OK, this is not a topic about entire albums, songs, lyrics, riffs, or solos. It's about those little details in songs that sometimes work as a small musical revelation, or make the difference between a great band and a timeless band, or are just funny, clever, surprising, or unusual.

These are just a few that I thought about from the top of my head:

- Charlie's drumrolls in "Neighbours" (specially at 2:11)
- The little build-up of tension right before the solo in "Route 66" (1:13)
- Keith coming back to his first note during Taylor's solos in "Honky Tonk Women" (1:54 and 2:09)
- The little pause in Keith's guitar in the chorus of "Brown Sugar" (specially at 2:38 and 2:45)
- The bass run at the end of the chorus in "Dancing with Mr. D."
- The entire band's punch when they get into the middle-eight in "Dance Little Sister" (1:58)
- "BABY!" in "Worried About You" (1:43)
- The attack of the horns when they get into the 2nd chorus of "Bitch" (1:53)
- "So why don't you try me -- Try me -- YO!" in "Cherry Oh Baby" (2:19)
- Mick frying his voice to reach that low note in the first line of "Ruby Tuesday" (0:05)
- The contrast between Keith's and Taylor's guitars when they kick off together in "If You Can't Rock Me" (0:01)
- The harmony vocals to the word "shoes" in the finale of "Sweet Virginia" (4:17)
- "And it makes me wonder... WHYYYYY-YYY-Y" in "Fool to Cry" (3:48)
- Mick changing from falsetto to his "lazy" mode in the bridge of "Emotional Rescue" (2:27)
- "I will be your knight in shiny armour" in "Emotional Rescue" (4:06)
- Charlie speeding up the tempo in "Live with Me" (2:44)
- When the piano is put higher in the mix in "Stray Cat Blues" (0:38)
- "All right, Keith, come on now" in "Little by Little" (0:41)
- Keith singing "Just gimme a little drink from your f---ing Cup" in "Loving Cup (Alternate Take)" (3:40)

And so on...

Just a quick one. In HAMPTON, the start of the outro of "Tumbling Dice", when Keith slightly fools with the riff, changes the timing a bit oddly, and Jagger, maybe a bit confused, turns quickly to him, but both end up giving smiles to each other... that's the dynamics of a hot band...

- Doxa

Yeah, that's the spirit. :>)

Nice list NastyHabits, you obviously havd a keen appreciation for the subtle things that make great music! It's strange how a little fill or a vocal nuance or a drum roll can really grab us when they are done well and timed perfectly.

A few of mine would be:


-Charlies two cymbal hits in Dead Flowers (3:48)
-The pedal steel fill on Torn and Frayed (2:55)
-Billy Prestons clavinet fills on 100 Years Ago (0:06) (0:10) (0:19)
-Billy Preston first two dirty notes in Heartbreaker (0:00)
-Sugar Blues harmonica intro on Some Girls (0:05)
-The horns coming in on Rock's Off (1:11)
-The sweet acoustic guitar coming in on Loving Cup (0:19)
-The first 2 seconds of Can't You Hear Me knocking (0:00)
-The "yeah" in CYHMK (:02)
-Charlies double snare hit in CYHMK (0:09)
-Let it Loose B/G vocal (4:31)


I could go on and on, I love the great moments, however small they might be because they are great indeed.

peace




'

Yes! I particularly love that moment in the "Let It Loose" background vocals.

In Beast of Burden: Charlie's countering 'dum-dum' beat after "ain't I rough enough?"...

Ah; this list is (& will be) endless. Will make a great manual for Stones starters, btw! Give'em GRRR! in their left channel, and these subtilities in their right... Therefore I believe this thread deserves to be a 'sticky'.

[www.iorr.org]


There are a few moments during a lot of

Stones tracks where I get shivers everytime I hear it.

MAGIC MOMENTS!

Here are a few (not a ranking):



1. Start Me Up (Still Life):

a) Keith´s riffs in the beginning;

b) Charlie joining him;

c) the first riff after "You make a grown man cry" Arrrgggh!


2. Imagination (Still Life):

a) Keith´s riff after "Running away with me" in the second refrain;

b) Keith´s riff again after "Ev´ry night I hope and pray"


3. Saint Of Me (Bridges To Babylon):

a) Mick´s lyrics and voice;

b) Ronnie´s guitar;

c) Billy Prestons organ, especially at the end;

d) Charlie´s drumsound


4. Street Fighting Man (Beggars Banquet):

a) the second acoustic guitar joining at the beginning (sounds like a bell);

b) the instrumental preludes before a new verse starts, especially the last one after "Get down!"


5. Gimme Shelter (Let It Bleed):

a) the whole beginning incl. Charlie joining with his entire set;

b) the lines "Mmh, the flood is threat´ning my very life today";

c) the words "Gimme, gimme shelter!";

d) Mick´s harmonica


6. Beast Of Burden (Some Girls):

a) "You can put me out";

b) the chords after that;

c) "...on the street"


7. You Got The Silver (Let It Bleed):

a) Al Kooper´s organ during the instrumental part between second and third verse


8. Rocks Off (Exile On Main St):

a) the piano joining the song shortly before "What´s the matter with the boy?"

b) getting back to the hard beat: "The sunshine bores the daylight out of me!"


9. You Got Me Rocking (Voodoo Lounge):

a) Keith´s killer riffs;

b) Ronnie´s slide, especially during the last 30 seconds


10. Sister Morphine (Sticky Fingers):

a) the piano after 2nd verse;

b) slide and drums joining in

- When the band REALLY catches ON in "Around and Around" (1:53)
- The bass runs in "19th Nervous Breakdown" (3:29)
- Keith's singing line in "Flip the Switch" (1:26)
- Keith's background vocals in the chorus of "Ruby Tuesday" (Flashpoint version)
- The beginnning of Taylor's solo in "Love in Vain" (GYYYO version) (2:08)

Quote
TooTough


6. Beast Of Burden (Some Girls):

a) "You can put me out";

b) the chords after that;

c) "...on the street"

..without shoes...

one of the greatest stones moments....


+Ronnies slide in "rough justice"

+ "i waaaas bowh in crossfird hurryhcaneh..."

+ ends of "stray cats blues" and "fingerprint file"

+ first guitarsound in "one hit (tho the body)"-it makes me feel hot summer....


and many many more....

The very end of Keith's solo in sftd when he slams the last note

and the very beginning of Keiths solo on sftd on ya ya's.

Seeing the Stones leave the hotel ,after the GREAT Stockholm Show and watching Ronnie on his hotelbalcony waving to the fans, satnding on the street.

Jeroen

That great, sliding "oh baby!" in Confessin' the Blues (and everything else about the song) on 12 X 5. Keith was right - it really IS about the roll. Oh baby!

Yeah, this needs to be a Sticky!

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corriecas
Seeing the Stones leave the hotel ,after the GREAT Stockholm Show and watching Ronnie on his hotelbalcony waving to the fans, satnding on the street.

Jeroen

I was at the Stockholm show and still in the city when all that happened and I MISSED IT !!!!!!! GRRRR!!!! On the coach to Skavsta Airport on 3rd I met IORRIAN RRRonnie who WAS there and he told me all about it.

---------------------------------------------------------------------------------------------------------------------

the riffs :
satisfaction, start me up brown sugar last time.
satisfaction riff really qoncuered the world,
start me up riff is the most impressive on concerts.

Mick rolling his eyes during the "Let's Spend SOME TIME Together" lyric on Ed Sullivan.

- Shine a Light: the intro (0:01-0:10) and that moment between 0:50 and 0:52 when Billy Preston shines on keyboards;
- The intro for Paint it Black;
- Charlie's drums on Let it Loose (2:27) and Mick singing "in the bar you're getting drunk" (3:04)
- Mick Taylor solo on Love in Vain from GYYYO;
- The accordion on Backstreet Girl;
- The guitar on the alternate take of Dead Flowers between 3:11-3:13;
- Billy Preston with his amazing solo on I Got the Blues;
- Extraordinaire Bobby Keys' sax solo on Can't You Hear Me Knocking;
- the choir on the final part of You Can't Always Get What You Want

and last but not least:

- Before They Make Me Run on its entirety.

I love the version of Hot Stuff on (Love you Live)and have never liked the Studio Version. Although on the studio version I absolutely have always loved the way Charlie Closes that song out with two quick bangs at the 5:18 mark.

Keith's sly look at Mick and Charlie's drum roll stripped spider and the fly
Keith and mick harmonies dead flowers eg ladies and gentleman

The absolutely manic intro to Not Fade Away on Got Live if you Want it.

- Jimmy Miller stepping up the pace to double time in the outro to You Can't Always Get What You Want
- Brian's recorder playing counter melody on Ruby Tuesday
- Brian's slide on Little Red Rooster and giving the UK it's only ever No 1 blues hit
- The first few seconds of Midnight Rambler which are just so evil and set the tone for this
- The pace of the rhythm section on Midnight Rambler as the song starts to build - unbelievably seductive
- Mick's lascivious squeal and devilish 'yeah I'll cut your tail' vocal at the beginning of Stray Cat Blues
- Paul Buckmaster's strings on Moonlight Mile
- Nicky Hopkin's piano on We Love You
- Nicky Hopkin's piano on She's A Rainbow
- Brian's marimba on Under My Thumb
- Keith's glorious guitar orchestra on Monkey Man starting with a riff deluxe at 1.43, followed by another incredible riff at 2.06, followed by some amazing slide at 2.36 which is then augmented by Nicky Hopkins neo concert piano playing. Perhaps the greatest of all instrumental passages within a Stones song.
- Those perfect Memphis horns that render I Got The Blues a tune worthy of the great Otis Redding



Edited 3 time(s). Last edit at 2015-01-01 05:50 by Silver Dagger.

Yet again people seem to enjoy ignoring Bill's contribution, so please allow me to highlight some of Bill's fine moments;

-I Wanna Be Your Man
-HTW
-Hammer ons and slides on the live versions of Brown Sugar
-Let It Bleed Hampton '81
-Beast of Burden live '78
-Love in Vain Studio & Live
-Sway
-The triplets from 12-14 fret on Miss You
-Just My Imagination '81
-Start Me Up counter melody
-Satisfaction counter melody
-Rocks Off
-Mother's Little Helper
-Organ on Paint It Black
-Monkey Man
-YCAGWY live versions
-Moonlight Mile

Quote
Rollin92
Yet again people seem to enjoy ignoring Bill's contribution, so please allow me to highlight some of Bill's fine moments;

-I Wanna Be Your Man
-HTW
-Hammer ons and slides on the live versions of Brown Sugar
-Let It Bleed Hampton '81
-Beast of Burden live '78
-Love in Vain Studio & Live
-Sway
-The triplets from 12-14 fret on Miss You
-Just My Imagination '81
-Start Me Up counter melody
-Satisfaction counter melody
-Rocks Off
-Mother's Little Helper
-Organ on Paint It Black
-Monkey Man
-YCAGWY live versions
-Moonlight Mile

Are you being a 'victim' on Bill's behalf?

Nicely played!

Quote
treaclefingers

Quote
Rollin92
Yet again people seem to enjoy ignoring Bill's contribution, so please allow me to highlight some of Bill's fine moments;

-I Wanna Be Your Man
-HTW
-Hammer ons and slides on the live versions of Brown Sugar
-Let It Bleed Hampton '81
-Beast of Burden live '78
-Love in Vain Studio & Live
-Sway
-The triplets from 12-14 fret on Miss You
-Just My Imagination '81
-Start Me Up counter melody
-Satisfaction counter melody
-Rocks Off
-Mother's Little Helper
-Organ on Paint It Black
-Monkey Man
-YCAGWY live versions
-Moonlight Mile

Are you being a 'victim' on Bill's behalf?

Nicely played!

A lot of people on this board either have ill will towards him or completely ignore his contributions. I just think credit where credit is due, he was part of the ingredients which made the Stones music and sound great.

Quote
Rollin92

Quote
treaclefingers

Quote
Rollin92
Yet again people seem to enjoy ignoring Bill's contribution, so please allow me to highlight some of Bill's fine moments;

-I Wanna Be Your Man
-HTW
-Hammer ons and slides on the live versions of Brown Sugar
-Let It Bleed Hampton '81
-Beast of Burden live '78
-Love in Vain Studio & Live
-Sway
-The triplets from 12-14 fret on Miss You
-Just My Imagination '81
-Start Me Up counter melody
-Satisfaction counter melody
-Rocks Off
-Mother's Little Helper
-Organ on Paint It Black
-Monkey Man
-YCAGWY live versions
-Moonlight Mile

Are you being a 'victim' on Bill's behalf?

Nicely played!

A lot of people on this board either have ill will towards him or completely ignore his contributions. I just think credit where credit is due, he was part of the ingredients which made the Stones music and sound great.

I don't quite see it that way...perhaps the band doesn't hold him in high enough esteem but I think the crowd around here love him.

He is a bit of a whiner, and then there's that whole Mandy thing that really do not paint him in a good light at all, but on the whole he comes out pretty good.

...and let me add to the kudos, Brussels Gimme Shelter. OMG that's good.

this is not a topic about entire albums, songs, lyrics, riffs, or solos. It's about those little details in songs that sometimes work as a small musical revelation

Hoping to hear more about the little details.......


peace

Jack White explains this in Stones In Exile quite well. At the beginning of the song Ventilator Blues as the guitar intro is played and Charlie hits the high-hat in rhythm, everything in music tells you that the kick drum is coming but when the vocal begins there is no kick drum and the verse is sung over that rhythm Charlie needed Bobby Keys (peace be upon him) to clap out as he played it. As JW explains, at first it bothered him because that kick drum wasn't there but over time it became his favourite part. Me too, Ventilator Blues also segues into Just Wanna See His Face - talk about magic moments - Keith's keyboard part on Just Wanna See His Face. Tom Waits has praised that song's sound extensively

Charlie coming in on the ride cymbal at about 2:39 on "Neighbours". He's just a moment late... and then the whole thing just elevates.

About 31 seconds into "Bye Bye Johnny" in L&G - Mick and Keith are at the mic and during the vocal pause in the chorus, Mick grins and laughs and Keith kind of cocks his head as if to say "Cut the crap". Cracks me up every single time.

The 3:46 mark of "Imagination" from Texas '68 - "SHE DOESN'T F***ING KNOW ME!"

Keith's intro to "Down The Road Apiece" - almost perfect, but you can hear him hit one note, like, on the fretmarker itself. It gives it character!

The little lead Keith plays as Mick sings "through your thick head" about 22 seconds into "Let Me Go".

Keith's slashing riffs during the final chorus of "Can't You Hear Me Knockin'". It starts at about 2:19 behind "Hear me prowlin'!" and it is sublime and brutal at the same time.

Every single second of this: [m.youtube.com]

1989 ATLANTIC CITY PPV SYMPATHY...THE ONLY TIME I EVER HEARD KEITH COME IN PERFECTLY ..GIVES ME CHILLS !