The case of Harlem Duet demonstrates how this approach, ..


The Canadian adaptation Harlem Duet ..

Jaggerpulls out a gorgeous falsetto for "Moonlight Mile." "Sister Morphine(actually recorded during the sessions for the last album, along withthe version sung by lyricist Marianne Faithfull) is extremelyharrowing -- drugs didn't turn out to be so happy and trippy forMarianne or Keith, did they?

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But the biggest number of the evening was "NineSinatra Songsthat left us wanting to dance in the aisles! Featuring songs sung by Frank Sinatra, this elegant and sometimes humorous piece is ballroom style popularized by the television show "Dancing with the Stars." Oscar de la Renta collaborated with Tharp to design the beautifully flowing dresses that were by far the most colorful of the evening’s performance. Tharp’s choreography is unpredictable and dynamic with dancers moving separately from each other and not interacting with the other 7 couples. Personally, I could have used a little more variation on this number and just once, I would have enjoyed seeing all the dancers come together in the same movement. The last song, "I’d do my way" certainly seemed appropriate with Tharp’s creative choreography; she certainly was "doing it her way."

Charlie is technically perhaps the worst professional drummer on the planet, but his “self-made” approach works for the band.

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But then, I guess it's hard to beat so many instances of near perfection.PS: BUY THE BRIDGES TO BABYLON TOUR DVD.

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If you're looking for one track to completely define why this album is so great, and why the guitar interplay of this album should be worshipped, look no further than "Midnight Rambler." Sure, Jagger contributes nicely too, throwing in some great harmonica parts and running the show flawlessly while strutting his bad self.

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As for "Bitch," well, the riff (played sometimes by guitars, sometimes by saxophone and trumpet, to great effect) for this may be even than the one to "BS," and unless you're a woman, it's hard not to have a part of you that gets a kick out of singing the silly, juvenile lines that pop up in the song.

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The bassline of the first (played by Richards, no less) sucks the listener in like mad, and as layer upon layer of trashy lyrics and scummy saxophone work and guitar licks bending up and down are added, the effect becomes only that much stronger.

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It's a Jagger/Taylor collaboration (regardless of the Jagger/Richards credits), and while it doesn't bear any of Keith's playing, that doesn't make it any worse.

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And everything else in the song follows suit remarkably - Mick's singing and periodic harmonic bursts do an impeccable job of adding to the impression of the "storm threatening my very life today," and the vocal interlude from Mary Clayton ...