'Beast of Burden' is another one where Wyman really shines. So fluent and fluid with his bass lines, voicings and choices. The two of them are made for each other rhythmically.
Wow, what a great bass player. The octave splits and chromatic slides to the next chord , just really tasteful. Plays the 5th above and below. Really nice. Thanks for posting.
That’s his schtick. Whenever the conversation/argument of Bill plays on a certain song, it’s the easiest way to determine. If it’s Keith, Ron, etc….Bills technique is unmistakable.
I admire this musician. He left the Stones just before he could earn millions of dollars and enhanced his solo career in other musical fields. I attended two concerts with his group (the Rythm Kings) and they were eye popping. With this rhytm section (Wyman and Watts) the Stones could create and perform the best blues rock songs ever produced. Keith Richards has repeatedly praise Wyman skills as well as Charlie's. He knows that he shone because of their rythmic support.
Hearing these bass lines is kind of like seeing into the den of a wild animal thought extinct and never really observed before. We see that it really just lumbers around and acts like other wild animals with the occasional obvious flash of extra ability that it probably rarely needs to show. It is no less beautiful to watch, but makes you realize you are overstepping your bounds, watching it this way.
@@cadwaladr365 I was writing about hass playing. I'm a guitar player, but when I pick up my bass, I try to think, "How would Bill Wyman approach this song?" I'm not "channeling" Bill Wyman's private exploits, titilations, or predelictions when it comes to my own private pursuits. It's his bass playing that helps my bass playing. He's an amazing bass player. I don't know him as a person, but I know people who do know him very well.
One thing that stands out for me is how little Bill plays here really, I thought he was all over the place. Obviously he knew it wasn't needed. My personal favorite of Bill and Charlie is "Emotional Rescue", amazing track. Also "Beast of Burden".
Actually what gave the Stones their chugging groove was Watts following Keith. Charlie had always said that. Then add in the timing of Charlie a little behind...Bill a little ahead...you got that chug chug (at any tempo) that swings and sounds like it might unravel at times...but didnt
Charlie follows Keith. Bill is ahead of the beat. It's the 'Roll' or swing that Keith always wanted. When they hears Charlie they needed him to define and nail down their sound.
@@eg4449 No way is this ahead of the beat. He's lagging behind the kick and snare for most of this. But if you say this is how Kieth wanted it, I suppose I believe you.
And another one who doesn't know the true meaning of the term "underrated". Playing in the most important bands of the century is certainly not a sign of it. 🙄
It really sounds like this is the first or second take of recording this bass line. He does not sound too confident about the notes and runs he's playing. Being an recording bassist myself these are often takes that grove the most. I don't know why but often the spontaneous first takes are sitting the best in the mix. A good friend of my father and fabulous bass player once told me "Never listen to your isolated bass lines out of context. They will always sound like s**t and you will destroy your confidence as a musician"
I think you'r right. It sounds like he's sketching it out for the performance. Bill's basslines are odd out of context but they were a critical part of the recipe. Thank God that Daryl is so sympathetic to the original lines.
I am not a huge Stones fan, but the drums and even more the bass are just great. If you’re just listening to it the bass, especially that fast line between the verses jumps out. So energetic.
Yes, to ,my cloth ears, it sounds like he corrects himself twice in the first 9 seconds. Don't think that double bass drum hit was planned, but I like touches like this in recordings, like the piano at the intro of the Police's Roxanne. They add a certain attmosphere it is impossible to manufacture.
@@IfUfindthisURlost I agree, it's something that would be fixed in 2 seconds today on a digital DAW, would never even be considered to keep. But it's more rock n roll to keep things like that. That loose/tight interplay is the magic of the Stones.
In my opinion, there's no tune in the catalog during Wyman's tenure that doesn't sound better with his part louder in the mix. If you don't believe what I'm saying, try listening to Get Yer Yayas Out with bass twice as loud as originally mixed. Mick and Keith never knew what they had, and still don't get it.
Probably going to be an unpopular opinion, but his playing sounded a bit rough (or untidy) to me in that track.. Could have to do with the recording methods used (gates ?), and of course in an overall "Stones mix" of the era or playing live, his playing gets the job done. But for this specific track, and more specifically his note clarity and overall consistency in playing each note, I thought were average to poor for the most part. Don't get me wrong, the bass line itself was an absolute cracker, and his spacing and general sense of time within the great lines he was playing is where the magic is in this song, for me anyway. That spacing, accompanied by Charlie, who was laying back just a fraction as only he can do, just felt right as a whole... Anyway, so as a packaged rhythm section --> loved it. As an individual technical bass player --> Yeah-nah, not so much...
Keith played "loose" like that as well, and it is THE reason why the Stones had such a groove going. It's not easy to sound almost sloppy and still be in the pocket like these guys. There are very very few bands that can cover Stones tunes and nail this feel. It's what made the band so great.
@ cheers mate … that’s a great explanation… I’ve never really listened too deeply to the Stones, but that makes perfect sense. I’ve always respected them, but they’ve just kind of been there, making me smile, without any deep dives… time to put my scuba tank on for this band I reckon …
The way I understand it they only did a couple of takes max of this "rock" version after doing a bunch of work on it as a reggae feel song. I don't think they ever intended this to come out. It was just messing around. Could explain the ragged quality of his parts.
I know what you're saying. Probably from the days when Bill and Charlie would arrive at the studio on time, while Keith and Mick would be hours and hours late... Maybe Bill recorded 1 or 2 takes and said... "I'm leaving, I've been here for 5 hours".
@@trabongo Good point and sounds plausible.. I've since been taking a bit of a deeper dive on Wyman and The Stones rhythm section in general and learnt about this frustration that was quite common in their studio sessions.... Then again, seems many a great band or songs recorded, were laid down with some sort of tension or powerful emotion in the room... makes sense- human's aren't AI (yet) ... 😆
In all sources it is said that Bill played bass. The style is Bill... a lot of improvisation, a lightness that Keith doesn't have. Even the hesitations... all Bill!
You seem to be the only one with that opinion. Its a fretless btw, so "out of tune" means something different in this case. It sounds like someone put the rough demo he may have laid down while he watched tv and didnt pay attention the whole time
Last Stones album was a complete dog!! I'd bring Bill back for studio and songwriting. No one can replace Charlie. Probably the most unsung hero of rock history.
'Beast of Burden' is another one where Wyman really shines. So fluent and fluid with his bass lines, voicings and choices. The two of them are made for each other rhythmically.
He doesn't play the expected parts on bass. A brilliant musician.
He does that a lot actually
What a slick, deceptively brilliant & humorous Bass Line ! And Charlie Watts (RIP) is always right there in the Pocket ! 👍🤠
She's so Cold is also another example of a good rhythm section.
Great illustration how the top players are not afraid to play a adventurous path during a song. Lots of variations during the song
Wow, what a great bass player. The octave splits and chromatic slides to the next chord , just really tasteful. Plays the 5th above and below. Really nice. Thanks for posting.
Damn Billy pump up that bass
That’s his schtick. Whenever the conversation/argument of Bill plays on a certain song, it’s the easiest way to determine. If it’s Keith, Ron, etc….Bills technique is unmistakable.
Nice to hear a few Bill flubs; such a great player and Charlie is the best!
I think it's someone playing their cover version of Bill's bass
Love this picture. The backbone of the stones
I admire this musician. He left the Stones just before he could earn millions of dollars and enhanced his solo career in other musical fields. I attended two concerts with his group (the Rythm Kings) and they were eye popping. With this rhytm section (Wyman and Watts) the Stones could create and perform the best blues rock songs ever produced. Keith Richards has repeatedly praise Wyman skills as well as Charlie's. He knows that he shone because of their rythmic support.
Hearing these bass lines is kind of like seeing into the den of a wild animal thought extinct and never really observed before. We see that it really just lumbers around and acts like other wild animals with the occasional obvious flash of extra ability that it probably rarely needs to show. It is no less beautiful to watch, but makes you realize you are overstepping your bounds, watching it this way.
Merkwürdige Sichtweise. Wymans Spielweise ist altmodisch aber immer noch deutlich variabler als das heutige stumpfsinnige Gepolter
Euro sadness) and you just said that very nicely
Bill Wyman is so underrated.
Him and Phil Lesh. Both totally unique.
@@cadwaladr365
I was writing about hass playing. I'm a guitar player, but when I pick up my bass, I try to think, "How would Bill Wyman approach this song?"
I'm not "channeling" Bill Wyman's private exploits, titilations, or predelictions when it comes to my own private pursuits. It's his bass playing that helps my bass playing. He's an amazing bass player. I don't know him as a person, but I know people who do know him very well.
1:39 his riffs here are a work of art
Not really riffs
A prime example on how every single note doesn't have to be perfect as long as the groove is maintained.
I knew this was a great fun pop song. Now I know it was anchored in great musical performances too!! Thanks.
A) It’s what you don’t play.
B) Feel over perfection.
C) Knowing A & B.
Absolutely - this sums it up perfectly for a bass player.
best rhythm section ever
Perfect
Some super interesting choices I wouldn’t thought would have worked, pretty unique
My thoughts as well. So many moments that sound "wrong" on their own, but work brilliantly as part of the bigger picture
Really weird bass-playing, but that's one of the reasons it's so good.
Finde ich auch.
His bass playing on "Hang Fire" is outstanding too.
I'm sure I've read somewhere about Keith playing bass on albums because Wyman couldn't learn the lines Keith had written quick enough. Is that bs?
@@WorldCupWillie Absolutely. Bill was talented and versatile -- yet sometimes not available for spontaneous recording sessions.
It's a bit like a reggae mentality with loads of gaps. Always liked his playing on this.
One thing that stands out for me is how little Bill plays here really, I thought he was all over the place. Obviously he knew it wasn't needed.
My personal favorite of Bill and Charlie is "Emotional Rescue", amazing track. Also "Beast of Burden".
Ron plays bass on Emotional Rescue.
@@adamdavid5046 Wow. My bad
@@adamdavid5046after hearing this I can understand why 😂
@@ferleiva7080 Bill plays bass on Miss You which is similar
She Said Yeah, 19th Nervous Breakdown, When The Whip Comes Down, the list goes on…
Awesome! Thanks for posting. 👍
Not many can swing a bass like this. CLASS
Bill & Charlie were the Stones, after Brian was gone. Keith stated it clearly: the Stones follow the drummer
Actually what gave the Stones their chugging groove was Watts following Keith. Charlie had always said that. Then add in the timing of Charlie a little behind...Bill a little ahead...you got that chug chug (at any tempo) that swings and sounds like it might unravel at times...but didnt
Why do they never mention Bill? Did he leave on bad terms or what?
@@mjp96 He retired from the band 30 years ago.
Mesmo com erros, hesitações... Único!
Very fun listening to Bill explore
Perfect bass line!
Charlie was a a human metronome, incredible.
hard to believe he played THIS behind the beat. think i would have noticed it. I need to check this side by side with full mix.
Of course this is it. You don't recognize the parts that would have come through? Not exactly smooth but it still has cool things about it
@Daemiandussault oh no, the parts are unmistakable. Just seems really behind the beat to my ears
Charlie follows Keith. Bill is ahead of the beat. It's the 'Roll' or swing that Keith always wanted. When they hears Charlie they needed him to define and nail down their sound.
It's not pocket at all. Very loose playing.
@@eg4449 No way is this ahead of the beat. He's lagging behind the kick and snare for most of this. But if you say this is how Kieth wanted it, I suppose I believe you.
One of the great rhythm sections … it may have broken up in ’91, but we’re very lucky it lasted that long.
👍🍀Wonderfull
i think people should drive around listening to just bass like this more often.
I can't fucking sit still!
easily in the Top 5 bassists
@@cadwaladr365 lol yeah, definitely. Cool sparse bass line thought the verses though.
A masterpiece. The one and only Bill Wyman. Underrated bass player from the top 5 bassist including Paul Mc Cartney.
Paul #1 in my book. Bill #2 or 3 - I forgot Jack Bruce!
And another one who doesn't know the true meaning of the term "underrated".
Playing in the most important bands of the century is certainly not a sign of it. 🙄
THANK YOU FOR THiS!
It’s the syncopation, the way he plays off the beat. In a strange way he reminds me of Angus Young.
Definitely his Tuxedo fretless.
Bill is quite unorthodox in his style. He's not a prolific bass player but tasteful. Charlie is a human metronome. He keeps it tight and seamless.
And to think Keith Richard’s was mortified when they pulled this song from outtakes years before. He hated the song and didn’t want to release it.
It really sounds like this is the first or second take of recording this bass line. He does not sound too confident about the notes and runs he's playing. Being an recording bassist myself these are often takes that grove the most. I don't know why but often the spontaneous first takes are sitting the best in the mix. A good friend of my father and fabulous bass player once told me "Never listen to your isolated bass lines out of context. They will always sound like s**t and you will destroy your confidence as a musician"
I think you'r right. It sounds like he's sketching it out for the performance. Bill's basslines are odd out of context but they were a critical part of the recipe. Thank God that Daryl is so sympathetic to the original lines.
Nos dimos cuenta de esa sección rítmica que tenían las piedras
Have you ever listened to Keith playing bass on Casino Boogie? Quite something. Not taking anything away from Bill Wyman. Love listening to him.
I am not a huge Stones fan, but the drums and even more the bass are just great. If you’re just listening to it the bass, especially that fast line between the verses jumps out. So energetic.
How are you not a hide fan
groovy
I always wondered, did Charlie count the downbeat wrong in the intro? It feels like he corrects himself after that first snare hit.
Yes, to ,my cloth ears, it sounds like he corrects himself twice in the first 9 seconds. Don't think that double bass drum hit was planned, but I like touches like this in recordings, like the piano at the intro of the Police's Roxanne. They add a certain attmosphere it is impossible to manufacture.
@@IfUfindthisURlost I agree, it's something that would be fixed in 2 seconds today on a digital DAW, would never even be considered to keep. But it's more rock n roll to keep things like that. That loose/tight interplay is the magic of the Stones.
I had no idea.
Es lo que muchas veces no nos fijamos pero ahora que Charly se fue y cuando wayman se fue
In my opinion, there's no tune in the catalog during Wyman's tenure that doesn't sound better with his part louder in the mix. If you don't believe what I'm saying, try listening to Get Yer Yayas Out with bass twice as loud as originally mixed. Mick and Keith never knew what they had, and still don't get it.
Probably going to be an unpopular opinion, but his playing sounded a bit rough (or untidy) to me in that track.. Could have to do with the recording methods used (gates ?), and of course in an overall "Stones mix" of the era or playing live, his playing gets the job done.
But for this specific track, and more specifically his note clarity and overall consistency in playing each note, I thought were average to poor for the most part.
Don't get me wrong, the bass line itself was an absolute cracker, and his spacing and general sense of time within the great lines he was playing is where the magic is in this song, for me anyway. That spacing, accompanied by Charlie, who was laying back just a fraction as only he can do, just felt right as a whole...
Anyway, so as a packaged rhythm section --> loved it.
As an individual technical bass player --> Yeah-nah, not so much...
Keith played "loose" like that as well, and it is THE reason why the Stones had such a groove going. It's not easy to sound almost sloppy and still be in the pocket like these guys. There are very very few bands that can cover Stones tunes and nail this feel. It's what made the band so great.
@ cheers mate … that’s a great explanation…
I’ve never really listened too deeply to the Stones, but that makes perfect sense. I’ve always respected them, but they’ve just kind of been there, making me smile, without any deep dives… time to put my scuba tank on for this band I reckon …
The way I understand it they only did a couple of takes max of this "rock" version after doing a bunch of work on it as a reggae feel song. I don't think they ever intended this to come out. It was just messing around. Could explain the ragged quality of his parts.
I know what you're saying. Probably from the days when Bill and Charlie would arrive at the studio on time, while Keith and Mick would be hours and hours late... Maybe Bill recorded 1 or 2 takes and said... "I'm leaving, I've been here for 5 hours".
@@trabongo Good point and sounds plausible.. I've since been taking a bit of a deeper dive on Wyman and The Stones rhythm section in general and learnt about this frustration that was quite common in their studio sessions....
Then again, seems many a great band or songs recorded, were laid down with some sort of tension or powerful emotion in the room... makes sense- human's aren't AI (yet) ... 😆
today most bands would autotune and clean up that kind of bass playing to oblivion, leaving it totally charmless.
Tons on my channel
I thought the picture was The Strokes 😂
It might be keith on bass here.. not sure. He did play bass on some tracks.
Reggae Jamerson 👏👏👏
It is obvious that there was no quantising back then in the mixing room.
Nowadays all that groove would be quantized into sterility
"Wyman is God"
He's dragging - not great
Sounds like Keith. Keith played lot of bass on Stones albums.
In all sources it is said that Bill played bass. The style is Bill... a lot of improvisation, a lightness that Keith doesn't have. Even the hesitations... all Bill!
Good point. Who can be sure. It isn't terribly confident.
Often we find that actually Keef play the bass lines - at least, the difficult ones…
Love Bill, but when it comes to great Stones bass lines you have to be careful because Keith played bass on a number of tracks
Always thought Bill kicked butt on Emotional Rescue (song) only to find out it was Ronnie.
Good grief man
Awesome bass playing but the sound of his bass is not great on this IMHO
Sloppy as fuck but great in the song. Whatever
Out of tune 😮
Who cares.... that´s Bill Wyman! :)
You seem to be the only one with that opinion. Its a fretless btw, so "out of tune" means something different in this case. It sounds like someone put the rough demo he may have laid down while he watched tv and didnt pay attention the whole time
Where?
😂😂😂 Wyman out of tune? 😂😂😂
Sounds out-of-tune to me too, and hesitant, but it seems to work within the song.
Last Stones album was a complete dog!! I'd bring Bill back for studio and songwriting. No one can replace Charlie. Probably the most unsung hero of rock history.
The last Stones album I bought was Steel Wheels, I use it to protect my other albums from the zipper on my copy of Sticky Fingers
Lol!!
One of the most overrated songs ever written.