rolling stones some girls lies 1978Can You Hear the Music?


Rolling Stones songs: Lies
*Click for 

Lies, lies you dirty Jezebel/ Why, why, why, why don’t you go to hell?,,,

Written by: Jagger/Richard
Recorded: EMI Pathé Marconi Studios, Paris, France, Oct. 10-Dec. 1977/Jan. 5-March 2 1978
*Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012

From the The Rolling Stones – All the Songs book:
“Lies” is again one hundred percent Mick Jagger. This time, the singer
targets liars of all kinds, from the girlfriend who whispers sweetly in the ear
of her boyfriend, to the authors of history books, and even to the lies in my
papa’s looks
. This builds into a dark, almost nihilistic vision of the world
that can be seen as an echo, of sorts, of the “No future” slogan of the
“Blank Generation.” “Lies” is the Stones’ response (over a rhythm Steve
Jones, the Sex Pistols’ guitarist, would have had difficulty following) to
criticisms from bands on the punk rock scene that they were no longer
relevant. The song would be included in their set list for the 1978 US tour
(beginning at Lakeland, Florida, on June 10, and ending in Oakland,
California, on July 26)

It looks as if the Stones meant to prove that they too could play fast, using
few chords and making a sound that was distinctly rough around the edges.
But they were rich, all were over thirty, they were recording in a
sophisticated studio even though the equipment was modest, and they had
few worries for the future. This meant their approach was inevitably based
on a false premise, however noble the sentiment. But it is difficult to hold
this against them. “Lies” is a good, high-energy rock number. It may be
somewhat lacking in substance, and not of the same caliber as “Rip This
Joint,” but the production is excellent. In particular, the guitar sound is
perfect, Keith and Ron trading interweaving riffs, and Mick playing a
rhythm part that helps to create a deliberate “garage band” feel. Ronnie
(probably) plays a well-constructed solo, although without really taking off,
because he tends to stick too closely to the other guitars. Charlie is excellent
on his Gretsch kit. He pounds away determinedly on his drums and
cymbals, and is supported by the majestic Bill, whose bass has a very clear,
clean sound. As for Mick, he is obviously completely at ease in rock
numbers of this type, but succumbs too much to caricature and overdoes it a
little. This is a shame. However, there’s no getting away from the fact that
the Stones have an advantage over the punk musicians: they really know
how to play. As for writing hits, they can do that too. When they’re not
trying to prove something to themselves

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