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The Daily Donnybrook

Welcome to Ye Olde Colde Furye Blogge’s shiny new open-comments thread, where y’all can have at it as you wish, on any topic you like. Do note that the official CF comments policy remains in effect here, as enumerated in the left sidebar. All new posts will appear below this one. There will be blood…

26 thoughts on “The Daily Donnybrook

  1. May 28,1971 was the release date of Every Picture Tells A Story and it’s 50th Anniversary passed without much fanfare. Now THAT was an album.

    From the slash and bash of the title song to the ballads delivered like only Rod Stewart could, it’s one classic track after another. Sure, not a “concept” album per se, each song was truly a picture of the man at a different angle. At once the Mysoginist un-PC way he celebrates the “slit eyed lady” of the title and the tender way he approaches an anti-War song rather than the attack and anger of War, What Is It Good For, in Seems Like a Long Time.

    I Know I’m Losing You rocks harder than almost anything that came before it and it’s hard to believe, even if if you know the original, that it was a Motown Song. When Rod gives a holler like Woooo at the end it’s because he knows they just knocked it out of the park.

    Of course there’s the signature Maggie May nestled in there. Sort of Rod Stewart’s signature song, it’s a flip of the title song. This time Rod is the young naive boy who is seduced, yet used at the same time, by an older woman. Ooh La La indeed.

    He covers Dylan and makes it his own and he rocks out on Crudup’s That’s All Right Now Mama like Elvis hadn’t already done the definitive version for rock and roll. How many people are brave enough to cover something that was a 1950’s Elvis record? But wait, at the end of that tune he does a heartfelt interpretation of the gospel tune Amazing Grace. Who does that?

    Finally, two more staples for Rod in Mandolin Wind, a Stewart original that is Folk Rock or is it Hard Rock Folk, and Tim Hardin’s Reason To Believe. Just one more “Face” for Rod in a series of Pictures and Vignettes recorded before he was a Star and once released, made him a Star. The Box Set of his Mercury Records total output is called Reason To Believe and when I first heard this whole album almost a whole decade later, when I wanted Maggie May and Losing You, it sure gave me a Reason to Believe.

    Perhaps his best album and the one that should define Rod Stewart. Recommended as one of my favorites of all time.

    1. yea, pretty fucked up title. I had to read it twice to understand what the hell a Ride-Along was.

      1. *snicker* That BADLY needed to be run past an editor before it went to bed. 🙂

        Scary thought is that it might have been run past an editor, and they thought it looked okay too.

  2. Cheer up!

    No matter how badly you think your day is going, at least you don’t have your head stuck in a suet feeder:

    Stupid wildife tricks

    1. Took me a minute and enlarging to find that birdy.
      Not much meat on that bird, might want to build a bigger trap 🙂

      1. Yeah, the camera on that Blackview phone takes crisp pics, but it’s a bit dark under that tree.

    1. She’s totally inconsistent in so many things.

      Has she not seen the abuses that were uncovered since 0 hit the scene?

  3. Earlier this thread I extolled a favorite album of mine. I’ll take the time now to go over another album that highlighted a unique singer fronting a band who hit their strides on the guitar on this one. That’s because The Rolling Stones fully integrated Mick Taylor on Guitar alongside Keith Richards and even Mick Jagger picked up a guitar for a song or two on Sticky Fingers, released April 1971.

    Each track adds something unique to the guitar canon of the band.

    Brown Sugar – Keef had discovered alternate tunings and had stripped his Tele of the top, bass string and tuned the rest to an open G Chord. Open G Tuning allowed him to get that unique sound on Jumping Jack Flash, but this song is probably his best and most famous use of it. Meanwhile Taylor wove guitar lines in and around that chordal riffing and Jagger added some of his most leering lyrics to date to a classic tune with triple entendres and Whoops that would make even the dead get up and dance.

    Sway – Jagger picks up a guitar since Keef was “away” that day and Mick Taylor adds some wicked lead guitar parts to a tune that was more frightening in it’s tale of demons than Even Sympathy. Taylor’s slide tones are evilly delivered too.

    Wild Horses – the band employs “Nashville” Tuning, replacing the bass strings with higher pitched strings for a unique sound, plus pinched harmonics and an interesting set of chordal changes. Keefer rips off a Keefer lead guitar part instead of Taylor here. Splendid mix of acoustic, electric, and alternate tuning guitars lend a melancholy feel to a lyric about Jagger waiting for his girlfriend to recover and how he wouldn’t leave her bedside.

    Can’t You Hear Me Knocking – Seems like Satan was permeating this album, doncha think? Taylor uses another alternate tuning to get that wicked opening guitar lick that comes back over and over throughout the song while Keef embellishes with a cleaner rhythm guitar part. After a scathing song about about dirty streets and Satan knocking on your door and windows, Taylor decides to keep going when the tune ends and the famous “Jam” Coda. It sees Bobby Keys rip off one of his most famous Sax parts of all time while the guitars funk it up a little and then another improvised lead guitar segues into that horn and guitars outro that finally ends the song.

    You Got To Move – after a set of searing guitar tunes, the band decides to end Side One (remember album sides?) with a classic blues from McDowell/Reverend Gary Davis. This time they add acoustic and electric slide and Taylor gets his usual signature sound on the slide parts down perfectly.

    Bitch – time to rock again starting side two with another classic riff in alternate tuning and some great Charlie Watts drumming (go back and listen to Knocking – Charlie’s HOT this album!!) ends with some Chuck’s Children riffing, with a beat turnaround at the end. If you ain’t dancing by the end of this one, you’re Dead man.

    I Got the Blues – a gospel tinged Minor Blues where the guitars give off a Stax/Muscle Shoals rhythm section vibe and the spotlight is given to a magnificent Organ Solo in the middle, by the great Billy Preston. With an album chock a block with guitars, this one laying back on them is actually something interesting. An absence that enhances.

    Sister Morphine – lots of near death experiences here and a great chord progression on acoustic guitar bounce off the spooky lyrics of blood and morphine and cousin cocaine making an appearance. Then that abrupt stop and that Ry Cooder ethereal slide guitar part raises the hairs on the back of your neck. As the song ends you really do get the feeling by the morning someone will be dead.

    Dead Flowers – Keef breaks out his best country chords and lyrics to annoy Jagger, but Mick delivers a great vocal despite that and Keefer AND Taylor add some really tasty country guitar riffs to the song. Always a favorite mine.

    Moonlight Mile – Another Mick and Mick production as Keef is “away” that day as well. I understand that the repeated riff was actually written by Keef and Taylor enhanced it. Then the orchestration was added and Taylor wove some more in and out of that. Excellent imagery from Jagger about a man a “moonlight mile” away from home, ostensibly headed back, but with a head full of ‘snow’ (presumed to be cocaine), perhaps he doesn’t make it. A subtle masterpiece to end this album and an underappreciated song in the Stone’s canon if you ask me. Really a highlight of their work to date.

    The lyrics are dark, darker than even Let It Bleed, but the music is a mix of lightheartedness/toughness/spookiness as each tune adds something different. Perhaps things got real when Jones’s died? Or perhaps they all had premonitions of what the drugs and lifestyle was doing to them and would take its toll on them?

    To me this is the Stones best album, better than even Exile, as there is no filler. Every song a great one and great on so many levels. Put on Sticky Fingers and be prepared for another classic from 1971.

    1. Wrong album – I think it’s from Aftermath – but my favorite Stones tune has always been Paint It Black.

      It has a bit of a dirge like quality that really comes out in the cover by Hidden Citizens from Reawakenings.

      1. And another Charlie Watts killer drum performance at that. One of my faves from them too.

      2. Agreed, ‘Bear, with big ol’ bells on. It’s one of the very few Stones songs I really do like, along with “19th Nervous Breakdown.”

  4. I picked a great day to resume flying on commercial aircraft. First commercial flight in 2 years. Early morning flight so I was up early and at the airport before 6am. Charlotte. A clusterfuck unlike anything I have seen in my 50 years of airline travel. It beats every 3rd world airport snafu I’ve seen, and that is quite a few. Thousands of people in the airport lined up to go through security. You couldn’t tell where the line started and there were two lines, plus the lines for separate security checks were getting mingled together. I was not, no way, going to make my flight. And I would not have except a young lady that had been waiting for the shuttle with me stopped and told me she had received info that the “E” security was lighter. All the way at the other end, but off we went. And just in time as it was light and I made my flight. Just after we got in line it also started rapidly filling up. My wife texted me stories from numerous people that missed their flights.

    Anyway, so board the plane and, no. Error messages on power up. Have to reboot, and again. An hour later we finally take off. But it’s OK, my 2nd flight, out of the country, is more than an hour layover. Land in Houston. No terminal to pull in so my short window to make the international flight is dwindling. Finally got in the airport and they waited on us, so we made the flight.

    Have I mentioned how much I love to fly sailplanes and small aircraft and how much I despise the commercial airlines and airports?

    I got where I was going with some luck, but this was about as bad a day flying as I have ever had.

  5. By the way, I had a “covid” test today, something I had managed to avoid. To fly into the USA one must have a negative test taken within 3 days of your flight. That was my big concern flying out, that I would get one of those false positives and have to stay here for a couple weeks.

    Up the nose, both nostrils. A bit tingly but not that bad.

    Results back in 4 hours, negative they say, I can come home.

    1. If its positive, I’m sure someone can hook you up with a Coyotero for a little bit of la mordida. 🙂

      1. Had it been positive I think I would have printed out my own result. But it was negative.

  6. A useful feature was to get an email when anyone commented on a particular thread. Then I won’t miss comments!

    I see the “subscibe” button so I’ll try that.

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