Quote
lougio
I know this would inconvenience many people but no more so than any other date change. The absolute best and safest move for everyone would be to move the show up to Friday night if that is a all possible. We could all see the show and get out before the storm shows up.

When the horns start blowin' it's like a hurricane...

But I think you've got the wrong thread, lougio



Edited 2 time(s). Last edit at 2019-08-27 21:00 by schillid.

Robberbride sent me a section of isolated vocals and horns of RO from the exhibition. Wow - I havent seen the exhibit, so for me this is a first. The vocal track by Mick and Keith is so incredibly great, that I am now once again a brand new Stones fan. They sound exactly like the green photo in exile artwork.
re the double tracking - it doesn't sound like Bobby and Jim doubled, but - and this could be a very stupid question: but is there even a Sax on Rocks Off? The horns are very brassy, and trumpets for sure. Now I wonder if it may only be Jim Price on the track, doubling himself on trumpet and adding trombone.

Quote
Mathijs
Nice observation that the horns could be double tracked. I wasn't aware of this, I always thought it sounded so grand due to the fact they are playing octaves and Keys always plays a bit out if tune. They get the same sound live.

Ps there are several comments from Keys, Price, Miller and Glyn Johns that all the horns were done at Nellcote.

Mathijs

It's hard to tell if the horns are actually double-tracked or perhaps just "fattened up" with a touch of reverb (or room ambience). Another possibility is tere is a trombone (played by Jim Price) doubling the trumpet part.

Quote
TravelinMan
It’s interesting what you can hear on the Hopkins Tapes due to the wide stereo mix. On “Rip This Joint” you can clearly hear two rhythm guitars spread out, whereas the album mix is so narrow the two parts are indistinguishable; the main part is mixed louder. It does give the song a more “old school” feel and center balanced.

Taylor's part was removed altogether on Rip This Joint, and Richards overdubbed the lead lines.

Mathijs

Quote
schillid
What became of Jim Price?

He became a film music composer.

There are extended interviews with Price in the Bobby Keys documentary.

Mathijs

I think they were posted in another thread some time ago, but please repost those isolated tracks from Exhibitionism!

Quote
TornAndFried

Quote
Mathijs
Nice observation that the horns could be double tracked. I wasn't aware of this, I always thought it sounded so grand due to the fact they are playing octaves and Keys always plays a bit out if tune. They get the same sound live.

Ps there are several comments from Keys, Price, Miller and Glyn Johns that all the horns were done at Nellcote.

Mathijs

It's hard to tell if the horns are actually double-tracked or perhaps just "fattened up" with a touch of reverb (or room ambience). Another possibility is tere is a trombone (played by Jim Price) doubling the trumpet part.

Sure they are doubled, you can hear two different tracks, left and right.

Quote
z

Quote
TornAndFried

Quote
Mathijs
Nice observation that the horns could be double tracked. I wasn't aware of this, I always thought it sounded so grand due to the fact they are playing octaves and Keys always plays a bit out if tune. They get the same sound live.

Ps there are several comments from Keys, Price, Miller and Glyn Johns that all the horns were done at Nellcote.

Mathijs

It's hard to tell if the horns are actually double-tracked or perhaps just "fattened up" with a touch of reverb (or room ambience). Another possibility is tere is a trombone (played by Jim Price) doubling the trumpet part.

Sure they are doubled, you can hear two different tracks, left and right.

Of each instrument?

Quote
DandelionPowderman

Quote
z

Quote
TornAndFried

Quote
Mathijs
Nice observation that the horns could be double tracked. I wasn't aware of this, I always thought it sounded so grand due to the fact they are playing octaves and Keys always plays a bit out if tune. They get the same sound live.

Ps there are several comments from Keys, Price, Miller and Glyn Johns that all the horns were done at Nellcote.

Mathijs

It's hard to tell if the horns are actually double-tracked or perhaps just "fattened up" with a touch of reverb (or room ambience). Another possibility is tere is a trombone (played by Jim Price) doubling the trumpet part.

Sure they are doubled, you can hear two different tracks, left and right.

Of each instrument?

I think I hear at leat two "voices" in each track (not sure if trumpet and sax or two trumpets or what..). There's surely trumpets on both sides...
I may be completely wrong though.

Quote
z

Quote
TornAndFried

Quote
Mathijs
Nice observation that the horns could be double tracked. I wasn't aware of this, I always thought it sounded so grand due to the fact they are playing octaves and Keys always plays a bit out if tune. They get the same sound live.

Ps there are several comments from Keys, Price, Miller and Glyn Johns that all the horns were done at Nellcote.

Mathijs

It's hard to tell if the horns are actually double-tracked or perhaps just "fattened up" with a touch of reverb (or room ambience). Another possibility is tere is a trombone (played by Jim Price) doubling the trumpet part.

Sure they are doubled, you can hear two different tracks, left and right.

Listening to it with headphones it more sounds like they are simply recorded in stereo, with a short delay.

Mathijs

Quote
Mathijs

Quote
TravelinMan
It’s interesting what you can hear on the Hopkins Tapes due to the wide stereo mix. On “Rip This Joint” you can clearly hear two rhythm guitars spread out, whereas the album mix is so narrow the two parts are indistinguishable; the main part is mixed louder. It does give the song a more “old school” feel and center balanced.

Taylor's part was removed altogether on Rip This Joint, and Richards overdubbed the lead lines.

Mathijs

I know that slide guitar was removed, but what about the other rhythm guitar? It’s sort of a Chuck Berry part. Are you saying that is/was Taylor’s part?

Quote
z

Quote
DandelionPowderman

Quote
z

Quote
TornAndFried

Quote
Mathijs
Nice observation that the horns could be double tracked. I wasn't aware of this, I always thought it sounded so grand due to the fact they are playing octaves and Keys always plays a bit out if tune. They get the same sound live.

Ps there are several comments from Keys, Price, Miller and Glyn Johns that all the horns were done at Nellcote.

Mathijs

It's hard to tell if the horns are actually double-tracked or perhaps just "fattened up" with a touch of reverb (or room ambience). Another possibility is tere is a trombone (played by Jim Price) doubling the trumpet part.

Sure they are doubled, you can hear two different tracks, left and right.

Of each instrument?

I think I hear at leat two "voices" in each track (not sure if trumpet and sax or two trumpets or what..). There's surely trumpets on both sides...
I may be completely wrong though.

I was thinking of the trombone. It's sheer power, so it's surprising if they doubled that

Quote
Mathijs

Quote
z

Quote
TornAndFried

Quote
Mathijs
Nice observation that the horns could be double tracked. I wasn't aware of this, I always thought it sounded so grand due to the fact they are playing octaves and Keys always plays a bit out if tune. They get the same sound live.

Ps there are several comments from Keys, Price, Miller and Glyn Johns that all the horns were done at Nellcote.

Mathijs

It's hard to tell if the horns are actually double-tracked or perhaps just "fattened up" with a touch of reverb (or room ambience). Another possibility is tere is a trombone (played by Jim Price) doubling the trumpet part.

Sure they are doubled, you can hear two different tracks, left and right.

Listening to it with headphones it more sounds like they are simply recorded in stereo, with a short delay.

Mathijs

Listening to the Nicky Hopkins tape and its clear the horns are multi-tracked! There's various times you horn double horn and sax lines in the stereo spread.

When Charlie comes back after the middle 8 section that is an overdub by the way, thus this track was not recorded 'live' in one take. Oh another myth busted....

Mathijs

Quote
TravelinMan

Quote
Mathijs

Quote
TravelinMan
It’s interesting what you can hear on the Hopkins Tapes due to the wide stereo mix. On “Rip This Joint” you can clearly hear two rhythm guitars spread out, whereas the album mix is so narrow the two parts are indistinguishable; the main part is mixed louder. It does give the song a more “old school” feel and center balanced.

Taylor's part was removed altogether on Rip This Joint, and Richards overdubbed the lead lines.

Mathijs

I know that slide guitar was removed, but what about the other rhythm guitar? It’s sort of a Chuck Berry part. Are you saying that is/was Taylor’s part?

You are right, the second rythm guitar heard on the Hopkins tape is burried underneath the open G rythm guitar. I am not sure who plays that boogie guitar but it does sound more like Taylor. It is played on the Gibson ES-355 for sure, same sound as Taylor's Rocks Off and All Down the Line parts.

The slide guitar actually doesn't sound like Taylor when I listen to it now, but I think it is Richards. it is too crudely played to be Taylor.

Mathijs

Quote
Mathijs

Quote
TravelinMan

Quote
Mathijs

Quote
TravelinMan
It’s interesting what you can hear on the Hopkins Tapes due to the wide stereo mix. On “Rip This Joint” you can clearly hear two rhythm guitars spread out, whereas the album mix is so narrow the two parts are indistinguishable; the main part is mixed louder. It does give the song a more “old school” feel and center balanced.

Taylor's part was removed altogether on Rip This Joint, and Richards overdubbed the lead lines.

Mathijs

I know that slide guitar was removed, but what about the other rhythm guitar? It’s sort of a Chuck Berry part. Are you saying that is/was Taylor’s part?

You are right, the second rythm guitar heard on the Hopkins tape is burried underneath the open G rythm guitar. I am not sure who plays that boogie guitar but it does sound more like Taylor. It is played on the Gibson ES-355 for sure, same sound as Taylor's Rocks Off and All Down the Line parts.

The slide guitar actually doesn't sound like Taylor when I listen to it now, but I think it is Richards. it is too crudely played to be Taylor.

Mathijs

Yeah that slide part is quite confusing. The only part that makes me think it could have been Taylor is that walk-down at like 20 seconds. Richards may have put the guitar on his lap to play it, it just doesn't sound like someone standing and playing.

[www.rollingstone.com]

Trey Anastasio 0n MT's iconic riff that was not wiped on Rocks Off



Mick Taylor often gets forgotten for his role in that blend, even though that’s his lead guitar on three of the band’s most important albums: “Let It Bleed,” “Sticky Fingers” and “Exile.”
That was my favorite era of the Stones, when he and Keith were playing guitars. Mick seemed very shy — maybe that’s why it worked. They had distinct styles. Right at the end of “Rocks Off” is the nastiest, most iconic solo riff. The song is all counter-rhythm — the two of them in different tunings. Then just as it fades out, it kicks off into that big-rock lead guitar. Turn it up really loud — that’s Mick Taylor.
“Loving Cup” has been a Phish encore for many years. Why didn’t you play more of Exile onstage before this?
I don’t know. I used to play this record at every party — and there were a lot of them. [laughs] This was the go-to record. I had two go-to records for 10, 15 years. One was my morning wake-up or cooking-in-the-afternoon record — Django Reinhardt. But as soon as it got dark and people came over, it was Exile on Main Street.
On Halloween, you will be playing a lot of Exile songs that the Stones never played live, such as “Let It Loose” and “Soul Survivor.”
Some of them are structured in a ballad-y way, like “Let It Loose” and “Shine a Light.” Maybe that’s not where they wanted to go live. I can see why they didn’t do “Soul Survivor,” although it’s a shame. I had no idea what that song was about. Then I really got into it — all of those metaphors about water, drowning in love, the cutthroat crew.
“Let It Loose” — that, for me, may be the highlight of the record. For a guy who had so much swagger, so much history with beautiful women, it’s a very vulnerable song, more than Jagger normally would reveal about himself. I love that about it. “Bit off more than I can chew/And I knew what it was leading to/Some things, well, I can’t refuse” — that is classic songwriting.



Last October, I interviewed Phish singer-guitarist Trey Anastasio about the Rolling Stones’ 1972 double album Exile on Main Street. His band was about to attempt something even the Stones had never done: On Halloween, the second night of Phish’s long-weekend party Festival 8 in Indio, California, they performed all four sides of Exile in sequence. I spoke to Anastasio at length for an essay I wrote in the free Playbill the group published for fans at the show. The mushrooming hoopla over the May 18th reissue of Exile — with previously unreleased recordings from the sessions — seemed like a good reason to retrieve some outtakes from our conversation, in which the guitarist went deep on his lifelong love for the album — and the surprises he found there as he learned to play the whole thing.




Exile on Main Street was the first concept album about life in a rock & roll band — the highs and lows, women and drugs, being backstage and onstage. It literally starts with waking up in the morning — “Rocks Off” — and ends with “Shine a Light” and “Soul Survivor,” like the singer is coming out of this long weird tunnel.
The concept about being in a band — the song I really related to is “Torn and Frayed.” “The ballrooms and smelly bordellos/And dressing rooms filled with parasites”: We really had a problem with that for awhile. Yet it’s so beautifully stated in that song. And then “Joe’s got a cough, sounds kinda rough/And the codeine to fix it” [laughs]. We had one of those — the rock doctor. Every band’s got one of those.
It’s pretty affirming at the end. You pick up so much when you go through this process of playing every song on a record. But one of the first things I noticed, even after having listened to this record over and over my entire life, is that half of the lyrics I thought Mick Jagger was singing were wrong. And the ones he was actually singing were much better than the ones I had made up in my mind.
It’s as if the Stones created their own language from the blues, to tell the stories in these songs. They have the covers — Slim Harpo (“Shake Your Hips”) and Robert Johnson (“Stop Breaking Down”) — but nothing that goes on in the other songs could ever be mistaken for a Southern black man’s tale.
You had all of these British bands idolizing American blues musicians, which was the birth of what we know as electric rock & roll. But a lot of those records, with time, became too transparent — the lifting from the blues guys — so it’s almost not believable. This one straddles some kind of edge. They took what was good about that music and truly made it their own. Funnily enough, the songs they covered were to me the least successful tracks on the record. But when Jagger sings, “Kissing @#$%& in Cannes” [“Casino Boogie”] ­ it’s so them, clearly.




Your band has a very distinct sound — you hear all of the moving parts as the members of Phish weave, bob and jam. On Exile, you can’t tell what’s what. The guitars are tangled up, the piano comes in and out and Jagger often sounds like he’s singing from the back of the mix.
This goes back to what I was saying about what you take on — the task of learning the whole record. The first thing I did was sit down and start learning, note for note, the two guitar players’ licks. I really dug in. And lo and behold, there are incredible, distinct guitar lines. It’s played with an attitude — that rock & roll attitude. But everybody’s playing sloppy together. Sit down someday and try to play along with those drums. It’s incredibly intricate. It comes off as sloppy, but it’s not sloppy at all.
It’s like the entire band is a rhythm section.
And they have something going on between those two guitars, with the different tunings. Keith Richards has that open blues tuning. It’s funny because it comes off as this rolling beast. But the deeper you dig, what they’re playing becomes distinct and articulate.
I had the same experience with the lyrics. It’s all garbled, but if you look at them, they’re fantastic and clever. “Berber jewelry jangling down the street” [“Shine a Light”] — that’s an example of Jagger using that blues “women doing me wrong” thing. But that is a total Mick Jagger line. It’s not Mick Jagger stealing from a blues guy. It’s Mick Jagger taking that blues concept into his world.
LOOSE AND TIGHT
It is easy to hear the deep traces of Jerry Garcia and Frank Zappa in your guitar playing. What did you learn from Keith Richards?
Tons, especially attack. If you listen to “Torn and Frayed,” check out how tight Keith Richards’ guitar is with the snare drum. It’s almost reggae. The rhythm guitar is almost like another drum. Charlie Watts has famously said he never hits the snare and the hi-hat [cymbal] at the same time. And the way Keith plays rhythm guitar — it’s like he’s filling that hole. That’s the thing he’s always said about that sound [“the ancient art of weaving”] — you can’t separate one sound from another.




Mick Taylor often gets forgotten for his role in that blend, even though that’s his lead guitar on three of the band’s most important albums: “Let It Bleed,” “Sticky Fingers” and “Exile.”
That was my favorite era of the Stones, when he and Keith were playing guitars. Mick seemed very shy — maybe that’s why it worked. They had distinct styles. Right at the end of “Rocks Off” is the nastiest, most iconic solo riff. The song is all counter-rhythm — the two of them in different tunings. Then just as it fades out, it kicks off into that big-rock lead guitar. Turn it up really loud — that’s Mick Taylor.
“Loving Cup” has been a Phish encore for many years. Why didn’t you play more of Exile onstage before this?
I don’t know. I used to play this record at every party — and there were a lot of them. [laughs] This was the go-to record. I had two go-to records for 10, 15 years. One was my morning wake-up or cooking-in-the-afternoon record — Django Reinhardt. But as soon as it got dark and people came over, it was Exile on Main Street.
On Halloween, you will be playing a lot of Exile songs that the Stones never played live, such as “Let It Loose” and “Soul Survivor.”
Some of them are structured in a ballad-y way, like “Let It Loose” and “Shine a Light.” Maybe that’s not where they wanted to go live. I can see why they didn’t do “Soul Survivor,” although it’s a shame. I had no idea what that song was about. Then I really got into it — all of those metaphors about water, drowning in love, the cutthroat crew.
“Let It Loose” — that, for me, may be the highlight of the record. For a guy who had so much swagger, so much history with beautiful women, it’s a very vulnerable song, more than Jagger normally would reveal about himself. I love that about it. “Bit off more than I can chew/And I knew what it was leading to/Some things, well, I can’t refuse” — that is classic songwriting.




Compared to other albums you’ve covered on past Halloweens — like the Who’s Quadrophenia and Talking Heads’ Remain in Light — this is the most musically focused and emotional record you’ve ever done.
I feel like I embody so many of those lyrics now. We started playing “Loving Cup” on a whim. But now it feels like our song when we play it. The lines are so right-on. “I feel so humble with you tonight” — I can get behind that.






Tour Stop: The Rolling Stones, Built To Spill, Liz Phair
This week, find out news on these touring artists: The Rolling Stones, Built To Spill, and Liz Phair.

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Quote
Mathijs

Quote
Mathijs

Quote
z

Quote
TornAndFried

Quote
Mathijs
Nice observation that the horns could be double tracked. I wasn't aware of this, I always thought it sounded so grand due to the fact they are playing octaves and Keys always plays a bit out if tune. They get the same sound live.

Ps there are several comments from Keys, Price, Miller and Glyn Johns that all the horns were done at Nellcote.

Mathijs

It's hard to tell if the horns are actually double-tracked or perhaps just "fattened up" with a touch of reverb (or room ambience). Another possibility is tere is a trombone (played by Jim Price) doubling the trumpet part.

Sure they are doubled, you can hear two different tracks, left and right.

Listening to it with headphones it more sounds like they are simply recorded in stereo, with a short delay.

Mathijs

Listening to the Nicky Hopkins tape and its clear the horns are multi-tracked! There's various times you horn double horn and sax lines in the stereo spread.

When Charlie comes back after the middle 8 section that is an overdub by the way, thus this track was not recorded 'live' in one take. Oh another myth busted....

Mathijs

This is an interesting topic. I checked out the Nicky tapes too, and IMO it doesn't sound doubled tracked. I think I know what you're saying, and I feel it may be a stereo f/x where the reverb is on it's own side. I keep hearing the exact same decay in the hornlines in the phrases.
Another possibility could be remnants of ghost horns. E.g. if they recorded them at Nellcote; and then re-did them in LA.
BTw I am pretty sure there is no Sax now.
IMO too much is made of Taylor's little noodling line in the fade-out. That is what it is a little whoop while the track leaves us. What is interesting is that Taylor was playing through the whole thing.You can plainly hear him in the Nicky tapes, and IMO it was the right decision to cut him out. But I think that is what other posts have already established.

Once again the bridge comes from a completely different angle. the mix, context can change it.

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Spud

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treaclefingers
This song is genius...I think it could be their best song, certainly best song not released as a single.

You're not wrong ...cerebral processing will always make us chose something else if we then think about it ...

...but if someone wants to know what the Rolling Stones do...it's that .

errr...I think you're a potato-head spud?

They flanged the tape during the bridge and added tremolo to the vocals.

I don't hear an overdub though.

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Palace Revolution 2000

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Mathijs

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TornAndFried

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Mathijs
Nice observation that the horns could be double tracked. I wasn't aware of this, I always thought it sounded so grand due to the fact they are playing octaves and Keys always plays a bit out if tune. They get the same sound live.

Ps there are several comments from Keys, Price, Miller and Glyn Johns that all the horns were done at Nellcote.

Mathijs

It's hard to tell if the horns are actually double-tracked or perhaps just "fattened up" with a touch of reverb (or room ambience). Another possibility is tere is a trombone (played by Jim Price) doubling the trumpet part.

Sure they are doubled, you can hear two different tracks, left and right.

Listening to it with headphones it more sounds like they are simply recorded in stereo, with a short delay.

Mathijs

Listening to the Nicky Hopkins tape and its clear the horns are multi-tracked! There's various times you horn double horn and sax lines in the stereo spread.

When Charlie comes back after the middle 8 section that is an overdub by the way, thus this track was not recorded 'live' in one take. Oh another myth busted....

Mathijs

This is an interesting topic. I checked out the Nicky tapes too, and IMO it doesn't sound doubled tracked. I think I know what you're saying, and I feel it may be a stereo f/x where the reverb is on it's own side. I keep hearing the exact same decay in the hornlines in the phrases.
Another possibility could be remnants of ghost horns. E.g. if they recorded them at Nellcote; and then re-did them in LA.
BTw I am pretty sure there is no Sax now.
IMO too much is made of Taylor's little noodling line in the fade-out. That is what it is a little whoop while the track leaves us. What is interesting is that Taylor was playing through the whole thing.You can plainly hear him in the Nicky tapes, and IMO it was the right decision to cut him out. But I think that is what other posts have already established.

Once again the bridge comes from a completely different angle. the mix, context can change it.

I hear different than you...Imho the left/right sound too separated to be just one take recorded in stereo. A short delay could give you that separation but I hear too much variation, more than just fixed time difference between L and R. I don't have the Nicky tapes here, but listening to the official release it sounds like classic doubling to me.

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TravelinMan
It’s interesting what you can hear on the Hopkins Tapes due to the wide stereo mix. On “Rip This Joint” you can clearly hear two rhythm guitars spread out, whereas the album mix is so narrow the two parts are indistinguishable; the main part is mixed louder. It does give the song a more “old school” feel and center balanced.

Taylor's part was removed altogether on Rip This Joint, and Richards overdubbed the lead lines.

Mathijs

I know that slide guitar was removed, but what about the other rhythm guitar? It’s sort of a Chuck Berry part. Are you saying that is/was Taylor’s part?

You are right, the second rythm guitar heard on the Hopkins tape is burried underneath the open G rythm guitar. I am not sure who plays that boogie guitar but it does sound more like Taylor. It is played on the Gibson ES-355 for sure, same sound as Taylor's Rocks Off and All Down the Line parts.

The slide guitar actually doesn't sound like Taylor when I listen to it now, but I think it is Richards. it is too crudely played to be Taylor.

Mathijs

Yeah that slide part is quite confusing. The only part that makes me think it could have been Taylor is that walk-down at like 20 seconds. Richards may have put the guitar on his lap to play it, it just doesn't sound like someone standing and playing.

I'm not sure what slide guitar you two are talking about because I don't have the Hopkins tapes, but on the official release there's a slide part before the sax solo (ying yang you're my thing...) that sounds like Taylor.

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TravelinMan

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan
It’s interesting what you can hear on the Hopkins Tapes due to the wide stereo mix. On “Rip This Joint” you can clearly hear two rhythm guitars spread out, whereas the album mix is so narrow the two parts are indistinguishable; the main part is mixed louder. It does give the song a more “old school” feel and center balanced.

Taylor's part was removed altogether on Rip This Joint, and Richards overdubbed the lead lines.

Mathijs

I know that slide guitar was removed, but what about the other rhythm guitar? It’s sort of a Chuck Berry part. Are you saying that is/was Taylor’s part?

You are right, the second rythm guitar heard on the Hopkins tape is burried underneath the open G rythm guitar. I am not sure who plays that boogie guitar but it does sound more like Taylor. It is played on the Gibson ES-355 for sure, same sound as Taylor's Rocks Off and All Down the Line parts.

The slide guitar actually doesn't sound like Taylor when I listen to it now, but I think it is Richards. it is too crudely played to be Taylor.

Mathijs

Yeah that slide part is quite confusing. The only part that makes me think it could have been Taylor is that walk-down at like 20 seconds. Richards may have put the guitar on his lap to play it, it just doesn't sound like someone standing and playing.

I'm not sure what slide guitar you two are talking about because I don't have the Hopkins tapes, but on the official release there's a slide part before the sax solo (ying yang you're my thing...) that sounds like Taylor.

video: [www.youtube.com]

The slide in RTJ is one of my favorite 'buried' parts on Exile. It reminds me of a car down shifting. If we are talking about same slide that is. The one coming out of the crazy sax solo, back into the vocals, it is like the whole band pulls it back into 3rd.

Z, you may be right about the horns. I should listen w/ headphones.

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treaclefingers
This song is genius...I think it could be their best song, certainly best song not released as a single.

Treacle, see you and raise you - to me, it IS the best track this band ever cut, period. If you ever wanted 4:33 of all that is the Rolling Stones - here it is!!!

stonesstein

Kick me like you did before
I can't even feel the pain no more
Rocks Off, 1972

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treaclefingers
This song is genius...I think it could be their best song, certainly best song not released as a single.

I concur - it's absolutely one of their all time greatest songs. It's a personification of what they did. Tumbling Dice is another one, as well as Gimme Shelter, I think Heartbreaker is one, Monkey Man, Can't You Hear Me Knocking and, although the LP version may seem a bit lacking, Midnight Rambler. A few others later on, like She's So Cold and, personally, Shattered.

It's an overallness, an embrace of what it is, that makes it.

Sure, Street Fighting Man and Jumpin' Jack Flash are great ones too - they have that 'something' to them that others do - that playmanship of being a band, but perhaps they're very close to being as good as Rocks Off etc... but don't have that something that Rocks Off has: a roll to it that is unique.

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TravelinMan
It’s interesting what you can hear on the Hopkins Tapes due to the wide stereo mix. On “Rip This Joint” you can clearly hear two rhythm guitars spread out, whereas the album mix is so narrow the two parts are indistinguishable; the main part is mixed louder. It does give the song a more “old school” feel and center balanced.

Taylor's part was removed altogether on Rip This Joint, and Richards overdubbed the lead lines.

Mathijs

I know that slide guitar was removed, but what about the other rhythm guitar? It’s sort of a Chuck Berry part. Are you saying that is/was Taylor’s part?

You are right, the second rythm guitar heard on the Hopkins tape is burried underneath the open G rythm guitar. I am not sure who plays that boogie guitar but it does sound more like Taylor. It is played on the Gibson ES-355 for sure, same sound as Taylor's Rocks Off and All Down the Line parts.

The slide guitar actually doesn't sound like Taylor when I listen to it now, but I think it is Richards. it is too crudely played to be Taylor.

Mathijs

Yeah that slide part is quite confusing. The only part that makes me think it could have been Taylor is that walk-down at like 20 seconds. Richards may have put the guitar on his lap to play it, it just doesn't sound like someone standing and playing.

I'm not sure what slide guitar you two are talking about because I don't have the Hopkins tapes, but on the official release there's a slide part before the sax solo (ying yang you're my thing...) that sounds like Taylor.

video: [www.youtube.com]

Thanks TM. Yeah, it's not the one that remained on the final track.

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TravelinMan
They flanged the tape during the bridge and added tremolo to the vocals.

I don't hear an overdub though.

If you listen to the Hopkins tape you hear the drums underneath the middle 8 section. In the last bit, there's a second snare and kick pattern picking up the rythm.

Mathijs

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TravelinMan
It’s interesting what you can hear on the Hopkins Tapes due to the wide stereo mix. On “Rip This Joint” you can clearly hear two rhythm guitars spread out, whereas the album mix is so narrow the two parts are indistinguishable; the main part is mixed louder. It does give the song a more “old school” feel and center balanced.

Taylor's part was removed altogether on Rip This Joint, and Richards overdubbed the lead lines.

Mathijs

I know that slide guitar was removed, but what about the other rhythm guitar? It’s sort of a Chuck Berry part. Are you saying that is/was Taylor’s part?

You are right, the second rythm guitar heard on the Hopkins tape is burried underneath the open G rythm guitar. I am not sure who plays that boogie guitar but it does sound more like Taylor. It is played on the Gibson ES-355 for sure, same sound as Taylor's Rocks Off and All Down the Line parts.

The slide guitar actually doesn't sound like Taylor when I listen to it now, but I think it is Richards. it is too crudely played to be Taylor.

Mathijs

Yeah that slide part is quite confusing. The only part that makes me think it could have been Taylor is that walk-down at like 20 seconds. Richards may have put the guitar on his lap to play it, it just doesn't sound like someone standing and playing.

I'm not sure what slide guitar you two are talking about because I don't have the Hopkins tapes, but on the official release there's a slide part before the sax solo (ying yang you're my thing...) that sounds like Taylor.

[www.youtube.com]

All guitars on RTJ are Keith, but indeed there is the second rhtyhm guitar underneath the open G guitar that's just about impossible to hear. I tend to believe this is Taylor.

Mathijs

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treaclefingers

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Spud

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treaclefingers
This song is genius...I think it could be their best song, certainly best song not released as a single.

You're not wrong ...cerebral processing will always make us chose something else if we then think about it ...

...but if someone wants to know what the Rolling Stones do...it's that .

errr...I think you're a potato-head spud?

I obviously haven't put that very well have I Treacle ...because you seem to have read it completely the wrong way.

I'm totally in agreement with you ...

When folks sit down and think about the Stones best songs they'll usually focus on the writing, the words and the composition ...which is fair enough ...

But if you just want the best example of that glorious noise the Stones make...Rocks Off is just that !

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TravelinMan

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TravelinMan

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TravelinMan
It’s interesting what you can hear on the Hopkins Tapes due to the wide stereo mix. On “Rip This Joint” you can clearly hear two rhythm guitars spread out, whereas the album mix is so narrow the two parts are indistinguishable; the main part is mixed louder. It does give the song a more “old school” feel and center balanced.

Taylor's part was removed altogether on Rip This Joint, and Richards overdubbed the lead lines.

Mathijs

I know that slide guitar was removed, but what about the other rhythm guitar? It’s sort of a Chuck Berry part. Are you saying that is/was Taylor’s part?

You are right, the second rythm guitar heard on the Hopkins tape is burried underneath the open G rythm guitar. I am not sure who plays that boogie guitar but it does sound more like Taylor. It is played on the Gibson ES-355 for sure, same sound as Taylor's Rocks Off and All Down the Line parts.

The slide guitar actually doesn't sound like Taylor when I listen to it now, but I think it is Richards. it is too crudely played to be Taylor.

Mathijs

Yeah that slide part is quite confusing. The only part that makes me think it could have been Taylor is that walk-down at like 20 seconds. Richards may have put the guitar on his lap to play it, it just doesn't sound like someone standing and playing.

I'm not sure what slide guitar you two are talking about because I don't have the Hopkins tapes, but on the official release there's a slide part before the sax solo (ying yang you're my thing...) that sounds like Taylor.

[www.youtube.com]

All guitars on RTJ are Keith, but indeed there is the second rhtyhm guitar underneath the open G guitar that's just about impossible to hear. I tend to believe this is Taylor.

Mathijs

All this is one of the reasons that Exile is such magical and fascinating album.

47 years we're still trying to figure out that deep murky mix and hear everything that's in it ! ...