QuoteHis Majesty The two outtakes show Brian was audible at the time, in the venue, but aside from No Expectations and maracas on Sympathy he's been mixed down lower on the other tracks for the official release. Given that his playing on Parachute Woman is fine, mixing him low afterwards seems to be an odd thing to do as it makes the band look and sound odd. Very odd.
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Quotestonehearted QuoteDandelionPowderman In the Rock n Roll Circus version, I hear everything clearly--Bill's bass (almost distorting), even the percussion--but no Brian, and he's "playing" a larger sized guitar than Keith, but Keith's is the only guitar I can hear. Were they turning him down for the set, even though he did well on No Expectations from the clip I reme
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Parachute Woman is a bit unusual in that Mick starts singing over the IV chord of a blues structured song. That means that if the song is in the key of E, then Mick starts singing on the A chord (the second chord) and not on the previous E chord (first chord), whereas in the caee of a lot of blues songs the singing would begin on the E chord (first chord). E A E A E B A E. A lot of blues
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Spotify is a wonderful place to spread your music and get discovered. But that assumes that anyone knows you exist. According to data just released by Spotify, 80 percent of the 20 million songs on the service have been streamed at least once. Which also means that 4 million tracks have never been played — not once.
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QuoteHairball I wonder what 18 Beatles songs John Lennon loved? I don't think John was one to hand out praise easily but from various interviews I've read, he seemed to think these were ok Got To Get You Into My Life. Help. I Want To Hold Your Hand. Strawberry Fields. Eleanor Rigby. and more
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Steve Lukather is a great guitar player who has released 6 solo albums and has recorded guitar tracks as a session musician on more than 1,500 albums representing a broad array of artists and genres. Steve posted this response to Bob Lefsetz (http://lefsetz.com/wordpress/) who has been discussing Spotify in his newsletters recently: "I just want to know something. ALL this pontific
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QuoteHis Majesty Quotehowled No. It's why the opening JJF chords (before anything else joins in) have hardly any bottom end on the chords, because the bottom 4 strings are tuned up an octave. Due to compression, sounds and mixing. The opening chords feature usual open E tuning, or to put it another way the pitches found in open E tuning are there. The whole thing can be played
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It's hard to try and decompile the guitars in a 100% way after they have been layered and mixed together. The way JJF was done and arranged is one of the reasons why the original studio recording single is so great IMO. The live versions are very different.
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Below is a 2003 Guitar World Acoustic article on how JJS was done. It says there was a Nashville strung guitar. The intro to “Jumpin’ Jack Flash,” featuring the same overdriven acoustic guitar sound as “Street Fighting Man,” has been a musical mystery for decades. While Richards has recalled using a Nashville-tuned acoustic on the original recording, even he is uncertain of exactly how many gu
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QuoteDandelionPowderman Quotehowled No. It's why the opening JJF chords (before anything else joins in) have hardly any bottom end on the chords, because the bottom 4 strings are tuned up an octave. It's a very distinctive sound and Keith uses it in a great way. There are also other guitars in the intro probably in open E underneath the Nashville guitar. It might explain why
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No. It's why the opening JJF chords (before anything else joins in) have hardly any bottom end on the chords, because the bottom 4 strings are tuned up an octave. It's a very distinctive sound and Keith uses it in a great way. There are also other guitars in the intro probably in open E, underneath the Nashville guitar. It might explain why Keith and the Stones don't bo
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I don't doubt it but I havn't gone into it in a big way. What's Acoustic and what's Electric, I'm not 100% sure. As far as I know there is also the Nashville tuned guitar that is most noticeable at the intro playing the high bits (first thing that's heard) and I think it's also in the chorus doing the high parts and in the main riff but playing higher and
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I think Paint It Black was released before Eleanor Rigby but Eleanor Rigby was partly recorded before Paint It Black. They are different songs that just happen to have some similarities in the subject matter of the lyrics. McCartney had different words to Eleanor Rigby at first according to Donavan. Arrangements impact the listener, but how the arrangements happened is interesting. As
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Still don't really know who started the rhythm, as Andrew went out for a joint when it happened. Jack was on piano as far as I know but he's over with Bill on the organ according to Andrew, so maybe Jack started it on piano while Andrew was out and then Bill had the idea of doing the rhythm with the organ pedals to fatten up his bass part and Jack is helping out a bit. Who knows,
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Yeah well, I'd agree. The Gardner inspired the chorus title. Blues verse and Pop chorus. Struggling hard verse lyrics and everything is ok chorus lyrics to go along with the Blues verse and Pop chorus. Pop often had psychedelic inspired things in it at that time and the JJF Pop chorus has some psychedelic like things about it as well. If the chorus had been Blues based, then t
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Differing accounts. Bill says what Keith says is fiction or mixed up memories. Jack wasn't one of the Stones so maybe the band doesn't like mentioning him when arranging credits are talked about. I'd say Jack probably started the song going in that direction and Bill added his thing to it. The organ-playing story (that Bill was doing a take-off on Eric Easton) is comp
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Quote24FPS A quite singular song that is among the very best the band ever created. Jack Nitzche created the rhythm? I thought it was pretty much history that Bill got that strange thing going by getting on his the floor and pumping the bass on an organ with his fists (or something very similar). There's a 1967 American TV music special hosted by the conductor Leonard Bernstein called �
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Mick read quite a bit, poetry etc. Sympathy was one example of some of the lyrics and lyric ideas coming from Mick's reading.
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I think some are reading too much into it. The song started off with Keith's riff and they were doing novelty joke like things with it in the studio according to Keith and they probably would have had no idea when they were first playing around with it that it would end up as a potential single. For how the Stones play around with arrangements, see the Goddard Sympathy video where it g
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A Stones classic. Not as good as "Sex Drive" but was is?
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Talking about out of tune things, what about Keith at hyde park in 69 and Eddie Van Halen playing Jump to a pre recorded synth track and the tech handing him a guitar not tuned to the synth track.
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QuoteHis Majesty Quotescaffer Actually, the recorder sounds fine pitch-wise, relative to the guitar and bass. No, the recorder is out of tune relative to the guitar and bass for most of the song, most likely due to Brian over blowing etc. All quite understandable given the conditions, but out it most certainly is. Yes, the recorder is out especially in the chorus and in other places,
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IORR is a joke song, as is Faraway Eyes etc. Look at how Mick delivers IORR in the video. It's about Rock being taken too seriously. My take on IORR when it came out was that it was Stones like but not totally, with the funny sort of rhythm like a strange disjointed Chuck Berry type of rhythm, but I thought the chorus and Keith's guitar was good but the break sounded cliched an
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QuoteDandelionPowderman Quotehowled QuoteDoxa It is funny to read those old reviews from the 70's.... The rock critics were so damn critical and serious at the time... Now no one bothers any longer, since the 'dream is over', everything said and done, and nothing will get any better, it's all either cynical big business for big masses, or then some marginal 'indie' o
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QuoteDoxa It is funny to read those old reviews from the 70's.... The rock critics were so damn critical and serious at the time... Now no one bothers any longer, since the 'dream is over', everything said and done, and nothing will get any better, it's all either cynical big business for big masses, or then some marginal 'indie' or 'trashbashhackdeath-subvided
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I listened to them and some I already know, and they are all average mostly derivative songs. Jack White doing "I'm Shaking" is not great IMO and I'm pretty sure that a lot of bar bands would sound better doing an old tune like that. The original is pretty good btw and it has a sort of "Black Dog" "Oh Well" thing about the verse that might have got us
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QuoteDandelionPowderman Quotehowled These topics descend into someones personal favourite songs and mentions of "you have to look for the good stuff" but the truth is that there are no big movements in pop/rock anymore and it's been stagnant for ages. In the early 70s I saw Glam Rock happen and it was a whole movement and the same goes for Heavy Metal and then I saw the Punk mov
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QuoteAquamarine There aren't "big movements" anymore in that there are now so many bands and so many ways of hearing and distributing music that the whole scene has become way more diversified than it was in those earlier periods. Hence it's the exact opposite of "stagnant." Or more watered down and weak and highly derivative.
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These topics descend into someones personal favourite songs and mentions of "you have to look for the good stuff" but the truth is that there are no big movements in pop/rock anymore and it's been stagnant for ages. In the early 70s I saw Glam Rock happen and it was a whole movement and the same goes for Heavy Metal and then I saw the Punk movement happen with Johnny Rotten tell
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And what about Mick and open G tuning and Brown Sugar. So simple and yet so effective from a very basic guitar player.
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