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While the critical reception was lukewarm—many felt some of the songs were best left unreleased— Metamorphosis still managed to reach No. Two singles, " Out of Time " featuring Jagger singing over the same backing track used for Chris Farlowe 's version and a cover of Stevie Wonder 's "I Don't Know Why" briefly made the singles charts.
The album's cover art alludes to Franz Kafka 's The Metamorphosis. All songs by Mick Jagger and Keith Richards , except where noted. From Wikipedia, the free encyclopedia. Redirected from Metamorphosis The Rolling Stones album. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Title Metamorphosis. Additional Artists. Record Weight G. Record Speed 33RPM.
Record Speed Record Size 12". Multi Channel. Stereo 1. Picture Disc. Out of Print 1. Direct to disc. Availability Discontinued. Format Vinyl. Creation Date. Posts to:. This amount is subject to change until you make payment.
For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab This amount includes applicable customs duties, taxes, brokerage and other fees. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab. Start of add to list layer. Add to Watchlist Add to wish list. I find it lyrically convincing, but labored to the point of being unlistenable musically.
Perhaps that is part of the conception: obviously, a song about morphine should not be pleasant to hear. The question is, is the song unpleasant because it makes us uncomfortable emotionally, or simply because it is an awkward and unsuccessful attempt to depict reality through music? Despite its parodistic intentions, the mere thought of the Stones doing straight country music is simply appalling. And they do it so poorly, especially the lead guitar.
The cut is ordinary without being either definitive or original. The semi-oriental touch seems to heighten the song's intense expression of desire, which is the purest and most engaging emotion present on the record. The sense of personal commitment and emotional spontaneity immediately liberate Jagger's double-tracked singing: it's limitations become irrelevant and he rises to the occasion by turning in his best performance on the album - the only thing that compares with his singing of "Gimme Shelter.
When Jagger finally says "Here we go, now" as Mick Taylor's guitar Richard is inexplicably absent falls perfectly into place with a hypnotic chord pattern, it's as if he is taking our hand and is literally going to walk us down his dream road. As the strings push the intensity level constantly upwards and Charlie emphasizes the development with fabulous cymbal crashes, the energy becomes unmistakably erotic - erotic as opposed to merely sexual, erotic in a way that the entire rest of the album is not.
The expression of need that dominates so much of the record is transformed from a hostile statement into a plea and a statement of warmth and receptiveness. This cut really does sway and when Jagger's voice re-enters, it is with none of the forced attempts at style and control present on the rest of the album, but with the kind of abandon that he seems uniquely capable of.
And unique is the best word to describe the cut as a whole: after nine songs that hover around the middle, they finally hit the high note and make a statement that is not just original but that could have only come from them. At least it gives me hope for the future.
They were self-conscious in an obvious and unpretentious way. And they were committed to a musical style that needed no justification because it came so naturally to them. As they grew musically the mere repetition of old rock and blues tunes became increasingly less satisfying.
They went from doing other people's material to doing their own. Those two albums are responsible for the Stones' reputation with most of their current audience and comprised the bulk of their material on their tour of America. The darker side of those albums was all but ignored. Where the early Stones had been, if anything, too anarchic and too abandoned, they now became too controlled and manipulative.
They plodded instead of rocking, seemingly mired down by their conception of what they were supposed to do rather than being involved with what they wanted to do. On Sticky Fingers, it doesn't really sound like they are doing what they want to. The early ones are sloppy, messy, and vulgar. They are brash and almost ruthless in their energy. And they sound real. Ultimately they sound detached from it, as they do from all but a few things on Sticky Fingers.
The two million hours they joke about spending on this record must have surely resulted from uncertainty about what it was they wanted to hear when they were through. On the other hand, those early records always sounded whether they were is irrelevant as if they were recorded in a day, without any overdubbing, comprised mainly of first takes.
They reverberated with off the wall spunk and spontaneity. Obviously the Stones can't go back to that: it would be redundant and incredibly limiting for them. But perhaps they have now gone too far the other way.
If Sticky Fingers suffers from any one thing it's its own self-defeating calculating nature. Its moments of openness and feeling are too few: its moments where I know I should be enjoying it but am not, too great. David Gilmour was on hand to assist. The single reached 21 in the UK chart. Posts: 12, Wonderland Gender:. I only get my rocks off while I'm sleeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeping with your girlfriend!! In reality, Brian had been fired by Mick and Keith because of his increased drug use and erratic behavior.
Emotionally and physically Brian was a mess and was actually contributing very little to band. He would die from an accidental drowning at his home less than a month later.Metamorphosis pulls a number of tracks from this latter grouping, and while "Each and Every Day of the Year" (covered by Bobby Jameson), "I'd Much Rather Be With the Boys" (the Toggery Five), "Some Things Just Stick in Your Mind" (Vashti), "Sleepy City" (the Mighty Avengers), and "We're Wasting Time" (Jimmy Tarbuck) may not be Stones performances per se, they are certainly Stones songs .