Discussion in 'Music Corner' started by Zoot Marimba, Jul 29, 2017.
The critics will complain no matter what they do.
See also John Lennon's line about how everything The Beatles did the Stones did three months later "on every f--kin' album...they imitate us!"
It was inevitable that Satanic Majesties would be compared to Pepper no matter what. IMO they're about equal...
I had the promo 45 for She's A Rainbow I bought for 10 cents and it was pretty well wrecked but I wanted to hear the edited versions...sold it for $50 even in poor condition
The EP is nice, but the proper album is a psych classic. I really need the whole damned thing.
A whole lot of groups copied the Beatles. But John Lennon never complained about the Stones until "Paint It Black" and "Aftermath" were released.
There's a copy for sale on eBay right now for $1000.00
Now I want to hear Peter Bonerz singing "Citadel", while he's dressed in his white dentist smock.......but that's just me......
Thanks for those who pointed out this from the Yardbirds concerning Dandelion. Here's a working link :
Did he say those songs were Beatles imitations?
Of which songs?
I suppose he got offended by the Stones also using a sitar on a pop song from an album released several months after "Rubber Soul"... That's lean!
I mean as of Aftermath, the Stones, in general, sounded really nothing like the Beatles... They had come into their own.
Who or what didn't Lennon complain about. The guy was always upset with someone.
I was thinking of the famous photo of John holding the lp jacket of "Aftermath" during the "Revolver" sessions:
I've seen it captioned "we have to get some original ideas" (different caption above), but it could have been a well intended plug for the Stones (like later on the cover of "Sgt. Pepper's").
In the 1971 Rolling Stone interview, I seem to recall Lennon saying that "We Love You" was really just "All You Need Is Love" (I guess he meant thematically) and that "As Tears Go By" was just "Yesterday" even though it was written a year earlier.
I do think the Stones' decision to actually record and release "As Tears Go By" as a single (previously only a demo for Marianne Faithful) was however primarily due to the success the Beatles had just enjoyed with "Yesterday". Look - these guys were never ones to leave money sitting on the table.
But speaking of "We Love You" - seems to me like this is one instance when things might have gone the other way a bit when the Beatles recorded John's "Hey Bulldog" about six months later. The piano riff it's based on is basically just the "We Love You" riff inverted...
"The Rolling Stones: '2000 Light Years From Home' gets official lyric video for 50th anniversary of Their Satanic Majesties Request - premiere":
Watch the official lyric video for '2000 Light Years From Home' by The Rolling Stones - premiere
Pretty cool video.
Great video with lots of stuff from the sleeve. Thanks.
They opened their show in Hamburg last night with Sympathy.
It's not the last time Jimmy Page would work with Brian or the Stones. He helped Brian arrange with his soundtrack for a Degree of Murder in 1966 and he played on a Mick Jagger circa 65 version of Heart of Stone. And he plays on Dirty Work much later.
Brian was close friends with Nico and introduced her in 1965 to ALO. He seemed to have an eye for up-and-coming talent, introducing Jimi at Monterey Pop in '67. I don't know if he and Jim Morrison ever met, but I know Jim admired and idealized Brian to the point of writing a poem for him.
I see the '66 to '67 era as the Keith-Brian-Nicky Hopkins era. Brian and Keith wrote Ruby Tuesday with Mick adding only words; it was finished when he was presented it. I know we'll never know, but I think that a lot of the poppier songs from that era were less Mick (Let's be honest - Mick hadn't matured as a writer yet, but he was getting there rapidly) and more Keith, Brian, and Nicky. Nicky certainly had a knack for pretty pop - look at that wonderful piano solo on She's A Rainbow. The trippier, psychedelic stuff is all Brian. The Moroccan influence is mainly Brian as he was in love with the country and its people. Nicky may have just augmented already written stuff or perhaps "inspired" some basic tracks, too, I feel. I would not be surprised if some song ideas had their genesis with a piano riff Nicky played for the boys.
like We Love You and Let's Spend the Night Together are all about the piano, although Jack Nitzsche is playing on LSTNT isnt' he? Seems like Keith was getting into piano and writing songs on piano in the 66-67 era. Cool Calm Collected is another one, and then there's She Smiled Sweetly on organ.
All of them were experimenting with instruments on Satanic:
Mick Jagger – lead vocals (all but 3), backing vocals (1, 3-9), percussion (1, 5, 8), maracas (2, 9, 10), glockenspiel (2), tambourine (6)
Keith Richards – electric guitar (1, 2, 4, 5, 7-10), backing vocals (1, 3-9), acoustic guitar (3, 4, 6, 7), fuzz bass (2, 9), bass guitar (10)
Brian Jones – Mellotron (1-3, 5-10), flute (2,5), percussion (1, 5), saxophone (1), sound effects (3), acoustic guitar (4), vibraphone (5), jew's harp (5), brass (5,), organ (7), electric dulcimer (2, 8, 9), recorder (8), harp (10), concert harmonica (10)
Bill Wyman – bass guitar (all tracks), percussion (1, 5), lead vocals (3), piano (3), organ (3), Mellotron (5), oscillator (9)
Charlie Watts – drums (2-7, 9, 10), tambourine (5, 10), percussion (1, 5, 6), congas (5), tabla (8), claves (10),
Nicky Hopkins – piano (1, 5-7, 9, 10), organ (4, 8), harpsichord (2, 3)
John Paul Jones – string arrangement (6)
Ronnie Lane – backing vocals (3)
Steve Marriott – backing vocals (3)
Eddie Kramer – claves (9)
Brian goes from playing guitar on 7 out of 10 tracks on Aftermath (plus Have You Seen Your Mother and Sitting on A Fence) in 1966,
to guitar 2 tracks on Between the Buttons (Please Go Home and Let's Spend the Night Together),
to one partial guitar track on Satanic (intro acoustic on 2000 Man), to one guitar performance on Beggar's (along with Jumpin' Jack Flash and one unreleased performance on Still A Fool in 1968).
He played acoustic guitar on early takes of The Lantern and Sympathy for the Devil but didn't end up playing guitar on the final cut, probably due to lack of interest.
Thing with Brian though is he never considered himself a guitarist. There's an early interview from around 1964-1965 where he says he's more interested in "the sound" than any specific instrument, and he seemed to prefer playing harmonica and slide guitar to regular guitar. He was arguably more skilled with harmonica and steel guitar than as a regular guitarist, anyway. He started off learning piano and woodwinds as a child professionally.
Even on the very first record, which he had the most influence on, he only plays guitar on 6 of 12 songs, playing harmonica on the rest.
The only records he plays guitars on fully is 12 x 5 and The Rolling Stones, Now!
I like to dump a few tracks then add the singles "We Love You", "Dandelion", and "Child Of The Moon".
Now that's a really good album.
Problem is Child wasn't done yet. Didn't get completed until the spring of 68. Was in rough demo shape in 67. Great song though.
Also Child of the Moon for me doesn't fit with the dark sinister atmosphere of Satanic. Neither does Dandelion. There's a dark undercurrent to the whole record and bittersweet or upbeat songs like the former just wouldn't fit for me. We Love You would have made a killer opening track though
1) We Love You
2) Sing This All Together (have the opening and reprise be one long jam)
4) In Another Land
5) She's a Rainbow
7) On With the Show
8) 2000 Man
9) The Lantern
10) 2000 Light Years From Home
Acid In the Grass
Has a more pleasing sequencing to me.
It's not a problem for me
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