Thinking the Unthinkable: Sympathy For Mick Jagger
Slate has published one of the best pieces of music writing I've stumbled across in years: A review of Rolling Stone Keith Richards' new memoir "found" by the great music journalist Bill Wyman (NOT the Stones' bassist!) and ascribed to Sir Mick Jagger. It's a great literary conceit but mostly it's an awesome meditation on one of the mega-fixtures in pop culture of the past 45 years, the Rolling Stones. Hate 'em or love 'em, the Stones are part of the landscape we drive through every day.
The piece actually manages to make the extremely unlikable Jagger, accused by Richards of having a small penis among many other failings genetic and cultural, sympathetic. But more than anything, it's a rich reflection on something that all real rock and roll fans feel in their bones but never see addressed in print: What explains the inarguable creative decline of so many bands and performers who have just totally sucked for two or three or even four times as long as they were ever great? Think of Elton John, or U2, or Bruce Springsteen, or Paul McCartney, or Neil Young, Metallica, Patti Smith, or whoever. Regardless of whether you ever liked them or not, it's clear that the trajectory of pop musicdom is a grim one, and typically featuring a quick ramp upwards and a long-lived decline that's essentially a vertical line straight down.
So I recommend this piece to folks who like the great art of literary impersonation, who care about rawk!, who are Mick Taylor enthusiasts, who want to read about heavy drug use and its effects on creativity (bad and good), or who are interested in discussions of money and music.
A snippet:
It is said of me that I act above the rest of the band and prefer the company of society swells. Would you rather have had a conversation with Warren Beatty, Andy Warhol, and Ahmet Ertegun … or Keith, his drug mule Tony, and the other surly nonverbal members of his merry junkie entourage? Keith actually seems not to understand why I would want my dressing room as far away as possible from that of someone who travels with a loaded gun. And for heaven's sake. No sooner did Keith kick heroin than Charlie took it up. In the book Keith blames me for not touring during the 1980s. I was quoted, unfortunately, saying words to the effect of "the Rolling Stones are a millstone around my neck." This hurt Keith's feelings. He thinks it was a canard flung from a fleeting position of advantage in my solo career, the failing of which he delights in. He's not appreciating the cause and effect. Can you imagine going on tour with an alcoholic, a junkie, and a crackhead? Millstone wasn't even the word. I spent much of the 1980s looking for a new career, and it didn't work. If I had it to do over again I would only try harder.
When I came back I resolved to do at least something well. Which brings us to money….
Hoo-larious update: Never understimate the gullibility of the press! Read the report at myfoxphilly.com titled "Jagger Response to Richards Leaked Online." I look forward to Allen Klein - the jollytologist, not the late criminal former manager of the Stones - weighing in.
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Wouldn't be better just to let the "Sixties" fff-fade away? And, you know, get a life?
How does that apply to a band that released their best work in the seventies?
Late 60's-early 70's really
Beggars Banquet, Let It Bleed, Sticky Fingers, Exile On Main St.
The Mick Taylor years were some of the best in the history of rock music.
Actually, Mick Taylor wasn't on Beggar's Banquet. Brian Jones did most of the slide work on that one (among other things).
What all those albums do have in common is that they were produced by Jimmy Miller, which probably goes a lot further in explaining their quality than which guitar player was in the band at the time.
I read that article, and I came away wondering whether Bill Wyman actually got that from Jagger. I think its more likely Wyman wrote it as fiction, although it speaks the truth.
I read that article, and I came away wondering whether Bill Wyman actually got that from Jagger. I think its more likely Wyman wrote it as fiction, although it speaks the truth.
It's fiction, but it's gotta be damn close to Jagger's actual thoughts.
I think it's totally fiction.
...and in their poesy derivatively Zimmerman-esque...
or
...fucktard...
I mean, really? Entertaining, yes. Jagger? Nah.
It's a great literary conceit
It could be, I suppose, if it weren't entirely external to the thing. It's not in a Jagger-y voice, at all. It's Bill Wyman talking like he's slightly more dumb and pretentious than he is, to do a character who's smarter and less pretentious than he is.
Arse!
signed,
Mick Jagger
+1 (and unpretentious)
What explains the inarguable creative decline of so many bands and performers who have just totally sucked for two or three or even four times as long as they were ever great?
That would be the Sickboy theory.
+the internet
"...a long-lived decline that's essentially a vertical line straight down."
Eh?
Neil Young
Don't add Neil to that list. He's had some ups and downs but has stayed true to his music. His heyday was the 70s but he put out Freedom in 89 and Harvest Moon in the 90s and lates 90s and some decent shit in the 00s.
I think that what happens is that these guys get less relavent as they get older. The culture is made by and for the 18-35 crowd so when you pass that, no one except your old fans care anymore.
You didn't mention Bob Dylan, but I was listening to his latest CD yesterday and it is really good. It's not as siminal as Blonde on Blonde and it probably didn't sell much, but it is very nice album.
I'm a Neil Young fan and would argue with you on him. Dylan is the great exception to the rule, I think.
Richard Thompson's got both beat on quality relative to longevity. Probably helps that he wasn't a Superstar to begin with.
Best rock album of the '90s. Vinyl on Bong Load Records label has bonus cuts.
I don't think Dylan's the only exception, but it's close; a case can be made for Van Morrison, and Iggy stayed raw, defiant, and creative for longer than most. Tom Waits has never descended into the hell of self important aging hipster suckitude, but like Richard Thompson his star was never super to begin with. The Kinks stayed quirkily cool for a few decades, and never completed the transition to self parody. And in some distant galaxy, George Clinton and the whole P-Funk menagerie just kept on keeping it, well, real. Or as close to real as is possible while existing outside of reality as generally construed.
Neil Young, though? As a fan from all the way back to Buffalo Springfield it pains me to see him still believing he matters.
He doesn't fucking matter. That was part of my point. Nobody gives a shit about any of these people on your list. At least no one who matters. But he keeps doing his thing, I'm not saying that everything he does is brilliant, but I'm still a fan.
I read an interview with Dylan years ago, and he said something to the affect that everyone stopped hanging on his every word in about 1980. And he was happy about it. I'read things with Neil where he essentially said that he would always do what he wanted, he never cared what anyone said (witness Trans, The Shocking Pinks, etc).
Good call on Tom Waits, as much as I love his old stuff, he may be getting better over time.
And Tom Petty is still strong.
What explains the inarguable creative decline of so many bands?
Easy. Pop is a simplistic musical idiom defined by its repetitive beat and melodic structure. It imprisons itself creatively. "New" ideas and gimmicks are quickly exhausted. How many ways can you bake the same cake?
Your ears be so overstuffed with pretension, you can't tell Siouxsie and the Banshees from Katy Perry (if you could you would not have written that retard worthy sentence), you poor slob. Lie some more to ye self and stick it up your Sonny Rollins.
Incorrect, but thanks for playing.
One of his contemporaries wrote about Vivaldi: "He's written the same symphony 400 times."
Personally, I like Vivaldi a lot, but that doesn't mean I don't understand what the guy was talking about.
"He's written the same symphony 400 times."
That quip has some truth to it. He recycled many of his works, as did other artists of the period. Vivaldi is one of the lesser of the Baroque composers in my opinion. He wrote very accessible music, which is probably why he is popular today even among people who hate "classical" music. Most of us have heard at least a portion of The Four Seasons, his most famous (some would say "hackneyed") composition. But it's unfair to compare the Baroque, in all its relative simplicity, with what came later. J.S. Bach can't help it if he was born before Beethoven. Not that Bach isn't a giant (if not the giant) of his era.
Not quite inevitable: Johnny Cash.
A similar case could be made for movie directors, but again, Clint Eastwood proves it's not inevitable.
John Cash should've stopped making records about 1972.
You didn't like his "American" series?
The most interesting popular artists are those who manage to break free of the confines of their original idioms to try new things. David Byrne, for instance. He could no more revert to writing Talking Heads songs than a butterfly could again become a chrysalis.
I think Roger Waters was able to put out some pretty good stuff after he went solo. Amused to Death is pretty good. However, I'm worried my boy will be ruined after he sees Waters lip sync the Wall in a couple of weeks.
Lip sync? Say it isn't so!
I love Waters, despite the fact that most of the lyrical content post 1980 seems to be whining about Thatcher and his daddy issues. It probably helps in keeping him from getting stale that he only put out 3 real solo albums in 20 years. Haven't been too impressed with his more recent efforts, though.
What explains the inarguable creative decline...
XTC never made a bad record, not even close.
Along with Young, Springsteen has had ups and downs and gotten far too naively political, but has still put out some great stuff in the last 20 years. "Devils and Dust" is awesome as is this reworking of one of his biggest hits:
http://www.youtube.com/watch?v=d8TwMqpBeL4
Besides Young and Springsteen, there's Bowie (who went insane in a bad way from '85 to '95, but has done wonderfully since then) and Robert Plant. Lots of others, I'm sure, but Nick, dear Nick, I think, suffers from the common ailment of actually believing music he doesn't like isn't any good. Could be wrong, though.
I liked Tin Machine.
Yes, I have issues.
I actually enjoy some of Tin Machine's output as well. Not all of it, by any means. But "Bus Stop", "Baby Can Dance", "Baby Universal", "Goodbye Mr. Ed", "You Can Talk", and "I Can't Read" are all good songs.
The one thing that still perplexes me is "Stateside". I, um...I actually like that song. Quite a bit. I think I might be the only person on earth who likes "Stateside".
Really? Stateside? Even the live version?
I don't think I've heard the live version.
Bowie has done some great stuff following his execrable 80s period (seriously, Tonight is one of the worst albums I've ever heard by ANY artist). However, as much as I love 1.Outside and Heathen, the thing is that his 90s to now period has been...well, it doesn't have that same spark. The same zest. It's well made music, highly enjoyable, but it's not NEW the way his 70s output was. Ziggy Stardust, Low, and much of his other earlier music was new and original sounding. That's not to say he was never influenced by anyone else or that he never ripped anyone else off, but that work was largely new to mainstream ears. And he'll likely never achieve that again. Hell, at this point I'm starting to think Reality will end up being his last album ever.
Yes Plant is strong also. Some crap along the way.
Brian Eno, King Crimson, David Byrne.
I think that the lesson here is that all rock musicians should overdose or die in some other silly-but-bad-ass way by the time they turn 30.
By the time they turn 27, you mean.
I'll give them a bit of wiggle room on that.
I did have a musician friend (now well into his 30s) who was sure he was going to die when he was 27.
I don't get how Springsteen was ever good. It's not you, it's me, but I can't listen to anything of his save for Nebraska and even then only occasionally.
No, I don't like Springsteen. It's a shame I have to bear alone.
You aren't alone. Not by a long shot.
I don't care for Springsteen either. But I was at a party a few weeks ago during which some girl said that Bruce Springsteen was "really underrated."
I'm not a particularly argumentative person IRL but I couldn't let that sort of stupidity go unanswered. I argued that regardless of whether or not his music had actual merit, Springsteen was most certainly not underrated, as he's one of the biggest stars in the world. No one in America doesn't know who Springsteen is, and he's nearly as famous in many other countries as well.
Her counter-argument was that the Republicans had used "Born in the USA" as a campaign song back in the 80s and this proved that people don't understand his music.
I let it go then. That level of idiocy was likely toxic.
Sprinsteen is one of those musicians who I don't particularly care to listen to, but I can't deny that he is good.
Bob Dylan also falls into this category for me.
Philidelphia fit the movie perfectly.
I enjoy Pink Cadillac whenever it comes on the moldy-oldies station I listen to on occasion.
I probably never heard The River until late in my middle ages, but that song moves me.
Beyond that; Bruce sucks.
To that sir, I raise you - Hometown - Ugh. It is awful. My wife like BS - I can't stand him. It is so bad that she can listen to those songs in her car - in mine I listen to my stuff - I do like Murder Inc. and that is it. Otherwise, you can have the entire "Boss Collection" and through it in the River.
Many agree
Jagger never learned to read or write. He just had the lyrics in his mind, like Lil Wayne.
No matter how small the tallywacker may be, he got more pussy than anyone at reason has seen or even thought about.