All language subtitles for ROLLING STONES - Making of Jumpin Jack Flash

hurricane

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but I howled the morning

but it's all

right

yeah

but it's a song

welcome to the breakfast show

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foreign

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yeah right away

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I think Jumping Jack Flash is a tune

that's taken for granted as it was heard

so many times a tune not having that

check mark next to it and a high grade

on a live album and one is at times

bypassed

what do you want for the most played

live stone song

Bill Wyman would say it is one of their

best tracks ever that reads Jagger

Richards

I feel it's time to brush off these

cobwebs off this song and put this song

Back On Top to enjoy as a deep listen

and appreciation like it's the first

time hearing it again

it is a song saved for the end of a show

as time went on

for a reason

the energy and love for this song the

passion and devotion they still give

when they play this

the stones love this song it's a true

adrenaline rush

I'll be playing you some live samples

through the years

and if this documentary does not snap

you out of it then I hope you were there

already

rule number one

don't let this song Slip through the

cracks and sneak through take it and run

with them

satanic Majesty's request was released

December 67 by Deca and London

produced by the Stones

the first album not having Andrew Luke

Oldham in charge

he was like a father figure

despite being his age and younger he was

keeping them all In Line Andrew would

say the reason he would depart was that

he thought the stones were not

concentrating and also being childish

now also Andrew was himself a heavy

partier and heavy drinking and drugs he

did lose some control

well at that time the stones were in

their drug Frenzy

during that satanic time and that was

the outcome

without Andrew

many would call it a masterpiece

and many could take it or leave it

and would believe it did not represent

the stones

now having left their strength

and did this album they would want to

return and get their focus back

now Deca pressured them and they wanted

to release a new set of Stone's material

they wanted a new single

it was long overdue now the Beatles and

Emi in 67 they released Strawberry

Fields and Penny Lane

they did that first from the not yet

released Sergeant Pepper's we now enter

into the story of the single of Jumping

Jack Flash

it was intended for a new album

but the enthusiasm was so great

the single was pushed out as I did my

research on this song

and I was looking at every angle I could

the one thing that stood out was the

interpretations of the song there are so

many ways that people looked at this and

looked into the Deep lyrics

and what it meant to them

some of them went like this

flesh is the blood and gas is the heroin

injection

Spike through is when heroin goes into

the brain and then the thrill is a gas

gas

a story of anyone overcome burden and

hardships in life Jack is saying it's

all right now but it was not in the past

when you take morphine you vomit known

as flashing bad stuff happened but it's

all right now

a destructive path for innocent people

why there is a war

a man about to jump into action like a

soldier gas gas

represents how the conflict is fueled

about someone's hard life and after

death is enjoying his stay in hell

jumping jack flashes the devil

a dance done in Hell jumping around to

keep feet from being burned by the hot

coals

Jumping Jack Flash was a practice

of administering liquid LSD with an

eyedropper in the tear ducts

John F Kennedy JFK with rose K mom she

was strict with a strap

third verse deals with JFK and War

and his training and Service as a PT

boat captain

being crowned with a spike through my

head

was the assignment

gas was the limo speeding away

it's about Jesus cruelly being treated

those that did the beatings it's all

right now and forgiven as Jesus knew it

was Satan Heaven is going to be a blast

a song inspired by The Beatles Day

Tripper

so there you go

just listing a few

summon Jimmy Miller

but before we dive into Jimmy we need to

know more about who what where and why

and jump down this Rabbit Hole so that

brings us to Chris Blackwell the founder

of Island records in 1958. he made his

way into pop music in 64 with a Jamaican

singer 15 years old the cover of My Boy

Lollipop by Millie small

yeah you know this one

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this song was licensed to Fontana

records

that's the Dutch label off of Phillips

now Chris would venture for more talent

in London

and in 1965 you'd find a new group of

young Talent at a London Club

with a Birmingham band called The

Spencer Davis Group

they had a front Man Called Stevie

Winwood a teenager

Stevie's older brother muff played the

bass Chris would recognize immediately

his talent and see that he had a young

Ray Charles here and he would sign the

group immediately

1965 on the Fontana label also

the Spencer Davis Group was competition

with the stones they played similar

music both fans would play the similar

cover songs also

what's worth noting is Spencer Davis he

played guitar and he would form a band

called The Saints

with a bass player called Bill Wyman in

63 he would form his group initially

called the rhythm and blues quartet with

Stevie muff and the great Peter York on

drums

they would change her name because

Spencer

was the only one comfortable

talking to the media

Stevie was 15 years old when they formed

in 1965 Chris Blackwell was in the U.S

he was scouting and looking for material

that he can release in the UK

and He Came Upon a song called incense

and who produced it and created it

Jimmy Miller

Chris would release this on Fontana in

the UK as he was really impressed with

the work of Jimmy

the song became a success in the UK

and with the Spencer Davis Group having

issues getting established in the U.S it

was Chris that reached out to Jimmy

again to come and work with the band

Chris wanted Jimmy to work on the album

give me some lovin it was already

released in the UK but he wanted him to

remix it for the U.S Chris had the

insight and he felt it really needs

something more something different to be

able to Excel and climb the charts in

the U.S so here is the original UK 1966

version give me some loving

and the vocals

are clearly different and pay attention

to the base and the drumming

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foreign

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you can hear the magical work of Jimmy

and what he brings a driving base and a

slapping of the drums

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foreign

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well eventually Jimmy Miller and Stevie

Winwood would embark on a wonderful

friendship

Jimmy would even get some songwriting

credits as a co-writer on the song I'm a

Man

with Stevie Winwood we have a lot of

hindsight now and see

what was happening in his life there was

so much history and connections and

changes happening at that point he

wanted to move out and expand his

talents

and he wanted to leave the group so he

did in April 67. he and three others

formed a little bad cold traffic

a worthy note Dave Mason was a roadie

for the Spencer Davis Group

and it was a London being called traffic

jam already but they ended up changing

their name to status quo

so after the recording of I'm a man

Stevie left and he asked Jimmy to come

on board to produce the first album Mr

Fantasy

Island records and Chris Blackwell

wanted to break big and they had traffic

under their wings and supported them

Chris was all in well Mr Fantasy was

recorded in Olympic Studios and that's

where Jimmy was now having his new home

and Olympic Studios was a Mecca in the

mid 60s for recording artists similar to

Abby Road it had state of the art and

moving forward but most important it had

some super group talented engineers

that were exposed and working there one

of them was George jakayans I mentioned

him working with the stones

and Brian Jones and so many others you

really need to look him up check out

what work he has done he gets credit for

developing the use of phasing in

recordings and that was big as we know

it's psychedelic music and we know Mr

Fantasy also

Jimmy would help on Mr Fantasy doing

some percussion also in addition to the

producing

now I'm going to share a story from the

engineer Eddie Kramer and he was

observing Jimmy in the studio and

watching him in action first hand and

seeing his greatness and why he was for

the song Dear Mr Fantasy the band was

set up on a riser at one end of the

studio opposite the control room they

were set up like they were just on stage

Eddie recorded them live to a four track

now they were in the middle of a take

and it's right at the point in the song

for Mr Fantasy where the tempo is

changing

Eddie looked in the control room and he

didn't see Jimmy there

next thing he sees is Jimmy hauling an

ass across the room

he jumped up on the Riser picked up

Maracas and got them to double the tempo

that's Jimmy Jimmy had an amazing

ability to take a group of musicians

rehearse with them and get them in the

studio and have them be so excited but

about what they were going to do and

create and he made it seem fun his

energy was always up always into the

band and gets the man to see and feel

the song the way he did

it's important to know about Jimmy and

his qualities

his legacy as a stone's contributor and

catalyst is essential to know about

there was a Jimmy Miller Buzz going on

in the industry and he was getting a

fast track reputation to Greatness

someone that knew how to find the groove

Mika told Glenn Johns he wanted to get a

new American producer

and Glenn was not so pleased with that

but

he told Mick there happens to be a good

one here already and he's fantastic and

I know him

Glenn had told Mick about Jimmy

and he is the one that they should work

with

Nick had dropped by a session to see and

observe Jimmy up close

I believe from what I was reading Jimmy

was working with Dave Mason on music in

a doll's house by the band family and

then it came it was the winter of 67-68

and I came home one night and my wife

said honey Mick Jagger called and wants

you to call him back left his number

and I just got a flash as she said that

he wants me to produce them and then I

very nervously called up mick said Jimmy

uh

can you come by I'd like to uh to talk

to you about something and I agreed

stopped by his house we had some tea and

sat and talked for a few minutes and

he said

he had liked the things I did with

traffic and Spencer Davis Group and had

been aware of my productions for some

time and

told me that they were splitting up or

had split up with the with Andrew and

with the people they had been with

business-wise up to that time

and they were looking for a producer and

would I be interested is this as simply

as that and they had material at that

time for an album which was to become

Beggar's Banquet which was the first

series of sessions that we worked on and

I think the first track

we caught was a street fighting man but

the first one we finished was Jumping

Jack Flash which was issued as a single

prior to the album so that was my first

release as a producer with the stones

Stones would play Jimmy some of their

ideas of new tracks

now Jimmy he did not insist at all to

get them to leave the psych genre

he would say that they were already

prepared to do so so the end of an era

and the beginning of another one a new

chapter was being created without anyone

realizing what was happening

a bridge was opened up and they wanted

to cross over

one of their most pivotal songs in their

catalog

yeah there are a few of them

but this one should hold a special place

in our hearts

as it represents the true flavor and

direction of where the stones would go

from here

a more aggressive sound they would hit

Overdrive

and they would end up leaving a lot of

the British bands behind except some

exceptions particularly The Who

they're patented and signature sound

would drive that nail hard into the Rock

of the roll this song is so pure and

represented to Stone's new Direction and

where and how they would now be true as

a guitar band as I mentioned earlier

this is the most live performed song in

their entire catalog

for a good reason

I'm gonna do my version of what happened

during their song's birth from the start

to finish

some of the topics I'm sure you're going

to be familiar with it's going to be

obvious to you

but I gotta still mention it however you

will hear some new info I am sure I do

have to say after research the exact

timeline I found

was a little bit unclear

so I'll present it the best I can

chronologically

let's jump into the end of 1967 October

Brian had attended court for cannabis

and hash he admitted to that but not the

cocaine possession he pled guilty and

received a 12-month sentence and he was

out on bail the next day pending an

appeal

it was a mistake by him to plead guilty

he was claimed to be ill

bipolar but that was not identified back

then for sure

on December 12th with Mick attending

Brian had the court appeal and medical

evidence that was used and mentions

Brian

becoming suicidal

now who knows exactly when Brian was

starting to fall apart but this was a

good point give some thanks to mandrex

judges decided not to deliver the prison

sentence but instead deliver a

three-year probation

and a fine of a thousand pounds

in order to seek psychiatric help on

December 13th Brian was taken to the

hospital after found unconscious in his

apartment

this was due to drug and alcohol use

he would return to the health treatment

center so late in December 67 Mick and

Marianne they go to the Bahamas

Keith and Anita they go to Morocco Brian

goes to Sri Lanka Bill and Astrid go to

Sweden and Charlie's home

in January of 68 Mick would purchase an

apartment in Chester Square London Keith

is finishing up recovery in Paris

he'd caught hepatitis in Morocco

now we knew Brian became friends with

Jimi Hendrix from the Monterey Pop

Festival in summer of 67.

now in the January time frame Brian had

joined Jimmy at the Olympic Studios

January 21st 1968.

Eddie Kramer was the engineer

at this session Jimmy would record the

historic piece All Along the Watchtower

I'm gonna go down this little hole here

with Jimmy and recording of All Along

the Watchtower

and it was a song that was recently

released not many people had heard it

and Jimmy just grabbed it and ran with

it shout out to chords

now

he would have of course Mitch Mitchell

on the drums and Noel Redding just

briefly on the base he got sort of

annoyed and pissed off and left because

he didn't really want to play that song

at least not their version

and he basically told Hendricks [ __ ] off

so Dave Mason actually took some base

duties eventually Jimmy would lay down

the base later

Jimmy would also play some acoustic

guitar along with Dave Mason

but the reason why I'm also mentioning

this story is because Brian was in the

studio and wanting to contribute

so take number 14 at a drunk Brian Jones

fiddling around on the piano and took

about 23 seconds before Jimmy just told

him cut it out cut it off don't need it

so Brian was a good friend Jimmy usually

doesn't do this but he was very serious

for that moment he just couldn't take

just the banging and banging the way

Brian was presenting it it was pretty

horrible

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yes

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thank you

so Brian would eventually go to some

percussion you could hear him towards

the end

of each bar in the intro

he played an instrument called a Vibra

slap

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thank you

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songs in the session would actually take

about 27 takes

Dave Mason was at the sessions he played

a 12-string guitar in this song slightly

Out Of Tune

let's hear Eddie Kramer's story about

this with the sound

things

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wow when you hear that track a couple of

things come to mind you hear that

slightly Out Of Tune 12 string that's

Dave Mason but underneath it there's

Jimmy playing all the heavy rhythmic

upstrokes and down Strokes on the sixth

string it's an odd sounding 12 string

let's listen to it again

oh

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it's really cool to hear the how the two

of them are playing together when they

finally locked in you know Dave Mason's

doing their praying praying and Jimmy

it's to me is a wonderful moment in the

song to hear those two guys just locking

in

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one last note with Jimmy

February 1st opening night at Fillmore

West

he was with Albert King and John Mayall

oh and who was in John mayles band well

Mick Taylor

so the stones were being preoccupied at

this time frame December and January and

Bill he was doing some production with

the group called end they released an

album later in

and Charlie well his wife Shirley was

ready for birth of their first child so

Charlie was home

and Mick and Keith were back and forth

at Redlands and Chelsea

so the timeline early February to

mid-February Stones would start

rehearsals for a new album and this was

also done at Keats home at Redlands

February 21st till mid-march 68 they

would have more rehearsals but this time

at RG Jones studios in Morton Surrey

near London

so Jimmy would encourage the stones to

get the essentials for the next album by

getting away from outside influences

Jimmy had seen this ingredient of

getting away from all when Steve Winwood

in traffic would all go out to the

country cottage and it would focus

that is when Jimmy asked Keith if it was

okay for them to go to the Redlands

so that was a time used for

pre-rehearsals and laying out ideas and

getting them on cassette

all right we know this story but I need

to put it out there Mick and Keith they

were up all night in Redlands working

Mick fell asleep on a sofa Keith on an

armchair it was rainy and wet

it was around 6 30 in the morning

they were crashed

Keith's older Gardener was outside by

the window doing what he usually does

working and cleaning up

so Mick got startled by the clumping and

sloshing in The Gardener's boots

waking up asking what is that sound

Keith knowing who and what it was

he says oh that's Jack jumping jack

eventually Mick would add flesh

they were on to something

now going back to the rehearsals RG

Jones

rehearsals Brian Bill and Charlie they

showed up early once and they were doing

the usual jamming while waiting for Mick

and Keith

bill was fooling around with a riff on a

piano a new one and Brian and Charlie

picked up on it and they were playing it

for a bit

Mick and Keith finally show up they hear

what they're playing and Mick says to

keep on playing it carry on that's real

good

and as bill would say

that was the Jumping Jack Flash riff we

can remember Keith's satisfaction story

and recording a riff on his cassette

recorder and then falling asleep for the

satisfaction riff and that was back in

65. Keith would say Jumping Jack Flash

and Street Fighting Man came about

because he was fascinated with the new

technology and opportunities and the

possibilities of playing an acoustic

through a cassette recorder and using

the microphone as the pickup Keith loved

the cassette as an automated dictation

it was a dream for a Lyricist he used it

constantly the microphone can be

inserted into the guitar opening and

produce an overdrive an overloaded sound

a distortion this machine was his new

notebook

so ideas

lyrics they were put on cassette they

were brought to Jimmy as I exposed some

of the interpretations of these Genius

lyrics

we're not sure

where they were all written were they

done in the Redlands were they done at

the rehearsal or at the Olympic sessions

just not sure I would think it's kind of

unknown

but maybe all three

but I wanted to share this one story

with you and a thought you could shrug

your shoulders shake your head

no

or left

it's interesting

as Folk Tales carry on especially in

England

so let's go into this there's so many

thoughts of what this song is about

and the opinions and here is one topic

that was thrown out there

there's a known tale that started around

1837 and pre-dates

well before Jack the Ripper

this thing or guy whatever it was was

called Spring-heeled Jack this being

described as having eyes like fire and

hands like Claws and able to jump from

roof to roof

is described as a grotesque figure that

was witnessed by several and it also

attacked women

now by the 1850s and 60s it was now seen

all over England

still seen in the 1870s and folks tried

to set a trap but no luck

Spring Heel Jack last sighting was in

the Victorian era of 1904 in Liverpool

leaping and jumping he was supposedly

cornered but escaped and never seen

again after that

it was supposedly given the name Jumping

Jack Flash

because of its behaviors

[Applause]

inevitable

I think one of the best distractions is

reading which I think it's better than

TV because we really knew get away from

the century even you know so you're

now your imagination is okay right there

watching TV because

you read what's 20 40 week at the moment

biographies because then you can pick

them up and put them down photographers

are really easy stuff an easy novels you

know another really heavy you know

a good heavy book to go to bed night is

good you know some someone in the

classics or something it'll go to bed

beds to sleep so what's the current

biography

who was he he was a Speculator in the

early Parliament well he lived it was a

powerful from 1917 to 1960s

it was a financial and political guy

on interesting

I think I've hit a guy

there are no secrets that Mick was a

tangling with Lucifer in that topic

manner

now bring in Marianne Mick was a

literary and deep reader being a fan of

Ginsburg curack Burrows and beat writers

but late 67 he steered towards the

Sinister side

he would be collecting some occult

information and books on the topic

named Kenneth anger was a close friend

of the stones and the Entourage

now he made the cult movie Lucifer

Rising

now anger was a disciple of the black

magician Alistair Crowley

anger was close to Marianne and Anita

Marianne would play in Lucifer Rising

the film

about black magic and Egyptian gods

summoning the angel Lucifer in order to

push a new occult age

Marianne played the goddess lilf

let's just say it was a real trippy

movie Mick would also perform and play a

score it angers 69 short movie

invocation for my demon brother Keith

did also

I just bring this up and I tie this in

because there are thoughts of some deep

Jumping Jack Flash lyrics towards Satan

and Lucifer Well a true devil song comes

along soon enough anyway there's also

some mention that the lyrics for Jumping

Jack Flash was inspired

by a William Blake poem from 1908 the

mental traveler all just speculation and

it's all open for your own

interpretation I just gotta put it out

there

so what I did was I broke down the

lyrics took out key words and removed

adjectives and came up with this list

born Crossfire hurricane

howled ma rain hag strap my back

drowned washed up

dead fell down feet bled crust bread

Crown Spike head and gas

well bottom line to me if it's a gas

it's fun

that's a guess

Keith had plenty background knowing

about his local old school Gardener and

his stories

Jack would live a life in the

countryside and not exposed to the city

as Jack was a topic for the title they

must have carried the theme on and they

stayed with the story just about Jack

who's to say born in a crossfire

hurricane was not about Jack the

gardener in World War One if that line

was related to anything to do with war

drugs War

leaving the Psychedelic period religion

Satan

all within what you The Listener wants

to interpret it to

it's the bottom line but my favorite

lyric

blind for this song is yeah and I

frowned at the crumbs of a crust of

bread

how can you even interpret this line

[Music]

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they knew how to combine lyrics

in US

we just got to see the results

they would go from Boys to Men with this

song

and copied out phrases from newspapers

and magazines then took a scissors and

cut these selections into pieces and

rearrange the fragments at random

there there's also that one last Theory

maybe Mick and Keith dabbled with that

method of cut up

cutting out lines of text like from a

newspaper and piecing it together

it's just a thought

not many of us know about R.G Jones

Studio it's located south of London this

is where they went in to do some

rehearsals

I found some info on this studio in It's

Only Rock and roll.org and it had this

clip

that I'm showing this footage is from

1964. you see

it is taken at the studio a band called

four steps Beyond were filmed here with

an eight millimeter as they wanted to

make a record that they would sell at

the clubs they played at

uh thanks Brian day55 YouTube channel

for for this

this is just to give you an idea what

the studio looked like back then

and you could imagine the stones in this

tight-knit quarters

audio you hear

is a jam from February 6th with all of

them and stew possibly

so the stones were playing their Blues

in these rehearsals they were also doing

some hard Edge tunes and instrumental

jams and Jimmy and Eddie Kramer were

here in the studio

and they opened with a song My home is a

prison also known shot my baby it's a

slim Harpo tune

[Music]

another song they would play is hold on

I'm coming

Sam and Dave tune from 1966 they would

play this several times

and Mick would do some ad living but

using satisfaction lyrics

[Music]

[Music]

oh

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foreign

[Applause]

[Music]

[Applause]

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hahaha

rock me baby another cut played several

times Mick would be playing some guitar

on this one

Brian was absent from the some of these

sessions though also he was actually in

Paris celebrating his birthday February

28th

same as mine

bill would not attend many of these

sessions either but as I mentioned

before the biggest moment

that occurred was Bill playing that

piano riff with Charlie and Brian and

developing that Jumping Jack Flash

Melody

[Music]

[Music]

[Music]

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as you see the tunes again on this list

for RG Jones Studios

they did work with early versions of no

expectations

and some stray cat Blues which you're

hearing now

very different sound

thank you

excuse me if I do repeat and become

repetitive on some of this information I

want to just make sure it's put out

there

what I'm going to present now is coming

from the book Rolling Stones gear in an

essential book that is wonderfully

written and presented and well worth it

for any Stones fan it's written by Andy

babic and Greg Prevost

and Jimmy Miller is basically talking

about how they recorded this process

with Jumping Jack Flash

and he would say starting off they would

get together and mix enormous house on

Chester Square

and they would be sitting in the empty

rooms on a carpet and they would just

run a cassette and Keith would be

playing a guitar and Mick and Keith

would sing the song that they just

written and let Jimmy hear it

and showing them a bunch of the material

able to start off with them pounding on

the table and some percussion

contributions and then record it on a

cassette

and Jimmy had the idea to say okay let's

take what we just have on cassette

and record it

onto the four track

now also what was added was the toy kit

drums that Charlie owns

so this same method was used at Olympic

Studio where they would sit in the

circle Keith along with Charlie playing

those drums what was also interesting

was they didn't use batteries in the

cassette recorder they used the AC

adapter cord so it was a consistent flow

and nothing that altered the sound I'm

not going to get into but mention this

that for the single release although

Jumping Jack Flash would be the ultimate

release of a single

the first number of the group recorded

for the single was pay your dues

which eventually went to Street Fighting

Man and as we see the final say was

Jumping Jack Flash

took precedence over pay your dues we

now go to the Jumping Jack Flash

sessions at Olympic Studios March 23rd

to the 29th

1968. Ethan Charlie were recorded on

cassette

then it was put on multi-track to get

distortion

and when you overdrive that cassette it

has a natural Distortion sound when it's

played back

the cassette would act as a pickup an

amp as the mic was jammed into the

guitar hole

they would plug the cassette into a

small extension speaker

and then place a mic in front of that

put that on tape so when Jimmy heard

this in the studio he connected

immediately with Keith's thinking and

the end result that he wanted so what

instruments were used in the studio well

Mick put the vocals Keith within 65

Gibson Hummingbird a 66 Gibson

es-355 TD playing lead and Rhythm

1966 Fender precision bass

Keith also played Charlie's Ludwig floor

tom

which will hear isolated

we hear also backing vocals from Keith

Charlie he's playing a 1963 oyster Pearl

Ludwig not the Gretch yet

now Brian is supposedly possibly using a

Rickenbacker or the Gibson ES 330 TD

not a hundred percent sure but he most

likely is buried somewhere in there or

not even used

bill will play the Hammond m102 Organ

Ian Stewart Steinway piano

and Jimmy Miller he's doing some backing

vocals

now Jumping Jack Flash when you hear it

it doesn't sound like a normal guitars

it has real uniqueness that is due to

open tuning that is due possibly to the

Nashville tuning and also recording

through the cassette deck and giving

distorted sounds it is so unique so

different and so cool and the thing

about it is the studio cut always will

sound different than the live versions

so there's many theories many thoughts

speculations people analyzing and

listening to this song and breaking it

down many people hear different things

but in general

two three guitars were not a hundred

percent sure but it's full it has

probably several

and open tuning

it could be open E which doesn't use a

capo it could be open D which does use a

capo could be standard tuning and then

there's also something called Nashville

tuning that's a high-pitched jangly

sound that came from the 50s they wanted

to get a different sound something high

pitch and they took the high pitched

strings from a 12-string guitar

what I'm showing next is the guitar

playing the little tutorials that I

found on YouTube that were kind of

helpful different perspectives different

tunings

one is open D with the Nashville guitar

also playing two guitars the second one

is a electric open E tuning so for your

non-guitaris I hope you get something

out of this and this is pretty good

visually just to see what's going on

[Music]

[Music]

[Music]

[Applause]

[Music]

[Applause]

[Music]

thank you

[Music]

thank you

[Music]

[Applause]

[Music]

[Applause]

[Music]

thank you

[Music]

[Applause]

[Music]

[Music]

[Applause]

[Music]

thank you

[Applause]

when Keith plays this live he plays it

in open G

and that's using a capo on the fourth

fret

some more head scratching with guitar

licks those leads

it's amazing they sound like an electric

guitar for a long time I thought it was

especially that I never seen an acoustic

playing it live

it comes across as is it sounds like it

we see that you can play it the leads

while strumming the chords and Ronnie I

believe plays those leads separately

live with his guitar part it's not known

if this song is all Acoustics doubt it I

believe there's an electric guitar in

here gonna show two videos on showing

how Ronnie plays his guitar part which

is in standard tuning the first video is

pretty straightforward and showing the

leads and in the second video

the guy in the YouTube channel added a

little bit more double stops

foreign

[Music]

[Music]

[Music]

[Applause]

[Music]

[Applause]

I guess I'm making a point here that you

talk to several people you're going to

get several different types of answers

hey if somebody out there knows

something 100 percent sure let me know

now the base is played by Keith using a

Precision base it has Keith's pounding

drive he knew what he had in his head

for this sound and he transposed it

Keith's way

it complements the guitars so well as

I'm playing YouTube channel HJ reviews

deconstructing Jumping Jack Flash that

isolates the tracks which is really

wonderful to hear

we here besides the base of course we

hear Charlie

[Music]

right now I'm gonna play you an early

version of the song

and we hear a different approach here in

the beginning with the tune and the

delivery

[Music]

[Applause]

[Music]

[Applause]

[Music]

across

[Music]

all right

[Music]

a lot of Yeah Yeahs and my minds and

woes there is also later on a second

watch it

[Music]

again

[Music]

don't forget

[Music]

the outro here we do hear a little bit

more leads and also the melotron playing

which I'll talk about more the ending

has mixed singing the way he does it

live and also the cold ending here is

also the way they do it live

[Music]

[Applause]

[Music]

what I'm going to take now is a version

of Jumping Jack Flash from 2021 a stereo

remix

made by Tiger Rogers on YouTube tiger

Rogers made a stereo version that's

really cool a lot of Separation gives

you a good idea to hear everything

clearly

so let's start this off so the fun will

begin with the two distorted guitars the

Acoustics on each side the bass comes

rumbling in with the drums

and then right after watch it we hear

the piano

picking it up and playing with the

guitars mixed right in that layer

you'll hear something that sounds like a

dog barking

that is Keith playing the floor tom it's

repetitive throughout the song

[Music]

[Applause]

[Music]

watch it

and what is fantastic is how Mick

delivers the song and how he extends

like every third word and the last word

[Music]

combination sounding of everything with

those leads for the chorus

[Music]

[Music]

thank you

what I'm gonna play right now is a

deconstruction

the isolation of the guitar part during

the chorus so let's give a listen to

that and you'll be able to hopefully

hear the Nashville tuning that higher

pitch

[Music]

foreign

[Music]

[Applause]

to this interlude this break here with

this guitar riff going on which is to me

just fantastic and so well positioned

but also what's really huge and not

noticeable until you start focusing on

it is the Maracas now you hear them real

clear

foreign

[Music]

now the ending the outro where they all

start singing Jumping Jack Flash

and how the explosion all of a sudden

kicks in with that organ and then also

the melotron by Bill wonderful wonderful

and it just extends out and it goes and

Fades out and that melatron at the very

end those last little notes are just

amazing to me I've listened to this song

a hundred times now in this past month

working on this project

I can't get enough of it still it's

mind-blowing this Stone

[Applause]

[Music]

[Applause]

[Music]

[Applause]

[Music]

[Applause]

[Music]

I read a couple pieces where some people

thought it was Nikki on the melotron

but believing it is Bill Bill did own a

melotron he got it one in 1966. we do

know Brian did play one also and

contributed to early Stone songs with it

hahaha

[Music]

it's the end it's always the End Key I

love it so that's that and then you've

got the sort of

wow amazing

thank you

so here's another version of Jumping

Jack Flash this one had a longer outro

and you get to hear more of the melotron

which I think is wonderful piece to hear

here you go

[Music]

foreign

[Music]

texture

he did not like the session much it was

haphazard to him

the end result was good but not quite

what he wanted

the Fidelity wasn't that great not quite

in your face now Keith would comment and

mention his side of the musical style

quality he would say it is almost Arabic

or very old archaic classical

the chord setups you can only hear in

Gregorian chants or something like that

it is a weird mixture of your actual

rock and roll and at the same time this

weird echo of very very ancient music

that you don't even know

pretty profound and deep

type of comment I'm going to try to

attempt to bring forward what possibly

Keith is referring to in making this

analogy

[Music]

now get my investigation here there's

some people who are thinking there may

be some harmonica played maybe it's

Brian

I'm not hearing harmonica

but who knows this is just a thought

possibility but who knows for certain

this is my take if Brian did some

magical work contribution the Jumping

Jack Flash I think the stones would have

acknowledged this think about it they

were blown away when they heard Brian

contributing to no expectations they

proudly acknowledge this

if he did have any positive contribution

for Jumping Jack Flash I'm sure he would

have been mentioned just my side

Jumping Jack Flash would be finished up

April 20th at Olympic

and here's the bonus coverage

the B-side of this angle child of the

Moon

make on vocals Keith rhythm guitar

backing vocals Brian soprano saxophone

Bill and bass Charlie Nikki on organ

maybe piano and Jimmy some back in

vocals it was worked on March 29th in

the same sessions March and April

it's the last threat of this psychedelic

67 satanic sessions it was worked on in

July and October of 67. also known as

child of the Moon

RMK

and a lot of discussions and Forums on

what did RMK mean remake remark Allen

Klein's daughter Robin Mary Klein this

tune along with flash are tunes that

didn't fit with where they were headed

with beggars

trial of the moon was released more on

compilation albums with this on the B

side of jump and Jack Flash it is a

different version than the cops

you got that on Hot Rocks

the singles collection

and the song had a few outtakes and a

four minute acoustic version guitar and

Nikki on piano Brian's not on the early

takes

this is an outtake that does not have

any lead vocals this is from March of

68. this is fantastic and this version

could fit in on Beggars love hearing how

Nikki is on this and the acoustic guitar

is great and multi-tracked Keith plays

his black beauty Les Paul Custom now

painted one the one he painted himself a

psychedelic

[Music]

guitar tuning is an open e some people

play it in open D they're using a Vox AC

30 amp and not a hundred percent sure

but there may be a second guitar

Brian will play the sax the soprano sax

and we can hear Brian on this isolated

track right here from Brian Jones

resource YouTube channel

that high pitch is Brian it's a violin

sound

[Music]

Bill's base is so obvious and it's a

fuzz base

you can pick this out easily and it

sounds like a lead instrument

the opening of the tune we hear some

type of guitar chord lingering a hum or

the end of a chord and it fades into

Keith

[Music]

greeted by what sounds like to me kids

playing in the street but no there are

several thoughts Mick Keith no but it's

Jimmy and it's hard to make out but what

he is saying is lame prick Society I'll

be glad I can pay my taxes if I'm stoned

yeah this had to be some type of inside

joke or just being stoned I'm gonna play

it twice for you here

remember

foreign

[Music]

[Music]

[Applause]

[Music]

now lyrically it has a slight flow of a

story

and moon child is an astrological sign a

romantic song from Mick to Barry in

probably

I think she had some influence in this

make them piece together some

combination the way the great lyricists

do

[Music]

[Laughter]

[Music]

I had mentioned earlier about the

timeline

and the sequence of events that happened

and it was a little challenge so I'll

just say one thing like Bill's book says

something one other resource says one

thing two other resources say something

else and it's regarding the shooting of

the promo films the three of them

so let's just push aside the exact dates

not go there in the sequence I'm just

going to give you information about it

Mick would work with Jimmy Miller and

also Glenn Johns helping out with

engineering would work on the backing

tracks for the promotional videos

directed by Michael Lindsay Hogg

Michael got us started 24 years old

directing some episodes of the British

TV show Ready Steady go

this is where he met the stones Michael

was born in New York City and his father

was an English baronet Edward Lindsay

Hogg and his mom an Irish actress

Geraldine Fitzgerald

he would meet many celebrities like

Charlie Chaplin Betty Davis Lawrence

Olivier Humphrey Bogart Henry Miller

now Michael after Ready Steady go he'd

be working with the stones on this promo

and well after this one 15 other videos

[Music]

[Applause]

[Music]

[Applause]

[Music]

[Applause]

[Music]

now for both videos

Keith would use his Gibson custom black

beauty Les Paul the one he painted

and Brian uses Keith's blue Fender telly

bill is using his Dallas tuxedo base and

Charlie is Ludwig

first video was shot early afternoon

pretty basic shooting putting in some

special lighting here and there they're

in the dark with Lighting on their faces

lip synced and as you heard opens up

with the version of Jumping Jack Flash

saying yeah yeah yeah

plenty of close-ups of Mick he does get

a little bit looser as the video goes on

foreign

some resources would say that the

painted faces second promo video shot on

another day was done on the same day as

child of the Moon

which was done out in the countryside

Michael had said at some point while

they were all in a meal break he would

see Brian sitting at the makeup table

and playing around

with the makeup colors and putting them

on his face and then wiping them off and

just trying it out Michael began

thinking about the look and then told

Mick Keith

Bill and Charlie to give the makeup a

try also

Michael did have a makeup artist there

to assist

and they just all got into it

now we have to remember Mick wore the

makeup in 2000 light years from home and

he did look close to that image with the

stripes and the shapes on his chest

Keith would wear gold tinted makeup

Brian a green tint

Bill and Charlie would wear heavy eye

makeup after they're done they looked

around and they found some big props of

space alien sunglasses

so now with this look it did provide a

nicer additional dimension for the

visuals

along with the makeup

towards the end of the video I love how

Mick is Barefoot in this and prancing

around

and the stones would love this version

and as video media goes well we know

what the 80s most of us know with the

80s videos did

and especially back then in a means to

promote bands and artists to the public

this was huge at that time and back in

the 60s it was even bigger the bigger

bands were able to use this promotional

tools the public would be able to see

these videos shown on the TV shows top

of the pop shindig hullabaloo and in the

U.S the Smothers Brothers comedy show

this video was shown top of the pops May

23rd June 6 and December 25th

for those of you who have seen this

video

you know how

head scratching it is and reading up on

deep meanings again spiritual

astrological

who shot in the countryside of Surrey in

Epping Forest

it opens with an actress Eileen Atkins

she has a dirty face and she's teary

she's walking in the woods Dark Woods

there's a light on her

then a shot of the four stones

a muddy road with a wooden bridge

[Music]

[Applause]

[Music]

Brian was supposed to be filmed in a

tree but when his time came to shoot

this he was lost somewhere where he

wandered up away on his own Mick was

pretty annoyed with Brian

she changed

[Music]

now Mick and Keith were to appear on

Horseback at one point

[Music]

[Music]

it is shot like a cult horror flick

[Music]

now the stones were invited to the nme

new music express poll awards show they

were a winner

this was for May 12th at Wembley this

award was prestigious the UK in 1953 it

started just after the magazine was

created even Elvis was given an award in

1960. he actually sent in a handwritten

note for the acceptance though

there were other attendees invited to

this show for the 12th Dusty Springfield

status quo the move the herd BG's Lulu

Cliff Richard and the Shadows but sadly

to say the host was Jimmy Seville

the footage is rare one and no audio is

accompanying it of the stones playing

Roger Moore who was popular on the TV

show called The Saint would introduce

the stones and accept the award so the

stones were very nervous about this

event they did not rehearse and only

wanted to play Jumpin Jack Flash

but once they got in front of the

screaming fans it got a wonderful

welcome and felt that crazy Vibe they

went into satisfaction and they got a

real good reception Keith would use his

Moon painted gibson-less Paul Brian es

330td Charlie the Ludwig Bill used a new

Sunbird Vox Wyman base

they used a wall of Vox amps

but this was shared by all the bands

now Brian would say in May 68 the more I

hear Jumping Jack Flash the more I

realize it was wrong to think that child

of the moon was the more commercial side

of the single

it had the same appeal as satisfaction

and I'm getting to love it I'd like to

go back to the thought of Brian playing

some guitar in this tune although not

Audible

[Music]

go back to the questioning of that

Bill's book rolling with the stones page

303 he does mention Brian guitar

so I'm gonna fast forward

December 11th 12 1968 the filming of

Rock and Roll Circus

thanks to the Brian Jones resource

Channel on YouTube on this info so

you're hearing the isolation of Brian

Keith and Meg

listening to this you hear the two

guitars it's proof that Brian did play

live on this tune

it was his point to show that Brian's

live contribution

prove some of the doubters out there

Brian's guitar has a lower bass sound it

really sounds like a bass but it's not

very very Bassy the obvious other one is

Keith

[Music]

[Applause]

[Music]

[Applause]

get down

[Applause]

[Music]

I fell down

so what I want to do now is something

fun

I always

was intrigued with how Jumping Jack

Flash and the evolution of the song

played live

went through the eras of Mick Taylor to

Ronnie

and how different it was from 69 all the

way to Karen

in the presentation on how they wanted

to play it

your different styles depending on the

tour

I'll give a bit of a flavor of some of

the live versions and we could hear the

development of it through the years

[Applause]

so the next time it would be played 1969

in Hyde Park

was the second song of the set they do

not play that acoustic intro

with watch it

Mick Taylor now involved Keith playing

an open G Capo at the fourth

Mick Taylor not playing anything

sophisticated we do not hear any lead

type riffs

[Music]

Mick does a watch it get down

Charlie and Bill doing some great Rhythm

and the song does not have an extended

outro

[Music]

all right

so we go to November 69 during that Tour

Madison Square Garden yep get your

Yaya's out opening song

we got Mick throwing some punches and he

is just impeccable in fact the band is

impeccable they're Flawless they're so

tight

thank you

[Music]

but still no leads up front or during

the interludes

and Mick does eventually seem so into it

but not moving about as much we do hear

later on mgtaylor break into his style

of leads

but there's not a long outro

[Music]

yes

[Music]

[Applause]

[Music]

[Applause]

[Music]

STP

1972 Texas

played second to last song before Street

Fighting Man now

right into the riff

Keith with his open G

[Music]

okay

[Applause]

[Music]

[Applause]

[Music]

Bobby banging the tambourine

full guitar combination very thick here

Mick is super comfortable prancing you

hear the piano

[Music]

after the chorus Mick Taylor goes into

his tearing

the tearing type lead Lexi does with

Mick and his Jagger jumps

[Applause]

[Music]

we see Keith really feeling it and you

could see his love for this tune

no backup vocals yet

[Music]

foreign

Jack Flash live versions are still

around 3 minutes and 45 seconds long

[Applause]

[Music]

will it come now to 73

the Brussels Affair sound

ban pushes this and we hear Keith

grooving

[Music]

all right

our school

Keith is pushing this riff throwing in a

few little embellishments in there a

little different it mixes clearer on him

and he's in a trance

fixated on his passion

Taylor's lead sound a little bit

different by his choice he is playing

the leads his way still

listen to that bill base and Charlie

I talk plenty about this

album on my other goat's head soup

documentary

[Music]

oh yeah

still clocked at three minutes and about

26 seconds time

they still don't have long outros going

we now come to the New Era with Ronnie

La Forum 1975 end of the tour of the

Americas

they play Jumping Jack Flash second to

last before Sympathy for the Devil as

The Encore

hey

[Music]

it is La Forum clip we did see Keith

Heaven guitar tunings and some issues

going on

he did seem a bit out of sync at first

today

[Applause]

[Music]

now what is great Ronnie's adding some

of the

studio cut leads in the song but also

adding some of his Flair

in his style

[Applause]

[Applause]

Mick is all over the place with this big

stage his wonderful Lotus stage that he

gets out of breath and his lyrics and

his words start

dragging a bit

[Music]

foreign

[Music]

piercing leads with all the others jam

and heavy

this is the guitar band we've been

waiting for for this tune they're just

letting it loose

Charlie and Ollie they pick it up

and cranking it and pushing everybody to

another level

[Music]

oh

[Music]

[Music]

foreign

[Music]

so this starts the long versions this

one clocked in at 8 minutes and 17

seconds maybe Mick wanted to extend to

his theatrics the water bucket dumping

and just running around and more Jagger

jumps

you gotta love this version

this is just golden for me

oh

[Music]

[Applause]

I go

thank you good night good night

[Applause]

[Music]

we're gonna jump to 1977 the Elma combo

show

this version could be one of my

favorites 5 minutes and 26 seconds long

the sound on this one is so crisp and

Ronnie comes in perfectly he plays some

of the leads at the chorus but not fully

there yet to the studio album he's

adding his own Flair still

[Music]

let's go

[Applause]

all right

together

again

[Music]

[Music]

listen to Mick here I was drowned and

washed up

[Music]

again

[Music]

I just love the work by all here we can

only dream and imagine the visual on

this tune in the interlude we get to

hear Billy and Stu

but listen to Ronnie

they are flying here and so tight as

Charlie races through

this one is worth to let it roll and all

experience it

[Music]

[Applause]

[Music]

all right

[Music]

thank you very much

[Applause]

[Music]

I am repeating myself on this next

version of some girls 1978 Texas

but this is another killer version

the energy is above and beyond

Mick's got that nastiness about him that

raw Edge

in fact they all do

Mick is just on a rampage

and his alter Mick performer ego is

flying high

what is cool we hear the chorus

of Keith and Ronnie singing

if this is not moving you towards

understanding why they are the greatest

I don't know check your pulse

[Music]

foreign

[Music]

versions from different cities for

Jumping Jack Flash Seattle Kansas City

others leads July 25th that happened to

be Stew's last show

the Hampton live one is the closest the

cleanest best to me

and it was played as the last song

24th song

Keith is on his A-game

they are meshing

[Music]

[Applause]

[Music]

[Music]

[Applause]

[Music]

together

[Music]

[Music]

I must go

[Music]

[Applause]

[Music]

Ronnie comes very close here with the

leads but the single sound

[Music]

he intertwines this throughout the jam

we got Mick

Mick in the cherry picker to make this

one extend and go longer

and more Ronnie and Keith singing the

backup

is phenomenal

[Music]

[Applause]

[Music]

thank you

Keith had some of his leads here too and

more of the Charlie pounding

again another worthy point a guitar band

this one lasted eight minutes and 16

seconds

[Music]

[Applause]

[Music]

[Applause]

foreign

[Applause]

[Music]

[Applause]

[Music]

[Applause]

[Music]

[Applause]

[Music]

[Applause]

[Music]

[Applause]

there is a change from the last tours

when they're playing this song you could

see it when you watch the video clips

and you hear the tune itself now

1989 Atlantic City Steel Wheels and

urban jungle tour

with Chuck Lavelle conducting now

and we now get the stones working on the

sounds closer to the single and adding

the backup singing

[Applause]

it's become a business

[Applause]

[Music]

song is now more calculated and does

have the leads filled in more

and you could see Mick this loves to

perform this song

but yeah there is a butt when compared

to the last tours the mix show is now

less Raw let's improvise it's

it's less angry he does show his

conditioning when he runs side to side a

lot

and his now presentation is a bit

different

[Music]

[Music]

don't get me wrong seeing them live

there's nothing ever like it

it's always powerful just the comparison

of the song throughout the tours

the band jams this one and still great

to hear running at six minutes 19

seconds

but with a larger band

it does now sound different

[Music]

foreign

[Music]

[Applause]

tour but now to the Tokyo Dome 1990. I

liked his version it's very polished

[Music]

[Applause]

[Music]

[Applause]

[Music]

foreign

[Music]

even closer to the single now

a subdued Rhythm especially in the

beginning but playing much more of the

flash leads

Keith is focused on his rhythm

and the background vocals for the chorus

is eminent

[Music]

Ronnie and Keith have some wonderful

dueling

and that's probably why I really

like this version

you're doing the weave again so

beautifully that we hear Keith with his

patented leads

[Music]

I'm alive

[Music]

[Music]

[Music]

amazing

in a way Mick extends the song He's

shown his calisthenics and skipping and

and now with these bigger stages he is

connecting with all of the audience much

more

and I'm still seeing and feeling his

passion for playing this tune now Mick

being around 47 years old now is a bit

lighter on the Jagger jumps

Keith playing his tally in open G

abled at the fourth this one goes for

six minutes 58 seconds and they did pour

this one on

[Music]

[Applause]

[Music]

[Music]

[Music]

[Applause]

I was torn on which show to focus on for

Voodoo Lounge tour in 95 they were hot

this Tour on fire

Brixton Academy on July 19th was a

kick-ass show like they all were

they just played Wembley a week or so

before with the Black Crowes

[Music]

[Applause]

[Music]

[Applause]

[Music]

Ronnie's a bit lost in the beginning

during the verses Keith is remarkable

[Applause]

[Music]

[Applause]

[Music]

no build this tour he's gone welcome

Daryl

still the stones know how to keep this

tomb going the intensity in this small

venue proves how much they give it for

the fans

[Applause]

[Music]

[Applause]

[Music]

you're feeling the groove Daryl is

wonderful Charlie is just driving and

pounding and carries the band on his

shoulders

[Music]

is you guys

[Music]

[Applause]

[Music]

[Music]

[Applause]

thank you

[Music]

[Applause]

[Music]

and this one has the horns added and you

surely hear

the organ at the end and the backing

vocals

[Music]

this one's clocked in at 4 minutes and

58 seconds

[Music]

[Applause]

[Music]

[Applause]

1998 Bridges to Babylon tour

the song is loud

it's full

and the guitar is pretty edgy

Mick

front and center at first

[Music]

[Music]

there is a point where Keith jumps off

stage to walk around in the front he

stops playing and for that gap of time

you hear

that his guitar is missing and how

powerful it it really is for the song

when it's not played

[Music]

oh

[Applause]

Mick gets to work with the fans as the

jam goes on Keith has heard much more

than Ronnie

who's playing some single leads and

Charlie's not double timing as he's done

in the past

this one clocks in at six minutes 27

seconds

[Music]

[Applause]

[Music]

[Applause]

2003 Madison Square Garden New York City

licked live

this one features Ronnie using that

sitar guitar on top of all that energy

is

right

[Music]

now

he plays the single riff plenty on this

one

along with some wonderful double stops

power of this tune is carried through

[Music]

this is Ronnie's Dan Electro baby sitar

it's also used for painted black and

sweet fighting man he was loned this

guitar

[Music]

now add it to the layers of sound and

it's pretty buried is Blondie's acoustic

it's plenty of horns

but Ronnie jams his older style leads

this one goes to 5 minutes and 46

seconds

[Music]

[Applause]

[Applause]

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2006 Beacon Theater Bigger Bang tour

this one is the opener

I do have two issues though

that is with the shooting Style

I can't get a feel with all the quick

movement and the constant camera cuts

then

the worst part is the fake audience in

front

when I think about this and see 63 year

old mix Still rocking has gotta make you

smile amazing

[Music]

thank you

[Applause]

I'm making

me

[Music]

this one's clocked at three minutes 55

seconds much shorter but still jamming

on this one

the sound on this is not just good not

great it's fantastic

the guitars are heard up front and so

clear

and you feel that power

[Music]

good

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morning

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foreign

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[Applause]

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Hyde Park 15 counting tour Great Sound

how you doing good out there

I can't see but I know you're beautiful

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[Applause]

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[Applause]

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[Applause]

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I'm about

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together yeah

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[Applause]

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toothless

now for this song we are hearing the

pace is much slower than usual

pure guitar weaving with Ronnie and

Keith on this one

[Applause]

[Music]

we notice this new guitar that Ronnie's

playing really cool for soul Raya 6

custom he owns several electrics and

acoustics

this Roya model is a high end and it's

customized

it was made designed in 2006 handmade in

Finland it was originally supposed to go

to Billy Gibbons

Ronnie fell in love with this solid body

instead Billy will follow a year later

this guitar has two vintage looking twin

humbuckers designed by the versole owner

not a typical humbucker sound

custom version costs about twenty

thousand dollars it does have gold leaf

there's not a lot of

isolated footage of Chuck Lavelle

who is a rock and roll royalty in my

eyes

and he's a true gentleman

and a Hidden Gem

with much charm he was the one to have

the stones expand and dig into their

archives and break out what many wanted

to hear

he started with them in the tattoo U

1982 portion of the tour

the one thing I gotta admire with Chuck

for even more than his wonderful music

is his passion for his wife a 45 plus

years together

[Music]

[Applause]

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thank you

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[Applause]

[Applause]

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[Applause]

the Rolling Stone

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when they played Havana Cuba March 25th

2016 they would open up

The Flash

it was a free outdoor concert

Mick was full of energy

it's another slower version and Keith

has a light blue tally and Ronnie using

this same versaille

pretty much now textbook sound and

styles

Mick move in side to side on stage

73 years old

bless all of them

this one clocks in at 4 minutes and 36

seconds

[Music]

my bad

[Applause]

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[Applause]

videos

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[Applause]

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[Applause]

and the last version I have live is from

Stockholm Sweden July 31st

2022. thank you Matt Lee the Guinness

World Record Rolling Stones collector

and author of a number one book gets a

real good seats and

this one is

pretty straightforward same as the last

2016 tour version

and Ronnie with his versaille and Keith

with his blue tally still going with

that now

Keith's book he adds when you get a riff

like flash you get a feeling of elation

a wicked Glee the band just takes off

behind me

if he can play only one of his riffs

ever again

he would say give me flesh

levitation is probably the closest

analogy to what I feel

Keith would explain his feelings for

this song and say as soon as I pick up

the guitar and play that riff something

happens here in your stomach I go into

turbo overdrive it is one of the better

feelings in the world

you just jump on the Riff and it plays

you

Keith considers flash as the best thing

they ever did with Jimmy Miller

Mickey Keith 79 years old Ronnie's 74.

still cranking Jumping Jack Flash and we

hope we get more

so at this time I feel I surely exposed

this song's true inner depths we just

witnessed this fabulous song

and its power

let's go

foreign

[Applause]

[Applause]

foreign

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foreign

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foreign

[Applause]

foreign

[Applause]

foreign