Forét de Palmpont map, a place I visited years ago with some local friends

way cool .....



ROCKMAN

Quote
Palace Revolution 2000
What I find very interesting about 'Gomper' is the sequence of tracks. That the main percussion, the Tabla was overdubbed, to hardly any other percussion or click on basic tracks.
I was listening to 'Satanic', and on many tracks, def. on "Lantern", you hear the overdubbed tracks on the right. Usually a lead guitar by Keith. Maybe horns. In 'Lantern' there is a beautiful Mellotron(?) or organ phrase that only shows up once.
So 'Gomper' has that feel too; where you get the whole pinged down basic tracks on the right side. And what has always bugged me about "Gomper' is that the Table sounds out of sync. I noticed that Charlie must have o/d his track to an implied rhythm in instruments. Or maybe there was a click track that they got rid of. Or something weak, that has been swallowed up
That would mean that Mick also tracked his percussion with Charlie,maybe he was the one counting, and then once they got rocking he started banging away too.

The tabla wasn't an overdub.

The basic 'live' takes consist of:

Keith Richards - 12 string electric guitar
Brian Jones - electric dulcimer/Vox Bijou
Bill Wyman - bass
Charlie Watts - tabla
Nicky Hopkins - hammond organ

There is another stringed instrument which comes in after the song section that is part of the basic takes, not sure what it is, but I assume it's played by Mick. Sounds like a freaky elastic band.



Edited 1 time(s). Last edit at 2018-01-21 23:04 by His Majesty.

Cool info on what a gomper is. Mick reading those books, lifting things...

Doesn't change the fact that the song is rubbish.

Complete rubbish

Crap, utter crap. Just a nonsense song. How a Stones fan could bear this tripe is beyond me.

Sorry. I DO feel strongly about the utter rubbish that is, in the main, TSMR. From a band of the caliber of The Stones it is a travesty of a record.

My "test": IF it was put out under the name of any other band, real or manufactured, it would rightly be lambasted for the sheer twill tripe it is. Including this track.

Rod

Compared to Velvet, Doors, Hendrix, Traffic, Beach Boys, Beatles output that year it is crap, the song and the LP.

Lovely melody, a daring arrangement, beautiful playing and a band taking risks.

However, the song runs out of steam after a while, imo.

The first half i excellent, though.

It will grow on people who gives it more than a few spins.

Quote
DandelionPowderman
It will grow on people who gives it more than a few spins.

No it won't. Warts grow on you....

Rod

Quote
bitusa2012
Crap, utter crap. Just a nonsense song. How a Stones fan could bear this tripe is beyond me.

Sorry. I DO feel strongly about the utter rubbish that is, in the main, TSMR. From a band of the caliber of The Stones it is a travesty of a record.

My "test": IF it was put out under the name of any other band, real or manufactured, it would rightly be lambasted for the sheer twill tripe it is. Including this track.

I'd better abstain from calling me a Stones fan then. It is a relief not to follow a conventional line for authorized Stones-fans. I notice quite often, in fact, that I am attracted to other Stones songs than many other IORR-posters and sometimes different other bands as well. Anyhow, to me as a non-Stones fan then, THEIR SATANIC MAJESTIES' REQUEST is proof of the diversity and richness of the output that this band has made. And "Gomper" is one of the reasons, and not only the first part, but also the second part, why to me this album is one of the approximately twelve great studio albums of the Rolling Stones. As great as the four ensuing studio albums.

And I am not one to claim that anything from the Stones is great. To me TATTOO YOU is not. I don't say it is rubbish, but there is something about it that I am most reserved to.

As to the "test": In a much earlier post on page 2 of this thread I compared my response in the past to my reaction to one song from another band that I heard on the radio.

Edit: Printing errors.



Edited 1 time(s). Last edit at 2018-01-22 10:58 by Witness.

Quote
bitusa2012

Quote
DandelionPowderman
It will grow on people who gives it more than a few spins.

No it won't. Warts grow on you....

It's your loss

The first part is not so bad, but the melody is very very similar to Lady Godiva's Operation from Velvet Underground. Which was recorded in September 1967, but came out January 1968, according to wikipedia. TSMR was recorded from Feb - Oct 1967, and came out December 1967.
Is it possible both bands came up with the same melody around the same time? Maybe the roots of the melody lie in some obscure Tibetan folkband everyone has forgotten about but was all the rage at that time? Or did the Velvet Underground hear Gomper before it was published?
Or is it all just my imagination, running away with me?



Edited 2 time(s). Last edit at 2018-01-22 13:10 by matxil.

Quote
matxil
The first part is not so bad, but the melody is very very similar to Lady Godiva's Operation from Velvet Underground. Which was recorded in September 1967, but came out January 1928, according to wikipedia. TSMR was recorded from Feb - Oct 1967, and came out December 1968.
Is it possible both bands came up with the same melody around the same time? Maybe the roots of the melody lie in some obscure Tibetan folkband everyone has forgotten about but was all the rage at that time? Or did the Velvet Underground hear Gomper before it was published?
Or is it all just my imagination, running away with me?

You better check those dates again

Quote
His Majesty

Quote
Palace Revolution 2000
What I find very interesting about 'Gomper' is the sequence of tracks. That the main percussion, the Tabla was overdubbed, to hardly any other percussion or click on basic tracks.
I was listening to 'Satanic', and on many tracks, def. on "Lantern", you hear the overdubbed tracks on the right. Usually a lead guitar by Keith. Maybe horns. In 'Lantern' there is a beautiful Mellotron(?) or organ phrase that only shows up once.
So 'Gomper' has that feel too; where you get the whole pinged down basic tracks on the right side. And what has always bugged me about "Gomper' is that the Table sounds out of sync. I noticed that Charlie must have o/d his track to an implied rhythm in instruments. Or maybe there was a click track that they got rid of. Or something weak, that has been swallowed up
That would mean that Mick also tracked his percussion with Charlie,maybe he was the one counting, and then once they got rocking he started banging away too.

The tabla wasn't an overdub.

The basic 'live' takes consist of:

Keith Richards - 12 string electric guitar
Brian Jones - electric dulcimer/Vox Bijou
Bill Wyman - bass
Charlie Watts - tabla
Nicky Hopkins - hammond organ

There is another stringed instrument which comes in after the song section that is part of the basic takes, not sure what it is, but I assume it's played by Mick. Sounds like a freaky elastic band.

I'm glad you posted Phil. I know this sgtuff is kind of your specialty. Everyone's input on this kind of C -List material to me is interesting. yeah, it's just a theory of mine. What most of TSMR info is.
I noticed that on lots of TSMR material Keith's o/d are coming in from the right. With very noticeably lesser generation loss. And I still can't get over how out of sync Charlie is. May be that he must have been really out of his comfort zone for the whole experience.
re the rubber band - are you talking about the sound that appears on the left, shortly after that first real shrill flute sound?
I think it becomes audible towards the end again. That Hi Hat type sound always cracks me up. The one track I can not make out is this Wyman Bass track. If they had chopped off the entire freak-out section, this song would have a totally different reputation.



Edited 2 time(s). Last edit at 2018-01-22 11:54 by Palace Revolution 2000.

Quote
Palace Revolution 2000

Quote
His Majesty

Quote
Palace Revolution 2000
What I find very interesting about 'Gomper' is the sequence of tracks. That the main percussion, the Tabla was overdubbed, to hardly any other percussion or click on basic tracks.
I was listening to 'Satanic', and on many tracks, def. on "Lantern", you hear the overdubbed tracks on the right. Usually a lead guitar by Keith. Maybe horns. In 'Lantern' there is a beautiful Mellotron(?) or organ phrase that only shows up once.
So 'Gomper' has that feel too; where you get the whole pinged down basic tracks on the right side. And what has always bugged me about "Gomper' is that the Table sounds out of sync. I noticed that Charlie must have o/d his track to an implied rhythm in instruments. Or maybe there was a click track that they got rid of. Or something weak, that has been swallowed up
That would mean that Mick also tracked his percussion with Charlie,maybe he was the one counting, and then once they got rocking he started banging away too.

The tabla wasn't an overdub.

The basic 'live' takes consist of:

Keith Richards - 12 string electric guitar
Brian Jones - electric dulcimer/Vox Bijou
Bill Wyman - bass
Charlie Watts - tabla
Nicky Hopkins - hammond organ

There is another stringed instrument which comes in after the song section that is part of the basic takes, not sure what it is, but I assume it's played by Mick. Sounds like a freaky elastic band.

I'm glad you posted Phil. I know this sgtuff is kind of your specialty. Everyone's input on this kind of C -List material to me is interesting. yeah, it's just a theory of mine. What most of TSMR info is.
I noticed that on lots of TSMR material Keith's o/d are coming in from the right. With very noticeably lesser generation loss. And I still can't get over how out of sync Charlie is. May be that he must have been really out of his comfort zone for the whole experience.
re the rubber band - are you talking about the sound that appears on the left, shortly after that first real shrill flute sound?
I think it becomes audible towards the end again. That Hi Hat type sound always cracks me up. The one track I can not make out is this Wyman Bass track. If they had chopped off the entire freak-out section, this song would have a totally different reputation.

I hear it in the left speaker, starting roung 2:29.

What's the drone sound, starting a bit before that (and before the recorder kicks in) in the right speaker, btw?

Whoah, don't you just love technology? About 120 seconds after I post in USA, Dandy pulls the same song up like a flash, in Norway, refers to a section at 2:29, and Im listening to it now, commenting.
Is it the very low drone?
And re. the rubber sound, the 2;29 I hear even better at around 4;35 I think.

Quote
DandelionPowderman

Quote
matxil
The first part is not so bad, but the melody is very very similar to Lady Godiva's Operation from Velvet Underground. Which was recorded in September 1967, but came out January 1928, according to wikipedia. TSMR was recorded from Feb - Oct 1967, and came out December 1968.
Is it possible both bands came up with the same melody around the same time? Maybe the roots of the melody lie in some obscure Tibetan folkband everyone has forgotten about but was all the rage at that time? Or did the Velvet Underground hear Gomper before it was published?
Or is it all just my imagination, running away with me?

You better check those dates again

Cheers . I have corrected it now. (I think)

Quote
matxil

Quote
DandelionPowderman

Quote
matxil
The first part is not so bad, but the melody is very very similar to Lady Godiva's Operation from Velvet Underground. Which was recorded in September 1967, but came out January 1928, according to wikipedia. TSMR was recorded from Feb - Oct 1967, and came out December 1968.
Is it possible both bands came up with the same melody around the same time? Maybe the roots of the melody lie in some obscure Tibetan folkband everyone has forgotten about but was all the rage at that time? Or did the Velvet Underground hear Gomper before it was published?
Or is it all just my imagination, running away with me?

You better check those dates again

Cheers . I have corrected it now. (I think)

TSMR came out in 1967, though



Edited 1 time(s). Last edit at 2018-01-22 12:55 by DandelionPowderman.

Damn!
Okay, corrected it again...
I blame it on being a Monday.



Edited 1 time(s). Last edit at 2018-01-22 13:11 by matxil.

Quote
matxil
Damn!
Okay, corrected it again...
I blame it on being a Monday.

It is Monday, right? (2018?)
Just checking...

Weeeeeiiiiiiiirrrrrrdddd...

Hear a grab >>>>>>>>>>>>> [www.mreggae.com]



ROCKMAN

Beautiful. Takes you out there where the buses don't go. Refreshing to have a Stones' album that achieves this sense of freedom.

And yes, it does go on for too long but the anticipation of what comes next is worth it. This creates a tension and dynamic when listening to the album as a whole which is why it works as a total listening experience. That's what the band was aiming at because that is what people where doing back in 67 - listening to albums as an immersive experience.

If you don't get that then fine but to say it's rubbish shows a lack of understanding of those times.

I love you, guys (and dolls?)!
I really enjoyed reading these three pages. Some very interesting info about who played what and how. Beautiful! Some hate the song, some like it, .. no surprise.
Well, as info it's useless, but I can honestly say that I still enjoy listening to TSMR from time to time. The only song I always skip is STST-part2
Gomper somehow has some sophistication in it which I can't explain (anyway, that's how I feel it) and the whole tune has become part of my brain.
"Satanic" is a time piece and it will always remind me of the Stones' struggle to survive all the nasty threats (like corrupt police officers, etc.) that surrounded them. They finally managed to get the album on the market and I am greatful for that. And that alone makes it worth listening to from time to time

ROCKMAN

http://bluesonline.weebly.com/weird-instrument-dulcimer.html

Brian



Edited 1 time(s). Last edit at 2018-01-22 14:29 by Redhotcarpet.

Quote
matxil
The first part is not so bad, but the melody is very very similar to Lady Godiva's Operation from Velvet Underground. Which was recorded in September 1967, but came out January 1968, according to wikipedia. TSMR was recorded from Feb - Oct 1967, and came out December 1967.
Is it possible both bands came up with the same melody around the same time? Maybe the roots of the melody lie in some obscure Tibetan folkband everyone has forgotten about but was all the rage at that time? Or did the Velvet Underground hear Gomper before it was published?
Or is it all just my imagination, running away with me?

Stones were following Velvet Doors Traffic Winwood closely, evident in 1968/1969

Quote
Redhotcarpet

Quote
matxil
The first part is not so bad, but the melody is very very similar to Lady Godiva's Operation from Velvet Underground. Which was recorded in September 1967, but came out January 1968, according to wikipedia. TSMR was recorded from Feb - Oct 1967, and came out December 1967.
Is it possible both bands came up with the same melody around the same time? Maybe the roots of the melody lie in some obscure Tibetan folkband everyone has forgotten about but was all the rage at that time? Or did the Velvet Underground hear Gomper before it was published?
Or is it all just my imagination, running away with me?

Stones were following Velvet Doors Traffic Winwood closely, evident in 1968/1969

Stylistically or musically?

Quote
DandelionPowderman

Quote
Redhotcarpet

Quote
matxil
The first part is not so bad, but the melody is very very similar to Lady Godiva's Operation from Velvet Underground. Which was recorded in September 1967, but came out January 1968, according to wikipedia. TSMR was recorded from Feb - Oct 1967, and came out December 1967.
Is it possible both bands came up with the same melody around the same time? Maybe the roots of the melody lie in some obscure Tibetan folkband everyone has forgotten about but was all the rage at that time? Or did the Velvet Underground hear Gomper before it was published?
Or is it all just my imagination, running away with me?

Stones were following Velvet Doors Traffic Winwood closely, evident in 1968/1969

Stylistically or musically?

What about financially, sexually or philosophically?