Tell Me :
Talk
I remember Bill taking the credit somewhere. By memory the undercover bassline is not too far away from the Rock and the hard place one (which is 100% bill). I have not compared the outtakes with the released version. Could it be that Robbie overdubbed some bass licks (the repeated one that you hear during the verses, starting at the very beginning of the song) while the chorus is Bill?
C
It's Bill on all the outtake versions, with a bass line very similar indeed to Rock and a Hard Place. But Robbie Shakespeare overdubbed the bass for the official version. He slaps and plucks, something Bill can't do.
Mathijs
Interesting is that I had a conversation with Jim Barber and he was sure it was him playing bass on She Was Hot. He stated that he played the bass for hours and hours while they were recording SWH. He wasn't too happy when I said it is Bill on the final release.
Mathijs
Interesting indeed. In fact the SWH bass line has some tricks that I can't remember Bill playing before (in particular during the final repeated chorus). But it also has a great number of licks that Bill's been playing since the early 60 on Chuck Berry's covers (in particular the live versions)
C
Doc, yes it is! Must Be Hell is another one.
Indeed he is
Such a great album. I can never understand how people can mention this in the same breath as DW. The only thing faulting Undercover is it's unfortunate proximity to Dirty Work.
The slapping and plucking is not something Bill would do, but they might both be on the album version.
Actually, the long 12" mix has Bill Wyman on it for parts. The intro and middle, the fairly long part of only drums and bass -that's Bill. But as soon as the guitars come in it changes to the slapping bass of Shakespeare.
Shakespeare indeed does the bass on Feel on Baby.
Mathijs
Jim has shared quite some stories about the Primitive Cool days. A problem is that he is quite a short tempered guy these days, and he really hates everything that has to do with the Stones. He thinks they are the worst people in the world making the worst music in the world. So if he states something that is not quite correct or misremembered he gets angry and doesn't want to continue talking.
Some of it I can understand. He spend months with Jagger working on Primitive Cool for no pay, only to find out that most of his parts were deleted and re-recorded for the album.
Mathijs
Dirty Work is a better album. Not by much. Undercover is pointless, other than the title track.
Thanks for straightening that out!
I'll go back and listen to Hold Back, Winning Ugly, Back to Zero and Dirty Work then and completely immerse myself in the music, bathe in the sweet sounds.
Because they're beyond confused. They also often consider the opening track the "title track" when it's not.
It gives good reason for avoiding those people - or not believing them.
You are so welcome. Glad to be of service. I like Hold Back, and Winning Ugly. Harlem Shuffle is a Bill Wyman tour de force. Take Undercover of the Night off Undercover and you have a frisbee.
LOL.
I think we may be in the unfortunate position of having to agree to disagree!
It's a nice enough tune, but seems to meander aimlessly and repetitively after a while.
I prefer their cover of Harlem Shuffle from Dirty Work.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
I liked it better when it was released (never thought it was a classic though), and even bought the vinyl picture disc of the single at the time - of course I still have it.
I've actually always preferred the B-side Think I'm Going Mad - has that Tattoo You side two/Worried About You vibe to it.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Talk about your favorite band.
For information about how to use this forum please check out forum help and policies.
In praise of Bill's bass on She Was Hot
Posted by:
liddas
()
Date: July 29, 2022 13:02
Last night I was trying to figure out how to play a couple of licks Keith plays in his SWH solo (the opening and last lick of the second part) but ended picking up the bass to play along with Bill's line.
I find it absolutely superb.
In general, I love his late period with the Stones. Unfortunately he doesn't play much on the Undercover album, and is almost absent on Dirty Work, but Everything's Turning to Gold, Let me Go, She's so cold, Undercover, Too Much Blood, Harlem Shuffle and - mostly - She was hot are up there with his best lines!
C
I find it absolutely superb.
In general, I love his late period with the Stones. Unfortunately he doesn't play much on the Undercover album, and is almost absent on Dirty Work, but Everything's Turning to Gold, Let me Go, She's so cold, Undercover, Too Much Blood, Harlem Shuffle and - mostly - She was hot are up there with his best lines!
C
Re: In praise of Bill's bass on She Was Hot
Posted by:
ProfessorWolf
()
Date: July 29, 2022 13:06
i agree all fantastic stuff
Re: In praise of Bill's bass on She Was Hot
Posted by:
BowieStone
()
Date: July 29, 2022 13:22
Pretty sure that’s Robbie Shakespeare on bass on Undercover of the night.
Re: In praise of Bill's bass on She Was Hot
Posted by:
liddas
()
Date: July 29, 2022 14:56
Quote
BowieStone
Pretty sure that’s Robbie Shakespeare on bass on Undercover of the night.
I remember Bill taking the credit somewhere. By memory the undercover bassline is not too far away from the Rock and the hard place one (which is 100% bill). I have not compared the outtakes with the released version. Could it be that Robbie overdubbed some bass licks (the repeated one that you hear during the verses, starting at the very beginning of the song) while the chorus is Bill?
C
Re: In praise of Bill's bass on She Was Hot
Posted by:
Mathijs
()
Date: July 29, 2022 16:05
Quote
liddasQuote
BowieStone
Pretty sure that’s Robbie Shakespeare on bass on Undercover of the night.
I remember Bill taking the credit somewhere. By memory the undercover bassline is not too far away from the Rock and the hard place one (which is 100% bill). I have not compared the outtakes with the released version. Could it be that Robbie overdubbed some bass licks (the repeated one that you hear during the verses, starting at the very beginning of the song) while the chorus is Bill?
C
It's Bill on all the outtake versions, with a bass line very similar indeed to Rock and a Hard Place. But Robbie Shakespeare overdubbed the bass for the official version. He slaps and plucks, something Bill can't do.
Mathijs
Re: In praise of Bill's bass on She Was Hot
Posted by:
Mathijs
()
Date: July 29, 2022 16:07
Quote
liddas
Last night I was trying to figure out how to play a couple of licks Keith plays in his SWH solo (the opening and last lick of the second part) but ended picking up the bass to play along with Bill's line.
I find it absolutely superb.
In general, I love his late period with the Stones. Unfortunately he doesn't play much on the Undercover album, and is almost absent on Dirty Work, but Everything's Turning to Gold, Let me Go, She's so cold, Undercover, Too Much Blood, Harlem Shuffle and - mostly - She was hot are up there with his best lines!
C
Interesting is that I had a conversation with Jim Barber and he was sure it was him playing bass on She Was Hot. He stated that he played the bass for hours and hours while they were recording SWH. He wasn't too happy when I said it is Bill on the final release.
Mathijs
Re: In praise of Bill's bass on She Was Hot
Posted by:
liddas
()
Date: July 29, 2022 19:28
Quote
MathijsQuote
liddas
Last night I was trying to figure out how to play a couple of licks Keith plays in his SWH solo (the opening and last lick of the second part) but ended picking up the bass to play along with Bill's line.
I find it absolutely superb.
In general, I love his late period with the Stones. Unfortunately he doesn't play much on the Undercover album, and is almost absent on Dirty Work, but Everything's Turning to Gold, Let me Go, She's so cold, Undercover, Too Much Blood, Harlem Shuffle and - mostly - She was hot are up there with his best lines!
C
Interesting is that I had a conversation with Jim Barber and he was sure it was him playing bass on She Was Hot. He stated that he played the bass for hours and hours while they were recording SWH. He wasn't too happy when I said it is Bill on the final release.
Mathijs
Interesting indeed. In fact the SWH bass line has some tricks that I can't remember Bill playing before (in particular during the final repeated chorus). But it also has a great number of licks that Bill's been playing since the early 60 on Chuck Berry's covers (in particular the live versions)
C
Re: In praise of Bill's bass on She Was Hot
Posted by:
liddas
()
Date: July 29, 2022 19:57
Doesn't say who plays bass on SWH, but good read on Jim Barber!
[www.muzines.co.uk]
C
[...]
Later, Alan Rogan, guitar technician with the Who, called Jimi. 'How would you like to work with the Rolling Stones?'
Jimi reckons that he didn't want to do it at first. He felt it was out of his depth — looking after and tuning up somewhere around 35 guitars on a European tour for 'The Greatest Rock'n'Roll Band In The World' when all he'd done before was to set up bass amps for Thin Lizzy.
But there were a number of factors in Jimi's favour. Alan Rogan could only do work outside of the Who camp if they weren't working, and it looked increasingly likely that Townshend and co. would either be touring or recording in summer '82. So Rogan had to cover himself. Jimi, on closer examination, looked rather an ideal candidate: he'd had personal experience of the rather tricky Boogie amps beloved by Ronnie Wood and Keith Richard, he'd also worked with the similarly problematical Nady radio wireless systems when with Thin Lizzy, and the Stones used these too: Alan Rogan also knew that Jimi was an accomplished guitarist with 14 years experience of playing; and lastly, Jimi didn't take drugs, an ideal state for the level-headed demands of caring for all those guitars!
His aversion to drugs appears to be a rarity among roadies, let alone among big-league rock musicians. 'Yeah, it never ceases to amaze people,' he laughs, 'working with bands like Lizzy and the Stones. You get a lot of stick, you can be very outcast. If you tour all the time it does help to take something, which is in a way why I stopped doing it at one time, because I didn't want to get into that at all. I'Ve seen how it @#$%& people up, and kills people.'
Alan Rogan ended up doing the first dates on the tour, and Jimi went along to see what had to be done. The job revolves around the maintenance, preparation and tuning of the Stones guitars — no mean task considering that during the set on this tour Jagger, Richards, Wood and Wyman between them get through at least a dozen guitars, with around 20 having to be set up and ready to go. The guitars, carried on tour in five huge trunks, were set up on stands behind the backline stage right, where the guitar roadie would sit with two Boogie combos and two Strobotuners (one of each for back-up), the line of vision and communication clear beyond the drum kit and on to the stage.
He'd ensure that guitars were tuned and ready two or three songs in advance, and that the three guitarists in the Stones (four counting Jagger) were kept supplied with instruments exactly as required.
Jimi eventually took over from Alan towards the end of July '82 — still no-one seemed sure what the Who were up to. Jimi phoned one of the Stones production people to see if he was needed, and he got a positive reply. He then phoned Rogan, and he too told Jimi to get down to the airport. Jimi ended up on the band's plane after a traffic hold-up prevented him from meeting the crew's flight — the trip in the luxury converted Boeing was apparently an experience in itself.
So he found himself in a hotel at Frankfurt the night before his first gig on the crew, having spoken to no-one about the details of the next day's activities. Then came a phone call at about 3 in the morning, requesting that he go up to Keith's room. Eventually he found himself face to face with Jagger, Richards and Wood in a small room. 'I had to reassure them that I knew from Alan what happened and that I'd written everything down. At that moment the door opened and in walked this black sax player Gene Barge, he's a big guy, at least 6'5" from the Deep South he used to call me his 'little babe'. And he came in and put his arms round me and said they'd got nothing to worry about because he used to sit near me and Alan with the other sax player, Bobby Keys, when they weren't actually playing on a song. He'd watched me watching Alan, and he reassured them that I knew what I was doing, and that calmed them down.'
So the next day saw Jimi's first gig, and to his initial horror he discovered that extra seating had been put in by the promoter around the back of the stage — so an already nervous Jimi found himself being gawped at by a few hundred people as he attempted to get on with his work. But things settled down, and the gig went smoothly, apart from one moment when Richard crashed one of his Teles against a drum stand and put the whole thing out of tune. Jimi panicked as he started to retune it and the booing and stamping echoed around the hall from the impatient audience. He muttered apologies to Keith and fumbled on with the Tele and the Strobotuner. A cool Richard calmed him down with one sentence: 'Look kid, it's only rock'n'roll...' The tele was tuned, and Jimi settled in to a successful first gig. Things got smoother as the tour trundled on — though on one gig Jimi held up the whole show for half an hour. He tells the story.
'The worst thing that happened was an accident I had in Italy. I'd get the guitars out of the trunks about an hour or so before the show, so that they could settle in to the humidity and so on. There'd be two security guys who wouldn't let anyone near them. This gig, I caught my fingers in one of the trunks as I was getting some cases out — the lid came crashing down. They went white and I couldn't feel them at all.
'You have to play chords on the guitars after you've tuned them up with the Strobotuner to see if it's OK up to the neck, so the idea is you tune them up about two songs in advance. I couldn't feel my left hand, and when I tried to play a chord I felt this incredible pain like I'd been stabbed in the ends of my fingers. I thought I'd broken them.
'So I went to see one of the doctors and they sprayed it with this jelly stuff that numbs your fingers — I think it's illegal over here, you get this strange taste of oysters in your mouth — and he said I couldn't do anything for 20 minutes. So I had to say when I was ready for the Stones to come on! They had to wait half an hour, the audience went crazy.
'The guitar technician from the support band, the J.Geils Band, sat with me in case anything went wrong and, sure enough, as I was tuning Ronnie's Tokai Strat with the Floyd Rose tremolo arm I broke a string, and that's one of the hardest to re-string.'
'There are a couple of Keith's guitars that are stunning. The natural Telecaster, I think it's '53, had been butchered a bit — pickups, nut, machines, bridge all changed — very beaten up. But the sound of it... so sharp! You'd play along with the band to get the tuning right in advance, and you'd find with that guitar that you'd gone over the time limit you allowed yourself. It was a very, very nice guitar to play.'
Wyman's use of the Steinberger bass (see our review in MUK No 10) has drawn even more attention to this amazing all-plastic instrument. 'Bill's very fussy about his tuning, although I only had to retune it on one song. That must have been the ultimate test for the stability of the Steinberger's tuning, that tour — it was absolutely amazing, Sometimes you could take it out of its case after it had been driven or aeroplaned perhaps from one country to the next, and it'd still be in tune.'
[...]
[www.muzines.co.uk]
C
[...]
Later, Alan Rogan, guitar technician with the Who, called Jimi. 'How would you like to work with the Rolling Stones?'
Jimi reckons that he didn't want to do it at first. He felt it was out of his depth — looking after and tuning up somewhere around 35 guitars on a European tour for 'The Greatest Rock'n'Roll Band In The World' when all he'd done before was to set up bass amps for Thin Lizzy.
But there were a number of factors in Jimi's favour. Alan Rogan could only do work outside of the Who camp if they weren't working, and it looked increasingly likely that Townshend and co. would either be touring or recording in summer '82. So Rogan had to cover himself. Jimi, on closer examination, looked rather an ideal candidate: he'd had personal experience of the rather tricky Boogie amps beloved by Ronnie Wood and Keith Richard, he'd also worked with the similarly problematical Nady radio wireless systems when with Thin Lizzy, and the Stones used these too: Alan Rogan also knew that Jimi was an accomplished guitarist with 14 years experience of playing; and lastly, Jimi didn't take drugs, an ideal state for the level-headed demands of caring for all those guitars!
His aversion to drugs appears to be a rarity among roadies, let alone among big-league rock musicians. 'Yeah, it never ceases to amaze people,' he laughs, 'working with bands like Lizzy and the Stones. You get a lot of stick, you can be very outcast. If you tour all the time it does help to take something, which is in a way why I stopped doing it at one time, because I didn't want to get into that at all. I'Ve seen how it @#$%& people up, and kills people.'
Alan Rogan ended up doing the first dates on the tour, and Jimi went along to see what had to be done. The job revolves around the maintenance, preparation and tuning of the Stones guitars — no mean task considering that during the set on this tour Jagger, Richards, Wood and Wyman between them get through at least a dozen guitars, with around 20 having to be set up and ready to go. The guitars, carried on tour in five huge trunks, were set up on stands behind the backline stage right, where the guitar roadie would sit with two Boogie combos and two Strobotuners (one of each for back-up), the line of vision and communication clear beyond the drum kit and on to the stage.
He'd ensure that guitars were tuned and ready two or three songs in advance, and that the three guitarists in the Stones (four counting Jagger) were kept supplied with instruments exactly as required.
Jimi eventually took over from Alan towards the end of July '82 — still no-one seemed sure what the Who were up to. Jimi phoned one of the Stones production people to see if he was needed, and he got a positive reply. He then phoned Rogan, and he too told Jimi to get down to the airport. Jimi ended up on the band's plane after a traffic hold-up prevented him from meeting the crew's flight — the trip in the luxury converted Boeing was apparently an experience in itself.
So he found himself in a hotel at Frankfurt the night before his first gig on the crew, having spoken to no-one about the details of the next day's activities. Then came a phone call at about 3 in the morning, requesting that he go up to Keith's room. Eventually he found himself face to face with Jagger, Richards and Wood in a small room. 'I had to reassure them that I knew from Alan what happened and that I'd written everything down. At that moment the door opened and in walked this black sax player Gene Barge, he's a big guy, at least 6'5" from the Deep South he used to call me his 'little babe'. And he came in and put his arms round me and said they'd got nothing to worry about because he used to sit near me and Alan with the other sax player, Bobby Keys, when they weren't actually playing on a song. He'd watched me watching Alan, and he reassured them that I knew what I was doing, and that calmed them down.'
So the next day saw Jimi's first gig, and to his initial horror he discovered that extra seating had been put in by the promoter around the back of the stage — so an already nervous Jimi found himself being gawped at by a few hundred people as he attempted to get on with his work. But things settled down, and the gig went smoothly, apart from one moment when Richard crashed one of his Teles against a drum stand and put the whole thing out of tune. Jimi panicked as he started to retune it and the booing and stamping echoed around the hall from the impatient audience. He muttered apologies to Keith and fumbled on with the Tele and the Strobotuner. A cool Richard calmed him down with one sentence: 'Look kid, it's only rock'n'roll...' The tele was tuned, and Jimi settled in to a successful first gig. Things got smoother as the tour trundled on — though on one gig Jimi held up the whole show for half an hour. He tells the story.
'The worst thing that happened was an accident I had in Italy. I'd get the guitars out of the trunks about an hour or so before the show, so that they could settle in to the humidity and so on. There'd be two security guys who wouldn't let anyone near them. This gig, I caught my fingers in one of the trunks as I was getting some cases out — the lid came crashing down. They went white and I couldn't feel them at all.
'You have to play chords on the guitars after you've tuned them up with the Strobotuner to see if it's OK up to the neck, so the idea is you tune them up about two songs in advance. I couldn't feel my left hand, and when I tried to play a chord I felt this incredible pain like I'd been stabbed in the ends of my fingers. I thought I'd broken them.
'So I went to see one of the doctors and they sprayed it with this jelly stuff that numbs your fingers — I think it's illegal over here, you get this strange taste of oysters in your mouth — and he said I couldn't do anything for 20 minutes. So I had to say when I was ready for the Stones to come on! They had to wait half an hour, the audience went crazy.
'The guitar technician from the support band, the J.Geils Band, sat with me in case anything went wrong and, sure enough, as I was tuning Ronnie's Tokai Strat with the Floyd Rose tremolo arm I broke a string, and that's one of the hardest to re-string.'
'There are a couple of Keith's guitars that are stunning. The natural Telecaster, I think it's '53, had been butchered a bit — pickups, nut, machines, bridge all changed — very beaten up. But the sound of it... so sharp! You'd play along with the band to get the tuning right in advance, and you'd find with that guitar that you'd gone over the time limit you allowed yourself. It was a very, very nice guitar to play.'
Wyman's use of the Steinberger bass (see our review in MUK No 10) has drawn even more attention to this amazing all-plastic instrument. 'Bill's very fussy about his tuning, although I only had to retune it on one song. That must have been the ultimate test for the stability of the Steinberger's tuning, that tour — it was absolutely amazing, Sometimes you could take it out of its case after it had been driven or aeroplaned perhaps from one country to the next, and it'd still be in tune.'
[...]
Re: In praise of Bill's bass on She Was Hot
Posted by:
shattered
()
Date: July 29, 2022 19:58
Quote
ProfessorWolf
i agree all fantastic stuff
Doc, yes it is! Must Be Hell is another one.
Re: In praise of Bill's bass on She Was Hot
Posted by:
KRiffhard
()
Date: July 29, 2022 22:07
I prefer the crazy bass on "Pretty Beat Up"!!!
Is Richards on this one?!
Edited 1 time(s). Last edit at 2022-07-29 22:09 by KRiffhard.
Is Richards on this one?!
Edited 1 time(s). Last edit at 2022-07-29 22:09 by KRiffhard.
Re: In praise of Bill's bass on She Was Hot
Posted by:
DandelionPowderman
()
Date: July 29, 2022 22:47
Quote
KRiffhard
I prefer the crazy bass on "Pretty Beat Up"!!!
Is Richards on this one?!
Indeed he is
Re: In praise of Bill's bass on She Was Hot
Posted by:
treaclefingers
()
Date: July 29, 2022 23:29
Quote
KRiffhard
I prefer the crazy bass on "Pretty Beat Up"!!!
Is Richards on this one?!
Such a great album. I can never understand how people can mention this in the same breath as DW. The only thing faulting Undercover is it's unfortunate proximity to Dirty Work.
Re: In praise of Bill's bass on She Was Hot
Posted by:
Rocky Dijon
()
Date: July 29, 2022 23:45
The Jim Barber interview was excellent. Does he really go by Jimi? That's cheeky. Never knew he was on the European tour before UNDERCOVER. I've heard some of his recollections of those sessions. I don't recall him talking about PRIMITIVE COOL ever. His recollection of dates is wrong for Europe. It must have been end of June, not July when Alan Rogan returned to The Who. Great interview. Thank you for sharing.
By the way, I seem to recall Musician magazine reporting Robbie Shakespeare played on "Feel On, Baby" and on the 12" mix of "Undercover of the Night," but that the LP version was Bill. Curious if Mathijs is certain it is Robbie on the LP.
By the way, I seem to recall Musician magazine reporting Robbie Shakespeare played on "Feel On, Baby" and on the 12" mix of "Undercover of the Night," but that the LP version was Bill. Curious if Mathijs is certain it is Robbie on the LP.
Re: In praise of Bill's bass on She Was Hot
Posted by:
KRiffhard
()
Date: July 30, 2022 01:11
Quote
treaclefingersQuote
KRiffhard
I prefer the crazy bass on "Pretty Beat Up"!!!
Is Richards on this one?!
Such a great album. I can never understand how people can mention this in the same breath as DW. The only thing faulting Undercover is it's unfortunate proximity to Dirty Work.
Re: In praise of Bill's bass on She Was Hot
Posted by:
DandelionPowderman
()
Date: July 30, 2022 02:24
Quote
Rocky Dijon
The Jim Barber interview was excellent. Does he really go by Jimi? That's cheeky. Never knew he was on the European tour before UNDERCOVER. I've heard some of his recollections of those sessions. I don't recall him talking about PRIMITIVE COOL ever. His recollection of dates is wrong for Europe. It must have been end of June, not July when Alan Rogan returned to The Who. Great interview. Thank you for sharing.
By the way, I seem to recall Musician magazine reporting Robbie Shakespeare played on "Feel On, Baby" and on the 12" mix of "Undercover of the Night," but that the LP version was Bill. Curious if Mathijs is certain it is Robbie on the LP.
The slapping and plucking is not something Bill would do, but they might both be on the album version.
Re: In praise of Bill's bass on She Was Hot
Posted by:
24FPS
()
Date: July 30, 2022 08:03
I think trying to pigeonhole what Bill might do is fruitless. You can generally tell when it's Bill, but listen to the Smokin' TNT CD with Muddy, Buddy, and Junior Wells. Shut your eyes and you couldn't tell it was Bill playing. It's a great bass player, but not the one you're used to on classic Stones recordings.
Re: In praise of Bill's bass on She Was Hot
Posted by:
Mathijs
()
Date: July 30, 2022 13:15
Quote
Rocky Dijon
By the way, I seem to recall Musician magazine reporting Robbie Shakespeare played on "Feel On, Baby" and on the 12" mix of "Undercover of the Night," but that the LP version was Bill. Curious if Mathijs is certain it is Robbie on the LP.
Actually, the long 12" mix has Bill Wyman on it for parts. The intro and middle, the fairly long part of only drums and bass -that's Bill. But as soon as the guitars come in it changes to the slapping bass of Shakespeare.
Shakespeare indeed does the bass on Feel on Baby.
Mathijs
Re: In praise of Bill's bass on She Was Hot
Posted by:
Mathijs
()
Date: July 30, 2022 13:24
Quote
Rocky Dijon
The Jim Barber interview was excellent. Does he really go by Jimi? That's cheeky. Never knew he was on the European tour before UNDERCOVER. I've heard some of his recollections of those sessions. I don't recall him talking about PRIMITIVE COOL ever.
Jim has shared quite some stories about the Primitive Cool days. A problem is that he is quite a short tempered guy these days, and he really hates everything that has to do with the Stones. He thinks they are the worst people in the world making the worst music in the world. So if he states something that is not quite correct or misremembered he gets angry and doesn't want to continue talking.
Some of it I can understand. He spend months with Jagger working on Primitive Cool for no pay, only to find out that most of his parts were deleted and re-recorded for the album.
Mathijs
Re: In praise of Bill's bass on She Was Hot
Posted by:
Rocky Dijon
()
Date: July 30, 2022 16:10
Interesting to hear, though not shocking. Jimmy Rip tells some conflicting stories. I've heard he's all over Shoot Off Your Mouth and Vernon Reid is all over Peace for the Wicked. Other times he's maintained he, Vernon Reid, and Jim Barber only overdubbed a second or two covering for Beck and that you could never tell it was them.
Re: In praise of Bill's bass on She Was Hot
Posted by:
24FPS
()
Date: July 30, 2022 21:45
Quote
KRiffhardQuote
treaclefingersQuote
KRiffhard
I prefer the crazy bass on "Pretty Beat Up"!!!
Is Richards on this one?!
Such a great album. I can never understand how people can mention this in the same breath as DW. The only thing faulting Undercover is it's unfortunate proximity to Dirty Work.
Dirty Work is a better album. Not by much. Undercover is pointless, other than the title track.
Re: In praise of Bill's bass on She Was Hot
Posted by:
treaclefingers
()
Date: August 1, 2022 20:01
Quote
24FPSQuote
KRiffhardQuote
treaclefingersQuote
KRiffhard
I prefer the crazy bass on "Pretty Beat Up"!!!
Is Richards on this one?!
Such a great album. I can never understand how people can mention this in the same breath as DW. The only thing faulting Undercover is it's unfortunate proximity to Dirty Work.
Dirty Work is a better album. Not by much. Undercover is pointless, other than the title track.
Thanks for straightening that out!
I'll go back and listen to Hold Back, Winning Ugly, Back to Zero and Dirty Work then and completely immerse myself in the music, bathe in the sweet sounds.
Re: In praise of Bill's bass on She Was Hot
Posted by:
GasLightStreet
()
Date: August 1, 2022 20:33
Quote
24FPSQuote
KRiffhardQuote
treaclefingersQuote
KRiffhard
I prefer the crazy bass on "Pretty Beat Up"!!!
Is Richards on this one?!
Such a great album. I can never understand how people can mention this in the same breath as DW. The only thing faulting Undercover is it's unfortunate proximity to Dirty Work.
Dirty Work is a better album. Not by much. Undercover is pointless, other than the title track.
Because they're beyond confused. They also often consider the opening track the "title track" when it's not.
It gives good reason for avoiding those people - or not believing them.
Re: In praise of Bill's bass on She Was Hot
Posted by:
24FPS
()
Date: August 2, 2022 10:30
Quote
treaclefingersQuote
24FPSQuote
KRiffhardQuote
treaclefingersQuote
KRiffhard
I prefer the crazy bass on "Pretty Beat Up"!!!
Is Richards on this one?!
Such a great album. I can never understand how people can mention this in the same breath as DW. The only thing faulting Undercover is it's unfortunate proximity to Dirty Work.
Dirty Work is a better album. Not by much. Undercover is pointless, other than the title track.
Thanks for straightening that out!
I'll go back and listen to Hold Back, Winning Ugly, Back to Zero and Dirty Work then and completely immerse myself in the music, bathe in the sweet sounds.
You are so welcome. Glad to be of service. I like Hold Back, and Winning Ugly. Harlem Shuffle is a Bill Wyman tour de force. Take Undercover of the Night off Undercover and you have a frisbee.
Re: In praise of Bill's bass on She Was Hot
Posted by:
treaclefingers
()
Date: August 2, 2022 20:37
Quote
24FPSQuote
treaclefingersQuote
24FPSQuote
KRiffhardQuote
treaclefingersQuote
KRiffhard
I prefer the crazy bass on "Pretty Beat Up"!!!
Is Richards on this one?!
Such a great album. I can never understand how people can mention this in the same breath as DW. The only thing faulting Undercover is it's unfortunate proximity to Dirty Work.
Dirty Work is a better album. Not by much. Undercover is pointless, other than the title track.
Thanks for straightening that out!
I'll go back and listen to Hold Back, Winning Ugly, Back to Zero and Dirty Work then and completely immerse myself in the music, bathe in the sweet sounds.
You are so welcome. Glad to be of service. I like Hold Back, and Winning Ugly. Harlem Shuffle is a Bill Wyman tour de force. Take Undercover of the Night off Undercover and you have a frisbee.
LOL.
I think we may be in the unfortunate position of having to agree to disagree!
Re: In praise of Bill's bass on She Was Hot
Posted by:
24FPS
()
Date: August 2, 2022 21:52
Quote
treaclefingersQuote
24FPSQuote
treaclefingersQuote
24FPSQuote
KRiffhardQuote
treaclefingersQuote
KRiffhard
I prefer the crazy bass on "Pretty Beat Up"!!!
Is Richards on this one?!
Such a great album. I can never understand how people can mention this in the same breath as DW. The only thing faulting Undercover is it's unfortunate proximity to Dirty Work.
True. Cheers. I don't even have the Undercover album in my collection. I do have Dirty Work, though I seldom listen to it. It was kind of like backing up Between The Buttons with Satanic Majesties (though both were better albums than Underdirtywork.) A bit of a low point, with a couple standout jewels.
Dirty Work is a better album. Not by much. Undercover is pointless, other than the title track.
Thanks for straightening that out!
I'll go back and listen to Hold Back, Winning Ugly, Back to Zero and Dirty Work then and completely immerse myself in the music, bathe in the sweet sounds.
You are so welcome. Glad to be of service. I like Hold Back, and Winning Ugly. Harlem Shuffle is a Bill Wyman tour de force. Take Undercover of the Night off Undercover and you have a frisbee.
LOL.
I think we may be in the unfortunate position of having to agree to disagree!
Re: In praise of Bill's bass on She Was Hot
Posted by:
Taylor1
()
Date: August 3, 2022 02:26
She Was Hot blowsaway anything on Dirty Work
Edited 1 time(s). Last edit at 2022-08-03 02:27 by Taylor1.
Edited 1 time(s). Last edit at 2022-08-03 02:27 by Taylor1.
Re: In praise of Bill's bass on She Was Hot
Posted by:
Hairball
()
Date: August 3, 2022 02:41
Quote
Taylor1
She Was Hot blowsaway anything on Dirty Work
It's a nice enough tune, but seems to meander aimlessly and repetitively after a while.
I prefer their cover of Harlem Shuffle from Dirty Work.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: In praise of Bill's bass on She Was Hot
Posted by:
Taylor1
()
Date: August 3, 2022 03:23
I think it’s a classic,great energy.Love the extended versionQuote
HairballQuote
Taylor1
She Was Hot blowsaway anything on Dirty Work
It's a nice enough tune, but seems to meander aimlessly and repetitively after a while.
I prefer their cover of Harlem Shuffle from Dirty Work.
Re: In praise of Bill's bass on She Was Hot
Posted by:
Hairball
()
Date: August 3, 2022 03:50
Quote
Taylor1I think it’s a classic,great energy.Love the extended versionQuote
HairballQuote
Taylor1
She Was Hot blowsaway anything on Dirty Work
It's a nice enough tune, but seems to meander aimlessly and repetitively after a while.
I prefer their cover of Harlem Shuffle from Dirty Work.
I liked it better when it was released (never thought it was a classic though), and even bought the vinyl picture disc of the single at the time - of course I still have it.
I've actually always preferred the B-side Think I'm Going Mad - has that Tattoo You side two/Worried About You vibe to it.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: In praise of Bill's bass on She Was Hot
Posted by:
bakersfield
()
Date: August 3, 2022 10:08
As I've often said before, DW was seen as a return to form after the sterile Undercover. Even Keith Richards agreed with a journalist that Undercover was 'dull'. But... it has become an article of faith on this board to hate DW for some reason. To my ears side two of Undercover sounds phoned-in compared to side two of Dirty Work which is a solid run of good songs IMHO.
Sorry, only registered users may post in this forum.
Online Users
andrews27 , BeastyBurdeny , Dan , gaizoku , joemusic1958 , mariano , mrpaulincanada , rbarnes00 , Send It To me , stoneslicks , TooTight
Guests:
1618
Record Number of Users:
206
on June 1, 2022 23:50
Record Number of Guests:
9627
on January 2, 2024 23:10