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DandelionPowderman
The TOTAL outcome of what Keith did, even back in 1967, was always much more interesting than flashy leads, imo.
He is probably the only "rhythm guitarist" who comes across as a lead guitarist ).
I agree re "flashy leads" but I think Laudau was seriously out of time if he seriously claimed things like that. The whole genre of rock took huge steps professionally and instrumentilitywise those years - 66/67 - and old 'beat groups' like The Beatles and the Stones couldn't really answer to that development ,and they didn't even need to, since they had some different qualities (great song writing, etc). Clapton's album with John Mayall was probably a kind of trend setter of 'new professionalism' - it is probably still today the most influental guitar album ever done. A "super group" like Cream was a logical outcome of that, followed by Hendrix, Zeppelin, full of 'master' musicians. "Our" Mick Taylor belongs to the genre that seriously trained their shit out. The rock musicians developed marvelously within a few yaers from the early willing poppish amateurs, like the first genre of British 'rock' groups basically were. The Stones, without some rare moments of Brian Jones, were not any flashy professional players but more like fun having pop stars and amateurs whose image was a big part of the whole deal. (I think this distinction always maintained in Taylor's time within the group - his approach was different to others; it is also funny that when Keith gained his 'cult' status in the early 70's,as an inspiration of league of new generation of guitarists (think of Johnny Thunders, Andy McCoy, etc), and then on, you couldn't seperate the image of the man from his playing - they seem to go hand in hand, as they still do. Keith's rock star looks and habits are part of the deal - that's Andrew Loog Oldham-like, "poppish".. ).
I have never been a fan of that kind of Clapton-like 'seriousness' and I have always found 'flashy solos' very over-estimated genre of musicianship. But from a technical point of view, there is huge difference in 1966/67 Rolling Stones music in compared to this new 'seriousness' presented especially by Cream, and then exploded by Hendrix. From a guitarist point of view AFTERMATH, BETWEEN THE BUTTONS or THEIR SATANIC MAJESTIES are interesting to listen to, including a lot of little intersting gems instrumentwise but honestly, that's children's/amateurs' stuff compared to Hendrix or Cream albums of the time. Even though I love them in their own terms, it is 'light pop' in compared to those guys' stuff. It is no wonder we many times call these years as a "pop era". Of course, the Stones were watching The Beatles, The Beach Boys, The Kinks, and bands like that as their rivals at the time, and not these new 'serious professionals'.
I think Keith, who really was so inventive, adaptive and creative at the time, understood this challenge, and really started to develop his guitar, and found by trial and error, and deep concentration, a new depth in his playing, which finally emerged as a signature sound. But I think he quite early (67?) understood that the 'new professionalism' is not his forte, and his genious lies elsewhere. And thank god for that.
Anyway, the progressive rock, fusion jazz, and whatever (crap) that flowered during he early/mid 70's was quite a natural progression of the 'new professionalism' - as, of course, the league of all those hard rock rock bands with flashing solo guitarists - with their terrible egos - that 'made' the sound of rock bands. The Stones, by contrast, were never very home in that category, even though they had a flashy solo guitarist for a while. And also thank god for that.
- Doxa
Edited 5 time(s). Last edit at 2012-05-27 14:03 by Doxa.