The track strikes me as the group trying to return to their Brian sound and discovering Brian took it with him. The flute is fine but it lacks the emotional resonance Brian would have given it. They had other grand experiments like Moonlight Mile and Heaven,but those were very far from Brian territory. Continental Drift seems to be summoning Brian without imitating his sound. New Faces off Voodoo Lounge is practically an homage to the Elizabethan sound Brian was such a part of. I think the group, probably Mick, miss that period sound and attempt to return to it from time to time.

Always loved this melancholic jamaican flavoured song. Psychadelica. Fits nicely after (my album highlight) Winter.

Sounds like Keith used a wah-wah through a Leslie for his track. Perhaps even a phaser. But it sounds more like a wah-wah.

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GasLightStreet
Sounds like Keith used a wah-wah through a Leslie for his track. Perhaps even a phaser. But it sounds more like a wah-wah.

I'm pretty sure it's a wah-wah. Both because of the sound and because they didn't really start using those MXRs before 1975. The Leslie thing is all over Ronnie's IGMOATD the year after as well.

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DandelionPowderman

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GasLightStreet
Sounds like Keith used a wah-wah through a Leslie for his track. Perhaps even a phaser. But it sounds more like a wah-wah.

I'm pretty sure it's a wah-wah. Both because of the sound and because they didn't really start using those MXRs before 1975. The Leslie thing is all over Ronnie's IGMOATD the year after as well.

Through The Lonely Nights is phase, innit!!!?? Sounds like it! Maybe? It's that or wah - with a very light touch.

Nice melody, although a little bit boring at the end due to the endless repetition of "can you hear the music?". I don't like the psychedelic touch of the track. It is somewhat odd and strange in respect of the entire feature of GHS, particularly between Winter and Star, Star. Seems to me like a residual of the Satanic sessions. Superfluous.

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shortfatfanny
It´s hypnotic...vibes...groove...always loved that track !

I did not read Tell Me during that period. Now reading hastily through the thread, maybe too hastily, I find one poster touching that characteristic approach which to me is the essential one about this song.

The deliberately hypnotic approach above its psychedelig qualities. I think the band succedes in a high degree. I won't compare with other songs in the Stones canon with psychedelic aspects; it is of its own kind. Not necessarily better, but unique, which is more vital than "greater".

As said in other threads before: Where to me "Silver Train" and "Hide Your Love" make GOATS HEAD SOUP somewhat fall apart, "Can You Hear the Music" contributes, again to me, more than "Winter" manages to do, despite the qualities of the latter isolated, to reestablish the album's claim to be semi-great. And more important, to build up under the album's lethargic feel, even if that it is not this song's own leading motive. For the coming down feeling from greatness, which is above all created by the all time great song of that name, is the theme and feeling that give GOATS HEAD SOUP, capturing the mood of that moment, a greater importance than how semi-great the album is. (Exchange of the two not so well functionning songs to single B-sides, and substitution of other available songs at the time, might in addition possibly have worked wonders with the album.)

However, even as the album became, "Can You Hear the Music" emerges as the gem of the vinyl album's B-side.

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GasLightStreet

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DandelionPowderman

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GasLightStreet
Sounds like Keith used a wah-wah through a Leslie for his track. Perhaps even a phaser. But it sounds more like a wah-wah.

I'm pretty sure it's a wah-wah. Both because of the sound and because they didn't really start using those MXRs before 1975. The Leslie thing is all over Ronnie's IGMOATD the year after as well.

Through The Lonely Nights is phase, innit!!!?? Sounds like it! Maybe? It's that or wah - with a very light touch.

Only Leslie, I believe.

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Doxa

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cc
hmm, but I think it's a track that starts from a song idea, rather than the Satanic Majesties numbers that seem to be developed from jams. Just "too weird"? I don't usually think of "weird " as a negative term. I guess you're right that the Stones are essentially pop band ("Angie" is on the same album), but they can stretch out. I would agree that the song is not altogether cooked. We might blame this on keith, as I imagine he checked out on this one--thought it was "too weird"--and might not have contributed to the mixing and arranging.

Yeah, it could be that "weird" is not the best word to describe the scene - maybe just "out of focus" - I feel that their ship is sailing without the capitan in charge with a clear intuition of the direction in his mind. Maybe that IS something to do with Keith's - and Jimmy Miller's - condition at the time. Like said, there are good ideas there but somehow - I think - they are not resulted in a great, sharp distinguihed Stones way.

Side note of MAJESTIES: I think there were good songs or sketches for songs to begin with - the bootlegs now circulating seem to indicate that - but they messed the whole thing with their unclear wanna be-psychedelic ambitions in studio.

- Doxa

Yes however MJagger did alright working with Mick Taylor on Sticky fingers...seems to have taken over for major sections on that one (for same reason, Keith was already in a particular condition).

Love this song! Great piano "mystic" arpeggios at the begging from Nicky, strange atmosphere from a 1973 track. A hidden gem.
I don't know why but when Mick sings "Loooove is a mystery" reminds me of Led Zeppelin, and the kind of sound from Houses of the holy.

And still amazes me, people talking about the unique atmosphere from certain tracks, and on all of them Nicky not just plays the piano, but create a mood from his playing. He was just the right piece in the band at that time. Maybe Keith and Bobby were pals,but to my ears Nicky was much closer to Keith, and the guy just made the session, stand up and leave! I think the Stones must recognize Nicky for his role in their greatest legacy

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"I'm gonna walk... before they make me run"

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Edited 3 time(s). Last edit at 2015-03-13 19:45 by dandelion1967.

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DandelionPowderman

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GasLightStreet

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DandelionPowderman

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GasLightStreet
Sounds like Keith used a wah-wah through a Leslie for his track. Perhaps even a phaser. But it sounds more like a wah-wah.

I'm pretty sure it's a wah-wah. Both because of the sound and because they didn't really start using those MXRs before 1975. The Leslie thing is all over Ronnie's IGMOATD the year after as well.

Through The Lonely Nights is phase, innit!!!?? Sounds like it! Maybe? It's that or wah - with a very light touch.

Only Leslie, I believe.

The thing to do was a wah with a Leslie. You can definitely hear the shift with a wah in that. Taylor used that set up in Doo Doo Doo Doo Doo Doo Doo Doo Doo Dooooooooo...

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T&A
it's unique, i'll give it that...and i'd give it credit for having longer legs than continental drift, which was a noble experiment that ultimately failed...

I agree with what T&A said.

I've always loved this song but never bothered trying to play it, now that I've been playing it on my guitar I love it even more. It's got a hypnotic droney groove that just gets me every time. Love it!

Really like this one, the combo of Keiths guitar and Nicky's piano is hauntingly sweet. Not specifically fond of the changes but whenever they get back to the main groove it feels good. It's pretty obvious that drugs were involved in the creation of this song. Not the best one on GHS by a long shot but a nice change up to keep things interesting.

peace

Another CLASSIC. As is the whole album

Isn't it true Keith wrote the guitar part but wasn't on the final cut?

yes it is

i thought only mick taylor played guitar on this track.

This is a tough track. On one hand I like the melody. On the other hand, I am not a fan of the bongos or the lyrics. The song doesn't seem to know what it is about. This is probably my aversion to songs that mention things like 'can you hear the guitar, get you in the groove' etc... As in, songs where the band tells the audience that they are infact rocking out, or in this case, 'hearing the music'. I love the melodies, so all is forgiven.

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triggersucs
yes it is

After five posts and six days on this board you are re-writing history? Not bad...

It is Keith playing the rhythm guitar.

Welcome aboard, btw

The only track on GHS that I don't like....

This song drives me crazy - to this day! Because I have never been able to get a sound like this from a guitar through a Leslie. For years I thought it was an Organ.

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marcovandereijk
I like what you write, Greenblues, but it still does not work for me. I think it is a brave
experiment, but it failed. In my opinion it took until Continental Drift before the boys got
this kind of music right.

It is WAYYYYYYYYYYYYYY better than Cont Drift

Ok I see now people mention a Wah w/ the Leslie.
PS I don't think there is a leslie in "Through the Lonely Nights".

Probably my favourite on GHS, together with CDA and Angie.

Wonderful song!!!

Could have been a average b-side. Sub-standard experimental tune. There are much better songs which didn’t make the album (Fast Talking, Criss Cross Mind).

Simply wonderful. One of these "Stones leaving their trodden paths"-tracks. I'll take this over 10 Rough Justices any day.

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Palace Revolution 2000
Ok I see now people mention a Wah w/ the Leslie.
PS I don't think there is a leslie in "Through the Lonely Nights".

It's just a wah-wah.

Wow this is truly a zombie thread, 3 years dead and now it's alive again. FWIW great track can't believe the guy who said it was the only GHS song he didn't like!