| January 28th, 2005 04:30 AM |
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| Gazza |
quote:
HardKnoxDurtySox wrote:
I think that B2B is a great Stones album and is much better than either of the two “comeback” albums or any album since Some Girls for that matter. Say what you will about Was’ production technique but the guitars are loud and upfront on this album- something that can’t be said for most shows on the last few tours. Lowdown, AOM, SOM, and Too Tight contain some of the most interesting guitar work in the entire Stones catalogue- thanks mostly to Keith and Waddy since Ronnie is basically nowhere to be found on here other than a few solos and a slide part here and there.
Good post, overall - one minor point being that good though "Saint of me" undoubtedly is, Keith doesnt even play on it! |
| January 28th, 2005 04:42 AM |
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| Jumacfly |
quote:
Gazza wrote:
Good post, overall - one minor point being that good though "Saint of me" undoubtedly is, Keith doesnt even play on it!
Gazza I didn t know that....is it Waddy Watchel that play guitar on this one with Ronnie or Mick may be? |
| January 28th, 2005 05:40 AM |
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| Moonisup |
I think it's waddy, but I'm not sure, |
| January 28th, 2005 07:17 AM |
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| Gazza |
quote:
Jumacfly wrote:
Gazza I didn t know that....is it Waddy Watchel that play guitar on this one with Ronnie or Mick may be?
I dont have the CD beside me here as I'm in work, but as far as I can remember Waddy plays on every track on BTB. Woody is on SOM as well and I would imagine Mick too, as its his song. Each song has the musicians listed, so a quick glance at the liner notes will confirm it (or alternatively, show I'm talking bollocks as usual). They were working on different songs in 3 different studios at the same time, so I guess its likely that when recording SOM, Keith may have been in the studio next door adding parts to one of his own songs. |
| January 28th, 2005 07:32 AM |
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| Jumacfly |
quote:
Gazza wrote:
I dont have the CD beside me here as I'm in work, but as far as I can remember Waddy plays on every track on BTB. Woody is on SOM as well and I would imagine Mick too, as its his song. Each song has the musicians listed, so a quick glance at the liner notes will confirm it (or alternatively, show I'm talking bollocks as usual). They were working on different songs in 3 different studios at the same time, so I guess its likely that when recording SOM, Keith may have been in the studio next door adding parts to one of his own songs.
ok Gazza thanks , i ll check the booklet tonight...i didn t know the process of recording (3 studios)...very strange , hope they will work TOGETHER for the new record, as they announced in the press... |
| January 28th, 2005 08:09 AM |
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| Gazza |
well, I think they basically did work together recording-wise, but because of the time constraints, for example, you might have found that Mick may have been in one studio with one producer working on some aspects of a song he'd written or that had been partially recorded, whilst at the same time, Keith may have been in the studio next door doing the same thing with someone else |
| January 28th, 2005 08:34 AM |
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| charlotte |
There are a number of strong songs on Bridges To Babylon including "Anybody Seen My Baby?", a bluesy jam entitled "Low Down," and "How Could I Stop." The bassline is what makes "Anybody Seen My Baby?" however the chorus on this cut will keep it from making the all time best Stones song list. "Low Down" proves The Stones still have that straight ahead rock and roll format down cold. "How Can I Stop?" shows a multi-faceted, multi-layered Rolling Stones sound indicative of the producers on the project. It is the best cut on the record.
The sound quality is very good as you would expect from a big budget rock and roll record featuring great detail and even better depth and layering. The bass sound is excellent as one might expect considering they had so many great bass players on this record. Even Keith Richards plays bass. |
| January 28th, 2005 09:18 AM |
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| Joey |
quote:
charlotte wrote:
The sound quality is very good as you would expect from a big budget rock and roll record featuring great detail and even better depth and layering. The bass sound is excellent as one might expect considering they had so many great bass players on this record. Even Keith Richards plays bass.
Amen !
This is a fantastic CD -- The boys should consider themselves lucky if they happen to make a another record as good as this classic disc . Word !
Baby Joe ! |
| January 28th, 2005 09:27 AM |
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| gimmekeef |
Its Waddy on Saint of Me.....I noticed on the tour that Keith always mad a point of finishing that sone with a strong lick as so to say...I couldda done it myself! |
| January 28th, 2005 09:45 AM |
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| JumpingKentFlash |
First please not that I like the album in general. But I wanna quote myself from IORR about the production. Here goes:
I'd say that Don Was WAS the right producer for the Stones. But seriously: A rock song produced as a funk song doesn't hold up in court. The Rolling Stones is not The Red Hot Chili Peppers. Don Was did great job done on VL. To some extend B2B too (But still not even half of it). Flip The Switch is produced very good for instance. Rick Rubin would be great I think. Also the dude who produced GnR's Appetite For Destruction or the bloke who produced Nirvana's In Utero. The guitars of the Stones need to sound "slashy" (Not like Slash. Think the opening riff to SFM on Live Licks). And for crying out loud: Put some distortion on the motherfucker. When you see them playing Brown Sugar today it sounds like there's almost no distortion on Keith's guitar at all. That is also on many tracks on the recent albums. I want distortion.
Back to producing: I also remember reading in the book "Mick And Keith" that for B2B Mick wanted young hot producers to do it. It doesn't matter if the sound is dated two years back or anything. What matters is that the overall sound of the album sounds too mixed, non-coherent and "flat". Let's take the obvious example of the counter part to that: Exile On Main Street has a line in the producing. It all sounds gritty and you can almost feel that heroin is in the studio. B2B does not have that sort of feeling at all. It sounds like it's just a bunch of songs smacked on an album. Maybe Jagger can hear the difference in the producing and say that this and that is good, but I certainly can't on most tracks. If they really wanted to get that back why not just get the album produced and then record it through a shit tape-recorder, just like they did with Jumping Jack Flash. That would be great. I bet you that it would sound like the albums from the golden era all over again. But as you say: Mick doesn't want that. I don't know why he thinks that The Stones have to sound so up to date all the time. I simply don't get it. Look at a song like Already Over Me. A great, great song I think. The only problem with it is the producing. If it was produced like on Some Girls or better yet: Goats Head Soup, it could be a stand-out track on the same level as one of the warponys (I call the songs that are almost warhorses, warponys. Example: Star, Star). It would be in the line of 100 Years Ago, which I think is a very underrated song.
It is time for Keith to stand up to Mick even though he just wants to play as Milo says (In which I agree to some extend). The Glimmer Twins must agree at some point instead of the "I-do-mine-you-do-yours" strategy. If that's the drill for the new album, I think we can expect a lousy produced one. Way too non-coherent, just like B2B. But if they actually get it together, we can expect a very good produced album. With KILLER songs of course. That's a given.
It's important to get some fresh blood on some positions in the process. You all know that I think Chuck Leavell should be replaced. But he would actually be ok to have if he was turned down a coulpe of notches in the volume. More important is to replace the producer. Don Was sure isn't no George Martin, who could renew himself every time (A VERY good producer for that particular kind of music). The whole "Resting-on-the-laurels" thing is mainly due to everything becoming familiar for The Stones I think. They know the producer. They know the piano player. They know what is gonna happen through the whole process. That's why it is VERY important for bands to replace the producer. It can't be allowed to become too familiar, except if you're as talented as George Martin or whoever. I really can't understand why Don Was doesn't say "no" to the Stones too. Either he thinks that he hasn't done his best to the Stones' music yet, which is a mistake I think, or he simply likes the $$$. To pursue new ways, which is always exciting, you must, and I stress: MUST, get fresh blood on some places. It is essential. |
| January 28th, 2005 09:54 AM |
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| Gazza |
>I'd say that Don Was WAS the right producer for the Stones. But seriously: A rock song produced as a funk song doesn't hold up in court. The Rolling Stones is not The Red Hot Chili Peppers. Don Was did great job done on VL. To some extend B2B too (But still not even half of it). Flip The Switch is produced very good for instance. Rick Rubin would be great I think.
but the RHCP's producer IS Rick Rubin!!  |
| January 28th, 2005 10:02 AM |
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| JumpingKentFlash |
Yes. But he did some cool things. Don Was is not on that level at all. You see the difference between a good producer who can work many bands well (Rubin) and a producer who really is quite limited (Was) don't you.
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| January 28th, 2005 10:25 AM |
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| Gazza |
Can't answer that as I dont know what variety of artists Was has produced and how good or successful he has been in doing so.
I'd imagine he's capable of producing a variety of styles successfully. WasNotWas dont sound anything like the Stones, after all. |
| January 28th, 2005 01:02 PM |
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| glencar |
SOM playas:
Mick lead vocals, acoustic guitar
Ronnie guitar
Charlie drums
Me'shell Ndegeocello bass
Billy Prseton Hammond B-3 organ
Pierre de Beauport bass six
Waddy Wachtel guiar
Jamie Muhoberac keyboards
Bernard Fowler backing voc
Loser Boy backing vocs
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| January 28th, 2005 04:17 PM |
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| HardKnoxDurtySox |
quote:
glencar wrote:
SOM playas:
Mick lead vocals, acoustic guitar
Ronnie guitar
Charlie drums
Me'shell Ndegeocello bass
Billy Prseton Hammond B-3 organ
Pierre de Beauport bass six
Waddy Wachtel guiar
Jamie Muhoberac keyboards
Bernard Fowler backing voc
Loser Boy backing vocs
the question then becomes whether its waddy or ronnie playing the great main riff in the left speaker. i want to believe its ronnie but something tells me his is the right side guitar- playing a few licks here and there.
By the way...I forgot to add earlier that Charlie is a fucking beast on this entire album- not that he isnt always great. |
| January 28th, 2005 04:33 PM |
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| Phog |
B2B is a fucking good album. I was very pleased when it came out, and it holds up fine for me. |
| January 28th, 2005 04:54 PM |
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| glencar |
I was surprised when I was typing that list out that Billy Preston still plays with them. |
| January 28th, 2005 04:57 PM |
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| kath |
true about charlie....he is excellent on b2b. although, i am partial to his voodoo sessions playing on trash cans.... |
| January 28th, 2005 10:03 PM |
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| full moon |
Oh give me a fucking break. It is such a cliche at this point . The album is fine ..... |
| January 28th, 2005 10:03 PM |
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| Soldatti |
quote:
glencar wrote:
SOM playas:
Mick lead vocals, acoustic guitar
Ronnie guitar
Charlie drums
Me'shell Ndegeocello bass
Billy Preston Hammond B-3 organ
Pierre de Beauport bass six
Waddy Wachtel guiar
Jamie Muhoberac keyboards
Bernard Fowler backing voc
Loser Boy backing vocs
Great line up, 2 original memebers and 7 guests.
Please NO line-ups like this on the new album. |
| January 28th, 2005 11:03 PM |
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| Egbert |
The expanded edition of Victor Bockris' book on Keith (the cover of which is that famous picture of Keith biting someone) devotes a few pages to the recording of B2B - interesting read - Mick and Keith were not getting on very well and the scene was extremely chaotic. Much like that of a couple other releases that turned out OK: Let It Bleed & Exile. |
| January 28th, 2005 11:56 PM |
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| exile |
B2B sounds to me like Half a Mick Jagger Solo album and half a Keith Richards solo album smacked together without much care
except for "Saint of me" and maybe one other i was very disapointed
Im really hoping the next one will be better
Also I thought the COVER ART was the WORST EVER.
I actually liked "DONT STOP" which isnt a popular opinion round here i have noticed |
| January 29th, 2005 12:52 AM |
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| Poplar |
I'm with you Exile - horrible cover art.
as for Don't Stop - it's average until the last minute, which is completely awesome! why doesn't the whole song have the ferocity that's in the outro of teh tune? makes me mad. |
| January 29th, 2005 04:02 AM |
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| IanBillen |
quote:
kath wrote:
i don't think it's a terrible album at all, not their best. but i LOVE gunface!!!
Gunface is my favorite track on that album as well Kath. Great racious Stones sound.
Pretty Good album that has it's own place on the shelf. Still I like Voodoo Lounge alot better.
What alot of folks do not understand is the reason why B2B doesn't run like The usual Stones album is because they did not want it to. Sure there were some production differences of opinions going on there but still it was agreed upon before The album was ever put to motion that they wanted a different kind of album on that occasion.
It is different and that is why we got it that way.
Ian
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| January 29th, 2005 11:28 AM |
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| F505 |
The problem with most of the Stones records in the eighties and nineties is that they're okay but lack the absolute genius of their work in the sixties and seventies. Same with Bridges. It is not really bad but there are dozens of records released in that same year that are at least as good or better as Bridges. In the old days a Stones record was absolute the best you could get that particular year. They ruled and there was not much discussion about the genius of the Stones. Nowadays only a very small group of diehards (represented on this board) still think they're still at the top. I lost that feeling after 1981. |
| January 29th, 2005 01:26 PM |
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| Soldatti |
quote:
F505 wrote:
The problem with most of the Stones records in the eighties and nineties is that they're okay but lack the absolute genius of their work in the sixties and seventies. Same with Bridges. It is not really bad but there are dozens of records released in that same year that are at least as good or better as Bridges. In the old days a Stones record was absolute the best you could get that particular year. They ruled and there was not much discussion about the genius of the Stones. Nowadays only a very small group of diehards (represented on this board) still think they're still at the top. I lost that feeling after 1981.
Agree with you 100% |
| January 29th, 2005 04:38 PM |
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| tumbling dice |
I agree with you,too `´Time waits for no one`´ |
| January 29th, 2005 09:02 PM |
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| Mr Hess |
I always liked the album.
And that's all that matters to me. |
| January 29th, 2005 09:53 PM |
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| BILL PERKS |
GREAT RECORD-MY ONLY COMPLAINT WAS ALWAYS SUFFERING AND ALEADY OVER ME WERE TOO SIMILAR..TOO TIGHT,LOWDOWN,FLIP THE SWITCH,ASMB,GUNFACE,DONT HAVE TO MEAN IT ARE ALL FANTASTIC..AND THE END OF THE RECORD IS FABULOUS..WHY DO YOU WANKERS WHO DON'T LIKE THEIR WORK STILL POST HERE?ITS FINE TO BE CRITICAL BUT IF YOU HATE EVERYTHING AFTER 1981 YOU'RE JUST BLOODY STUPID. |
| January 29th, 2005 09:57 PM |
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| full moon |
PERKS, you are the king of this frigging board!!!!!!! |
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