Daily Archives: July 23, 2020

ITS time to reset the UK consumers relationship with the UK fishing industry.

Fishing rights are regularly in the news as the UK/EU trade negotiations rumble on. And while fishing is a relatively small economic issue, its certainly a big political one. Any research on the topic will quickly reveal huge industry complexities, a host of different organisations, sustainability issues and historical policies and licences all permed with hot multi-national politics.

Little discussed however is the relationship between UK fishing and the UK consumer, and at the heart of this story is a tale of separation, abandonment and decline.

Lets start with the decline. In 1895 the seas were open, fishing villages flourished all around our isles, and what was landed by local boats was what you ate. Peak UK fishing.

In Skye, the staple diet was salmon. If you were indentured to work on a farm, part of the deal was you could be fed salmon no more than four times a week. In London you ate a lot of eels, and somewhat reluctantly, pike.

Since 1895, its all been downhill. The total number of fishermen employed in the UK has fallen from just under 50,000 in 1938 to less than 12,000 today. The number of fishing vessels in the UK fleet has fallen by 30 per cent since 1996 to some 7,000 vessels.

So what is behind this decline? One key culprit is demand. The top two fish we land are mackerel and herring the perfect oily fish for a healthy diet, but very much out of fashion in the UK.

Also, despite cooking being an increasingly popular pastime, many people simply dont know their fish, or how to cook it. We export fabulous crab, scallops and langoustines to the Mediterranean and then fly out there to enjoy them at a restaurant.

But the biggest factor behind the decline is the separation of UK consumers from their own produce. The Marine Conservation Society explains that we currently export around 75 per cent of fish caught and landed in the UK, but were the ninth largest importer of fish in the world, with around 70 per cent of the seafood value entering the UK fish supply chain coming from overseas.

This two-way motorway of fish is absurd: economically wrong and also an ecological disaster. We are net importers of fish, while the fishmonger with fresh fish down the road is in decline.

We generally export in bulk, and buy consumer packaged, losing out on the processing jobs. We import from places as far away as China, India and Vietnam, at a horrendous cost in product miles: marine diesel, bulk packaging, and waste incurred during transport.

So, some pundits might say that the politicians have a history of abandoning UK fishing. But the facts show us that, as a whole, the UK population are often less supportive of our fishing industry than they realise.

Its therefore quite easy to be pessimistic about the future of the UK fishing industry. However, that would be wrong. Compared to the EU countries, the UK fleet has the second-largest total catch (in terms of landed weight) and the second-largest fleet size (in gross tonnage terms).

More than 80 per cent by value of the UK fleets landings are from UK waters. A further factor is that, despite the fall in the number of fishermen, this has been counterbalanced to some extent by increased productivity with modern equipment and trawlers.

But imagine how much better the outlook would be if we reconnected with UK fishing. As individual consumers we all have the power to help change this. Eating locally-caught fish would reduce our product miles and provide crucial support for the UKs fishing industry and its local communities.

Alan McCulla, CEO of the Anglo-North Irish Fish Producers Organisation, spells out the opportunity: We need people to care where their fish comes from, and for us the direct-to-consumer market is growing in importance, particularly as people are worried about sustainability.

The five most popular fish in the UK are also the UKs top five fish imports: salmon, cod, tuna, prawns, and haddock. But there are other excellent fish which are sustainable UK-caught alternatives: such as megrim (from Rockall, the northern North Sea, and West of Scotland), turbot (North Sea), coley (North Sea and Rockall) and lemon sole (the English Channel).

There are three ways to support UK fishing: visit your local fishmonger, ask at the supermarket fresh fish counter, or get your fish fresh direct from harbourside businesses and collectives. All UK-landed fish can be found atyouk.co, which offers a unique approach to finding sustainable UK-landed fish.

Go on, give UK-landed mackerel, herring, coley and shellfish a go!

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There's no plaice like home: Why we should be eating British fish - The Conservative Woman

With its thunderous riffs, piercing vocals, driving groovesand all too memorable licks, Back in Black has rock anthem after rock anthem engraved throughout. Although it follows the same formulaic method as their previous records, the album managed to revitalise rock and roll forever, elevating the band to new commercial heights at a crucial point in their career.

After the breakthrough release of Highway to Hellonly a year prior, it looked like AC/DC were onan upwards trajectory, winning the hearts of fansand storming albumcharts around the world. Shortly after its release, however, tragedy struck. The groups charismatic front man, Bon Scott, heartbreakingly died from asphyxia caused by alcohol poisoning.

The loss of Bon Scott had left AC/DC with a deep wound, ultimately pushing them to consider ending it all.With these terrible circumstances looming, it wouldn't be a travesty if AC/DC packed it all up and called it a day - instead, the group kept on chugging and delivered what many believe to their best effort ever, and certainly one of rock's all time greatest albums.

After some encouraging words from Scotts parents to carry on, andmyriad failed auditions, AC/DC reached out to a frontman that Bon himself had highly regarded:32-year-old Brian Johnson of the English band Geordie. Upon being called in for an audition, Johnson delivered an astoundingrendition of Tina Turners Nutbush City Limits to the delight of the Young brothers, and as they say,the rest was history.

Despite concerns from their fanbase, the transition of the band's lead singers was ultimately seamless. Unlike other singers joining a pre-existing band,Johnson didnt attempt to hijack or change theirtrajectory. Instead, he knew his place. And like the other members, he did his part to make the best rock and roll they possibly could. Even with all this change, Scotts influence still loomed large; some new songs had already taken shape while the legendary frontman was still alive. The very essence of the album still felt like Bon was around, and this was something the original members werent willing to change.

Regrouping to the Bahamas with producer Mutt Lange,AC/DC bunkered down to beat a seven-week turnaround imposed on them by their label. Fuelled by the desire to create a profound effort to honour Scott's memory and double down on their own prowess, Lange and AC/DC worked in the studiopersistently, andunder extraordinary circumstances, miraculously put together one of thebest-selling albumsof all time.

Like its namesake, the albums opener Hells Bells begins with a haunting bell, alluding to the band coming out of a dark place, one of memorial and mourning. Enveloping listeners with a sombre mood, Angus Youngs entrancing riff and Phil Rudds drumming enters in perfectly. The power of Brian Johnson's voice mesmerises audiences. With everything so tightly knit, this was the opener of all openers. If anyone had ever doubted, AccaDacca were back.

On Shoot to Thrill, an upbeat riff and faster tempo takes audiences out of the gloomy mood completely - Johnsons electrifying voice now more controlled, but equally as loud: I shoot to thrill, and Im ready to kill. The ending sees a floaty riff, tight drumming andsome groovy bass, all before an uproar of rock crescendo comes crashing down.

A product of its own era, the middle section of Back In Blackis pepperedwith more than a fewquestionable lyrics about sexuality, and also puts forthsome rather damning lyrics about women. Although the music itself is at the same level of excellence as the previous songs, many criticshave questioned the lyrical content and its appropriateness in retrospect, and honestly, we can't blame them.

Regardless of this, AC/DC carry on with similar themes. Have A Drink On Me, follows the bands same harrowing lyricism. Seemingly unfitting due to the way Bon Scott passed, the song sits perfectly with the bands wit and dark sense of humour. The title track is a highlight of the album. Consisting of more intricate lyricism: yes Im let loose, from the noose, and forget the hearse, cause I never die, I got nine lives. Angus and Malcolm'srhythm and lead parts cleverly interweave, resulting in one of the most recognisable guitar riffs of all time. Cliff Williams bass is dominant, while Paul Rudds drumming is perfectly timed, making a heavy impact.

Back in Black not only marks the commercial peak of a legendary outfit: it is also a fitting tribute to a frontman who helped the band reach grand heights. Without Bon Scott, AC/DC would not be where they are now, let alone in a position to create their magnum opus.

The reason they resonate with their listeners is that theyre a no-nonsense type of band. You either love them or you hate them; they couldnt give a rat's ass. Their brutal, catchy riffs pull listeners in, captivating them into feeling like they belong to something important. Accadacca make anthems: anthems for the hard-working, the battlers, the ordinary person that just wants a go. For many, Back in Black encapsulates all of this, cementing AC/DC as rock and roll royalty who changed the genre forever.

While you're here - revisit the legacy of Malcolm Young with this tribute to the steady right hand of AC/DC.

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40 years of Back In Black: a celebration of AC/DC's hard rock opus - Mixdown

Josh Morrissey knows who hed have included on his list of Hart Trophy finalists, if he had a say in the matter.

The masked man behind him, standing guard at the Winnipeg net, would have received the Jets defencemans vote.

"Obviously, theres so many great players in our league. Theres a lot of players who add big-time contributions to their teams. Thats the nature of any award. Its not a statistical-based award. Any time theres some discussion or potential for different players, thats what makes it exciting and fun and keeps talk shows busy, for sure. In my opinion, he should have been in the conversation," Morrissey said Wednesday.

"I dont think we would have been where we were at without him, thats for sure. Hes been our rock all year, hes been so solid for us... Im pretty sure in most guys minds in our room, hed be in (that group of) three players."

MIKAELA MACKENZIE / WINNIPEG FREE PRESS

Winnipeg Jets goalie Connor Hellebuyck is a finalist for the Vezina trophy.

The winner of the Hart Trophy, determined by members of the Professional Hockey Writers Association and presented to the leagues most valuable player, will be either Edmontons Leon Draisaitl, Colorados Nathan MacKinnon or Artemi Panarin of the New York Rangers.

The finalists were announced by the NHL on Tuesday. The same three all-stars were named finalists for the Ted Lindsay Trophy, honouring the leagues most outstanding player as voted on by players.

Hellebuyck wasnt ignored, however. He joins Tuukka Rask of Boston and Andrei Vasilevskiy of Tampa Bay as the three finalists for the 2019-20 Vezina Trophy, awarded annually to the NHLs top goaltender.

Its the second time in three years the 2012 fifth-round draft pick has been up for the award.

"It motivates me because I want to prove myself even more," Hellebuyck said, from the Iceplex as the Jets continue their summer training camp. They battle the Calgary Flames in a qualifying round next month. "But now its playoffs, so no matter what youre coming with the right mindset and the right motivation because everyone wants to win a Cup, right?

"The other thing is, its a little bit of satisfaction that I finally have got a little bit of an achievement for all the hard work I put in. Its not chosen yet, but just being in that group of goaltenders is itself a milestone. I like them both so now Im using it as motivation but Im also happy that my hard work is paying off a little bit."

Hellebuyck was, unequivocally, Winnipegs most valuable player during the 2019-20 NHL season before it was cut short owing to the coronavirus pandemic. The Michigan product, who turned 27 in May, led all goalies in appearances (58), shots faced (1,796), saves (1,656) and shutouts (six), and ranked second in starts (56), wins (31) and minutes (3,268:33).

"Hes in that elite status," said Jets coach Paul Maurice. "I think all of these Hart players, they put a number of years together before you can have a good year, but you need put together two or three of those kind of years together before you start to get your name out there. Connor is moving into the time where his name will start coming up in that, I think."

The look of the Jets power play has a consistency to it, with right-shot defenceman Neal Pionk on the point along with Patrik Laine, Mark Scheifele working the slot, Kyle Connor down low and splendid playmaker Blake Wheeler working the wall.

Its Pionks responsibility to snap the puck over to the sharp-shooting Finn for a one-timer, but opponents have long clued in.

On Wednesday morning the Jets added a wrinkle, with Wheeler spinning from the boards and quickly swapping spots with Pionk, who sent a cross-ice feed to Laine for a rocket past goalie Laurent Brossoit.

Some shrewd scheming by the coaching crew, perhaps?

JASON HALSTEAD / WINNIPEG FREE PRESS FILES

Winnipeg Jets Defenceman Neal Pionk.

"I think the driver in that was boredom. We ran our power play three or four days. The guys want to try stuff and we like them to do that," Maurice admitted. "They are also now, and I dont want to get into any of the details of how were running this, theyre starting to explore the different places they can go with their power play.

"You know that Calgary knows exactly who is coming off the bench first, where everybody is standing and how the puck flows, how it moves through Blake Wheeler. Theyre going to have a plan for that and you want another place to go if its not working and you want that place to be really, really effective. If it doesnt score you goals, you want the place you take your power play to at least let you return to your original spot and be more successful."

The Jets got a reprieve Wednesday from coronavirus testing. Those nasty nasal swabs aptly called the "brain tickler" by forward Andrew Copp last week, happen every other day.

Thats still too often for Hellebuyck, who said players dont get to watch each other get tested so its difficult to know whos the squeamish one of the bunch.

"Well the tests are timed so were not around each other but I would definitely say talking with guys after, some guys, it hurts them a little bit. Some guys like me cant stand it and some guys just get over it. Its not that bad but over and over and over again, it grinds on you a bit," said Hellebuyck.

Maurice and his staff dont get a pardon from the medical staff.

"No (its not a lot of fun), but were coaches, so we did a pre-scout (of people doing the tests)... we know exactly who (laughs) gets it on the first try and who can put you down. Im teasing. Weve got great professionals here," he said. "No, its not a lot of fun. I was amazed that there was that much room in the human head. Theres probably lots of you that think hes full of air anyway. So, I was impressed by how deep he was able to get that swab in.

"You know what? When I do my last test, I wont be coming back for another one. That will be it."

Veteran defenceman Anthony Bitetto is listed in Thursday's Group 2 morning skate. He has yet to make an appearance at summer camp, although the team has not given a reason, as per the NHLs current rules.

The Jets will scrimmage Thursday, take Friday off, practise Saturday and then travel to Edmonton on Sunday.

jason.bell@freepress.mb.ca

Twitter: @WFPJasonBell

Jason BellAssistant sports editor

Jason Bell wanted to be a lawyer when he was a kid. The movie The Paper Chase got him hooked on the idea of law school and, possibly, falling in love with someone exactly like Lindsay Wagner (before she went all bionic).

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In praise of the masked man - Winnipeg Free Press

If you don't go to bed kicking the ball like Matty Forde, You won't wake up kicking the ball like Matty Forde.

Every night at training, the Wexford ace used spend 45 minutes on his own, lacing balls, honing his technique, perfecting his craft. All told, he will go down as one of the most accurate shooters ever to have kicked a Gaelic football.

The art wasn't mastered by chance.

Matty's brilliance - off left and off right - was the product of inspiration and initiative. The Kilanerin Ballyfad club man recalls watching a certain Maurice Fitzgerald as a youngster, and being mesmerised by kicking ability off both sides.

"I remember looking at good players at the time like, you know one that always springs to mind is Maurice Fitzgerald. You were kind of struggling to see was this fella left or right footed," says Forde.

"As it turned out, it would be something youd be advising all young fellas to do, do you know, whether its football or hurling - it just makes you that bit harder to mark. Do you know like, as I progressed then I kept working on it more and more and it has been a huge help to me over the years, over the duration of my whole career..."

"Some of the better scores I've got probably did come from my left foot! It wasn't just for standing on, I wasn't shy to use the left foot I suppose!"

After school, Forde used head to the pitch to perfect his kicking. He'd drag his nephews along with him. Training nights often meant arriving earlier or staying behind.

"I would have done a huge amount on my own. Again, at that stage with Wexford that was probably my fourth or fifth year playing and just from listening to other players and hearing what other players were doing like, all the really good guys were doing extra stuff on their own.

"The three nights a week that we were on the field just wasnt going to cut it...if you wanted to be a bit better, if you wanted to improve. I was more than happy to go, doing extra stuff. I used to drag my brothers three young fellas along with me and theyd kick balls back to me all day, theyd be happy enough anyway. Id be getting to training maybe 45 minutes early most nights as well...so 45 minutes extra every night, three nights a week is a huge amount at the end of a week, at the end of a month at the end of a season. I never really tried something in a match that I hadnt done in training or that I hadnt tried."

The follow through is key. Between kicking frees from a young age to lining out as an out half for his local rugby team, Gorey RFC, Forde learned plenty and driving out through the ball was a very important part of his routine.

"As I say to young fellas, its like do you know when youre taking frees, its like hitting a golf shot. If you dont follow through...kicking the ball will make it go in one direction. Following through is deciding where its going to go basically. So do you know, you have to, If you look at the good kickers in any sport, I look at a lot of rugby and stuff like that and if you watch the guys kicking balls particularly out of their hands, their follow through is up around their shoulders somewhere. Just take Conor McManus, Clifford, Dean Rock - all of these guys have a serious follow through..."

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"The follow through decides where it's going to go" - Kick it like Matty Forde - SportsJOE.ie

Theres no denying that REDSIX are utterly addictive. From their 2018 debut until now, the Indonesian band have been releasing songs with the potential to fill stadiums, blending rich lyricism with riffs that will melt the heart of any pop-punk fan.

I have a steady craving for decorating dreams until they burst at the seams,frontman Denny sings at the start of the groups latest singleVessel.This line captures the essence of REDSIX; deeply poignant reflections on our everyday coiled around the sharp edges of alt-rock.

Sweeping onto the scene with their debut LPUproar,the group defined themselves from the get-go. Songs that revolve around pop-punk, emo, and alt-rock, all connected through their nuances, REDSIX were always going to be a force to be reckoned with.

REDSIX is a rock band from Jakarta, Indonesia, conceptualised in early 2017 by Denny (vocalist) andKevin (lead guitar) Wicak (rhythm guitar), Rizma (drums) and Ipang (bass), the band write in their bio. [We]hope to contribute to theIndonesian music scene by adding their varying influences to the forefront of theirsongwriting and composition to their unique sound.That they certainly do.

Crushing bass, acidic guitar riffs, and the undeniable energy of 00s-esque vocals combine into one all-consuming track that you cant help but jam to. However, the group still know how to tastefully pull away in the most needed moments. Championing the talents of particular members in these areas or using the space to frame defining lyrics, REDSIX are able to combine enthralling rock with sonic eloquence. What are audiences left with? Songs that you cant turn away from.

In their new releases, the group are reaching even further into their sound. Its new, fresh, but distinctly REDSIX.WhereBreak Inpunches through with pure emo-rock,Vesselsparkles with pop-adjacent inflictions andEndeavour emits earthycadence within the walls of pop-punk.

With their 2020 EP on the horizon, we are all waiting in anticipation to see what the band delivers next. REDSIX are truly ones who you should be watching out for.

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Meet REDSIX, the Indonesian band crafting addictive, pop-punk classics - Happy

The Rolling Stones have gone through many phases on their way to becoming one of the biggest bands inrock history. From the start they were seen as an edgier alternative to the Beatles, focusing on American blues music. But they soon expanded their musical horizons, embracing everything from R&B to pop to psychedelia.

The band released much of its landmark work ina milestone runthat spanned the late 60s through the mid-70s,and which included such vaunted releases as Beggars Banquet (1968), Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main St. (1972).

With so muchincrediblematerial, itsnot easy to pin downwhich decadeoffered fansthe best version of the Rolling Stones. Still, we challenged five writers tosort through it all and determine ifthe Rolling Stones were better in the '60s or '70s.

In theirformative years, the Stoneswere mainly influenced by American blues and R&B artists.By the '70s, they'd started infusing other genres and styles. Which version of the band do you prefer?Michael Gallucci: Their greatest run started in 1968 with Beggars Banquet and ran through 1972's Exile on Main St., with four classic albums split evenly between the two decades. But seeing that Exile is their all-time greatest LP, I'm going to give a slight edge to the '70s.

Nick DeRiso: They played way more blues before they really accepted its dangerous truths and made them their own into the '70s. Thats when the Rolling Stones finally became truly great. Conversely, as they moved away from that musics heart of darkness, there were times (some would say many times) when the Stones became decidedly average. The blues was, in no small way, their salvation.

Ryan Reed: This doesn't fall neatly along the decade lines, but my favorite Stones stretch is Beggars Banquet through Exile on Main St. For my fix, I often reach for their harder-hitting material from the late, late '60s and early '70s. It's not a purely sonic preference: I'm a big psych-rock fan, and I think Brian Jones' '60s experiments elevated the band's music that decade. (Imagine "Paint It, Black" without the sitar!) Mick Jagger and Keith Richards just didn't fully cement their own style until later on.

Dave Lifton: It's pretty much a consensus that the Rolling Stones' classic period straddled the decades, 1968-72. Even their own set lists suggest they know this is the case. Still, the blues has been at the heart of virtually everything the Rolling Stones have ever done, and even their most successful forays into other genres haven't strayed too far from it. And yet some of their worst records are their early blues and soul covers, which only shows how much life experience you need to be true bluesmen. Then again, some of that very same "life experience" also resulted in a lack of inspiration for a good chunk of the '70s.

Corey Irwin: Give me the later, more adventurous Stones. As the band matured, the subject matter became more engaging, the musical style more varied and the overall material improved. It was their willingness to bring new musical styles into their sound that took them from being a good band to one of rocks all-time greats.

Brian Jones died in 1969, less than a month after being fired from the band. Would the Stones have followed the same trajectory into the 70s had Jones been able to get sober and continue with the group?

Gallucci: I think, for the most part, yes, because his overriding influence was waning as the other members got more footing over the years. The Stones' evolution is pretty easy to trace from, say, "Satisfaction" to "Jumpin' Jack Flash" and then to "Brown Sugar." And from there "Tumbling Dice" and "Miss You" aren't that big of a stretch. Jones played on only two of those songs, and, frankly, is barely a presence on "Jumpin' Jack Flash."

DeRiso: Sure. But, in truth, his passing was just part of what toughened up the band as the new decade loomed. The promise of the '60s died, and the Rolling Stones found themselves in the nexus of that at Altamont. At the same time, this broader sense of dreams deferred played out in microcosm as they struggled to overcome the death of Jones, and extricated themselves from an absolutely terrible management deal. They were changed forever.

Reed: Jones was the sleeper genius on so many early Rolling Stones tunes, but it's clear from the band's evolution that their chemistry wasn't built for the long haul. It's hard to imagine Jones' role after the psychedelic era fully faded sure, he could have returned completely to the guitar, retiring his mellotrons and marimbas, but would he have felt creatively satisfied? The Stones could have continued to lean into a harder sound with Jones. But I think that relationship would have dissolved, tragedy or no.

Lifton: Yes and no. Those records with Mick Taylorwould have sounded very different because Taylor was such a great lead player, and it's hard to speculate how receptiveJones would have been to Keith Richards' burgeoning interest in country. But Jones was also the one who brought in more exotic instruments and textures, so they would have continued to find ways to experiment within their blues framework, and the Ron Wood part of their '70s output still would have had excursions into funk, reggae and disco.

Irwin: I cant imagine a scenario where the 70s Stones and Jones could have coexisted. His tenure with the band had run its course, regardless of his sobriety. Even though he unquestionably influenced the groups early work, his authority within the bands hierarchy had steadily declined. Jagger and Richards were the clear leaders, shouldering the majority of the songwriting. Had tragedy not struck, I like to imagine Jones would have gone on to a long and successful career outside of the Stones. He certainly had the talent to do so. But the band knew where they were going as the decade turned, and I imagine they would have gotten there with or without him.

You can only listen to one album from each decade. Which are you choosing? Explain your decision.

Gallucci: Beggars Banquet from the '60s; Exile on Main St. in the '70s. The band had shed most of its early blues roots by 1967's Between the Buttons and Their Satanic Majesties Request - both of which got caught up in psychedelic flavors of the era. Beggars Banquet took what they learned from those experiments and applied it to the music that made them want to start a band in the first place. That kicked off one of the all-time greatest runs in rock history, culminating in Exile on Main St., a double LP of late-night, sleep-deprived rock 'n' roll that still ranks as one of the best albums ever made.

DeRiso: It feels like cheating, since they came out sequentially, but Let It Bleed and Sticky Fingers. The first solidified their gutsy move away from found-object experiments and trend chasing. As for the second, I love the flinty confidence theyd gained to that point. That opens up Sticky Fingers to everything from cocksure rockers to paint-peeling soul shouts, from somnambulant ruminations to simmering blues. And on the album-closing Moonlight Mile, almost all of the above.

Reed: For the '60s, it's Let It Bleed. It isn't a perfect album does anybody count the fiddle-adorned "Country Honk" among their favorite tracks? but it's awfully close. "Gimme Shelter" could be the definitive Rolling Stones song the sound of amplified apocalypse. "You Can't Always Get What You Want" is a glorious miniature symphony. And underrated cuts abound. For the '70s, it has to be Sticky Fingers. The greasiness of those riffs in "Brown Sugar" and "Can't You Hear Me Knocking," the lonesome ache of "Wild Horses" it doesn't get much more memorable, this decade or otherwise.

Lifton: Can I go with hits compilations from both? No? In that case I have to go with the usual choices of Beggars Banquet and Exile on Main St. Their songwriting was never as consistent as during that period, in terms of how they were seeing the world, their confidence as musicians and willingness to go outside their comfort zone. On other days, my '60s choice could be Let It Bleed, but I'm writing this on a rainy morning and "No Expectations" fits the mood, so Beggars gets the nod.

Irwin:For the '60s, I'm takingLet It Bleed.My reasons: Gimme Shelter and You Cant Always Get What You Want, my two favorite songs from the Stones entire catalog. What can I say? Im a sucker for the hits. From the '70s, I chooseExile on Main St. From first note to last, its the most complete release in the Stones' history;the rare double LP that's actually worth its length.

The Stones released many of their biggest hits during these time periods. Pick their most underrated song from each decade and explain your choices.

Gallucci: "Out of Time" was released on the U.K. version of 1966's Aftermath, their first real successful album-length statement. It's a great pop song and should have been a single, but it doesn't even show up on the Stones' many multi-disc compilations. It's easy to name almost any song from Exile as underrated, since all you really hear about are the two singles, "Tumbling Dice" and "Happy," and occasionally LP opener "Rocks Off." But I'm going to pick a song from the album before that one, Sticky Fingers: "Sway." The entire album is great, but this Side One cut helps set the mood for everything to come: bluesy, soulful and mournful. Plus, Mick Taylor has a couple of great solos, maybe his all-time best.

DeRiso:From the 60s, Live With Me off Let It Bleed. The Stones first released song with Mick Taylor was Honky Tonk Women, but this was their first session together. His playing is already a wonder of nasty wit and sharp economy. A new era begins right here. From the 70s, Im sticking with the earlier-mentioned Moonlight Mile. I will never, ever tire of this songs many musical nooks and crannies. Then there's the utterly unselfconscious vocal: Its a crowning achievement for Jagger, who now more than ever is content simply to bark and bray.

Reed: My '60s pick is "Midnight Rambler," arguably the centerpiece of their best album that decade. Maybe you can trace it back to my love of prog-rock: This is the Stones at their least linear, utilizing unexpected grooves and tempo changes across the song's seven minutes. My '70s pick is "Bitch," a Sticky Fingers rocker with a snarling Richards riff and some tasty tenor saxophone.

Lifton: For the '60s, I'm going with "She Smiled Sweetly." It's clear that they were influenced by Bob Dylan's "Just Like a Woman" and they come really close to it. It lacks the misogyny of a lot of their early lyrics, and there's a vulnerability in Mick Jagger's vocals that he doesn't often show. I lovedhowWes Andersonused it in The Royal Tenenbaums- similar to theway he unearthed "I Am Waiting" in Rushmore. And it's hard to say that even a deep cut on Sticky Fingers or Exile is underrated, so I'm choosing "Memory Motel." A lot of my favorite Stones songs are the ones where there's a bit of longing, and the intertwining of Jagger's and Richards' vocals here is rather moving.

Irwin: From the 60s, Im going with Salt of the Earth, the ode to the common man found on Beggars Banquet. Theres a soulful earnestness to the track, and Richards vocals at the opening offer a raw vulnerability to its tone. From the 70s, I choose Shine a Light from Exile on Main St. Billy Prestons organ playing heightens this energetic gospel track, and the interplay between his work and Mick Taylors guitar offers one of my favorite Stones instrumental moments.

Which era made the Rolling Stones The Greatest Rock'n' Roll Band in the World?

Gallucci: The '70s. They planted that seed in the '60s, but once they made the turn with 1971's Sticky Fingers - following the equally excellent Beggars Banquet and Let It Bleed - was there any doubt? They were unstoppable.

DeRiso: The 70s, for good and for ill. They were part of a rabble of great bands in the 60s, but as a once-hope filled era drew to an awful close both in general and, after Altamont, specifically the Stones began to separate themselves. They would define the turbulent decade to come, again and again and again, from its early outbursts of violent emotions and drug-induced melancholy, to its descent into destructive appetite and malaise, and then into inevitable narcissism.

Reed: As my answer to the first question shows, I have a tough time picking between these two decades. But I have to go with the '60s here: I'd argue their legend was already cemented by 1965, the year of "(I Can't Get No) Satisfaction." They had more time to bolster an already impressive resume in the '70s. But if they'd stopped after 1969's Let It Bleed, just a few months before the Beatles' final LP, they'd still be considered a top-tier rock band.

Lifton: They never were. The Who could always blow them off the stage. But funny how the Stones didn't start calling themselves that until they started to go downhill.

Irwin: Apologies for using a lame analogy, but here we go: Imagine the Stones career like a cake. All the ingredients were there in the 60s and got mixed together well. Sure, the occasional person might argue that the batter tastes better than the cake, and Beggars Banquet and Let It Bleed offer two excellent reasons to do so. Still, the finished product - when the Stones were at their absolute best on Sticky Fingers and Exile on Main Street - came out of the oven in the 70s.

Link:

Were the Rolling Stones Better in the '60s or '70s? Roundtable - Ultimate Classic Rock