Quote
matxil

Quote
DandelionPowderman
Back to CH. Have you noticed the wrong number of bars twice in Irene? A too early key-change, and he just keeps on singing.
Disturbing in the beginning, but now it sort of belongs in there

I love that part. (I know that makes me sound like a Keithette more than ever, but I don't care ).

OK now I have to ask for a walkthrough - please point out exactly where?
Please and thank you very kindly

.



Edited 1 time(s). Last edit at 2015-11-10 14:35 by DandelionPowderman.

Naturalust, your compliments often have a little bite at the end of them.
I don't personally think it has taken decades for Keith to 'learn how to sing in the microphone correctly'.
Sorry if you mean scientifically from a musician standpoint, but 50 years! 50 years we have followed this one voice- it does not stagnant and stay the same-
it's 'evolved' (ha ha, KR term)

Quote
DandelionPowderman

Quote
with sssoul

Quote
matxil

Quote
DandelionPowderman
Back to CH. Have you noticed the wrong number of bars twice in Irene? A too early key-change, and he just keeps on singing.
Disturbing in the beginning, but now it sort of belongs in there

I love that part. (I know that makes me sound like a Keithette more than ever, but I don't care ).

OK now I have to ask for a walkthrough - please point out exactly where?
Please and thank you very kindly

I'm listening to Leeds 71 right now, but if memory serves it happens at "I love her till the sea runs dry", or something. Can't remember the lyrics here and now

I don't know what the technical reason for it is, but the seas-run-dry line bothers me too (and I'm usually quite comfortable with Keith's one-of-a-kind way of phrasing lyrics).

Quote
35love
Naturalust, your compliments often have a little bite at the end of them.
I don't personally think it has taken decades for Keith to 'learn how to sing in the microphone correctly'.
Sorry if you mean scientifically from a musician standpoint, but 50 years! 50 years we have followed this one voice- it does not stagnant and stay the same-
it's 'evolved' (ha ha, KR term)

he certainly doesn't sing into the microphone "correctly" most of the time he is singing live...

.



Edited 1 time(s). Last edit at 2015-11-10 14:36 by DandelionPowderman.

What is the correct way, then, to sing into a microphone? Am I dense to think that means keep your mouth positioned steady over it? Thanks.
ETA: I googled it. I dunno, I'm starting to overthink. Basically, his history unfolded how it should have-



Edited 1 time(s). Last edit at 2015-10-29 23:54 by 35love.

Quote
35love
What is the correct way, then, to sing into a microphone? Am I dense to think that means keep your mouth positioned steady over it? Thanks.
ETA: I googled it. I dunno, I'm starting to overthink. Basically, his history unfolded how it should have-

You are right 35love. A few simple techniques being the correct distance from the mic are the most important. Also things like increasing that distance when you are force to sing with more volume to either hit a high or particularly long or powerful note or doing the opposite to make it seem like you are actually holding long notes with the same relative volume (when in fact you lost the power earlier in the note). Not exhaling powerful breaths directly into the mic, etc etc.

Different type of mics also have very different qualities for vocals and the dynamic mics used for live performances are MUCH different than the large diaphragm condensers used in the studio and require different techniques. The latter pick up lots of detail and is why you get transients like hearing singers take breaths. Often left in the recordings to provide a sense of intimacy like on Keith's new record! Also of course in the studio there are many things done to make sure the vocal is great like multiple takes and excellent control of compression and EQ.

Anyway, the point is it generally takes practice to do it correctly, and while Mick is a master at it, Keith has been almost classic in his disregard for such techniques. So many times you see him run up to the mic at the last minute or leave the proximity of it early to concentrate on his guitar part or whatever. So many live recording of his vocal (even on his solo tunes) cutting in and out of the mix and this is the primary reason why, imo. Many times he even just backs off early and after an awkward moment Mick is left to finish the phrase for him. Lots of examples of this on Happy throughout the years.

The best vocalist are very aware of mic technique and most professional singers learn it early since it is such an important part of their craft. In any case I think alcohol probably had more to do with Rod's Face's mic techniques than anything else. lol He's definitely shown good mic skills since then in any case. You can witness him changing the distance from the mic during the softer and more powerful vocals in this video....if you can stand to get through it.

[www.youtube.com]

Quote
Naturalust

Quote
35love
What is the correct way, then, to sing into a microphone? Am I dense to think that means keep your mouth positioned steady over it? Thanks.
ETA: I googled it. I dunno, I'm starting to overthink. Basically, his history unfolded how it should have-

You are right 35love. A few simple techniques being the correct distance from the mic are the most important. Also things like increasing that distance when you are force to sing with more volume to either hit a high or particularly long or powerful note or doing the opposite to make it seem like you are actually holding long notes with the same relative volume (when in fact you lost the power earlier in the note). Not exhaling powerful breaths directly into the mic, etc etc.

Different type of mics also have very different qualities for vocals and the dynamic mics used for live performances are MUCH different than the large diaphragm condensers used in the studio and require different techniques. The latter pick up lots of detail and is why you get transients like hearing singers take breaths. Often left in the recordings to provide a sense of intimacy like on Keith's new record! Also of course in the studio there are many things done to make sure the vocal is great like multiple takes and excellent control of compression and EQ.

Anyway, the point is it generally takes practice to do it correctly, and while Mick is a master at it, Keith has been almost classic in his disregard for such techniques. So many times you see him run up to the mic at the last minute or leave the proximity of it early to concentrate on his guitar part or whatever. So many live recording of his vocal (even on his solo tunes) cutting in and out of the mix and this is the primary reason why, imo. Many times he even just backs off early and after an awkward moment Mick is left to finish the phrase for him. Lots of examples of this on Happy throughout the years.

The best vocalist are very aware of mic technique and most professional singers learn it early since it is such an important part of their craft. In any case I think alcohol probably had more to do with Rod's Face's mic techniques than anything else. lol He's definitely shown good mic skills since then in any case. You can witness him changing the distance from the mic during the softer and more powerful vocals in this video....if you can stand to get through it.

[www.youtube.com]

*Thank you, I'd never thought of it before. My decades long listening history has been almost all studio recordings (personal reason) and obviously I've no music talent/ no experience hands on.
Meant to add your description was well written, totally visualize---:-)



Edited 1 time(s). Last edit at 2015-10-30 00:51 by 35love.

Keith will be on the cover of the Holiday 2015 issue of Guitar World.
Lots of cool details of equipment used for Crosseyed Heart, such as:

“Goodnight Irene” features a truly historic Keef guitar: his 1963 Harmony 1270 12-string acoustic,
heard on classic Stones tracks from the Sixties such as “Good Times Bad Times,” “Play with Fire,” “Not Fade Away” and "Tell Me.”

Keith Richards' Guitar Tech Reveals Keef's Studio Rig
Posted 10/29/2015 at 12:20pm | by Alan Di Perna

Guitar World

"This is just a brief sampling of the upcoming Holiday 2015 issue of Guitar World,
which features Richards on the cover. Stay tuned for more"!

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

.



Edited 1 time(s). Last edit at 2015-11-10 14:36 by DandelionPowderman.

Quote
DandelionPowderman

Quote
with sssoul

Quote
matxil

Quote
DandelionPowderman
Back to CH. Have you noticed the wrong number of bars twice in Irene? A too early key-change, and he just keeps on singing.
Disturbing in the beginning, but now it sort of belongs in there

I love that part. (I know that makes me sound like a Keithette more than ever, but I don't care ).

OK now I have to ask for a walkthrough - please point out exactly where?
Please and thank you very kindly

I'm listening to Leeds 71 right now, but if memory serves it happens at "I love her till the sea runs dry", or something. Can't remember the lyrics here and now

It's about 2:50, where he sings:
"I'll love her 'til the seas run dry,
But if Irene'd ever turn me down,"

For my feeling, there is a skip (and actually a break in the guitar strumming) when he sings "Irene'd ever". I am not sure where exactly he cuts down a bar and I don't know whether it's planned or not either, I only hear there is a definite "hick-up", but I think it works very nicely.

.



Edited 1 time(s). Last edit at 2015-11-10 14:36 by DandelionPowderman.

Quote
DandelionPowderman
I never understood why

Memory Motel
Hand Of Fate
Fool To Cry
Melody
Miss You
Some Girls
Far Away Eyes
Before They Make Me Run
Beast Of Burden
Dance
Send It To Me
Down In The Hole
Emotional Rescue
She's So Cold
All About You
Start Me Up
Slave
Little T+A
Worried About You
Heaven
No Use In Crying
Undercover (Of The Night)
Tie You Up
Feel On Baby
Too Much Blood
Sleep Tonight
Terrifying
Blinded By Love
Hearts For Sale
Almost Hear You Sigh
Slipping Away
Continental Drift

were "half-baked riffs" or uninspired?

Look at that list of varied and great songs! There are even more.

Illustrates the kind of quality we fans know the Stones have produced long after the critics said they were hopless. "The Stones haven't made anything decent since 1978...etc" - of course they have. Good, sometimes great albums, and many wonderful songs.

Quote
IrelandCalling4

Illustrates the kind of quality we fans know the Stones have produced long after the critics said they were hopless. "The Stones haven't made anything decent since 1978...etc" - of course they have. Good, sometimes great albums, and many wonderful songs.

They have made some great and some good albums until 1981.
They have made some great and some good songs from then on.
And at least one of them has made some great and some good solo-albums.

Hi guys,

I was listening to Keith's great new record which is great. The track Something for Nothing has a classic Keith style rhythm guitar and a great lead guitar. The lead "riff" sounds very familiar to me but I can't put my finger on it. Which other Keith solo track has that type of lead guitar on it?

Cheers,
Wuudy

.



Edited 1 time(s). Last edit at 2015-11-10 14:37 by DandelionPowderman.

Indeed is a great track

My impression is that Keith put his album full of hints to earlier tracks to have us
puzzling about questions like "Hey, where have I heard this before?" Maybe he knows
what fans like to discuss about on the internet.

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

mixed emotions

One of my favourites from the new album; on initial listens I liked it but felt it wasn't up with the best. However, it's one of THE growers of the whole opus - I absolutely love it now.

The glorious solo, the chanting choir leading to the outro, the chorus...it's a good 'un isn't it

Maybe it reminded me of the solo in You Can Go Your Own Way - Fleetwood Mac but a couple of octaves higher...

Cheers,
Wuudy



Edited 1 time(s). Last edit at 2015-10-30 13:31 by Wuudy.

.



Edited 1 time(s). Last edit at 2015-11-10 14:37 by DandelionPowderman.

Quote
matxil

Quote
DandelionPowderman
Back to CH. Have you noticed the wrong number of bars twice in Irene? A too early key-change, and he just keeps on singing.
Disturbing in the beginning, but now it sort of belongs in there

It's about 2:50, where he sings:
"I'll love her 'til the seas run dry,
But if Irene'd ever turn me down,"

For my feeling, there is a skip (and actually a break in the guitar strumming) when he sings "Irene'd ever".
I am not sure where exactly he cuts down a bar and I don't know whether it's planned or not either,
I only hear there is a definite "hick-up", but I think it works very nicely.

Thank you thank you, Dande and Matxil. Where is the second instance Dandelion mentioned?
Or do those two lines contain two glitches?

.



Edited 3 time(s). Last edit at 2015-11-10 14:37 by DandelionPowderman.

Is it me or has anyone noticed/mentioned this before?
For the first minute of Goodnight Irene Keith's voice sounds like 70's Keith.
Could they sample old Keith to a new recording?

.



Edited 1 time(s). Last edit at 2015-11-10 14:37 by DandelionPowderman.

Quote
DandelionPowderman
Copyright protected...

At 2:42 «love her to the seas run dry» there is a skip in the strumming. Nothing special, but certainly audible.

At 2:51 he turns the beat around for a couple of seconds when he changes key too early («if Irene should ever turn me down»).

Thanks my dear! xox

Quote
DandelionPowderman

Quote
Adams
Is it me or has anyone noticed/mentioned this before?
For the first minute of Goodnight Irene Keith's voice sounds like 70's Keith.
Could they sample old Keith to a new recording?

It's the key and the way he sings

Yeah, and it's totally different than the rest of the song and record.
That vocal bit sounds a bit brighter too, hence my sampling suspision.
Of course I don't mind it, just made me curious.

.



Edited 1 time(s). Last edit at 2015-11-10 14:37 by DandelionPowderman.