I know Miss You gets loads of flack when we all talk about the song in the context of be played live now and in the past 15 (or more) years or so.

However......

1. Did you ever like the studio version in 1978 ?

2. Did you ever like it live in 1978 ?

3. Did you ever like it live in 1981/82 ?

4. Was it only from 1989/90 live that it started going downhill for you ?

For what it's worth.....me personally;

1. I love(d) in 1978. Great mix of lyrics/singing/blues/dance/new wave/raw production. Absolute classic inc 12" extended mix

2. I love(d) it live in 1978. The amazing rhythm section together with the interplay of guitars, Mac's complimentary keyboard, Jaggers drawl, all in a loose new wave style made it brilliant for me.

3. I still like it, but it starts to lose a bit of the looseness of '78 and becomes more of a functional part of the set list

4. Still remember standing there on the pitch in 1990 being so underwhelmed at the new soulless version and it's never really recovered which is such a shame.

It’s never been an absolute favourite, no. Whilst I don’t skip it, it certainly wouldn’t make my list of all-time favourite Rolling Stones songs.

In a live-setting, when in attendance, I do admit to getting carried-away in the sway and find myself anally singing-along. So, yeah, Miss You has it’s place.

Someone liked the Spatial Audio version of Miss You - [www.SoundAndVision.com] .

I loved the 78 maxi version and the relaxed and swinging 78 live version.
Even in 82 I enjoyed the live version, which was still swinging.
But since 89 it became a boring replica. Only once, in 2006 I was surprised by a stripped down version, which they played on the small stage, while it moved into the audience.
I still have my Maxi from 78.

Liked it on the album when released.

Would be happy to hear it live once in a while ...

...but over the years it's become rather boring as something of a camp old warhorse .

Absolutely loved the studio version. Thought the 78 and 81/82 live versions were great. Also thought the new 1989 live arrangemnet was refreshing. After that it went somewhat downhill.

Today's version is a minor improvement, imo, with the dual sax attack.

Here's the track talk for Miss You, btw.



Edited 1 time(s). Last edit at 2022-11-14 14:57 by DandelionPowderman.

I can totally agree with Jigsaw69!
When it came out 1978 on Some Girls Album I liked it.
When the 12" came out, I liked more!
When they played it live in 1978 I liked it much more!
After that, it mostly went downhill.
Today it is for me more like a filler to complete the show and a few minutes recuperation, especially for the guitar section, there is nothing in it today. That's also the trouble with Chuck, he runs it without a feeling for the Song.
In my Opinion they could take it out and can replace it with maybe "We Love You" or "Slave" in a in a well arranged version.

It`s nice to be here, .....

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jigsaw69
I know Miss You gets loads of flack when we all talk about the song in the context of be played live now and in the past 15 (or more) years or so.

However......

1. Did you ever like the studio version in 1978 ?

2. Did you ever like it live in 1978 ?

3. Did you ever like it live in 1981/82 ?

4. Was it only from 1989/90 live that it started going downhill for you ?

1. Love it

2. Based on LIVE IN TEXAS, yes

3. Based on whatever... not as much

4. Only from 1989/90... yes. Post... no.

They've taken Miss You, Satisfaction and Brown Sugar and turned them into caricatures, although it started with Brown Sugar pre-1989 (even Tumbling Dice has gotten treated similar).

Satisfaction, opening show in Chicago, BRIDGES - I don't know the length but they stuck to the song. 4 minutes or whatever. No drawn out crowd participation garbage.

With exception to Midnight Rambler, Worried About You and Can't You Hear Me Knocking, there's no reason for them to play a song for 10 minutes "just because". More songs, what, two or three, in the time span of at least 2 of those unnecessarily long songs, could be played.

The song owes a lot to the great Billy Preston, who came up with the bass line. What's a disco song without a good bass line? Preston should've been given a writing credit, but the Stones were never very generous giving those away.

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GasLightStreet

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jigsaw69
I know Miss You gets loads of flack when we all talk about the song in the context of be played live now and in the past 15 (or more) years or so.

However......

1. Did you ever like the studio version in 1978 ?

2. Did you ever like it live in 1978 ?

3. Did you ever like it live in 1981/82 ?

4. Was it only from 1989/90 live that it started going downhill for you ?

1. Love it

2. Based on LIVE IN TEXAS, yes

3. Based on whatever... not as much

4. Only from 1989/90... yes. Post... no.

They've taken Miss You, Satisfaction and Brown Sugar and turned them into caricatures, although it started with Brown Sugar pre-1989 (even Tumbling Dice has gotten treated similar).

Satisfaction, opening show in Chicago, BRIDGES - I don't know the length but they stuck to the song. 4 minutes or whatever. No drawn out crowd participation garbage.

With exception to Midnight Rambler, Worried About You and Can't You Hear Me Knocking, there's no reason for them to play a song for 10 minutes "just because". More songs, what, two or three, in the time span of at least 2 of those unnecessarily long songs, could be played.

I've gotta agree with you. Some songs lend themselves to be jams, but not every song. Can you imagine She's So Cold or Jumping Jack Flash at 10 minutes. ENOUGH ALREADY!

In terms of Satisfaction, I love the Otis Redding version...by Otis.

I don't want to hear the Stones doing Otis any more.

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treaclefingers

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GasLightStreet

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jigsaw69
I know Miss You gets loads of flack when we all talk about the song in the context of be played live now and in the past 15 (or more) years or so.

However......

1. Did you ever like the studio version in 1978 ?

2. Did you ever like it live in 1978 ?

3. Did you ever like it live in 1981/82 ?

4. Was it only from 1989/90 live that it started going downhill for you ?

1. Love it

2. Based on LIVE IN TEXAS, yes

3. Based on whatever... not as much

4. Only from 1989/90... yes. Post... no.

They've taken Miss You, Satisfaction and Brown Sugar and turned them into caricatures, although it started with Brown Sugar pre-1989 (even Tumbling Dice has gotten treated similar).

Satisfaction, opening show in Chicago, BRIDGES - I don't know the length but they stuck to the song. 4 minutes or whatever. No drawn out crowd participation garbage.

With exception to Midnight Rambler, Worried About You and Can't You Hear Me Knocking, there's no reason for them to play a song for 10 minutes "just because". More songs, what, two or three, in the time span of at least 2 of those unnecessarily long songs, could be played.

I've gotta agree with you. Some songs lend themselves to be jams, but not every song. Can you imagine She's So Cold or Jumping Jack Flash at 10 minutes. ENOUGH ALREADY!

They already do Jumpin' Jack Flash for 10 minutes and have been for decades!!!!

Quote
GasLightStreet

Quote
treaclefingers

Quote
GasLightStreet

Quote
jigsaw69
I know Miss You gets loads of flack when we all talk about the song in the context of be played live now and in the past 15 (or more) years or so.

However......

1. Did you ever like the studio version in 1978 ?

2. Did you ever like it live in 1978 ?

3. Did you ever like it live in 1981/82 ?

4. Was it only from 1989/90 live that it started going downhill for you ?

1. Love it

2. Based on LIVE IN TEXAS, yes

3. Based on whatever... not as much

4. Only from 1989/90... yes. Post... no.

They've taken Miss You, Satisfaction and Brown Sugar and turned them into caricatures, although it started with Brown Sugar pre-1989 (even Tumbling Dice has gotten treated similar).

Satisfaction, opening show in Chicago, BRIDGES - I don't know the length but they stuck to the song. 4 minutes or whatever. No drawn out crowd participation garbage.

With exception to Midnight Rambler, Worried About You and Can't You Hear Me Knocking, there's no reason for them to play a song for 10 minutes "just because". More songs, what, two or three, in the time span of at least 2 of those unnecessarily long songs, could be played.

I've gotta agree with you. Some songs lend themselves to be jams, but not every song. Can you imagine She's So Cold or Jumping Jack Flash at 10 minutes. ENOUGH ALREADY!

They already do Jumpin' Jack Flash for 10 minutes and have been for decades!!!!

Really? Where am I, in the restroom?

if you dunno how we suppose ta know ....



ROCKMAN

Quote
jigsaw69
I know Miss You gets loads of flack when we all talk about the song in the context of be played live now and in the past 15 (or more) years or so.

However......

1. Did you ever like the studio version in 1978 ?

2. Did you ever like it live in 1978 ?

3. Did you ever like it live in 1981/82 ?

4. Was it only from 1989/90 live that it started going downhill for you ?

For what it's worth.....me personally;

1. I love(d) in 1978. Great mix of lyrics/singing/blues/dance/new wave/raw production. Absolute classic inc 12" extended mix

2. I love(d) it live in 1978. The amazing rhythm section together with the interplay of guitars, Mac's complimentary keyboard, Jaggers drawl, all in a loose new wave style made it brilliant for me.

3. I still like it, but it starts to lose a bit of the looseness of '78 and becomes more of a functional part of the set list

4. Still remember standing there on the pitch in 1990 being so underwhelmed at the new soulless version and it's never really recovered which is such a shame.

1. No
2. No
3. No
4. No, it started since it was recorded!



Edited 1 time(s). Last edit at 2022-11-29 15:27 by KRiffhard.

Honestly I only like the 8-track version and mix. Much more guitars

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Rockman
if you dunno how we suppose ta know ....

dunno?!

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Pietro
The song owes a lot to the great Billy Preston, who came up with the bass line. What's a disco song without a good bass line? Preston should've been given a writing credit, but the Stones were never very generous giving those away.

I thought it was Bill Wyman that came up with the bass line?

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Valeswood

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Pietro
The song owes a lot to the great Billy Preston, who came up with the bass line. What's a disco song without a good bass line? Preston should've been given a writing credit, but the Stones were never very generous giving those away.

I thought it was Bill Wyman that came up with the bass line?

Bill Wyman played the bass but Billy P. came up with how it should be played...Bill W. has CREDITED Billy P. with coming up with it.

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Valeswood

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Pietro
The song owes a lot to the great Billy Preston, who came up with the bass line. What's a disco song without a good bass line? Preston should've been given a writing credit, but the Stones were never very generous giving those away.

I thought it was Bill Wyman that came up with the bass line?

The idea for those (bass) lines came from Billy Preston, actually. We'd cut a rough demo a year or so earlier after a recording session. I'd already gone home, and Billy picked up my old bass when they started running through that song. He started doing that bit because it seemed to be the style of his left hand. So when we finally came to do the tune, the boys said, Why don't you work around Billy's idea? So I listened to it once and heard that basic run and took it from there. It took some changing and polishing, but the basic idea was Billy's.

- Bill Wyman, 1978
Miss You wasn't coming together at all, then Billy said, Try playing octave riffs on the bass.

- Bill Wyman, 2011

[www.timeisonourside.com]

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GasLightStreet

Quote
Valeswood

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Pietro
The song owes a lot to the great Billy Preston, who came up with the bass line. What's a disco song without a good bass line? Preston should've been given a writing credit, but the Stones were never very generous giving those away.

I thought it was Bill Wyman that came up with the bass line?

The idea for those (bass) lines came from Billy Preston, actually. We'd cut a rough demo a year or so earlier after a recording session. I'd already gone home, and Billy picked up my old bass when they started running through that song. He started doing that bit because it seemed to be the style of his left hand. So when we finally came to do the tune, the boys said, Why don't you work around Billy's idea? So I listened to it once and heard that basic run and took it from there. It took some changing and polishing, but the basic idea was Billy's.

- Bill Wyman, 1978
Miss You wasn't coming together at all, then Billy said, Try playing octave riffs on the bass.

- Bill Wyman, 2011

[www.timeisonourside.com]

It's that changing and polishing that made Bill's bass line the classic that it is. And why his replacement has never been able to pull it off. It is ironic that a five foot six Englishman way outfunks an American from the South side of Chicago.

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24FPS

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GasLightStreet

Quote
Valeswood

Quote
Pietro
The song owes a lot to the great Billy Preston, who came up with the bass line. What's a disco song without a good bass line? Preston should've been given a writing credit, but the Stones were never very generous giving those away.

I thought it was Bill Wyman that came up with the bass line?

The idea for those (bass) lines came from Billy Preston, actually. We'd cut a rough demo a year or so earlier after a recording session. I'd already gone home, and Billy picked up my old bass when they started running through that song. He started doing that bit because it seemed to be the style of his left hand. So when we finally came to do the tune, the boys said, Why don't you work around Billy's idea? So I listened to it once and heard that basic run and took it from there. It took some changing and polishing, but the basic idea was Billy's.

- Bill Wyman, 1978
Miss You wasn't coming together at all, then Billy said, Try playing octave riffs on the bass.

- Bill Wyman, 2011

[www.timeisonourside.com]

It's that changing and polishing that made Bill's bass line the classic that it is. And why his replacement has never been able to pull it off. It is ironic that a five foot six Englishman way outfunks an American from the South side of Chicago.

Everyone is different.

Hello fellow IORRians! Sitting here watching SLC 2005 and dreaming back from those happy days in 05-07, especially considering this tune and Rough Justice, ONNYA and lotsa other assorted ones! That Tele Custom navarroed to distortion ( not all for it, what about you lot?) Prefer 2007's slopiness, what do you think?

You're a rag trade girl, You're the queen of porn, You're the easiest lay on the white house lawn!!

With Navarroved I mean that the new sound guy Navarro opted for a more distorted sound in the autumn of 2005 than had been the case during Licks, NS and B2B. In 2006 the drier Fender Twin sound was back with the still delicious first hand choice The Telecaster Custom (though its task was switched to Flash and Happy, rather than SMU.)

I don't like the 2005 sound, doesnt fit Keith.

What do ya all think, fellow IORRians?

I liked the distortion at the time, even though it came as a surprise.

The main surprise was that the Tele custom, for the first time, was used for open G-playing, though. I'm not sure what I think of that decision...

I miss that guitar in Keith's lead playing.

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DandelionPowderman
I liked the distortion at the time, even though it came as a surprise.

The main surprise was that the Tele custom, for the first time, was used for open G-playing, though. I'm not sure what I think of that decision...

I miss that guitar in Keith's lead playing.

Yeah me too Dandy! Plus I consider it heresy to drill up the Black Custom from 1975 and convert it to open -G. The same with his sunburst 1957 Gibson LP Junior used nowadays on CYHMK and Sway. It hurts especially for me as I own the same originals (though my Custom is an early 1976). I think the Junior sounded great when used for Rocks Off and IORR in 1994. Something real special with those P90s and those fat 1957 necks....

They have ruined this song live.

1978 Live version.... Lord I miss you....

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Pietro
The song owes a lot to the great Billy Preston, who came up with the bass line. What's a disco song without a good bass line? Preston should've been given a writing credit, but the Stones were never very generous giving those away.

Mick Taylor was playing similar bass on Fingerprint File .Not sure Billy Preston should be credited for the bass line, although I did read about his claim of credit.

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Taylor1

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Pietro
The song owes a lot to the great Billy Preston, who came up with the bass line. What's a disco song without a good bass line? Preston should've been given a writing credit, but the Stones were never very generous giving those away.

Mick Taylor was playing similar bass on Fingerprint File .Not sure Billy Preston should be credited for the bass line, although I did read about his claim of credit.

OMFG, alright, point out where Mick T is playing a similar bass line to what is credited to Billy. Similar because it's up on the neck? High notes? There's noting "similar" at all except for some "high notes" - Mick T played within the riffage. And there are plenty of other songs in the history of rock pre-1977 that have similar bass playing stylings.

Where did you read that Billy was claiming credits?

For Melody would have been right, but Miss You?