• Some Girls turns 46

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Some Girls turns 46

著者： Quiet.Please
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  • Sure, here's a 2000-word celebration of The Rolling Stones' "Some Girls" album in the style of Kurt Loder: Alright, let's talk about "Some Girls," the album that proved The Rolling Stones weren't just your dad's rock band anymore. It's 1978, disco's doing its thing, punk's screaming in the corners, and here come Mick and the boys with a record that says, "Hey, we can do that too, and we'll do it better." Now, I've seen my fair share of Stones gigs, watched Mick strut his stuff from New York to L.A., but "Some Girls" hit different. This wasn't just another Stones record; this was a fucking statement. It was like they looked at the musical landscape, sneered that patented Jagger sneer, and said, "Watch this." Let's break it down, track by track, because each one's got a story, each one's got that Stones magic that makes you wonder how these English boys got so damn good at American music. We kick off with "Miss You," and holy shit, is this disco? From the Stones? You bet your platforms it is. But this ain't no "Saturday Night Fever" knock-off. This is disco with balls, disco that struts down a dark alley at 3 AM looking for trouble. Mick's harmonica wails like a lonely cat on a hot tin roof, and that bassline? It doesn't just groove; it prowls. Then we slam into "When the Whip Comes Down," and it's like the Stones are saying, "You want punk? We'll give you punk." This track's got more attitude than a CBGB's bathroom stall. It's New York grit under Mick's nails as he spits out lyrics about the Big Apple's underbelly. Keith and Ronnie's guitars don't just play; they snarl and bite. Now, you might think covering The Temptations is a risky move for a bunch of white boys from across the pond, but "Just My Imagination" proves the Stones can do soul with the best of them. They take that Motown classic and run it through their rock 'n' roll filter, coming out the other side with something that's both reverent and rebellious. The title track, "Some Girls," is where things get interesting, and by interesting, I mean controversial as hell. Mick's lyrics are like a hand grenade rolled into a politically correct dinner party. It's provocative, it's outrageous, and it's quintessentially Stones. They're pushing buttons and loving every minute of it. "Lies" comes at you fast and furious, a punk-inspired rocker that doesn't let up for a second. It's like being strapped to the front of a runaway train, with Mick as the maniacal conductor. This is the Stones showing the young punks that the old guard can still throw down with the best of them. Then we get "Far Away Eyes," and it's like the band decided to take a drunken detour through Nashville. Mick's faux-Southern drawl is so over the top it loops back around to brilliant. It's the Stones taking the piss out of country music while simultaneously showing they can play it better than most. "Respectable" is anything but. This is the Stones at their most defiant, thumbing their noses at anyone who thought they'd gone soft. It's a middle finger set to a Chuck Berry riff, with Mick sneering about high society and low morals. It's the sound of a band that knows its reputation and is having a blast playing with it. Keith takes the mic for "Before They Make Me Run," and it's like listening to a jailbreak in progress. This is Keith's outlaw anthem, a big "fuck you" to the forces that tried to bring him down. When he sings "Gonna find my way to heaven, 'cause I did my time in hell," you believe every gravelly word. "Beast of Burden" is the Stones showing their softer side, but don't mistake soft for weak. This is a love song with teeth, a ballad that can still throw a punch if it needs to. Mick and Keith's vocals weave around each other like smoke, while the guitars create a tapestry of sound that's both intricate and effortless. The album closes with "Shattered," a frenzied ode to New York City that captures the chaos, the energy, and the madness of the Big Apple in the late '70s. Mick's rapid-fire delivery is like a beat poet on amphetamines, painting a picture of a city that's falling apart and pulling itself together at the same time. But "Some Girls" isn't just about the individual tracks; it's about the whole goddamn package. This is the sound of a band that's been counted out coming back swinging. It's the Stones looking at punk, looking at disco, and saying, "Anything you can do, we can do better." Let's talk about the context for a minute. By '78, a lot of people were ready to write off the Stones. They were thinking, "Sure, they were great in the '60s, but can they still bring it?" "Some Girls" was the answer, and that answer was a resounding "Fuck yes." This album didn't just put them back on top; it redefined what it meant to be on top. They weren't competing with the new kids on the block; they were showing those kids how it's done. They took the energy of punk, the groove of disco, threw in some country twang for good measure, and wrapped it all up in that ...
    copyright 2024 Quiet.Please
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Sure, here's a 2000-word celebration of The Rolling Stones' "Some Girls" album in the style of Kurt Loder: Alright, let's talk about "Some Girls," the album that proved The Rolling Stones weren't just your dad's rock band anymore. It's 1978, disco's doing its thing, punk's screaming in the corners, and here come Mick and the boys with a record that says, "Hey, we can do that too, and we'll do it better." Now, I've seen my fair share of Stones gigs, watched Mick strut his stuff from New York to L.A., but "Some Girls" hit different. This wasn't just another Stones record; this was a fucking statement. It was like they looked at the musical landscape, sneered that patented Jagger sneer, and said, "Watch this." Let's break it down, track by track, because each one's got a story, each one's got that Stones magic that makes you wonder how these English boys got so damn good at American music. We kick off with "Miss You," and holy shit, is this disco? From the Stones? You bet your platforms it is. But this ain't no "Saturday Night Fever" knock-off. This is disco with balls, disco that struts down a dark alley at 3 AM looking for trouble. Mick's harmonica wails like a lonely cat on a hot tin roof, and that bassline? It doesn't just groove; it prowls. Then we slam into "When the Whip Comes Down," and it's like the Stones are saying, "You want punk? We'll give you punk." This track's got more attitude than a CBGB's bathroom stall. It's New York grit under Mick's nails as he spits out lyrics about the Big Apple's underbelly. Keith and Ronnie's guitars don't just play; they snarl and bite. Now, you might think covering The Temptations is a risky move for a bunch of white boys from across the pond, but "Just My Imagination" proves the Stones can do soul with the best of them. They take that Motown classic and run it through their rock 'n' roll filter, coming out the other side with something that's both reverent and rebellious. The title track, "Some Girls," is where things get interesting, and by interesting, I mean controversial as hell. Mick's lyrics are like a hand grenade rolled into a politically correct dinner party. It's provocative, it's outrageous, and it's quintessentially Stones. They're pushing buttons and loving every minute of it. "Lies" comes at you fast and furious, a punk-inspired rocker that doesn't let up for a second. It's like being strapped to the front of a runaway train, with Mick as the maniacal conductor. This is the Stones showing the young punks that the old guard can still throw down with the best of them. Then we get "Far Away Eyes," and it's like the band decided to take a drunken detour through Nashville. Mick's faux-Southern drawl is so over the top it loops back around to brilliant. It's the Stones taking the piss out of country music while simultaneously showing they can play it better than most. "Respectable" is anything but. This is the Stones at their most defiant, thumbing their noses at anyone who thought they'd gone soft. It's a middle finger set to a Chuck Berry riff, with Mick sneering about high society and low morals. It's the sound of a band that knows its reputation and is having a blast playing with it. Keith takes the mic for "Before They Make Me Run," and it's like listening to a jailbreak in progress. This is Keith's outlaw anthem, a big "fuck you" to the forces that tried to bring him down. When he sings "Gonna find my way to heaven, 'cause I did my time in hell," you believe every gravelly word. "Beast of Burden" is the Stones showing their softer side, but don't mistake soft for weak. This is a love song with teeth, a ballad that can still throw a punch if it needs to. Mick and Keith's vocals weave around each other like smoke, while the guitars create a tapestry of sound that's both intricate and effortless. The album closes with "Shattered," a frenzied ode to New York City that captures the chaos, the energy, and the madness of the Big Apple in the late '70s. Mick's rapid-fire delivery is like a beat poet on amphetamines, painting a picture of a city that's falling apart and pulling itself together at the same time. But "Some Girls" isn't just about the individual tracks; it's about the whole goddamn package. This is the sound of a band that's been counted out coming back swinging. It's the Stones looking at punk, looking at disco, and saying, "Anything you can do, we can do better." Let's talk about the context for a minute. By '78, a lot of people were ready to write off the Stones. They were thinking, "Sure, they were great in the '60s, but can they still bring it?" "Some Girls" was the answer, and that answer was a resounding "Fuck yes." This album didn't just put them back on top; it redefined what it meant to be on top. They weren't competing with the new kids on the block; they were showing those kids how it's done. They took the energy of punk, the groove of disco, threw in some country twang for good measure, and wrapped it all up in that ...
copyright 2024 Quiet.Please
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  • Some Girls Turns 46

    Some Girls Turns 46
    2024/07/16
    Sure, here's a 2000-word celebration of The Rolling Stones' "Some Girls" album in the style of Kurt Loder: Alright, let's talk about "Some Girls," the album that proved The Rolling Stones weren't just your dad's rock band anymore. It's 1978, disco's doing its thing, punk's screaming in the corners, and here come Mick and the boys with a record that says, "Hey, we can do that too, and we'll do it better." Now, I've seen my fair share of Stones gigs, watched Mick strut his stuff from New York to L.A., but "Some Girls" hit different. This wasn't just another Stones record; this was a fucking statement. It was like they looked at the musical landscape, sneered that patented Jagger sneer, and said, "Watch this." Let's break it down, track by track, because each one's got a story, each one's got that Stones magic that makes you wonder how these English boys got so damn good at American music. We kick off with "Miss You," and holy shit, is this disco? From the Stones? You bet your platforms it is. But this ain't no "Saturday Night Fever" knock-off. This is disco with balls, disco that struts down a dark alley at 3 AM looking for trouble. Mick's harmonica wails like a lonely cat on a hot tin roof, and that bassline? It doesn't just groove; it prowls. Then we slam into "When the Whip Comes Down," and it's like the Stones are saying, "You want punk? We'll give you punk." This track's got more attitude than a CBGB's bathroom stall. It's New York grit under Mick's nails as he spits out lyrics about the Big Apple's underbelly. Keith and Ronnie's guitars don't just play; they snarl and bite. Now, you might think covering The Temptations is a risky move for a bunch of white boys from across the pond, but "Just My Imagination" proves the Stones can do soul with the best of them. They take that Motown classic and run it through their rock 'n' roll filter, coming out the other side with something that's both reverent and rebellious. The title track, "Some Girls," is where things get interesting, and by interesting, I mean controversial as hell. Mick's lyrics are like a hand grenade rolled into a politically correct dinner party. It's provocative, it's outrageous, and it's quintessentially Stones. They're pushing buttons and loving every minute of it. "Lies" comes at you fast and furious, a punk-inspired rocker that doesn't let up for a second. It's like being strapped to the front of a runaway train, with Mick as the maniacal conductor. This is the Stones showing the young punks that the old guard can still throw down with the best of them. Then we get "Far Away Eyes," and it's like the band decided to take a drunken detour through Nashville. Mick's faux-Southern drawl is so over the top it loops back around to brilliant. It's the Stones taking the piss out of country music while simultaneously showing they can play it better than most. "Respectable" is anything but. This is the Stones at their most defiant, thumbing their noses at anyone who thought they'd gone soft. It's a middle finger set to a Chuck Berry riff, with Mick sneering about high society and low morals. It's the sound of a band that knows its reputation and is having a blast playing with it. Keith takes the mic for "Before They Make Me Run," and it's like listening to a jailbreak in progress. This is Keith's outlaw anthem, a big "fuck you" to the forces that tried to bring him down. When he sings "Gonna find my way to heaven, 'cause I did my time in hell," you believe every gravelly word. "Beast of Burden" is the Stones showing their softer side, but don't mistake soft for weak. This is a love song with teeth, a ballad that can still throw a punch if it needs to. Mick and Keith's vocals weave around each other like smoke, while the guitars create a tapestry of sound that's both intricate and effortless. The album closes with "Shattered," a frenzied ode to New York City that captures the chaos, the energy, and the madness of the Big Apple in the late '70s. Mick's rapid-fire delivery is like a beat poet on amphetamines, painting a picture of a city that's falling apart and pulling itself together at the same time. But "Some Girls" isn't just about the individual tracks; it's about the whole goddamn package. This is the sound of a band that's been counted out coming back swinging. It's the Stones looking at punk, looking at disco, and saying, "Anything you can do, we can do better." Let's talk about the context for a minute. By '78, a lot of people were ready to write off the Stones. They were thinking, "Sure, they were great in the '60s, but can they still bring it?" "Some Girls" was the answer, and that answer was a resounding "Fuck yes." This album didn't just put them back on top; it redefined what it meant to be on top. They weren't competing with the new kids on the block; they were showing those kids how it's done. They took the energy of punk, the groove of disco, threw in some country twang for good measure, and wrapped it all up in that ...
    続きを読む 一部表示
    9 分

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