While I agree to some extent - what are the great EC songs written in his career? or the last 15 yrs? Some - but not many (no compare to the Stones output/quality) - In interviews he indicates that his producers ID songs for his albums and (very surprisingly to me) He'll lay down multiple takes on recorded solos - then let the producer chop them together for the final. Compare that to M&
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Quotenormanplace QuoteDandelionPowderman Quotemstmst How many of you have noticed that the opening riff to this is also exactly the same as the first lead by Keith on Carol on 'Ya Yas'? Only difference is down The Road is in a shuffle beat and Carol is straight four. Can't say I agree with you there. DTRA is much more standard rockabilly than the the trademark Berry-lick that Ke
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How many of you have noticed that the opening riff to this is also exactly the same as the first lead by Keith on Carol on 'Ya Yas'? Only difference is down The Road is in a shuffle beat and Carol is straight four.
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A lot of angles on this question, based on the discussion above. I cant believe that no one pegged 'We Love You'. To me the most sonically, harmonically and structurally adventurous piece they've recorded. Multiple keys, modulations, instrumentation (mellotron part), tight harmonies - structure that follows no normal pop conventions. This one is complex across all dimensions.
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The most mucisally adventurous moment in their history
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Quoteskipstone I take it you mean the simplicity of Brown Sugar as opposed to the 'busy' way Keith has played it live for eons. Although I like the live version of IORR better than the LP version in regards to the key it's in, it doesn't make it a better song ha ha. Are you saying ADTL is in a different key too? Never checked on key - but thought maybe he switched tuni
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Also prefer the original. Learned the original way back in the day (72-73) playing standard tuning - can get a good approximation of the sound and riff in standard with no problem. I never understood the logic of the riff, (just that it worked) until lately - the opening chord fragment is G flatted 7 to G6 going to D. Might be obvious, but I never connected it. My guess is that he moved the t
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I play in a weekend band today with Andy Hummel (Original Big Star bass player - 1st two albums). Still an excellent player (guitar / keyboards / bass). Although the mythology is about Alex, Andy remains a committed musician - and a lot of fun to play with. Andy wrote some lyrics and music and all contributed to production of the first two records - the third was really Alex with Jim Dickinson.
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Ronnie today = Brian Jones _ History tells us that if they want to play they'll do what they have to
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QuoteHis Majesty Quotemstmst Brian clearly plays all of the elegant bottleneck slide work on Beggars. I didn't know this until I saw and heard RNR Circus. His touch on slide is evident on expectations and Salt. Also, it is clear that the slide on LIB has a very different (heavier) touch. Brian only played guitar on No Expectations, the rest is by Keith. Suggest that you listen to Salt on
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Brian clearly plays all of the elegant bottleneck slide work on Beggars. I didn't know this until I saw and heard RNR Circus. His touch on slide is evident on expectations and Salt. Also, it is clear that the slide on LIB has a very different (heavier) touch.
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Check out Round N Round on the TAMI show, where the early Stones followed James Brown - and pulled themselves together to summon up enough gusto to follow JB without being blown off the stage. Keith does a good windmill on that one.
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As a live statement nothing I've heard lately comes close to 'I Can Feel The Fire' at Kilburn - 1974.
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QuoteT&A Quote71Tele << A Grateful Dead staple back in the day. >> The Dead should be brought up on charges for abuse to Chuck Berry songs. 1/2 tempo version of Around & Around makes me want to vomit. F'n hippies. kinda funny, cos Chuck Berry loves 'em. saw chuck open for the GD in '95 - he had some kind words for dem hippies... You might want to ch
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Quotewith sssoul >> This show is now available on ITunes << but but but you want the DVD footage that Wooden Records released too - you really do, even if you already have the bootleg. the newly-unearthed footage is a joy but but but of course I do!
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This show is now available on ITunes (yeah, I know, for money), I'll say as a live Stones document, I can't think of a more loose and live moment in the Stones live catalog - I can feel the Fire and Sure The One just capture the Stones vibe better than any of the official actual Stones releases. I got this the same day I got the Ya Yas Delux, and good as that is, I have listened to this
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Clearly a classic - amazing how many alt country / Americana players have covered. My personal preference would have been a more raw, electrified, charged up version of this, which would have been less straight, but more stonsey - maybe like the treatment of Country Honk morphing into HTW.
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I find things to like here - but as a general comment - the performance itself simply does not GROOVE! Perhaps the single most consistent quality of their great performances (studio and live) is the total sense of rhythmic flow and groove. Even on totally marginal songs - the powerful rhythmic groove pulls them through. In this case, they plow through the material and seem jumpy and off-cente
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I was at the KC show - where they did play it - still pretty rough but really enjoyed it. We recorded this show (snuck a cassette player sewn into a pillow) at Arrowhead stadium (lost it long ago - but after many hours of enjoyment). During this song, Keiths guitar cord slipped out of the jack and he had to take a couple of bars to get plugged back in. Played a tele on this - as I recall one
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Let's don't leave out 'No Use In Crying' - all three - drop dead georgous. Also like M&K on the live 81 'Time Is On My Side' - with Keith going all around the lead line in perfect country blues counterpoint to the sould classic - gives the song a totally new twist.
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The only guy to use more strings on a bass than he does on a guitar - go figure
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I'll have to disagree with those that indicated that the Meters opened in Memphis - the Stones came on after J Geils (with a brief set by Furry Lewis in-between). No Meters. Geils did a smokin set - and many later accused the Stones of taking an inordinantly long time to come out, to let things cool down. I was also at KC - and the Meters did open there - excellent set by them (along wit
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Great read so far - My take: Beatles opened the door and touched a wider audience - the Stones appeal is to those off to the left - more ulterior, darker, interesting. I'm a Stones guy (that's why I'm here) - but respect that the Beatles occupy the space they do in pop culture that the Stones never could. However ... If I look back to 69-73 (and I hate to admit this), the two
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Quoteskipstone Why SOL sucks: The lyrics sound like a rich man's pity party. There's not one believable lyric in the whole song. On top of the lyrics just plain out suck. Musically it's a total yawn. It's just Bland 101. It's not even worthy of being a C or D side. Anyway You Look At It is just similar. It's just mush. Have to agree - my take on first listen
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TSMR - very interesting work - prticularly like the 'could have been' version with We Love You, COTM and Dandilion. SOL - agree this is totally insincere - I don't get why they would bother at this stage of their career with something that is clearly meaningless to them DW - redeemed by ST
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I thought I read that Citidel was played live one time. Anyone have a clue on that??
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Couldn't agree more - magical, and really not what most people would think of as characteristic prototypical Stones
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QuoteKoen Lots of old stuff here, are there more recent bands? Chesterfield Kings have been around the block - but they have a knock-out current single called 'Up Down' that is as Stonesy as you can get.
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Monkey Man, BTMMR, Dirty Work, and fav - We Love You - takes the song to another level. Like 200 Man, it is really more than a bridge, rather like a second movement.
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lord of the highway - joe ely early Pretty Things - Rosilyn? Stephen Bruten - - Note that David Grissom (in the Ely band) is a master of KR style rhythms Alejandro Escoveto - early stuff
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