I can't add anything better to what some of the brilliant wordsmiths of IORR have already written, except to echo that I like it best without the chorus. Especially love the live versions with Keith's barking BU vocals. But I'm not picky, I've never heard any version that I didn't like, and it was a thrill to hear the choral opening on the last few tours. YCAGWYW is perfection.

best b side ever, but that's b sides the point.

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ash

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runaway
The LB Choir, although content with their contribution, were not over-impressed with the rest of the album's content (Midnight Rambler) and wished to renounce their role in it. However, it was too late. An abbreviated version without the orchestral theatrics was obtainable on bootleg.
YCAGWYW 10,11 December 1968: BBC London - Bootleg only.

I would much prefer a version without the choir. I think they sound awful at the beginning, not so much at the end. Reminds me of when opera singers and West End musical singers try to sing rock n roll or even pop. Horrible. i'd rather hear Dylan attempt opera.
For me they ruin one of the stand out cuts in the band's entire catalogue and one of the highlights of the 60s music scene.
Shame we can't get a Rock Band / Guitar Hero version of this so I can mix them out.
Appreciate I might be in a minority of one on this issue.

It was an experimental time and this song opened another door for me, I myself love the studio track, then and now, and enjoyed the live ones that was played at many tours following the Bleed Album.

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runaway

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ash

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runaway
The LB Choir, although content with their contribution, were not over-impressed with the rest of the album's content (Midnight Rambler) and wished to renounce their role in it. However, it was too late. An abbreviated version without the orchestral theatrics was obtainable on bootleg.
YCAGWYW 10,11 December 1968: BBC London - Bootleg only.

I would much prefer a version without the choir. I think they sound awful at the beginning, not so much at the end. Reminds me of when opera singers and West End musical singers try to sing rock n roll or even pop. Horrible. i'd rather hear Dylan attempt opera.
For me they ruin one of the stand out cuts in the band's entire catalogue and one of the highlights of the 60s music scene.
Shame we can't get a Rock Band / Guitar Hero version of this so I can mix them out.
Appreciate I might be in a minority of one on this issue.

It was an experimental time and this song opened another door for me, I myself love the studio track, then and now, and enjoyed the live ones that was played at many tours following the Bleed Album.

Agree, I think the choir adds an incredible dimension to the Stones creativity during that period. I don't mind the bside version for sure,but it can't compare to the choir version.

The choir is amazing and it's part of what makes the song and the Rolling Stones so amazing. The choir says, "We are in uncharted territory just because we want to and we can go there and it's really working." I can't even imagine a studio version without the choir. The choir makes the song unforgettable.

The David Frost Show playback rendition kept the choir out of the intro:
[www.youtube.com]

I love the Rolling Stones, including Keith's mysterious penchant
for playing acoustic standing up with no strap even when miming to playback

Drew, Nicos, Silverdragger - yes!!!

And:

"You can´t always get what you want" jumped into my life by age of 19.
Still in my late, late teens and a real late-developer, it gave me the most important kick of all Stones songs until today:

1. It taught me that my illusions and visions can be destroyed.

2. It taught me in the same second, that even this above is a fact, on the other side it is always worth to try! And that I shouldn´t stop to try to reach for everything I want.

Silverdagger, of course.

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treaclefingers
best b side ever, but that's b sides the point.

Get yer coat !

By Jann S.Wenner - Jagger Remembers

WENNER:
“You Can’t Always Get What You Want”?
JAGGER:
It’s a good song, even if I say so myself.
WENNER:
Why is that one so popular?
JAGGER:
‘Cause it’s got a very sing-along chorus. And people can identify with it: No one gets what they always want. It’s got a very good melody. It’s got very good orchestral touches that Jack Nitzsche helped with. So it’s got all the ingredients.
WENNER:
Anything else you can think of on “Let It Bleed”?
JAGGER:
I think it’s a good record. I’d put it as one of my favorites.

My first live Stones show Zip opener '15, I did not know
Matt Clifford would start the tune solo on the French horn.
Blew my mind.
The choirs: how freakin cool working w/ the local choirs. My favorite choirs are of the Harlem soul variety.
When I got my Vault CD Leeds 1982, and heard for the first time,
YCAGWYW
I grinned the entire tune, and thought this is as good as it gets with
The Rolling Stones.
That level up they take me that just makes me feel happy.


Edit: replace a lazy swear word



Edited 2 time(s). Last edit at 2016-07-06 22:32 by 35love.

Awesome song. Always loved the Love You Live version best. Coincidentally my 9 year old daughter came home from school one day this year and said she heard the greatest song ever with an awesome guitar in the middle... Not sure how she came across LYL YCAGWYW with her Taylor Swift, Katie Perry loving friends but she did and she was dying for me to hear it.

Anita said on an interview that she wrote the song with Mick, I can't find the interview anywere now but I remember that quote pretty well.

I found it!

Interview by MARIE CLAIRE
JUNE 2002-05-31


M.C.: You're singing in the chorus on "Sympathy For The Devil". Didn't you want to collaborate more with the Stones?

A.P.: I did it once. In Peru, I co wrote the lyrics of "You Can't Always Get What You Want" with Mick, but he didn't credit me when the LP was released! Otherwise, I would be rich today… I remember Marshall Chess, their manager, he wanted to offer me a Ferrari as a gift for all I did in those Nellcôte days for Keith and the band, but I never saw the color of it… Stones and money, it's always rather complicated…

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georgelicks
I found it!

Interview by MARIE CLAIRE
JUNE 2002-05-31


M.C.: You're singing in the chorus on "Sympathy For The Devil". Didn't you want to collaborate more with the Stones?

A.P.: I did it once. In Peru, I co wrote the lyrics of "You Can't Always Get What You Want" with Mick, but he didn't credit me when the LP was released! Otherwise, I would be rich today… I remember Marshall Chess, their manager, he wanted to offer me a Ferrari as a gift for all I did in those Nellcôte days for Keith and the band, but I never saw the color of it… Stones and money, it's always rather complicated…

Interesting georgelicks..............actually I "believe" it.........Anita could be in for some great lyrics or Quotes.
"You Can't Always Get What You Want" ............but you you can get me
"Man kann nicht immer bekommen, was Sie wollen" ............ aber Sie können mir bekommen.............

__________________________

Care to translate that last bit, NICOS?

Who knows what the truth is with Anita and the lyrics. In those heady days she was a force to be reckoned with, so it's not unimaginable that she had some input.

BTW, in 1989 they did a stunning live YCAGWYW for the Steel Wheels tour. It was the first time they played it with the switch-over to double-time, etc. During the chorus, the enormous lighting system was very nicely coordinated and the sum of the whole was absolutely on fire. The "impact" was amazing! It just really worked, and you could tell the band and the whole crew really worked hard on delivering that one song. Yes, it was a "different" Rolling Stones, but I really don't want to use the term "Vegas" here. They truly achieved greatness when I saw it. I think it was helped by a night when the song and the band really clicked. The second night it didn't have the same impact and level of greatness.

I also think the Rock and Roll Circus version is also very magical. Stones in their prime, etc, etc.

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NICOS
Comments, input and alterations are very welcome!
_______________________________________________________________________________

You Can’t Always Get What You Want

Composers: Mick Jagger & Keith Richards
Recording date: February-March 1969
Recording location: Olympic Sound Studios, London, England
Producer: Jimmy Miller
Chief engineer: Glyn Johns

First released: 4th July 1969 B-Side of The Rolling Stones 7" single Honky Tonk Women
Label: Decca F 12952

Line-up:
Lead vocal: Mick Jagger
Acoustic guitars: Keith Richards & Mick Jagger
Electric guitar: Keith Richards
Bass: Bill Wyman
Drums: Jimmy Miller
Piano: Al Kooper
Organ: Al Kooper
French horn: Al Kooper
Maracas: Rocky Dijon
Congas: Rocky Dijon
Tambourine: Rocky Dijon
Background vocal: Madeline Bell
Background vocal: Nanette Newman
Background vocal: Doris Troy
Choir: The London Bach Choir (Approx. 50 members)
Choral arrangements: Jack Nitzche

I really don't think Jagger plays any acoustic here.

Mathijs

Gave it some more thoughts.
Probably You can't always get what you want provides us with the climax that is so obviously
missed on Salt of the Earth?

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

They didn't go to Peru until after the Rock & Roll Circus, so Anita's misremembering.

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marcovandereijk
Gave it some more thoughts.
Probably You can't always get what you want provides us with the climax that is so obviously
missed on Salt of the Earth?

???

When they re-start Salt Of The Earth, there is more than enough climaxes for this listener

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DandelionPowderman

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marcovandereijk
Gave it some more thoughts.
Probably You can't always get what you want provides us with the climax that is so obviously
missed on Salt of the Earth?

???

When they re-start Salt Of The Earth, there is more than enough climaxes for this listener

I agree that the song picks up great speed and the choir, Nicky and Charlie (and Bill)
get the locomotive almost running off the rails in the last part of Salt of the Earth.
I can see that as some sort of climax. Yeah.

What I meant to say though (and I admit that I did not make myself clear) is that,
unlike YCAGWYW, Salt of the Earth keeps you hanging on the edge of a cliff, because
you'd expect something to come that doesn't (and I love the song for that reason).
YCAGWYW is more "finished" in some sort of way. I can't really explain. Maybe it's
just a feeling.
But both songs are equally loved by this listener.

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

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Mathijs

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NICOS
Comments, input and alterations are very welcome!
_______________________________________________________________________________

You Can’t Always Get What You Want

Composers: Mick Jagger & Keith Richards
Recording date: February-March 1969
Recording location: Olympic Sound Studios, London, England
Producer: Jimmy Miller
Chief engineer: Glyn Johns

First released: 4th July 1969 B-Side of The Rolling Stones 7" single Honky Tonk Women
Label: Decca F 12952

Line-up:
Lead vocal: Mick Jagger
Acoustic guitars: Keith Richards & Mick Jagger
Electric guitar: Keith Richards
Bass: Bill Wyman
Drums: Jimmy Miller
Piano: Al Kooper
Organ: Al Kooper
French horn: Al Kooper
Maracas: Rocky Dijon
Congas: Rocky Dijon
Tambourine: Rocky Dijon
Background vocal: Madeline Bell
Background vocal: Nanette Newman
Background vocal: Doris Troy
Choir: The London Bach Choir (Approx. 50 members)
Choral arrangements: Jack Nitzche

I really don't think Jagger plays any acoustic here.

Mathijs

You probably right I thought the same when I published it...I just took the info from Zentgraf and TIOMS

__________________________

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NICOS

Quote
Mathijs

Quote
NICOS
Comments, input and alterations are very welcome!
_______________________________________________________________________________

You Can’t Always Get What You Want

Composers: Mick Jagger & Keith Richards
Recording date: February-March 1969
Recording location: Olympic Sound Studios, London, England
Producer: Jimmy Miller
Chief engineer: Glyn Johns

First released: 4th July 1969 B-Side of The Rolling Stones 7" single Honky Tonk Women
Label: Decca F 12952

Line-up:
Lead vocal: Mick Jagger
Acoustic guitars: Keith Richards & Mick Jagger
Electric guitar: Keith Richards
Bass: Bill Wyman
Drums: Jimmy Miller
Piano: Al Kooper
Organ: Al Kooper
French horn: Al Kooper
Maracas: Rocky Dijon
Congas: Rocky Dijon
Tambourine: Rocky Dijon
Background vocal: Madeline Bell
Background vocal: Nanette Newman
Background vocal: Doris Troy
Choir: The London Bach Choir (Approx. 50 members)
Choral arrangements: Jack Nitzche

I really don't think Jagger plays any acoustic here.

Mathijs

You probably right I thought the same when I published it...I just took the info from Zentgraf and TIOMS

That would make Keith the sole acoustic and electric guitarist on this record. I've always liked the guitar work on this, especially how the electric weaves in and out of the music.



Edited 1 time(s). Last edit at 2016-07-07 21:09 by nightskyman.

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nightskyman
...I've always liked the guitar work on this, especially how the electric weaves in and out of the music.

A thing of brilliance, similarly for me with Sister Morphine.

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LeonidP

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nightskyman
...I've always liked the guitar work on this, especially how the electric weaves in and out of the music.

A thing of brilliance, similarly for me with Sister Morphine.

Just brilliant. Whatever that means anymore.

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marcovandereijk

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DandelionPowderman

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marcovandereijk
Gave it some more thoughts.
Probably You can't always get what you want provides us with the climax that is so obviously
missed on Salt of the Earth?

???

When they re-start Salt Of The Earth, there is more than enough climaxes for this listener

I agree that the song picks up great speed and the choir, Nicky and Charlie (and Bill)
get the locomotive almost running off the rails in the last part of Salt of the Earth.
I can see that as some sort of climax. Yeah.

What I meant to say though (and I admit that I did not make myself clear) is that,
unlike YCAGWYW, Salt of the Earth keeps you hanging on the edge of a cliff, because
you'd expect something to come that doesn't (and I love the song for that reason).
YCAGWYW is more "finished" in some sort of way. I can't really explain. Maybe it's
just a feeling.
But both songs are equally loved by this listener.

I like your way of thinking, and I understand totally.

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with sssoul

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Palace Revolution 2000
Sure, there have been tmes when the Keith ballad was the best closer, but "Sleep Tonight", "Slippin Away", "Thru & Thru", "How Can I Stop", "Infamy"?
Or, after the great "Soul Survivor" choice, we had 'Crazy Mama", @#$%&", "Must Be Hell".

PR2000 dear, I have tried and failed to understand this part of your message. Would you care to clarify a bit?
You seem to be saying there's something second-rate about all the closing songs you've listed,
which wouldn't leave very many "times when [a Keith LV track] was the best closer" :E
And what's wrong with Crazy Mama as a closer?!

Sorry, this is quite a digression from the topic of the thread, isn't it.
I love the Rock & Roll Circus version very dearly. I wonder where that young girl is now -
the one Mick kept returning to to address his lines to so pointedly

[www.youtube.com]

withssoul, thank you for pointing this out to me. I have a very bad habit of never re-reading my posts once I have written it. So most the time they are rambling train of thought; and I only hit paydirt once in a while.
I'm looking at my post, and I can't even understand it, LOL. WTf..my point was that the Keith songs, while often great become a clichee as "closer'. But you also pointed out that this is deviating far from the topic, and I apologize for that. Not my best posting...

OMG, they played YCAGWYW after Trump's acceptance speech!

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MileHigh
OMG, they played YCAGWYW after Trump's acceptance speech!

now that petfood commercial seems alright somehow ...