I swear, I don't know how Ronnie still has a job. That was just an utter abortion of a solo.

Mel Belli wrote on Aug 20^th, 2009 at 8:54am:



i agree, it was pretty lame.    the album version solo is one of my all time favorite solos from the stones.  i guess the atmosphere of it all makes up for it.

Gazza wrote on Aug 20^th, 2009 at 5:45pm:



that is not ron wood playing it on tattoo you?  who is it then?

BTW, I was there at that show! Fantastic show, great audience! That was the first and only performance of that song in an open stadium

Quote:



Woody's only on 1 of the songs on the 'slow' side of Tattoo You - No Use In Crying.

Wayne Perkins' lead guitar on Worried About You comes from a 'Black and Blue' session in Rotterdam in early 1975 when they were trying out new guitarists.

Mick Taylor is on 'Tops' and 'Waiting On A Friend', and Mick Jagger plays the only guitar on 'Heaven' which was one of only two new songs recorded for the album.

'Slave' predates Woody joining the band as well (also from Rotterdam), although some parts (including his) were added later on.

Line-up ‘Start Me Up’: MJ (voc)/KR (gtr, bvoc)/RW (gtr, bvoc)/BW (bass)/
                              CW (dr)
                 Line-up ‘Hang Fire’: MJ (voc, gtr)/KR (gtr, bvoc)/RW (bass, bvoc)/CW (dr)/
                              STU (p)
                 Line-up ‘Slave’: MJ (voc)/KR (gtr, bvoc)/RW (gtr)/BW (bass)/CW (dr)/
                               Billy Preston (el p, org)/Ollie Brown (perc)/Sonny Rollins (sax)/
                               Pete Townshend (bvoc)
                 Line-up ‘Little T&A’: MJ (bvoc)/KR (gtr, bass, voc)/RW (gtr, bvoc)/CW
                               (dr)/STU (p)
                 Line-up ‘Black Limousine’: MJ (voc, harm)/KR (gtr)/RW (gtr)/BW (bass)/
                               CW (dr)/STU (p)
                 Line-up ‘Neighbours’: MJ (voc)/KR (gtr, bvoc)/RW (gtr)/BW (bass)/
                               CW (dr)/STU (p)/Sonny Rollins (sax)
                 Line-up ‘Worried About You’: MJ (voc, el p)/KR (gtr, bvoc)/BW (bass)/
                               CW (dr)/Wayne Perkins (gtr)
                 Line-up ‘Tops’: MJ (voc)/KR (gtr, bvoc)/MT (gtr)/BW (bass)/CW (dr)/
                                Nicky Hopkins (p)
                 Line-up ‘Heaven’: MJ (voc, gtr)/BW (bass, synth, gtr)/CW (dr)/Chris Kimsey (p)
                 Line-up ‘No Use In Crying’: MJ (voc)/KR (gtr, bvoc)/RW (gtr, bvoc)/BW (bass)/
                              CW (dr)/STU and/or Nicky Hopkins (p, org)
                 Line-up ‘Waiting On A Friend’: MJ (voc)/KR (gtr, bvoc)/MT (gtr)/BW (bass)/
                               CW (dr)/Sonny Rollins (sax)/Nicky Hopkins (p)/Pascal and/or Rebop
                               and/or Jimmy Miller (perc)

(sessionography info from nzentgraf.de)

Gazza wrote on Aug 20^th, 2009 at 6:35pm:


Was the other new track "Neighbours"?

CrissCrossMind wrote on Aug 20^th, 2009 at 6:52pm:


That may overstate things a bit, but the fact of Mick's dominance of the writing process from Steel Wheels on is pretty much indisputable. Look at SW — Sad Sad Sad, Terrifying, Hold Onto Your Hat, Hearts for Sale, Blinded By Love, Rock and a Hard Place, Continental Drift. Seven of 12 songs, 100% Jagger (compared to two — Can't Be Seen, Slipping Away — 100% Keith).

Granted, SW came quickly on the heels of the Winos project, and Keith's invovement in VL was far more robust; the first three tracks there are largely his creation, including riffs, melody and general lyrical ideas; same with Baby Break It Down. The Worst and Thru and Thru are of course all his.

The '93 sesssion seem to be the last moment of true, intimate collaboration between MJ and KR. Bridges to Babylon, by most accounts, was a knock-down, dragout affair that, in my opinion, more or less yielded parallel solo albums. That it didn't end up a disaster is kind of amazing in retrospect.

Then you've got the hasty sessions for the Forty Licks addendum — three of the four new tracks were all Jagger, with preproduction by Jagger and Matt Clifford. Keith, almost as an afterthought, cobbles together Losing My Touch — a decent, though hardly earth-shattering, tune.

A Bigger Bang: I argued here till I was blue in my virtual face that Keith's input was virtually nil.

I don't profess to know how much Keith has actually written and held back. But I do know for certain it's been held back. Whether it's because he's a congenital procastinator who, under the insanely stringent deadlines set by the Jagger-Cohl machine, ends up yielding the creative process to Mick, or — my hunch — that he just doesn't write much "Stonesy" music anymore, I can't say...

Mel Belli wrote on Aug 20^th, 2009 at 6:44pm:



Yep. Both of them were first cut in Paris in late 1980 (there's a cracking alternate version of 'Neighbours' from that session with no sax break)  and then finished in spring 1981

I remember getting this one at the first MSG show and it hit me HARD.  Great tune and a great night.  Thanks for putting up this version even if Ronnie acts a bit stunned and cornfused....lol!

I MISS seeing them.  Dammit!

xxoo,
Martha

Martha wrote on Aug 21^st, 2009 at 12:37pm:


Yep...those were magical nights.

I miss them so much it hurts. Hurts bad.

LJ.

Enjoy the fucking music. The question's Keith input is insanity. Check out the beautiful solo he lays down on Almost Hear You Sigh, the totally fantastic and amazing You Got Me Rockin', the wall-to-wall guitars on the Undercover album, and A Bigger Bang's closer Infamy.

I often wonder what you people want from this fucking band. Enjoy the music. It's the best of the best. You won't find better tunes anywhere.

Paranoid Android wrote on Aug 20^th, 2009 at 6:23pm:


That's EXACTLY what I love about it so much. Through all the stage gimmicks and Vegas outfits, there is still some rough blues boys just winging it. It keeps the shows exciting and a bit spontaneous. It creates tension which I love. I even love it when they make mistakes because the way they recover from them is an art in and of itself.