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Post by Reactionary Rage on Nov 23, 2019 18:07:06 GMT
One of the greatest records ever made, right? I mean, the production, the sounds, the hammond and tack piano. That's the stuff. Such a shame he lost that instrumental colour.
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Post by tg on Nov 23, 2019 18:10:41 GMT
I like the drum beat intro and, of all things, the tambourine. I have a DJ pal who swears all great records have a tambourine!
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loveless
god
Bringing ballet to the masses. Sticking to the funk.
Posts: 2,779
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Post by loveless on Nov 23, 2019 20:13:18 GMT
I don't know that I've ever once gotten sick of it.
It does so much. That big box from about 4 or 5 years ago had the 8 individual multitracks on there in stereo pairs, and...it's a glorious mess of unlikely elements. The rhythm guitar is downtuned to a C, which gives the whole thing a really unusual gravitational pull.
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Deleted
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Post by Deleted on Nov 23, 2019 20:35:27 GMT
I'm pretty bored of it to be honest.
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Post by Crunchy Col on Nov 23, 2019 20:42:03 GMT
I think of it as an 'achievement' rather than a great song or anything like that.
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Post by DarknessFish on Nov 23, 2019 21:14:37 GMT
Bloody hell fire.
It's a great song, indeed.
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Post by Cousin Lou on Nov 23, 2019 23:53:27 GMT
I'm pretty bored of it to be honest. :-)
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fange
god
Listening to long jazz tracks
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Post by fange on Nov 25, 2019 8:10:30 GMT
Magnificent.
But it's no 'Night Birds' by Shakatak.
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Post by Reactionary Rage on Nov 25, 2019 9:24:41 GMT
It’s not like I listen to it that often but it’s a magnificent thing. Like the Sistine chapel or summat. A great song and a fabulous performance brimming with invention and colour and beautiful little details that elevate the whole thing into something miraculous. Bob at his peak. Unquestionably.
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Deleted
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Post by Deleted on Nov 25, 2019 9:38:08 GMT
I always find the story about Al Kooper surprising, that he'd not played the organ before, at least not on record. How did he nail it so brilliantly?
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Post by Reactionary Rage on Nov 25, 2019 9:54:18 GMT
magic. People feeding off each other. Ahhh the 60s
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Post by quaco on Nov 30, 2019 6:32:46 GMT
It’s not like I listen to it that often but it’s a magnificent thing. Like the Sistine chapel or summat. A great song and a fabulous performance brimming with invention and colour and beautiful little details that elevate the whole thing into something miraculous. Bob at his peak. Unquestionably. Or maybe like a novel that seems a bit old and musty until you start reading it, and the vitality jumps off the page. To me, it's not something to be admired from afar. It (and its closest relative, "Positively 4th Street") still sear the ears and excite and satisfy.
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loveless
god
Bringing ballet to the masses. Sticking to the funk.
Posts: 2,779
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Post by loveless on Nov 30, 2019 14:29:11 GMT
Yeah, it seems remiss not to similarly shout out to "Positively..." while we're here. It manages to be roughly 99% as amazing as "Stone" without accumulating nearly as much baggage (or moss, if you will). They are nearly twins, but there is nothing about their apparent similarities that irks me even the slightest. They both still stop me in my tracks.
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Post by Crunchy Col on Nov 30, 2019 14:52:09 GMT
'Positively 4th Street' actually has more of an impact on me. It sounds a bit more like a recorded rehearsal, no frills, all slamming away merrily and breathlessly towards the finish line.
I suppose you get a bit of that with 'Rolling Stone' too, but it's a bit more stately or something.
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rayge
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Post by rayge on Nov 30, 2019 16:37:28 GMT
Weird to say this I know of a man who has made 95 albums and 246 comps (thank you discogs), but I experienced the unfurling of His Bobness's career in real time as one of the great singles artists of the Sixties with a run of stunners in 1965-6 starting with Maggie's Farm, then Subterranean Homesick Blues, Like a Rolling Stone, Positively 4th Street, Can You Please Crawl Out Your Window?, One of Us Must Know, Rainy Day Women ♯12 & 35 and I Want You, all of them with fine B-sides,too. Before Maggie's Farm dropped I knew him mostly as a songwriter that others - the Byrds, PP&M, etc. - had hits with, but was basically a folkie, something I felt at the time was just one step up from Trad Jazz, and certainly something I wouldn't buy an album of.
Those singles, though - MF and SHB were straight out rockers that pricked up my ears, while LaRS and P4S were from another planet, real stunners, and the next four basically great pop songs with each creating their own world with a rolling, chiming, shuffling sound, as appropriate, from the Hawks. Of course, I went back and learned to love the albums from this period, too, but the singles were a way in. And I think it's difficult for anyone who was not pop-sentient in 1965-6 to realise just what a radical departure Rolling Stone was as a single, in its length, literacy, production and sound.
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