The versions from Australia '73 are pretty cool, especially the two from Sydney on February 27, 1973. It's got a great country rock swagger to it and Mick Taylor plays the best I've ever heard him play on that song. The Perth rendition is great too.

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jbwelda
Again, fail to see what that has to do with the subject at hand.

I went back and reassessed my reaction. Don't hate the song, just sounds half done. Pretty good actually everywhere but the middle section they seem kind of lost, but recover well by the end. The end of the studio version is especially dynamic. So, am on a fence here, like the song but don't really love it. Kind of defines the "strutting" sound of their period between being a pop band and a rock band.

Not that it matters

jb

Sounds like one of a handful perfect Stones recordings to me.

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Doxa
This one. The 'other' - not the official - Brussels version.... Perfect! The way Taylor backs up the opening riff, giving it a certain roll... (later years they would have called Keith and Taylor's interplay as 'ancient art of weaving'); each element and nuance by each player spot on thru it playing- and arrangement-wise... but especially the whole chorus that is a total triumph: Mick and Keith at their peak voice singing their hearts out and the whole Rolling Stones Dream Team all cylinders on.... The whole performance is just so tense, tight but joyful!





- Doxa

You just made me an offer I can't refuse.

Hard to imagine any Stones fan finding anything wrong with Honky Tonk Women studio version as it's quintessential textbook Stones in every imaginable way imo, but different strokes....
As for live, not all versions are equal - some are great, some are mediocre, and some are flat out bad. I don't have time to check, but seems it's been played at possibly every single Stones show I've ever attended.
A warhorse indeed, and for good reason.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Nothing wrong with any HTW version my dear Hairball. I'm just "unfortunate" to be a Taylorite, even more than a Stone fan. No pun intended.

The studio version is perfection! No live version will ever better it, same as "Brown Sugar."
Maybe someone call help me with the quote I remember from Keith from long ago where he said something to the effect about the sound he was after was like things were about to go off the rails but did not. Controlled chaos?
So in that vein, while not the best live version; one of my favorites, if not my most favorite live version of "Honky Tonk Women" is from Capitol Theater NJ 1978!
Definitely sounds about to fall apart but comes back as a gloriously sloppy but perfect version true to the name! haha

video: [www.youtube.com]

I prefer the way they played it from 69 to 73, although in the fall of 73 perhaps its a little to fast. The big difference may be the way Mick and keith were singing the chorus as "hooooonnnnkkkyyyy tonk woman" covering the timing of the chorus as opposed to 75, 76, 78, 81, 82 versions where they sing "honky tonk, honky tonk, woman" as the chorus. Make sense?

The 69 to 73 versions also chugged along and even though the beat was in time it sounded faster and fstaer and was building to the end of the song. The honky tonk in the gimme shelter film is a good example of this. Taylor's rhythm is just so wonderful and as keith comes back after the solo they are just driving that train all down the line. From 75 onwards it just seems to sluggish.


Edit, almost forgot to mention my current favorite version is Roundhouse 71. At the start of the song taylor has these playful counter licks which compliment Keith's intro. So good.



Edited 1 time(s). Last edit at 2021-03-25 03:06 by Mr. Jimi.

Quote
GasLightStreet


HA HA it's so FAST!

Surely it is, but the machine was so well-oiled at the time that pulling some extra gas was not a problem. They were in a top form, and they knew it, so the attitude was 'let's play the shit out of this one'. By contrast, when in 1981/82 they once again pulled some gas to speed-up things that happened by the cost of the tightness, groove and musicality (all those letmegos, starmeups, etc). In 1973 I don't hear them being ever 'busy' like that - then they controlled the speed in a way it sounded natural.

Generally I like the way the band had evolved by the time of 1973 (and I think especially Brussels concerts contain the best individual performances of many of their songs ever, not just "Honk Tonk"). What we hear in 1973 is the sum of experience having been on a road for some years, and the songs having shaped into joyful fiestas full of musical richness and details and improvisation. But at the same the band being more tight than ever, and the songs still being compact pieces. In many songs, the original footprint live versions of 1969 were only a memory any longer (like "Honky Tonk", "JJ Flash", "Rambler"). Those 'original' live versions, played witch such determination and no bullshitting -attitude knowing they had big guns there, were cool as hell too, but I love the way they kept on evolving them into new directions. That was true, natural progression as artists do. Like always discovering new ways to interpret the songs, not repeating themselves. Some of the old greatness and uniqueness of the old versions was lost in the process for sure, but they were always able to offer new, fresh-sounding alternative ones. The songs had potentiality for different, wonderful things.

In a way it did continue in 1975/76, the songs kept on evolving (the lazy, arrogant, raw, even intentionally sloppy version of "Honky Tonk" as a great example!) but I think the band simply lost some of that focus and tightness and pure musicality they had topped in 1973 (although they sounded charming and brilliant, once again, by other means). I would say that the progression started to be more like degeneration or deconstruction - knowing that they cannot any longer top or better themselves, but instead try to find other ways to offer something new and exciting, sometimes like plying against their old versions of the songs (Jagger's vocals, for example, in "Honky" being a good example). In 1978, discovering some new energy after being having kicked the balls by the punks, they made the roughness an art form. A cool, bad-ass version of "Honky Tonk" there as well, as we can see LIVE IN TEXAS.

In 1981/82 they still had that 'punk spirit' but it was watered-down a bit (like said above, played songs faster than their energy-level allowed). They tried to compansate it and their organic but a bit monotoneus sound by song selections and back-up musicians to make the stadium shows more variant and exciting. The result were mixed, but they were such a free-going, non-disciplary jam band, like they never been before, that I think it rightly represents for many fans the last time the Stones taking riskies and thereby being 'dangerous'. However, songs like "Honky Tonk" started to sound like being totally played to death, played more by autopilot than by inspiration, lacking any creative addition, new angle to them any longer. Generally the road versions of classical songs like it, "JJF", "Can't Always Get", "Tumbling Dice", "Brown Sugar", etc. etc. hade became artistically to milked-out end, even sounding like rushy torsos or skeletons of what they once been they played out of loyalty to cheering crowds (which didn't mean that they didn't sounded still great in a hot night; one cannot much ever do bad with the songs and band of that caliber, like HAMPTON version of "Honky Tonk" shows). I understand very well why they dediced in 1989 to go rethink their game and go back to original studio versions of the songs, and start like from the beginning again. But that was a whole new era and a new story (that I am, to be frank, never that into).

But it was such fascinating story as a live band from 1969 to 1982. Just listening different versions of "Honky Tonk Women" along the years alone captures the story nicely.

- Doxa



Edited 3 time(s). Last edit at 2021-03-25 13:06 by Doxa.

[www.youtube.com]

A masterly conceived post, Doxa, with rich perspectives! Thank you!

One detail only from me: I have got too few boots to be certain, but I wonder if the Stones in 1975 (approximately) in their live playing went through a phase of glam rock in a musical sense (meaning perhaps more in the vein of New York Dolls than other such bands.)



Edited 1 time(s). Last edit at 2021-03-25 13:23 by Witness.

Quote
DandelionPowderman
[www.youtube.com]

A great version indeed. Reflects very well what I tried to describe above about the nature of the band at the time. The song starts to be a 'show number'. The band sounds content and relaxed - knowing very well the power and effect of the song, with no need to focus that much, but just to jam through it pretty loosely. Which works damn fine here. Mick's especially in fire, playing around with the basic melody of the verses. They know what they do, and enjoy of it, without any urge to prove anything any longer - like a statement of elder statemen of rock when all is said and done. But a great, great version by its own means.

- Doxa

Quote
DandelionPowderman
The LYL-version, with Hyde Park 1969 as a contender.

These would be my choice as well

Three way tie between Passaic '78, Detroit '75 ("Can't Forget The Motor City" show) and the spliced together version from MSG '69 that's in Gimme Shelter (edited between the Nov 27 and Nov 28 evening show)

After that, in no particular order:

Tempe '81
Hampton '81 (first show)
Lyon '76
Boston '75 (2nd show)
Madrid '90 ("Blinded By Love" show)
Atlantic City '89
Perth '73
Knebworth '76
Dallas '89
Bremen '98
London '73 (Sept 8 afternoon show)
Philadelphia '81 (Sept 26 show)
Hyde Park '69
Kansas City '75
Fort Worth '78
Paris '76 (June 5th and 7th versions)
Brixon '95
Paris '95 (Olympia Theatre)
NYC '98 ("Sweet Home NYC" show)
San Francisco '81 (Oct 17 show)
San Diego '69
San Diego '98
LA '69 (evening show)
Turin '90



Edited 1 time(s). Last edit at 2021-05-06 23:58 by stevecardi.

Keith seems to be playing it better now, than just 6 years ago. DC 2019 was better than Nashville 2015.

Quote
LieB
The versions from Australia '73 are pretty cool, especially the two from Sydney on February 27, 1973. It's got a great country rock swagger to it and Mick Taylor plays the best I've ever heard him play on that song. The Perth rendition is great too.

Wow, I spend so much time on Perth I'm missing this!

The Best Honky Tonk Women
-Hyde Park `69
-Tour 1994/1995

The worst
-Tour 1981

Quote
Doxa

Quote
GasLightStreet


HA HA it's so FAST!

Surely it is, but the machine was so well-oiled at the time that pulling some extra gas was not a problem. They were in a top form, and they knew it, so the attitude was 'let's play the shit out of this one'. By contrast, when in 1981/82 they once again pulled some gas to speed-up things that happened by the cost of the tightness, groove and musicality (all those letmegos, starmeups, etc). In 1973 I don't hear them being ever 'busy' like that - then they controlled the speed in a way it sounded natural.

Generally I like the way the band had evolved by the time of 1973 (and I think especially Brussels concerts contain the best individual performances of many of their songs ever, not just "Honk Tonk"). What we hear in 1973 is the sum of experience having been on a road for some years, and the songs having shaped into joyful fiestas full of musical richness and details and improvisation. But at the same the band being more tight than ever, and the songs still being compact pieces. In many songs, the original footprint live versions of 1969 were only a memory any longer (like "Honky Tonk", "JJ Flash", "Rambler"). Those 'original' live versions, played witch such determination and no bullshitting -attitude knowing they had big guns there, were cool as hell too, but I love the way they kept on evolving them into new directions. That was true, natural progression as artists do. Like always discovering new ways to interpret the songs, not repeating themselves. Some of the old greatness and uniqueness of the old versions was lost in the process for sure, but they were always able to offer new, fresh-sounding alternative ones. The songs had potentiality for different, wonderful things.

In a way it did continue in 1975/76, the songs kept on evolving (the lazy, arrogant, raw, even intentionally sloppy version of "Honky Tonk" as a great example!) but I think the band simply lost some of that focus and tightness and pure musicality they had topped in 1973 (although they sounded charming and brilliant, once again, by other means). I would say that the progression started to be more like degeneration or deconstruction - knowing that they cannot any longer top or better themselves, but instead try to find other ways to offer something new and exciting, sometimes like plying against their old versions of the songs (Jagger's vocals, for example, in "Honky" being a good example). In 1978, discovering some new energy after being having kicked the balls by the punks, they made the roughness an art form. A cool, bad-ass version of "Honky Tonk" there as well, as we can see LIVE IN TEXAS.

In 1981/82 they still had that 'punk spirit' but it was watered-down a bit (like said above, played songs faster than their energy-level allowed). They tried to compansate it and their organic but a bit monotoneus sound by song selections and back-up musicians to make the stadium shows more variant and exciting. The result were mixed, but they were such a free-going, non-disciplary jam band, like they never been before, that I think it rightly represents for many fans the last time the Stones taking riskies and thereby being 'dangerous'. However, songs like "Honky Tonk" started to sound like being totally played to death, played more by autopilot than by inspiration, lacking any creative addition, new angle to them any longer. Generally the road versions of classical songs like it, "JJF", "Can't Always Get", "Tumbling Dice", "Brown Sugar", etc. etc. hade became artistically to milked-out end, even sounding like rushy torsos or skeletons of what they once been they played out of loyalty to cheering crowds (which didn't mean that they didn't sounded still great in a hot night; one cannot much ever do bad with the songs and band of that caliber, like HAMPTON version of "Honky Tonk" shows). I understand very well why they dediced in 1989 to go rethink their game and go back to original studio versions of the songs, and start like from the beginning again. But that was a whole new era and a new story (that I am, to be frank, never that into).

But it was such fascinating story as a live band from 1969 to 1982. Just listening different versions of "Honky Tonk Women" along the years alone captures the story nicely.

- Doxa

I think the beauty of how they sleazed it up a bit in 1975, and maybe on purpose considering how they peaked as a live band in 1973, and then gave that a bit of a sharpening in 1978 and then just rolled with a down-the-middle approach with a good foot in those previous versions in 1981-82 is what makes those years of Honky Tonk Women, for me, better than the studio version. They had as few years behind them of playing it live with the 1975 tour under way and Keith had seemingly found the emptiness of time between the riffage that basically defines his playing style, as heard so well on LOVE YOU LIVE, LIVE IN TEXAS and HAMPTON, that he didn't quite get to from 1969-1973.

Anything post-1982 is cruise control boring, mostly because, especially in 1989-90, they perfected the sterilsation of it, especially with the plinky plink added to it, as well as a majority of their sound, to be more slick and, as noted, more like the records.

The version on LOVE YOU LIVE is, for me, the definitive live Stones, with GYYYO!'s Midnight Rambler an extremely close second, and would be the one song I'd fly high if asked what makes the Stones live so good.

Maybe not the best, but got the biggest smile from me compared to all the one's I've seen live when I saw this in a theater on the big screen without expecting it

[www.youtube.com]

For me the best version is from any of the 90s show with the long guitar intro or from bridges to babylon tour

The "Get Your Ya Ya`s Out" version?

Quote
noughties
The "Get Your Ya Ya`s Out" version?

No. LOVE YOU LIVE.

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LieB
The versions from Australia '73 are pretty cool, especially the two from Sydney on February 27, 1973. It's got a great country rock swagger to it and Mick Taylor plays the best I've ever heard him play on that song. The Perth rendition is great too.

Taylor playing wah wah under Richards solo! I never heard that before or if I have I forgot.

All versions without Chuck Leavell are classic.

Mathijs

Quote
Mathijs
All versions without Chuck Leavell are classic.

Mathijs

Keep in mind he toured 1982 as well. There are some cool version from that tour as well. Plus Barcelona and Madrid 1990.