| The Stones at their very best - top of their game here.
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| I had forgotten how much I like this song, when they were good they were really good.
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| Yeah...too bad more of their stuff wasn't as rocking and wild as this! In my mind, one of the few tunes of theirs -- along with several off of Some Girls -- that still merits CRANKING IT...
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| ScottN wrote: Always seemed like two songs to me—that don't quite fit, not quite. Fun though, and an example of the Stones' tremendous versatility and, well, FIFTY years.
Taylor recalls in a 1979 interview, "Can't You Hear Me Knocking... is one of my favourites... (The jam at the end) just happened by accident; that was never planned. Towards the end of the song I just felt like carrying on playing. Everybody was putting their instruments down, but the tape was still rolling and it sounded good, so everybody quickly picked up their instruments again and carried on playing. It just happened, and it was a one-take thing. A lot of people seem to really like that part." |
| This is amazing unlike the run of the mill Stones
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| treatment_bound wrote: If this is an indirect tribute to Clarence Clemons (with Bobby Keys wailing in a fashion The Big Man surely could appreciate), it's a nice choice.
P.S.-I always try to nail that cymbal on the last note.
Bein' as how "the big man joined the band" in 1972, unless Bobby heard an otherwise unknown Clarence before this was recorded a year or two earlier,,,,, I kind of doubt it. |
| Bobby Keys!
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| wrote: Mick Taylor was a great blues guitarist and gave the Stones their beset album. After him they became a parody albeit still the bast live band on the planet. Goats Head Soup, Exile on Main Street, Some Girls, Black & Blue, even Emotional Rescue. I don't think the parody set in until the 80s |
| Among the finest opening riffs ever. And the instrumental solos from Taylor and Keyes are among the most memorable in the history of rock and roll.
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| refdon wrote: Love the beginning , but the instrumental at the end, for me, does it no good . The instrumental at the end is the whole point for Christ sake. |
NemoKJan 08, 2013 - 18:06 | krysthal wrote:
Was just thinking the exact opposite. Thought the track had switched and it was early Santana! This is probably one of the finest pieces they wrote that showcases the guitar playing of Mick Taylor who came to them from John Mayall's Blues Breakers. It's actually sublime for those who are are familiar with this tradition. |
| refdon wrote: Love the beginning, but the instrumental at the end, for me, does it no good . Was just thinking the exact opposite. Thought the track had switched and it was early Santana!  |
| Love the beginning  , but the instrumental at the end, for me, does it no good  . |
| ScottN wrote: Always seemed like two songs to me—that don't quite fit, not quite. Fun though, and an example of the Stones' tremendous versatility and, well, FIFTY years.
'zactly. I read a review of Sticky Fingers in an old Playboy I liberated from someone (morals being no match for hormones in those tender years) and the critic had the same reservation. The instrumental bit (is that a samba, anyone?) goes on for a bit after the hammering of vocal part but it's great. One of the Stones' best. |
| Pedro1874 wrote: What an intro and grooving instrumental in the middle to end - my favourite Stones album - still have the original with actual zipper! 41 years since it originally blew me away - unbelievable! |
| What an intro and grooving instrumental in the middle to end - my favourite Stones album - still have the original with actual zipper! 41 years since it originally blew me away - unbelievable!  |
| Back when I used to smoke a lot of dope and play DJ for friends in a similar state, the instrumental portion of this track would always end just as we were really tracking it.  |
| Great song on an equally great album. This is the only 'Stones tune I never tire of hearing.
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| One of my favorite Stones song of all time. 10
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