Beautiful song. Everything is right.
There are some Nellcote pics of Jagger out in fields with acoustic guitar on his shoulder; and it's a romantic notion but I always picture him writing this song there.
Is this one of the best bridges in a Stones tune? They did it twice in early versions.
Someone asked about the Steel drums; they are still in there.

re Let it Bleed album - IMO it is the most difficult of the Big 4 to appreciate. It is a Keith album, and a bit disjointed. There isn't much flow.

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Palace Revolution 2000
Is this one of the best bridges in a Stones tune? They did it twice in early versions.

Like with "Rocks Off", that bridge reminds of their 'pop era' songs; thinking especially of "Let's Spend The Night Together" and "Have you Seen Your Mother, Baby?". The use of bridge as slowing down the tension of the song for a while, and then going back to the business as normal. That's dramatic 'trick', and works wonderfully in each case. I think it only can used once to really work. They used the idea wonderfully in "100 Years Ago" again.

But being the best bridge? Hard to say. I probably would give my vote to "Memory Motel".

- Doxa



Edited 1 time(s). Last edit at 2012-10-10 10:58 by Doxa.

It's one of the better bridges, together with Can You Hear The Music, Moonlight Mile and Hearts For Sale(!), imo. The songs Doxa mentioned all have fantastic bridges as well.

+ they had some simple and effective ones, like Dead Flowers and Sad, Sad, Sad.

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DandelionPowderman
It's one of the better bridges, together with Can You Hear The Music, Moonlight Mile and Hearts For Sale(!), imo. The songs Doxa mentioned all have fantastic bridges as well.

+ they had some simple and effective ones, like Dead Flowers and Sad, Sad, Sad.

Don't forget "Memory Motel"!

- Doxa

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Doxa

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DandelionPowderman
It's one of the better bridges, together with Can You Hear The Music, Moonlight Mile and Hearts For Sale(!), imo. The songs Doxa mentioned all have fantastic bridges as well.

+ they had some simple and effective ones, like Dead Flowers and Sad, Sad, Sad.

Don't forget "Memory Motel"!

- Doxa

Or Something Happened To Me Yesterday

Talking of bridges, the most impressive Stones bridge - hmmm....gotta be Bridges To Babylon - that one was impressively long and went out from the stage to the middle of stadiums. ><





Edited 2 time(s). Last edit at 2012-10-10 11:32 by Silver Dagger.

... And going all the way to Babylon - not even "Memory Motel" gets that far, even doing "mighty fine"...

- Doxa

My English is very poor - so I can´t explain how much I adore this song.

It ranks up to their top 5 album songs.

Priest

Loving Cup is the type of love song that only the Stones could have created. Loose, earthy, and simply blissful. I agree that the bridge adds to its brilliance. A perfect song in every way.

Loving Cup (Exile version) is quite probably, for me anyway, the quintessential stones tune. it's absolutely perfect lyrically, musically. its like fine wine, it just gets better and better. people i play it for who arent stones fans are like 'holy shit, thats the stones?' really?? yup

your adventure starts now

i like to play it on guitar, play the opening piano bit without a capo, and then the song proper capoed at 5th fret.



Edited 1 time(s). Last edit at 2012-10-10 22:47 by pinkfloydthebarber.

The song,cause I bought "Exile"

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DandelionPowderman
It's one of the better bridges, together with Can You Hear The Music, Moonlight Mile and Hearts For Sale(!), imo. The songs Doxa mentioned all have fantastic bridges as well.

+ they had some simple and effective ones, like Dead Flowers and Sad, Sad, Sad.

Dandy, which bridge are you hearing in "Moonlight Mile" and "Flowers"?
I guess am talking about a 3rd contrasting section; as in ABACAB.
The "Rocks Off" bridge is another brilliant one; especially because on top of everything it goes into 6/8 for the duration.
All the ones Doxa mentions are fantastic. Stones did some good ones on "Aftermath" too.
Jagger IMO has been forcing Middle 8 into newer songs. To the detriment of the song IMO. Stuff like Under the Radar e.g. On his solo stuff, and by Steel Wheels (where there's a lot of them) they sound more forced.
But - E.g on "I am waiting", or "What to Do", or even just a couple bars of different flavor guitar-riffing in the middle "Whos been sleeping here". These are all brilliant; totally natural. They slide in, and they slide out. One of the most brilliant changes in the Stones catalog is on Keith's "Words of Wonder". it's ever so slight for the "giving thanks and praises.." part.

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Palace Revolution 2000
The "Rocks Off" bridge is another brilliant one; especially because on top of everything it goes into 6/8 for the duration.

Are you sure it's 6/8? For the life of me, I can't find the beat in 6/8. I've always thought it was regular 4/4 but with the fourth beat skipped around "...describe the scene" and "all that inside...", making those two bars 3/4.

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pinkfloydthebarber

i like to play it on guitar, play the opening piano bit without a capo, and then the song proper capoed at 5th fret.

You must be pretty quick on the capo draw or have an A+ guitar roadie...I'm lucky to find mine within arms reach when I need it. lol peace

An absolute masterpiece, the interplay between Nicky & Keith is a joy to hear.

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Naturalust

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pinkfloydthebarber

i like to play it on guitar, play the opening piano bit without a capo, and then the song proper capoed at 5th fret.

You must be pretty quick on the capo draw or have an A+ guitar roadie...I'm lucky to find mine within arms reach when I need it. lol peace

yeah can't really do the switch right, or in time lol

but if you play along to the record you can play acoustic guitar for the piano bit - i think its just in G and a riff based on the A-G-E notes and then a descending run from 7th fret to 5th to 3rd/4th (high E and G strings) which takes you to the opening D chord where the voals begin

piano I think goes D-C-G in the verse but the trick is to capo at 5th before that G is hit, which gives you some time, and then you play a D at 5th on the 'upppppp..' vocal part, and then for the verse capoed at 5th go A-G-D then G-D (2x) then at the 'Gimme part' its C-G C-D

i think anyway F*ck I dunnno lol, but that's how I do it and it sounds right

Well I got another great Stones buzz reading this thread.

It's a great song. It "slipps into the mud" like so many other songs on Exile. But it works, the layering is great. The song eventually is firing on all cylinders and is even a little too intense, but that works also. Everything was intense at 28 years old.

It's a song with beautiful lyrical images also. The country, a campfire, and a life and love buzz. And at the same time it has that desperation theme running through the lyrics in accordance with the overall album.

And I love the opening piano. It's a song I can play in my head also. I sometimes just play the piano in my head for the simple pleasure. I can't "record" songs in my head anymore really.

On a tangent, many of you probably know "New York City Serenade" by Springsteen with the lovely opening piano.



Edited 1 time(s). Last edit at 2012-10-11 06:59 by MileHigh.

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Palace Revolution 2000

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DandelionPowderman
It's one of the better bridges, together with Can You Hear The Music, Moonlight Mile and Hearts For Sale(!), imo. The songs Doxa mentioned all have fantastic bridges as well.

+ they had some simple and effective ones, like Dead Flowers and Sad, Sad, Sad.

Dandy, which bridge are you hearing in "Moonlight Mile" and "Flowers"?
I guess am talking about a 3rd contrasting section; as in ABACAB.
The "Rocks Off" bridge is another brilliant one; especially because on top of everything it goes into 6/8 for the duration.
All the ones Doxa mentions are fantastic. Stones did some good ones on "Aftermath" too.
Jagger IMO has been forcing Middle 8 into newer songs. To the detriment of the song IMO. Stuff like Under the Radar e.g. On his solo stuff, and by Steel Wheels (where there's a lot of them) they sound more forced.
But - E.g on "I am waiting", or "What to Do", or even just a couple bars of different flavor guitar-riffing in the middle "Whos been sleeping here". These are all brilliant; totally natural. They slide in, and they slide out. One of the most brilliant changes in the Stones catalog is on Keith's "Words of Wonder". it's ever so slight for the "giving thanks and praises.." part.

You're right about Moonlight Mile. I was thinking about the contrast of "Oh, I'm coming home"... but it's not really a bridge. It's still majestic, though.

On Dead Flowers "Take me down, little Suzie..." is brilliant. Although not so separated from the chorus that preceeds it ("And you can: Send me dead flowers every morning"...), it's a nice contrast from the verses.

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LieB

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Palace Revolution 2000
The "Rocks Off" bridge is another brilliant one; especially because on top of everything it goes into 6/8 for the duration.

Are you sure it's 6/8? For the life of me, I can't find the beat in 6/8. I've always thought it was regular 4/4 but with the fourth beat skipped around "...describe the scene" and "all that inside...", making those two bars 3/4.

Yes, sorry Lieb. It alternates. Straight bar 4/4, then one 3/4; back to 4/4 and 3/4. I like when this kind of stuff is pulled of naturally.

Like the actual song we are threading about: has a 5 count in the chorus. "Gimme little drink.."
John Lennon, of course was the master at odd counts and no one noticed. "All You Need is Love" verse is in 7. Yet he manages to turn it into a universal sing-along.
Anyone can do like Prog bands, and just decide they are going to solo in 9/8. As long as they are counting they will do it correctly, but..

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pinkfloydthebarber

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Naturalust

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pinkfloydthebarber

i like to play it on guitar, play the opening piano bit without a capo, and then the song proper capoed at 5th fret.

You must be pretty quick on the capo draw or have an A+ guitar roadie...I'm lucky to find mine within arms reach when I need it. lol peace

yeah can't really do the switch right, or in time lol

but if you play along to the record you can play acoustic guitar for the piano bit - i think its just in G and a riff based on the A-G-E notes and then a descending run from 7th fret to 5th to 3rd/4th (high E and G strings) which takes you to the opening D chord where the voals begin

piano I think goes D-C-G in the verse but the trick is to capo at 5th before that G is hit, which gives you some time, and then you play a D at 5th on the 'upppppp..' vocal part, and then for the verse capoed at 5th go A-G-D then G-D (2x) then at the 'Gimme part' its C-G C-D

i think anyway F*ck I dunnno lol, but that's how I do it and it sounds right

Thanks barber! I think you got it right, I like the idea of playing the piano like on guitar and appreciate the chords. I intend to add this one to my set list, now it's just about getting the singing right. peace

PFB, I think you're using the word 'capo' as a verb; maybe to bar/ barre'(?)

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NoCode0680
My favorite part is that electric guitar (I always thought that was Taylor but I guess it's Keith). Sometimes it's hard for me to distinguish it from the bass as Keith and Bill are in a pretty good groove together, especially earlier in the song, but then the guitar gets a little more complicated later and and it's easier to distinguish. That guitar is so low and growly.

Seven years later you should know it is Mick Taylor on electric guitar. It is the exact same part he plays live in 1972, while Richards plays the acoustic live.

I realized this the other day when I discovered Richards can’t be heard in the audience bootlegs. He warmed up for the tour on acoustic. Plus, it’s always played before or after Sweet Virginia, the other acoustic song.

Mystery solved folks. That’s certainly a pedestrian rhythm part for Richards. Sounds like a bluesman comping with power chords and throwing in a few runs. Sounds like Taylor’s vibrato too.



Edited 1 time(s). Last edit at 2019-08-20 19:29 by TravelinMan.

Simply put - Stones at thier best

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TravelinMan

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NoCode0680
My favorite part is that electric guitar (I always thought that was Taylor but I guess it's Keith). Sometimes it's hard for me to distinguish it from the bass as Keith and Bill are in a pretty good groove together, especially earlier in the song, but then the guitar gets a little more complicated later and and it's easier to distinguish. That guitar is so low and growly.

Seven years later you should know it is Mick Taylor on electric guitar. It is the exact same part he plays live in 1972, while Richards plays the acoustic live.

I realized this the other day when I discovered Richards can’t be heard in the audience bootlegs. He warmed up for the tour on acoustic. Plus, it’s always played before or after Sweet Virginia, the other acoustic song.

Mystery solved folks. That’s certainly a pedestrian rhythm part for Richards. Sounds like a bluesman comping with power chords and throwing in a few runs. Sounds like Taylor’s vibrato too.

You're not talking about any of the versions of Loving Cup here?

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Palace Revolution 2000

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LieB

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Palace Revolution 2000
The "Rocks Off" bridge is another brilliant one; especially because on top of everything it goes into 6/8 for the duration.

Are you sure it's 6/8? For the life of me, I can't find the beat in 6/8. I've always thought it was regular 4/4 but with the fourth beat skipped around "...describe the scene" and "all that inside...", making those two bars 3/4.

Yes, sorry Lieb. It alternates. Straight bar 4/4, then one 3/4; back to 4/4 and 3/4. I like when this kind of stuff is pulled of naturally.

Like the actual song we are threading about: has a 5 count in the chorus. "Gimme little drink.."
John Lennon, of course was the master at odd counts and no one noticed. "All You Need is Love" verse is in 7. Yet he manages to turn it into a universal sing-along.
Anyone can do like Prog bands, and just decide they are going to solo in 9/8. As long as they are counting they will do it correctly, but..

In "Loving Cup", 1/4 measure that reverse the rythm. (basically reverse the snare).

Pink Floyd "Money"
Genesis "Turn It On Again"

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DandelionPowderman

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TravelinMan

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NoCode0680
My favorite part is that electric guitar (I always thought that was Taylor but I guess it's Keith). Sometimes it's hard for me to distinguish it from the bass as Keith and Bill are in a pretty good groove together, especially earlier in the song, but then the guitar gets a little more complicated later and and it's easier to distinguish. That guitar is so low and growly.

Seven years later you should know it is Mick Taylor on electric guitar. It is the exact same part he plays live in 1972, while Richards plays the acoustic live.

I realized this the other day when I discovered Richards can’t be heard in the audience bootlegs. He warmed up for the tour on acoustic. Plus, it’s always played before or after Sweet Virginia, the other acoustic song.

Mystery solved folks. That’s certainly a pedestrian rhythm part for Richards. Sounds like a bluesman comping with power chords and throwing in a few runs. Sounds like Taylor’s vibrato too.

You're not talking about any of the versions of Loving Cup here?

I’m saying on the live bootlegs there is only one audible electric guitar and it sounds like the exact part on Exile. Live it is played by Taylor.

The part on Exile is Taylor and you can hear how they pull him out of the mix at times—I’m figuring these are parts where he added arpeggios and fills like he did live.



Edited 1 time(s). Last edit at 2019-08-20 21:54 by TravelinMan.

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TravelinMan

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DandelionPowderman

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TravelinMan

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NoCode0680
My favorite part is that electric guitar (I always thought that was Taylor but I guess it's Keith). Sometimes it's hard for me to distinguish it from the bass as Keith and Bill are in a pretty good groove together, especially earlier in the song, but then the guitar gets a little more complicated later and and it's easier to distinguish. That guitar is so low and growly.

Seven years later you should know it is Mick Taylor on electric guitar. It is the exact same part he plays live in 1972, while Richards plays the acoustic live.

I realized this the other day when I discovered Richards can’t be heard in the audience bootlegs. He warmed up for the tour on acoustic. Plus, it’s always played before or after Sweet Virginia, the other acoustic song.

Mystery solved folks. That’s certainly a pedestrian rhythm part for Richards. Sounds like a bluesman comping with power chords and throwing in a few runs. Sounds like Taylor’s vibrato too.

You're not talking about any of the versions of Loving Cup here?

I’m saying on the live bootlegs there is only one audible electric guitar and it sounds like the exact part on Exile. Live it is played by Taylor.

The part on Exile is Taylor and you can hear how they pull him out of the mix at times—I’m figuring these are parts where he added arpeggios and fills like he did live.

No, you're wrong. It's Keith. And it's Keith on both electric guitars on the spliced Exile Deluxe-versions.

Taylor couldn't sound that staccato, even if he tried

The Hiwatt-sound on Keith's country licks on the Deluxe-version is awesome, btw!

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Palace Revolution 2000
Beautiful song. Everything is right.
There are some Nellcote pics of Jagger out in fields with acoustic guitar on his shoulder; and it's a romantic notion but I always picture him writing this song there.
Is this one of the best bridges in a Stones tune? They did it twice in early versions.
Someone asked about the Steel drums; they are still in there.

re Let it Bleed album - IMO it is the most difficult of the Big 4 to appreciate. It is a Keith album, and a bit disjointed. There isn't much flow.

There's so much to disagree with in this sentence that I find it difficult to process.



Edited 1 time(s). Last edit at 2019-08-20 22:12 by ryanpow.

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DandelionPowderman

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TravelinMan

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DandelionPowderman

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TravelinMan

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NoCode0680
My favorite part is that electric guitar (I always thought that was Taylor but I guess it's Keith). Sometimes it's hard for me to distinguish it from the bass as Keith and Bill are in a pretty good groove together, especially earlier in the song, but then the guitar gets a little more complicated later and and it's easier to distinguish. That guitar is so low and growly.

Seven years later you should know it is Mick Taylor on electric guitar. It is the exact same part he plays live in 1972, while Richards plays the acoustic live.

I realized this the other day when I discovered Richards can’t be heard in the audience bootlegs. He warmed up for the tour on acoustic. Plus, it’s always played before or after Sweet Virginia, the other acoustic song.

Mystery solved folks. That’s certainly a pedestrian rhythm part for Richards. Sounds like a bluesman comping with power chords and throwing in a few runs. Sounds like Taylor’s vibrato too.

You're not talking about any of the versions of Loving Cup here?

I’m saying on the live bootlegs there is only one audible electric guitar and it sounds like the exact part on Exile. Live it is played by Taylor.

The part on Exile is Taylor and you can hear how they pull him out of the mix at times—I’m figuring these are parts where he added arpeggios and fills like he did live.

No, you're wrong. It's Keith. And it's Keith on both electric guitars on the spliced Exile Deluxe-versions.

Taylor couldn't sound that staccato, even if he tried

The Hiwatt-sound on Keith's country licks on the Deluxe-version is awesome, btw!

I’m sorry but you’re wrong, my friend! Listen to the live boots. Close your eyes and listen to Exile and tell me there is anything uniquely Keef about the electric guitar. You will hear nothing Richardsion about it!

Also, Richards plays lead on the early versions, Taylor plays the little arpeggios. These are obviously the basic tracks of the song.

Both guitar players tracked at the same time. Taylor was probably present at more tracking sessions than anyone but Charlie.

Also, you should listen to Bare Wires, the album that got Taylor the gig in the first place. He’s all over that record playing rhythm, lead, slide, even wah wah (much like Potted Shrimp which makes me think it is him and not Stills).