A very cool breakdown.
http://www.dangerousminds.net/commen...helter_listen/
A very cool breakdown.
http://www.dangerousminds.net/commen...helter_listen/
Great stuff there, from the greatest goddamn band in the history of rock n roll.
Eat Us And Smile
Cenk For America 2024!!
Justice Democrats
"If the American people had ever known the truth about what we (the BCE) have done to this nation, we would be chased down in the streets and lynched." - Poppy Bush, 1992
No, that would be The Who.Originally Posted by FORD
Great stuff there, from the greatest goddamn band in the history of rock n roll.
“The greatest enemy of knowledge is not ignorance, it is the illusion of knowledge.”― Stephen Hawking
It sounds great even when Merry Clayton's voice cracks.
You can't discount astounding performances.
Stones make you feel every note.
How do they isolate the tracks?
Should we isolate the vocals off van hagar tracks and send them to Dave to finish properly?
ABKCO has pulled the goddamn tracks off the net. If y'all will excuse me, I've got to give the "pineapple treatment" to Allen Klein.
If you saw that movie where Adam Sandler played my son, you know what I mean.....
Eternally Under the Authority of Satan
I have my doubts that is Wyman on bass. The playing is clumsy as hell, and sounds more like a guitar player's bass. In his book Life, Keith mentions playing bass on several Stones tracks, and I'm pretty sure he said something about this one. And that Jimmy Miller played drums on more than the one or two tracks that he is credited with.
Last edited by chefcraig; 12-02-2010 at 07:25 PM.
What makes that song so unique is Richard's amp reverb. Sounds as if he's playing more in a open room then relying upon the amp effect itself even Taylor's slide efforts become drowned in the booming riff. Jagger's singing is horrendous but it somehow fits perfectly with the song's message of one's own personal crisis and desperation to that of the world's. Even when the song builds like a oncoming cosmic orgasm when Merry Clayton gospel-like pulpit warning that brings the message back home Richards' guitar remains constant but slightly more intense as if the song shifted from anxiety to panic if humanity as a whole is crying out for a shelter of the oncoming apocalypse.
And to imagine they went from doing this to recording shit like 'Harlem Shuffle'
Actually, Mick Taylor didn't play on that track at all. Both the guitar parts are Keef.
I'll argue that. Keith rarely, if at all, played slide.
Now now, have some courtesy, have some sympathy, and some taste.
(sorry, couldn't resist)
It was Keith. At this point, Brian Jones was still in the band, but was so out of it that Richards wound up doing all of the guitar parts. The song was recorded early in 1969, and Mick Taylor would not join the band until the summer of that year.
Mick Taylor played on 2 tracks on that album. So did Brian . Brian didn't play guitar it was autoharp on You got the Silver and percussion on Midnight Rambler. (but I haven't read Keith's autobiography yet)
And there's no slide on GS. He's just over bending the G string that gives that effect.
How great is the album cover!!
I'd bet he's using a Fender amp. Damn now I have to find out.
It's a shame those performances were removed. I never noticed there was another vocal part other than Mick and Merry C.
Those vocals were powerful.
So he was there on those sessions.
Live with Me and Country Honk, but not as an official member.
But you can't always count on album notes, since Taylor wasn't credited as writing Sway or Moonlight Mile, and the choir on You Can't always get what you want didn't want to be credited supposedly from Jagger's lyrics on Live with Me.
This works still. (at least at postin' time)
ya think they added a little reverb?
Some, not all. Recording began around January, and stretched throughout the year until sometime in October. Taylor joined in early summer, and began recording in June. As was pointed out, "Gimme Shelter" had already been recorded by that time.
As for Keith playing slide, it was Richards that brought open tunings to the band in this period. He devotes an entire chapter in his autobiography to the subject, including it's use for slide guitar. In fact, his signature tune "Happy" was written based on a slide guitar riff he came up with while screwing around one evening.
Keith wrote some of his best known riffs "accidentally". He literally wrote "Satisfaction" in his sleep, woke up long enough to put it on tape, and the next day, thought it was "rubbish". He wrote the riff to "Start Me Up" in 1975, and it would get kicked to the curb for six years and three albums before finally being yanked out of the vaults for Tattoo You.
I started playing guitar seriously when Tattoo You came out. I really come from the Churck Berry/Keith Richards school of rythum. I cut my teeth on a lot of Stones songs doing the Kieth thing. I consider him a genious. Just an all around great band of characters. Charlie's fills, the bass playing off of that and the interaction of two guitars that trade places like magic. Not to mention one of the greatest frontman in rock putting a cherry on top of it. Wonderfiul!
What I learned from the Stones is having great tone, holding down the rythum but adding some spice in the right places. The same goes for Eddie Van Halen.
The genesis of "Start Me Up" is astounding. Apparently, the Stones cut two versions of the tune at the beginning of the 1975 session in a straight rock form, then spent the next three hours in frustration, trying to make it into a reggae tune. Keith was so pissed about this failure he told the producer to erase the tape. Luckily, the guy (sorry, don't recall his name-too many fried brain cells between then and now) simply shelved the tape, where it sat for years until it was discovered when the band was looking for material a few years later.
I tell kids today who really want to play guitar learn to play rythum like Keith Richards and go from there. What better place to learn the mojo? It's 1 2 3 4. That keeps it getting chaotic but you need to learn the swagger and the magic or you will just bore people to death. Keith can do more with three chords than anyone I know.
Guess the tape wasn't rolling for the "straight rock" version then, because the reggae-ish version above is the only thing I've ever heard from 1975. The 1977 version from the Some Girls sessions is much closer to what would be eventually released in 1981....
Whenever i hear Tattoo You I can smell the smells of my guitar case, that old crazy tube amp I had that would smell hot when it warmed up (the plates would glow red, I did not know about biasing in those days), and the smell of the Chivas Regal I had hidden in my golf bag in my room. I liked to play slightly buzz and my golf bag had all the goodies from porn, booze, and pot. One time I actually went golfing and forgot to take some of that shit out, went to get some balls and out fell a couple of Penthouses. LOL!
That's Ron Wood's department.
Keefs rig.
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Old Twins and a Fulltone tape echo. He might have an old tube reverb but the camera didn't pan over far enough to tell.
The 1977 tape was used and edited/overdubbed onto to make the finished version of the song. The two "rock" versions from the Black & Blue sessions served as the inspiration for the idea, but were unusable, mainly because of Keith's (at the time) druggy playing.
That version of Brown Sugar with slide guitar is incredible.
But back to Tattoo You, was all of that older tracks?
Did they write anything new for that album?
I'm pretty certain that there were only two "new" songs on Tattoo You, one of which was "Heaven", which technically wasn't even a Stones recording. As I recall, only Jagger and Watts played on it.
Actually Bill Wyman was there too. He played one of the guitars on the track, Mick played the other. Wyman also did the keyboards on the track, along with his usual bass, of course.
Supposedly it was recorded in the fall of 1980, but I'm thinking this could be an error. It would make more sense if it was recorded in 1979 when Keith & Woody were on the road with the New Barbarians, which would explain the absence of both in the studio.
Weird song in either case. Almost sounds more like the Bee Gees than the Stones.
I kinda agree with you there. But it's like picking my favorite testicle. I like em both about the same...although I may favor the right one because the left is the low-hanger of the bunch. After a long hot shower, that's kinda annoying.
Gimme Shelter is one of my all time favorite songs...from any band. And to hear it live at Jack Murphy Stadium in the pouring rain with 60,000 of my closest friends drinking Yukon Jack from a leather flask. PRICELESS!
Almost had the same thing happen with Baba O Reily at the same stadium. Except the Yukon was Jim Beam, and there wasn't any rain.
“Great losses often bring only a numb shock. To truly plunge a victim into misery, you must overwhelm him with many small sufferings.”
poor ace
Another one of those classic genius posts, sure to generate responses. You log on the next day to see what your witty gem has produced to find no one gets it and 2 knotheads want to stick their dicks in it... Well played, sir!!
Yeah, no wonder the poor bastard walks in circles.
Whatever you do Pete's Brother DO NOT LOOK AT THE CHAT!
It's hard to imagine a vocal that kicks ass so much that her voice can crack twice and it's still a perfect take, so to speak.
ain't dat some shit.
which hairdo did you have then?
sorry, ford
An isolated guitar track of Monkey Man wouldn't suck.
strange but this one seems to be playable now but wasn't last time I tried to access it.
It's really a great idea. With these isolated tracks people can pick up on the nuances of the performance. Just listening to the isolated Gimme Shelter part I can tell Keith's using his fingernail instead of a pick on the intro. It might seem like an insignificant thing but actually makes all the difference in the world if you're trying to cop the feel of what he's doing.
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