto), Tuesday, 26 April 2005 15:55 (nineteen years ago) link
― Alfred Soto (Alfred Soto), Tuesday, 26 April 2005 16:01 (nineteen years ago) link
― A Viking of Some Note (Andrew Thames), Tuesday, 26 April 2005 16:13 (nineteen years ago) link
― A Viking of Some Note (Andrew Thames), Tuesday, 26 April 2005 16:16 (nineteen years ago) link
― Alfred Soto (Alfred Soto), Tuesday, 26 April 2005 16:19 (nineteen years ago) link
― xhuxk, Tuesday, 26 April 2005 16:19 (nineteen years ago) link
― A Viking of Some Note (Andrew Thames), Tuesday, 26 April 2005 16:24 (nineteen years ago) link
― xhuxk, Tuesday, 26 April 2005 16:25 (nineteen years ago) link
― A Viking of Some Note (Andrew Thames), Tuesday, 26 April 2005 16:26 (nineteen years ago) link
― A Viking of Some Note (Andrew Thames), Tuesday, 26 April 2005 16:27 (nineteen years ago) link
― A Viking of Some Note (Andrew Thames), Tuesday, 26 April 2005 16:29 (nineteen years ago) link
also, I like the disco on Some Girls a lot.
― kyle (akmonday), Tuesday, 26 April 2005 16:30 (nineteen years ago) link
"Even while Brooks & Dunn can prosper and gain kudos for making an album that resembles the 16th-best Rolling Stones album and that quotes platitudes from the seventh-best song on the 19th-best Rolling Stones album, and even as B&D endlessly and creatively run the riff from "Brown Sugar" (best song on the 14th-best Rolling Stones album), they simply won't let their music do what the Rolling Stones would do."
so he would say:
16th best = Exile on Main Street19th best = (something with "Honky Tonk Women" on it, apparently)14th best = Sticky Fingers
And in an email a couple weeks ago, I believe he said his favorite Rolling Stones album was *Get Your Ya Yas Out.* (My thoughts above about the Stones keeping up to date with dance music were probably inspired by something he wrote once, too, come to think of it.)
― xhuxk, Tuesday, 26 April 2005 16:35 (nineteen years ago) link
― Alfred Soto (Alfred Soto), Tuesday, 26 April 2005 16:36 (nineteen years ago) link
― A Viking of Some Note (Andrew Thames), Tuesday, 26 April 2005 16:39 (nineteen years ago) link
― Alfred Soto (Alfred Soto), Tuesday, 26 April 2005 16:42 (nineteen years ago) link
― xhuxk, Tuesday, 26 April 2005 16:42 (nineteen years ago) link
― xhuxk, Tuesday, 26 April 2005 16:47 (nineteen years ago) link
― Tim Ellison (Tim Ellison), Tuesday, 26 April 2005 17:10 (nineteen years ago) link
― o. nate (onate), Tuesday, 26 April 2005 17:15 (nineteen years ago) link
― Tim Ellison (Tim Ellison), Tuesday, 26 April 2005 17:21 (nineteen years ago) link
― Gear! (can Jung shill it, Mu?) (Gear!), Tuesday, 26 April 2005 17:21 (nineteen years ago) link
― Tim Ellison (Tim Ellison), Tuesday, 26 April 2005 17:22 (nineteen years ago) link
Step 1. Tattoo You. Most kids are going to regard the Stones as an oldies band. "Start Me Up" and "Hang Fire" demonstrate that even when they were noticeably aging (and implicitly undermine the stigma about "oldies acts," thereby clearing the rest of the catalogue, from beginning to Bridges to Babylon.)
Step 2. Beggars Banquet. Because "Sympathy for the Devil" is the signature song, like in a "Stairway to Heaven Way," that'll hook a kid forever more. Plus it's got "No Expectations" and "Street Fighting Man" on it.
Step 3. We step it up to two at a time. Aftermath & Between the Buttons. The kid is now ready to hear the mid-60s masterpieces ("Paint It Black," "Under My Thumb," "Let's Spend the Night Together.")
Step 4. Sticky Fingers & Let It Bleed. Bring on "Bitch," "Brown Sugar," "Wild Horses," "Moonlight Mile," "Gimmie Shelter, "You Can't Always Get What You Want," and "Monkey Man."
Step 5. After those intense two-fer, you hit the kid with Out of Our Heads, which features the other Stones signature single, "Satisfaction." That "The Last Time" and "Play with Fire" are on it too won't hurt.
Step 6. The kid is ready to be a man: he gets Exile finally. Fuck.
After this six step program, he's ready for everything else, from the early blues stuff to the latter-day CEO rock.
― nanker phelge, Tuesday, 26 April 2005 17:56 (nineteen years ago) link
Ha ha, Tim, I'd like to see Frank's entire list, too (I seriously doubt those rankings above were hyperbole), but I have a feeling he would disagree vehemently with the statement above.
― xhuxk, Tuesday, 26 April 2005 18:14 (nineteen years ago) link
― Gear! (can Jung shill it, Mu?) (Gear!), Tuesday, 26 April 2005 18:17 (nineteen years ago) link
― Tim Ellison (Tim Ellison), Tuesday, 26 April 2005 18:34 (nineteen years ago) link
― Not Thaat Chuck, Tuesday, 26 April 2005 18:41 (nineteen years ago) link
Aftermath is great, but you still get the sense that they're doing some filler tracks ("Doncha Bother Me," "High and Dry").
― Tim Ellison (Tim Ellison), Tuesday, 26 April 2005 18:43 (nineteen years ago) link
― Not Thaat Chuck, Tuesday, 26 April 2005 18:58 (nineteen years ago) link
Not sure about the effort part, but those early LPs are as solid as the Beatles and Who ones you mention, to my ears (and as the other chuck said, with no more filler than many later, allegedly "solid" albums) (not that consistency is a great way to judge albums, anyway.)
― xhuxk, Tuesday, 26 April 2005 19:08 (nineteen years ago) link
I guess there are different philosophies of grading albums. For instance, do you grade like the SAT test and subtract for wrong answers, thereby penalizing guesses, or do you just give credit for the right answers and ignore the misfires? I tend to think that with the advent of CDs (and MP3 players) bad tracks are much less of a handicap to an album, because they're easier to skip.
― o. nate (onate), Tuesday, 26 April 2005 19:20 (nineteen years ago) link
There's a difference, though, between thinking that some tracks on albums are just bad and thinking that they were created when the band were still thinking that it was okay to do filler tracks. I don't think that the Beatles bought into the idea of filler tracks from the beginning, but not so sure about the Stones. Not to say that they were bad offenders at all. The Kinks were probably worse, right?
― Tim Ellison (Tim Ellison), Tuesday, 26 April 2005 19:40 (nineteen years ago) link
― Tim Ellison (Tim Ellison), Tuesday, 26 April 2005 19:46 (nineteen years ago) link
Why? Mediocre tracks are mediocre tracks; who cares how they got there?
― xhuxk, Tuesday, 26 April 2005 20:08 (nineteen years ago) link
That's why I say the Stones were originally a singles band. I don't care how great an album 12x5 or Out of Our Heads is; I just care about the fact that there are some songs on there that I might want to play.
― Tim Ellison (Tim Ellison), Tuesday, 26 April 2005 20:20 (nineteen years ago) link
I actually don't think those tracks are bad, I see them as filler because they feel so offhand. A country lark version of a hit and a bit of Stones schtick, respectively. They feel exactly like product to me. Superior product, maybe, but product nonetheless.
― Not Thaat Chuck, Tuesday, 26 April 2005 20:42 (nineteen years ago) link
And again, what exactly does intent have to do with making an album better, and what does slapped out product have to do with making them worse? Albums are just a bunch of songs, Tim. Lots of times when bands strive consciously to make them conceptual units, that makes them *less* entertaining. To me this seems completely obvious, and not just with the Stones. Paul Revere and the Raiders made better albums than Pink Floyd or the Grateful Dead ever will, in my book.
― xhuxk, Tuesday, 26 April 2005 21:07 (nineteen years ago) link
To quote Frank Kogan again, in the CD era, all albums are EPs.
― xhuxk, Tuesday, 26 April 2005 21:15 (nineteen years ago) link
And but so hold on now... Would that imply that e.g. Gimme Shelter isn't "product"?
Plus bridge on Monkey Man > bridge over troubled water
― rogermexico (rogermexico), Tuesday, 26 April 2005 21:22 (nineteen years ago) link
Nothing. Didn't say it did. Just pointing out that I didn't see those songs on Let It Bleed as being "filler" in the same way that tracks on early Stones albums feel like filler.
"and what does slapped out product have to do with making them worse?"
I'm not making some black and white statement about it. Some slapped out product can be great. Obviously, a lot of slapped out product created as filler for early rock and roll albums was not.
"Albums are just a bunch of songs, Tim. Lots of times when bands strive consciously to make them conceptual units, that makes them *less* entertaining."
Yeah, I'm not talking about "conceptual unit" albums. I don't think of Please Please Me or With the Beatles as conceptual unit albums. I do think of them, however, as solid programs of songs.
― Tim Ellison (Tim Ellison), Tuesday, 26 April 2005 21:27 (nineteen years ago) link
er, not you tim!
― Amateur(ist) (Amateur(ist)), Tuesday, 26 April 2005 21:40 (nineteen years ago) link
― Amateur(ist) (Amateur(ist)), Tuesday, 26 April 2005 21:42 (nineteen years ago) link
― Amateur(ist) (Amateur(ist)), Tuesday, 26 April 2005 21:43 (nineteen years ago) link
>they simply won't let their music do what the Rolling Stones would do. I'm not sure how best to convey what I mean, but notice the lyrics to "Brown Sugar": "Gold Coast slave ship bound for cotton fields/Sold in a market down in New Orleans/Scarred old slaver knows he's doin' all right/Hear him whip the women just around midnight." And that sadistic slaver inhabits and contaminates every sex act in the rest of the song. And this stoking the fire, pulling the rug, yanking up the floorboards, is just what Brooks & Dunn won't do, with either their sound or the words. Not that they're required to, any more than the Stones were required to reincarnate Howlin' Wolf. I'm just pointing out what's missing, where the real barrier is. And hell yeah, sorry for wimping out, they should cross the barrier, or someone should, 'cause if they or Montgomery Gentry or some other performers of that caliber don't cross it (this feeling of mine colored by the fact that Toby's horse-vomit song cited earlier, which came within a hair's breadth of endorsing lynching, lived high on the charts), the genre will continue to be a fake moral, fake rowdy, bullshit lie. (But not an uninteresting one.)<
― xhuxk, Tuesday, 26 April 2005 22:02 (nineteen years ago) link
― Alfred Soto (Alfred Soto), Tuesday, 26 April 2005 22:18 (nineteen years ago) link
― Amateur(ist) (Amateur(ist)), Tuesday, 26 April 2005 22:25 (nineteen years ago) link