Quote
slewan

Quote
HMS
The african drums are an essential part of the song, so I forgive them not to have 15 drummers travelling with them only for playing a few minutes... as long as everything else is live it doesnt bother me.

if they can hire a choir for a few minutes for You Can't Always Get… they should be able to hire some conga players for SFTD!

Ollie Brown, like in 1975/1976 - SFTD is much better from the GYYYO / LYL

Quote
slewan

Quote
HMS
The african drums are an essential part of the song, so I forgive them not to have 15 drummers travelling with them only for playing a few minutes... as long as everything else is live it doesnt bother me.

if they can hire a choir for a few minutes for You Can't Always Get… they should be able to hire some conga players for SFTD!

Yes - even just give Bernard a couple of congas, and he could probably do the job.

"Gonna find my way to heaven ..."

Quote
HonkeyTonkFlash

Quote
More Hot Rocks
What difference does it make. Nothing.

No difference. Well, there's a huge difference between 1969 and 1989 versions...

But it means nothing.

Quote
More Hot Rocks

Quote
HonkeyTonkFlash

Quote
More Hot Rocks
What difference does it make. Nothing.

No difference. Well, there's a huge difference between 1969 and 1989 versions...

But it means nothing.

To me, it means the difference between versions that rock and versions that just plod along. The 1989-90 versions were good because the guitars were on fire but it still didn't swing like it did on Ya Yas or Love You Live. In later years as the guitars became less prominent in the arrangements the loop contributed a lifeless, mechanical Stones-karaoke feel to the song.

"Gonna find my way to heaven ..."

-



Edited 2 time(s). Last edit at 2016-06-29 11:51 by jambay.

SFTD is not the only loop. They have used loops on various songs ever since 1989. Just from memory: HTW, Bitch, Undercover ...

-



Edited 1 time(s). Last edit at 2016-06-29 11:53 by jambay.

The loop castrates Sftd. IT almost castrates the devil himself.

Quote
Stoneage
SFTD is not the only loop. They have used loops on various songs ever since 1989. Just from memory: HTW, Bitch, Undercover ...

Bitch, you mean the start?

More like an in-count, isn't it?

Quote
DandelionPowderman

Quote
Stoneage
SFTD is not the only loop. They have used loops on various songs ever since 1989. Just from memory: HTW, Bitch, Undercover ...

Bitch, you mean the start?

More like an in-count, isn't it?

Isn't the whole horn section on a loop? Where are they? Behind a curtain?

no

Don't know about Bitch. Listen to the versions from Atlantic City and Toronto in 1989.
No horns visible in AC, but these versions sound very different, which leads to my
belief that it's not exactly a loop. I guess the two keyboard players are responsible
for a lot of what we're hearing.



Atlantic city



Toronto

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

Quote
Stoneage

Quote
DandelionPowderman

Quote
Stoneage
SFTD is not the only loop. They have used loops on various songs ever since 1989. Just from memory: HTW, Bitch, Undercover ...

Bitch, you mean the start?

More like an in-count, isn't it?

Isn't the whole horn section on a loop? Where are they? Behind a curtain?

On stage.



When it's early in the set, like in 1989, the horn players performed behind the curtain, like Bernard and Lisa usually have done for the first numbers.

I take your word on that, Dandy. You're right about the keyboards, Marco. It sounds like they are playing a third rythm guitar. Or something...

Quote
DandelionPowderman

Quote
rbk
Forgive them, why?

They are a part of the original recording. Like the cowbell in HTW.

I'm not sure if the SFTD sample was taken from the original recording. These «live congas» sound way more precise than how Rocky played it on the album.

Today, Matt Clifford (I think) is actually playing the cowbell on HTW, as opposed to earlier versions with a sequence sample of something that sounded like a cowbell (I doubt it was Miller's take from the original).

They had 3 recordings of the cowbell from the album for their keyboard triggered sample for the 1989-90 tours, with different tones to them for the sake of variation.

SFTD is the only track the Stones use a studio recording of whatever since the 1989-90 tours.

And these days, the only good thing about SFTD is the drum loop.

Quote
GasLightStreet

Quote
DandelionPowderman

Quote
rbk
Forgive them, why?

They are a part of the original recording. Like the cowbell in HTW.

I'm not sure if the SFTD sample was taken from the original recording. These «live congas» sound way more precise than how Rocky played it on the album.

Today, Matt Clifford (I think) is actually playing the cowbell on HTW, as opposed to earlier versions with a sequence sample of something that sounded like a cowbell (I doubt it was Miller's take from the original).

They had 3 recordings of the cowbell from the album for their keyboard triggered sample for the 1989-90 tours, with different tones to them for the sake of variation.

They had cowbells in different keys sampled?

Quote
DandelionPowderman

Quote
GasLightStreet

Quote
DandelionPowderman

Quote
rbk
Forgive them, why?

They are a part of the original recording. Like the cowbell in HTW.

I'm not sure if the SFTD sample was taken from the original recording. These «live congas» sound way more precise than how Rocky played it on the album.

Today, Matt Clifford (I think) is actually playing the cowbell on HTW, as opposed to earlier versions with a sequence sample of something that sounded like a cowbell (I doubt it was Miller's take from the original).

They had 3 recordings of the cowbell from the album for their keyboard triggered sample for the 1989-90 tours, with different tones to them for the sake of variation.

They had cowbells in different keys sampled?

Yep. All the same sample, just different... timbres. Back then it was a big deal.

Quote
GasLightStreet

Quote
DandelionPowderman

Quote
GasLightStreet

Quote
DandelionPowderman

Quote
rbk
Forgive them, why?

They are a part of the original recording. Like the cowbell in HTW.

I'm not sure if the SFTD sample was taken from the original recording. These «live congas» sound way more precise than how Rocky played it on the album.

Today, Matt Clifford (I think) is actually playing the cowbell on HTW, as opposed to earlier versions with a sequence sample of something that sounded like a cowbell (I doubt it was Miller's take from the original).

They had 3 recordings of the cowbell from the album for their keyboard triggered sample for the 1989-90 tours, with different tones to them for the sake of variation.

They had cowbells in different keys sampled?

Yep. All the same sample, just different... timbres. Back then it was a big deal.

New, as in they liked to tell about it (the state of the art) to the press?

Quote
DandelionPowderman

Quote
GasLightStreet

Quote
DandelionPowderman

Quote
GasLightStreet

Quote
DandelionPowderman

Quote
rbk
Forgive them, why?

They are a part of the original recording. Like the cowbell in HTW.

I'm not sure if the SFTD sample was taken from the original recording. These «live congas» sound way more precise than how Rocky played it on the album.

Today, Matt Clifford (I think) is actually playing the cowbell on HTW, as opposed to earlier versions with a sequence sample of something that sounded like a cowbell (I doubt it was Miller's take from the original).

They had 3 recordings of the cowbell from the album for their keyboard triggered sample for the 1989-90 tours, with different tones to them for the sake of variation.

They had cowbells in different keys sampled?

Yep. All the same sample, just different... timbres. Back then it was a big deal.

New, as in they liked to tell about it (the state of the art) to the press?

1989/90 - Look at the video at 0:06 and you can see Matt playing the cowbell, so no sample here.

[www.youtube.com]

Quote
Hairball
Sympathy has lost it's bite and danger for years now. Instead of being menacing and snappy, it seems to plod along like a melancholic dirge.
The lack of riveting bass and the unrestrained piano that were essential to the original are nowhere to be heard which has sucked the life out of it in the process.
Based on a pre-recorded loop as it's heartbeat, it has become artificial.

It is one of my favorite RS songs but I got to agree with you on this one.
Another candidate for warhorse pensioner status.

Thanks,

Mike


[www.flickr.com]

If they released it commercially, maybe...

Quote
slewan

Quote
HMS
The african drums are an essential part of the song, so I forgive them not to have 15 drummers travelling with them only for playing a few minutes... as long as everything else is live it doesnt bother me.

if they can hire a choir for a few minutes for You Can't Always Get… they should be able to hire some conga players for SFTD!

I get what you're saying, but imagine how much they'd jack up ticket prices (and actually be able to justify it!) if that happens...

There was some magazine, maybe RS, that covered the intricate work of the 1989 tour and they said that there were 3 versions of the HTW cowbell sample if they needed them. So true, it was not always used.

Quote
GasLightStreet
There was some magazine, maybe RS, that covered the intricate work of the 1989 tour and they said that there were 3 versions of the HTW cowbell sample if they needed them. So true, it was not always used.

Probably when Matt called in sick

Matt Clifford is the other key ingredient to the Stones going soft...

Quote
GasLightStreet
Matt Clifford is the other key ingredient to the Stones going soft...

Did you notice that Keith sabotaged his synth «guitar solo» after 2000 LYFH on Live In Tokyo? It's hilarious!

Quote
DandelionPowderman

Quote
GasLightStreet
Matt Clifford is the other key ingredient to the Stones going soft...

Did you notice that Keith sabotaged his synth «guitar solo» after 2000 LYFH on Live In Tokyo? It's hilarious!

No. I've had trouble listening to that release!

Quote
GasLightStreet

Quote
DandelionPowderman

Quote
GasLightStreet
Matt Clifford is the other key ingredient to the Stones going soft...

Did you notice that Keith sabotaged his synth «guitar solo» after 2000 LYFH on Live In Tokyo? It's hilarious!

No. I've had trouble listening to that release!

Just fast forward to the ending of 2000 LYFH. It's funny, it's definitely a worthwhile listen

How awful, that keyboard "guitar solo".

That whole interlude is shockingly bad, those cheesy keyboards.