On bass Keith Richards (in addition to lead guitar); although Bill Wyman claims the main riff cell is his, he does the organ there and Brian does the mellotron and other guitars; Jimmy Miller on maracas; and yes, Charlie plays on the "toy" portable drum set. He has the guitar/sitar and one in Nashville tuning (in octaves higher); the latter perhaps influenced by Ry Cooder or Gram Parsons.
This is the greatest rock song ever written and performed. It’s rock and roll perfection. It’s so bright and energetic with great lyrics and nothing that pulls focus from the overall band performance no dramatic solos or anything just a straight up band tapestry. I wish we could have the guitar and keyboard separated as well
I am a Beatles fan, first and foremost... but it's hard to argue that this is - perhaps - the greatest Rock 'n' Roll song recorded. It never gets old, never gets tired, always interesting to listen to and always gets me going.
all credit to Bill Wyman (except for lyrics,melotron,12 string), this song was initially his creation..the riff,time signature and bass line were created by Wyman
@gigagod3384 Keith and Mick walked into the recoding session and Wyman was playing the riff on bass..Keith said play that again and they built the guitars around it. BILL took to the organ for the final mix while Keith was on bass. Saw an interview years ago where Bill explained it
Good grief, Bill himself only claims he was playing the (very basic) riff...on the PIANO, when Mick and Keith showed up (again, that's straight from Bill). If true, and it very well could be that he was hammering out a few notes that formed the outline of a riff, he didn't write the song (big difference). Also, they didn't sit down right there and record it. It was later, after the famous "gardener waking Mick up" incident that the song was written, and recorded shortly thereafter. There is very little evidence (that I'm aware of) that Bill put up any fight about the credit other than mentioning the above story publicly once or twice. I'm sure Bill was frustrated from time to time over the years, but he knew his place...and became a very wealthy and respected musician because of it (the only way that was going to happen). Could they have thrown him a bone and given him a third of the credit? I suppose so, but I doubt many composers would have under similar circumstances. And, that ain't the way the Stones work anyway.
Since 1968 I thought it was Nicky Hopkins playing the Hammond B3 Organ but it actually is none other that Bill Wyman! Kudos to Bill! What hip Organ work!
That sounds like Kieth with the opening guitar bell like groove but then he chugs through the rest of it. Brian and Piano player playing the main riff.
Keith and Mick wrote this masterpiece entirely at Keith's home, Redlands in an all night session where Keith was trying out new sounds by playing his acoustic Hummingbird guitar through one of the first available Norelco Philips cassette recorders. By putting the microphone inside the guitar and turning it up he got that distinctive overdriven acoustic guitar riff played high on the neck with a capo. It was a unique sound that gave his relatively mellow acoustic guitar an exciting aggressive edge that he loved. Keith wrote the first verse and the refrain himself with Mick fleshing out the rest of the verse's lyrics. Jumpin' Jack was actually Keith's gardener, Jack Dyer, who Keith had nicknamed "Jumpin' Jack" for the way he hopped around doing his landscaping work around Redlands ...Jack surprised Mick doing his morning chores with his rubber boots on in the wet grass walking by the window where Mick was sitting inside. Surprised by the sloshing sound, Mick said "Who's that?" Keith answered "Oh that's just my gardener, Jumpin' Jack" ... "FLASH!" Mick reacted and the song was created. Keith's first verse "I was born in a crossfire hurricane" refers to the night he was born during a WWII bombing run the luftwaffe made on London. When the sirens sounded, Keith's mom was shepharded off to the protection of a bomb shelter where Keith was born, underground amid the vibrations of the exploding bombs. Instead of bombing London that night they dumped their bombs on Keith's home town, Dartford, demolishing and leveling his home with the cradle meant for newborn, infant Keith still in it. Above everything else, Keith is a survivor as well as a songwriting and innovating guitar genius.
I wish someone would ask Keith who played what on this particular song. Always though there was melotron. And if that's Brian on the 12 string it's pretty damn impressive.
@@martinkent333But it’s usually based on third person accounts, while Keith, on the other hand, was there. And there’s no need to interject while sounding like a dickhead.
Charlie. Driving them forward, tapping the brakes,holding them strictly in the middle. I'm glad Mr. Jordan has taken the spot, but I think they needed Charlie to become what they are.
I once heard it said that Jumping Jack Flash was the song that saved The Rolling Stones from their period of psychedelic experimentation with their music and got them back to rock and roll basics.
They didn’t need saving though. This is a killer track, but Satanic Majesties was a natural evolution from their mid sixties pop peak. Not sure they needed to switch to cosplaying like they are from the US south
@@will2741 I agree, even Jagger said in later interviews that he was disappointed that the band largely dropped any experimentation in their music after "Satanic" (with a few exceptions like "Can You Hear The Music" or "Continental Drift", both of which have a "Satanic"-like element to them).
No credit given to Wyman who wrote it. Twins are thieves. Just like the way the way they ripped off Ruby Tuesday from Brian. and the songs written by studio musicians.
possibly the greatest basslines ever to be played on a riff-based rock song. such a badass stuff. normally, you would expect the same riff as the guitar part, but playing a single note constantly with variation in rhythm makes it so much more badass. Keith is a great bassist
I did'nt know that the bass line was made by Keith. I love the Bill's job with the Stones but, for me, perhaps Keith is the best bass player of the Stones ever.
I'm glad someone else noticed that. It's like Wyman just checks out if things get too complicated. Keith's bass on SFTD sounds like a lead guitar, not a baseball bat hitting dirt.
Keith Richards played acoustic guitar and distorted acoustic guitar on the Rolling Stones' 1968 song "Jumpin' Jack Flash". Richards achieved the song's original sound by recording an acoustic guitar through a tape recorder until it sounded like the end of the world. He also played two guitars layered on top of each other, one in open E tuning with a capo and the other in Nashville tuning.
I know it is Keith on bass...however, I read somewhere...this riff was created by Bill Wyman. And...that Mick and Keith kind of stole the credit from Bill for this riff. The article said Bill always kind of held a grudge with Mick and Keith for snatching credit for his invention.
Way back in the early '90s, I was in a band playing lead guitar. One afternoon, when we were playing at a party, we decided last-minute to add "Jumping Jack Flash" to our set. Our bass player was not familiar with the song, so I sat with him and showed him what to play. This was long before RU-vid, where you could locate isolated tracks for faster learning. I am proud to say that, after listening to the isolated bass track, I was pretty much spot-on with what I suggested your bass player payed. 😏
Organ is a nice touch. Always thought it was melotron. Keith plays a great bass. The guitar parts are all priceless. I would hope Brian played a bit of guitar. But will never know. The piano also provides a nice subdued backdrop. Just a brilliant song. My no 1 Rock song of all time. Never wares on you and gets annoying.
@@ednorko5128 Perhaps, although Bill Wyman says otherwise. Also, it was Bill and Brian's riff and it should have been credited to Nanker Phelge and not Jagger/Richards.
there are many guitar parts, in my opinion Brian's guitar is on the left with a sound close to the bass. it's the same line that he plays on the rock'n'roll circus and that he does in the videos.
@@ednorko5128 According to authors Philippe Margotin and Jean-Michel Guesdon, Keith played acoustic guitar and Brian Jones played electric rhythm guitar on this song.
Yea, me too. I have the separated tracks and the bass is a lot easier to play than most people on RU-vid are showing and it sounds way better to me to play it just as it is on the recording. So if you have two guitarists in your band, play the bass part just like the recording, it sounds way better in my opinion.
Brilliant song and that middle part when he sings it’s a gas just sounds like the Sixties. Those notes were perfect and it’s so catchy. Keith just hit the right notes!
Was that Brian on the jangly but of guitar work. He was playing a 12 string Rickenbacker so it’s possible. Really interesting to hear how the song was put together including Keith’s propulsive bass.
It's Nashville tuning. Not exactly a 12 string. Replacing the bass side strings on a standard 6 string guitar with the skinny octave strings from a 12 string set.
@captaincat40 but look at the picture Jones is playing Rickenbacker 12 string and the Nashville tuning strategy didn't start until 69 Let it Bleed sessions onward plus it says in this video description
Shame on the ABCKO Label! Here are priceless Rolling Stones recording session works in progress that should be officially released to their devoted fans! The Beatles have released their definitive albums from 1966~1970 with lavish packaging and interesting outtakes but not The Rolling Stones! It's the same old releases with no outtakes, such as these, and no essays to explain The Stones' recording sessions process! It's the same old unimaginative repackaging with lousy graphics! The Rolling Stones deserve so much better!
HOLY WATER ENEMAS MIXED WITH KENTUCKY MOONSHINE WILL MAKE YOU SEE GOD, CUPCAKE. ICE CREAM IS FOR KIDS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ICE CREAM CAN'T SPEW ON ATHEIST, CAN IT!!!!!!!!!!!!!!!!!!!! JESUS IS COMING SOON, BUT RIGHT NOW HE IS IN URANUS!!!!!!!!!!!!!!!!!!!!!!!!!!!!
The recording and mixing of JJF always bugged me being so dense and muddy sounding. What the heck were they thinking? I mean compare the single with Honky Tonk Woman for a night and day transition from sludge to crispness and clarity.
That dense muddiness in the mix is exactly why JJF is so legendary. It's a sound like no other, although they did do a good repeat with "Street Fighting Man". A remix would probably ruin it.
BRIAN JONES (1943 ~ 1969) "When this you see , remember me and bear me in your mind Let all the world say what they may, speak of me as you find" This quote was featured on The Rolling Stones album ~ THROUGH THE PAST, DARKLY (Big Hits Vol.2) which was released on September 12,1969. The cover and back photos were taken on May 21,1969 by photographer Ethan Russell. Little did we know that Brian Jones would be dismissed from the group on June 8,1969. I proudly have a framed album British copy of Through The Past Darkly, with Jumpin' Jack Flash as the leadoff track, proudly displayed on my bedroom wall. It is a very cool pic!
Since I first learned this in about 1972 I’ve always played the bass part riding that B with the Keith vamps thrown in. Every bar band does it doubling the guitar part though and now and then till this day I’ve had people ask me why it sounds so much heavier when whatever group I’m in plays it. Because you ride the B. That’s why! Let the guitars do their part. Let the bass do its part. That’s the secret!
I'll never forget Charlie Watts' Toy Drum kit on "Jumpin' Jack Flash"! That's some of the funkiest and hypnotic Drumming ever! Charlie used the same Toy Drum kit on "Street Fighting Man". The Guitars, Organ, Keith Richards Bass, Mick's Lead Vocal.and Harmony Vocals, the whole production is perfection! "Jumpin' Jack Flash" is the greatest ever Pop/Rock Single "A" Side!
It is a simplicity of rock n roll where the result is just an amazing classic. The stones play it in several different ways and still a great song. Love it
It’s the first time I’ve heard of Brian using his Ricky 12 string on this. Is this in addition to the Nashville strung acoustic? Do we have any confirmation of Brian using the Ricky and any ideas which parts it plays?
@@HJsCorn909 Is it an educated guess or did you read it somewhere? I definitely think there is an ES-330TD playing int the right hand Chanel in the intro, riff and the low part of the solo. I’ve tried it on a Casino (a very similar guitar) and it sounds identical. The right hand Chanel chorus work and the higher part of the solo sound more like a tele to my ears and the triplet strums at the end of the chorus don’t sound like standard, open G, D or E tunings. I’m guessing it’s Nashville strung like the acoustic in the other Chanel but tuned to E5 🤔
Elliot: Are you sure that's a Rickenbacker 12? We know Brian had one, but aside from possibly "The singer not the song", I can't hear an electric 12 in any 'Stones song.
