<<In the first Philadelphia show of '72 (7/20/72), he played both solos with a slide instead of using a slide on just the first as he normally did in '72. Anybody else notice this?>>

Not before you mentioned it. Thanks for pointing that out, TD_07.

<<BTW, that Philadelphia 7/20/72 show is awesome>>

It sure is!

Ya Ya's

<...i dunno if it's the best version but it's pretty damn good...>

I LOVE that! Thanks! He makes it look so easy. No need to run around when you got THAT going on! The camera break on this first (slide) solo is a travesty.

1972 are the best versions for me

Tough question: "Hey, look at your fingers. Which one's your favorite?"

Philly 1972 for virtuosity
Oakland 1969 for the tender touch
San Diego 1969 for stellar slide work
Malmö 1970 for the deep blues (and NO slide here)
NYC 1972 for perfect balance
Baltimore 1969 - ditto

I don't like the '78 versions that much.
Fresh & Interesting for sure, but too much parody at work, IMO

But the most underrated versions are the ones from 1970.
Taylor seems to have changed his approach for every new tour.
And ditching the slide produced some fine new playing.



Edited 2 time(s). Last edit at 2008-04-28 11:00 by Greenblues.

Robert Johnson - Love In Vain - 20 June 1937 Dallas Texas




First know use of lyrics are from
Blind Lemon Jefferson - Dry Southern Blues 1926



One train's at the depot with the red and blue lights behind
One train's at the depot with the red and blue lights behind
Well, the blue light's the blues, the red light's the worried mind

Johnson - Love In Vain is structured around Leroy Carr's
When The Sun Goes Down 1935 even down to the wordless/hummed third verse






...........................Keith Richards

Rolling Stones - Love In Vain 24-27 March 1969 Olympic Sound Studio London



ROCKMAN

My fav version is Anaheim LA 78 second show....thats so heartbreaking pure soul....Jagger in full force.....ronnie shines...and Keith delivers great backbone...charlie, Mac and Ian...its the best version for me

Oakland '69 from 'Liv'R Than You'll Ever Be.'

To give some idea of the power of that particular rendition, consider that Mick himself told the crowd following the song, 'Got right carried away with it!'

Either YaYa's or Stripped. Different versions and it's hard to tell. Also the Leeds Lungs version is great.

JumpingKentFlash

For me it's the Ya Yas version

Quote
Tumblin_Dice_07
anything from '69 through '73 beats all the versions since then in my opinion. The Stripped version is nice though. The Ya Ya's version is excellent of course and it always great in '72/'73 but my absolute favorite is probably New York 7/26/72. I know many people have already mentioned this one but it's just so good.

Then in '72 and Australia '73, he played the first solo with a slide and the second without. I do know of at least one exception though. In the first Philadelphia show of '72 (7/20/72), he played both solos with a slide instead of using a slide on just the first as he normally did in '72. Anybody else notice this?

He played slide for both solos a number of times in '72. Toronto 2d show is another example. Following the tour through '72 reveals a guitarist who lets the night, the mood, etc. determine his playing on most songs. However, even with such a high standard throughout the tour, 7/26/72 is exceptional and remains my favorite.

Quote
rooster
My fav version is Anaheim LA 78 second show....thats so heartbreaking pure soul....Jagger in full force.....ronnie shines...and Keith delivers great backbone...charlie, Mac and Ian...its the best version for me

Indeed my favorites are the versions from '78.
Funny, my version of that show is missing LIV.
However, the one from the 23rd is my favorite, and Nicky Hopkins
gets a solo, too.

My favorite also is from 78. those versions are so intense.

1. 72
2. 71
3. 78
4. 69

Johnson's Love In Vain is playing when Keith first
sits down for the Louis Vuitton photo shoooooooooooooot



ROCKMAN

Quote
David Neal
mine was march 13/71...get your leed lungs out....love in vain is an amazing recording from that show...

i'm with this one.

ciao

bardo

---------------------------------------------------------------------------------------------
..five strings, three notes, two fingers, one @#$%&..

take a look at my RS tribute band:
[www.stickyfingers.it]

[www.facebook.com]

1. 1972 Mick's birthday
2. Let It Bleed
3. Garden State 1978.
4. Leeds

Quote
Smokey

He played slide for both solos a number of times in '72. Toronto 2d show is another example. Following the tour through '72 reveals a guitarist who lets the night, the mood, etc. determine his playing on most songs. However, even with such a high standard throughout the tour, 7/26/72 is exceptional and remains my favorite.

Cool. That particular Philly performance was the only one I noticed but I'll have to take a listen to that 2nd Toronto show again. It's a good performance and a nice audience recording when compared to the recordings from the rest of the tour.

Mick Taylor's 1972 versions are the best, by far. The version from " Ladies and Gentlemen, The Rolling Stones" is awesome! ( MSG). His versions are soulful and fluid, just perfect by my standards.

1. Original by Robert Johnson
2. Ya Yas
3. Sydney 1973

JR

Quote
vudicus
For me the ya-ya's version is hard to beat, however....

My favorite recent version is from the Staples Centre, Los Angeles, Halloween 2002. Ronnie plays the most amazing lap steel solo ever!
Everything about this solo is so perfect. The tone is to die for!!!

Keith was so impressed that he walked up to him, peered over his shoulder and gave him a big kiss. Ronnie then span round on his stool like a very happy child!

There is both audio and dvd boots of this in circulation and I cannot recommend these enough. The dvd is ever so slightly out of sync but it's not too bad.

I was at that show and remember my jaw being in a dropped position from the beginning of that solo until the end of the song...thanks for reminding me!

... does urban steel have that up?

[thepowergoats.com]

They are all great!

The Taylor versions had all wonderful solos. You all know that I usually prefer Ronnie's style of playing, but quite frankly, this song belongs to MT (even the Faces version "stinks"). On the other side I prefer Keith's work so much more on the 78 version that for this reason alone this it my fav version.

Seen it live only once, at the Olympiahalle in 2003. Did not impress me on the spot (to blame the bad acoustics), but since I got the boot I can say it truly was a great version.

The guitar parts I love them all. From this point of view the Stripped take is an absolute gem. Wonderful. Much better than the LIB original.

There is one parte that I particularly hate, though ... the point when it goes from G7 to C: I always fu*k it up when I play it!!! Must be something psychological!!! It's easy as hell, but no way I can do it well.

C

Philadelphia 1972 (on disc) & Paris 2003 (great surprise in Bercy).

<From this point of view the Stripped take is an absolute gem. Wonderful. Much better than the LIB original.>

I think the Stripped-version is great, but I prefer the guitar work on the LIB-version. Both are great, maybe the best recorded versions, because the song is put more in focus than on the guitar-dominated live versions.

1. liv La 78
2.liv Greensboro (ace!) 78 its the ending part that for me makes the liv 78 versions the most intense

Can anyone transcript what Keith and Ronnie saiys when they re-start Love in Vain in Stripped 1996 album?

TIA

1. Studio version (in the right key for Mick + the sound of the acoustic and the slide - beautiful!)
2. Roundhouse 1971
3. Texas 1978
4. Baltimore 1969

Quote
rogerriffin
Can anyone transcript what Keith and Ronnie saiys when they re-start Love in Vain in Stripped 1996 album?

TIA

I *think* Keith is saying that he didn’t get the right arpeggio, but he (purposefully?) butchers the word. Some kind of inside joke with Ronnie, I’m guessing.

Quote
MelBelli

Quote
rogerriffin
Can anyone transcript what Keith and Ronnie saiys when they re-start Love in Vain in Stripped 1996 album?

TIA

I *think* Keith is saying that he didn’t get the right arpeggio, but he (purposefully?) butchers the word. Some kind of inside joke with Ronnie, I’m guessing.

Their usual ridiculousness, Keith being a bit over the top, Ronnie being the constant YES I LAUGH AT ALL YER JOKES! guy.

The STRIPPED version is nice but more so because of Keith and Ronnie's playing, especially when the whole band kicks in. Mick's singing is missing something in that entire bit before they kick in, it's a bit 'old man watching the world from the chair' but as the song continues - maybe we're spoilt from earlier versions - he doesn't have the same projection that other live versions have. Maybe it's because he's not singing to someone, because it's awfully affected.