Let it bleed chords2/27/2024 ![]() We’ll leave the last word to Richards: “ Honky Tonk can be a bastard to play, man. I played the country-influenced rock licks between the verses.” “I didn’t play the riffs that start it,” he states, “that’s Keith. Over the years, of course, it has become his own. “ Honky Tonk Women is taken from one of my licks.” In his autobiography, Life, Richards admits that Cooder showed him the open G tuning that became his mainstay. “A lot of what I did showed up on Let It Bleed, but they only gave me credit for playing mandolin on one cut,” bemoans Cooder. ![]() When it’s right, it’s really right Keith Richards Honky Tonk can be a bastard to play, man. Hired by the band for various projects Cooder has claimed the track is built around licks ‘lifted’ from these sessions. With it, Richards stamped Honky Tonk on the world in mere seconds – with a little help from producer Jimmy Miller’s cowbell, Charlie’s kick and snare, and it would seem also from Ry Cooder. Honky Tonk Women (1969)Īnother brilliant Keith intro, here he simply picks the open fourth and third strings with thumb and forefinger to create the unforgettable, “Der, dert-dert, der’ lick. Jagger’s vocal is classic Stones sleaze, while engineer Barry Sage and Santana percussionist Michael Carabello augment Watts and Wyman’s groove with handclaps and cowbell. Ronnie doubled it using a harder electric tone and added sparse fills. As Richards later mused, “With a band that goes on for a long time, you end up with a backlog of really good stuff that you didn’t get the chance to finish, or put out.”Īssembling in New York for overdubs, Keith adopted his trademark Telecaster and open G tuning to nail the three-chord boogie intro. With Mick and Keith not on the best of terms, producer Chris Kimsey trawled the archives knowing he had a clutch of half-finished gems in the can.Īmong the failed reggae attempts, Kimsey found a rockier version of Start Me Up that became the basis for the ‘new’ track. But after 40 or so takes they shelved the song as a lost cause.Ĭome 1981’s impending tour, and management demanded a new album. From when the band first tried it for 1978’s Some Girls sessions (and some have said even earlier), Richards always envisaged it as a reggae number. ![]() But the track, which begins with one of Keith’s greatest ever riffs, had a difficult birth. On any Top 10 Greatest Intros list, Start Me Up should be right up there. While Richards’ lead work certainly divides opinion, what cannot be denied is that this instantly recognisable guitar playing powers one of the most important rock songs of all time. His second outing begins at 4:42, where he elaborates on the gritty, blues-flavoured theme until the track fades. The first enters two and a half minutes in, with spitting E minor pentatonic licks played mostly in shapes one and two. The main guitar feature is Keith’s two spiky-toned solos, played on a three-pickup Gibson Les Paul Custom through a Vox AC30. Instead the song is propelled by session pianist Nicky Hopkins, with percussion added by members of the band plus Ghanaian musician Rocky Dijon. As Richards remarked, “It started as sort of a folk song and ended up as a kind of mad samba, with me playing bass and overdubbing the guitar later.”Īlthough there is strummed rhythm on the final cut from Brian Jones it’s barely audible. “The first time I heard it was when Mick was playing it, and it was fantastic,” Charlie Watts enthused.Īlong the way the song transformed into the hypnotic epic we recognise today. Am.The opening track on Beggars Banquet began life on acoustic guitar with Jagger strumming the chords. And FI call o Gut your n Amame ChorusYeah, I'd let you bl Feed Waste time that I ne Eed But lately it fe Amels like I'm dying to lea Amve I'm d Gown on my kn Fees I'm begging for pe Eace But maybe it's y Amou that nobody beli Dmeves So t Emake what you w Fant And take what you n Eeed You eat me al Amive just like a dis Amease Yeah, I G'd let you bleed Waste time that I n Eeed Cuz you know that AmI wear my h Abmeart on my sl Geeve C CodaYou w Fere cold blooded, cold E, cold blooded for m Ame Cold blooded, col Amd, cold bl Gooded for m Fe Cold blooded, col Ed, cold blooded for Amme. You l Emie thru your t Feeth, feels so incompl Eete Wait for your st Amory to take you too d Ameep. You and FI could never break this ne Ever ending focus Of s Ameeing who could keep playing g Dmames Em F.So tell your li Ees We pret Amend it's everlasting When e Amverything is r Gotten F.So you and EI Let's take a ri Amde. Verse 2You'd be pr Faying on my downfall With e Each and every phone call J Amust to see if I'd stay aw Amay.
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