There is something that has been bugging me for years: on the linernotes on Exile it says that Bass for ADTL is Bill Plummere on Uprite. But I am positivs that is an electric bass on there. Do you guys think it's a mistake or that there might be two Basses? I really do not hear an uprite. Check especially the first break after the first voical line" Yeah heard the diesel drumming all down the line" then the two bars of music before the next line. That is some of the tightest rockmusic ever. They sound like a damn train. And that is for sure an electric Bass. Especially that growling walk back into the D chord.

There's two basses on ADTL: Bill on electric mixed back, and Bill Plummer on double bass mixed upfront. Also Tumbling Dice has two basslines: Bill mixed back, and Taylor mixed upfront.

Mathijs

Never heard two basses on TD.

In his latest book Bill says the Exile Liner notes were wrong about bass credits for two tracks - one was "Shine A Light" and I think the other was ADTL. He says it's him on both. (Will check if he said ADTL).

"On Friday 14 April I got an advance copy of Exile on Main St from the Stones' office. I pointed out many errors on the credits. Bill Plummer was down as bassist on 'All Down the Line' and Mick Taylor bassist on 'Shine A Light', when I played bass on both of these tracks". BILL

Perhaps they overdubbed you Bill?

TD does not sound like Bill but ADTL sure does.

TD is Taylor notice the fluidity just like Fingerprint File

"On 3 August (1971) we worked on 'Good Time Women' and when I arrived the following day I found Mick Taylor playing bass. I hung around until 3am and then left". BILL (also from Rolling with the Stones).

(Good Time Women was original working-title of TD).

So, perhaps Mathijs is right that Bill's original part is still audible on TD. His ears must be good.





Edited 1 time(s). Last edit at 2005-06-16 22:00 by Four Stone Walls.

-Shine a light- sounds more like Taylor. Compare it to -Tumblin´Dice-. It´s the same way of playing. Very melodic Bass-lines. Only a guitarist can play these lines..:-)

yes melodic vibrato its an extension of Taylor's guitar YOU GOT IT

i've always regarded Wyman (along with Macca, believe it or not) as the most "lyrical" bass player in the biz...not sure if that characterization is the same as "melodic" - but if it is BW is/was light-years better than MT....

Don't quite follow that last bit T&A! (I think it's Taylor on the final Exile version of SAL).

just making a general comment about BW's playing vs. MT in response to FooltoCry's post....

I love the bass play of BW. It sounds like a V8 motor. Deep & Groovy.
MT sounds more more like a 3rd guitar. Melodical but not typical like a bass.

I agree - but Bill is less imaginitive/melodic/creative and he would never have thought of the FF bassline. He even let Ronnie do that one live. But he's more than equal to all the others live, (e.g. TD, ADTL, Happy etc)

Four Stone Walls Wrote:
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> but Bill is less
> imaginitive/melodic/creative


HERESY! Miss You; Emotional Rescue; SFTD, anything practically from his triumphant '81 tour - his "imagination" was limitless...running away from him, even....

Listen very carefull with headphones on: you will hear a second bass on the one and three of the TD beat, that's Wyman. Shine a Light is Taylor, even Wyman can hear that. And, the upright bass on ADTL is way upfront, if you don't hear that you need a new sound system!

Mathijs

There is so much mud going on in the lower register of "Tumbling Dice' it is hard to honestly say what is what. Unless someone is going to break it up track by track I think much of that is up to subjective speculation. Everything is bleeding over. Actually Taylor's Bass is one of the more clearly defined instruments on the entire track. Andy Johns has said it was a nightmare to record this song. there are many guitars, some overdriven. Then there is the Brass section that stars squowking before the solo where their entrance is.
ADTL I can now hear the Uprite; It is upfront. I never ever listen to the Stones on headphones. They are not made for that. When we travel the Stonmes are cranked up on the van stereo; the way they are supposed to be heard!
Analyzing ADTL on the headphones and counting bars I leave to the weekend rock'n rollers with daytime Accountant jobs.

To try to break down "Exile" as an analytical exercise is futile--why bother? It was recorded in a hot and sweaty basement, and that's what shows --they had a hell of a time keeping the guitars in tune, but the discomfort contributed to the air of impending chaos. I wouldn't want to do it--no musician in his right mind would wanna record in conditions like this. Exile is a time capsule--it captured a moment, never to happen again.

Well, if anybody has a "karoke" button on their stereo
(some models in the late 80s, early 90s had them),
you'll hear a different mix on a lot of tunes when you push that button.
For instance, a friend of mine had one on his cheap stereo
and I put on Exile. We'll some of the karoke mixes that came out
were amazing. When Rip This Joint played, all the instruments were taken out except the drums and the piano. The piano on that track was amazing,
yet you can barely hear it on the record. On the White Album, Revolution 1 was just electric guitar, backing vocals, and brass. It takes out certain frequencies.
Mind you, it doesn't work on every song, but some stuff was interesting.
If you have one, check it out. My friend's was a very cheap stereo
from the early 90s. Do they still make them nowadays?

tomk that is incredibly intersting. I love those albums. There are some boots that do that with a bunch of songs. I have heard severaL Stones albums with that twist on it.
With the Beatles it is almost not that strange to hear the songs that way. For the longest time one would still hear Beatles songs "broken" in half. It got to the point where I couldn't even if I wanted not get the entire song anymore. It was always and only with beatles songs. The Beatles would do such bizarre like throw the whole drumkit over on the left side e.g.; so then you'd end up with just Ringo and the left hand of a piano track and maybe the BUvox.

Chelsea: it was a revelation to me at the time, believe me.
I wasn't smoking anthing, either.
Maybe I'll try to find one on ebay or at a garage sale somewhere
just for kicks. As I said, I didn't work on every song,
but when it did it was pretty interesting.
I do remember Revolution 1 having noticeable "punch outs" on the guitar,
and I do remeber Exile having a lot of noticable stuff.
It's been quite a while since I did this it that way,
but very fascinating.

Chelsea: I asked that same question years ago!
I am 37 now, I was 2 when exile was released. My mom (dad was never into r'n'r) was a beatle fan: no exile on main st. available on vynil in the early days!
So by the time I put my hands on Exile for the first time (I think it was at the time Dirty Work was released) cds were already on the market and Exile was one of the first cds I buyed. It was, of course, the CBS release. One of the first things I noticed, when the excitement for the "superclean" new sound was over, was that apparently not all the instruments I was used to hear on the exile songs on my vynil made in the Shede were there. Things got slightly better with the Virgin up-date. But the true revelation was when a friend of mine gave me what I consider one of the best presents I ever received: a sort of pre-release of Exile for radio broadcast only (at least that is what was on the orange sticker on the cover). Anyway it was HEAVY vynil in mint condition. I can say that THAT was the first time that Exile truly knocked me away. Where were all those acoustics before? Sure that was when I understood where the uprite bass was!!!

C

T&A Wrote:
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> Four Stone Walls Wrote:
> --------------------------------------------------
> -----
> > but Bill is less
> > imaginitive/melodic/creative
>
>
> HERESY! Miss You; Emotional Rescue; SFTD,
> anything practically from his triumphant '81 tour
> - his "imagination" was limitless...running away
> from him, even....
>
>
>


Miss you is Bill but Billy came up with the sketch, ER is Ronnie and SFTD is Keith but I think Bill's much much better. He really lifts songs with his almost naive sense of rythm. Love it.

Bill Plummerer: Bass and dancing!

The thing that always gets me about the Bass on Miss You is how much Bill Wyman evolved from pre MY to post MY. Yes, Preston came up with the idea but in listening to the version of SG and then every Live one after it is plain that this is someone playing who "gets it" and who is running with the idea and expanding on it. Someone who was just blindly following another man's concept would not sound as at home and con\mfortable the way Wyman does in that Bassline. Wyman never failed to urprise me as a musician. Because face it: as a man he sounds a lot like a whiny shmuck.

Yes, and just as Keith had idea of the JJF and SFTD and Live With Me basslines it's Bill who makes them special when played live. Thinking ya-yas, especially.

It's not a question of creating fancy runs and patterns (eg Casino Boogie, Hide Your Love) its a matter of integrating into over-all sound of the track. Nearly all of Some Girls. And especially '78 and '81/82 tours.

He was the glue in their live songs. Now they still rock but I don't detect much roll since he left. (The missing 'swing-factor').