Well, this is what I found, don't know if it's accurate though. The source is here: TAB BY: DON CZARSKI E-MAIL: guitarzan7@hotmail.com BLACK LIMOUSINE ROLLING STONES sl. INTRO: C G D / C G
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Starting on the IV (I hope I explain it well): Most blues songs are build around three chords: numbered I, IV and V. The key of the song is numbered I. Like Black Limousine is in the key of G, I think, so the chord G is #1. This makes A number II, B is #III, C is IV and D is V. A blues pattern in E for example has E, A and B. A standard 12-bar blues starts of with number I, then goes t
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Hot damn and bless my freezing toes! I forgot about the half bar before the "well now look at your face now" phrase. But during the instrumental parts they skip this half bar don't they?
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You make me curious! (BTW, Black Limousine is one of my top 10 of all time favourite Stones songs. Or at least it is a lot of the time, because those top 10s tend to change by the day...)
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I think Black Limousine is a 16-bar blues?
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And me, I don't complain about Back of my Hand either. At least, I think I'm not complaining. I do like the song, but the instrumental parts are the real treat and on stage I would have preferred Mick to play harmonica instead of guitar. This still ain't no complaint, but just a matter of taste. And tastes do tend to differ and even change over time. So no big deal to discuss too
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In Amsterdam, at the Herengracht 566 the Stones have a lot of corporations to book the royalties in, like Promotone, Promotour, Promopub, Promogracht, Promolane, Promogroup and Promostraat. But also Musidor, Musifilm en Eder. Management of those companies are Arend van der Marel and Prinz Rupprecht Ludwig Ferdinand Prinz zu Loewenstein-Wertheim-Freudenberg. The money does not stay in those co
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Thank you, sister Sssoul. Yeah, Mick is showing his craftsmanship on "That's how strong my love is" and yes, he is still the best front man in RnR. But I was indeed referring to the blues and the blues only (THSMLI is soul in my opinion, not blues). I do not know if "Sway" can be considered Blues, but the matter of the fact is that I am missing something in those songs
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Mick and blues: a perfect combination of course. But that being said I like Mick's interpretation of the blues in the 60s and early 70s better than his latter days efforts. This is really amazing, because you'd expect life's experience to lead to more blues. Mick in his 20s and young 30s sang the blues more hauntingly yet with a lot of sex appeal than some of the old masters. Now
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New York City, The Armory. 'International rock awards. May 31 1989. (edit) Oops, someone beat me to answering it.
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I think every video with Charlie flashing his semi-embarrassed smile is worth watching. (and there's quite a few of them!)
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The discussion as quoted by With Sssoul between Mick, Charlie and Bill is priceless. I love Charlies final remark. That's exactly how I feel about some of Keith' (slow) songs. Like a river they start meandering around unpredictable bends. Either you let yourself flow with the current to find out it had been a wonderful ride, or you are desperately trying to figure out which way the so
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Another example that there is no indication that there is a positive correlation between the financial benefits of producing art and the artistic quality of the product involved. (just in light of this discussion: )
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>>>.. and as i stated before, that notion really sucks. Thank you for stating it this clearly. And like you, I only find this an interesting line of thought. Let's not confuse this with any private opinion I might have on the subject. It's just that a debate like this helps to unveil the ethics of bootlegging. In my country the general idea is that artists should be
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>>>>ah: the Bowie Principle. it's strange for me to think of recorded music as just a flash in the pan, or as a mere advertising gimmick to promote concerts. i like recorded music, and think it's a brilliant invention. but maybe you're right. in which case we can stop wondering where all the great albums have gone ... oh well, it was a gas while it lasted As I s
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Well of course I agree that the fact that a merchand has to protect himself is no justification for theft in case his protection fails to do what it should. And this is the analogy with music. The confusing part of it is, in my humble opinion, the remark I made before about the utility curve of an artist with reaching a big audience on the one hand and trying to make money on the other. It
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>>>>try applying that "thinking" to other areas That's what I did. Think about how much money a merchand these days has to pay for protecting his wares? At least here in the Netherlands you don't see any retail shops without thorough protection. And everytime the crooks find new ways to break through the windows, the retailer has to invest in new devices to kee
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Well, I did never spend any time as an artists girlfriend, so maybe I do not have any right to speak out on this subject. But, the point I was trying to make is that there does not seem to be any positive correlation between the creative output of an artist and the financial revenues he's earning with them. That is a rather macro economic approach I guess, and if there ever was a Mrs. Va
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With Sssoul wrote: >>>>i guess you didn't notice what he was doing during Streets of Love at Vienna last year Yeah, you're right. I can not judge about things happening at shows I did not attend. Sorry about that. What would Keith do when a certain someone would decide it's a great idea to add Emotional Rescue to the setlist?
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>>>>Niky Hopkins on piano + Keith on bass is something different than Chuck Leavell on keyboard + Darryl Jones on bass, isn't it?? Agreed. But as it is rather hard to get Nicky to play with them these days as it is difficult to have Keith play both the guitar solo and the bass at the same time, I guess it is the best they can do to get close to the original.
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Wild Slivovitz wrote: >>>>That arrangement was boring and was driven mainly by not stones members (Chuck and Darryl). Isn't the original version of SftD mainly driven by Piano and Bass (with Keith on bass BTW)? I have problems with the suggestion Keith would protest against the arrangement of any song. I think he is more professional than that. I just think he likes to ex
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CC wrote: >>>>do you buy used books? Well, that's a good example. Are we stealing from an author when we are buying used books? Or lending them in a library? I do it all the time and that's how I discovered great writers and maybe more important, that's the way these writers reached me and managed to influence my way of thinking or my knowledge or whatever messa
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with sssoul Wrote: ------------------------------------------------------- > >> affordable/portable technology that allows > people to create > nearly-instant and nearly-lossless reproductions > But in how far is a bootleg recording of a concert (no matter sound or movie) ever a nearly-lossless reproduction of the show? Ceci n'est pas une Stones-show.
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I think this discussion is one example of the big dillema any artist is facing. On one hand he/she wants to reach an audience as big as possible and on the other hand the artist wants to make money. Once you charge money you take the risk you do not reach everyone you would like and once you give away your art for free you don't make any money. I think most artists prefer a combination of bo
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Nice they touched the subject of Keith shooting a guitar in the interview. Another legend for the big audience to appreciate.
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Ronnie did a splendid solo on this particular song on this particular evening I think. Maybe the audience was just in awe? Here a clip to judge what European fans can be like:
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For heaven's sake, if they wanted a Ronnie classic the least they could have come up with should have been "It's only rock 'n roll".
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bump!
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with sssoul Wrote: ------------------------------------------------------- > then in 81 the giant venues a] required more than > one Stone being visually interesting in a Big Way Hahaha, never thought you of all people would come up with the "suggestion" that Keith might not have been visually interesting in a Big Way before 81. (Just kidding of course and before you
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(never thought this board would turn into a needlework forum but Isn't this the ancient form of crochet Yoko is displaying here instead of knitting?
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