Great Ronnie solo! Tired of MY, fast forward to 4:10.

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Mathijs

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Redhotcarpet
Ronnie was never as good as Taylor, sober or not. Taylor is just a so much better guitarist, he was a straight shooter from the start.

Oranges and apples. Taylor is a better lead guitarist, Wood a better rhythm guitarist. I prefer rhythm/riff approach of Wood over Taylor's lead guitar.

Example: I prefer a 1978 Love in Vain over any Taylor Love in Vain.

Mathijs

More to the point, both Ron and Mick T have a distinct style; a "voice" that comes through in their solos. This makes them more interesting to listen to than legions of technically proficient players.

True, Ronnie's style comes through on the Faces material more but it's there on plenty of Stones stuff as well.

Which is why I like the 75-76 YCAGWYW solos, there's the nod to Mick T's original creation but it's so very Ronnie nonetheless.

Admittedly, this fine balance has been achieved less successfully less often since then.

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DandelionPowderman

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Powerage

Two mediocre solos. I'm sure both guitarists involved would agree

But one of those "mediocre solos" is a pearl compared to the real mediocre one.



Edited 1 time(s). Last edit at 2014-05-12 16:36 by kleermaker.

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kleermaker

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DandelionPowderman

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Powerage

Two mediocre solos. I'm sure both guitarists involved would agree

But one of those "mediocre solos" is a pearl compared to the real mediocre one.

No, it isn't. It's lost in Santana-esque latino-fusion, with a few exceptions, though.

I like some of Taylor's 2013-solos on CYHMK, preferrably when he steers clear of that, or keeps it to a minimum.

The first one was the best, imo. But today, it strikes me that the expectations, the fact that he got a solo spot, the "prodigal son-aspect" was stronger than the actual solo

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DandelionPowderman

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kleermaker

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DandelionPowderman

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Powerage

Two mediocre solos. I'm sure both guitarists involved would agree

But one of those "mediocre solos" is a pearl compared to the real mediocre one.

No, it isn't. It's lost in Santana-esque latino-fusion, with a few exceptions, though.

I like some of Taylor's 2013-solos on CYHMK, preferrably when he steers clear of that, or keeps it to a minimum.

The first one was the best, imo. But today, it strikes me that the expectations, the fact that he got a solo spot, the "prodigal son-aspect" was stronger than the actual solo

You are of course entitled to your opinion.

So are you.

The Love In Vain solo from Ya Ya's is pretty much the greatest slide solo in all of rock. Certainly up there with any Allman, Lowell George, Cooder or Harrison slide moment. It's influence an all guitarists as far as tone and touch can not be denied, lead guitarists all wanted to be right there throughout the 70's. Rewriting history and missing this is to miss everything important about electric guitar playing.

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DoomandGloom
The Love In Vain solo from Ya Ya's is pretty much the greatest slide solo in all of rock. Certainly up there with any Allman, Lowell George, Cooder or Harrison slide moment. It's influence an all guitarists as far as tone and touch can not be denied, lead guitarists all wanted to be right there throughout the 70's. Rewriting history and missing this is to miss everything important about electric guitar playing.

Everything?

Why not make a "greatest Taylor solo"-thread?

Sowee to bring in naff advertising tags, but if Carlsberg did guitar solos...

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DoomandGloom
The Love In Vain solo from Ya Ya's is pretty much the greatest slide solo in all of rock. Certainly up there with any Allman, Lowell George, Cooder or Harrison slide moment. It's influence an all guitarists as far as tone and touch can not be denied, lead guitarists all wanted to be right there throughout the 70's. Rewriting history and missing this is to miss everything important about electric guitar playing.

wholeheartedly agree !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

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His Majesty
Sowee to bring in naff advertising tags, but if Carlsberg did guitar solos...

Now this is a different mix than the Ya Ya's I have. There's less of an attempt to bury Keith's out of tune intro and MT seems louder in the last verses. Could be mastering but I think I hear some extra stuff as well. When I listened to this I began to focus on Bill's playing, as years go by I appreciate his work more and more. His walking lines dictate the changes and he can create a chorus even when the chords remain the same.

Tis from Gimme Shelter film.

.



Edited 2 time(s). Last edit at 2014-05-12 19:54 by DoomandGloom.

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kleermaker

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DandelionPowderman

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Powerage

Two mediocre solos. I'm sure both guitarists involved would agree

But one of those "mediocre solos" is a pearl compared to the real mediocre one.

Of course, you are right. One doesn't need to understand much of music to see the difference in there. The difference in pure musicality, musical imagination, feeling, touch, technics, the ability to carry a band, and improvisation... That has nothing to do with personal taste, of how it moves one... I like Ronnie, and his stuff there, but jeez.... some perspect in subjectivity, people.. I do understand that Dandie is world's biggest Ronnie Wood fan, and doesn't much appreciate Mick Taylor, but c'mon...

- Doxa

That wasn't what I said. And by both players' standard, I'm not too far off here.

One of those players strives for and nearly reaches, in places, music which goes beyond the players and the situation.

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DandelionPowderman
That wasn't what I said. And by both players' standard, I'm not too far off here.

That's all right, if that was what you meant. It didn't come across that way. But yeah, both surely can do better. But the standards in question just happen to vary so much from man to man... One's 'mediocre' is other's 'dream come true'. If Woody would come up with that Taylor solo, we would make him a statue, and I would carry a T-shirt stating "Who the f..k is Mick Taylor"...

- Doxa



Edited 1 time(s). Last edit at 2014-05-12 22:09 by Doxa.

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Doxa

Of course, you are right. One doesn't need to understand much of music to see the difference in there. The difference in pure musicality, musical imagination, feeling, touch, technics, the ability to carry a band, and improvisation... That has nothing to do with personal taste, of how it moves one... I like Ronnie, and his stuff there, but jeez.... some perspect in subjectivity, people.. I do understand that Dandie is world's biggest Ronnie Wood fan, and doesn't much appreciate Mick Taylor, but c'mon...

- Doxa

I TRULY like Ronnie's above solo on CYHMK. I truly do, and I have nothing against MT's take. But Ronnie's Knocking solos are there with the best!

C

But but but... back to business. Dandie put on the other thread a clip of "Terrifying". Never listened to it in that way, but yeah, that had a nice Wood solo.

- Doxa

Robbies solo is pretty damn good as far as Ronnie solos go.



Edited 1 time(s). Last edit at 2014-05-12 22:16 by His Majesty.

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liddas

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Doxa

Of course, you are right. One doesn't need to understand much of music to see the difference in there. The difference in pure musicality, musical imagination, feeling, touch, technics, the ability to carry a band, and improvisation... That has nothing to do with personal taste, of how it moves one... I like Ronnie, and his stuff there, but jeez.... some perspect in subjectivity, people.. I do understand that Dandie is world's biggest Ronnie Wood fan, and doesn't much appreciate Mick Taylor, but c'mon...

- Doxa

I TRULY like Ronnie's above solo on CYHMK. I truly do, and I have nothing against MT's take. But Ronnie's Knocking solos are there with the best!

C

Me too. When this thread was young, a year ago, I recall writing there my positive experience of wittnessing Woody playing that live. A wonderful experience indeed.

- Doxa

It's so childish, browsing the web, looking for some obscure not so good Ronnie-solos (especially after I posted a good one earlier) and to compare it with Taylor's in this thread. This time, though, the poster missed big time with the Taylor solo. Taylor is sweating a good bit midway through, when he does the pull-offs on the light e-string

If one lacks ideas or the imagination to start a Taylor best of-solos thread, at least find two good ones. I doubt the intention was to find two poor solos

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Bastion
Oh I love his playing these days it's fantastic, Street Fighting Man and those fills he plays on Bitch are more than enough evidence of that.

Yes, the raka-taka rhythm guitar in the left channel might be Ronnie's. That's great, in fact. Here another highlight from the Hyde Park gig, a shame, that it is not on the Summer Sun regular disc:

As I recall, Ronnie was atrocious on the rest of this gig (ARMS tour '83, MSG), but I like what he does on this Seven Days. He blends in with Clapton really nicely:

Thanks, Stoneburst. I have never seen that footage, and "Seven Days" is one of my favourite songs! Nice to hear a 'proper' singer singing it for a chance (sorry Bob & Ronnie...) And what a band!

But Ronnie... Eric gives him room, winks that now is time to do your solo thing, but Ronnie... freezes totally.><

But aside - or due to - that, the guys are having fun, and that is what matters.

- Doxa

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Doxa
Thanks, Stoneburst. I have never seen that footage, and "Seven Days" is one of my favourite songs! Nice to hear a 'proper' singer singing it for a chance (sorry Bob & Ronnie...) And what a band!

But Ronnie... Eric gives him room, winks that now is time to do your solo thing, but Ronnie... freezes totally.><

But aside - or due to - that, the guys are having fun, and that is what matters.

- Doxa

Seriously, Doxa, if you think he's bad on that you need to check out some of the other songs. Goodnight Irene, the final encore, springs to mind.

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kleermaker

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DandelionPowderman

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Powerage

Two mediocre solos. I'm sure both guitarists involved would agree

But one of those "mediocre solos" is a pearl compared to the real mediocre one.

Mediocre?? What are you smoking?

This solo is genius exemplified. After stating the opening theme from the Sticky Fingers version with a subtle and clever variation, Mick Taylor invents a stunningly unexpected and mind blowing minor third trill at :49 that is off the graph (it will influence a generation of rock guitarists should they hear it, that cannot be denied)... and what follows that?? ...roughly thirty seconds of awe. Note the delicacy of the descension employing the uber difficult 'pull-off' technique (1:03 to 1:07). It makes me say to myself 'YES!...only the man who played the solo on Time Waits For No One could do that!...again.

This passage is followed by another Mick Taylor signature move; the deceptively simple sounding triplets (1:07 to 1:12) One wishes to hear more of this innovative passage but Mick Taylor is only getting started. The next fifteen seconds take the solo to another creative high (like discovering an unexpected pastoral glen on your way to the summit of the mountain) as Mick Taylor takes advantage of the seldom used guitaristic technique of playing fretted notes in conjunction with open strings in the 'solo' setting. You can literally smell the fertile wheatgrass and red cedar. What will Mick Taylor think of next?

Well, the next fifteen or so seconds is yet another clever nod to the album version that ends somewhere around the D note at 1:46. Unfortunately it's at this point that the band starts to occasionally drop time (doubtless they are now paying more attention to the majesty of what they're hearing rather than concentrate on keeping rhythm- which I blame Daryl Jones for...after all, he hasn't heard this kind of soloing since he played with Miles Davis). 1:48 to 1:50 is indicative of this as Mick Taylor plays a few very melodic bended phrases as the band noticeably slows down.

Mick Taylor is a master of constructing a solo and in the next fifteen or so seconds, rather than heading for the 'summit '(if I may speak euphemistically)
he leads the team slightly back DOWN the mountain! Realizing the band has faltered he uses the next twenty five seconds (1:50 to 2:28) to allow Daryl Jones the chance to regain his footing by playing just enough to assure the latter that he's not in over his head. Daryl Jones was probably thinking to himself, 'that sounds really ordinary..okay, I can hang with Mick Taylor, all I have to do is concentrate!'). But then, at around 2:30, Mick Taylor explodes off the fretboard with a flurry of unparalleled lyricism (those descending pull-offs are sublime!) and a sustained climax (2:38 to 3:00) featuring the C and Ab/A notes in tandem. The aforementioned bend for most of twenty-two glorious seconds! Two words...GUITAR HEAVEN! Look at Keith Richards jealously roll his eyes at 2:53-ish. Envy.

Mick Taylor shows us his jazz chops from 3:00 to 3:06 (the path from the A note to the C -3:04- has John Coltrane written all over it) and he starts the band up the mountain again (3:07 to 3:14) with his revolutionary use of a C to D bend on the B string whilst simultaneously fretting the D on the E string. Seven seconds that seem an eternity yet pass by in a wink...my God! Mick Taylor then unleashes a torrent of triplet infused blues burn (he is a master of the pentatonic scale after all), gives another couple examples of the jazz minor scale...all of which resolves into a brilliant beautifully executed F-triplet(D-C-A), F- triplet, F- triplet, F-triplet, F-triplet..etc. F-triplet, F-triplet (3:25-3:34) so, so forth. The loopy Ron Wood could never do anything so learned.

From 3:35 to 3:40 Mick Taylor looks around as if to say, 'boys, I'm taking us home! ...and from 3:40 to 4:02 he carries the whole band to the summit with those scorching bends infused with rhythmic articulations worthy of Earl Palmer. Again the band seems to falter rhythmically as they are probably not used to 'playing with time' like someone who is as brilliant with rhythm as Mick Taylor is.

I'm of the belief that The Stones need to fire Daryl Jones, move Ron Wood to bass and unplug Keth's guitar and let Mick Taylor handle all the guitar work. The sooner the better.

Now, that's what I call an analysis...

- Doxa

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Doxa
Now, that's what I call an analysis...

- Doxa

Yes indeed, and when I listen to this video (crap sound btw, so I post a new one right now), reading this brilliant post, I realize again what magic is happening here as does the crowd.

TonyMo never fails

He gets easily impressed by a modest and sparse use of the simplest and less profound parts of the techniques the old jazz and prog masters used in the early 70s, though..

"Uber difficult pull-offs". That's where you blew your cover, Tony. Keep them coming

PS: Try Santana for real pull-offs on Santana III, or even Angus Young