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DandelionPowderman


And Keith. On lead guitar, rhythm guitar and vocals

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TravelinMan

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DandelionPowderman


And Keith. On lead guitar, rhythm guitar and vocals

Rhythm? I don’t hear anybody playing straight electric rhythm guitar and the acoustic could be anybody.

Richards (left channel) plays the lines that follow the vocals and a bunch of swirly stuff at the end.

Sounds like Taylor playing rhythmic partial chords during the verses and choruses in the right channel.

Incidentally, wasn’t it Richards who pushed to keep the extended Taylor solo?

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DandelionPowderman

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TravelinMan

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DandelionPowderman


And Keith. On lead guitar, rhythm guitar and vocals

Rhythm? I don’t hear anybody playing straight electric rhythm guitar and the acoustic could be anybody.

Richards (left channel) plays the lines that follow the vocals and a bunch of swirly stuff at the end.

Sounds like Taylor playing rhythmic partial chords during the verses and choruses in the right channel.

Incidentally, wasn’t it Richards who pushed to keep the extended Taylor solo?

The Hi-Fli on the verses is rhythm guitar, too

And the Dm/Am parts are sort of a bit of both.

The alleged F major/C major-parts that keep going while Taylor is soloing... it's hard to hear that they're in major at all, like Taylor claimed. I thought that guitar was Keith's.

Haven't heard about Keith encouraging the extended solos, but that might very well be true.

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Swayed1967
Heartbreaker – One of the most interesting and unique songs in the Stones catalogue…although it occurs to me that if Jagger had gone solo in the 70s he probably would’ve produced a lot of songs like this (especially if he collaborated with Billy).

Winter – Jagger’s performance is so convincing here you wonder why he’s not a better actor. And Taylor hits all the right noble and sad notes.

Through The Lonely Nights – ‘Making the Lonely Pay For Me…’ The woman in the song prostitutes herself to lonely men and gives the proceeds to her man/pimp, the song’s protagonist. That’s not a scenario that would normally move me but nobody could pull off decadent and seedy like the 70s Stones.

Time Waits For No One – I’m not sure I particularly like this song to be honest – it certainly doesn’t make me wanna dance or cry. It’s just a brilliant piece of music that demands to be admired.

Dance Little Sister – If I could rewrite the Stones history, I’d put this one on Exile..and Heartbreaker on Some Girls…cuz that’s where they sound best. While I blame Jagger’s half-assed lyrics for much of the band’s demise since 73 this is one of the (few) songs where the lyrics needn’t be profound or even googled – the song is effectively a chant, an invocation of that primal urge to ‘dance.’ I don’t think I’ve ever bothered to find out what Jagger is saying in the verses to Dance Little Sister.

Memory Motel – From around 1985 to 2005 if I happened to find myself next to a guitar I’d pick it up and start playing Memory Motel. Just a memory today though.

Miss You – It hasn’t aged particularly well but the Stones brought no shame on themselves by hopping on the disco bandwagon – quite the opposite in a commercial sense. I always thought the Stones could’ve released a respectable version of ‘Do ya think I’m sexy?’

Before They Make Me Run – It’s kinda tinny and twangy but when Keith gets personal the results are usually pretty cool and this is no exception.

Beast of Burden – The ‘pretty pretty pretty pretty pretty such a pretty girl’ sucks donkey balls but the intro and opening line pretty much booked Keith’s ticket to heaven.

Shattered – It’s almost a little too chitty chatty to call it a proper song – it’s dreadful live - but the ‘Flatter, Flatter, Flatter, Flatter, Flatter, Flatter, Flatter
Pile it Up, Pile it High on the Platter’ kickass ending is aces.

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LeonidP
I decided to leave out Some Girls, as that dominates as much as Sticky or Exile (which means also leaving out Everything is Turning to Gold).

Silver Train
Hide Your Love
Winter
Can You Hear the Music

If You Can't Rock Me
Ain't Too Proud To Beg
IORR
Till the Next Goodbye

Hand of Fate
Crazy Mama


It hurt to leave out Angie, Memory Motel (I had Winter, which is better, so Memory Motel gets cut!), Starf@cker, Heartbreaker, Melody. Those get the nod if we bump to 15.

*edit ... oh, and hated leaving out Cherry Oh Baby, but Ain't Too Proud is clearly the better cover.

** edit again ... damn, just realized I left out Hey Negrita, one of my favorite guitar grooves! I have to squeeze it in somewhere which means pushing another out! This sucks!

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Palace Revolution 2000
They wrote some of their best melodies, some of their best ballads in these years.

Memory Motel - great ballad on the road, and at 7 minutes doesn't get too long
If your really want to be my friend - IMo right up there with 'Let it Loose'
Time waits for no one - great solo, great feel
Angie - one of the great love songs of our era
winter - gorgeous
Fingerprint File - they get it right, paranoia; my favorite part is at 3:30 in the first interlude, after Billy's synth has been in, Jagger goes "hmmm" and his own guitar comes crashing back in.
Hand of Fate - it is like 'Rocks Off'; one of those rare times when strong driving rock is equaled by a strong, beautiful melody
Hot Stuff - doesn't get much love, but I love this; the rap at end, but even just the twins going "Hot stuff!'. The live version is one of the few LYL highlights
Miss You - like 'Angie" it is timeless; only the Stones can do this. Am to Dm and it is magic
Shattered - I know Jagger must have been super thrilled when he figured it all out; when he was able to turn that revolving riff into a hook filled song. Before rap.
Beast of Burden - one of Keith's finest. I,love where in some article the writer talks about watching Mick and Keith lay down the BU vox for this in the studio. Make magic.