![]() De un tren estacionario Sentí a alguien detrás. ![]() ![]() Siendo golpeado por la lluvia Así que elegí el último compartimento. And it does at least contain one striking lyric, when Jagger warns a vague unidentified target not to copy him no more, adding that "the lines around my eyes are protected by a copyright law." Perhaps this reflected the Stones' increasing awareness of and vigilance toward music business hassles and legalities as their empire grew and their management affairs grew more and more tangled. Don’t wanna be under your thumb It’s over and done I’ll never be under your thumb forever Traducción de la canción Estaba parada en la estación. The 'thumbs up' sign popular in the United States is used widely in most of Europe to say 'OK' (it also represents the number one when counting). It's more a "get lost" message to the world as a whole, perhaps to the media and fans who were starting to hound them all over the place as they asserted themselves as the second most popular group in the world. For example, if you count with your fingers, in Europe remember to start with your thumb, not your index finger (if you hold up your index finger, youll probably get two of something). It's mildly interesting, though, to note that the song - unlike a good number of other Jagger- Richards compositions from this time - isn't complaining specifically about what a drag a girl or girls can be. The tune's kind of repetitious and unimaginative, and lyrically has the sort of snide attitude toward the world at large common to many songs Jagger and Keith Richards were writing in the mid-'60s. Musically, it's closer to straight blues than most of the other Aftermath tracks, though it has a slight leg up on many British Invasion stock blues rewrites by virtue of its stinging slide guitar and surly Mick Jagger vocal. "Doncha Bother Me" was definitely some of the Aftermath filler, and one of the less impressive songs on the record, though it was certainly characteristic of their overall petulance during this period. versions) has been rightfully hailed as a breakthrough for the Rolling Stones in that it marked their first album of quality original material, there was still a pretty big gap between their best songs of the era - "Paint It Black," "Lady Jane," "Mother's Little Helper," "Under My Thumb," "Out of Time" - and their album filler. Though Aftermath (in both its slightly differing U.S.
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