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TimeIs
Ronnie on Neighbours in LSTNT:

12:07




Keith on Black Limo:
0:30

Wood does both solo's on Black Limo. What you see in the movie is Keith adding a fill underneath Wood's solo.

Mathijs

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RockinJive

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Mathijs
The greatest Ron Wood solo’s:

Midnight Rambler – MSG, June 27, 1975.
You Can’t Always Get What You Want – LA, July 13, 1975
Gimme Shelter – LA, July 13, 1975
Neighbours – studio version
Black Limousine – Hampton, December 18, 1981
Beast of Burden – Hampton, December 18, 1981
Wild Horses – Knebworth 1976
Sympathy for the Devil – LA, July 9, 1975
Love in Vain – Memphis, June 28, 1978

Mathijs

I guess you live in the past. They HAVE done a few more shows after 1981.

That's correct, they did the 1982 tour after 1981. After that I stopped listening.

Mathijs

Considering those clips from LET'S SPEND THE NIGHT TOGETHER, I think those ones present Ronnie Wood, a Rolling Stones guitarist, at his finest. It is full of those little striking solos as the ones in "Neighbours" and "Limo". Suiting perfectly under the description of "fitting" I spoke about. Actually that film, and both Keith and Ronnie's job in them, was an eye-opening experience for me at back at the day. That's was the closest thing me - just born fan - could have of Rolling Stones live concert at the time. I think that film alone changed my idea what playing the guitar was all about. The whole idea of flashing, distinguishly seperated solos just vanished. It was later that the term "ancient art of weaving" appeared, but when I first heard of that, I knew exactly what they were talking about. Keith and Ronnie really lived in the zone of their own during the time.

And this was at the time when the new generation of guitar heroes started to appear, all those damn vanhalens, malmsteens etc. who took the guitar art into pure circus. Keith and Ronnie were the anti-thesis to all that.

It is funny how quickly the times changed. Just a while ago the idea of a self-important, highly technical solo guitarist was about the uncoolest idea in rock (just ask any punk or pub-rocker) - and suddenly it was nothing else than that, as we really got into the 80's.

But in a hindsight I would claim that without that "back to basics, no bs, the rhythm guitarist is the real hero of the band" movement in the late 70's, Keith and Ronnie would never been so highly appreciated guitarists as they are. Especially this is true for Keith.

- Doxa



Edited 4 time(s). Last edit at 2013-05-27 11:39 by Doxa.

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Doxa

And this was at the time when the new generation of guitar heroes started to appear, all those damn vanhalens, malmsteens etc. who took the guitar art into pure circus. Keith and Ronnie were the anti-thesis to all that.

It is funny how quickly the times changed. Just a while ago the idea of a self-important, highly technical solo guitarist was about the uncoolest idea in rock (just ask any punk or pub-rocker) - and suddenly it was nothing else than that, as we really got into the 80's.

- Doxa

I love this "old hippy" irony.

Just like the weaving tandem Wood-Richards (some richards-taylor in '69) is rooted in splitting up or sharing/trading the licks and riffs they got from genuine players like Hendrix, Chuck Berry, (and all the great black blues players back in the early sixtees), we can assume that all those damn vanhalens and malmsteens derived their inspiration from the same genuine players, and classical composers included.
An established band like the RS in the late 7-tees and early 8-tees couldn't miss its target anymore. They didn't have to prove much, while all the fast guys did the opposite, still had to prove something in the mid 7-tees and onwards: they tripled the speed. And they succeeded, which is a tremendous effort.
It's all about inspiration, stealing, circus, and drawing cartoons in (rock) music, but foremost: meeting of the spirits.

Love this one

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terraplane
This is going to be a short list.

The Faces live versions of "I'd Rather Go Blind" - great solos. His equivalent of MT's YCAGWYW.
I love what he did on Hendrix' "Angel" too; altho it's not really a solo.
With Stones his solo on CYHMK was erratic but on some nights it was very good.
There are versions of "All Down the Line" in 75 that are mind blowing. In 75 he was very good.

Just facts... All you need is two ears. Or you should not have listened to the studio version since prehistory

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DoomandGloom


Here's all that needs to be said on the subject. Ronnie can not even execute the ending riff correctly or any part of it for that matter. The solo itself is an embarrassment to the 57 strat he's playing and every Sticky Fingers fan. As far as the above post regarding MT lack of success after the Stones, which is true, Taylor has been a troubled spirit. He may not be cut out for fame like Ronnie or the rest of these guys but that doesn't diminish what he has accomplished in his 5 years with the band.

Edited 1 time(s). Last edit at 2013-05-27 16:40 by roby.

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Doxa
Considering those clips from LET'S SPEND THE NIGHT TOGETHER, I think those ones present Ronnie Wood, a Rolling Stones guitarist, at his finest. It is full of those little striking solos as the ones in "Neighbours" and "Limo". Suiting perfectly under the description of "fitting" I spoke about. Actually that film, and both Keith and Ronnie's job in them, was an eye-opening experience for me at back at the day. That's was the closest thing me - just born fan - could have of Rolling Stones live concert at the time. I think that film alone changed my idea what playing the guitar was all about. The whole idea of flashing, distinguishly seperated solos just vanished. It was later that the term "ancient art of weaving" appeared, but when I first heard of that, I knew exactly what they were talking about. Keith and Ronnie really lived in the zone of their own during the time.

And this was at the time when the new generation of guitar heroes started to appear, all those damn vanhalens, malmsteens etc. who took the guitar art into pure circus. Keith and Ronnie were the anti-thesis to all that.

It is funny how quickly the times changed. Just a while ago the idea of a self-important, highly technical solo guitarist was about the uncoolest idea in rock (just ask any punk or pub-rocker) - and suddenly it was nothing else than that, as we really got into the 80's.

But in a hindsight I would claim that without that "back to basics, no bs, the rhythm guitarist is the real hero of the band" movement in the late 70's, Keith and Ronnie would never been so highly appreciated guitarists as they are. Especially this is true for Keith.

- Doxa

I know what you mean by the word 'fitting', and I agree. It is the very same reasoning that I apply to Taylor's rhythm playing. His underrated rhythm playing. The steamroller that is "Ya-Ya's"; the band on the rhythmic chugging of "Midnight Rambler"; the rhythm underneath Keith's Berry solos in '72; This is essential playing - it is a vital part in creating a near perfect (IMO) sound. Therefore is absolutely fitting and just as perfect as all other performances around it.
Also - this whole notion of Wood being the great "Weaver" with Keith....
just listen to the solos on Ya-Yas "Little Queenie" - that is by far the best, most intricate weaving ever. "Rambler", "Carol", "Sympathy".
Sorry, wrong thread. This is not to start a Wood vs Taylor discussion.
I love Ronnie, and yes - IMO he has done some great solos.

There's a lot to choose from "live" 75,76,78. Especially 75 when songs were structured more to highligt him. 89+ MJ and Keith diminshed his role.

Ronnie is a great player, just differnt than MT.

don't give me that ole one two, one two three four

Seeing Ron Wood trying to copy Taylor on CYHMK makes me blush

Three stick out for me:

Miss You on the Steel Wheels tour but I don't remember which show. It used to be on Youtube but I can't find it. He was wearing a red jacket I think and Mick was wearing white. But anyway, the solo was so great that Mick and Keith looked at each other and smiled at how good it sounded.

The solo on Terrifying.

Beast of Burden on the 78 tour.

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Palace Revolution 2000

Also - this whole notion of Wood being the great "Weaver" with Keith....
just listen to the solos on Ya-Yas "Little Queenie" - that is by far the best, most intricate weaving ever. "Rambler", "Carol", "Sympathy".

Carol and Queenie do not feature Taylor: the rhythm guitar is overdubbed by Richards. Sympathy is fantastic, but not weaving: Taylor and Richards play straight rhythm, and alternate the lead guitars.

Mathijs

"Weaving" is Keith bs.

It's an excuse for a lazy approach and little or no preparation.

They both do their own thing.. a bit of chord work and some noodles.

If it works it works, if it doesn't it doesn't.

"The art of weaving" makes it sound like something clever.

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GravityBoy
"Weaving" is Keith bs.

It's an excuse for a lazy approach and little or no preparation.

They both do their own thing.. a bit of chord work and some noodles.

If it works it works, if it doesn't it doesn't.

"The art of weaving" makes it sound like something clever.

You better listen to a 1978 or 1981 gig again. And wash your mouth.

Mathijs

I Can Feel The Fire - studio version. Just fantastic.

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Mathijs

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Palace Revolution 2000

Also - this whole notion of Wood being the great "Weaver" with Keith....
just listen to the solos on Ya-Yas "Little Queenie" - that is by far the best, most intricate weaving ever. "Rambler", "Carol", "Sympathy".

Carol and Queenie do not feature Taylor: the rhythm guitar is overdubbed by Richards. Sympathy is fantastic, but not weaving: Taylor and Richards play straight rhythm, and alternate the lead guitars.

Mathijs

Maybe Keith dubbed parts of his solo on Carol at best.. Taylor's rhythm part sounds genuine to me, and I'm not deaf.

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Mathijs

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GravityBoy
"Weaving" is Keith bs.

It's an excuse for a lazy approach and little or no preparation.

They both do their own thing.. a bit of chord work and some noodles.

If it works it works, if it doesn't it doesn't.

"The art of weaving" makes it sound like something clever.

You better listen to a 1978 or 1981 gig again. And wash your mouth.

Mathijs

Nope.

They may have put some effort into it at the beginning, but in fact they still had Richards/Taylor like lead/rhythmn split. "Weaving" has been an excuse for the last quarter of a century for "winging it".

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Erik_Snow
Seeing Ron Wood trying to copy Taylor on CYHMK makes me blush

I love his solo on this track. It's irrational but I can't help it. That being said, Ronnie's take on it 10 years ago does more for me that the Staples footage of Mick T. doing it the other night. Ron's worse technically but to me, at least, his playing just has a lot more personality. I know, I know - fire away.

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JuanTCB

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Erik_Snow
Seeing Ron Wood trying to copy Taylor on CYHMK makes me blush

I love his solo on this track. It's irrational but I can't help it. That being said, Ronnie's take on it 10 years ago does more for me that the Staples footage of Mick T. doing it the other night. Ron's worse technically but to me, at least, his playing just has a lot more personality. I know, I know - fire away.

I agree 100%. Ronnie Wood's solo is awesome. Great post!



Edited 1 time(s). Last edit at 2013-05-27 21:53 by its good to be anywhere.

"You don´t know why?...you never learn!"

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JuanTCB
Ron's worse technically but to me, at least, his playing just has a lot more personality. I know, I know - fire away.

Yep, agreed. That's why he's a more fascinating guitarplayer. You know what a great Mick Taylor can and will do... more or less. While Ronnie surprises you.
There's a lot of players like Mick Taylor. Only one Ron Wood.

You have to back to The Faces for those. He is turned down in the mix so low, you can barely hear him. Sicky production to boot.

I heard an mazing Miss You from Wembley Stadium in 1990, as I was at that gig.

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JuanTCB

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Erik_Snow
Seeing Ron Wood trying to copy Taylor on CYHMK makes me blush

I love his solo on this track. It's irrational but I can't help it. That being said, Ronnie's take on it 10 years ago does more for me that the Staples footage of Mick T. doing it the other night. Ron's worse technically but to me, at least, his playing just has a lot more personality. I know, I know - fire away.

If it reaches people that's great... I am part of the guilty side and I just realized it. Picking apart Wood's solo or Taylor's on CYHMK it amounts to the same nonsense. If Martians landed on earth they could not tell the difference either, it's all the same, mistakes are adorable that's why we love this band. In hindsight I'm sorry to post the video in this manner. It's take it or leave it and it has been for 30 years. I jumped ship after Steel Wheels with Bill. I came back for the anniversary and aside from the Mick Taylor tease game and a sorry list of guests I have enjoyed it plenty.

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svt22

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Mathijs

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Palace Revolution 2000

Also - this whole notion of Wood being the great "Weaver" with Keith....
just listen to the solos on Ya-Yas "Little Queenie" - that is by far the best, most intricate weaving ever. "Rambler", "Carol", "Sympathy".

Carol and Queenie do not feature Taylor: the rhythm guitar is overdubbed by Richards. Sympathy is fantastic, but not weaving: Taylor and Richards play straight rhythm, and alternate the lead guitars.

Mathijs

Maybe Keith dubbed parts of his solo on Carol at best.. Taylor's rhythm part sounds genuine to me, and I'm not deaf.

Apparently, you're deaf. Check the GS outtakes of Carol and Quenie, and you'll hear that all of Taylor's parts where erased and overdubbed by Richards for Ya Ya's (note for Carol: not at the turn-arounds -Taylor's double stops are still there).

Mathijs

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Mathijs

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Palace Revolution 2000

Also - this whole notion of Wood being the great "Weaver" with Keith....
just listen to the solos on Ya-Yas "Little Queenie" - that is by far the best, most intricate weaving ever. "Rambler", "Carol", "Sympathy".

Carol and Queenie do not feature Taylor: the rhythm guitar is overdubbed by Richards. Sympathy is fantastic, but not weaving: Taylor and Richards play straight rhythm, and alternate the lead guitars.

Mathijs

Are we sure it was Keith who did the Overdubs? I remember hearing a "carol" version where, yes, Taylor was flat-out gone in big sections. But I don't think it was in "Queenie" too.
Still, my point was that there are many sections in 69 and 72 where IMO Taylor meshes and weaves with Keith beautifully. Again - not trying to take this thread into another direction. I really like a thread devoted to Ron's solos; not enough of them around.

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Silver Dagger
I Can Feel The Fire - studio version. Just fantastic.

That one is very good...But I think Wood's finest work (excepting the Some Girls album) came before joining the Stones. His playing on all those Faces and Rod albums is brilliant.

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GRNRBITW
sigh. maybe we could compromise and come up with a list of the "most not horrible ron wood solos." i think everyone can rally at this....

I would put most of Mathijs' original list in that category. Wild Horses? Please.

The slide he played on that one i think it`s great!

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Mathijs
The greatest Ron Wood solo’s:

Midnight Rambler – MSG, June 27, 1975.
You Can’t Always Get What You Want – LA, July 13, 1975
Gimme Shelter – LA, July 13, 1975
Neighbours – studio version
Black Limousine – Hampton, December 18, 1981
Beast of Burden – Hampton, December 18, 1981
Wild Horses – Knebworth 1976
Sympathy for the Devil – LA, July 9, 1975
Love in Vain – Memphis, June 28, 1978

Mathijs

I don't have a problem with this list. I would add
Shattered (Hampton)
Too Tough
Undercover of the Night (he was great on this when I saw them do it in 1989)
Love in Vain (JFK 1978; I know some of you think that's awful, but I think it's great).

I'm sure others will come to me later.