rank the songs on STICKY FINGERS

Don't wanna be your slave

fwiw

https://www.youtube.com/watch?v=MchWI3sLUQo

^^Leon Russell on pianer

Interesting to learn that the Flying Burrito Bros. version was released first! That's sort of like learning Johnny Cash recorded "The Gambler" first, but Kenny's version beat his to the store.

https://www.youtube.com/watch?v=x8dfR7vZwC8

The only time I've ever been impressed by the drumming on a Stones record is those neat little switches between rhythms on 'Midnight Rambler' - I've never rated Watts as a drummer, it has to be said. Him and Nick Mason.

Charlie swings on Memo From Turner

"Tumbling Dice"!

xpost

idk, I always felt like Charlie was great bcz he has zero flash and he's suuuper tight, like a metronome. Dude can slot in on almost any style and most ppl dont even notice. Idk, I think ppl rate drumming weirdly. god forbid he keep the beat for 40 fkn years, yknow?

"Tumbling Dice" a tough one, because Jimmy Miller played on that, at least a little.

Get Off of My Cloud is some great Charlie. Actually, lots of early Stones has some great Charlie. Once Keith locks into his riff-machine open-G mode, Charlie sort of grooves along like a solid wind-up monkey.

Charlie's an incredible drummer wtf

i have grown to love charlie over the years. i took him for granted for a long time.

Love Charlie but would never call him a metronome

stones def would have been better off wiv i dunno neil peart

lest we forget: "I Love The Look On Charlie's Face" - A Visual Catalog of Charlie Watts

Charlie defines their sound as much as (or arguably more than) any Stone. And they know it. After Wyman left, the choice of bassist was left completely up to Charlie -- no one else in the band had any say. If Charlie and the bassist couldn't lock in together, everything would've been thrown off.

"Tumbling Dice" a tough one, because Jimmy Miller played on that, at least a little.

(iirc) According to Andy Johns, Charlie couldn't nail the breakdown leading into the coda (the stuff under the "You got to roll me!" part), so Miller filled in, and that's him for the rest of the song.

But yeah, Charlie rules. That kick-tom tom pattern under the verses of "Brown Sugar" is what really makes the song.

Yeah it's like beyond debate really, doesn't matter, Charlie was the drummer the Rolling Stones needed

While we're at it, Bill Wyman a massively underrated bassist.

Love Charlie but would never call him a metronome

Oh, no, not at all (see: all the times the Stones songs end up twice as fast as they began). But '70s on, he just started to groove. Fewer fills, etc. Much more of that trick he does, where he never hits the snare and the hi-hat at the same time. Which is what largely makes him look like a wind-up monkey.

http://michaelroyfisher.wordpress.com/2013/01/11/allow-me-to-explain-to-you-why-charlie-watts-is-important/

yeah i didnt mean it as a dis or that he's not creative, just reliability idk

i actually read bill wyman's book as a teenage stones obsessive and it is still prob the single most boring book on an inherently exciting subject i have ever read

bill is a fun vacuum

Oh, no, not at all (see: all the times the Stones songs end up twice as fast as they began).

Yeah and it's funny how that's supposed to be "wrong"... Like it seems sort of natural and musical for more rocking parts to pick up or for a song to gather steam

yeah, like classical music doesn't change tempos every few bars

charles mingus, good company to keep

"honky tonk women" best example I can think of acceleration of tempo

Isley Brothers' "Fight The Power" speeds way the hell up. Ditto Melanie's "Lay Down."

I'll take speedups over click-track precision any day.

the funny thing about the stones is that most of the times, live, they're an absolute mess when they start and end a song (I don't know about now, though, I mean in the old footage).
It's like they had never rehearsed these parts and everyone got in and out whenever they feel like it !

(iirc) According to Andy Johns, Charlie couldn't nail the breakdown leading into the coda (the stuff under the "You got to roll me!" part), so Miller filled in, and that's him for the rest of the song.

― Love, Wilco (C. Grisso/McCain), Sunday, 14 June 2015 19:42 (Yesterday) Permalink

He couldn't nail the balls-achingly simple drum pattern to 'Ventilator Blues' without having Bobby Keyes clapping beside him, either. Definitely wouldn't call Watts a metronome, he speeds up and slows down like there's no tomorrow, and his drum fills always sound like they're falling down a flight of stairs.

My fave SF/Stones cover:

https://www.youtube.com/watch?v=Jzfy7aKB9oo

his drum fills always sound like they're falling down a flight of stairs.

how drum fills should sound imo (as long as they end on the downbeat)

why does the doctor have no face??!?

In an attempt to shock and provoke, I ranked brown sugar too low in this thread. This is the true order:

Dead Flowers
Sway
Wild horses
Moonlight mile
Brown sugar
Can you hear me knocking?
Bitch
I got the blues
.
.
.
.

You gotta move

Sister Morphine after Wild Horses

I like "You Gotta Move"

I understand why it's there, some friction was needed after the groovy second half of can u hear me knocking, but i dont like it

Which is weird bc i like a lot of similar tracks on exile

You Gotta Move is so terrible, treeship otm

"Brown Sugar" is the 2nd worst song on the record.

The live version of YGM they did in the mini-acoustic set on the '69 tour is better

Can't You Hear Me Knocking
Bitch
Brown Sugar
Wild Horses
Sway
Sister Morphine
Dead Flowers
Moonlight Mile
I Got The Blues
You Gotta Moo

https://images-na.ssl-images-amazon.com/images/I/51hkdDAxctL.jpg

You gotta moo
You gotta moo
You gotta moo, chile
You gotta moo

How now, Brown Sugar

Wild Cows-es couldnt drag me awayyyyy

Sticky Udders?

sorry

Knocking / Sway / Sugar (tie)
Moonlight
Bitch
Morphine
Horses
Flowers
Move

Moo-light Mile
I Got The Moo's

is it "that demon-life" or "that demon, life"