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When was Sympathy for the Devil recorded?


Vincent Vega

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Quote (Axl beat poor Slash senseless. He belt whipped him until poor, innocent, sweet childlike Slash said "Yes Axl!" yes to escape the immense pain and suffering.) Unquote

Then Axl said - "pleased to meet you, don't you know my name" :lol:

I rewatched the movie a few days ago and loved it as much as the first time. I also listened to the Stones version of the song and it sounded rather empty compared to Axl's voice which has so much feeling.

Edited by rock4eva
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how did I know you'd just post here to say that rubbish about Paul? :xmasssanta:

You know you love it :tongue2:

There's things I love, but Paul's meek tinny guitar playing is not one of them. I thought to myself maybe he just had an off day at the recording session and someone fudged his settings. But once hearing the Joint sbd and RIR3 I confirmed that's just how the guy always sounds...

Nu must thank their lucky stars every day for getting Richard instead.

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I gotta agree, I mean I am not a Paul hater, but he really does detract from SFTD, if you just listen to the right channel (at least I think the right channel) you can hear the solo without Paul's additions and it sounds much better, it has a lot of room to breathe

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I really have my doubts that Slash hadn't met Tobias/Huge before 1993/1994.

I have wondered about that myself. Paul was mentioned by Axl in MTV interview he did with Slash back in '88 AND he was thanked in AFDs credits! Plus he co-wrote Back off Bitch which I think Slash really dug from what I can see in the early recordings of GnR from '86 (Roxy, Fender's Ballroom, etc). At some point he must have at least ASKED about Paul?! But in his bio he mentions it like it was totally coming from left field...

So either Axl didn't talk about Paul to Slash much or Slash just didn't pay attention. As far as physically meeting Paul, I think Paul didn't move out of Indiana till the 90's so that might be it...

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I prefer the outro solo anyway, Slash is firing on all cylinders during it. Pentatonic or not it sounds fantastic (it technically is pentatonic but incorporates both major and minor variations)

Also this is one of the few songs I think Sorum sounds pretty cool on, it grooves pretty hard

I always imagined this song as a really badass opener for a show. The stage will start off totally black when the song starts and as soon as it gets to the part where Axl sings "Pleased to meet you..." the lights go on and the crowd will go crazy. Then when the drums kick in hit the crowd with some pyro rock3

Edited by WhazUp
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I prefer the outro solo anyway, Slash is firing on all cylinders during it. Pentatonic or not it sounds fantastic (it technically is pentatonic but incorporates both major and minor variations)

Absolute truth.

and for the record, Pentatonic is the best thing about lead rock guitar.

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Guest Len B'stard

I've never heard GnR do a bad song apart from this. As in just totally iredeemable. I think i've said it before on this forum so i'm not gonna labour the post but the whole...thing that gives Sympathy (as The Stones do it) that fucking sinister touch is how it's actually quite sparse, that whole samba thing...and the minimalism of Keith solo. Guns absolutely destroyed it. it is without a doubt one of the worst covers i have ever ever heard in my life, it is nothing short of dreadful. i have never heard anything so shit in all my life.

I dunno what Paul Tobias does on it or what Slash does on it but the song is fuckin awful and it shows a reallly instrinsic lack of musical understanding of what made the original song so powerful on the part of whoever was responsible for the fuckin arrangement of it. Grandiosity doesn't suit everything. Keith solo is almost like a BB King thing, it's spaced out and and it's deliberate and thats what gives it its power. Axl didn't need to put on that fuckin voice to do that song. Whats maddening about it is i could see them really fuckin nailing it too, if they wanted, especially Axl cuz he's got a voice like a bastard but he just doesn't seem to know what to do with it on this song. Micks vocal on the original is sort of almost talkey in the beginning, putting more emphasis on the chorus each time, building it gradually whereas Axl sort of keeps it on this one level, i ain't fucking king arranger here but the whole idea is it builds and builds towards that solo and the solo's like, little explosions of music...there's almost like a call and response thing to it with Micks "aww yeahs" and "mmmmmmeahs" and "get downs"s and all of that :lol: and Keiths guitar bits.

The originals a really crisp song, it doesnt sound so fuckin amped and cluttered like GnRs one did. Such a shame as a band to go out on that note, it really was. They could've done that fucking song better with Matt tapping on the rim of his snare, some on accoustic guitar for the rhythm and one electric guitar turned the fucked down to give it a bit of depth and hit the fucking solo's and Axl on vocals not doing his fuckin Rik Mayalls Grimms Fairytales voice then again it's easy to be giving it all this from the outside looking in.

Edited by sugaraylen
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Paul's solo copied Keef's.

That's what Axl wanted because he loves the song and solo. Think of it as doing justice to a song of a band he respects.

Slash wanted to do his own thing as usual and play his basic pentonics his way.

Dude, your constant bashing of "$la$h" as you put it is fucking mind blowing and weird.

And "basic pentatonics"? Do you even play guitar? Or know shit about scales? Send me a video of you playing anything worth a damn and I'll take the shit you keep spewing a little more seriously. Aren't you a grown man too? That's the real fucking joke here.

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