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DandelionPowderman

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Mathijs

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DandelionPowderman

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Palace Revolution 2000
Keith was often in open D or E in that period. Could he have just tuned down to Open C for the slide ?

It's in standard tuning. You can hear he's working on single strings. That's difficult, and sometimes he's a little off.

It's the same with Monkey Man and Midnight Rambler.

Love In Vain and You Got The Silver sound like open G.

Dandie probably knows this already.
Let it bleed: standard, capo on third.
Love in vain - standard, capo on third. You got the silver open E, capo on first. Monkey Man standard - capo on second. Rambler, standard, capo on seventh.

You Got The Silver is Open D with capo on the third.

Mathijs

That's correct. I checked yesterday.

But surely Keith is playing the slide on LIB (the track) in standard tuning?

The Mick/Keith on acoustic guitar on LIB has been debated before. I know Keith is credited on most sites, but there is something with that consistent (too much) on the beat-playing...

Carpet: I doubt Keith used a capo on his slide track on LIV. I reckon you mean the acoustic?

LIB: standard; capo on third - that's correct for the acoustic guitar. No capo on the slide guitar.

I'm taking my ball, and going home.
Open C - it's a done deal.

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Palace Revolution 2000

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DandelionPowderman

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Palace Revolution 2000
I don't know. In the very intro, that very first slide you hear, you can hear a low note, when he pulls off - and that note is a C. If you play it ( the whole song) in Open C, it makes so much sense; it's easy. And the one thing I have come to learn about Keith's playing: he always went the simple route.
I'm not talking about the main guitar, only the slide.

PS I knew it'd be you replying Dandy. It's kind of a drag, that these kind of guitar questions don't get much going anymore. All those great debates have already happened.

Actually, in 69 he didn't go the simple route with his slide playing. If so, he would have played chord pattern-slide on LIB, MR and MM. That's easy. Hitting the single notes on these songs are rather intricate, imo.

I can't remember the LIB-chords right now, but hitting the A string with a slide to do these two descending notes before Mick comes in with his acoustic (D-shaped chord with a capo?) could be how it went down, no matter which tuning?

I don't know if we can say this: "If so he would have played the chord pattern, that is easy". That is assuming too much IMO.
What has amazed me in figuring lots of Keith patterns out, is just how economical he always has been. It's not so much 'easy', as 'sensible'. He gets a lot done with rel little. It astonished me when I realized what he was doing on the solo for SFTD e.g.
That beginning slide before the main acoustic kind of groans on two notes, but then it pulls off. It is the pull off that leaves the open A string. That note is a C. yes - that could have happened various ways, of course. It's a reasonable assumption though that it could be an Open C; esp. once one plays the rest of the song. The parts Keith is playing. It kind of comes together.

You're right. What I meant was that Keith usually uses the open tuning, when he's playing it. That means chords as well, also in his slide playing (Jig Saw Puzzle, Love In Vain etc.). We hear a couple of two string 7s on LIB, but no slide chords. We mostly hear him play single notes. Out of experience, that leads me to believe it's standard tuning.

I could be wrong, though, but I can't recall any examples of Keith playing slide in open tuning like that.

Great, great song. Should be played at every third show. Which we had an early version on bootleg.

Heard this studio version of this song today for the first time in nearly 2 years. Blew me away like it did the first time I heard it on the radio a few years ago! Great song the entire band really is pushing on it.

Masterpiece

I think it is the song where they broke past their influences. Muddy Waters could not have written it. It is supreme.

A masterpiece. They nailed it at 81-82 Tours. Wow!!!!!!

Their most essential bleed-through for the band recording of all their songs!



Edited 1 time(s). Last edit at 2019-02-02 23:22 by GasLightStreet.

Hilarious comments.

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DandelionPowderman

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Palace Revolution 2000

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DandelionPowderman

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Palace Revolution 2000
I don't know. In the very intro, that very first slide you hear, you can hear a low note, when he pulls off - and that note is a C. If you play it ( the whole song) in Open C, it makes so much sense; it's easy. And the one thing I have come to learn about Keith's playing: he always went the simple route.
I'm not talking about the main guitar, only the slide.

PS I knew it'd be you replying Dandy. It's kind of a drag, that these kind of guitar questions don't get much going anymore. All those great debates have already happened.

Actually, in 69 he didn't go the simple route with his slide playing. If so, he would have played chord pattern-slide on LIB, MR and MM. That's easy. Hitting the single notes on these songs are rather intricate, imo.

I can't remember the LIB-chords right now, but hitting the A string with a slide to do these two descending notes before Mick comes in with his acoustic (D-shaped chord with a capo?) could be how it went down, no matter which tuning?

I don't know if we can say this: "If so he would have played the chord pattern, that is easy". That is assuming too much IMO.
What has amazed me in figuring lots of Keith patterns out, is just how economical he always has been. It's not so much 'easy', as 'sensible'. He gets a lot done with rel little. It astonished me when I realized what he was doing on the solo for SFTD e.g.
That beginning slide before the main acoustic kind of groans on two notes, but then it pulls off. It is the pull off that leaves the open A string. That note is a C. yes - that could have happened various ways, of course. It's a reasonable assumption though that it could be an Open C; esp. once one plays the rest of the song. The parts Keith is playing. It kind of comes together.

You're right. What I meant was that Keith usually uses the open tuning, when he's playing it. That means chords as well, also in his slide playing (Jig Saw Puzzle, Love In Vain etc.). We hear a couple of two string 7s on LIB, but no slide chords. We mostly hear him play single notes. Out of experience, that leads me to believe it's standard tuning.

I could be wrong, though, but I can't recall any examples of Keith playing slide in open tuning like that.

His slide on Jigsaw Puzzle - and Monkey Man - is great but those 2 note slides on Let It Bleed are brilliant, really. The only time he's ever done that to my understanding I reckon.

Jigsaw Puzzle features lots of 2 note slides.

super great is my rating

One of my top favorite Stones songs. What a rich blend of country and rock with a sound and feel that is uniquely Stones. A good "triple shot" of songs in this sub-genre to listen to back to back are "Let It Bleed" "Wild Horses" and "Dance Little Sister". I consider LIB Stu's shining moment with the band. He's way up in the mix and is the glue that holds it together, like Niki Hopkins on Sympathy. Charlies drumming is somewhat stiff but it works perfectly on this track. The slide is the icing on the cake. On Jigsaw Puzzle, another cool song in it's own right, I feel like they're experimenting and trying to get a certain sound. On LIB that got that sound and absolutely nailed it.



Edited 3 time(s). Last edit at 2019-02-10 18:47 by ryanpow.

What's your favorite cover version?


Johnny Winter
[youtu.be]

Chuck Leavell and a guy!
[youtu.be]

Black Crowes
[youtu.be]

Sheryl Crow
[youtu.be]

Joan Jett
[youtu.be]



Edited 1 time(s). Last edit at 2020-12-12 10:39 by KRiffhard.

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Edited 1 time(s). Last edit at 2020-12-12 12:00 by DandelionPowderman.

Fantastic tune! Nothing else to add.

As for those covers, I like the Joan Jett version. I have that album but it's been a while, and I totally forgot she covered it. Listening now...

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LeonidP
Fantastic tune! Nothing else to add.

As for those covers, I like the Joan Jett version. I have that album but it's been a while, and I totally forgot she covered it. Listening now...

Me too

i prefer sexy Sheryl's ...

resotele

I've probably rambled about this but this is today so:

Charlie's drumming is top notch, that dumpy double kick answered by the snare, steady yet just dumpy enough in spots, the crash cymbal not too overbearing. This and Sweet Virginia, with it's dumpy march, and She's So Cold have insanely awesome drumming.

I like the screwup coming out of the chorus into the "engagement" lyric.

Keith's acoustic is percussive and chimey, and it naturally comes in and out of the mix on its own accord of where he's strumming, which gives it a lot of room and lets the piano plunk just right. His slide playing is excellent. And the bleed through on the acoustic is another highlight. The bleed through in this era is a lot of fun.

I know I’m in the minority here, but I have never liked this song.I can think of 20 songs during the Wood era I like better

Bleed it alright... leanin' alright... is what it sounds like Mick is singing instead of Get it on rider.

A Stones classic - last saw it performed very sloppily (in a good way) in Santa Clara last year on the B-stage which was a perfect setting for it.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

So amazing. Just perfect. Amazing amazing forever to forever how they assimilated American folk, blues and rock & roll into this amazingly powerful and naturally sounding original amalmation from Bleed, well Beggars and then forward to ST and eoms.
This one stuck me to the ceiling and then stripped me down to the good dirt
The narrative classic of course.
Who wrote the lyrics? MJ?
Just wonderful music. I'm not qualified to technically or aesthetically really"Review" it but it's making even me speechless
Super Duper Great and Wondrous song and performance all around imo.