Rolling Stones "Emotional Rescue" Song By Song Discussion

Discussion in 'Music Corner' started by ohnothimagen, Jun 13, 2018.

  1. ohnothimagen

    ohnothimagen I don't suffer fools or trolls gladly... Thread Starter

    Wiki:
    Emotional Rescue is the 15th British and 17th American studio album by The Rolling Stones, released in 1980. Upon release, it topped the charts in both the US and UK.

    History
    Recorded throughout 1979, first in Compass Point Studios, Nassau, Bahamas, then Pathé Marconi, Paris, with some end-of-year overdubbing in New York City at The Hit Factory, Emotional Rescue was the first Rolling Stones album recorded following Keith Richards' exoneration from a Toronto drugs charge that could have landed him in jail for years. Fresh from the revitalisation of Some Girls (1978), Richards and Mick Jagger led the Stones through dozens of new songs, some of which were held over for Tattoo You (1981), picking only ten for Emotional Rescue.

    Several of the tracks on the album featured just the core Rolling Stones band members: Jagger, Richards, Ronnie Wood, Charlie Watts, and Bill Wyman. On others, they were joined by keyboardists Nicky Hopkins and co-founder Ian Stewart, sax player Bobby Keys and harmonica player Sugar Blue.

    Songs left off the album would find their way onto the next album, Tattoo You ("Hang Fire", "Little T&A", and "No Use in Crying"). "Think I'm Going Mad", another song from the sessions, was released as the B-side to "She Was Hot" in 1984. A cover song sung by Richards: "We Had It All", was released on the 2011 deluxe Some Girls package.

    Packaging and artwork
    The album cover for Emotional Rescue had concept origination, art direction and design by Peter Corriston with thermographic photos taken by British-born, Paris-based artist Roy Adzak using a thermo camera, a device that measures heat emissions. The original release came wrapped in a huge colour poster featuring more thermo-shots of the band with the album itself wrapped in a plastic bag. The music video shot for "Emotional Rescue" also utilised the same type of shots of the band performing.

    Release and reception
    Released in June with the disco-infused hit title track as the lead single, Emotional Rescue was an immediate smash. The title track hit No. 3 on the Billboard Hot 100. The album gave the Rolling Stones their first UK No. 1 album since 1973's Goats Head Soup and spent seven weeks atop the US charts. The follow-up single "She's So Cold" was a top 30 hit while "Dance Pt. 1" reached No. 9 on Billboard's Dance chart. The album went on to sell over 5.5 million copies worldwide.

    In 1994, Emotional Rescue was remastered and reissued by Virgin Records, and again in 2009 by Universal Music. In 2011 it was released by Universal Music Enterprises in a Japanese-only SHM-SACD version. The 1994 remaster was initially released in a Collector's Edition CD, which replicated many elements of the original album packaging, including the colour poster.

    Track listing
    All songs composed by Mick Jagger and Keith Richards, except "Dance (Pt. 1)" co-written by Ronnie Wood.

    Side one

    1. "Dance (Pt. 1)" – 4:23
    2. "Summer Romance" – 3:16
    3. "Send It to Me" – 3:43
    4. "Let Me Go" – 3:50
    5. "Indian Girl" – 4:23
    Side two

    1. "Where the Boys Go" – 3:29
    2. "Down in the Hole" – 3:57
    3. "Emotional Rescue" – 5:39
    4. "She's So Cold" – 4:12
    5. "All About You" – 4:18
    Personnel
    The Rolling Stones

    Additional personnel

    Technical

     
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  2. ohnothimagen

    ohnothimagen I don't suffer fools or trolls gladly... Thread Starter

    Timeisonmyside.com:
    EMOTIONAL RESCUE

    [​IMG]

    Recorded:
    August 26-September 6, 1978: RCA Studios, Los Angeles, USA
    January 22-February 12, 1979: Compass Point Studios, Nassau, Bahamas
    June 10-July 7, 1979: Compass Point Studios, Nassau, Bahamas
    Late July-August 25, 1979: Pathé Marconi Studios, Paris, France
    September 12-October 19, 1979: Pathé Marconi Studios, Paris, France

    Overdubbed & mixed:
    October 26-mid-November 1979: Electric Lady Studios, New York City, USA
    December 9 1979-January 1980: Electric Lady Studios, New York City, USA
    Late April 1980: Electric Lady Studios, New York City

    Producers: The Glimmer Twins
    Associate producer & chief engineer: Chris Kimsey
    Mixer: Chris Kimsey
    Released: June 1980
    Original label: Rolling Stones Records (on WEA & EMI)
    Contributing musicians: Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman, Ron Wood, Ian Stewart, Bobby Keys, Nicky Hopkins, Sugar Blue, Max Romeo, Michael Shrieve, Arif Mardin (arranger), Jack Nitzsche (arranger).




    THE TITLE


    Mick: (Why that title?) (Laughs) I was looking at Ronnie desperately...
    Ron: No, this is Ronnie saying that Mick is too embarrassed because he's a very shy lad to say that he came up with that title. Am I right or wrong, Charlie?
    Charlie: (Joking) No, you're wrong.
    Ron: Right... - wrong?
    Charlie: (Laughs)
    Mick: Well, it sounded nice. Nobody came up with anything better really.
    Ron: But also you find it comes in everyday sentences these days, you know. People walk down the street, Oh last night, I had such an emotional rescue! (laughs)

    - Mick Jagger, Ron Wood & Charlie Watts, 1980



    CREATION


    We've already got a few things finished and mixed, because the ten tracks on Some Girls comprise the bare minimum. In actual fact we recorded something like 42 tracks in Paris, and although some of it isn't finished it all has the same basic feel... There's also a really good finished track called Everything's Turning to Gold and both Hang Fire and So Young are mixed and ready.

    - Keith Richards, July 1978

    It got very laid back because Keith was safe by then. Spaced-out, whereas Some Girls was a very focused album. A lot of reggae was being listened to at that time, I remember.

    - Chris Kimsey, 2002

    It took FOREVER. I started writing a ton of songs last summer, then Charlie and I did a few demos. Some of them came out of that. Some had been written before. Then we recorded a whole lot of newer things, which weren't really complete. THEN, we went back and more or less chose the ones we started with. I mean, it was just so haphazard and slapdash. Too much work was made out of it. I think Parkinson's disease or whatever sets in if you've got no real cutoff date, 'cause you just keep going until you've done EVERYTHING you can possibly think of. And then you say, well, great, but now we've got 40 songs, some of which are good and some of which COULD be good if only they were, you know, DIFFERENT. At the end, you think, Jesus, WHERE am I? It's STUPID. That's a DUMB way of doing it. We DO have a lot of material, admittedly, but that's NOT the point. The point is that it took 2 years to get it. You could've easily made it in nine months. Nobody had any proper vision of it. NOBODY ****ing knew where they were going. That includes me. You get bored with things very quickly. My attention span is so limited. You know, I just love to make up songs and I don't even like to finish the words. I just like to sing ooooh all the way through. And then I'm happy after that. I don't want to do anymore. That's IT. I don't even want to hear it again.

    - Mick Jagger, 1980

    I don't think Emotional Rescue was as coherent a bunch of sessions as Some Girls. All the fast, punk things had gone by then. We were doing more of the dance thing.

    - Mick Jagger, 2002

    We cut enough for two albums. That was almost as big a problem as not having enough - knowing what to leave out. It's not that we used the best of what we had; we just used what fitted together. My idea is to try to get out another album this year, and then we can get these mother****ers on the ROAD! Instead of the same old treadmill of road, studio, road, studio, road, studio, we can make extended road trips or do anything else we want to do: be moving stars or make solo albums.

    - Keith Richards, 1980

    The material on Emotional Rescue was a little bit more diverse than had gone on before. If anything, it was a little more soul-orientated and laid back than the Some Girls album. A lot more relaxed. The writing for that album was a little bit more experimental. There hadn't been a long writing period. All of this built-up frustration had come out in Some Girls, but the Emotional Rescue felt a little bit left over.

    - Chris Kimsey, 1982

    Ron: You have to be prepared to lose a lot (of songs), 'cause you get attached to songs.
    Bill: It's also the ones that get finished the quickest, as well.
    Mick: Yeah, that's one of my points. You know, the ones who get finished quickest are the ones that are gonna get used...
    Bill: The other prospect, the whole problem of... if you do 4 or 5 songs in the same key at the same tempo, you can't use 'em all (...)
    Mick: Yeah, what he's saying is right.
    Bill: You've got 2 other really great tracks that you all love, but you can't (use them) all because you've got Where the Boys Go.
    Mick: You've got 4 similar things is what Bill is saying.
    Bill: And the same applies to slow ballads, which we've got lots of really great ones. You can only put so many on an album. One, maybe 2 if you're lucky.

    - Ron Wood, Bill Wyman & Mick Jagger, 1980,
    on the process of selecting the songs for the album

    Mick: During the whole thing, I mean I really wish there was someone that could do a lot of this. Cause there's a lot of donkey work making records, you know. You hear about bands making... spending 2 years making (records.) A lot of it is donkey work 'cause what you do is a really stupid way of making records. Instead of going in with 10 songs saying, These are the 10 songs we all know and like, you know - they're all rehearsed, great, fantastic, here they come... (Again we did) 30! - it's like making a movie. And so... and then you start, Oh, I wish we could use that one!, and Ronnie's going, What about that one? (laughs) ... And so you wither it down from 30 down to 10 and it's a very slow process...
    Ron: (Jokes) And there's guitar lessons for Mick, you know. They take weeks and weeks....

    - Mick Jagger & Ron Wood, 1980

    (Mick and Keith) fought a lot during that album because Keith thought Mick was getting his way too much, and Keith had to fight for what he believed. Keith fights for his half of the Glimmer Twins.

    - Chris Kimsey, 1981

    It seemed like Keith and Mick were a little bit more polarized at that time. There wasn't quite the same vibe when everyone was gathered together as there had been in the Exile On Main Street days.

    - Bobby Keys

    (T)he tracks were too similar! That's why I screamed. I was the maniac on that album, always complaining, always going to battle. It's more difficult to get people to go along with certain ideas now because it's become such a ****ing organization. If you're the odd one out who speaks out and says, Look, I know we can do that song better, they they turn around and say, Everybody loves it. And you end up being the agitator, the paranoiac, you know... What's HE on?

    - Keith Richards, 1981


    APPRECIATION


    There's a lot of pastiche all over the album. It's all our piss-taking, in other words. Pastiche is just a big word for it.

    - Mick Jagger, 1980

    I think people are misinterpreting Emotional Rescue. It's just a lot of fun. A humorous, tongue-in-cheek record. It's not supposed to be taken seriously.

    - Mick Jagger, 1980

    Emotional Rescue is sort of half Rolling Stones working within the basic mold, and the other half is trying out things.

    - Keith Richards, 1980

    I don't think (it's a New York City album). To me, New York is like Lou Reed and all those other bands.. (The rhythms in Dance and Emotional Rescue), (t)hat is New York, yeah. English people hate it, 'cause they say it's all disco. I know (it's not), but that's what THEY think it is, you see. It's just black music.

    - Mick Jagger, 1980

    (W)ell, it's not TOO misogynous. But there IS a bit of a one-track mind in there. Everyone's been reminding me that the album has only got one subject, which is GIRLS. Obviously, that's got to change... Maybe I'll become a Marxist rock & roller and make a Marxist album. **** all this girl stuff. Make an album with anonymous musicians - apart from MYSELF - who won't get paid.

    - Mick Jagger, 1980

    (I)t doesn't (have the resonance of Some Girls). You know, Emotional Rescue is a lot of leftovers from Some Girls. Really.

    - Mick Jagger, 1995


    REVIEW EXCERPTS


    One thing's for sure: Emotional Rescue isn't the news-break that 1978's Some Girls was. The Rolling Stones haven't suddenly gone salsa (in spite of some south-of-the-border horns). Old hands haven't stepped out of early retirement to show cocky young punks exactly how best to offend, and radio censors won't have a case... If the Stones have adopted a gentlemanly attitude these days, their prime concerns - sex and money - are the proletariat's, too. But when Mick Jagger is desperate enough to mail-order lovers wholesale, you can't help but wonder who's supposed to be rescuing whom. At least he has fun with the idea. I will be your knight in shining armor, he intones at the end of the title track, sounding like a high-priced fantasy gigolo gone silly with the strain. After nearly eighteen years of well-paid nights and approximately twenty-seven albums of acted out desires, maybe these guys can't help getting lust and cash confused... Still, judging by Emotional Rescue's language, the Rolling Stones - Jagger and Richards at least - are feeling as vulnerable as zombies can. Never ones to be self-deprecating, they've translated that feeling into global terms. A jilted Jagger fools around (literally) with foreign affairs in Send It to Me, proposing an energetic redevelopment program - a sort of self-help sexual capitalism: She may work in a factory/Right next door to me. In Indian Girl (where the Stones meet mariachi), Central American political realities are seriously, if rather vaguely, considered: Mister Gringo, my father he ain't no Ché Guevara/He's fighting the war in the streets of Masaya. And in the agonizingly slow blues, Down in the Hole, the black markets, foreign zones and diplomatic immunities of modern rebellion merely become so much barbed wire in a private war of emotional imperialism...

    But so much of Emotional Rescue seems vague and not quite real - life seen from very far away - that it's hard to take the LP seriously. Even when it comes to simple desire, the Stones act like tourists in a foreign country. In the night, I was crying like a child, Jagger confesses in the middle of Emotional Rescue, and his voice sounds as estranged and bewildered as the echoing horn.... (E)ven two years back, Some Girls still had a good bit of impudent, anticipatory spark - or at least an experienced, I told-you-so air that was second best. With its fusion of redneck rudeness and elegant, discofied languor (and its honking, conspicuous New York orientation), Some Girls placed itself near the front of the Old Guard... Nowadays, Sugar Blue is buried in the mix, and there's a weird sort of powerlessness in even the funniest numbers... And for all the Stones' tongue-in-cheek insistence that ladies are commodities to be mail-ordered or tinkered with, it doesn't seem to make them any easier to control. (I tried rewiring her, Mick Jagger sings in She's So Cold. I think her engine is permanently stalled.) Once I would have believed that such irony meant Jagger knew better, but now I think he's hoping his feelings of powerlessness will pass for cynicism. Sometimes when I turn up the volume, looking for the connection I can't believe isn't there, I imagine that the Stones have actually died and this word-perfect, classic-sounding, spiritless record is a message from the grave. That would be the only irony that could save Emotional Rescue, the only vantage point that would explain the Rolling Stones' insulated view of wide horizons, their passionless disillusionment, their foreigner's confusion about sex, money and worldly possessions. Otherwise, unless the Stones are born again or something, I'm afraid that people won't be calling them survivors much longer.

    - Ariel Swartley, Rolling Stone, August 1980
     
  3. ohnothimagen

    ohnothimagen I don't suffer fools or trolls gladly... Thread Starter

    Ah, yes, another Stones album people love to hate:laugh: I've always liked it. People consider it a lesser version of Some Girls but I've always preferred Emotional Rescue not only as far as the songs go but the sound quality as well. IMO Emotional Rescue is up there alongside Black And Blue as one of the Stones' best sounding/best recorded albums. I first got it from the library, October 17 1989...how do I remember that exact date? 'Cos as I got home from the EPL my folks were just sitting down in the living room to watch the World Series when the pre-game show was interrupted by the big San Francisco earthquake. I watched the coverage with them for a few minutes, shrugged, and then went upstairs to my room to check out my latest library acquisitions. Just like with Black And Blue I accidentally put the LP on side two first. Now I do it deliberately...
     
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  4. ohnothimagen

    ohnothimagen I don't suffer fools or trolls gladly... Thread Starter

    Dance (Pt. 1)

    Composers: Mick Jagger, Keith Richards & Ron Wood
    Recording date: June 1979-January 1980 & April 1980
    Recording locations: Pathé Marconi Studios, Paris, France & Electric Ladyland Studios, New York City
    Producers: The Glimmer Twins Associate producer & chief engineer: Chris Kimsey
    Performed onstage: 2002-03

    [​IMG]

    Probable line-up:

    Drums: Charlie Watts
    Bass: Ron Wood
    Electric guitars: Keith Richards & Ron Wood
    Lead vocal: Mick Jagger
    Harmony vocal: Keith Richards
    Background vocals: Mick Jagger, Keith Richards & Max Romeo
    Saxophones: Ron Wood & Bobby Keys
    Percussion: Michael Shrieve & Mick Jagger


    - Hey, what am I doing standing here on the corner of West 8th Street and 6th Avenue and...
    - ...you're asking me?
    - Nothing. Keith, what are you, what are you doing?

    Oh, I think the time has come to get out, get out

    Get up, get out, get into something new
    Get up, get out into something new

    Ooh and it's got me moving - got me moving, honey
    Ooh and it's got me moving - yeah
    Ooh and it's got me moving - yeah, it’s getting up, yeah, it’s getting all ready
    Ooh and it's got me moving

    My, my, my, my, my, my, my, my, my, my, my, my, my

    Poor man eyes a rich man, denigrates his poverty
    Rich man eyes a poor man, envies his simplicity

    Get up, get up into something new
    Get up, get out, down into something new

    Ooh and it's got me moving
    Ooh and it's got me moving - yeah
    Ooh and it's got me moving - yes
    Ooh and it's got me moving
    Ooh and it's got me moving

    Yeah, get up, get up, get out into something new
    Yeah, all, won't you all, won't you all, won't you all... don't stand accused


    TrackTalk


    Dance Pt. 1 was one strong riff where Mick immediately took the bait, literally got up and danced to it, which was the whole idea of the track: it's a catchy riff. That was an example of a song that originated without words, just a groove with various changes, but never a chorus. We did have various alternative mixes going at the time, but I can't really tell the difference between Part I or Part II or Part III. It was just a novelty, the Pt. 1 bit.

    - Ron Wood, 2003

    I saw Dance as more of an instrumental, like Junior Walker's Shotgun. And Mick immediately came up with reams of paper and lyrics. I thought it should be a minimal lyric, and Mick comes up with Don Giovanni.

    - Keith Richards
     
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  5. tinnox

    tinnox Forum Resident

    Location:
    Maryland
    Underrated LP in the Stones discography still gets regular spins on my turn table great LP and enjoy it very much.
     
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  6. ohnothimagen

    ohnothimagen I don't suffer fools or trolls gladly... Thread Starter

    I notice both Wiki and Time Is On Our Side credit Ron Wood with playing bass on "Dance" (and presumably "If I Was A Dancer", which we'll also cover here)...are they sure about that? Sure sounds like Bill Wyman's playing to me. As with most of the tracks on the ER album, Keith's guitar dominates here- he's doing the chording and the riff that doubles Bobby Keys' sax parts in the right channel, Ronnie is playing the little licks in the left. I'm pretty sure it's Keith playing the lead 'solo' (not really long enough to be called a solo, more of a fill, I s'pose but you have to call it something) before the last verse as well. As we now know this was the period when Ron Wood was first getting bogged down in cocaine freebase addiction- as a result, his stature in the band would remain in jeopardy for the next few years and he certainly doesn't contribute or distinguish himself on Emotional Rescue anywhere near as much as he did on Some Girls.

    I am guessing the "Dance" vocal was the original guide vocal for which Mick wrote the "If I Was A Dancer" lyric. I prefer "If I Was A Dancer" because it actually sounds like a song, and not a jam like "Dance" does. I can imagine a bit of head scratching went on with listeners in 1980 when they first dropped the needle down on "Dance"...admittedly, "Miss You" this is not.
     
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  7. 131east23

    131east23 Person of Interest

    Location:
    Pennsylvania
    One of the best sounding LP's I own. I guess that means all the tracks sound good to me.
     
  8. Parachute Woman

    Parachute Woman Sorry I can't stick to one avatar. I get bored.

    I love Emotional Rescue. Always have. I've mentioned in other threads that this is one of my top favorite summertime albums. It sounds great in the car, great at the beach, great at home with the windows open and the breeze coming in... It's the perfect record for a sunny day, and I'm not even a summer person. The material is often lightweight, but that's what I enjoy about it. It's just a good time. Nothing wrong with that. The Stones have deeper, more emotional records all over the place in their catalog. I have a soft spot for the goof-off ones like this and its spiritual sister Black and Blue.

    "Dance, Pt. 1" is a great groove. I like what Keith says up there about it being imagined more like an instrumental with the words really just being a general improvisation. I love those horns and that "wiping" sound around 2:30 (the bit that sounds like someone wiping their fingers rapidly on a wet surface--what is that?). It makes me do just what the title insists I do. Love it!

    :pineapple:
     
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  9. Duke Fame

    Duke Fame Forum Resident

    Location:
    Tampa, FL
    Even to me, a serious Stones fan for 30 years, this album comes in under the radar. It doesn't get played that much, but I really do enjoy it when I play it.

    The opener is a funky, fun track to listen to. 4/5.
     
  10. ohnothimagen

    ohnothimagen I don't suffer fools or trolls gladly... Thread Starter

    I think those noises are just Mick (and presumably Keith and/or Ronnie) making some sort of "jungle" sounds or something. Like I said, I think:D...those noises have been a bit of a mystery as well the last 29 years.
    That's why my wife likes it as well. If it's got a good beat and she can dance to it, she's in:righton: She prefers "Dance", I prefer "If I Was A Dancer".
     
  11. wiseblood

    wiseblood Forum Resident

    Location:
    Boston, MA, USA
    I always laugh when I read that so-and-so played bass on a recording in the Rolling Stones. Next thought? Where the hell was Bill? The guy seems to NEVER be around for anything.

    Bill was just there for the party, the drinks, and the girls. The bass playing came when it hit his fancy...which almost seemed like never. Whatevs. You did the job on the road, Bill. It's all good.
     
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  12. All Down The Line

    All Down The Line Forum Resident

    Location:
    Australia
    Get into something new!
    I never had a problem with Dance but it seems many did.
    Cool riff, fresh sound though Keith felt too many lyrics.
    It showed more imagination than the next track.
     
  13. Even I have been guilty of occasionally thinking "meh" to myself at the initial thought or mention of this album. Then I smack my forehead and remember there are a lot of tracks I really love on it, I just tend to forget exactly which album they're on. :D "Dance" is such a cool groove, and I love the horns.
     
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  14. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road

    Dance - slinky groove, and an early sort of hip hop vocal feel to the song
     
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  15. Mr. Nastey

    Mr. Nastey Forum Resident

    Location:
    Canada
    Good opener, I love the groove to it. I also love right at the the beginning when Mick asks, "Keith, what are you doing"? Funny moment, gives the song a live feel. I like the sister piece too, "If I Was A Dancer", both fun.

    ER is not my fave Stones album...to me, it's a lesser SG, although I like the fact that so many others like it. Always great to see other Stones albums get recognition. I like a few songs, but I very seldom throw it on.
     
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  16. Hardy Melville

    Hardy Melville Forum Resident

    Location:
    New York
    I haven't heard this one for far longer than most Stones albums I own. I guess I should give it a fresh listen. It's been one I consider lesser, but not bad, compared to the rest.
     
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  17. Davido

    Davido You need a busload of faith to get by

    These days I certainly listen to Emotional Rescue more often than Some Girls - it’s a perfect summer rocknroll album with a fantastic opener. In a vaguely related aside, if you’re a film fan hopefully you have enjoyed the movie “A Bigger Splash” from a few years ago where the album is celebrated.
     
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  18. tkl7

    tkl7 Agent Provocateur

    Location:
    New York, NY, USA
    ER is one that got me into the Stones in the first place. Dance Pt 1 is a good opener, although not my favorite track on the album. Sets the stage and lets you know that this is a fun record, not as angry as Some Girls.
     
  19. mbrownp1

    mbrownp1 Forum Resident

    ER is the album that got me into the Stones enough to listen for them on the radio. I love it in its entirety. Do not understand the negative reviews and ratings of it.
     
  20. MRamble

    MRamble Forum Resident

    It's actually a Brazilian percussion instrument called a Cuica

    :)

     
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  21. MRamble

    MRamble Forum Resident

    Mick and Bernard can be seen using them at 4:30..

     
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  22. Davido

    Davido You need a busload of faith to get by

    Its only “fault” is following an acknowledged masterpiece, coupled with an adventurous (i.e., either strange or innovative depending on your POV) single in the title track.
     
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  23. Zoot Marimba

    Zoot Marimba And I’m The Critic Of The Group

    Location:
    Georgia
    Dance (Part 1):

    We open with Ronnie and Charlie playing a funky disco groove that, when locked in Keith’s guitar, creates a strong pulsing rhythm to get those heads bopping and toes tapping. Bobby Keys also adds a nice touch with his saxophones, and while Mick’s lyrics are frankly stupid as **** on their own, they actually manage to work in the context of this song. I also like that little monkey percussion, because everything is better with monkies.
    “Dance (pt 1)”, a kickass song to kick off this record. Will the Stones maintain this momentum? Let’s see.
     
  24. curbach

    curbach Some guy on the internet

    Location:
    The ATX
    Not a great album, but I enjoy it despite several really bad tracks. If it was an ep I’d have no complaints.

    Dance pt. 1 is not one of the bad tracks. Love the groove and I would say less is more compared to the full lyrics of If I Was A Dancer. I enjoy Dance pt 1 a lot more than If I Was A Dancer.
     
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  25. Exit Flagger

    Exit Flagger Forum Resident

    Location:
    New York
    Love this album and love Dance as an opening track.

    Despite what Mick says above I always thought of this as a New York album. Something you would hear coming out of windows as you walk down 14th Street on a hot summer day.

    Something that struck me in the quotes above is how funny, honest and self-aware the band are when talking about their music. You don't see much of that with bands today.
     
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