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stupidguy2
Does anyone know how to play this song. I used to think it was an organ through a leslie...

It's all simple chords (D/C/G/F#-D/A/G). The genius trick is the A/G-thing. Keith does a few fills here and there in between chords, but it's very do-able finding your way to those fills.

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DandelionPowderman

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stupidguy2
Does anyone know how to play this song. I used to think it was an organ through a leslie...

It's all simple chords (D/C/G/F#-D/A/G). The genius trick is the A/G-thing. Keith does a few fills here and there in between chords, but it's very do-able finding your way to those fills.

That second chord is not a straight C, it is a C with a strangely raised B to Gflat on the A-string.

So you get:

x x
x x
0 0 -> 2
4 x
3 x
x x

So first that strange C chord, tham hammer on from G to A on the G string, than full G chord (tus with added D on the B string).

I always suspected that Nicky Hopkins had a hand in the chord sequence, as this strange C-chord is a piano chord more than it is a guitar chord.

Mathijs

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Mathijs

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DandelionPowderman

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stupidguy2
Does anyone know how to play this song. I used to think it was an organ through a leslie...

It's all simple chords (D/C/G/F#-D/A/G). The genius trick is the A/G-thing. Keith does a few fills here and there in between chords, but it's very do-able finding your way to those fills.

That second chord is not a straight C, it is a C with a strangely raised B to Gflat on the A-string.

So you get:

x x
x x
0 0 -> 2
4 x
3 x
x x

So first that strange C chord, tham hammer on from G to A on the G string, than full G chord (tus with added D on the B string).

I always suspected that Nicky Hopkins had a hand in the chord sequence, as this strange C-chord is a piano chord more than it is a guitar chord.

Mathijs

I know. I can play anything, but tabs are not my bag, I'm hopeless at it



Edited 1 time(s). Last edit at 2012-05-15 13:08 by DandelionPowderman.

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DandelionPowderman

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stupidguy2
Does anyone know how to play this song. I used to think it was an organ through a leslie...

It's all simple chords (D/C/G/F#-D/A/G). The genius trick is the A/G-thing. Keith does a few fills here and there in between chords, but it's very do-able finding your way to those fills.

Yeah DP the A, then A with G bass turnaround is indeed the magical part for me too. But aren't you missing a very important Em then G as well. I think maybe for the "just about a month or two" and "take the shine right off your shoes". It provides an important resolution to the circular thing on occasion, before starting back to the D, C,.... I may be wrong but that the way I play it.

Anyway, it sure feels good to play, every time. Another gift from Keith to the world of guitarists. (somebody's going to say Mick wrote that part I just know it) peace

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Naturalust

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DandelionPowderman

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stupidguy2
Does anyone know how to play this song. I used to think it was an organ through a leslie...

It's all simple chords (D/C/G/F#-D/A/G). The genius trick is the A/G-thing. Keith does a few fills here and there in between chords, but it's very do-able finding your way to those fills.

Yeah DP the A, then A with G bass turnaround is indeed the magical part for me too. But aren't you missing a very important Em then G as well. I think maybe for the "just about a month or two" and "take the shine right off your shoes". It provides an important resolution to the circular thing on occasion, before starting back to the D, C,.... I may be wrong but that the way I play it.

Anyway, it sure feels good to play, every time. Another gift from Keith to the world of guitarists. (somebody's going to say Mick wrote that part I just know it) peace

Yep, I am. I just wanted to get stupidguy2 started, as I have loads here at work

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Mathijs
[I always suspected that Nicky Hopkins had a hand in the chord sequence, as this strange C-chord is a piano chord more than it is a guitar chord.

Mathijs

Interesting suspicion Mathijs, you could be right! The guitar fills are very piano-esque and the piano fills are sweet. But maybe Keith plays it in an open tuning with a capo. Have you observed that he plays it in standard tuning? I'll bet this was penned in the basement of Nellcote on a morning with just Nicky and Keith and Andy Johns in the room, that's my intuition. peace

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Naturalust

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Mathijs
[I always suspected that Nicky Hopkins had a hand in the chord sequence, as this strange C-chord is a piano chord more than it is a guitar chord.

Mathijs

Interesting suspicion Mathijs, you could be right! The guitar fills are very piano-esque and the piano fills are sweet. But maybe Keith plays it in an open tuning with a capo. Have you observed that he plays it in standard tuning? I'll bet this was penned in the basement of Nellcote on a morning with just Nicky and Keith and Andy Johns in the room, that's my intuition. peace

The way that D rings lead me to believe it's standard tuning. Of course, you can do the D in Open G as well, with the two fingers, but then there is those subtle chord changes later on which are kinda hard to do with open G.

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Naturalust
I'll bet this was penned in the basement of Nellcote on a morning with just Nicky and Keith and Andy Johns in the room, that's my intuition. peace

It wasn't recorded at Nellcote.

I always remembered this song as having a fadeout, but I notice it has a cool stonesy almost "non-end", kind of like how they end many songs live. Very loose (pun intended).

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DandelionPowderman

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Naturalust

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Mathijs
[I always suspected that Nicky Hopkins had a hand in the chord sequence, as this strange C-chord is a piano chord more than it is a guitar chord.

Mathijs

Interesting suspicion Mathijs, you could be right! The guitar fills are very piano-esque and the piano fills are sweet. But maybe Keith plays it in an open tuning with a capo. Have you observed that he plays it in standard tuning? I'll bet this was penned in the basement of Nellcote on a morning with just Nicky and Keith and Andy Johns in the room, that's my intuition. peace

The way that D rings lead me to believe it's standard tuning. Of course, you can do the D in Open G as well, with the two fingers, but then there is those subtle chord changes later on which are kinda hard to do with open G.

I've always assumed it was in standard, I can play it in standard (haven't tried open for this song)



Edited 2 time(s). Last edit at 2012-05-15 14:48 by WeLoveYou.

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His Majesty

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Naturalust
I'll bet this was penned in the basement of Nellcote on a morning with just Nicky and Keith and Andy Johns in the room, that's my intuition. peace

It wasn't recorded at Nellcote.

I should have noticed that my leige but penned and recorded are two different things. Perhaps it was a leftover riff from Sticky Fingers sessions? The Timeisonourside site may have some additional insight since it has some great quotes from the band on individual tracks in it's Track Talk section.
His Majesty - HILARIOUS- i'm editing this cause I see that you linked to that site earlier in the thread, here I am telling you about it. so sorry my arrogance, lol

One thing for sure is that many folks here have alot of cool, intelligent, moving stuff to say about the tune. It is indeed a part of us all. peace



Edited 1 time(s). Last edit at 2012-05-17 02:03 by Naturalust.

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Mathijs

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DandelionPowderman

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stupidguy2
Does anyone know how to play this song. I used to think it was an organ through a leslie...

It's all simple chords (D/C/G/F#-D/A/G). The genius trick is the A/G-thing. Keith does a few fills here and there in between chords, but it's very do-able finding your way to those fills.

That second chord is not a straight C, it is a C with a strangely raised B to Gflat on the A-string.

So you get:

x x
x x
0 0 -> 2
4 x
3 x
x x

So first that strange C chord, tham hammer on from G to A on the G string, than full G chord (tus with added D on the B string).

I always suspected that Nicky Hopkins had a hand in the chord sequence, as this strange C-chord is a piano chord more than it is a guitar chord.

Mathijs

That "strange" C-chord is an ordinary C#11, containing a raised f (not a lowered g), as it also functions as a guide tone to the root of the G-chord.

The first chord is a D9, and the song has two keys: D and G major.
Actually the keys are F and B-flat, as the capo is in 3.

A beauty of a song.

The guy below almost nails it, and for those who doubt, I posted the original as well.

Enjoy.

I think i've nailed it note for note by using a combination of listening to the original, looking at the tab book (which has errors!) and watching a few YouTube clips. It's very satisfying and calming to play it once you've mastered the hammer ons from the G to A. Almost classical in parts!

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stupidguy2
Does anyone know how to play this song. I used to think it was an organ through a leslie...

[www.iorr.org]

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VT22

That "strange" C-chord is an ordinary C#11, containing a raised f (not a lowered g), as it also functions as a guide tone to the root of the G-chord.

Can you explain that? A C11 has a C as root, Bflat, D and F. When you say raised F it would mean the root would have been F, which it isn't. The LIL chord has no root as it is unresolved, with a C, Gflat and G (the Gflat is dissonant). I see it personally as a Cmaj7 with a raised B to Fsharp, which to my knowledge doesn't have a proper name as it doesn not have a root, it is a passing triad. When you would have an A as root you would get Amin13. This is why I see it as a piano chord -on a guitar the C/Gflat/G triad is not a guitar chord, it is someting piano players are more used to. Unless you're some kind of jazz guitarist I guess.

Mathijs

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Naturalust

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His Majesty

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Naturalust
I'll bet this was penned in the basement of Nellcote on a morning with just Nicky and Keith and Andy Johns in the room, that's my intuition. peace

It wasn't recorded at Nellcote.

I should have noticed that my leige but penned and recorded are two different things. Perhaps it was a leftover riff from Sticky Fingers sessions?

The music was already recorded by the time they got to Nellcote.

Man it's a damn good thing I didn't hear all this theory before I tried to play it, Lots of repect for the guys who know this stuff backwards and forwards but you're scaring the rest of us a bit with these 11th and 13th chords. There's only 12 notes and he's pretty much picking them individually so.....

Hey crumbling_mice, now that you have satisfied an important prerequisite and paid your respects by learnin' it note for note, it's time to mess with it, have some fun, take it to a new place all your own. That's when the real fun starts. Whoo Hoo! peace

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Naturalust
Man it's a damn good thing I didn't hear all this theory before I tried to play it, Lots of repect for the guys who know this stuff backwards and forwards but you're scaring the rest of us a bit with these 11th and 13th chords

Yeah....lol
Keith's genius is that he makes the most basic structures complex with his feel, musical phrasing and sense of rhythm.
11th and 13th chords?

Def. one of my top favorite songs. That's a nice version Naturalist. You did your own thing with it.

Thanks ryanpow, appreciate that. Here are some band quote's I nicked from the timeisonourside site relating to this tune.

What (Mick) wanted was this funk feeling, this real honest church feel. He had an appreciation for black music, and he said it openly, so that was out of the way. We knew he had this affinity for the blues and where it came from. Wilson Pickett came clearly out of a church, out of a black experience. Mick came out of a respect for black experience, or black music. The greatness comes out of the spirit.

- Tamiya Lynn

(Who's that woman on your arm/All dressed up to do you harm?) I think Keith wrote that, actually. That's a very weird, difficult song. I had a whole other set of lyrics to it, but they got lost by the wayside. I don't think that song has any semblance of meaning. It's one of those rambling songs. I didn't really understand what it was about, after the event.

- Mick Jagger, 2009

(Dr. John) just walked in. Mac Rebennack's like that. If there's music going on, in one way or another, he's gonna get his ass in there. I love the guy.

- Keith Richards, 2010

peace

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Naturalust
Man it's a damn good thing I didn't hear all this theory before I tried to play it, Lots of repect for the guys who know this stuff backwards and forwards but you're scaring the rest of us a bit with these 11th and 13th chords. There's only 12 notes and he's pretty much picking them individually so.....

Hey crumbling_mice, now that you have satisfied an important prerequisite and paid your respects by learnin' it note for note, it's time to mess with it, have some fun, take it to a new place all your own. That's when the real fun starts. Whoo Hoo! peace

That's exactly what I'm going to do, your version gave me some inspiration to pull it around a bit...I like the way you have created space in the song and relaxed it a little, if I ever get around to working out how to use my jamman I'll record my attempt and post it. Can't play mandolin so will substitute with a bit of banjo and maybe some slide.

My gut feeling says that this whole passage; the entire guitar lines were all written by one person. By Keith; strumming and piecing it together how it flows right, how it sounds good.
What all these positions are called later on is for others to figure out.
That's like reading a chart to JJF and seeing Bb6 and Bbdim. Nobody approaches JJf saying "I have to play a Bbdiminished" Yet everyone who plays guitar knows the riff.

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Palace Revolution 2000
My gut feeling says that this whole passage; the entire guitar lines were all written by one person. By Keith; strumming and piecing it together how it flows right, how it sounds good.
What all these positions are called later on is for others to figure out.
That's like reading a chart to JJF and seeing Bb6 and Bbdim. Nobody approaches JJf saying "I have to play a Bbdiminished" Yet everyone who plays guitar knows the riff.

No, that's why so many people play Stones music wrong, including the riff to JJF. They think 'its only G, what can go wrong'. Well, a lot can go wrong actually.

Mathijs

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Palace Revolution 2000
My gut feeling says that this whole passage; the entire guitar lines were all written by one person. By Keith; strumming and piecing it together how it flows right, how it sounds good.
What all these positions are called later on is for others to figure out.
That's like reading a chart to JJF and seeing Bb6 and Bbdim. Nobody approaches JJf saying "I have to play a Bbdiminished" Yet everyone who plays guitar knows the riff.

Yup!

That was Dr. JOhn?

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pinkfloydthebarber
fabulous track; an Exile highlight. Jagger's singing is emotional and direct. the tone of the song is masterful. it's actually bitonal. the song is used to great effect in the film 'Beyond The Sea' (Bobby Darin story starring Kevin Spacey) at the point where Darin is having problems with his wife, Sandra Dee. i think its a fairly complex Stones song, which seems to exist in 2 keys; G and D; even though it only has 4 or 5 chords. the vibe is restless; chords rarely if ever stay put for an entire bar, before changing, giving that restless feel. Keith's aprgeggio's (as opposed to strumming) nail down that restlessness vibe, too. and I love that Leslie sound. but the real star here are Jagger's vocals, for me. i mean, the vocals are INCREDIBLE. a Jagger peak. you can actually FEEL his pain. when he comes out of the bridge you witness the song's bitonality; Jagger begins that part of the vocal on the A instead of the D. it's so subtle as to be masterful. a favorite Stones track.

It's in F.

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DandelionPowderman

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Naturalust

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Mathijs
[I always suspected that Nicky Hopkins had a hand in the chord sequence, as this strange C-chord is a piano chord more than it is a guitar chord.

Mathijs

Interesting suspicion Mathijs, you could be right! The guitar fills are very piano-esque and the piano fills are sweet. But maybe Keith plays it in an open tuning with a capo. Have you observed that he plays it in standard tuning? I'll bet this was penned in the basement of Nellcote on a morning with just Nicky and Keith and Andy Johns in the room, that's my intuition. peace

The way that D rings lead me to believe it's standard tuning. Of course, you can do the D in Open G as well, with the two fingers, but then there is those subtle chord changes later on which are kinda hard to do with open G.

It's a guitar through a Leslie in standard tuning. It's based on a "D" chord, but with a capo on the 3rd fret.

****It's in F.*****

- well yeah, because of the capo

but it starts with an arpeggiated descending run based on a D chord (with a capo on 3) that takes a detour through an A before getting back to the D. it repeats itself, then the detour is through an E minor, also played twice

so if you mean with the capo, that its in F (in that the D becomes an F) well then yeah



Edited 1 time(s). Last edit at 2012-05-16 07:08 by pinkfloydthebarber.

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71Tele

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DandelionPowderman

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Naturalust

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Mathijs
[I always suspected that Nicky Hopkins had a hand in the chord sequence, as this strange C-chord is a piano chord more than it is a guitar chord.

Mathijs

Interesting suspicion Mathijs, you could be right! The guitar fills are very piano-esque and the piano fills are sweet. But maybe Keith plays it in an open tuning with a capo. Have you observed that he plays it in standard tuning? I'll bet this was penned in the basement of Nellcote on a morning with just Nicky and Keith and Andy Johns in the room, that's my intuition. peace

The way that D rings lead me to believe it's standard tuning. Of course, you can do the D in Open G as well, with the two fingers, but then there is those subtle chord changes later on which are kinda hard to do with open G.

It's a guitar through a Leslie in standard tuning. It's based on a "D" chord, but with a capo on the 3rd fret.

I know. This was meant to the discussion where someone asked how to play it. I'm only simplifying a bit.

I'm perfectly aware of the Leslie, as I have burnt up a few of them recording like this myself

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Mathijs

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VT22

That "strange" C-chord is an ordinary C#11, containing a raised f (not a lowered g), as it also functions as a guide tone to the root of the G-chord.

Can you explain that? A C11 has a C as root, Bflat, D and F. When you say raised F it would mean the root would have been F, which it isn't. The LIL chord has no root as it is unresolved, with a C, Gflat and G (the Gflat is dissonant). I see it personally as a Cmaj7 with a raised B to Fsharp, which to my knowledge doesn't have a proper name as it doesn not have a root, it is a passing triad. When you would have an A as root you would get Amin13. This is why I see it as a piano chord -on a guitar the C/Gflat/G triad is not a guitar chord, it is someting piano players are more used to. Unless you're some kind of jazz guitarist I guess.

Mathijs

Sure I can:

I take it we both agree I'am talking about a C(#11) lydian chord? The F# involved leads to the root of the G chord: it is both a nice tension and a guide tone, very common in medieval (lute) music already. I'am sorry if my "C#11" led to your somewhat confused answer.