Anybody knows what they had used for the studioversion of Wild Horses?

IIRC, one of them is in open G, one of them has a Nashville tuning. But search the forum, this has been discussed before. Just make sure you set the search options at the bottom to "All Dates".

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Koen
IIRC, one of them is in open G, one of them has a Nashville tuning. But search the forum, this has been discussed before. Just make sure you set the search options at the bottom to "All Dates".

That's true, but with 10 strings. Keith plays that one (the one that starts the song). Taylor plays a Nashville-tuned guitar, and Keith plays the electric solo guitar.

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DandelionPowderman

Quote
Koen
IIRC, one of them is in open G, one of them has a Nashville tuning. But search the forum, this has been discussed before. Just make sure you set the search options at the bottom to "All Dates".

That's true, but with 10 strings. Keith plays that one (the one that starts the song). Taylor plays a Nashville-tuned guitar, and Keith plays the electric solo guitar.

The first guitar to be heard is Taylor (left channel), and is the Nashville one. Keith on the right channel, with an open G acoustic. Sounds normal to me (no ten strings - at least comparing how the ten strings he used during the Lix and Bang tour sounded).

My guess is that they are all Gibsons.

C

Funny. Some people said Taylor and Richards are always easy to distinguish. Well, not always, obviously, because two well respected forummers (Dandy and Liddy) disagree on the acoustic WH-guitars.

Let me throw in another one from SF: I Got The Blues. My guess: Taylor left channel (earphones), first guitar to be heard. A bit more bluesy. But I may be wrong easily. Keith of course the other electric guitar imo.

I thought keith has said many times he is not on I got the Blues..and that is is among his fans....

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liddas

The first guitar to be heard is Taylor (left channel), and is the Nashville one. Keith on the right channel, with an open G acoustic. Sounds normal to me (no ten strings

I agree with you, 1st guitar is Taylor. Because I can't imagine Keith playing those harmonics and octavados.

for what it's worth, here's a previous discussion of this question: [www.iorr.org]

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with sssoul
for what it's worth, here's a previous discussion of this question: [www.iorr.org]

This shows I am growing old: I completely forgot about that discussion and I also forgot that Keith had the 12 string acoustic ...

C

One of my favorite tracks for guitars. I hear something new almost every time I listen to the track.

lest we forget: [www.timeisonourside.com]

Honestman gave us an interesting article in January.
[jasobrecht.com]
Here is brief extract taken from the interview with Mick Taylor.

Did you record Sticky Finger after the Stones’ U.S. tour?

Yeah. I like that album. It’s one of my favorite Stones albums. It’s got a looseness and spontaneity about it that I like. There’s a track called “Can’t You Hear Me Knocking” with a long solo – that just happened by accident. I mean, that was never planned. At the very end of the song, I just felt like carrying on, playing, and everybody was kind of putting their instruments down. But the tape was still rolling and it sounded good, so everybody quickly picked up their instruments again and carried on playing. And it’s just a one-take thing.

Who played the rhythm parts?

Keith and I both played rhythm parts, but I did the solo too.

Who played the fuzzed-out part in the beginning of the song?

That’s Keith playing that.

I think “Can’t You Hear Me Knocking” is one of the best tracks on the album.

Yeah. It’s one of my favorites too. A lot of other people seem to really like that too.

It showed the Stones in a different light.

Yeah. It had been a long time since they had done anything as loose as that – probably since “Going Home,” that long instrumental jam that they did on one of their albums, called Aftermath.

What guitars did you use on Sticky Fingers?

On Sticky Fingers I used the 345, the brown Gibson you were talking about, for the solo on “Can’t You Hear Me Knocking.” On “Sway” I used the Les Paul.

What about “Wild Horses”?

On “Wild Horses” I played acoustic guitar in what they call a Nashville tuning, which is tuned in exactly the same way, but you use all 1st and 2nd strings [high E and B strings], and you tune them in octaves [i.e., you tune them up an octave]. So you’re really playing in the same tuning – it’s kind of like playing a 12-string guitar without the other six strings. That’s the best way to describe it. This was on one of Keith’s Gibson acoustic guitars.

Who plays the electric solo?

On “Wild Horses”? Keith.

I assume you played the blues solo in “Sway.”

Oh, yeah. Keith doesn’t play on that track. Mick’s playing rhythm guitar on that track.

So you did the slide and the solo.

Uh-huh. But it’s both the same. I mean, I had put the slide on my little finger, so that still leaves the other three fingers free to play like you would regularly, so I could switch from one to the other. And that was played in regular tuning.

What about “You Gotta Move”?

I used a Fender Telecaster.

For the slide part?

Yeah.

Was there a National guitar in there?

Keith’s, yeah. He used a National guitar.

Was it steel or wooden?

He had two of them. One of them was totally steel, and the other one was a really great, beautiful guitar that he got in Brazil. It was like a National guitar, but it was made of wood and metal. I’m not sure whether he used that one or the other one, but he did use a National guitar.

And it sounds like someone played a 12-string.

Yeah. I think I played that.

Who did the leads in “Bitch”?

I did that.

How did Ry Cooder happen to come in on that session?

Oh, well, he was already in London with Jack Nitzsche, who produced that film Mick was in, Performance. There’s a lot of Ry Cooder on that, so he was around at the time and he played slide guitar on “Sister Morphine,” which is killer. It’s great. I think that’s where Keith learned the guitar tunings on “Honky Tonk Women.” It’s open-G tuning. You take the top E string down to a D, and you take the A string down to a G, and you take the bottom E string down to a D.

On “Dead Flowers” you create sort of a pedal steel effect.

Do I? I never used . . . I did that on the same guitar that I used for “Can’t You Hear Me Knocking.”

It’s really country-sounding.

Yeah. It’s cleaner-sounding. It’s got a more brittle sound to it.

Mick, do you have favorite solos that you did with the Stones?

Oh, yeah. Well, there’s the one on “Can’t You Hear Me Knocking.” The best one – for a guitar solo, anyway – is “Time Waits for No One.”

You ended your new album with a quote from that.

Oh, yeah! You noticed that?

Oh, sure. It’s such a beautiful touch.

It comes in at the end. I was listening to it one night in the studio. I was just getting ready to mix it, and I thought, “Hmm.” Because at the very end it’s got the same chord sequence, almost. I thought, “I’ve got to play that. It’d be good to put that in there.”

That was a climactic solo you took in “Time Waits for No One.”

Yeah. Yeah, it really did happen. It was really different.

How did you record your parts with the Stones?

Most of the solos are overdubbed. They’re usually all first or second takes.

What would they lay down first?

It would depend on the song, of course, but we’d usually lay down as much of it live as we could. We’d just play, you know. Keith would play rhythm and I’d play the lead parts, or we’d both play rhythm. And that’s how they were done. The vocals were added later, but there would always be a rough guide vocal there.

It seems like the Stones had a sound on record like nobody else.

Yeah.

How did they achieve that?

They’d master things really, really hot. We never used to play incredibly loud in the studio. We used to use small amps. Most of the time, we used to use Fender Twin Reverbs. We never used big amps in the studio. There’s a certain kind of tape echo they used a lot when Jimmy Miller was producing records for them.

Tape echo?

Yeah, as opposed to plate echo. You know, it would be like a Revox echo. That’s the kind of echo that’s on the guitar intro from “Can’t You Hear Me Knocking” and a couple of other things. If you listen, you can hear it – it’s a very fast tape echo, a very fast delay.

They’d put the bass and the drums more up front.

Yeah.

Sometimes Jagger’s vocals are almost buried.

Yeah, right. I don’t know why. They never deliberately mixed down their vocals. I think it was because the accent was more on heavy bass drum, heavy bass, you know.

Quote
liddas

Quote
with sssoul
for what it's worth, here's a previous discussion of this question: [www.iorr.org]

This shows I am growing old: I completely forgot about that discussion and I also forgot that Keith had the 12 string acoustic ...

C

LOL! It was you who taught me this back in the day, liddas!

Quote
Toru A
Honestman gave us an interesting article in January.
[jasobrecht.com]
Here is brief extract taken from the interview with Mick Taylor.

Did you record Sticky Finger after the Stones’ U.S. tour?

Yeah. I like that album. It’s one of my favorite Stones albums. It’s got a looseness and spontaneity about it that I like. There’s a track called “Can’t You Hear Me Knocking” with a long solo – that just happened by accident. I mean, that was never planned. At the very end of the song, I just felt like carrying on, playing, and everybody was kind of putting their instruments down. But the tape was still rolling and it sounded good, so everybody quickly picked up their instruments again and carried on playing. And it’s just a one-take thing.

Who played the rhythm parts?

Keith and I both played rhythm parts, but I did the solo too.

Who played the fuzzed-out part in the beginning of the song?

That’s Keith playing that.

I think “Can’t You Hear Me Knocking” is one of the best tracks on the album.

Yeah. It’s one of my favorites too. A lot of other people seem to really like that too.

It showed the Stones in a different light.

Yeah. It had been a long time since they had done anything as loose as that – probably since “Going Home,” that long instrumental jam that they did on one of their albums, called Aftermath.

What guitars did you use on Sticky Fingers?

On Sticky Fingers I used the 345, the brown Gibson you were talking about, for the solo on “Can’t You Hear Me Knocking.” On “Sway” I used the Les Paul.

What about “Wild Horses”?

On “Wild Horses” I played acoustic guitar in what they call a Nashville tuning, which is tuned in exactly the same way, but you use all 1st and 2nd strings [high E and B strings], and you tune them in octaves [i.e., you tune them up an octave]. So you’re really playing in the same tuning – it’s kind of like playing a 12-string guitar without the other six strings. That’s the best way to describe it. This was on one of Keith’s Gibson acoustic guitars.

Who plays the electric solo?

On “Wild Horses”? Keith.

I assume you played the blues solo in “Sway.”

Oh, yeah. Keith doesn’t play on that track. Mick’s playing rhythm guitar on that track.

So you did the slide and the solo.

Uh-huh. But it’s both the same. I mean, I had put the slide on my little finger, so that still leaves the other three fingers free to play like you would regularly, so I could switch from one to the other. And that was played in regular tuning.

What about “You Gotta Move”?

I used a Fender Telecaster.

For the slide part?

Yeah.

Was there a National guitar in there?

Keith’s, yeah. He used a National guitar.

Was it steel or wooden?

He had two of them. One of them was totally steel, and the other one was a really great, beautiful guitar that he got in Brazil. It was like a National guitar, but it was made of wood and metal. I’m not sure whether he used that one or the other one, but he did use a National guitar.

And it sounds like someone played a 12-string.

Yeah. I think I played that.

Who did the leads in “Bitch”?

I did that.

How did Ry Cooder happen to come in on that session?

Oh, well, he was already in London with Jack Nitzsche, who produced that film Mick was in, Performance. There’s a lot of Ry Cooder on that, so he was around at the time and he played slide guitar on “Sister Morphine,” which is killer. It’s great. I think that’s where Keith learned the guitar tunings on “Honky Tonk Women.” It’s open-G tuning. You take the top E string down to a D, and you take the A string down to a G, and you take the bottom E string down to a D.

On “Dead Flowers” you create sort of a pedal steel effect.

Do I? I never used . . . I did that on the same guitar that I used for “Can’t You Hear Me Knocking.”

It’s really country-sounding.

Yeah. It’s cleaner-sounding. It’s got a more brittle sound to it.

Mick, do you have favorite solos that you did with the Stones?

Oh, yeah. Well, there’s the one on “Can’t You Hear Me Knocking.” The best one – for a guitar solo, anyway – is “Time Waits for No One.”

You ended your new album with a quote from that.

Oh, yeah! You noticed that?

Oh, sure. It’s such a beautiful touch.

It comes in at the end. I was listening to it one night in the studio. I was just getting ready to mix it, and I thought, “Hmm.” Because at the very end it’s got the same chord sequence, almost. I thought, “I’ve got to play that. It’d be good to put that in there.”

That was a climactic solo you took in “Time Waits for No One.”

Yeah. Yeah, it really did happen. It was really different.

How did you record your parts with the Stones?

Most of the solos are overdubbed. They’re usually all first or second takes.

What would they lay down first?

It would depend on the song, of course, but we’d usually lay down as much of it live as we could. We’d just play, you know. Keith would play rhythm and I’d play the lead parts, or we’d both play rhythm. And that’s how they were done. The vocals were added later, but there would always be a rough guide vocal there.

It seems like the Stones had a sound on record like nobody else.

Yeah.

How did they achieve that?

They’d master things really, really hot. We never used to play incredibly loud in the studio. We used to use small amps. Most of the time, we used to use Fender Twin Reverbs. We never used big amps in the studio. There’s a certain kind of tape echo they used a lot when Jimmy Miller was producing records for them.

Tape echo?

Yeah, as opposed to plate echo. You know, it would be like a Revox echo. That’s the kind of echo that’s on the guitar intro from “Can’t You Hear Me Knocking” and a couple of other things. If you listen, you can hear it – it’s a very fast tape echo, a very fast delay.

They’d put the bass and the drums more up front.

Yeah.

Sometimes Jagger’s vocals are almost buried.

Yeah, right. I don’t know why. They never deliberately mixed down their vocals. I think it was because the accent was more on heavy bass drum, heavy bass, you know.

"I did the solo too" is bullshit

yes...the Bitch solo is very obviously Keith..MT gets some of the who soloed when stuff wrong in interviews about Ya Yas as well....when MT plays in the chuck berry style he still uses way more filigree than keith

liddas
if You did not exist We should invent You ...
ciao