by Philippe Margotin & Jean-Michel Guesdon
The authors are at their strongest when identifying who played on what track, and exactly what instrument they were playing. Did you know Charlie Watts played a “Gretsch kit”? He most certainly did. You’re reminded of that every other page.
They’re at their weakest in understanding lyrics. They were constantly just slightly, or entirely, missing the mark. For example, “Hang Fire” off TATTOO YOU was not exactly an indictment of Thatcherite economics. It was more an indictment of lazy people, a feeling which Mick would explore more explicitly a few years later in “Let’s Work”. But hey I could be wrong.
The best parts were often when I’d go back and put the CD on to a certain minute mark where the authors had pointed out a flub. What incredible ears they must have – usually I could barely even hear what they were talking about. But particularly on the early tracks, it was often amusingly obvious. The book was worth the price of admission for expounding on the way Keith’s fuzz guitar comes in a note late on the second refrain of “Satisfaction.” I had always noticed that, even as a wee tot, and I always really liked the effect. Now I know that he was late turning on the fuzz pedal, which he turned on for the refrains and off for the verses! And for the third refrain, he’s a note or two too soon, though that’s less noticeable.
Tytania 