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marcovandereijk
It's got all I love about outtakes! Those opening riffs gave me goosebumps.

Couldn't agree more! Outtakes that are similar, but only almost as good as the original, are often boring, imo.

This one really cooked. Short and sweet, with raw energy

Really, really Love it. thanks for posting !!
Jeroen

1-2
3-4
1- Japan for Europe pressing, November 1986. Matrix DIDP-10578 11A2 +++++ (in this case). I am aware of other variants - A1 and A6. Booklet - 4 pages. Back cover - barcode on the left side. Listed in Das Weissbuch as Version CD-G1
2- Early Austrian pressing. Probably from 1987. Matrix CDCBS-450195 21 21A4 MANUFACTURED BY DADC AUSTRIA. Kind of weird double repetition of 21 in matrix. Also it utilizes the word MANUFACTURED. It came with the same booklet printed in Holland as the 1st one. Not listed in Das Weissbuch.
3- Austrian Nice Price edition. The common one. Matrix CDCBS-450195 33 B3 MASTERED BY DADC AUSTRIA. Booklet with Nice Price add. Back cover - barcode on the right side. Listed in Das Weisbuch as Version CD-G2.
4- Austrian late pressing. Matrix CDCBS-450195 41 A3 DADC AUSTRIA. Note the Word MASTERED is missing in the matrix string. It came with the booklet as #3 but without Nice Price add inside. Probably, 1992 pressing. There is a similar one with additional 'small' barcode on the inner ring. The later one, probably 1993 pressing. Not listed in Das Weissbuch.

Black Line editions (images by rollingandre)
With small tongue

With big tongue and additional 'small' barcode on the inner ring.

Both came with matrix CDCBS-450195 33 C6 (or C8) MASTERED BY DADC AUSTRIA

Spanish only De Agostini edition

Matrix CDCBS-450195 33 C5 Mastered by DADC Austria. Usual CBS mastering.

First Japanese edition, December 1, 1986. The Rolling Stones Forever on CD series

Matrix 32DP-600 11A4 (or A6) +++++

Second Japanese edition, September 21, 1989

Matrix 23DP-5569 11A9 +++++

Third Japanese edition, May 2, 1992. Nice Price Line.

Matrix DP-968 2 (and laser signs)

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ironbelly

With big tongue and additional 'small' barcode on the inner ring.

Both came with matrix CDCBS-450195 33 C6 (or C8) MASTERED BY DADC AUSTRIA

that's some collection
I've sometimes wondered about having those "waves" in the data layer.
Is that a sign of inferior pressing?

Love this alternate take of Cant you hear me.
Fantastic job from mick taylor here.
He knows how to read a song. Very very smart guitar player.

Hmm, so not everyone hears Keith on both guitars here?

Nikkei
Hate to tell you, I do not own Black Line editions, the images are from rollingandre. He is the master . I have only De Agostiny one.

Those funny lines on scans are artifacts of light reflection and interference from multilayer: top lacquer-Al reflective layer-CD plastic. Certainly they reflects both CD structure and shape inhomogeneity (CD is not necessary perfectly flat) and instrumental artifacts of scanner itself.

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Lien

Thanks Lien! But f%&k the GEMA once again, no chance to see/hear this in Germany, because of legal - copyright - stuff ... Is something like the GEMA a german singularity?

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Nikkei
I recorded it, so now it's up for grabs:
[www.dropbox.com]

Serves them right for their awful embedded flash player

Hey Muenke, du kannst es hier als mp3 herunterladen.

Keine Macht für GEMA! ><

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Nikkei
Hmm, so not everyone hears Keith on both guitars here?

Wow! Playing two guitars at the same time, that's great! Does he also drum and play bass and is that really Jagger singing in this little jam? Or, o well, it isn't at jam at all, just a studio piece with tricks and overdubs and all that!

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Nikkei

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Nikkei
I recorded it, so now it's up for grabs:
[www.dropbox.com]

Serves them right for their awful embedded flash player

Hey Muenke, du kannst es hier als mp3 herunterladen.

Keine Macht für GEMA! ><

Danke, läuft jetzt aber auch über den buzzfeed-link (thanks, but now the buzfeed-link works fine)!

www.buzzfeed.com has the alternate Can't you hear me knocking. Search for Rolling Stones and hear the exclusive clip.

[www.buzzfeed.com]

"Please sign in to watch this video" ...

Not on my browser.

Well I can't listen to it. What does it sound like ?



Edited 1 time(s). Last edit at 2015-04-28 07:44 by kowalski.

Shorter. Only 1 verse. No extended jam at the end. The guitar sound is similar to the All Down The Line bonus track on the deluxe EOMS.

Sounds cool to me!

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kowalski
Well I can't listen to it. What does it sound like ?

Check Nikkei's post in the SF thread if you can't play it.

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DandelionPowderman

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kowalski
Well I can't listen to it. What does it sound like ?

Check Nikkei's post in the SF thread if you can't play it.

Thanks

Fun little track.

If this is the one that's on the SF Deluxe bonus disc I'm looking forward to having it - very different from the released track (shorter, undeveloped vocal, a different guitar jam) but great fun.

[www.buzzfeed.com]
I love me some raggedyazz Riffhard guitar! That is awesome!

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Green Lady
If this is the one that's on the SF Deluxe bonus disc I'm looking forward to having it - very different from the released track (shorter, undeveloped vocal, a different guitar jam) but great fun.

Yep, sure is. Loved it, too

That is fantastic - Keith's tone gives me chills

An interesting work in progress. One can hear how inspired Keith still was working out the possibilities of Open G tuning. The basic riffs and a song structure is there already laid, plus the the title phrase, so the song is on the stage to be offered to Mick to finish (and of course, for the rest to arrange it right). One can hear there the potential greatness, but it would be interesting to know what would we think if we didn't not have the finished version...

Anyway, I have always had my doubts if the the 'end jam' was such an impromptu take as it is said (by many) to have been. Namely, I think they never been totally satisfied how the song would have been turned to be like 'just by its own', without the instrumental part. I think even the finished vocal melody and lyrics ends up being a bit unimaginative, or too much just following Keith's guitar guide, without really offering a substance of its own, like best riff-based Jagger/Richards songs do. Was Keith's guitar just too powerful and too space-capturing that they (Jagger) couldn't really add anything distinctive? So they needed to add something 'extra' to make it more exciting.

So comparing this sketch to the finished version one can really respect the amount of great vision and hard work they had the time in developing their songs. Lesser bands could have been most likely satisfied 'just' with Keith's phenomenal riffage, but the Stones didn't stop there. Hats off! The result is nothing less than a masterpiece.

- Doxa



Edited 1 time(s). Last edit at 2015-04-28 11:43 by Doxa.

Nice to hear...I bet they have another 50 takes just like this one. Interesting to hear that it sounds like the percussive beat was there before the main riff and melody.

The story that they just made up the instrumental part on the spot is just folklore of course. The change to Dminor, the chording and especialy the end riff all are very much worked through and arranged.

Mathijs

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Doxa
I think even the finished vocal melody and lyrics ends up being a bit unimaginative, or too much just following Keith's guitar guide, without really offering a substance of its own, like best riff-based Jagger/Richards songs do.

Well, I strongly disagree about this line! Strongly and firmly!
I think this song is one of the greatest examples of the timing and spacing in the catalogue.
Listen again to this "Yeah, you've got........satin shoes". You may call it following Keith'
guitar guide, I call it a genius groove.

And what about the lift off Mick takes with his vocal lines here: "Hear me prowling
---- I'm going to take you down". No way this could rate as "unimaginative" in my book.

Of course the instrumental part adds to the fun here, but Can't you hear me knocking
would have been a great song even without these last minutes, none the less.

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

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marcovandereijk

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Doxa
I think even the finished vocal melody and lyrics ends up being a bit unimaginative, or too much just following Keith's guitar guide, without really offering a substance of its own, like best riff-based Jagger/Richards songs do.

Well, I strongly disagree about this line! Strongly and firmly!
I think this song is one of the greatest examples of the timing and spacing in the catalogue.
Listen again to this "Yeah, you've got........satin shoes". You may call it following Keith'
guitar guide, I call it a genius groove.

And what about the lift off Mick takes with his vocal lines here: "Hear me prowling
---- I'm going to take you down". No way this could rate as "unimaginative" in my book.

Of course the instrumental part adds to the fun here, but Can't you hear me knocking
would have been a great song even without these last minutes, none the less.

+1