Well, the albums from the 70s were all recorded on analog tape but they were very compressed when they were remasteredin 2009, so why couldn’t this be compressed also? Admittedly, I am not an expert in recording.

Quote
donvis
They should’ve played it a little slower like the record. Very compressed compared to the rest of the record. Mick should’ve said Muddy instead of baby like he said Slim Harpo in Shake Your Hips. And last, but not least, they omitted the third verse. Nevertheless, I enjoyed it.

Oh, I've heard in the first recorded version of this particular line someone asking about "Tom" to come in when the husband was gone. Then I've heard someone mentioning "Muddy" and one even "Jimi". I wished I had heard "Mick" being invited there now... But probably Jagger was merciful for the poor husband (so many dudes visiting there already...)

- Doxa



Edited 2 time(s). Last edit at 2023-10-23 22:06 by Doxa.

Quote
Cristiano Radtke

Quote
amg077
Not a bad song, but not my favorite blues song that they have recorded.

I think Mick yells a lot in some parts.

I agree with you about not being my favorite blues song recorded by them. They have better original blues songs than this one.

Since some journalists have been compared this album to Some Girls, should we say that RSB could be HD's Just my Imagination? I don't think so, deapite being a cover. Both are very good, but I'd prefer Just my Imagination.

Having said that, I guess all of us can understand the significance of this song in the Stones history, and for that I'm glad they finally recorded it (although it seems they've played it live a few times, according to Dick Taylor on Suburban Steps to Rockland).

It closes this album perfectly.

Yes, this is more a tribute to the roots and therefore it is recorded in the oldie style. Sounds like an oldie blues song, with less quality sound.

Rolling Stone Blues is clearly my fave track on the album so far, followed by Dreamy Skies and Live By The Sword. If it wasn't for Gaga's awful shrieking, Sweet Sounds Of Heaven would come in a close second. Great album though, still growing.

good song. I like it.

Heartfelt rendition of this folk blues classic. It’s as pure as it can get from these old rockin blues musicians. Muddy would be proud I’m sure. Could this number have been in the Blue and Lonesome track list, yes. I think this song was honestly recorded. Mick and Keith as well as producer Watts did this song serious justice. A moving closer to what is a pretty damn good album, and I’ve only listened to it once full length at volume on vinyl.

Quote
TravelinMan

Quote
DandelionPowderman

Quote
donvis
They should’ve played it a little slower like the record. Very compressed compared to the rest of the record. Mick should’ve said Muddy instead of baby like he said Slim Harpo in Shake Your Hips. And last, but not least, they omitted the third verse. Nevertheless, I enjoyed it.

It's recorded on tape, with only one mic, to sound authentic. How can it be compressed?

Tape compression is a sonic signature of recording to tape, and the amount is definitely controllable.

I've only listened once, and I haven't listened to the rest of the album in comparison though. Nothing weird popped out, but it was laptop speakers so I'm not going to say it's overly compressed or not. But the performance was great.

That's a different kind of compression, that sounds way more organic

donvis might be thinking of the lack of treble and the obvious drop in sound quality compared with the other songs on the album. But that was intentional, as they've told numerous times in the interviews.



Edited 1 time(s). Last edit at 2023-10-24 11:36 by DandelionPowderman.

Quote
DandelionPowderman

Quote
TravelinMan

Quote
DandelionPowderman

Quote
donvis
They should’ve played it a little slower like the record. Very compressed compared to the rest of the record. Mick should’ve said Muddy instead of baby like he said Slim Harpo in Shake Your Hips. And last, but not least, they omitted the third verse. Nevertheless, I enjoyed it.

It's recorded on tape, with only one mic, to sound authentic. How can it be compressed?

Tape compression is a sonic signature of recording to tape, and the amount is definitely controllable.

I've only listened once, and I haven't listened to the rest of the album in comparison though. Nothing weird popped out, but it was laptop speakers so I'm not going to say it's overly compressed or not. But the performance was great.

That's a different kind of compression, that sounds way more organic

donvis might be thinking of the lack of treble and the obvious drop in sound quality compared with the other songs on the album. But that was intentional, as they've told numerous times in the interviews.

It's compression. They could have recorded the mics through compressors, they could have compressed on the console, they could have compressed the tape machine, they could have compressed during mixing and/or mastering. There could even be compression via the format donvis listened on.

Lots of options for compression.

The best track of the album and a candidate für Blue & Lonesome II. The Stones are dedicated to their founding document. In principle, the song has the quality of Prodigal Son, but the slick production bothers and disturbs me. Pop producers should not be allowed on the blues. Nevertheless 9/10.

Quote
TravelinMan

Quote
DandelionPowderman

Quote
TravelinMan

Quote
DandelionPowderman

Quote
donvis
They should’ve played it a little slower like the record. Very compressed compared to the rest of the record. Mick should’ve said Muddy instead of baby like he said Slim Harpo in Shake Your Hips. And last, but not least, they omitted the third verse. Nevertheless, I enjoyed it.

It's recorded on tape, with only one mic, to sound authentic. How can it be compressed?

Tape compression is a sonic signature of recording to tape, and the amount is definitely controllable.

I've only listened once, and I haven't listened to the rest of the album in comparison though. Nothing weird popped out, but it was laptop speakers so I'm not going to say it's overly compressed or not. But the performance was great.

That's a different kind of compression, that sounds way more organic

donvis might be thinking of the lack of treble and the obvious drop in sound quality compared with the other songs on the album. But that was intentional, as they've told numerous times in the interviews.

It's compression. They could have recorded the mics through compressors, they could have compressed on the console, they could have compressed the tape machine, they could have compressed during mixing and/or mastering. There could even be compression via the format donvis listened on.

Lots of options for compression.

That was my point. Obviously, this was an artistic choice.

Quote
RobertJohnson
The best track of the album and a candidate für Blue & Lonesome II. The Stones are dedicated to their founding document. In principle, the song has the quality of Prodigal Son, but the slick production bothers and disturbs me. Pop producers should not be allowed on the blues. Nevertheless 9/10.

Haha, . I'm with you - I like this track, and just the thought of Jagger going "he's gonna be a Rollin Stone", but pop producers get a little too clever when recreating authentic Blues.

The icing on the cake!
The marzipan on the cake would have been Keef on a verse of the song!

This track also provides great reassurance for those who have doubted Keith's continuing qualities as a guitar player.

The gnarled old fingers may not be as fleet as they once were...but Keith's unique taste, touch and timing remain very much intact.

Four mics, not one!





Edited 1 time(s). Last edit at 2023-10-27 13:46 by DandelionPowderman.

But am I wrong or Andy Watt said in an interview that the guitar that was used for RS blues was an old acoustic with no truss rod and a high action that needed to capoed to make it playable?

C

Quote
liddas
But am I wrong or Andy Watt said in an interview that the guitar that was used for RS blues was an old acoustic with no truss rod and a high action that needed to capoed to make it playable?

C

If we leave the truss rod for a second, though, it could have been this guitar and a pic before they decided to tune down and put on the capo.

However, something's indeed not right here

EDIT: Or it might have been a pic of overdubbing Dreamy Skies?



Edited 2 time(s). Last edit at 2023-10-27 13:57 by DandelionPowderman.

Quote
DandelionPowderman

Quote
liddas
But am I wrong or Andy Watt said in an interview that the guitar that was used for RS blues was an old acoustic with no truss rod and a high action that needed to capoed to make it playable?

C

If we leave the truss rod for a second, though, it could have been this guitar and a pic before they decided to tune down and put on the capo.

However, something's indeed not right here

EDIT: Or it might have been a pic of overdubbing Dreamy Skies?

Don't think it's an overdub session as none of them is wearing headphones


C

Quote
liddas

Quote
DandelionPowderman

Quote
liddas
But am I wrong or Andy Watt said in an interview that the guitar that was used for RS blues was an old acoustic with no truss rod and a high action that needed to capoed to make it playable?

C

If we leave the truss rod for a second, though, it could have been this guitar and a pic before they decided to tune down and put on the capo.

However, something's indeed not right here

EDIT: Or it might have been a pic of overdubbing Dreamy Skies?

Don't think it's an overdub session as none of them is wearing headphones


C

Good point!

By the way, where did that AW interview end up?

C

I like Mick n Keith’s rendition of Muddy Water’s classic Rollin’ Stone from 1950 (in turn based on older song Catfish Blues). They demonstrate their outstanding skill set as live performers of classic acoustic blues with a cool sonic setting by Andrew Watt. But I’m surprised they omit the song’s main call’n response riff that Muddy does after each verse (Oh Lord / Oh Well / Oh Well He’s a). For me that’s the best part of the composition. If they’d worked a bit more on the arrangement it could have become a classic like Love in Vain. Their RS rendition is good but does not bring anything new and is far away from the magic of the version from 1950.

I still have that old CD-ROM from Voodoo Lounge - where you could navigate and visit and search for different rooms and places in a hotel (deep down in the South I suppose). That was cool but very hard work for almost nothing, haha. But in one room, Keith and Ron are playing guitar - Big Bill Broonzy and stuff. Just the two of them, doing the most wonderful weaving on acoustics. Never seen it on youtube and tooo lazy to pull that old CD out - but I do remeber. Those clips are the best I have ever seen. By any, playing the blues. Without words, they just go in and out of different parts like they live in the same body. Fast and sharp. 1994, CD-ROM, computor games, was really something...So I´m not surprised that Keith knows his stuff, even 2023...with his hands, and all...

Quote
DandelionPowderman

Quote
TravelinMan

Quote
DandelionPowderman

Quote
TravelinMan

Quote
DandelionPowderman

Quote
donvis
They should’ve played it a little slower like the record. Very compressed compared to the rest of the record. Mick should’ve said Muddy instead of baby like he said Slim Harpo in Shake Your Hips. And last, but not least, they omitted the third verse. Nevertheless, I enjoyed it.

It's recorded on tape, with only one mic, to sound authentic. How can it be compressed?

Tape compression is a sonic signature of recording to tape, and the amount is definitely controllable.

I've only listened once, and I haven't listened to the rest of the album in comparison though. Nothing weird popped out, but it was laptop speakers so I'm not going to say it's overly compressed or not. But the performance was great.

That's a different kind of compression, that sounds way more organic

donvis might be thinking of the lack of treble and the obvious drop in sound quality compared with the other songs on the album. But that was intentional, as they've told numerous times in the interviews.

It's compression. They could have recorded the mics through compressors, they could have compressed on the console, they could have compressed the tape machine, they could have compressed during mixing and/or mastering. There could even be compression via the format donvis listened on.

Lots of options for compression.

That was my point. Obviously, this was an artistic choice.

You asked how it could be compressed. The answer is a wide variety of ways.

[bsky.app]

Is the version on the regular album also mono because the Japan cd mentioned that it’s a mono recording and not a normal stereo version

Okay, let's go history here. We know how the latest version of "Rolling Stone Blues" goes, but as many have pointed out the song itself is a nice bunch of songs, related loosely by common musical and/or lyrical features ("Catfish Blues", "Deep Blue Sea Blues", "Still A Fool"...). Muddy's "Rollin' Stone" (1950) was based on ideas that had been circulated for years. But let's use it as a blueprint against which to compare all the rest.

Here it is in its whole majestic glory:





Well I wish I was a catfish
Swimmin' in a oh, deep blue sea
I would have all you good lookin' women
Fishin', fishin' after me
Sure 'nough, after me
Sure 'nough, after me
Oh 'nough
Oh 'nough
Sure 'nough

I went to my baby's house
And I sit down oh, on her steps
She said, "Come on in now, Muddy
You know my husband just now left
Sure 'nough, he just now left
Sure 'nough, he just now left
Sure 'nough
Oh well
Oh well"

Well, my mother told my father
Just before hmm, I was born
"I got a boy child's comin', he's gonna be
He's gonna be a "Rollin' Stone"
Sure 'nough, he's a "Rollin' Stone"
Sure 'nough, he's a "Rollin' Stone"
Oh well he's a
Oh well he's a
Oh well he's a"

Well, I feel, yes I feel
Feel that I could lay down oh, time ain't long
I'ma catch the first thing smokin', back
Back down the road I'm goin'
Back down the road I'm goin'
Back down the road I'm goin'
Sure 'nough back
Sure 'nough back


Like many historians has stated the inspiration was based on "Catfish Blues". He starts the song with that metaphor, but adds there two new verses, and the other of them has the title phrase from which a certain band picked up their name.

But things get interesting if we check the early released versions of "Catfish Blues". There are actually two of them, both recorded in 1941, by two cats from the Greenwood area in the Mississippi Delta, and who knew each other and even played together. Tommy McClennan was the more known of the two, and had according to scholars played the tune for years (as some other people, such as Skip James, probably). But it was Robert Petway who recorded it first - a half year earlier than Tommy. It was also his first release. Here it is:





Well, I laid down, down last night
Well, I tried to take my rest
Notion struck me last night, babe
I believe I take a stroll out, out west
Take a stroll out, out west, take a stroll out, out west
Take a stroll out west, take a stroll out west

What if I were a catfish, mama?
I said, swimmin' deep down in deep blue sea
Have these gals now, sweet mama, settin' out
Settin' out hooks for, for me, settin' out hook for, for me
Settin' out hook for, for me, settin' out hook for me
Settin' out hook for me, settin' out hook for me

Well, I went down, yeah, down to the church house, yes
Well, I called on me to pray
Fell on my knees, now mama, I didn't know, Lord
Not a word to, to say, not a word to, to say
Not a word to, not a word to, not a word to say
Not a word to say, not a word to say

[Instrumental Break]
(Play 'em, man, play 'em a long time)

I'm gonna write, write me a letter, baby
I'm gonna write it just to see
See my babe, my baby do she thinkin' of
Little ol' thing on, on me, little ol' thing on, on me
Little ol' thing on, on me, little ol' thing on me
Little ol' thing on me, a little thing on me

If we compare this to Muddy's version, the only resemblance is the rough musical structure - although Petway's song is more uptempo, more dancable, if you like - and the use of the catwish metaphor. Otherwise Robert tells a different tale with different lyrics.

Tommy McClennan recorded the song six months later (he'd been a recording artist for two years by then). But he called it "Deep Blue Sea Blues", and changed the fish metaphor from catfish to bullfrog (could it be that he changed it because the damn Petway had just used it?)[/i]





'I wants to make this one right now'
This 'un, this 'un I got'

I'm g'wan, babe I'm g'wan
An cryin' won't make me stay
'Cause the mo' you cry, now-now, baby
The furth' you drive me away
Furth' you drive me away
I mean drive me away
Fur' you drive me away

Now, I wished
I was a bullfrog
Swimmin' in the
Deep blue sea
Lord, I would have all these
Good lookin' women, now-now-now
Fishin' after me
Fishin' after
I mean after
Sho' nuff after me

Now, I went to
My baby's house
An I set down
On her step
She said, 'Walk on in, now-now, Tom
My husband just now left
My husband just now
I mean just now
Sho' nuff' just now left
Oh Lord, just now left
Oh, jest now left'

Now, ain't none-a-mmm
None-a my bid'ness
Babe, but you know I
Know it ain't right
Stay wit' yo kid-man all day long
An play sick on yo' husband at night
On yo' husband at night
I mean yo' husband at night
Sho' nuff yo' husband at night
Oh Lord, yo' husband
Oh Lord, yo' husband
Oh Lord, yo' husband

'Long time, isn't it'

Now Lord, whoa Lord
Baby, hear me blow the blues
Lord, they got no bottom
Now-now-now, in my last pair-a shoe
In my last pair, sh
In my last pair.


Now, if we compare this to Muddy's "Rollin' Stone', and for many versions since then, this is much more a blueprint for them than Petway's song (there are exceptions, such a 1960 field recording by Paul Oliver, in which Robert Curtis Smith offers his version he calls simply as "Catfish", based mostly on Petway). First of all, Muddy picked up two verses (two and three) from there, the ones he starts his own version (although changing bullfrog back to catfish). The verse about the husband's having left has been one of song's essential features and we have heard many names being asked to come ever since (Tom, Muddy, Jimi... "baby"- damn, Mick!). Secondly, there is the riff there - here played by slide - that seem to be musically a central feature for the versions ever since (and would see some day a development in Jimi's "Voodoo Chile"). The tempo is also pretty close to Muddy's.

Okay. let's leave it here by now. There is more to come, though...

- Doxa



Edited 5 time(s). Last edit at 2023-10-30 13:50 by Doxa.

Quote
liddas
But am I wrong or Andy Watt said in an interview that the guitar that was used for RS blues was an old acoustic with no truss rod and a high action that needed to capoed to make it playable?

C

Well the old Gibson in the above photo has a truss rod ..unless truss rod covers were invented before truss rods were !

[The comments could have meant that the truss rod was seized up I suppose...or it could have just been a made up throw away remark for effect]

Quote
Spud

Quote
liddas
But am I wrong or Andy Watt said in an interview that the guitar that was used for RS blues was an old acoustic with no truss rod and a high action that needed to capoed to make it playable?

C

Well the old Gibson in the above photo has a truss rod ..unless truss rod covers were invented before truss rods were !

[The comments could have meant that the truss rod was seized up I suppose...or it could have just been a made up throw away remark for effect]

Ok, I found the interview, it was in the Andy Watt thread!

AW "I have an acoustic 1930 Gibson L 4 ... it's not an easy guitar to play- It was made before guitars had truss rods, so there was no way to really adjust the action ... We started looking at these two pictures of Robert Johnson ... and we noticed ... that he had a capo ... So we all asked why is there a capo ... We theorized that maybe he turned down the guitar a full step ... and put a capo to bring the guitar back to E so that the strings were looser and could play and bend easier, so Pierre did exactly that ...

C

So that photo is clearly not from the Rolling Stone Blues recording.

Let's go on.

So Muddy liked "Rollin' Stone"/"Catfish Blues" so much that he wrote totally new lyrics on it, and called it "Still A Fool" (sometimes called as "Two Trains Running").

Here is the 1951 original (Little Walter on second guitar, and, interestingly, Leonard Chess on bass drum supporting him there):





Well, now, there's two, there's two trains running
Well, they ain't never, no, going my way
Well, now, one run at midnight and the other one
Running just 'fore day
It's running just 'fore day
It's running just 'fore day
Oh Lord, sure 'nough they is
Oh well

Mm mm, ho ho
Somebody help me, ho, with these blues
Well, now, she's the one I'm loving, she's the one
I do hate to lose
I do hate to lose
I do hate to lose
Oh Lord, sure 'nough I do
Oh well

I been crazy, yes, I been a fool
I been crazy, oh, all of my life
Well I done fell in love with a
With another man's wife
With another man's wife
With another man's wife
Oh Lord, sure 'nough I done
Oh well

Lord, she's so long and tall
Till she weep like a willow tree
Well, now, they say she's no good, but she's all right
She's all right with me
She's all right, she's all right
She's all right, she's all right

It is a question of semantics and that of definition if they are different songs or same songs with different lyrics. Funnily, when Jimi Hendrix played a song he called "Catfish Blues" he used the verses from both of "Rollin' Stone" and "Still A Fool" there. (The thumb rule seems to be: if one uses the verse including the 'Rolling' Stone' phrase, it is "Rollin' Stone", otherwise "Catfish Blues")

But whatever, this is the version we Stones fans know very well. When Keith says that they never played "Rollin' Stone" before, but he knows the song upside down, there is a truth there. If one is a guitar player, and knows "Still a Fool", one knows "Rollin' Stone" as well. There never been any official releases, but some bootleg gems.

The most classical of them, no doubt, is the one deriving from BEGGARS BANQUET sessions.





How cool it that, huh? The way Keith nails the riff, Brian adds his slide, Mick interprets the vocals, plus Charlie and Bill....

But the live version from 1995 ain't bad either. This dudes know their Muddy, or what you think (Keith really knows this riff!):





Mick seemingly has loved the tune. Here he is with The Red Devils doing his own version (1992):





Keith too. Here he is nailing the riff with the great Hubert Sumlin - and this actually is the only Stones-related official release of the song (2005) - before "Rolling Stone Blues", that is:





- Doxa



Edited 6 time(s). Last edit at 2023-10-30 13:56 by Doxa.

Quote
Doxa
Let's go on.

So Muddy liked "Rollin' Stone"/"Catfish Blues" so much that he wrote totally new lyrics on it, and called it "Still A Fool" (sometimes called as "Two Trains Running").

Here is the 1951 original (Little Walter on second guitar, and, interestingly, Leonard Chess on bass drum supporting him there):





Well, now, there's two, there's two trains running
Well, they ain't never, no, going my way
Well, now, one run at midnight and the other one
Running just 'fore day
It's running just 'fore day
It's running just 'fore day
Oh Lord, sure 'nough they is
Oh well

Mm mm, ho ho
Somebody help me, ho, with these blues
Well, now, she's the one I'm loving, she's the one
I do hate to lose
I do hate to lose
I do hate to lose
Oh Lord, sure 'nough I do
Oh well

I been crazy, yes, I been a fool
I been crazy, oh, all of my life
Well I done fell in love with a
With another man's wife
With another man's wife
With another man's wife
Oh Lord, sure 'nough I done
Oh well

Lord, she's so long and tall
Till she weep like a willow tree
Well, now, they say she's no good, but she's all right
She's all right with me
She's all right, she's all right
She's all right, she's all right

It is a question of semantics and that of definition if they are different songs or same songs with different lyrics. Funnily, when Jimi Hendrix played a song he called "Catfish Blues" he used the verses from both of "Rollin' Stone" and "Still A Fool" there. (The thumb rule seems to be: if one uses the verse including the 'Rolling' Stone' phrase, it is "Rollin' Stone", otherwise "Catfish Blues")

But whatever, this is the version we Stones fans know very well. When Keith says that they never played "Rollin' Stone" before, but he knows the song upside down, there is a truth there. If one is a guitar player, and knows "Still a Fool", one knows "Rollin' Stone" as well. There never been any official releases, but some bootleg gems.

The most classical of them, no doubt, is the one deriving from BEGGARS BANQUET sessions.





How cool it that, huh? The way Keith nails the riff, Brian adds his slide, Mick interprets the vocals, plus Charlie and Bill....

But the live version from 1995 ain't bad either. This dudes know their Muddy, or what you think (Keith really knows this riff!):





Mick seemingly has loved the tune. Here he is with The Red Devils doing his own version (1992):





Keith too. Here he is nailing the riff with the great Hubert Sumlin - and this actually is the only Stones-related official release of the song (2005) - before "Rolling Stone Blues", that is:





- Doxa

I didn't exactly follow the thread, but since you mentioned "Catfish Blues" and Hendrix, I found this "old friend" Mick T with Hendrix's bass player Noel Redding. What shell we do with the drunken Taylor?








Edited 1 time(s). Last edit at 2023-10-30 14:24 by TheflyingDutchman.

Quote
TheflyingDutchman

Quote
Doxa
Let's go on.

So Muddy liked "Rollin' Stone"/"Catfish Blues" so much that he wrote totally new lyrics on it, and called it "Still A Fool" (sometimes called as "Two Trains Running").

Here is the 1951 original (Little Walter on second guitar, and, interestingly, Leonard Chess on bass drum supporting him there):





Well, now, there's two, there's two trains running
Well, they ain't never, no, going my way
Well, now, one run at midnight and the other one
Running just 'fore day
It's running just 'fore day
It's running just 'fore day
Oh Lord, sure 'nough they is
Oh well

Mm mm, ho ho
Somebody help me, ho, with these blues
Well, now, she's the one I'm loving, she's the one
I do hate to lose
I do hate to lose
I do hate to lose
Oh Lord, sure 'nough I do
Oh well

I been crazy, yes, I been a fool
I been crazy, oh, all of my life
Well I done fell in love with a
With another man's wife
With another man's wife
With another man's wife
Oh Lord, sure 'nough I done
Oh well

Lord, she's so long and tall
Till she weep like a willow tree
Well, now, they say she's no good, but she's all right
She's all right with me
She's all right, she's all right
She's all right, she's all right

It is a question of semantics and that of definition if they are different songs or same songs with different lyrics. Funnily, when Jimi Hendrix played a song he called "Catfish Blues" he used the verses from both of "Rollin' Stone" and "Still A Fool" there. (The thumb rule seems to be: if one uses the verse including the 'Rolling' Stone' phrase, it is "Rollin' Stone", otherwise "Catfish Blues")

But whatever, this is the version we Stones fans know very well. When Keith says that they never played "Rollin' Stone" before, but he knows the song upside down, there is a truth there. If one is a guitar player, and knows "Still a Fool", one knows "Rollin' Stone" as well. There never been any official releases, but some bootleg gems.

The most classical of them, no doubt, is the one deriving from BEGGARS BANQUET sessions.





How cool it that, huh? The way Keith nails the riff, Brian adds his slide, Mick interprets the vocals, plus Charlie and Bill....

But the live version from 1995 ain't bad either. This dudes know their Muddy, or what you think (Keith really knows this riff!):





Mick seemingly has loved the tune. Here he is with The Red Devils doing his own version (1992):





Keith too. Here he is nailing the riff with the great Hubert Sumlin - and this actually is the only Stones-related official release of the song (2005) - before "Rolling Stone Blues", that is:





- Doxa

I didn't exactly follow the thread, but since you mentioned "Catfish Blues" and Hendrix, I found this "old friend" Mick T with Hendrix's bass player Noel Redding. What shell we do with the drunken Taylor?

I think Redding was drunk and only played on that song…