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he said he came up with it's guitar riff on organ but was not given credit so it might be true or it might not be
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BroomWagon
If someone said BW wrote most of JJF, I'd be sceptical but how about that.
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Title5Take1
Mick in ACCORDING TO THE ROLLING STONES (p.116): "I remember the recording session for `Jumpin' Jack Flash', and not liking the way it was done very much. It was a bit haphazard—and although the end result was pretty good, it was not quite what I wanted. The fidelity wasn't that great; it wasn't quite as in your face as it could have been."
I love it, but I do wonder what it would have been like with straight electric guitars, rather than overloaded acoustic guitars.
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24FPS
Nicky Hopkins plays organ on this, too? Along with Bill? That disappoints me. I always thought it was Bill's greatest bass part ever until I found out Keith played it. (Although it sounds very Bill). Then I found out Bill played organ on it and I figured he did that crazy little jazz coda at the end that I love. So Bill did or didn't play it? Did Nicky play it? It's really good and funky and I thought it was great that Bill made that contribution and showed a side to Bill we hadn't seen at that point.
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71Tele
The original track is a studio masterpiece. What's interesting about it to me is that the band was coming out of their psychedelic era and this recording has elements of psychedelia combined with tantalizing hints of what would become the "classic" Stones sound. It bridges two periods of the band's history. Jagger is at his best lyrically and vocally, full of menace. The promo film of the group in war paint made with Michael Lindsay-Hogg perfectly captures the mood of this fantastic song.
The live version that the band has played basically since 1969 is almost an entirely different track, cutting off the intro entirely and boiling things down to their essence. It's great, but it's almost another song. The original belongs in a class with "Strawberry Fields" - a studio creation that really can't be replicated live.
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71Tele
The original track is a studio masterpiece. What's interesting about it to me is that the band was coming out of their psychedelic era and this recording has elements of psychedelia combined with tantalizing hints of what would become the "classic" Stones sound. It bridges two periods of the band's history. Jagger is at his best lyrically and vocally, full of menace. The promo film of the group in war paint made with Michael Lindsay-Hogg perfectly captures the mood of this fantastic song.
The live version that the band has played basically since 1969 is almost an entirely different track, cutting off the intro entirely and boiling things down to their essence. It's great, but it's almost another song. The original belongs in a class with "Strawberry Fields" - a studio creation that really can't be replicated live.
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sf37
Does anyone know from which album/CD (if any) this version is culled from?
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sf37
Does anyone know from which album/CD (if any) this version is culled from?
that version is in the 68-71 ABKCO singles box set: [www.amazon.co.uk]
it's great visually - especially Keith studying his fingernails at the end :E - but the tacked-on vocal addenda bug me
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Redhotcarpet
Talk about wasted opportunity, to not film Brian Jones for the last real video. What was that, three seconds? Geez... I mean I get it, they start to re-establish themselves as the Glimmer Twins but that last camera angle was just stupid.
Cool video and song anyhow and I'm 100% sure they got the name and basic story from that 19th century British tale. And yes, Bill wrote the riff, I don't believe that gardener story for a second. Part of it could be true of course but it sounds like one of those neat creations by Keith. Sometimes he says he came up with the riff and/or lyrics after Mick saw his gardener and sometimes Bill just played Satisfaction backwards. Conclusion: When jamming with Brian and Charlie Bill must have fooled around with Satisfaction, sort of, changing it around and finally coming up with the best go damn riff ever.
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71Tele
The original track is a studio masterpiece. What's interesting about it to me is that the band was coming out of their psychedelic era and this recording has elements of psychedelia combined with tantalizing hints of what would become the "classic" Stones sound. It bridges two periods of the band's history. Jagger is at his best lyrically and vocally, full of menace. The promo film of the group in war paint made with Michael Lindsay-Hogg perfectly captures the mood of this fantastic song.
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His MajestyQuote
Title5Take1
Mick in ACCORDING TO THE ROLLING STONES (p.116): "I remember the recording session for `Jumpin' Jack Flash', and not liking the way it was done very much. It was a bit haphazard—and although the end result was pretty good, it was not quite what I wanted. The fidelity wasn't that great; it wasn't quite as in your face as it could have been."
I love it, but I do wonder what it would have been like with straight electric guitars, rather than overloaded acoustic guitars.
The majority of the guitars are electric.
There's contradictory info regarding whether Olympic Studios was 4 or 8 track by this time. If it were still 4 track, then perhaps the whole recording process, plus bouncing down degraded things a bit too far for Micks liking.
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GravityBoy
Nearly always disappointed with live versions.
1) Mick sings it different (lazy staccato)
2) No proper intro.
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MathijsQuote
71Tele
The original track is a studio masterpiece. What's interesting about it to me is that the band was coming out of their psychedelic era and this recording has elements of psychedelia combined with tantalizing hints of what would become the "classic" Stones sound. It bridges two periods of the band's history. Jagger is at his best lyrically and vocally, full of menace. The promo film of the group in war paint made with Michael Lindsay-Hogg perfectly captures the mood of this fantastic song.
But to date I never fully understood the psychedelic era fully. Listening to the 8 set of outtakes of Satanic it wasn't psychedelic at all -it was just pure Stones, a bit Aftermath with BtB trown in, and then some American rock. It wasn't until overdubbing and mixing that the album, and its song choice, became 'psychedelic'. JJF does not seem that of great step if you ignore Satanic, basically. Take out the fuzz and the track could have been on Aftermath.
Mathijs
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marcovandereijk
I would give a part of my body if it was possible to travel through time and actually be there
in 1968 when the song was played on the radio for the very first time.
I am quite sure it must have been a moment of glorious joy, to those who followed the band
in the 60s, to be confronted with all these guitars, fighting for attention.
it was ... ohhh my! it was the Rolling Stones coming to save me