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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 ?
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GasLightStreetQuote
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.
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treaclefingersQuote
GasLightStreetQuote
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!
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GasLightStreetQuote
treaclefingersQuote
GasLightStreetQuote
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!!!!
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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 ?
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.
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Rockman
if you dunno how we suppose ta know ....
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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.
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ValeswoodQuote
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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ValeswoodQuote
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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GasLightStreetQuote
ValeswoodQuote
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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24FPSQuote
GasLightStreetQuote
ValeswoodQuote
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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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.
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.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.
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Taylor1Mick 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.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.