QuoteRobertJohnson QuoteMathijs QuoteStonedRambler Quotehockenheim95 Keith is VERY loud in the mix I honestly don't get the fuzz about the 2002-2003 tour. Keith is more focused on his moves than on his playing and Ronnie seems drunk and unfocused as well. Mick and Charlie deliver though - as always. Well, that's it really. Mick and Charlie delivering great setlists in small ve
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QuoteStonedRambler Quotehockenheim95 Keith is VERY loud in the mix I honestly don't get the fuzz about the 2002-2003 tour. Keith is more focused on his moves than on his playing and Ronnie seems drunk and unfocused as well. Mick and Charlie deliver though - as always. Well, that's it really. Mick and Charlie delivering great setlists in small venues. It was the last breath of
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QuoteAntoineParis Unfornetly still rights problems (or prices problems) on this Paris 76 Affair. The Stones only own the TV special from Paris but not the master of all 4 shows (What a shame, Ive seen the four shows and this is just amazing believe me) The issue is that they could not reach an agreement on royalties and credits with the estate of original Aux Abattoir producer Fred
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Fantastic track! Amazing! Mathijs
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QuoteTheflyingDutchman Quoterocker1 One note about Taylor’s “rhythm” playing in ‘72 is how cool he sounds on Bye Bye Johnny. I’m not sure how to characterize that playing exactly, but it seems more rhythm than lead to me, and I think it’s superb “rhythm” playing. I think he “drives” the song as much as Keith does. Agreed.Gimme Shelter (Philly'72) is also a great example, during the verse
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QuoteRollingFreak Quoteskytrench I think Taylor is somewhat guilty of that on the Wembley solos, I prefer the slower paced YCAGWYW solo (infusing his Winter parts) or the more 'to the point' solos of Tumbling Dice from Bruxelles. Yeah, to me the YCAGWYW solo is peak Taylor. Could listen to that playing all day. The entire Brussels Affair (the bootleg with Wembley recordings) is a ma
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QuoteTaylor1 QuoteMathijs QuoteTaylor1 QuoteMathijs QuoteTravelinMan Give me a couple songs to check out and I'm sure I could knock them out a lot quicker than it took me any of Hendrix's ballads or Taylor's Brussels Gimme Shelter solos at full speed. Try Keith's part of Beast of Burden, note for note. Or Ronnie's solos on Black Limo, Neighbours, Shattered or 20 Flight
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QuoteTaylor1 QuoteMathijs QuoteTravelinMan Give me a couple songs to check out and I'm sure I could knock them out a lot quicker than it took me any of Hendrix's ballads or Taylor's Brussels Gimme Shelter solos at full speed. Try Keith's part of Beast of Burden, note for note. Or Ronnie's solos on Black Limo, Neighbours, Shattered or 20 Flight Rock, all from Hampton.
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QuoteTravelinMan Give me a couple songs to check out and I'm sure I could knock them out a lot quicker than it took me any of Hendrix's ballads or Taylor's Brussels Gimme Shelter solos at full speed. Try Keith's part of Beast of Burden, note for note. Or Ronnie's solos on Black Limo, Neighbours, Shattered or 20 Flight Rock, all from Hampton. Mathijs
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QuoteTheflyingDutchman They are better after or at the end of a tour because they have more routine. Clean or on Cocaine and drunk. The way that Keith, Rom Wood or Taylor play is not technically demanding. First, try to play like Richards and Wood on the 1978 and 1981 tour and you'll find out it is much more technically challenging then expected. They play inventive lines, at quite a h
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QuoteTaylor1 Personally , I hear nothing wrong with his playing on those 50 and counting shows, even if it’s not 1972-1973 playing. Well, check out his totally failed attempt to play Silver Train, or the various Sway solo's that were trainwrecks. Or many CYHMK where he is just noodling. Mathijs
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QuoteIrix QuoteMathijs It is not really a Stones song though But composer/lyricist are Mick Jagger & Keith Richards. Recorded in early September 1964, then originally released by The Mighty Avengers on 16-Jul-1965 - . Sure, Keith wrote it, but the recording is only Mick with session musicians. There's a second take without the full orchestra with Keith singing backup. But i
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QuoteJMoisica Didn’t wanna spoil it for those interested, but it is indeed “Sleepy City”! It is not really a Stones song though....and it was used in the movie 'What If' before. Mathijs
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QuoteMelBelli QuoteDandelionPowderman QuoteMelBelli QuoteDandelionPowderman QuoteTheflyingDutchman He is visible Love it when Keith «plays» the suspended chords he plays on electric on the studio version with his acoustic here What is the version of LC that they’re playing to in that clip? Is it an extended mix of the record? Steel drums are louder and many more Nicky Hopkins fills. A
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I always liked his Stranger in This Town live album. And that is just about it, unfortunately. Mathijs
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QuoteDoxa Poor Beatles - no slide guitar at all - what sort of rock band is that? - Doxa That's what the Beatles thought as well, so they did use a lap steel slide for 'For You Blue'. Mathijs
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QuoteTheflyingDutchman Why the heck are we talking Beatles and Stones and slide guitar ? The guy below was recorded in 1917 and he even didn't need a bloody open tuning. A beautiful vibrato. And yes, it's Hawaiian influenced.Dangerous in pop/rock music. Now to be a total anorak -this track was recorded in what you call Hawaiian tuning or 'slack key' tuning, or 't
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QuoteThe Worst. QuoteMathijs QuoteThe Worst. All we know that Brian contributed on that song was a few "whoo-hoos" According to Jimmy Miller all vocals for BB and LIB were recorded at Sunset Sound, no vocals were recorded at Olympic. Mathijs Are you claiming that this did not take place at the Olympic Studios? No, I am just restating Jimmy Miller's claim that all voc
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QuoteDoxa QuoteMathijs To be honest, the Stones haven't done anything the Beatles haven't done before them. Mathijs Oh yeah, playing a slide guitar, using open tunings, experimenting with a fuzz box... The Beatles, who basically invented song-writing and making records, probably the instruments too, had it all on their their records before those poor copy-cats.. Or proba
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QuoteThe Worst. All we know that Brian contributed on that song was a few "whoo-hoos" According to Jimmy Miller all vocals for BB and LIB were recorded at Sunset Sound, no vocals were recorded at Olympic. Mathijs
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QuoteTaylor1 There is no percussion on this album of the kind employed on Sympathy.Brian was by 1967 already introduced the band to the Pipes of Pan .None of the bands you signify were into that. Sing This Alltogether contains Brian playing percussion which you can hear influenced Sympathy You are aware that the percussion on Sympathy is Charlie on snare drum and Rocky Dijon -who came in throug
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QuoteTaylor1 QuoteMathijs QuoteTaylor1 All the songs on side one except Imagination were written by Mick.Side one is like Mick’s first solo album. I don't think at all it works like that. Not at all. From what is available to, starting with tapes of the roughest idea to joint writing sessions to days in the studio to final production sessions, Jagger and Richards really wrote it all togeth
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QuoteTaylor1 You show me where the Beatles and Beach Boysand the others used the African percussion Brian played on Satanic before he did. The liner notes of Pet Sounds from Wiki. Recorded late 1965 and released May 1966, the biggest influence on Stones and Beatles at the time. All way before Brian Jones even knew what a glockenspiel was. Chuck Berghofer – string bass Hal Blaine – bicycle
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QuoteTaylor1 You show me where the Beatles and Beach Boysand the others used the African percussion Brian played on Satanic before he did. 'Love You To' and 'Tomorrow Never Knows' from Revolver, recorded April 1966: tabla, tambura, maracas, tambourine, Indian flutes. This album also featured full orchestra, full brass sections, and instruments like Hammond, mellotron, c
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QuoteTaylor1 QuoteDandelionPowderman QuoteTaylor1 QuoteMariuana QuoteTaylor1 Brian was a founding member who was instrumental in creating the band and it's unique sound. He is not overrated. With respect to Sympathy he most likely was important in turning the song from a Dylanesque folk song to the percussive album version. He was experimenting with African percussion o
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QuoteRocky Dijon So talking of STEEL WHEELS, I've heard two tracks on the album feature Jimmy Rip's licks from his session in the Summer of 1988 with Mick, Ronnie, and Charlie: "Break the Spell" and "Hold On To Your Hat." That's not to say Keith didn't overdub guitar as well, but allegedly some of the licks we're hearing on those two album tracks are
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QuoteTaylor1 All the songs on side one except Imagination were written by Mick.Side one is like Mick’s first solo album. I don't think at all it works like that. Not at all. From what is available to, starting with tapes of the roughest idea to joint writing sessions to days in the studio to final production sessions, Jagger and Richards really wrote it all together. Every track is at leas
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QuoteGasLightStreet Ha ha Add the production and vibe of these to it and you have Undercover: Twilight Zone When the Lady Smiles Mathijs
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Quoteslew Undercover the album was really the end of the Stones as a relevant rock band in terms of new music. It took forty years for them to release an album that compares with it. Hackney to me is the best album since Some Girls. But Undecover is very good and the title track is really great! SOmehwere out there ther is version of Undercover Of the Night without the fake drums and productio
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Quotefilstan I thought then, and still think they should have given Ronnie a turn at the mike to do a number from his 2 solo albums, but hey it's 48 years later and this still hasn't happened. Well, they sort of did that in Kansas and Milwaukee -he sang Sure The One You Need with Keith instead of Happy. I agree though, it would have been fantastic is the Stones would have done �
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