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RollingFreak
Lol pretty much got EXACTLY the responses I expected.

I do get what you're saying...it is a bit out of place on the album IMHO, which is funny because they tackle a lot of other 'styles' on this record.

Having said that, this is an absolute classic and I'm glad they've included it on the album...it makes it stronger and is preferable to another 'rocker' or 'ballad'.

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treaclefingers

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RollingFreak
Lol pretty much got EXACTLY the responses I expected.

I do get what you're saying...it is a bit out of place on the album IMHO, which is funny because they tackle a lot of other 'styles' on this record.

Having said that, this is an absolute classic and I'm glad they've included it on the album...it makes it stronger and is preferable to another 'rocker' or 'ballad'.

Or he meant: You gotta move - what are peoples' thoughts (when the landlord kicks you out)?

You Gotta Move is wonderful. One of the best blues performances ever committed to tape by anyone, it rounds off side one perfectly and was actually my favourite track on the album for a while. I love how creepy and hypnotic the atmosphere is - the 1 of the beat is impossible to pin down, the lick just turns over on itself endlessly as Jagger growls over the two slide guitars. No-one other than the Stones could have played it like that.

On a sidenote, hearing Mick Taylor play it in a small club a few years back - albeit with a slightly different arrangement - was a really amazing experience. I was literally right next to the stage, and the authenticity and authority with which he played it just blew my mind.

I actually think it's a lot like Love In Vain and No Expectations in the sense that they cannot play it badly: no matter whether it's Taylor, Wood (or, in the latter case, Brian Jones) playing, the results are invariably beautiful, if distinct, and crystallise the Stones' musical identity. You listen to performances of those songs from decade to decade and you understand how the Stones have kept it going all these years.



Edited 1 time(s). Last edit at 2014-09-30 17:19 by Stoneburst.

I love the song. The "love you live" version is amazing. wild

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DandelionPowderman

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treaclefingers

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RollingFreak
Lol pretty much got EXACTLY the responses I expected.

I do get what you're saying...it is a bit out of place on the album IMHO, which is funny because they tackle a lot of other 'styles' on this record.

Having said that, this is an absolute classic and I'm glad they've included it on the album...it makes it stronger and is preferable to another 'rocker' or 'ballad'.

Or he meant: You gotta move - what are peoples' thoughts (when the landlord kicks you out)?

...and he kicks you out in response to your constant complaining about:

Neighbors,
Have I got neighbors?
Have I got neighbors?
All day and all night

Love this song. My personal favorite version is Fred McDowell's. Though it probably is the version Keith was listening to when the Stones developed their version, I don't think that it is the original recording of the song. Many gospel versions were recorded before McDowell recorded his version with The Five Blind Boys of Alabama being credited as one of the earliest in 1953. I wish I could post a link to THAT version of the song but I haven't been able to find it on youtube. ROCKMAN???

Since learning about the earlier versions and the fact that McDowell didn't start recording until late in his life, The question in my mind regarding this song has been: Which came first, the blues version or the gospel version? Obviously some of the gospel versions were recorded first but did a blues version of the song inspire them to create the gospel versions or did the gospel versions of the song inspire a blues man to work out a solo arrangement?

Regardless of the history, I still love this song. Right up there with Louisiana Red's "Sweet Blood Call", Blind Willie Johnson's "Dark Was the Night, Cold Was the Ground" & "John the Revelator" & Skip James' "Devil Got My Woman".


Can’t believe no one has posted the Stones version in the thread:




And my favorites that I listed above.

Sweet Blood Call:




Dark Was the Night, Cold Was the Ground:




John the Revelator:




Devil Got My Woman:




Peace,
Mr DJA

Fred played gospel music...with his wife Anne. The song is a gospel number due to its content.
fred just did not play no rock n roll.

Splendid, I cannot wait for the release of the LA forum DVD to hear Keef sensitive and deft playing. It is a showcase for the band understanding of the blues><

It completes a great trilogy of pre-war blues songs - an interesting statement of its own in those three masterpiece albums. Actually, those three songs - "The Prodigal Son", "Love In Vain" and "You Gotta Move", and the authentic way they were done with a dedication - is one of the most fascinating and deepest thing they ever have done. I can't think any other 'pop' act in teh world being able to do such a thing. A deep study on the history of blues.

Thanks you for the great clips!

- Doxa



Edited 1 time(s). Last edit at 2014-09-30 22:08 by Doxa.

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RollingFreak
Just listened to Sticky Fingers in full, which is always a lot of fun. But it got me thinking about something. If there was ever a problem I've had with that album, its been with You Gotta Move.

.

You gotta be kiddin' me...

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Doxa
It completes a great trilogy of pre-war blues songs - an interesting statement of its own in those three masterpiece albums. Actually, those three songs - "The Prodigal Son", "Love In Vain" and "You Gotta Move", and the authentic way they were done with a dedication - is one of the most fascinating and deepest thing they ever have done. I can't think any other 'pop' act in teh world being able to do such a thing. A deep study on the history of blues.

Thanks you for the great clips!

- Doxa

Wouldn't you say that 'statement' continued to the next album as well with "Stop Breaking Down"?

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treaclefingers

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Doxa
It completes a great trilogy of pre-war blues songs - an interesting statement of its own in those three masterpiece albums. Actually, those three songs - "The Prodigal Son", "Love In Vain" and "You Gotta Move", and the authentic way they were done with a dedication - is one of the most fascinating and deepest thing they ever have done. I can't think any other 'pop' act in teh world being able to do such a thing. A deep study on the history of blues.

Thanks you for the great clips!

- Doxa

Wouldn't you say that 'statement' continued to the next album as well with "Stop Breaking Down"?

To an extent, yeah. But I think their version of "Stop Breaking Down" is so electric and typical of rock band doing blues that it lacks the ambitious, unique, deep-reaching, non-compromised nature of the first three. It is so 'obvious' (but brilliant, all the same).

Anyway, maybe the development from "Prodigal Song" to "Stop Breaking Down", the band starting use harder and harder means, forms a story of its own, from Delta to Chicago...

- Doxa



Edited 1 time(s). Last edit at 2014-09-30 23:12 by Doxa.

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24FPS
Never been a fan of this particular cut. I find Jagger's bull negro affectation a little over the top, and racially embarrassing, like he's corking up. He'd pulled it back some for Prodigal Son. Usually they take a cover and make it their own somehow and either improve or make novel the original. This is a rare misfire. The instrumentation is fine, but doesn't really do anything the original song accomplished by other artists. Brian Jones slide on Little Red Rooster takes it to a new realm. There's really nothing on the Stones' version of You Gotta Move that adds to the history of the song. I would much rather hear Fred McDowell. They can't all be winners.

I'm in complete agreement. I see the music as deep dive into the blues, but Mick's vocalizing seems
like an mimic, and overall it doesn't grab me. I wouldn't skip the track and it doesn't irk me, but I'd
never seek it out.

I wonder whether the deep appreciation of this song is experienced more by non-Americans than
Americans...? Just musing. I'm American, btw.

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matxil
Great song. I like this live version too:

This is a great version… I think this was a hard day for Keith…..Paris 76.
Love the SF version too.

I'm with Doxa...love it!

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swiss

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24FPS
Never been a fan of this particular cut. I find Jagger's bull negro affectation a little over the top, and racially embarrassing, like he's corking up. He'd pulled it back some for Prodigal Son. Usually they take a cover and make it their own somehow and either improve or make novel the original. This is a rare misfire. The instrumentation is fine, but doesn't really do anything the original song accomplished by other artists. Brian Jones slide on Little Red Rooster takes it to a new realm. There's really nothing on the Stones' version of You Gotta Move that adds to the history of the song. I would much rather hear Fred McDowell. They can't all be winners.

I'm in complete agreement. I see the music as deep dive into the blues, but Mick's vocalizing seems
like an mimic, and overall it doesn't grab me. I wouldn't skip the track and it doesn't irk me, but I'd
never seek it out.

Exactly. It doesn't deserve to be up there with Prodigal Son, Love In Vain, or even Stop Breaking Down.

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24FPS

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swiss

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24FPS
Never been a fan of this particular cut. I find Jagger's bull negro affectation a little over the top, and racially embarrassing, like he's corking up. He'd pulled it back some for Prodigal Son. Usually they take a cover and make it their own somehow and either improve or make novel the original. This is a rare misfire. The instrumentation is fine, but doesn't really do anything the original song accomplished by other artists. Brian Jones slide on Little Red Rooster takes it to a new realm. There's really nothing on the Stones' version of You Gotta Move that adds to the history of the song. I would much rather hear Fred McDowell. They can't all be winners.

I'm in complete agreement. I see the music as deep dive into the blues, but Mick's vocalizing seems
like an mimic, and overall it doesn't grab me. I wouldn't skip the track and it doesn't irk me, but I'd
never seek it out.

Exactly. It doesn't deserve to be up there with Prodigal Son, Love In Vain, or even Stop Breaking Down.

Agree in full again.

And, again, musically I like it fine -- and appreciate KR's high harmonies.



Edited 1 time(s). Last edit at 2014-10-01 03:11 by swiss.

I think it pales in comparison to Fred McDowell's version, which it obviously tries to copy. I always thought it was probably a fun song for the Stones to perform, one that Keith could throw in his harmonies and have some fun singing.

But Jagger's singing in the Sticky Fingers version throws it off for me and Keith's parts are too close to Mr. McDowell's (without improvement) to move me.

I do think they captured the tone of the old timey slide guitar well though!

peace

Love the studio version, which also turned me on to Mississippi Fred McDowell...Much less fond of the '75-'76 live version.

Mississippi Fred McDowell died in Memphis July 13, 1972, according to the Tennessee road monument in that youtube video.
Stones played Detroit that night.

Wiki and others say it was July 3.
According to nzentgraf Stones might have been in Miami between Nashville and DC shows.



Edited 1 time(s). Last edit at 2014-10-01 05:46 by nellcote'71.

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71Tele
Love the studio version, which also turned me on to Mississippi Fred McDowell

Yes! Actually, I'm thankful for the Rolling Stones for showing me a lot of artists that I've never ever heard before until I listened to the Stones versions.

I love the live version from LYL. Great build up, and so much tension. And the lovely fake ending where Billy's very jazz piano starts it back up again is brilliant.

The Sticky Fingers version is great too.

Sticky Fingers version is awful. Right up there with Country Honk or Let It Bleeds Love in Vain.. Just awful recordings. Total filler.


The Live Version is great.

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swiss
I wonder whether the deep appreciation of this song is experienced more by non-Americans than
Americans...? Just musing. I'm American, btw.

That's a nice question. Last week I was watching the great B.B. King documentary (Life of Riley) and some american musicians (Bonnie Raitt and Joe Bonamassa, for instance) told the same, they weren't blues aficionados until the Stones came in, which made me thought about how appreciated is the blues in the United States. Sometimes I think the same happens with brazilian samba. Not every brazilian likes it, but it seems to me there's more non-brazilians who likes this kind of music.

" You Gotta Move " is much better live than as it was recorded in the studio.

I don't like Jagger's lead vocal performance on the studio version. He pulled it off much better in concert.

( I also agree than " Love in Vain " also falls into this category but for different reasons. The studio version of " Love in Vain " is better than the studio version of " You Gotta Move " ..... the lead vocals are not as difficult to listen to. )

I wonder whether the deep appreciation of this song is experienced more by non-Americans than Americans...?

No I don't believe so swiss .,... plus bare in mind that most people including Americans wouldn't have had a clue who Fred McDowell was if it wasn't for the Stones ....



ROCKMAN

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stanlove
Sticky Fingers version is awful. Right up there with Country Honk or Let It Bleeds Love in Vain.. Just awful recordings. Total filler.


The Live Version is great.

Love In Vain is an "awful recording"??

It's probably one of the best recordings they ever cut - when it comes to sound, dynamics as well as crossing genres. One of Keith's finest guitar tracks ever, imo.

Out of curiousity, what is it that you don't like about Love In Vain?

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Rockman
I wonder whether the deep appreciation of this song is experienced more by non-Americans than Americans...?

No I don't believe so swiss .,... plus bare in mind that most people including Americans wouldn't have had a clue who Fred McDowell was if it wasn't for the Stones ....

That's true - many wouldn't. What I mean, more, is --whether or not an American listens to or is
into-- the blues, it does arise from American black culture, and it's (a sociologist or
ethnomusicologist could say this better) part of the sounds we hear, black American English,
a sense of how black people talk, sing, and have been characterized positively and negatively
over time. Just sort of blues, and what it arose from, absorbed through osmosis, even if
you're not that into it. As such, nuances in the way Mick is singing may not be experienced in the
same way by a non-American as an American. Mick's voice in Gotta Move sounds/feels to me
like it's approaching parody. (checked the definition of parody to make sure it was the mot juste,
and it is: "an imitation of the style of a particular writer, artist, or genre with deliberate
exaggeration for comic effect." )