I really love this song! It somehow chokes me up every time I hear it. It is way deeper than the simple pop tune at first listen. This is a fantastic version here with his 2 daughters.
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I hope this doesn't offend anyone (its tinkering with perfection), but I ran this through some mastering software to bring out the guitars, add reverb, and give it some punch.
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I know they just covered it, but Harlem shuffle shifts key
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My pub rock band plays Don't stop, harlem suffle, SMU and HTW. SMU and HTW are real crowd pleasers. Sometimes rain fall down - for the dance groove.
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Interestingly, some guitarists use an old coin as a guitar pick to get a very full on attack (Brian May for one I think). This could be an indication that Bill is preparing to rejoin his old pals.
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Thanks very much for posting this. Yes, the guitars are great, and it swings but the keyboards piss me off royally in this, playing over the top of all the gaps that make this such a dynamic song. Why can't he shut up and let the guitars take the stage. Why so loud in the mix? Is it some lack of trust that the guitars might screw up that the keys have to be playing something all the ti
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Any ideas on how good an investment rare vinyl records are likely to be, in say, 20 years? Is it possible that they will become just old novelties that get pulled out for a laugh?. My guess is that it will be linked to whether people are still interested in the music on the individual discs then magnified by the rarity (how many were originally pressed). If people are appreciating the Stone
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Recently got a DVD SACD sony player at a very good price. Excellent sound quality with my Stones ABKCO series, and for 5.1 SACd's it is a different experience - listening to 5.1 Tommy for instance. It has entirely different technology from general CD, so playing a SACD hybrid on a standard player is no indication - you're playing a remastered normal CD track. Vinyl can't deliv
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Lidda has point 6. when you are whacked out on heavy trank for most hours every day, and everyone else around you is, "decision-making" and the big picture are not on a par with, say those made by a military commander.
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Why not track down a Gibson melody maker which is probably a similar price - its a single P90 pickup, but sounds fantastic. Epi humbuckers are usually needing to be switched out.
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Roadkill Girlybum
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The version on four flicks shows the fingerboard really clearly, but I don't have means of grabbing this, sorry.
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I asked this a while back here - the reply is it's standard tuning, with a capo on the 7th fret. Riffing around the E, A, D chords. Try it - it only sounds right capod this way. cheers
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Well,Ragged Glory is one of my top recordings ever, so I've gotta raise it (not a compilation of course, but it's classic Crazy Horse). The tracks from this on Weld are knockouts too. And what, no Greendale mention yet? Don't the FBI shoot Sun Green's pussycat or something.
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Dont stop is in open g capoed on 2nd fret - on at least one guitar anyway.
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Oh well, I'm also a big Ramones fan, and their fan sites are stuggling a bit for new content "between tours" these days. Things could be worse, people.
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You might want to try a Gibson melody maker reissue, which is cheap, but the real thing. I'm very happy with mine. Same guitar style, but even lighter body, with set neck and real p90.
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I once brought an electric guitar on a long plane trip as hand luggage by detaching the neck - not that big a hassle.
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You are dead right, Joker! Good question too. Once you have got past forming chords and scales, the right hand is doing all the main work - attacking the strings, all the funky stuff - it just feels right. Of course, once you hit a power chord, that hand is freed up to hand out a pick, take a drag of a fag, whack your 2nd guitarist, none of which feel right with your left hand.
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Got a few, all played regularly Fender 78 sunburst telecaster Epiphone casino Gibson melody maker Cort Jim Triggs 2 hollowbody K Yairi DY62c acoustic Antoria archtop (early 60s) Basses Rickenbacker 4001 1972 model Maton fyrbyrd (only 30 were made, from early 70s) Fender precision lyte Warwick corvette Ibanez x series explorer Now what about favourite stompbox??? - mine's
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It's kind of a bigger question - Keith has dreamed up out of thin air some of the greatest guitar riffs you will hear, and crafted them in to songs. Its the "invention' that counts. That is the unique guitar ability that your hired gun experts can't get near. Coming up with the satisfaction riff was technically easy, but I haven't heard any other guitarist come up with a
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I play it on the 4th fret barre with hammerons , which seems to work OK, but play lots of licks around the chords
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General chords are: Intro is B E Then G#m to Am Change halfway through to Am to A#m
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Totally agree, and they could do it on the smaller shows. The big shows have everything synced up so as to deliver the spectacle so it's never going to happen. As an aside, I saw Fleetwood Mac here in wellington New Zealand in the late 70s, and they were caught out singing entirely to backing tapes - because Lindsay Buckingham had a major argument on stage with Stevie Nicks, and he threw
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My view is that for a short couple of years in those live shows, the perfect blend of dangerous attitude, guitar tone, attacking rhythm and melody came together in a way never seen before or since. Amazing - but will we ever hear anything like it again? That's why its so great to keep dipping in to the tracks from this era posted on this site - its like the goose that lays a golden egg e
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IORR does seem alot more international (not suprising really), shall we say, than Shidoobee.
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The whole of Lou Reed's Berlin must take the cake, but Sad Song from this has to be heard to be believed - Lou wandering around the house checking out where she took her life "her castle, kids and home.." - it's hard to believe how it could get written.
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Just wondering if this is purely a figure of speech, or more literal, about rocks actually roll along. There is that incident in Indiana Jones for example, when a big rock rolls down a tunnel. is that what it means? thanks.
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Absolutely, in fact I'm sure I've read that Keith talked about how its what you don't play, and leaving those gaps, that makes the difference - it takes years for guitarists to work this out. In the opening riffs of Can't you hear me knocking its the gaps/stops that only Keith could come up with.
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Would anyone have an accurate tab for this - I assume it's in open g tuning capo'd. Thanks
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