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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.
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runawayQuote
ashQuote
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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treaclefingers
best b side ever, but that's b sides the point.
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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…
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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
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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?
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DandelionPowdermanQuote
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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MathijsQuote
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
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NICOSQuote
MathijsQuote
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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nightskyman
...I've always liked the guitar work on this, especially how the electric weaves in and out of the music.
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LeonidPQuote
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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marcovandereijkQuote
DandelionPowdermanQuote
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.
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with sssoulQuote
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]
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MileHigh
OMG, they played YCAGWYW after Trump's acceptance speech!