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JuanTCB
Does anybody know what guitar/amp/effect combo Keith is using here?
It sounds too beefy for a Fender, but of course it could have been juiced up during the mixing. Come to think of it, it probably was given that the sound fits right in with the newer tracks on the album...
Also - Open G or standard?
It might be my favorite recorded guitar sound ever.
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DandelionPowderman
It might be my favorite recorded guitar sound ever.
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JuanTCBQuote
DandelionPowderman
It might be my favorite recorded guitar sound ever.
Standard tuning. Mostly two string barre chords (the riff).
Sounds like a boogie, but it must have been too early for that. Ampeg?
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24FPS
It doesn't really belong on Tattoo You, sonically. It's just an undeveloped jam that lacks their songwriting gift, this and it's nowhere cousin, Feel On Baby.
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djgab
"First release on CD/Vinyl running time 4.55
Reissued on CD for Virgin running time 6.30"
do you know about recent cd / lp reissue ?
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drewmaster
Holy mother of mercy, what can I possibly say about Slave? It is a titanic, mind-bending sonic orgasm. A cathartic, life-altering masterpiece. A stunning, soul-affirming paean to freedom, an ode to liberating oneself from the shackles of oppression, whether they come from society, from another individual, or from within oneself. Slave is more than a cry of revolt, it is a thunderous repudiation of tyranny and injustice.
The first few seconds of the track are, in and of themselves, miraculous. Those deeply-satisfying thuds from Charlie, in perfect contrast to the percussive tapping from Ollie Brown that subtly evokes the clink of chains holding the enslaved against their will … have you ever heard something so outrageously funky? (Well okay, maybe at the beginning of HTW…).
And then what will always be, in my heart, the bark of a junk-yard dog, welcoming in that incredible, monster riff from Keith. Sinewy and sinuous, snarling and snaking its way through Charlie’s drumming, Keith’s guitar is like a demon from the underworld, an avenging spirit forever banishing the hideous crime of slavery from this world. Majestic and proud, with licks that would make even Buddy Guy jealous, Keith shows the world what playing the blues is really all about.
And let’s not forget Mr Michael Philip Jagger (with a little help from Pete Townsend), who is at the top of his game, yelping and wailing like an escaped banshee from hell. Mick conjures up so much pain, so much violence and depravity, in his performance here.
And then, the icing on the cake … that glorious, swinging, soaring sax from the great Sonny Rollins. Words cannot really express how important his contribution is here, how much depth and vitality he brings to this track. And the same goes for Billy Preston’s brilliant, soulful keyboards. Indeed, everything syncs up here so perfectly, it is a miracle beyond words, and I would argue that nowhere in the Stones canon is there a finer example of their alchemy and genius.
Ultimately, it is the sound of Slave that is just so mind-blowing … Charlie’s drums, Keith’s guitar-work, and Sonny’s sax truly leap out of the speakers and envelope the listener, bathing him or her in an experience that liberates the spirit and redeems the soul.
Six and a half minutes of sheer sonic ecstasy; play this one LOUD, baby!!! This is why I love the Rolling Stones with all my heart.
Drew
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Maindefender
I have to consider Slave a cut above a Short and Curlies and Send it to Me. Slave has a wicked attitude
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Swayed1967
Heartbreaker, Dance Little Sister, Slave and Feel On Baby. For decades I skipped these songs but eventually the utter lack of quality new material forced me to discover their charm. Slave still doesn’t give me goosebumps the way, say, ‘Loving Cup’ does but at least it’s (relatively) fresh. I imagine many of us fanatics have found solace in songs we used to despise. Oh how I wish I had skipped the entire Let It Bleed album.