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Palace Revolution 2000

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keithsman
I have to scratch my head at all this Ronnie praise, he's just an average player who got very lucky.

There are a thousand like him, he doesn't really have any distinction as a player, don't get me wrong i love he and Keith's weaving and on occasion he pulls off some surprisingly good solo's, but someone like Waddy is far better in my opinion and gets more out of Keith too.

I wouldn't want to change anything , i'm happy Ronnie kept the band going all these years, as a personality he is irreplaceable, and he was great with the faces, that fun personality was perfect, but he is limited as a player, i think after Taylor left Keith didn't want the challenge anymore, he wanted a foil so he could look great without competition. It works and the boys are still playing, but honestly he's not really that good, he just plays in fits and starts, he fills in here and there but he's not a great player in his own right. Just a very lucky guy.

I can't agree with that statement keithman; I really do feel that has had his very own sound, and carved out a distinctive niche for himself. And that is why IMO the thread's original question still stands, 13 years or not: WTF happened? I can not really think of anyone else who put those very parts together, the way he did in the Faces. The influence from Bass, the Open D, the slide, and all that Anglo Country sense of melody - but played on a Zemaitis through a loud Ampeg with Lo EQ. Add to that was the type of songs they were playing - many written by Lane, and Stewart who all came from Britain heritage.
I have to conxcur that once he joined the Stones, he kind of lost most of all that. Lost his uniqueness. I think it just hit me: that is exactly what happened IMHO.

This really resonates for me.
I feel blessed actually to have seen Faces live in their ab prime.
not a bit early or late in their career. And they weren't huge
here in NA or USA; tho loved so intensely by solid dedicated sub-group
of fans; especially those who heard earlier versions w The Small Faces
on records; tho those too, in America anyway, were not big smash hit albums.
Rod scored major hits contemperaneously w all that but Woody was always there;
more then just there; he was a seminal foundational part of a very
warm thick acousticky rhythms that were solid; and very melodic perfect leads,
crafted carefully with excellent sounds.
He was such a joy. They all were really. That unity of purpose and also
that joy, unless it's all showbiz, a little of it must've been,
but it was truly very raucous; and even as fashionista and cockle-doodle-doo
the puffery hair-dos, and Rod would reliably go waaay to far imo,
and sadly sorta kill what should have been a gigantically respectable legacy;
tho he's played it smart; is still working; can pick his gigs and players....
went thru a throat surgery and showed, imo, ten tons of balls starting
to sing again; I remember him on a talk show not that long after the surgery;
he was brave; it was kinda 'there' and kinda really 'not there'...
so just to say; he's worked hard and taken his shots so i don't want to diss him,
as Gasoline Alley era stuff still finds me enjoying it; seeking it out.
appreciating the originality of approach; and the actual dedication
these guys had to this music.
Ronnie's playing with Faces was tremendously soulful and blisteringly effective.
he could effortlessly, and very creatively work-out some tough rock stuff
and own that stage; which is pretthy impressive considering soulful Ronnie Lane, pumping Mac and Kenney...the perfect band for him all along;
he's been huge; anybody underestimating Faces just does not have the exposure
to the really hot stuff imo. and i'd say for several of the Stewart solo LPs.

It wasn't till Atlantic Crossing, which I actually enjoyed; he covered Ian Hunter and etc...Rod knows good songs...but on that one it started to sound
a bit like uh oh....it's starting to sound much more 'slick producty' then
reamshackle folk music that could explode into rock and roll or a hugely
credible soul number. Here too, Ron showed great taste, understanding and soul imo.
As far as Stones work; I'd prefer to pick out the killer cuts (for me)
that he was there for; and there has been very many exciting of those too imo.
i can't go near relative comparisons taylor to ronnie; it's just too different
a time in the band's career and approach; and evolution; for both the good
and the frighteningly bad.
Taylors thing was Taylors thing; and it was incredibly appropriate and incredibly powerful and very incredibly in tune with what these guys
were aiming at and searching for; AND ACHIEVING....
so i don't care if it's Eric at his best; or Mark or any super heavy metal
guy that can really probably play Mozart such is their familiarity with
all kinds of incredible scaluar work that is precise and powerful etc...

.....but i mean, that was a unique thing and it's own thing;
I think any of us could quickly make up a Stones album with only
Wood contributions, and it would be staggeringly good.
he's had a tremendous burden as well as a tremendous gift, being one of The Stones....and I think it's obviously given him massive stardom and riches beyond imaginings; and good on him I say! but also, as junior member,
I think without intending to; just being sorta selfish and into their
own dramatic cat fights; tho I don't dismiss the seriousness of their
issues at the time....
...they treated Ronnie, perfectly looking like a jr. 'keef' to look
exactly like the hip Invasion band they still like to project; and actually
truly are lol.......
i do think it limited his abilites to some extent.
It was always nice to see him sit down at the steel.
there is so much that he can do beautifully.
i think Fonda was a good representative of how reliable and solid
Ron can be as a Rolling Stone.

Interesting this video on the rhythmic sound of the guitar by Ron Wood. [www.youtube.com]

Quote
hopkins
This really resonates for me.
I feel blessed actually to have seen Faces live in their ab prime.
not a bit early or late in their career. And they weren't huge
here in NA or USA; tho loved so intensely by solid dedicated sub-group
of fans; especially those who heard earlier versions w The Small Faces
on records; tho those too, in America anyway, were not big smash hit albums.
Rod scored major hits contemperaneously w all that but Woody was always there;
more then just there; he was a seminal foundational part of a very
warm thick acousticky rhythms that were solid; and very melodic perfect leads,
crafted carefully with excellent sounds.
He was such a joy. They all were really. That unity of purpose and also
that joy, unless it's all showbiz, a little of it must've been,
but it was truly very raucous; and even as fashionista and cockle-doodle-doo
the puffery hair-dos, and Rod would reliably go waaay to far imo,
and sadly sorta kill what should have been a gigantically respectable legacy;
tho he's played it smart; is still working; can pick his gigs and players....
went thru a throat surgery and showed, imo, ten tons of balls starting
to sing again; I remember him on a talk show not that long after the surgery;
he was brave; it was kinda 'there' and kinda really 'not there'...
so just to say; he's worked hard and taken his shots so i don't want to diss him,
as Gasoline Alley era stuff still finds me enjoying it; seeking it out.
appreciating the originality of approach; and the actual dedication
these guys had to this music.
Ronnie's playing with Faces was tremendously soulful and blisteringly effective.
he could effortlessly, and very creatively work-out some tough rock stuff
and own that stage; which is pretthy impressive considering soulful Ronnie Lane, pumping Mac and Kenney...the perfect band for him all along;
he's been huge; anybody underestimating Faces just does not have the exposure
to the really hot stuff imo. and i'd say for several of the Stewart solo LPs.

It wasn't till Atlantic Crossing, which I actually enjoyed; he covered Ian Hunter and etc...Rod knows good songs...but on that one it started to sound
a bit like uh oh....it's starting to sound much more 'slick producty' then
reamshackle folk music that could explode into rock and roll or a hugely
credible soul number. Here too, Ron showed great taste, understanding and soul imo.
As far as Stones work; I'd prefer to pick out the killer cuts (for me)
that he was there for; and there has been very many exciting of those too imo.
i can't go near relative comparisons taylor to ronnie; it's just too different
a time in the band's career and approach; and evolution; for both the good
and the frighteningly bad.
Taylors thing was Taylors thing; and it was incredibly appropriate and incredibly powerful and very incredibly in tune with what these guys
were aiming at and searching for; AND ACHIEVING....
so i don't care if it's Eric at his best; or Mark or any super heavy metal
guy that can really probably play Mozart such is their familiarity with
all kinds of incredible scaluar work that is precise and powerful etc...

.....but i mean, that was a unique thing and it's own thing;
I think any of us could quickly make up a Stones album with only
Wood contributions, and it would be staggeringly good.
he's had a tremendous burden as well as a tremendous gift, being one of The Stones....and I think it's obviously given him massive stardom and riches beyond imaginings; and good on him I say! but also, as junior member,
I think without intending to; just being sorta selfish and into their
own dramatic cat fights; tho I don't dismiss the seriousness of their
issues at the time....
...they treated Ronnie, perfectly looking like a jr. 'keef' to look
exactly like the hip Invasion band they still like to project; and actually
truly are lol.......
i do think it limited his abilites to some extent.
It was always nice to see him sit down at the steel.
there is so much that he can do beautifully.
i think Fonda was a good representative of how reliable and solid
Ron can be as a Rolling Stone.

Dunno how I missed this, all this time;
but now that I've finally caught up:
pretty great testimony, Hopkins.
Thx for sharing!
Kudos...

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DandelionPowderman
I'm just curious to know what the statement "Ronnie lacks a distinctive sound" is based on?

It's not an opinion. On the contrary, it's easy to prove that this statement is false - as it's very easy to spot Ronnie in a sound mix, no matter who he plays with.

Frankly, I only recognise his playing when I actually see him on the footage, with the exception of the well known licks -say- Hey Negrita, cause I actually know it's him-(listening to his Stones era music). So distinct in Ron's case (and many other players) is a very personal experience I think. A symposium could be dedicated to this musical phenomena.



Edited 1 time(s). Last edit at 2018-05-10 00:49 by TheflyingDutchman.

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TheflyingDutchman

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DandelionPowderman
I'm just curious to know what the statement "Ronnie lacks a distinctive sound" is based on?

It's not an opinion. On the contrary, it's easy to prove that this statement is false - as it's very easy to spot Ronnie in a sound mix, no matter who he plays with.

Frankly, I only recognise his playing when I actually see him on the footage, with the exception of the well known licks -say- Hey Negrita, cause I actually know it's him-(listening to his Stones era music). So distinct in Ron's case (and many other players) is a very personal experience I think. A symposium could be dedicated to this musical phenomena.

It's a matter of knowledge, too, of course. It's hard to recognise a style you don't know/haven't really taken the time to learn