The Rolling Stones’ ‘Gimme Shelter’ off 1969’s Let It Bleed.
What can you say about the The Verve’s ‘Bitter Sweet Symphony’ that has not already been said before. The song was ubiquitous in 1997/98. Richard Ashcroft had taken Andrew Oldham Orchestra’s strings cover of The Rolling Stones ‘Last Time’ and realised its potential by writing those sublime lyrics. The bitter sweet would follow when the Stones’ former manager Allen Klein reneged on an agreement they had with Decca and demanded 100% of the song’s royalties, stripping the Verve of their undoubted achievement.
A band of school friends, The Donkeys evoke the nostalgic and sun-streaked sounds of The Band, Neil Young and The Rolling Stones. ‘Dolphin Center’ features on their 2008 album Living On The Other Side and shows how well they can craft laid-back country rock. Sam Sprague provides lead vocals, Anthony Lukens delivers the keyboard soundscape and Jessie Gulati stands out with that shuffling blues guitar solo.
Good morning Monday people! I give you the trippy, playful sounds of the Stones’ album Their Satanic Majesties Request. Led Zeppelin’s very own John Paul Jones arranged the distinctive string section on standout track ‘She’s A Rainbow’, two years before he joined Led Zeppelin. This was May 1967 and The Rollings Stones were singing a love song for the Summer. Have a great week.
Good morning folks. Kieran Leonard of Saint Leonard’s Horses is an intriguing singer-songwriter. In the past few years, he’s toured with Ryan Adams, Father John Misty, Bob Dylan, The Strokes, Beck and The Libertines. He’s kept good company and so why lock yourself away on Stanley Kubrick’s family estate in St. Albans? The answer is that he wanted to harness the creative forces that a large mansion and an analogue setting brings. Exile on Main Street? You be the judge. Leonard released the single ‘Underwood Milk’ shortly after resurfacing from the Kubrick recording sessions. Have a great week.
Undeniably, Buddy Holly hugely influenced the likes of The Beatles and The Rolling Stones. However, it is not the Chirping Crickets’ classic sound of ‘Not Fade Away’ or ‘Rave On’ that have stuck with me since those childhood car journeys; instead I find myself regularly humming ‘Raining in My Heart’. Overly orchestrated, it sounds like something the Everly Brothers would have put out – another one of my folks’ faves. It must be the bittersweet sentiment that saves it. Have a great week.
After losing the composer credits to his band The Verve’s ‘Bitter Sweet Symphony’, Richard Ashcroft commented, “This is the best song Jagger and Richards have written in 20 years.” It seems there is a fine line between honouring and plagiarising. The Verve had even negotiated a licence to sample Andrew Oldham Orchestra’s own derivative of The Rolling Stones’ song ‘The Last Time, but The Verve’s success and extensive sampling had proved too much. Ashcroft’s credits were reassigned to Jagger and Richards, who obviously needed the money from any associated settlement.
The first track of Jobriath’s infamously hyped self-titled debut long player, ‘Take Me I’m Yours’ would set out Bruce Campbell’s stall. Cutting a clever path between the pomp and gospel of The ‘Stones‘ Exile On Main St. and the oddity and eyeliner of Bowie, Jobriath’s creations would ultimately fall on deaf ears stateside. A man born on the wrong side of the Atlantic.
What a way to end the week. We started with drums and we finish with one of the nastiest guitar licks to grace rock. ‘Can’t You Hear Me Knocking’ is off The Rolling Stones‘ classic Sticky Fingers. Keith Richards’ intro sets the tempo for all that follows: Jagger’s vocals that try to mimic the guitar work; Rocky Dijon’s congas that give respite; and Bobby Keys’ astonishing sax solo. Oh yeh. Have a great weekend.
Aerosmith found their strut with their third album, Toys in the Attic, and proved they were more than Stones wannabes. The long player contains the riff-heavy classics ‘Toys in the Attic’ and ‘Walk This Way’. But it’s the album’s flip-side starter ‘Sweet Emotion’ that I select – Joe Perry’s bump-and-grind guitar and the promiscuity of Steve Tyler’s vocals makes for a some good-time rock and roll.
Well, looking back on the year, there is not much more surprising than Damon Albarn producing a Bobby Womack record. The Bravest Man In The Universe was released in June. Womack claimed it was “the best thing I’ve ever done”. Perhaps not, but given the high bar, the statement is extraordinary nonetheless. This man was Sam Cooke’s backing guitarist for goodness sake. He also wrote and originally recorded The Rolling Stones’ first UK No. 1 hit, ‘It’s All Over Now’. ‘Please Forgive My Heart’ is off the album and marks Womack’s first original material since 1994.
I’m back in earnest and with a revelation too. It has taken a few years to settle in, but this is the Stones track for me. Off their 1968 long player Beggars Banquet, ‘Jigsaw Puzzle’ fends off other faves ‘Let It Loose’ and ‘She’s A Rainbow’ to win by a nose. The rest of the album, ain’t too shoddy either… ‘Sympathy For The Devil’, ‘Street Fighting Man’, ‘Stray Cat Blues’. Breathtaking talent. Have a great weekend.
The Madchester scene of ’89/’90 was fuelled by rave, and so it was strange that the Stone Roses’ eponymous and ubiquitous debut was more indie rock than dance scene. Ian Brown was the front man of his time. He had the monkey-man look and the casual vocals down to a tee. But “I Am The Resurrection” is about John Squire – at just under 4 mins in, he goes into overdrive with layers of hypnotic, guitar rhythms that finish off one of the great albums. It was indie for the rave generation; and for those who enjoyed the musical references to The Rolling Stones.