Text "Isn't it strange? Always when I play "Sleep tonight" everybody wakes up!" (Thomas Hader): Unterschied zwischen den Versionen

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I expected it with some excitement (who didn't), indeed at the end I was rather sceptical. On the one hand the exulting announcements that the Stones' new LP would sound as rough and fantastic as no more since a long time, on the other hand the fact that the production / mixing took an extremely long time again and the fear that the last rest of available spontaneousity would be mixed to death. The apprehension was unfounded, in my opinion, the record sounds as spontaneous and dynamic as none since <i>MAIN ST</i> (ah, that's what he means). Finally music that is mainly based on the guitar - where could we hear the last song that, diverging from the normally till-it-comes-to puke varied 08/15-blues-scheme à la "Let me go", "She's so cold", "Starfucker" etc., contained true imagination like "Brown sugar" for example?
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On this LP there isn't any more of that lack of ideas that had stamped <i>UNDERCOVER</i>. The first time for a long past there are ten songs on which you don't have the feeling to have heard them before (on a Stones-LP). It's also a splendid production, the "prominent" instruments (thus Mick's voice, too) stand clearly recognizeable in the focus of attention, you haven't to divine a guitar riff like "Dance" for example - the opposite is true (thanks, Steve): it's there where it belongs, in the foreground. As a little bad you could possibly feel the fact that everything happens in stereo. To several songs a mono mix wouldn't have been prejudicial, to "Had it with you" for example, on which Ron's saxophone swings along a little poor and left-alone on the left side. How else could it be, I enjoy "One hit" the most. As already implied above, this is one of those titles with an "intelligent" structure. For me it's already a classic that is among my top 10 favourite songs forever. Neither R&R nor R&B  but 100% Stones. The second highlight is "Fight": dynamic, electrifying and fast played, terrific backing vocals, excellently qualified for a live performance (but then probably only half as good...). Also worth mentioning is "Hold back", a rocker that presents itself as the only negative point on this work. In opposite to "Fight" this song consists of little more than wild threshing that reminds me a little to things like "Lies", "Respectable" and other elaborates that were (apparently) recorded under the motto "fast'n'hard but monotonous". For "Winning ugly" I wish it will soon be released as the third single, it's by far the most melodious song with an urging rhythm - anyone who still keeps quiet surely also has a cold ass (hi Stew), but still nobody noticed it. "Dirty work" itself is actually a fantastic song but it gets loused up a little by the bridge that leads from the verse back to the refrain... you're a user, you're a user... at every idiot's party that's okay, but Jagger & Co. could have come up with something better. "Had It With You": short before the sad / bad finale there's a set to music thanks to everyone who liked the music until now, so to say the most basics-oriented title a reward. I'd go to hell for a record filled with songs like this. "Too rude" and "Sleep tonight" remind me once more to the fact that there's still no solo LP by Keith, goddamned, why that?
 
 
 
Conclusion: <i>BEGGARS BANQUET</i> for the 60's, <i>EXILE</i> for the 70's, <i>DIRTY WORK</i> for the 80's - and I already look forward to the 90's!
 
 
 
==Publication==
 
{| class=wikitable
 
| 1986 unreleased || [[Bild:country_ch.gif]] <i>[[Charlie is good tonight]]</i> nr. 5
 
|}
 
[[Kategorie:Charlie is good tonight - Articles]]
 

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