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RaiseTheKnifeQuote
DandelionPowderman
I reckon you mean the 1988 Winos-shows? I think something happened after 1990. It might have been the arthrithis kicking in. Anyways, he changed his lead guitar-style. It was very noticable on the B2B-tour that he focused on fewer notes and repeating stuff, instead of exploring new things, like he actually did on the SW/UJ tours.
I reckon it was more of an artistic choice? I'll take the accurate and controlled SFTD solo from St Louis '97 over the sloppy and messy solos he played on that song in '89 and '90 anyday. He probably could have played just as fast in 1997 but maybe maybe chose not to and focused more on accuracy and tastefulness.
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RaiseTheKnife
sloppy and messy solos he played on that song in '89 and '90
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DandelionPowdermanQuote
Palace Revolution 2000''Quote
DandelionPowderman
Nothing before or after resembles SFTD, including the solo - just as nothing resembles Sitting On A Fence and the guitar on that one.
There are many more examples of Keith laying down bafflingly cool guitar tracks.
The super-fast, free jazz/psychedelic guitar on See What Happens is another one that came out of left field
Exactly Dandy; well said.
Keith was in the zone for those 4-5 years. There is a reason Keith is mentioned among the greatest guitarists of rock again and again. At some freakin point he blew our minds. Just because he has not done it since doesn't take away from it.
And actually there are many instances of Keith playing baffingly well. First off he was very fast, and very accurate on the early R&B solos.
"Down the Road Apiece" just e.g.; but all the way to the Wino live shows. I saw Keith both tours, and maybe it was Jordan, maybe it was wassy, maybe it was playing on small stages night after night with a newer band - but he was on fire.
I reckon you mean the 1988 Winos-shows? I think something happened after 1990. It might have been the arthrithis kicking in. Anyways, he changed his lead guitar-style. It was very noticable on the B2B-tour that he focused on fewer notes and repeating stuff, instead of exploring new things, like he actually did on the SW/UJ tours.
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Palace Revolution 2000Quote
DandelionPowdermanQuote
Palace Revolution 2000''Quote
DandelionPowderman
Nothing before or after resembles SFTD, including the solo - just as nothing resembles Sitting On A Fence and the guitar on that one.
There are many more examples of Keith laying down bafflingly cool guitar tracks.
The super-fast, free jazz/psychedelic guitar on See What Happens is another one that came out of left field
Exactly Dandy; well said.
Keith was in the zone for those 4-5 years. There is a reason Keith is mentioned among the greatest guitarists of rock again and again. At some freakin point he blew our minds. Just because he has not done it since doesn't take away from it.
And actually there are many instances of Keith playing baffingly well. First off he was very fast, and very accurate on the early R&B solos.
"Down the Road Apiece" just e.g.; but all the way to the Wino live shows. I saw Keith both tours, and maybe it was Jordan, maybe it was wassy, maybe it was playing on small stages night after night with a newer band - but he was on fire.
I reckon you mean the 1988 Winos-shows? I think something happened after 1990. It might have been the arthrithis kicking in. Anyways, he changed his lead guitar-style. It was very noticable on the B2B-tour that he focused on fewer notes and repeating stuff, instead of exploring new things, like he actually did on the SW/UJ tours.
No Dandy - actually IMO I liked him more in '92 tour. I might be talking more about his riffing, the way he totally carried his part of playing while singing.
I agree that at some point his playing took a massive drop. What you mention about the breaking in mid solo. I actually like when a player does this: take a second, slide up and down neck to recharge, re-inspire. But Keith spends more time breaking vs. playing nowadays, LOL
I still think this has to be attributed to the fall, and to the medications since.
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DandelionPowderman
Nothing before or after resembles SFTD, including the solo - just as nothing resembles Sitting On A Fence and the guitar on that one.
There are many more examples of Keith laying down bafflingly cool guitar tracks.
The super-fast, free jazz/psychedelic guitar on See What Happens is another one that came out of left field
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powerage78
They should stop playing it.
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HonkeyTonkFlash
<True enough, but since Sympathy has been a live warhorse pretty much since it's release, it's easier to make comparisons between the studio and live versions. >
Sympathy was much more special when it was NOT a warhorse. They skipped it in 1972, 1978 and 1981; thus it was a special treat to have it back in 1989. And of course they've trotted it out every tour since then...
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powerage78
The solo spoils the song now.
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Palace Revolution 2000
I just don't understand why he doesn't brag on the solo. He knows it is an iconic sound and solo. Why does he not take more credit for it?
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DandelionPowdermanQuote
RaiseTheKnifeQuote
DandelionPowderman
I reckon you mean the 1988 Winos-shows? I think something happened after 1990. It might have been the arthrithis kicking in. Anyways, he changed his lead guitar-style. It was very noticable on the B2B-tour that he focused on fewer notes and repeating stuff, instead of exploring new things, like he actually did on the SW/UJ tours.
I reckon it was more of an artistic choice? I'll take the accurate and controlled SFTD solo from St Louis '97 over the sloppy and messy solos he played on that song in '89 and '90 anyday. He probably could have played just as fast in 1997 but maybe maybe chose not to and focused more on accuracy and tastefulness.
I don't disagree with the SFTD-example, but I was thinking more on his playing in general. All of a sudden, it seemed there was stuff he just couldn't do anymore (you could hear him trying now and again) - hence he started to land on notes, taking «breaks» in the middle of solos, instead of keep on playing. Unfortunately, it wasn't always the root note he was landing on
Something definitely happened. Going from Mesas to Twins, and chosing a cleaner sound (except for some tunes in 94/95: Satisfaction ie) might have affected his style a bit, though.
He was just so on with his attack (Sad Sad Sad, Bitch, Rock And A Hard Place, SFTD, Almost Hear You Sigh, 2000 Light Years From Home) in 1989/90, and gradually that attack (and not least his timing) waned, imo.
That doesn't mean he still played great stuff, he did. He still does, if one cares to listen. The licks at the end of Sister Morphine on Fonda is like: «Wow, you still got it, why don't you do that more often?»
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dcbaQuote
RaiseTheKnife
sloppy and messy solos he played on that song in '89 and '90
Really? I think that solo was the best part of the SW shows. Keef wasn't "on" every night, but when he was he was brilliant.
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midimannz
They've NEVER played 'its only rock'n roll' like the studio version either. I recall Mick singing lead with a band on Faloon (?) exactly like the original, thinking to myself 'why can't the Stones be bothered to play like that!'
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GravityBoy
I must watch the Godard film again.
I can't remember Keith doing the solo in it.
And to be fair, it's not "usual Keith" and does have a touch of the Jimmy Pages about it.
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TheBadRabbitQuote
Palace Revolution 2000
I just don't understand why he doesn't brag on the solo. He knows it is an iconic sound and solo. Why does he not take more credit for it?
To *us* it's iconic, but to Keith maybe it's just something he tossed off in the studio and barely remembers. Think of how many leads he's done. Maybe no one has ever asked him specifically to comment on this one. Moreover, I find it hard to imagine Keith letting another guitarist step in and play lead on "his" song.
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midimannz
They've NEVER played 'its only rock'n roll' like the studio version either. I recall Mick singing lead with a band on Faloon (?) exactly like the original, thinking to myself 'why can't the Stones be bothered to play like that!'
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bleedingmanQuote
midimannz
They've NEVER played 'its only rock'n roll' like the studio version either. I recall Mick singing lead with a band on Faloon (?) exactly like the original, thinking to myself 'why can't the Stones be bothered to play like that!'
Foo Fighters and Mick (audio):
[www.youtube.com]
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powerage78
Fantastic !Quote
bleedingmanQuote
midimannz
They've NEVER played 'its only rock'n roll' like the studio version either. I recall Mick singing lead with a band on Faloon (?) exactly like the original, thinking to myself 'why can't the Stones be bothered to play like that!'
Foo Fighters and Mick (audio):
[www.youtube.com]
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RaiseTheKnifeQuote
DandelionPowdermanQuote
RaiseTheKnifeQuote
DandelionPowderman
I reckon you mean the 1988 Winos-shows? I think something happened after 1990. It might have been the arthrithis kicking in. Anyways, he changed his lead guitar-style. It was very noticable on the B2B-tour that he focused on fewer notes and repeating stuff, instead of exploring new things, like he actually did on the SW/UJ tours.
I reckon it was more of an artistic choice? I'll take the accurate and controlled SFTD solo from St Louis '97 over the sloppy and messy solos he played on that song in '89 and '90 anyday. He probably could have played just as fast in 1997 but maybe maybe chose not to and focused more on accuracy and tastefulness.
I don't disagree with the SFTD-example, but I was thinking more on his playing in general. All of a sudden, it seemed there was stuff he just couldn't do anymore (you could hear him trying now and again) - hence he started to land on notes, taking «breaks» in the middle of solos, instead of keep on playing. Unfortunately, it wasn't always the root note he was landing on
Something definitely happened. Going from Mesas to Twins, and chosing a cleaner sound (except for some tunes in 94/95: Satisfaction ie) might have affected his style a bit, though.
He was just so on with his attack (Sad Sad Sad, Bitch, Rock And A Hard Place, SFTD, Almost Hear You Sigh, 2000 Light Years From Home) in 1989/90, and gradually that attack (and not least his timing) waned, imo.
That doesn't mean he still played great stuff, he did. He still does, if one cares to listen. The licks at the end of Sister Morphine on Fonda is like: «Wow, you still got it, why don't you do that more often?»
Interesting, he was good in 89/90 no doubt but he often overplayed I think, like here: SFTD Dallas 1989. Often he's off time with his licks, many bends are sharp and he misses many notes. Some of those licks he could play faster in 1997.
Do you have any examples of the landing on notes and failing to play old licks during the BTB-tour? I kind of think I now what you're talking about, maybe I remember it from the Chicago opening night gig 1997.
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DandelionPowdermanQuote
RaiseTheKnifeQuote
DandelionPowdermanQuote
RaiseTheKnifeQuote
DandelionPowderman
I reckon you mean the 1988 Winos-shows? I think something happened after 1990. It might have been the arthrithis kicking in. Anyways, he changed his lead guitar-style. It was very noticable on the B2B-tour that he focused on fewer notes and repeating stuff, instead of exploring new things, like he actually did on the SW/UJ tours.
I reckon it was more of an artistic choice? I'll take the accurate and controlled SFTD solo from St Louis '97 over the sloppy and messy solos he played on that song in '89 and '90 anyday. He probably could have played just as fast in 1997 but maybe maybe chose not to and focused more on accuracy and tastefulness.
I don't disagree with the SFTD-example, but I was thinking more on his playing in general. All of a sudden, it seemed there was stuff he just couldn't do anymore (you could hear him trying now and again) - hence he started to land on notes, taking «breaks» in the middle of solos, instead of keep on playing. Unfortunately, it wasn't always the root note he was landing on
Something definitely happened. Going from Mesas to Twins, and chosing a cleaner sound (except for some tunes in 94/95: Satisfaction ie) might have affected his style a bit, though.
He was just so on with his attack (Sad Sad Sad, Bitch, Rock And A Hard Place, SFTD, Almost Hear You Sigh, 2000 Light Years From Home) in 1989/90, and gradually that attack (and not least his timing) waned, imo.
That doesn't mean he still played great stuff, he did. He still does, if one cares to listen. The licks at the end of Sister Morphine on Fonda is like: «Wow, you still got it, why don't you do that more often?»
Interesting, he was good in 89/90 no doubt but he often overplayed I think, like here: SFTD Dallas 1989. Often he's off time with his licks, many bends are sharp and he misses many notes. Some of those licks he could play faster in 1997.
Do you have any examples of the landing on notes and failing to play old licks during the BTB-tour? I kind of think I now what you're talking about, maybe I remember it from the Chicago opening night gig 1997.
The thing that happens in the ending here would appear in most of this solos later on.
[www.youtube.com]