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Does Collecting Make You Feel Dirty?
cbertsch
cbertsch
Sticky
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From: marcegoodman Date: July 28th, 2006 06:12 am (UTC) (LINK TO SPECIFIC ENTRY)
Sticky Fingers remains my favorite Stones record and evokes the early seventies as powerfully as any music I know. One of the earliest pieces of rock criticism I read, Jon Landau's review essay of the record (collected in It's Too Late To Stop Now), actually found fault with the acoustic rhythm guitar part that doubles the electric rhythm guitar part on Brown Sugar which just seems laughable now. It's funny but I usually think of at least the guitar part of the instrumental interlude of "I Hear You Knocking" as being Santana-like but having just re-listened, you're right - the horn part does sound Doors-like (i.e. Touch Me specifically). In any case, superb.

Thanks Masoo for the clue on the cover model. See more here: http://en.wikipedia.org/wiki/Joe_Dallesandro
cbertsch From: cbertsch Date: July 29th, 2006 05:51 pm (UTC) (LINK TO SPECIFIC ENTRY)
My three favorite Stones' albums are that one, obviously, Exile on Main Street, and Beggars' Banquet. I'd be hard-pressed to choose. I hear that Santana too. But it's still more Doors to me.
From: marcegoodman Date: July 29th, 2006 08:11 pm (UTC) (LINK TO SPECIFIC ENTRY)
By sheer happenstance, those are the three Stones LPs I re-collected after selling off the ones I originally had gathered. Yes, definitely more Doors than Santana.

I just remembered a Stones-related story that I thought you'd appreciate from, of all people, Slavoj Zizek:

Let me give you an interesting anecdote, which may amuse you. Officially, for the youth generation the standard position is “Adorno is bad; he hated jazz. Marcuse is good; solidarity with the students and so on.” I know people in Germany who knew Adorno and I know people, such as Fred[ric] Jameson, who knew Marcuse. Marcuse was much nastier. To make a long story short, Marcuse was a conscious manipulator. Marcuse wanted to be popular with students, so he superficially flirted with them. Privately, he despised them. Jameson was Marcuse’s student in San Diego, and he told me how he brought Marcuse a Rolling Stones album. Marcuse’s reaction: Total aggressive dismissal; he despised it. With Adorno, interestingly enough, you always have this margin of curiosity. He was tempted, but how does something become a hit? Is it really true that the hitmaking process is totally manipulated. For example, if you look in the Introduction to Music Sociology, in the chapter on popular music, Adorno argues that a hit cannot be totally planned. There are some magic explosions of quality here and there. Adorno was much more refined and much more open at this level.


The full interview can be found here:

http://www.electronicbookreview.com/thread/endconstruction/desublimation
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