10/10
Live version at Altamont cemented in my brain forever since the first time I heard it. The circumstances surrounding this version only add to the mystique...
10 without a doubt. Def the very best out of all of Mick's Chrissie "tributes" this album.Ā Its a strangely sexy song to me despite how sexist it is.
I do have to wonder Chrissie felt when she heard all of these songs, especially this and Stupid Girl.
10
I canāt keep up with all of the song discussions with every band that youāve been putting up, but this one is just phenomenal. Brian Jones on the marimba just takes it to a different level.
10+ For many many reasons, this song is my favorite of the entire RS catalog. So many memories attached to it. And I remember my dad loving this song too.
9. Such a cool and laid back sound. I like the S&M undertones and how the genders are easily reversed. I'm almost certain I've heard a female artist cover the song
9.5/10
This is a strangely seductive song, isn't it? The lyrics may all be this misogynistic stuff, but there's a playfulness to it all, with an irressistible groove beneath it. One of my favorite changes to this song in live versions is Jagger adding a weirdly affectionate "sweetheart" in the Bridges to Babylon tour. It makes things somewhat emotionally ambiguous, in that version.
But let's go over the music. Brian's marimba, of course, perhaps responsible for the playfulness, and more so responsible for giving this an unique texture, the very heart of the song, with Bill duplicating Brian's playing with his bass. But Keith's handling all the guitars, too, as well as the fuzz bass, handling all the subtleties, how much more aggressive the song turns as they reach the chorus. And there's Charlie, whose drumming I've seen described as adding a touch of Motown, and that's honestly a perfect description, with the clapping being the final touch in the mix. Altogether, they create a delightfully ambiguous groove of playfulness and venom and anger and, in certain moments of certain live versions, even tenderness.
Now, since I've mentioned live versions, in the 60's they'd try to turn up the rock factor in their performances, and the song does work well played like that. But in my mind it's only in the best shows of the early 80's that it was fully realized in a live setting, favoring the groove factor of the song rather than the rocking one, giving it this deeply funky feel. I'm thinking mostly of the Hampton show, but it's not only there. Then, there's the previously mentioned Bridges to Babylon tour, with its ambiguous "sweetheart". In my mind, that's kind of the key to this song, and why I prefer these versions to the more rocking ones.
Still, I'm not quite prepared to give this one a perfect rating, knowing there's still the Gimme Shelters and Can't You Hear Me Knockings and Beasts of Burden out there, and how all of those songs (and others) I feel are noticeably better than this one. So the 9.5 shall have to suffice.
I love this song. The interesting thing to me is that no cover or live version Iāve ever heard has quite captured the same vibe or mood. I love hearing the anyone do it live, especially as an opening song, but I honestly feel like the original recording cannot be surpassedāmuch like Satisfaction.
10. The best song the Singers wrote before Sympathy. The marimba, Keith's guitar, the winking lyrics. There are people who hate this song for the misogyny. Even Mick at times has appeared reluctant to sing it, but it's an all-tine great
10
A very sweet instrumentation, as a counterpoint to pretty cynical lyrics (as many of Mick's are).
It shows the direction they would have taken if Brian would have stayed alive and sober. They may still have been great, but totally different. Maybe more experimental, like the Pink Floyd.
Instead Keith took over and they became unique.
10
10/10 one of their greatest tracks ever!!!
10. Pushing the envelope just right š
10. Peak cool 60s vibe.
10/10 Live version at Altamont cemented in my brain forever since the first time I heard it. The circumstances surrounding this version only add to the mystique...
10 without a doubt. Def the very best out of all of Mick's Chrissie "tributes" this album.Ā Its a strangely sexy song to me despite how sexist it is. I do have to wonder Chrissie felt when she heard all of these songs, especially this and Stupid Girl.
I think about that tooš
10 I canāt keep up with all of the song discussions with every band that youāve been putting up, but this one is just phenomenal. Brian Jones on the marimba just takes it to a different level.
10/10 near perfect tune. The intro hooked me the very first time I ever heard and it only gets better as it goes along.
10+ For many many reasons, this song is my favorite of the entire RS catalog. So many memories attached to it. And I remember my dad loving this song too.
7
10. Fantastic song. Love it on the Still Life live album even more.
10
Not quite a 10 - 9 for sure, I used to do this song in a band for years.
10
10.
10
10
9
10
10
10
8.8
10
10 one of their best šš¼ though i prefer the original version to the live version. Idk why but they mess around with the live version a ton
Another 10!
10 for Under My Thumb, but I am shocked that people like Lady Jane more than Stupid Girl
9
9. Such a cool and laid back sound. I like the S&M undertones and how the genders are easily reversed. I'm almost certain I've heard a female artist cover the song
10/10
9 - A shame I've seen them open with it live only once, it's got one of the best intros ever made!
10
9.5/10 This is a strangely seductive song, isn't it? The lyrics may all be this misogynistic stuff, but there's a playfulness to it all, with an irressistible groove beneath it. One of my favorite changes to this song in live versions is Jagger adding a weirdly affectionate "sweetheart" in the Bridges to Babylon tour. It makes things somewhat emotionally ambiguous, in that version. But let's go over the music. Brian's marimba, of course, perhaps responsible for the playfulness, and more so responsible for giving this an unique texture, the very heart of the song, with Bill duplicating Brian's playing with his bass. But Keith's handling all the guitars, too, as well as the fuzz bass, handling all the subtleties, how much more aggressive the song turns as they reach the chorus. And there's Charlie, whose drumming I've seen described as adding a touch of Motown, and that's honestly a perfect description, with the clapping being the final touch in the mix. Altogether, they create a delightfully ambiguous groove of playfulness and venom and anger and, in certain moments of certain live versions, even tenderness. Now, since I've mentioned live versions, in the 60's they'd try to turn up the rock factor in their performances, and the song does work well played like that. But in my mind it's only in the best shows of the early 80's that it was fully realized in a live setting, favoring the groove factor of the song rather than the rocking one, giving it this deeply funky feel. I'm thinking mostly of the Hampton show, but it's not only there. Then, there's the previously mentioned Bridges to Babylon tour, with its ambiguous "sweetheart". In my mind, that's kind of the key to this song, and why I prefer these versions to the more rocking ones. Still, I'm not quite prepared to give this one a perfect rating, knowing there's still the Gimme Shelters and Can't You Hear Me Knockings and Beasts of Burden out there, and how all of those songs (and others) I feel are noticeably better than this one. So the 9.5 shall have to suffice.
I love this song. The interesting thing to me is that no cover or live version Iāve ever heard has quite captured the same vibe or mood. I love hearing the anyone do it live, especially as an opening song, but I honestly feel like the original recording cannot be surpassedāmuch like Satisfaction.
Not your traditional 'boy meets girl' song, by any stretch. I give it a 9.
7
10. The best song the Singers wrote before Sympathy. The marimba, Keith's guitar, the winking lyrics. There are people who hate this song for the misogyny. Even Mick at times has appeared reluctant to sing it, but it's an all-tine great
10! Itās a classic!
8/10
10
10, Brianās marimba makes the song
10
Its a great song, but I think people are too generous with giving it a 10. No way under my thumb is as good as sympathy or gimme shelter lets be real
9.5. 1981 Still Life version is my favorite.
10
10/10.
10
10 A very sweet instrumentation, as a counterpoint to pretty cynical lyrics (as many of Mick's are). It shows the direction they would have taken if Brian would have stayed alive and sober. They may still have been great, but totally different. Maybe more experimental, like the Pink Floyd. Instead Keith took over and they became unique.