A short read about how one of their greatest tracks came together.
On a side note, since it didn't include anything new, I never purchased "Jump Back", but it sounds like the liner notes are interesting - are they online anywhere?



[www.americansongwriter.com]

One of the comments states "Jimmy Miller said that Gram wrote the song and the Stones did a back room deal on acquiring the rights."
I have NEVER heard that before, anybody else?


"As we say in England, it can get a bit trainspottery"

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Deltics
One of the comments states "Jimmy Miller said that Gram wrote the song and the Stones did a back room deal on acquiring the rights."
I have NEVER heard that before, anybody else?

Me neither, but here's another nice story about Wild Horses, as told by Chris Kimsey:

"While assisting on the sessions for the Stones' classic Sticky Fingers album at Olympic in 1971, Chris Kimsey didn't work on the centrepiece song, 'Wild Horses'; but he did nearly destroy it. Engineered on eight-track by Glyn Johns, the recording required more tracks and so Kimsey was assigned the straightforward task of making an eight-to-eight copy. With one 3M machine in Studio One and another at the opposite end of the building in what was then known as the reduction (mixdown) room, the trainee decided to make the copy immediately after the session ended, at about three in the morning, when no one else was around.

Accordingly, he put the master reel on one machine, loaded the virgin tape onto the other, checked all the connections, pressed Play on the master, ran the two-minute journey to the reduction room to make sure the correct signals were coming in, pressed Record, ran another two minutes back to the main control room, rewound the master, again pressed Play, and then returned to the other room to monitor the copy. So far, so good. However, after about a minute, the incoming sound slowed right down and ground to a halt. Trouble. Running as fast as he could to the Studio One control room, Kimsey duly discovered that the takeup spool was bent and stuck, causing the tape to wrap itself around the capstan motor until it stopped.

"The tape had wrapped itself neatly around the motor, but with creases every inch and a half," he now recalls. "I was shitting myself. I started lifting it out, incredibly slowly and delicately, and hours went by before, at around six in the morning, [studio manager] Keith Grant came in for an early session. Well, he took one look at me in a big heap on the floor, and after asking what happened he got a big, heavyweight iron — obviously not hot — and helped me press out the creases. It took me hours, and then I had to sit there and play the tape for hours and hours and hours to get the creases completely out. To this day, none of the guys has ever been told about this."

[www.soundonsound.com]

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Deltics
One of the comments states "Jimmy Miller said that Gram wrote the song and the Stones did a back room deal on acquiring the rights."
I have NEVER heard that before, anybody else?

Utter crap.

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Lynd8
... but it sounds like the liner notes are interesting - are they online anywhere?



[www.americansongwriter.com]

check this link
Liner Notes

HMN

Thank you kindly! (Hope my trousers don't fall down LOL)

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Deltics
One of the comments states "Jimmy Miller said that Gram wrote the song and the Stones did a back room deal on acquiring the rights."
I have NEVER heard that before, anybody else?

Someone probably confused it with IORR.

It's mainly about the lyrics, not about the music and 'how it came together'.

But still a nice read, thanks for sharing



Edited 1 time(s). Last edit at 2014-11-08 20:29 by Koen.

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Cristiano Radtke

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Deltics
One of the comments states "Jimmy Miller said that Gram wrote the song and the Stones did a back room deal on acquiring the rights."
I have NEVER heard that before, anybody else?

Me neither, but here's another nice story about Wild Horses, as told by Chris Kimsey:

"While assisting on the sessions for the Stones' classic Sticky Fingers album at Olympic in 1971, Chris Kimsey didn't work on the centrepiece song, 'Wild Horses'; but he did nearly destroy it. Engineered on eight-track by Glyn Johns, the recording required more tracks and so Kimsey was assigned the straightforward task of making an eight-to-eight copy. With one 3M machine in Studio One and another at the opposite end of the building in what was then known as the reduction (mixdown) room, the trainee decided to make the copy immediately after the session ended, at about three in the morning, when no one else was around.

Accordingly, he put the master reel on one machine, loaded the virgin tape onto the other, checked all the connections, pressed Play on the master, ran the two-minute journey to the reduction room to make sure the correct signals were coming in, pressed Record, ran another two minutes back to the main control room, rewound the master, again pressed Play, and then returned to the other room to monitor the copy. So far, so good. However, after about a minute, the incoming sound slowed right down and ground to a halt. Trouble. Running as fast as he could to the Studio One control room, Kimsey duly discovered that the takeup spool was bent and stuck, causing the tape to wrap itself around the capstan motor until it stopped.

"The tape had wrapped itself neatly around the motor, but with creases every inch and a half," he now recalls. "I was shitting myself. I started lifting it out, incredibly slowly and delicately, and hours went by before, at around six in the morning, [studio manager] Keith Grant came in for an early session. Well, he took one look at me in a big heap on the floor, and after asking what happened he got a big, heavyweight iron — obviously not hot — and helped me press out the creases. It took me hours, and then I had to sit there and play the tape for hours and hours and hours to get the creases completely out. To this day, none of the guys has ever been told about this."

[www.soundonsound.com]

This happened more often then you might think in the days of tape. Recording tape is more durable than one might guess.

<<“Everyone always says it was written about Marianne....">>

Including Marianne herself, in her autobiography.

In fact, she seems to make an off-hand claim to have come up with the famous chorus of the song herself, following her suicide attempt when she awakens in Australia after having been unconscious for six days.

The first person I saw was Mick. He held my hands in his and said, "You've come back!"
"You can't get rid of me that easily," I replied (there's a little bit of truth in all kidding).
"Don't be so silly, darling. God, I thought I'd really lost you this time."
"Wild horses," I said, "wouldn't drag me away."

Faithfull, p. 177 (hardcover)

video: [www.youtube.com] Holy cow you can hear the tape "flutter" going over a rough spot on this mix @1:37. It's on the final mix as well but not as obvious since the overdubs were on a undamaged sub master.

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stonehearted
<<“Everyone always says it was written about Marianne....">>

Including Marianne herself, in her autobiography.

In fact, she seems to make an off-hand claim to have come up with the famous chorus of the song herself ...

... conveniently omitting to note that the phrase had been a standard saying for ages before she thought of saying it

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with sssoul

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Deltics
One of the comments states "Jimmy Miller said that Gram wrote the song and the Stones did a back room deal on acquiring the rights."
I have NEVER heard that before, anybody else?

Utter crap.

The lyrics appear to be all Keith and Mick to me, but I wouldn't doubt if Gram assisted with the music. For Mick to say he remembers playing the tune with Gram kind of insinuates that Keith and Gram came up with the arrangement. And for them to let him record such an obviously great tune BEFORE them, well too bad Gram and Jimmy are not around to tell their stories.

In any case, it's obvious don't get between with sssoul and the Stones. Ardent support doesn't begin to describe it. peace

Prior to its release on Sticky Fingers, Gram Parsons convinced Jagger and Richards to allow him to record "Wild Horses" with his band The Flying Burrito Brothers.[citation needed] Gram Parsons and Keith Richards were roommates at the time in Nashville. The song was written by Mick and Keith in return for his having orchestrated the song "Country Honk" as it appeared on the album "Let it Bleed." This is discussed in Keith Richard's autobiography. It is also country rock legend. According to Keith's book, he expected to perform and record with Parsons but the Parson's death ended those plans.

While the Rolling Stones had already laid the track to tape, the Burrito Brothers' version was actually the first to be released, appearing on their second album, Burrito Deluxe, in April 1970, one year before Sticky Fingers.

Discussion from 10 years ago.........I knew I read it before

[www.iorr.org]

__________________________

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NICOS
Discussion from 10 years ago.........I knew I read it before

[www.iorr.org]

At that we didn't have Keith's autobiography.