Quote
24FPS
They tried to do this song live, at least in rehearsal, fairly recently. They can't pull it off anymore. They're too slow. I remember in 2005 they did Get Off of My Cloud and it sounded like a waltz. Face it, they've aged past many of their numbers.

Well, I think especially that sequence of four UK singles from "The Last Time" to "19th Nervous Breakdown" I spoke above were created at the time they were young and hungry, and that kind of attitude, enthusiasism and vital energy, which surpasses any instrumental excellence or professionalism, is impossible to repeat again. The versions in GOT LIVE IF YOU WANT IT! offer a great testimony of them living and breathing those songs, and them playing their asses off like their life is depending of it. For example, Jagger can't even relate to that young, aggressive upstart rebel who believes every word he sings or shouts out. He is almost as apart from those passions and attitudes as he is from, say, "Anarchy in the UK". He would just sound corny if he wouldn't do it somehow tongue-in-a-cheek. For the guitarists, even for Keith, the task to be convincing is a hard one, too. Every try to make those early guitar parts and riffs shine and sound relevant and striking again are doomed by their recent skills (which, technically speaking, are since then - even nowadays - much better and cultivated). The things are as bad even for poor Charlie who is so much more sophisticated (but less energetic) player than in those innocent days. And Bill is gone, replaced by some guy-who's been-played-with-Miles-or-something. Ronnie 'the fun clown' Wood is not any young, determined bad-ass Brian Jones.

So, the 'since-89' style of trying to be 'one-to-one' or at least rather close to the originals is simply doomed, as their lifeless 'recent' versions of "The Last Time" or "Get Off of My Cloud" painfully show. They end up sounding like a damn bad cover band of themselves, like a lazy waltz band (yeah) playing a bit of Stones in some wedding. With "19th Nervous Breakdown" in 1997 they obviously realized that and tried to 're-arrange' the whole thing (but ended up 'disarrenging' it haha). Back in the 70's they did the same thing, with better results, with "Get Off of My Cloud" by trying to update it to fit to the times and to their sound at the time. It is indeed a great version, as we can hear in LOVE YOU LIVE, but all of that original youthful anger and aggression and attitude was gone and replaced, wisely, with something else. Since 1989 that sort of re-interpretation or musical up-dating, which asks artistic imagination or a band that is still in the process of evolving and going somewhere, is out of their agenda (the version of "Breakdown" tries something to that effect, but is way too lazy effort to take seriously).

The case of "Satisfaction" is a bit different since it is their 'signature song' as Jagger has admitted - so they have to play it (even though they survived almost the whole 70's without playing it). Their versions of it in early Taylor days speaks volumes what they thought of its most famous component, The Riff: first they tried to update to a bit more complicated and technically demanding form (1969), then getting rid of it almost altogether (1971) by giving the whole song a Otis Redding reading. In 1981 the riff made a return, but its rushed uptempo made it sound almost like circus caricature of it (and the weavers were in fire). And then there is Mick: he's been always struggling in how to deliver it since its hey-day. First (1969) trying to treat it like some kind of hippie 'get together' anthem, then (1971) make it more Otis-like soul number. In 1981 he treated it almost like a joke. None of those vocals are touching, or are meant to touch, that dramatic, sexy, frustrated authentic feel of the original. Mick's way too clever and professional even trying that. Since 1989, for sure, they have tried to be more fair to it, play it somehow seriously (compared to 1981/82), but it is still, thankfully, an anomaly in their set lists. It is a 'road version', clearly differing from its original version unlike most of their songs. But as it is a triumph-like last song in the set, and everybody in audience in ecstacy and sing-a-longing and clapping hands, so how to deliver it, doesn't really matter.

- Doxa



Edited 2 time(s). Last edit at 2019-02-08 13:48 by Doxa.

The run of UK singles from The Last Time - Honky Tonk Women is grade A stuff.

Have You Seen... is a bit meh, but still 65 - 69 is wow!

Brown Sugar belongs in there really, but it was on an album so I don't include it.



Edited 1 time(s). Last edit at 2019-02-08 13:09 by His Majesty.

Quote
His Majesty
The run of UK singles from The Last Time - Honky Tonk Women is grade A stuff.

Have You Seen... is a bit meh, but still 65 - 69 is wow!

Brown Sugar belongs in there really, but it was on an album so I don't include it.

It is. But I would start the list already with "Not Fade Away". Those three big 1964 UK singles - "Not Fade Away" (#3), "It's All Over Now" (#1) and "Little Red Rooster" (#1) - marks a great run of them leading the British R&B movement. Each version is a clever and unique interpretation of the original. It set the stage for the revolutionary originals of 1965, their next big step in their career (all of them making #1).

Funnily, their last number one single in UK is "Honky Tonk Women".

- Doxa



Edited 1 time(s). Last edit at 2019-02-08 13:41 by Doxa.

Sticking to Jagger Richards songs.

The cover versions are of course ace!

Quote
Doxa
The case of "Satisfaction" is a bit different since it is their 'signature song' as Jagger has admitted - so they have to play it (even though they survived almost the whole 70's without playing it). Their versions of it in early Taylor days speaks volumes what they thought of its most famous component, The Riff: first they tried to update to a bit more complicated and technically demanding form (1969), then getting rid of it almost altogether (1971) by giving the whole song a Otis Redding reading. In 1981 the riff made a return, but its rushed uptempo made it sound almost like circus caricature of it (and the weavers were in fire). And then there is Mick: he's been always struggling in how to deliver it since its hey-day. First (1969) trying to treat it like some kind of hippie 'get together' anthem, then (1971) make it more Otis-like soul number. In 1981 he treated it almost like a joke. None of those vocals are touching, or are meant to touch, that dramatic, sexy, frustrated authentic feel of the original. Mick's way too clever and professional even trying that. Since 1989, for sure, they have tried to be more fair to it, play it somehow seriously (compared to 1981/82), but it is still, thankfully, an anomaly in their set lists. It is a 'road version', clearly differing from its original version unlike most of their songs. But as it is a triumph-like last song in the set, and everybody in audience in ecstacy and sing-a-longing and clapping hands, so how to deliver it, doesn't really matter.
- Doxa

Hmm, what a post! OK, Satisfaction has a stronger and more adaptable riff.Contrary to Get Off My Cloud, 19th Nervous Breakdown is not a pre punk song. Bringing the past into our present time is a lot of what The Stones is about today. Nothing could be sweeter than that youthful energy of 19th Nervous Breakdown being resurrected among us today.The Last Time should be slow enough, but they can`t pull it off.

Quote
Erik_Snow
No wonder one can hardly hear Brian Jonesn this mix, he's not in the band! They should remove Bill Wyman as well. Let Darryl Jones, Bernard Fowler and Blondie do overdubs, brickwall the mix even further and then we're talking

This post inspired me to go back and listen to the mono version;
pretty much as I had experienced it, at first on hit pop AM radio,
where the single was big in nyc record stores too; and also on the
various official London studio and eventual compilations...
and I WAS suckered into the modernity of it all.
i was HIT by that groovy and distinct poly-rhythm (take on a buddy-hollyish thing at first sorta,
or bo diddley, but as usual k could bend it into his own weapon),
and to have that SLAM me in the face after probably Years of not listening,
did trick me;
this poster is in the groove for sure...
critiques of the production in those days aside,
some are legitimate (arguably forever on a fan site with strong opinionated, well, FANatics...)..
but there IS warmth and balance;
considered intelligence in the cultural and technological moment; what these boys put together!!..and put out. And yes, a rare lead by Brian. so...
it was wrong in context i agree...
but the original WAS a great warm hit;
i WAS tricked by that brick-wall.
unconciously...
even youtube now 'remasters,' or somehow 'adjusts' the audio
on some songs.
'loudness' and other adjustments usually left
to final Mastering; not further 'effected' after duping, or these
days, 'uploading.'

the Original:
it has that whole band feel; it has a unity and 'togetherness'
i can still hear Bill; but at first the brickwall fooled, (well
not so much fooled per se, but sure to an extent at first,

but also tricked by the immediate loud flapping brash impact;
and at first spun into delight w the 'new bill solo' lol, all thru
the song...
er... like real trebly and metallic and shitty?
is that what has this poster in a bit the tizz?
ok
cause hops was way wrong on this one;
i appreciated the quick blast, sure.
but after genuinely listening with open heart,
to the real work that these real professionals did
to the best or their ability as a whole...
...and you know, at a certain point they left, and said,
well 'this is it, it's good to go like this, enough working on it'
and it made it's own history; and effing with that IS disrepectful...
h

it's sloppy and annoying and blaring the second and third time i tried.
...it's blaring and annoying and brickwalled and unbalanced...

...so i do appreciate the video;
it's cool to have this convo;
and maybe that clip IS a minor promo benefit
for their catalog
cause the vid is GOOD and imaginitive;
and i like to see
artists use Stones material as an inspiration point;
but they should get the read deal going on the audio track here.
would not hurt their original video effort.
___

[en.wikipedia.org]

---

19th Nervous Breakdown" is a song by the English rock band the Rolling Stones. Written by Mick Jagger and Keith Richards,
it was recorded in late 1965 and released as a single in February 1966.
It reached number 2 on both the US Billboard Hot 100 and Britain's Record Retailer chart (subsequently the UK Singles Chart),
while topping the charts compiled by Cash Box and NME.

he song was written during the group's October–December 1965 tour of the United States
and recorded at the conclusion of their fourth North American tour during the Aftermath album sessions, between 3 and 8 December 1965 at RCA Recording Studios in Hollywood, California.

Jagger came up with the title first and then wrote the lyrics around it.
The opening guitar figure is played by Keith Richards while in the verses Brian Jones plays a bass-note figure that derives from "Diddley Daddy" by Bo Diddley,
a major influence on the Rolling Stones' style.

Here the riff is extended into a long blues chord progression behind verbose lyrics similar to those of their previous UK single,
"Get Off of My Cloud", and the verse alternates with a bridge theme.
The track is also known for Bill Wyman's so-called "dive-bombing" bass line at the end.
At almost four minutes' duration, it is long by the standards of the time.

Like many early Rolling Stones recordings, "19th Nervous Breakdown" has been officially released only in mono sound.

A rather weak stereo mix (as well as being about 20 seconds shorter) of the song has turned up in private and bootleg collections.
One version of the stereo mix features a radically different vocal from Jagger,
who alternates between mellow on the verses and rawer on the chorus.


Mick Jagger – lead vocals
Keith Richards – rhythm guitar, background vocals
Brian Jones – lead guitar
Bill Wyman – bass guitar
Charlie Watts – drums

19th Nervous Breakdown" was released as a single on 4 February 1966 in the UK and reached number 2 on the Record Retailer chart.
However, it was number 1 on the NME Top 30,
for three weeks,and the BBC's Pick of the Pops charts, both widely recognised in Britain at the time.

"19th Nervous Breakdown" was also the fifth best-selling single of 1966 in the UK, achieving greater full-year sales than both Nancy Sinatra's "These Boots Are Made for Walkin'", which had prevented it from reaching number 1 in Record Retailer, and the Rolling Stones' next single release, "Paint It Black", which topped the same chart for a week at the end of May 1966.


"19th Nervous Breakdown" was released on 12 February 1966 in the US and peaked at number 2 on the Billboard Hot 100
(behind "Ballad of the Green Berets" by S/Sgt. Barry Sadler) and
number 1 on the Cash Box Top 100.
It was one of three songs – "(I Can't Get No) Satisfaction" and "As Tears Go By" being the other two –
that the Rolling Stones performed on their Ed Sullivan Show appearance in the US in February 1966.

In 2016, a previously unreleased alternate mono mix of the track appeared on Stray Cats, a compilation of singles and non-album tracks,
in the box set The Rolling Stones in Mono.

Brian isn't playing lead.

Quote
hopkins


it was recorded in late 1965 and released as a single in February 1966.
It reached number 2 on both the US Billboard Hot 100 and Britain's Record Retailer chart (subsequently the UK Singles Chart),
while topping the charts compiled by Cash Box and NME.

"19th Nervous Breakdown" was also the fifth best-selling single of 1966 in the UK, achieving greater full-year sales than both Nancy Sinatra's "These Boots Are Made for Walkin'", which had prevented it from reaching number 1 in Record Retailer, and the Rolling Stones' next single release, "Paint It Black", which topped the same chart for a week at the end of May 1966.

That of it being the fifth best-selling single of the year in the UK, and topping "Paint It Black", says that it was a monster hit there. Sometimes in retrospect checking the 'official' charts does not tell the truth. According to those, it was after the run of five singles, the first one not making #1 - so it was a minor disapointment. This is the claim I have read in some rock and Stones histories. This is, however, nothing to do how the single and its success was viewed and seen back then. Like the WIKI quote above says, it did reach #1 in two other main charts back then - that of NME and Cash Box. That also makes Bill Wyman's claim in STONE ALONE justified that it was #1 hit single. That Britain's Retailed chart (in which it reached #2) was years later picked up and choosen as the most trustworthy to seen as 'official' chart of those days, does not correspond the major reception at the time. For most folks (the kids) it was 'yet another hailed number one hit by the Stones' - the PR value of topping the charts in those 'singles-days' had an remarkable affect on artist's credibility (remember Keith's description of making sure their singles not clashing with the release of Beatles ones - in order to both reach #1.)

Their first some sort of commercial failure was actually "Have You Seen Your Mother, Baby"? Its 'weak' performance in charts (reaching #5 or so) started the speculation in music press what has happened with the Stones... If I recall right, even from Eric Clapton was asked his opinion about their 'crisis'. His answer was something to the effect that 'the song probably went over the mind of the kids'.

- Doxa



Edited 4 time(s). Last edit at 2019-02-12 14:00 by Doxa.

[www.youtube.com]
John Lennon Discusses Brian Jones
kind of brutal....

yeh Doxa, I was about 14 and glued to the AM radio.
It was a huge, huge hit on the radio; it soared...
those harmonies rising step by step were on everybody's lips
with a smile. it was a killer hit single back in the day
when the Top Ten really reached across almost every demographic
dividing line, even if kids were the main market...
...Everything came thru, sans jazz; all kinds of 'popular' pop musics
that could score. it was amazing every 'single' time they released something.
it was fantastically meaningful 'reportage' to kids who did NOT find,
tho eric is probably mostly right in the instance you mention Doxa...
...but most did Not find it went over their heads in a general sense.
not 19th; it was clear as a clean missile.



Edited 1 time(s). Last edit at 2019-02-12 16:10 by hopkins.

19th nervous breakdown



This should be the name of the '19 tour!

Thanks for posting

Quote
His Majesty
The run of UK singles from The Last Time - Honky Tonk Women is grade A stuff.

Have You Seen... is a bit meh, but still 65 - 69 is wow!

Brown Sugar belongs in there really, but it was on an album so I don't include it.

Some the finest music ever

Quote
His Majesty
Brian isn't playing lead.

You are correct sir, and the only one to pass the test.
Congratulations.
[www.youtube.com]

You will be receiving a plethora of hoppy admiration right about
NOW
speaking of which, I was wondering if you'd consider letting me
[www.youtube.com]
speaking of Brian.
ok, he never played lead.
they let him play a riff on something did they not?
something famous. hmmm...
when was The LasT Time I heard it. probs that live thing toward the end
of his doing shows, or much aside the incandescent No Expectations with The Stones.
so i stand corrected, thank you.
here's ultimate classic rock link wih their take on Top 10 Stones songs with Brian.
[ultimateclassicrock.com]


And Brian didn't write JJFlash either, that's a rumor and a lie.
bill did.
that story about the gardener was all andrew kids.
mick stole those excellent lyrics from bill too.
mick ghost wrote Monkey Grip though, trying to return the favor;
you see, he had a pang of regret about all that money and everything...
...it passed pretty quickly though. boys will be boys,
he handed him "Pussy" and some others.
told bill it was the next htw, which bill also wrote, he started to miss sedssions about then.
there are new members here and it's important to get the history straight.
ok, he didn't play lead. it's not like a santaland issue or anything.
it was a mistake. everybody makes them; ask well no sense going there...
just take my medicine.
ok, it's fiction i made it all up.
mick wrote one of the verses.



Edited 2 time(s). Last edit at 2019-02-15 03:24 by hopkins.

Could I ask a question to add on to this post. Which is the best performance of 19th Nervous Breakdown in the 2021 tour? Would love to know what people think.

The mix on this is pretty good (though the original one is the best), but on youtube it suffers from low bit rate. On Itunes it sounds better.

It was a nice surprise to get this song live this fall!