Comments, input and alterations are very welcome!
________________________________________________________________________________

Hide Your Love
(Mick Jagger / Keith Richards)

Olympic Sound Studios, London, UK, October 17 - 31, 1970, May 23 & 26, 1973 and
Island Recording Studios, London, UK, May 28 - June 20, 1973

Mick Jagger - vocals, piano
Keith Richards - bass
Charlie Watts - drums
Mick Taylor - electric guitar
Bobby Keys - saxophone
Jimmy Miller - bass drum
Rebop Kwaku Baah - congas

Sometimes I'm up, sometimes I'm down, sometimes I'm fallin' on the ground
How do you hide, how do you hide your love?

Now look here, baby, it sure looks sweet, in the sleep time, out in the street
Why do you hide, why do you hide your love?
Why do you hide, baby, why do you hide your love?
Alright boy, yeah

Oh, been a sick man, I wanna cry, Lord, I'm a drunk man, but now I'm dry
Why do you hide, why do you hide your love?

Now look here, baby, you sure look cheap, I make money seven days a week
Why do you hide, why do you hide your love?
Why do you hide, baby, hide from the man that you love?
Come on, let me hear ya, oh yeah

Oh yeah, oh yeah, oh yeah, oh yeah
Why do you hide, why do you hide your love?
Alright
Come on, come on, come on
Come on, come on, come on

Oh, babe, I'm reachin', reachin' high, oh yeah, I'm fallin' out of the sky
Why do you hide, hide from the man that you love?
Why do you hide, baby, why do you hide your love?

Oh yeah, oh yeah, oh yeah, oh yeah
Why do you hide, why do you hide your love?
Why do you hide it, baby, hide from the man that you love, that you love?
Well, well, well, well

Produced by Jimmy Miller

First released on:
The Rolling Stones - “Goat’s Head Soup” LP
(Rolling Stones Records COC 59101) UK, August 31, 1973



Edited 2 time(s). Last edit at 2011-01-10 10:14 by René.

It's OK, maybe a little boring, but I guess it was what they were going for at the time.

Probably would have been cut from Exile and maybe slightly diminishes the overall impact of GHS.

Heard it in '73 thousand times, the best of GHS beside of "Star, Star" and "100 Years Ago"; a genuine blues track, a great "permanent" solo of MT, MJ on piano I think, with great blues feeling, and the rhythm section is really grooving ...

Rebop Kwaku Baah is spelled without an H after Kwaku.

I love the feel of spontaneity of this song, like it's an outtake. Mick's piano playing
is so simple, but so effective. Seems like a follow up of Exile on Main Street Blues.

What I LOVE in this song is that extra chord change. It's in C; so we get the F and the G of course; but Jagger also throws in an Ab. I love that.
Also there's a little response one vocal does to another: coming out of a ramble at 2:46, one asks "alright", and the other confirms "alright".

I also love the extra chord change in Hide Your Love; it's a great great track - and Jagger's singing suits the song well....the vocals as well as the lyrics is so undefined and laidback. Hide Your Love, Coming Down Again, 100 Years Ago, CYHTM and Winter....those 5 tracks all have a mood which is unique to Goats Head Soup - goes along real well with the foggy and strange artwork of the album, btw

Definite Exile outtake, (Olympic studios 17 - 30 October 1970) would fit nicely alongside Ventilator blues and Just want to see his face........the lyrics a bit presumptuous for my liking....maybe she just really didn't fancy him..??



Edited 1 time(s). Last edit at 2011-01-03 15:18 by EddieByword.

Quote
marcovandereijk
Rebop Kwaku Baah is spelled without an H after Kwaku.

I love the feel of spontaneity of this song, like it's an outtake. Mick's piano playing
is so simple, but so effective. Seems like a follow up of Exile on Main Street Blues.

"(Mick Jagger) was banging away at the piano and it sounded real cool. @#$%&, I'm going to tape this, because we could turn this into something later, you know? I said Come on, man, let's do a whole pass on that, because you can use this. This is a really good vibe."
- Andy Johns, quoted on timeisonourside

That's probably why it has that outtake feel. I like all the things mentioned above - the spontaneous/informal feel of the whole thing, and the "alright?" - "alright!" (which seems to be the cue for a key change - unusual for something like this to be left in the finished track.)

By the way, timeisonourside reckons that it is Bill, not Keith, on bass. I've always heard that Keith wasn't on this track - does anybody know?

I like how he introduces Mick T's solos first by calling him "boy" and then "little man" - Mom, Mick's calling me names again!

Quote
Erik_Snow
I also love the extra chord change in Hide Your Love; it's a great great track - and Jagger's singing suits the song well....the vocals as well as the lyrics is so undefined and laidback. Hide Your Love, Coming Down Again, 100 Years Ago, CYHTM and Winter....those 5 tracks all have a mood which is unique to Goats Head Soup - goes along real well with the foggy and strange artwork of the album, btw

Not to forget the golden colour of the sleeve. To me that colour represents the music on GHS quite well. Taylor's guitar shines on Hide Your Love, which sounds like a modern blues song to me without being trendy and forced like Black Limousine.

Terrible bass. Guess Bill wasn't available. The credit listings show Keith playing bass and Mick Taylor playing bass. Anybody know what cuts Keith and Mick Taylor play bass on GHS? (Besides the song that is the subject of this thread). Mick T did a good Wyman imitation on Tumbling Dice, but I don't know other examples of him playing bass on Stones songs.

Quote
Green Lady

By the way, timeisonourside reckons that it is Bill, not Keith, on bass. I've always heard that Keith wasn't on this track - does anybody know?

I thought it was bill too, but hmm, now I'll have to listen again. The bass riffs do seem a little busier than a real bass player is likely to do.

hadn't realized until this thread that the basic track came from 1970! So Johns brought the tape down to Jamaica? and at some point said, hey why don't you guys jam over this?

wonderful track....a great mood-setter for the album. love the heavy-handed piano stuff....

A great Jagger blues track. This is a case where overdubbing on a demo can really work. Why? Because the feel of the demo was perfect. You can still hear the ghost vocal. We get a great Taylor solo and Keith on bass. This is one of the songs I use to illustrate the point that I think Jagger is underrated (or under appreciated) as a musician.

I included this track in my Exile Blues compilation. It is a sound from the band that I particularly like.

SBD (Exile)
SYH (Exile)
Casino Boogie (Exile)
VBlues (Exile)
I Ain't Lying (Outtake)
Bluesberry Jam (Montreux)
Tumbling Dice II (Montreux)
Hide Your Love (Outtake from Acetates)
Still A Fool (Outtake)
Hillside Blues (I Don't Know...)(Outtake)
Sweet Black Angel (Exile)
Jiving Sister Fanny (Outtake)
Good Time Women (Outtake)
Silver Train (Acetates)
Travellin' Man (Outtake)
Turd On The Run (Exile)
Torn and Frayed (Exile)
(Coda) John's Jam (edited from Montreux)

Quote
pmk251
I included this track in my Exile Blues compilation. It is a sound from the band that I particularly like.

SBD (Exile)
SYH (Exile)
Casino Boogie (Exile)
VBlues (Exile)
I Ain't Lying (Outtake)
Bluesberry Jam (Montreux)
Tumbling Dice II (Montreux)
Hide Your Love (Outtake from Acetates)
Still A Fool (Outtake)
Hillside Blues (I Don't Know...)(Outtake)
Sweet Black Angel (Exile)
Jiving Sister Fanny (Outtake)
Good Time Women (Outtake)
Silver Train (Acetates)
Travellin' Man (Outtake)
Turd On The Run (Exile)
Torn and Frayed (Exile)
(Coda) John's Jam (edited from Montreux)

Travellin' Man is possibly the hottest two-guitar workout they ever had. Too bad the song was not completed. Hopefully an edited version will see the light of day on an official release at some point. It's definitely worthy.

Sounds like an outtake to me. But a good one. Very weird mix, with Taylor coming from different channels, often way too low in the mix, imo.

71Tele: My favorite two-guitar approach from Taylor and Keith is the beginning of I Got The Blues. That´s actually weaving (and beautifully done as well)

Quote
DandelionPowderman
Sounds like an outtake to me. But a good one. Very weird mix, with Taylor coming from different channels, often way too low in the mix, imo.

71Tele: My favorite two-guitar approach from Taylor and Keith is the beginning of I Got The Blues. That´s actually weaving (and beautifully done as well)

That's a great one, DP! There are so many...

..and no Bill or Ben on that one...

2 1 2 0

Quote
DandelionPowderman
Sounds like an outtake to me. But a good one. Very weird mix, with Taylor coming from different channels, often way too low in the mix, imo.

71Tele: My favorite two-guitar approach from Taylor and Keith is the beginning of I Got The Blues. That´s actually weaving (and beautifully done as well)

YES! That is real weaving. Not to beat that ole dead horse, but Taylor and Keith was the best weave.

Not imo. But this is one of the few fantastic moments of weaving with that line up, where both guitar players are playing lead - and trade licks back and forth.

That enhances the song from good to brilliant, imo.

such a great track - my fav along w/ Winter on GHS

Quote
24FPS
Terrible bass. Guess Bill wasn't available. The credit listings show Keith playing bass and Mick Taylor playing bass. Anybody know what cuts Keith and Mick Taylor play bass on GHS? (Besides the song that is the subject of this thread). Mick T did a good Wyman imitation on Tumbling Dice, but I don't know other examples of him playing bass on Stones songs.

You don't? Just read the credits on Exile: Torn & Frayed, Shine A Light, and Just Wanna See His Face for. Coming Down Again on GHS.



Edited 1 time(s). Last edit at 2011-01-04 00:35 by 71Tele.

Erk Keith's bass playing is rather crap on HYL.

Quote
Palace Revolution 2000


YES! That is real weaving. Not to beat that ole dead horse, but Taylor and Keith was the best weave.

Nah, they nailed that weaving thing as far back as IBC demo.









Edited 2 time(s). Last edit at 2011-01-04 00:55 by His Majesty.

Quote
71Tele
This is one of the songs I use to illustrate the point that I think Jagger is underrated (or under appreciated) as a musician.

I agree. I take it from your name that you are a musician...(I had a 72 Tele custom BTW)
I notice that non-musicians tend to see Jagger as not flashy, so they don't see him as a real musician, but as someone who is primarily self-taught and plays by ear etc..I can hear a true musician in songs like this, as well as the guitar in Winter, Fingerprint File, Crazy Mama, Blood Red Wine, Moonlight Mile, keyboard in Food to Cry, Memory Hotel and various outtakes....
Jagger has a great feel, for melody (piano) and rythmn (guitar on Miss You)...
but maybe you have to be a musician to appreciate the simplicity of feel.
I always point to that scene in Performance where he's playing the guitar and singing 'Mad wit cha' and the scene in CS Blues where he's playing that meloncholy song on piana ('Its funny baby..how life has changed...')
He's playing from the heart, its nothing fancy, sometimes sloppy....very organic...you can't fake that.



Edited 1 time(s). Last edit at 2011-01-04 00:55 by stupidguy2.

Quote
His Majesty
Erk Keith's bass playing is rather crap on this cut.

Quote
Palace Revolution 2000


YES! That is real weaving. Not to beat that ole dead horse, but Taylor and Keith was the best weave.

Nah, they nailed that weaving thing as far back as IBC demo.

In the very old days everything was better.

Quote
stupidguy2

Quote
71Tele
This is one of the songs I use to illustrate the point that I think Jagger is underrated (or under appreciated) as a musician.

I agree. I take it from your name that you are a musician...(I had a 72 Tele custom BTW)
I notice that non-musicians tend to see Jagger as not flashy, so they don't see him as a real musician, but as someone who is primarily self-taught and plays by ear etc..I can hear a true musician in songs like this, as well as the guitar in Winter, Fingerprint File, Crazy Mama, Blood Red Wine, Moonlight Mile, keyboard in Food to Cry, Memory Hotel and various outtakes....
Jagger has a great feel, for melody (piano) and rythmn (guitar on Miss You)...
but maybe you have to be a musician to appreciate the simplicity of feel.
I always point to that scene in Performance where he's playing the guitar and singing 'Mad wit cha' and the scene in CS Blues where he's playing that meloncholy song on piana ('Its funny baby..how life has changed...')
He's playing from the heart, its nothing fancy, sometimes sloppy....very organic...you can't fake that.

Exactly.

71 Tele: I don't see any bass credits on my GHS CD. God, I listened to Exile too much last summer. I'll go back and listen to what are supposed to be Taylor parts in time. I thought Bill disputed some of those?

Quote
24FPS
71 Tele: I don't see any bass credits on my GHS CD. God, I listened to Exile too much last summer. I'll go back and listen to what are supposed to be Taylor parts in time. I thought Bill disputed some of those?

Sorry, I was referring to Exile credits. GHS just has general credits, which include bass for both Richards and Taylor. Bill disputed Exile but I think he's wrong. It's obviously Taylor on those tracks. I have put forth the theory that in some cases Bill might have played on the original session but his part was wiped later. Casino Boogie and Soul Survivor are obviously Keith, and it's Bill Plummer on the stand-up on Rip This Joint and All Down The Line.

Quote
kleermaker

Quote
His Majesty
Erk Keith's bass playing is rather crap on this cut.

Quote
Palace Revolution 2000


YES! That is real weaving. Not to beat that ole dead horse, but Taylor and Keith was the best weave.

Nah, they nailed that weaving thing as far back as IBC demo.

In the very old days everything was better.

Haha...yeah right.
Man, there's plenty of great weaves all along. Brian as guitar-man doesn't get near enough credit. How about "Confessin' The Blues"?
This is the thing though: Keith (and Ron) are always talking about this close sound they do etc; lot of it based on the great 78 tour I guess. To THEM it might be very interesting to dissect the overall sound: "Who is that? You or me?" because the two guitars sound much alike. But IMO it was way more challenging and rewarding to hear what Bria? Keith and Taylor/Keith did with opposing sounds, or complementing sounds.
And to me it is the fast tunes where it comes across as even trickier. I mean - "Love in Vain", come on, it's a no brainer. Or a great cut like "Down Home Girl" is more an arrangement success. It's the songs where the weave comes from the actual performance that are the hard ones. the best ones. "Confessin" is great;
"Down the Road Apiece" is really good. But one I think is great is
"Around & Around". That's two guitars from the get go. When Keith hits the accents, Brian is strumming right in between. Very tight.