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Redhotcarpet
On the song Let it bleed Keith is great of course but Mick's vocals is what makes it worthy.

...and Stu's piano!

Just as long as the guitar plays, let it steal your heart away

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Tantekäthe
superb album track and, in my book, among Mick Jagger's most impressive vocal efforts ever.

Unfortunately its subtle sleaziness does not seem to translate in a live setting, the "Stripped" version being a prime example. On "Stripped", this tune comes off as a generic hillbilly number which does not do any justice to the original.

The same could be said, by the way, about "It's Only Rock'n'Roll" which they sadly turned into a by-the-numbers Chuck Berry style R'n'R tune.

very true on both accounts!

Great song, one of their best. Hell, the production is simple - Miller caught the perfect sound of the acoustic and the drums.

The lope that occurs throughout the song is due to Charlie's two-beat that is placed in front of the beat, which gives it that feeling of it's gonna fall apart. Mick's leering vocal style, aided by the live vocal from the bottom track, is top notch.

And Keith's playing the slide is excellent.

Has anyone figured out what the funny little noises in the song are? One sounds like picking of guitar strings above the neck or below the bridge with a lot of reverb. And then there's that rattle in the beginning.

I love Bill's screwup at the start of the second stanza.

I've always thought Mick switched 'get it on rider' with 'bleed it all right' and 'lean it all right'.

This song is essential in understanding what makes The Rolling Stones such a great rhythmic force on record. Play this track and then Tumbling Dice and it really really makes sense. True perfection with the tugging or push and pull of and with rhythm.

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WeLoveToPlayTheBlues
This song is essential in understanding what makes The Rolling Stones such a great rhythmic force on record. Play this track and then Tumbling Dice and it really really makes sense. True perfection with the tugging or push and pull of and with rhythm.

"No Anchovies, Please"

Let it Bleed was a perfect rollicking ending to side one of LIB. It set the listener up perfectly for the knock out side two opening track of Midnight Rambler. I think in the cd/digital era people forget about what album sides were all about and the mood that the band tried to create with the track list. This was very important to albums from this period. Let it Bleed was a perfect last song for side one of this epic LP.

Is it agreed by all that it's Jimmy Miller urging Mick on before the last chorus begins with COME ON MICK! I still say this song is one of the greats and represents all that was good with this band back then. The mono mix by the way is simply killer. As the album sleeve recommends, PLAY THIS RECORD LOUD.

This song is pure heaven on earth. Great vocals by Mick, Keith's slide is great but the acoustic guitar in the beginning followed by Charlie's drums just makes this song absolutely fantastic. The lyrics are sleazy anj Jagger delivers them like only Jagger can. This is what the Rolling Stones are all about!!!

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marcovandereijk

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Redhotcarpet
On the song Let it bleed Keith is great of course but Mick's vocals is what makes it worthy.

...and Stu's piano!

Forgot to mention Stus piano. Fits perfectly.

I love this song but always wondered why Mick starts it off in a unique Kermit-the-Frog sounding vocal that then morphs into his regular nasal, scratchy "Mick" voice. That beginning had to be conscious and I wonder if it was a nod to something I don't know. Like I only this year read Jimmy Page say the first two chords of Zeppelin's The Rain Song were the first two chords of the Beatles Something as Zeppelin's little joke against George Harrison for being critical of Zeppelin.

Love the version from Hampton 1981.

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Redhotcarpet

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marcovandereijk

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Redhotcarpet
On the song Let it bleed Keith is great of course but Mick's vocals is what makes it worthy.

...and Stu's piano!

Forgot to mention Stus piano. Fits perfectly.

Stu's piano. Yes. Love it.

One of my all time favorite Stones tunes. Such simple production. Acoustic guitars and acoustic piano. Great vocals and the song builds from the first note to the last, really takes you along for the ride.

Bring back more of this simple and devastatingly good Stones music please! They were such masters of the acoustic treatment for so long and now that the technology has caught up there should be nothing preventing them from pulling this stuff off live, imo.

Hippie country at it's very best! If it wasn't for Keith slide parts to kinda rock it up a bit it could be one of the best pure country songs ever recorded. I've always loved it when the Stones go country, probably wouldn't like that genre at all without their contributions. They were so good at it, they've probably influenced the Nashville cats more than they have the rockers, perhaps even more.

peace



Edited 1 time(s). Last edit at 2015-06-08 02:30 by Naturalust.

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

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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.

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.



Edited 1 time(s). Last edit at 2017-08-21 22:21 by Palace Revolution 2000.

Brilliant Song, just Brilliant. No other words to describe it.

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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?

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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.

This is an album that has some of Keith's best work. He could lay his claim as one of rocks best off of this piece of work alone.

I LOVE this album, adore it, BUT this track is easily my least favorite song on it. It's just too long, and it's NOT actually long at all!!

Having said it's my least favorite though, I DO still play it and like it - it's just not as great as anything else on this truly extraordinary record - which I liken to an "experience" rather than just a collection of songs.

It's a superb album.

Rod

"When you drink my health in scented jasmine tea''

No idea why, but I love that lyric.

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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?

Mick???

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z

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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?

Mick???

I always thought that «stiff» acoustic was played by Jagger. Wasn't it?

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Chester
"When you drink my health in scented jasmine tea''

No idea why, but I love that lyric.

Isn't it drank?

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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.

Excellent song; it's on my list to learn. I remember liking the Barry Goldberg version from Stoned Again and the '81 live version with Mick Taylor on slide.

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DandelionPowderman

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z

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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?

Mick???

I always thought that «stiff» acoustic was played by Jagger. Wasn't it?

That's Richards on acoustic.

Mathijs

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Redhotcarpet

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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

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Mathijs

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Redhotcarpet

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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?

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Mathijs

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Redhotcarpet

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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

Wow thanks Mathijs! Had no idea. But of course. Gives that special ring to it.