I recall being able to hear it throughout.

Audible throughout, especially in the 'I like it'-parts.

Didn’t Bowie play the acoustic on it? I thought Keith wiped all of Ronnie’s parts off and replaced it with his own.
I remember when it was sort of hip to dislike this song on the fansites.

One of the most down and dirty kick ass Stones tracks ever, Keith went the fck off on that Whole song. It was like he took Ronnie to school.

Jagger still had the snarl then too.you almost have to listen closely to hear how hard he’s singing, it’s from his gut.dude was a wicked mother when he was young.

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lem motlow
Didn’t Bowie play the acoustic on it? I thought Keith wiped all of Ronnie’s parts off and replaced it with his own.
I remember when it was sort of hip to dislike this song on the fansites.

One of the most down and dirty kick ass Stones tracks ever, Keith went the fck off on that Whole song. It was like he took Ronnie to school.

Jagger still had the snarl then too.you almost have to listen closely to hear how hard he’s singing, it’s from his gut.dude was a wicked mother when he was young.

He's only singing. You can hear him in the early take that surfaced on the Fully Finished Studio Outtakes-release. Keith liked Wood's acoustic and decided to leave it on.





[www.youtube.com]

Can someone explain how Keith plays this song live nowadays? There are many guitar tutorials from the studio version, but I cannot find one from the modern-day live version. Maybe someone can help.

Thanks

Boogie-rhythm and some occasional Berry-lick thrown in here and there + a Berry-esque solo.

He is never playing it the same way, so a better explanation is hard to give

Its a non-reverse Firebird, much rarer than the normal reverse Firebird. This appears to be a mid to late 60s model.

The interesting version(s) are the studio ones. When played live it sounds like Keith never heard the studio version - ever. I can't understand why they can't play the intro like the studio version.

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mrpaulincanada
Its a non-reverse Firebird, much rarer than the normal reverse Firebird. This appears to be a mid to late 60s model.

The interesting version(s) are the studio ones. When played live it sounds like Keith never heard the studio version - ever. I can't understand why they can't play the intro like the studio version.

That goes for several other tunes as well, JJF being the most obvious example.

Probably an artistic decision. Could be that the intro is harder to play, after they changed the key - but I'm not sure about that.



Edited 1 time(s). Last edit at 2023-11-21 12:31 by DandelionPowderman.

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mrpaulincanada
Its a non-reverse Firebird, much rarer than the normal reverse Firebird. This appears to be a mid to late 60s model.

The 1965 to 1969 non-reverse Firebird is not rarer. They made a lot of them, and to date it is just about the least desirable of vintage Gibson guitars. There's plenty available in great shape for $3K to $5K.

The reverse Firebird is rarer in both numbers made and by demand. They are very collectable with prices around $25K for early models and $15K for later models, and the 1 and VII models demanding even more money.

Mathijs

I always thought the studio version sounds like Bang the Gong.In fact I think it resembles Bang the Gong more than Anybody Seen My Baby sounds like Constant Craving

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DandelionPowderman

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mrpaulincanada
Its a non-reverse Firebird, much rarer than the normal reverse Firebird. This appears to be a mid to late 60s model.

The interesting version(s) are the studio ones. When played live it sounds like Keith never heard the studio version - ever. I can't understand why they can't play the intro like the studio version.

That goes for several other tunes as well, JJF being the most obvious example.

Probably an artistic decision. Could be that the intro is harder to play, after they changed the key - but I'm not sure about that.

It's probably mostly to do with Mick's range but maybe just as much so the ability of playing guitar live in that chug sense - it's much easier in B than in E. It gives room later in the turn around and the bridge melodically.

The original version just kinda wafts, it just floats, waffles a bit, where as the live version in B soars, it chugs. Just listen to the LOVE YOU LIVE version compared to the LP version - it's obvious.

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GasLightStreet

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DandelionPowderman

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mrpaulincanada
Its a non-reverse Firebird, much rarer than the normal reverse Firebird. This appears to be a mid to late 60s model.

The interesting version(s) are the studio ones. When played live it sounds like Keith never heard the studio version - ever. I can't understand why they can't play the intro like the studio version.

That goes for several other tunes as well, JJF being the most obvious example.

Probably an artistic decision. Could be that the intro is harder to play, after they changed the key - but I'm not sure about that.

It's probably mostly to do with Mick's range but maybe just as much so the ability of playing guitar live in that chug sense - it's much easier in B than in E. It gives room later in the turn around and the bridge melodically.

The original version just kinda wafts, it just floats, waffles a bit, where as the live version in B soars, it chugs. Just listen to the LOVE YOU LIVE version compared to the LP version - it's obvious.

Yeah and then in Europe '76 they do it in G with Keith on open -G as in North America 75 only that that time it's capoed on the 4th fret. I agree that the ultimate live version is from MLG in Toronto 75, polished or not polished. It is strange not getting it live nowadays along with BS, hope they both return next year.

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MadMax

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GasLightStreet

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DandelionPowderman

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mrpaulincanada
Its a non-reverse Firebird, much rarer than the normal reverse Firebird. This appears to be a mid to late 60s model.

The interesting version(s) are the studio ones. When played live it sounds like Keith never heard the studio version - ever. I can't understand why they can't play the intro like the studio version.

That goes for several other tunes as well, JJF being the most obvious example.

Probably an artistic decision. Could be that the intro is harder to play, after they changed the key - but I'm not sure about that.

It's probably mostly to do with Mick's range but maybe just as much so the ability of playing guitar live in that chug sense - it's much easier in B than in E. It gives room later in the turn around and the bridge melodically.

The original version just kinda wafts, it just floats, waffles a bit, where as the live version in B soars, it chugs. Just listen to the LOVE YOU LIVE version compared to the LP version - it's obvious.

Yeah and then in Europe '76 they do it in G with Keith on open -G as in North America 75 only that that time it's capoed on the 4th fret. I agree that the ultimate live version is from MLG in Toronto 75, polished or not polished. It is strange not getting it live nowadays along with BS, hope they both return next year.

IORR, compared to 99% of the rest of the catalog, is pedestrian and extremely boring. Star Star is miles above IORR and it's bascially the same song! Only much better - but a throwaway 'Ah, well, here's a Chuck Berry song that he didn't do' kinda thing.

IORR, the song, boring? ... It kicks arse!

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MadMax

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GasLightStreet

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DandelionPowderman

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mrpaulincanada
Its a non-reverse Firebird, much rarer than the normal reverse Firebird. This appears to be a mid to late 60s model.

The interesting version(s) are the studio ones. When played live it sounds like Keith never heard the studio version - ever. I can't understand why they can't play the intro like the studio version.

That goes for several other tunes as well, JJF being the most obvious example.

Probably an artistic decision. Could be that the intro is harder to play, after they changed the key - but I'm not sure about that.

It's probably mostly to do with Mick's range but maybe just as much so the ability of playing guitar live in that chug sense - it's much easier in B than in E. It gives room later in the turn around and the bridge melodically.

The original version just kinda wafts, it just floats, waffles a bit, where as the live version in B soars, it chugs. Just listen to the LOVE YOU LIVE version compared to the LP version - it's obvious.

Yeah and then in Europe '76 they do it in G with Keith on open -G as in North America 75 only that that time it's capoed on the 4th fret. I agree that the ultimate live version is from MLG in Toronto 75, polished or not polished. It is strange not getting it live nowadays along with BS, hope they both return next year.

That's so damn weird that they did in G!!! Although Keith's Happy on, well, some live recording, in D for the Winos, I can't remember what it's on, had this interesting way of sitting a bit better, if that makes any sense. I liked the difference.

Of course it was slower and much heavier than the blues Chuck Berry charged Stones performances.

I can remember the day I listened to side 4 and being flat out stunned at how good IORR was. Way way before anyone (? well certainly me) knew that Keith didn't write that song.

Holy crap.

How obvious.

I bet that's the reason they do it in B, because it's how Keith wants to do it, to have it sound like it's his song, because the original in E isn't him (and the solo is a bit of a yawn where as in B it's Chuck Berry on crank!) and it's quite boring.

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GasLightStreet
I bet that's the reason they do it in B, because it's how Keith wants to do it, to have it sound like it's his song, because the original in E isn't him (and the solo is a bit of a yawn where as in B it's Chuck Berry on crank!) and it's quite boring.

Isn't it Mick who prefers singing it in B ? Although there's been inspiring live versions over the years, the the studio original in E is something else.

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skytrench

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GasLightStreet
I bet that's the reason they do it in B, because it's how Keith wants to do it, to have it sound like it's his song, because the original in E isn't him (and the solo is a bit of a yawn where as in B it's Chuck Berry on crank!) and it's quite boring.

Isn't it Mick who prefers singing it in B ? Although there's been inspiring live versions over the years, the the studio original in E is something else.

I dunno. I can't remember. I thought I'd read that somewhere. He sings better in B than in E to my ears. Can't find anything of him saying anything though. I'm just guessing that Keith changed it to make it more his than the Mick/Ronnie version.

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LeonidP
IORR, the song, boring? ... It kicks arse!

Well, yeah, the LP version is boring. LOVE YOU LIVE, however...

ROCKMAN

For me, the album version is the ultimate Stones' song. Not the best but in a way the the essence of Stones. Decadent, overproduced, over-overdubbed, crazy, wild... I love it.

They were never able to get anywhere close to the studio version when playing it live.

Best live version and in the correct key!!!! [youtu.be]

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MartinB
For me, the album version is the ultimate Stones' song. Not the best but in a way the the essence of Stones. Decadent, overproduced, over-overdubbed, crazy, wild... I love it.

They were never able to get anywhere close to the studio version when playing it live.

Even though the studio version isn't The Rolling Stones? I get your loving of it.

They were never able to get anywhere close to the studio version when playing it live because they didn't bother playing it like the studio version.

Factually you can say "They never played it anything like the studio version!" and that is correct - they have NEVER played it like the LP version (the same can be said for Satisfaction, Jumpin' Jack Flash, Live With Me, Shattered and Start Me Up).

Which means two or maybe three things:

People know and love the LP version.

People know and love the various hits albums (MADE IN THE SHADE, REWIND, JUMP BACK, it's probably on THE SIMIAN DISASTER) that have IORR on it (FORTY LICKS fortunately had an edited version of it but it's not available online/etc).

It's not on TIME WAITS FOR NO ONE or SUCKING IN THE SEVENTIES.

People love the live performances of 1975-76 and since 1989-2021.

If they played it in E live it would be probably be just as boring as the studio verison.



Edited 2 time(s). Last edit at 2023-11-25 06:10 by GasLightStreet.

I’m surprised they didn’t give Marc Bolan writer’s credit