Classic Album Review - 02 - Get Yer Ya-Ya's Out - The Rolling Stones Live in Concert

"Everything appears to be ready - are you ready?. . . is everybody ready? . . . I think I better fasten up my trousers so they don't fall down - you don't want my trousers to fall down now do ya?. . . . . . paint it black..paint it black....paint it black you Devil. . . . . . Charlie's good tonight innit he? . . . . . . We're gonna do one more, and we gotta go. . . The Greatest Rock n Roll Band in the World -- The Rolling Stones -- The Rolling Stones !"

By the time I was 12 years old, I was a full-on believer in Rock n Roll, and I had my first guitar -- a little acoustic number that my Dad had found for sale somewhere. I don't remember the make or the model - I think it was a fairly no-name type of affair. A school friend of mine had gotten one about the same time, and we started hanging out on the weekends, trying to teach ourselves how to play. He figured out a thing here and showed me, and I figured out a thing there and showed him. We both know older kids who played and we got tips and lessons that way. In retrospect, a lot of what we thought we had "figured out" was way off in terms of melody, but we had a good sense of relative pitch and good rhythm -- I have always had a good sense of rhythm.

Mostly how we learned was to do what most every other self-taught musician does - play along with records. We each had our favorites. He was fond of Black Sabbath as I recall, and I tried to cop a lot of AC/DC and Led Zeppelin, the Who, the Beatles, and whatever was on the radio. For a period of about 2 years, the majority of my lessons came from my turntable in the form of "Get Yer Ya-Ya's Out - The Rolling Stones in Concert."

Released in the fall of 1970, GYYYO has long been considered one of the best live albums ever - certainly the best live album by the Rolling Stones. It is drenched in Rhythm and Blues, features the excellent lead guitar playing of Mick Taylor, some of Jagger's best singing, and nary a beat is dropped by the duo of Watts and Wyman. This live recording represents the Stones at their absolute peak of potency -- they were coming off the "Beggar's Banquet" and "Let it Bleed" albums, and a few days after these concerts, they entered the studio at Muscle Shoals and put down the first tracks of "Sticky Fingers."

For a kid learning to play guitar, "Ya-Ya's" is a blues-inspired garden of earthly delights. Heavy riffs in the lower registers on Jumpin' Jack Flash and Live With Me. Two shots at working out "that Chuck Berry thing," on Carol and Little Queenie. A very soulful lesson in arpeggiation on the Robert Johnson classic, Love in Vain. Bo Diddley lessons from Keith himself on Sympathy for the Devil, as well as monster chord mashing on Street Fighting Man. And the creme de la creme of rhythm workouts -- the ultimate live version of Midnight Rambler. After the breakdown section in Rambler, the band locks into a 6/8 triplet groove that builds in intensity on a slow grind, until finally busting out -- up-shifting the tempo into the original riff in 4/4 meter. I didn't know how to describe that moment when I was 12, but it knocked my socks off! It still does.

And if you were lucky enough to have had an older kid teach you the magic "blues scale," then GYYYO gave you an entire album to work out your solo technique. Remember - above all else, and throughout all of their various permutations - the Stones have always been about the blues. When I got older, I arrived at the source of this - "discovering" Muddy Waters, Robert Johnson, Howlin' Wolf, Little Walter, and many other blues men. The Rolling Stones got this great music from America, ingested it, made it their own, and then brought it back to us. "Get Yer Ya Ya's Out" bears the finest fruits of that endeavor.

Title: Get Yer Ya Ya's Out - The Rolling Stones in Concert
Release: September, 1970

Track Listing - Side One:
1. Jumpin' Jack Flash (3:13)
2. Carol (3:35)
3. Stray Cat Blues (3:35)
4. Love in Vain (4:50)
5. Midnight Rambler (8:32)

Side Two:
1. Sympathy for the Devil (5:45)
2. Live With Me (2:58)
3. Little Queenie (4:10)
4. Honky Tonk Women (3:00)
5. Street Fighting Man (3:47)

New Music Review: The Black Crowes -- Warpaint

Alive in Concert Rating: 9.0 / 10.0

The Faces. The Rolling Stones. Jimi Hendrix. Led Zeppelin. The Band. Dr. John.

The Black Crowes have always worn their influences on their chests, and have proven time and again that not only are they fans but, in a musical sense, they understand their heroes. Chris Robinson and Co. are neither a novelty act nor a museum piece. They have produced consistently vital rock and soul music, and their latest effort, "Warpaint" may be the best so far.

On one hand, I sometimes feel guilty comparing musical artists to other musical artists. I mean, the Black Crowes stand on their own without having to make unfair comparisons to the Rolling Stones, right? On the other hand, they DO often sound like the Stones, and what's wrong with that? Would the Crowes really mind if anyone said so?

Besides, I think such comparisons are inevitable and unavoidable. What other way should we talk about music than to show its connectivity to tradition? And certain musical forms are more rooted in generational traditions than others -- like Jazz and Blues, for instances. One really shouldn't discuss the Rolling Stones without mentioning Howlin' Wolf or Muddy Waters. Laying out such landmarks for reference points gives credit to the source and also lends credence to the artist for proving worthy of being mentioned in the same breath. Ultimately, it allows for a broader commonality of rich musical language that we can all converse in, once sufficiently enlightened.

So, with that out of the way, let's go through this album for my second listen, and put down some random thoughts concerning musical guideposts.

Goodbye Daughters of the Revolution

This playful sense of rhythm - simultaneously loose and tight, sloppy but disciplined - is a 100% nod to The Faces. But the Crowes have now made this sound their own - it is now the "classic" Black Crowes sound. Wonderful slide guitar work.

Walk Believer Walk

Starts with a riff I can only describe as AC/DC, but soon turns into AC/DC heavy gospel dirge. More tasty slide work. I love the bass during the refrain. A little solo vocal chanting, a la Black Dog.

Oh Josephine

Almost everything about this cut sounds like Rolling Stones circa 1973: the opening acoustic sound, the soft wah filter on the lead guitar, the Keith Richards harmonies, the Nicky Hopkins-like piano, and Chris Robinson's lead vocal. If he wanted to embark upon a career as the Mick Jagger Experience, this would be a good demo. Really a beautiful song. Wonderful instrumental ending with a lovely little modal vamp line.

Evergreen

Heavy introduction - sublime dissonant intervals on guitar riff -- strong musty whiffs of Manic Depression -- more perfect organ work - C. Robinson in fine full sonority. Guitar solo = more shades of Hendrix. Who is this drummer? Note: must learn more about the drummer - he is extraordinary.

Wee Who See the Deep

Drum intro: Cripple Creek? Guitar riff: a graft of 25 or 6 to 4 with the turnaround lick from Hey Joe. Glorious and unexpected harmonies on the Chorus. I love the guitar solo, and now want to touch the hem of the drummer's garment. Outro features a breakdown to piano, vocal and slide guitar. Nice.

Locust Street

Mandolin intro - piano entry at chorus is absolutely spot-on gorgeous. I'm wishing they could have gotten hooked up with Emmylou Harris for this one. Beautiful chorus melody like a long lost child of Graham Parsons. This one is pure Americana.

Movin On Down the Line

It's all right sisters, It's all right brothers. Is that a mellotron? (Led Zep - No Quarter) Intro vocal chant build up and build up until it sounds like an outro instead, then the rock kicks in. Turns into some kinda New Orleans / Dr. John funk for a few lines. Main lick sounds like a little piece of Beatles' I Feel Fine riff. Instrumental breakdown section in funky 7/8 time with sweet harmonica soloing. Rhythm section is making me ruin my underpants.

Wounded Bird

Chordal intro -- The Seeker? After the first verse, song enters a beautiful and totally unexpected melody for the chorus -- it's grabbing me hard. Is this my favorite of the album? Could be.

God's Got It

Swamp stomp. Heavy. Think: Buddy Guy's "Sweet Tea" album.

There's Gold in Them Hills

Lyrically, a variation on Bob Dylan's Isis? Musically -- stunning. Just Brilliant. Chris Robinson's full talents as a singer are on display here -- excellent phrasing -- inspired melodies. Also, the Crowe's combined talents as an ENSEMBLE unit shine and shine and shine here. The honky-tonk section of this track is worth the price of the entire album. Random associative thought: the movie, "McCabe and Mrs. Miller."

Whoa Mule

Lyrically and musically, a perfect follow up to the previous track. The B.C.'s show off some folk roots, with this Irish / English-style jig transplanted to American soil. Wistful and innocent, it proves to be an effective way to cap this rootsy and soulful album.

So what else can I say? If you have even the tiniest inkling that you might enjoy this album, then by all means go buy it today. . . Now! I didn't think they made 'em like this anymore, so get it while it's hot.