Great video by FlipSideCT!! All about the song Jumpin Jack Flash







Edited 1 time(s). Last edit at 2023-04-27 12:10 by DiamondDog7.

Another good one from this guy.

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MingSubu
Another good one from this guy.

Indeed! He's well informed and tells us great information about the Stones! Check out his view on Goats Head Soup and Black an Blue. Long videos, but very worth to watch the whole thing.

Nicely done, we had a convo about some aspects, hence why Brian Jones Resource is mentioned...

I think the nashville tuning thing is likely red herring though, laid by Keith and a mis-remembering or wrong association in his memory that got muddled up with the recording of Jumpin' Jack Flash. Same thing with JJF in later years being remembered as 'all acoustic guitars' when in reality the cassette recording with an acoustic was only used for the very basic track. Same for SFM and Parachute Woman. All the other overdubbing etc was done the normal way, what sounds electric is electric.

The jangly guitars on Jumpin' Jack Flash which have been attributed to Brian by some, and as guitars in Nashville tuning by Keith by others, have various direct associations with Keith parts in standard and open E/D tunings.

For example, Yesterday's Papers - standard tuned electric guitar:

[www.youtube.com]

This is essentially a prototype of the type of playing utilised for the jangly guitars on Jumpin' Jack Flash.

The film One Plus One aka Sympathy For The Devil gifts us a great chance to not only hear Keith, but see how he played things in open E and D.

In this extract you can see and hear parts which are also utilised in Jumpin' Jack Flash.

[www.youtube.com]

Later in the film, there's a scene where they are playing some as yet unidentified song, Keith is shown playing in open E with a really bright crunchy sound which is essential viewing for any analysis of his playing in 1968. Note how high the upper strings sounds when using this distinctive Vox sound.

Changes In Society - 1:25:59...

[www.youtube.com]

I remain open to, but unconvinced re Nashville tuning on Jumpin; Jack Flash and say it's not required to play anything heard on it and match what is heard. Further, imo, none of the players demonstrating Jumpin' Jack Flash using Nashville tuning have sounded anything like the recording.

Nashville tuning simply rings differently. The JJF-guitar rings like open E/D-tuning, imo.

In part because of Keith's later muddling and people then muddling that further means the logical and technical aspects of the cassette recorders use often get lost...

* Keith and Charlie play together in to cassette recorder which records their performance.
* This cassette recording is played back on the cassette recorder with an extension speaker connected. A mic is used to pickup/record this playback with extension speaker to 1 track of the 8 track professional tape machine.
* The cassette recorder was not used after this point.
* This 1 track on the 8 track machine acts as a guide track for all further overdubbing which was done via usual means. Eg, multiple electric guitars etc.

In all 3 instances of the cassette recorder being used, on Jumpin' Jack Flash, Street Fighting Man and Parachute Woman, they watched from the control room as the small cassette recorder with a mic'd up extension speaker played back the cassette recording.

It wasn't used like a guitar pedal, direct plug and play with line out to an amp. The playback aspect of the process is key, and it is also what seriously reduces the likelihood of it being used for overdubs.



Edited 1 time(s). Last edit at 2023-04-14 18:05 by His Majesty.

Love this live version: raw, live, growling, fast!

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DiamondDog7
Love this live version: raw, live, growling, fast!

You can partially thank the tape for that, methinks

Great anyhow

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DiamondDog7
Love this live version: raw, live, growling, fast!

That's nice.

But.

Or this one (no idea where the reverb came from):

Or, of course...

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DiamondDog7
Love this live version: raw, live, growling, fast!

Savile Theatre? 1969 December. 1 week after Alatmont.

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Captain Corella
60 Years a Fan

This mind-blowing video is a phenomenal labour of love and deserves to be seen by any true fan of The Rolling Stones. Thank you Steve.

I wonder they've never played Jumping Jack Flash, or Satisfaction for that matter, and Under My Thumb, like their studio versions? The stage production of these songs are too fast, too rock and roll. Satisfaction is usually played like they're trying to get through it fast as possible. There's no jazz swish on UMT like there is on the record between Brian on marimba, Bill's bass and Charlie. And JJF live sounds more like Satisfaction than JJF.

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24FPS
I wonder they've never played Jumping Jack Flash, or Satisfaction for that matter, and Under My Thumb, like their studio versions? The stage production of these songs are too fast, too rock and roll. Satisfaction is usually played like they're trying to get through it fast as possible. There's no jazz swish on UMT like there is on the record between Brian on marimba, Bill's bass and Charlie. And JJF live sounds more like Satisfaction than JJF.

LOL
That's why I prefer the older live versions of these songs (1969 - 1973). ;-)

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DiamondDog7

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24FPS
I wonder they've never played Jumping Jack Flash, or Satisfaction for that matter, and Under My Thumb, like their studio versions? The stage production of these songs are too fast, too rock and roll. Satisfaction is usually played like they're trying to get through it fast as possible. There's no jazz swish on UMT like there is on the record between Brian on marimba, Bill's bass and Charlie. And JJF live sounds more like Satisfaction than JJF.

LOL
That's why I prefer the older live versions of these songs (1969 - 1973). ;-)

Maybe it's because out there on the stage there are only two people who actually played/performed on the originals, and the other guys and gals simply don't know how to play the songs 'properly'?

--
Captain Corella
60 Years a Fan