Re: Mick Taylor's legacy
Date: January 31, 2005 03:47
It depends upon what we actually mean by a “legacy” as such.
Regardless of what he has or hasn’t done for the past thirty years, many would already argue that Taylor’s pivotal contribution to Ya-Yas, Fingers, Exile and GHS provides a testimony itself, to a great talent whose creativity during his time with the Stones, helped forge a symbiotic relationship that was as significant for the band themselves through this period, as it undoubtedly was for himself on a personal level.
Others, including myself, however, through some sense of injustice, believe that not until his truly great live work with the Stones is released for public consumption, will it be able to fairly and adequately acknowledge his place in rock history.
Of course, many on this site will be more than well aware that it’s not through a want of trying that Mick and Keith haven’t released this material in some form of official capacity, and it is to their credit that they at least got partly round Alan Klein’s copyright restrictions, by putting out the stupendous FM broadcasts from the 1973 tour. Thank God for the bootleggers! Where would we be without them? It is thanks to them that I managed to lose count many years ago, of the number of Stones fans whose introduction to the band came through a cassette tape made by myself from Bedspring Symphony or Nasty Music.
However, as for any belated official release of such material, Kahoosier is quite correct to offer concern as to the commercial viability of such a project, especially in a market with more than its fair share of Stones live product. Indeed he will have found for himself, an unlikely ally on this subject in so much that I agree in principle that any “legacy” must surely, beg some form of public approval, which in this case, can only be realistically gauged from respectable shipping figures, comparable to other archived releases from artists within this type of music.
As a non-contemporaneous act with hardly any live releases from any point in their career, sales comparisons with Led Zeppelin would not be fair however. Not that we should be too despondent. The critical acclaim afforded to Bob Dylan’s so-called “Bootleg Series”, and the ensuing healthy sales, may offer a better indication as to how the Stones circa 72/73 would be met on its release.
As for a lasting legacy? Perhaps it is that our grandchildren will pick up a Mojo or Uncut Rolling Stones special in 30 years’ time and read that such material is recommended above the likes of Love You Live, Still Life and the rest.
But would any of these listeners care one jot as to who was playing guitar? Sadly, probably not. Then again, in thirty years’ time, neither will I!