Flowers

I’m not one of those indecisive fellows who is constantly and flippantly flicking and forwarding through an album to find what he likes best at that very moment. However, this album is a compilation of tracks and it draws heavily on material that I’ve already given much time and consideration to in the past few weeks. In short, I’ve been rather guiltly of grazing through this album in search green pastures of unheard music. And through the use of these cow-like listening techniques I’m not surprised to find that I’ve found little enjoyment here. In all fairness I think in the future I might look back on this album and think it deserves higher esteem.

The music on this compilation comes from an array of different places. It contains music from U.K. albums never before released in the U.S. like “Mother’s Little Helper”, previously US releases: ‘Aftermath’ and ‘Between the Buttons’ and newly recorded covers like “My Girl”; a tune popularized by The Temptations.

“Mother’s Little Helper” was included in the UK’s release of 'Aftermath' and when it came to the US it secured 8^th position on the Billboard charts. The lyrics pertain to house-wife mothers consumed by prescription drug abuse and while Jagger’s sings them, there is this wavering and creepy riff from a twelve-string guitar that gives the tune a cold and unusual vibe.

“Ride On, Baby” opens with a spiraling zing from the harpsichord and reveals lyrics that I’d recommend to anyone fascinated with troublesome women. If there was another song that deserved honourable mention it would be “Sittin’ on a Fence”.

Otherwise, if one has time to kill there was plenty of other more ear-worthy music that was poplar at this time. The Beatles’ “All you need is Love” and The Velvet Underground’s “I’m waiting for the Man” are two fine examples.

Between The Buttons

I often find that while in the midst of a good run my thoughts and the world in general are dulled-out by the motion of my body –this is essentially why I do it. I found this to be increased tenfold when racing down riverside through the strong winds on Friday while listening to “Yesterday’s Papers” and watching a leaf of newsprint dance, caught in a whirlwind fifteen meters above the road and only being able to think: “How come my fingers can’t find the button to reduce the volume?”.

Though I mightn’t have been able to grasp the aesthetic qualities of the song in that moment and come up with something clever to muse, with clarity of mind The Stone’s experimental endeavors that comprise this album (though out of tune with their rebellious and dark mystique) are nonetheless extraordinary feats of artistic accomplishment.

It seems to me now that The Stone’s first found their voice in the release of Out of Our Heads and since then each album has been wrought with some articulation of darkness or depression. The mood of this album however does not convey this at all and despite negative acclaim from critics I’d suggest it’s an album that simply missed its time. Between the Buttons thrives with a jive jazzy swing that I’d dare to liken to the Beatles later work: The White Album –although not as perfected.

“Let’s Spend the Night Together” and “Rudy Tuesday” (screaming girls in this link...ridiculous...sorry) are the two tracks that topped the Billboard charts in the U.S. The former; a sexually charged tune, resounds with Jagger’s voice belting-out lyrics that resemble the soul music of Ray Charles while the backup vocals resonate with lively piano. The later; the album’s treasure, is a sweet melodic tune with a pleasing crooning recorder at its core. “She Smiled Sweetly” is a gentle ballad that encapsulates, along with “Ruby Tuesday”, “Miss Amanda Jones”, “Complicated” an outlook toward women that is entirely different than the previous album. “Cool Calm and Collected” is another ditty with a positive ring that is nearly able to hide its politically satirical lyrics through the use of distracting kazoo and show-time piano. I’m not entirely sure, but it sounds to me like this is Keith Richard’s doing lead vocals and maybe that gives it the sound I like. “All Sold Out” is pretty rocking track with an upbeat tempo. It gets better every time that I listen to it and probably should have made it into my selections.

The music scene at this time was relishing in the releases of legendary albums like The Beatle’s Revolver (which I’ve been listening to on vinyl for the last week and a half –an album that I had overlooked before), The Beach Boys’ Pet Sounds (an old favorite of mine) and Bob Dylan’s Blonde on Blonde (something I’ve yet to collect). The following are tunes from each of the aforementioned albums, in sequence: “Good Day Sunshine”, “Wouldn’t it Be Nice”, “Rainy Day Woman #12 & 35”.

Though I like this album it is evidently not a jogging album because while I listened to it running, with my fingers fumbling between buttons, watching the most aesthetic of yesterday’s papers I wasn’t able to see irony or beauty in it.

Aftermath

This morning I ended a strange and patriotic period of my life. Though it’s unclear to me now how it came about, for a while I’d been waking up every morning to the Canadian national anthem on my CD player alarm clock —but today, was a melancholic change to “Paint it Black” (the first song on Aftermath). What a colossal difference.

Aftermath, The Rolling Stone’s first album entirely composed of original singles was the dawn of a new experimental direction. This was established through the use of unconventional instruments most notably the dulcimer, marimba and sitar. The dulcimer is most prominent in the track: “Lady Jane”. "Lady Jane" is a pleasant and soft sounding song that has lyrics that I’d associate with mid-seventeenth century poetry rather anything I could ever imagine spouting from Jagger’s mouth. Though, I must admit this tune does add a touch of class and gentlemanliness to The Stone’s mystic in a place that might need it.

On either side of “Lady Jane”, are the tunes “Stupid Girl” and “Under my Thumb” which contain lyrics that are arguably chauvinistic. In spite of this, and regardless of what it says about me, “Under my Thumb” in my mind, is unquestionably the most rocking song on the album. Opening with amazing marimba riffs, this energetic harmony --of not just instruments and vocals but the hearts and souls of the band members brings my stereo to life and gives a vibrant freshness to the air in this unventilated empty room every time I play it.

“Paint it Black” is perhaps not the most inspiring (or patriotic) song to wakeup to but despite its depressing lyrics it is certainly better to wake up to this song rather than not waking up at all. This song topped the Billboard single charts in both the US and UK and its easy to hear why. Heavy-heartbeat-pounding drums fraught with a stinging electric-sounding sitar alongside Jagger’s edgy vocals reciting lyrics that literally paint the world a dreary black, makes this tune coincide with darker side of the band’s disposition.

The more I listen to the tune “It’s Not Easy” the more I decide it is really not one of the best tracks on the album. But every time I walk downstairs to look into an empty fridge, spend the wee hours of the morning doing laundry, or reestablish my bottom-end’s unrequited love with porcelain due to surviving on coffee alone --I can’t help but think of this tune.

Another dimension added to this album’s experimental tone was the eleven minute track “Going Home” which was unheard of at the time. (However, if you’ve got eleven minutes to spare you’re better off listening to The Doors “The End”)

A popular release that was captivating the ears of radio listeners around the height of "Paint it Black’s" notoriety was Frank Sinatra’s “Stranger’s in the Night”.

My Thoughts...

So I’ve dragged the first five Stone albums into my life. Not really sure where I’ve wanted to take this blog --I’ve gone from a moderately interesting personal account of how their music was influencing my life, to an unfortunately academic seeming structure where I summarize their albums in a rather discouraging drawn-out fashion. Most gross and grim this is to me, as meager amusing adjectives are the sole personal flare I get to squeeze-in edgewise in these rather un-intense “intense reviews”. While I find these bombastic summaries most useful to someone who’ll never listen to these albums, I’m rather selfish and have little aspiration to satisfy others at my displeasure. The only gratification I derive from having these “intense reviews” frantically fleeing from my faculty come in the form of a contorted hope that some debilitated future-self, after escape from rehab –or some institution of brainwashing, will feel compelled to find out what some pablum previous-self was dolefully indulging in. With that said, I think it’s of utmost importance that I drag on in this way –of course, exclusively for the appeasement of others…

So after robotically tripping through a rundown of five structured album reviews I plan to let loose with a little attitude and shoot-it about how the Stone’s music is meshing with my life while injecting little tidbits of history about the band.

As the Rolling Stones produced their music it was released in the UK and the US on albums that were similar but not the same. As of this far, I have delved merely into the American releases and have neglected to reveal the intact group dynamics of the Stones.

Mick Jagger, and Keith Richards I’ve touched on extensively with their lead vocals and guitar respectively but I’ve severely underestimated the talent that Brian Jones brought to the band. He possessed the communicative talent of being able to play nearly every instrument. Bill Wyman occupied the bass guitar, and Charlie Watts hammered eloquently on the drums.

There are only so many ways to incorporate music into my life. While the majority of the masses drone through time plugged into i-pods and chattering away on cell-phones with musical ring-tones --these are things I refuse to do. The greater part of my listening takes place while I lounge around my room, looking over school readings, kickin’ it with my 17 year old dog. Beyond that, there’s always my car, my CD player alarm clock and occasionally I’ll plug in for a fast-paced jog.

The music of the Stone’s is sexier –more jive than the kind of music you’re supposed to be listening to with your decaying Yorkshire terrier. The soul that’s in Mick Jagger’s spasmic, rhythmic dancing as he sings --embodies something more demonic, anxious, vibrant and alive than reading Dickens, Aphra Behn, or the T.S. Elloit’s The Waste Land…well maybe not The Waste Land….

The Rolling Stone’s music takes on their lifestyle during that time --Jagger, Richards and Jones spending a night in the slammer for drug related charges during July of ‘67. This is the kind of music that should come alive within the city of Windsor. The City of Windsor: home of a wild and howling night-life --from the student ghetto to a thriving bar-scene. Allen Ginsberg in response to their conflict with the law stated: “The Rolling Stones are one of Britain’s major cultural assets, who should be honoured by the kingdom instead of jailed.” This is a kind of music that screams to be synonymously linked with the idea of freedom. And being fettered with five English classes this semester I cannot give this music the true listening it deserves. Nor can my Yorkshire terrier, but that’s because she’s deaf.

December's Children (And Everybody's)

This disc was released on December 4^th 1965. It reached the 8^th position on US billboard charts in 1965 and 4^th in 1966 and also went gold, selling more than 500 000 units. In the US the track ‘Get off of My Cloud’ topped the singles billboard and ‘As Tears Go By’ ranked 6^th.

Intense Review

The album begins with discouraging four covers: ‘She Said Yeah’, ‘Talking About You’, ‘You Better Move On’, and ‘Look What You’ve Done’. If I were feeling a little more critical that’s all the mention I’d give these songs. However, I’m not, so: ‘You Better Move On’ originally composed by Arthur Alexander has a gentle ring to it with echoing undertones reminiscent of the Beatle’s ‘Can’t Buy Me Love’ (released in late ’64). As for the other three I’d describe them successively as: background party music, Motown but more rocking than Motown ever was (not that Motown doesn't have its own thing going on...but...) and a love lament with extravagant harmonica.

‘The Singer not The Song”, the first original on the compilation drags a slow melody alongside Jagger’s edgy voice. The clever title caught my eye, and although the song is unquestionably an enjoyable listen, in my eye, its name is the pinnacle of its catchiness. The next track is a cover and a crowd pleasing favorite: ‘Route 66’ which was also recorded on their debut self-titled album. Route 66 was composed by Bobby Troup and first recorded by Nat ‘King’ Cole in 1946.

Entering the heart of the album, the next five songs are all original. ‘Get off of My Cloud” is the catchy follow-up single to ‘Satisfaction’ and carries a similar rebellious theme -both are feasible predecessors to the eventual punk ideology of the 70’s. ‘Get off of My Cloud’ is not only rebellious in its lyrics but also through Jagger’s wavering vocals: sometimes muffled, sometimes yelling teamed with a solid and quick rock beat brought on by Charlie Watts their drummer. From rebellious to revolutionary: 'I'm Free' is the next track. It finds its promise in simple lyrics, and relaxing harmony between its instruments but doesn’t quite set the mood for the next tune. ‘As Tears Go By’ (If I had to put up with the screamers in this video I'd snap...) is a soft song usually evoking a feeling of melancholy wholesomeness --perhaps induced by the calming violin and sad lyrics reflecting on the joys of youth and the passing of time. The guitar in ‘Gotta Get Away’ (the album’s next track) combined with Jagger’s lamenting voice dragging “Baby” out into a long “Baaaybaeh” is really what captivates my ear. The slow stumbling vocals in ‘Blue Turns to Grey’ seem to perfectly fall into place with the rest of the instruments in this impressive love lost bewailing expression of heartache.

The last song on the album, ‘Moving On’, is a fast rock tune featuring mumbled lyrics and a harmonica blared with other instruments emulating the sound of a train.

Other chart topping hits that were popular at this time would include Nancy Sinatra’s ‘These Boots Are Made For Walking’ and The Beatles ‘Day Tripper’ and ‘We Can Work it Out’.

Out of Our Heads

This album was released July 30^th of 1965 and was their earliest to go platinum. It also ranks 114 on Rolling Stone Magazine's Top 500. 'Out of Our Heads' reached number one on the Billboard pop album chart in 1965 and reached 16^th in 1966. However, the album enjoyed more success in the UK. The singles: ‘The Last Time’ and ‘Satisfaction’ ranked first on the singles charts in the UK, whereas in the US the ‘Satisfaction’ reached number one and ‘The Last Time’, and ‘Play With Fire’ received befitting attention.

Intense Review

The album begins with two covers: ‘Mercy, Mercy’ and ‘Hitch Hike’ that set the tone for the third song, the first original single on the album: ‘The Last Time’. ‘Mercy, Mercy’ --a don’t leave me plea with a repetitious guitar riff that transitions nicely to Hitch Hike –a tune where the title is belched like a car-horn by the back-ground vocals. The clear lead vocals and hip-hop sound in both these songs makes-way for the next track: ‘The Last Time’ -a tune with simplicity and togetherness of a Beatles tune that carries morals that are rather gray in comparison to the Beatles black and white.

The intensity of the album then breaks and slows down into another cover: ‘That’s How Strong My Love Is’ –a love ode with repetitious lyrics that highlight a Jaggar’s rough sounding voice. The theme of love continues into the following cover by Sam Cooke: ‘Good Times’ that has a smooth and easy mellow breeze to it –the kind of song I’d want to sneak onto mix CD for a romantic evening at the beach.

The next cover: ‘It’s alright’ containing lyrics about trying to make a girl jump-starts the album’s intensity with a rock-out partying sound matched with rough and yelling lead vocals preparing the listener for the following original: ‘(I can’t get no) Satisfaction’. ‘Satisfaction’, a fun tune with a catchy guitar riff evokes a feeling everyone can relate to: a general discontentment with life. This tune reverberates with ideas against the grain of social norms that constantly bombarded us through electronic media. The next song, another cover: ‘Cry To Me’ that has a strong and bluesy guitar and clear lead vocals.

The next four songs are all originals composed by members of the band. ‘The Assistance West Coast Promotion Man’ with its talking vocals reminds me of a less intriguing Arlo Guthrie mixed with a swanky harmonica. ‘Play with Fire’ has a slow beat and mystical sound to it highlighting Jaggar with amazingly sharp vocals. This progresses fluently to the next tune: ‘Spider and the Fly’ --a nice little ditty with clever lyrics, that has ritzy country bar-room sound. The album concludes with ‘One More Try’, a fast paced tune with Jaggar’s vocals sounding rough.

This is the first album that I would classify as a car album, and it would seem only practical that you be listening to the climatic ‘Satisfaction’ if you were to see a cruiser in your rear-view lighting up his cherries as your heart asserts that you couldn’t have been doing much more than a hundred.

Other Tunes getting a lot of attention at this time were Tom Jones ‘It’s not Usual’ and the Beatles ‘Help’.