1969: the honeymoon, a lot of two-guitars-performing-a-single riff stuff, this is the so much discussed art of weaving - Interaction

1970 or the nicknamed "lost tour": not much boots to listen to, but great stuff. Interaction.

1971: also called "farewell tour" in UK, the sound is interesting, but bizarre. Leeds and London roundhouse have a low tune sound, that gives a more "soul" and RnB. Thinking of course to lazy 1971 Satisfaction. The connection fades, the electric guitar honeymoon between Richards and Taylor is passing. Transition.

1972: great Taylor must have eaten some psychedelic mushrooms, he emphasises his cosmic trade mark sound, opening the way to his Tubular Bells session ("The Exorcist") – Divorcee engaged. No more interaction

1973: more cosmic extravaganza, Taylor plays continuous solo, finishing the show by practicing his scales (Street fighting man"). Richards do not care much, he even not look at Taylor on stage. Divorcee pronounced.

Taylor's tone and playing is more distorted on 73 with all his hammers and
pulloffs and he goes wild on SFM with his scales.

Vibrato?

Taylor exposed to open tunings and new kinds of music was great for him to be in
the stones.I Thank Keith to allow Mick Taylor to play those extended solos live
and shine when the lights were on him.As far as studio stuff:

Let it Bleed - It was all Keiths record with all those guitars and he proved to
the world he could play both roles and he matured as a player and song writer
as with beggars banquet.taylor only on country honk and live with me.

Sticky - Taylor's first complete record and you can,t overlook his impact and
effect he had on the record.

Exile- I think this was Keith's record and Idea how the guitars sounded and
would work - Taylor's guitar blended in the background throughout with the
exception on Shine A Light,All Down The Line,and others were taylor lets loose

GHS-I think this was more of a jagger/taylor record then keith due to his
drug habbit.taylor and jagger clearly collaborate to get songs done without
keith

IORR - Again Taylor and Jagger worked to get the record done while Keith
was not around.Keith would come into the studio late at night and erase
some of Taylor's work.The whole marriage was busting apart.I guess three's
a crowd and jagger/richards team could never be broken apart.

One thing is: a musician is not supposed to perform pure scales on stage, this should be kept for home or backstage.

you don,t get it those scales are PLAYED WITH FLUIDITY AND VIBRATO I GIVE UP

Dear OpenG : concerning this vibrato war, I am strictly an observer....

This fact is: no matter the fluidity (are we in vaseline factory here?), this is a band. Means act together, listen to each other. In 1973, Talyor and Richards play - I like the image coming, it belongs to a bass player friend of mine- the "see-you-at-the-end-of-the-song" way.

It means they juste played in the same key and on the same beat. No more. Now, true, the result in 99% of the time magnificient. But not grooving.

From what I can tell from boosts, the 71 sound/interaction is the one I like best (I love how they build up the "lazy" satisfaction). One can't deny OPenG's point though: no weaving in 72 and 73, but those guitars were hot (not to mention the vibrato!)

I played for a lot of years with a Santanawannabe-solo-maniac. As a matter of fact I could interact only with drums and bass. That is a respectable way of playing, but one can understand why I grew a hate for extended solos!!!


C

The Joker Wrote:
-------------------------------------------------------
> In 1973, Taylor and Richards play - I like the image coming, it
> belongs to a bass player friend of mine- the "see-you-at-the-end-of-the-song" > way.

This is briljant! Your friend got some good humor! It's spot tho.

Good thread and posts, Mr Joker

The Joker Wrote:
-------------------------------------------------------
> 1969: the honeymoon, a lot of
> two-guitars-performing-a-single riff stuff, this
> is the so much discussed art of weaving -
> Interaction

2 great guitarists playing live in front of 10,000 people wanting to hear live music - a great display.
>
> 1970 or the nicknamed "lost tour": not much boots
> to listen to, but great stuff. Interaction.

Plenty of boots to listen to - in fact, most shows from this Tour are available, albeit in average quality, similar to above although with a bit more variation.
>
> 1971: also called "farewell tour" in UK, the sound
> is interesting, but bizarre. Leeds and London
> roundhouse have a low tune sound, that gives a
> more "soul" and RnB. Thinking of course to lazy
> 1971 Satisfaction. The connection fades, the
> electric guitar honeymoon between Richards and
> Taylor is passing. Transition.

transition - definately, mucking around with sounds, lazy, Jagger farting around with wives, Keith drugs etc....not the band's pinnacle with the live performances - probably too much going on outside the stage arena!
>
> 1972: great Taylor must have eaten some
> psychedelic mushrooms, he emphasises his cosmic
> trade mark sound, opening the way to his Tubular
> Bells session ("The Exorcist") – Divorcee engaged.
> No more interaction

Plenty of interaction but Keith now takes a backward step - he now knows what Taylor is made of - this man can play guitar!!!!!
>
> 1973: more cosmic extravaganza, Taylor plays
> continuous solo, finishing the show by practicing
> his scales (Street fighting man"). Richards do not
> care much, he even not look at Taylor on stage.
> Divorcee pronounced.

SFM = STONES = Keith playing a venomous guitar, Taylor the vicious notes...why isn't this interaction????? Sure he plays scales but what else is he meant to do?? Listen to SFM from New York 1969?? Simply a change in what Taylor plays....

A joy!

Esky




I respect women who can suck golf balls through a garden hose....

Interesting posts. Some thoughts:


> 1972: great Taylor must have eaten some
> psychedelic mushrooms, he emphasises his cosmic
> trade mark sound, opening the way to his Tubular
> Bells session ("The Exorcist") – Divorcee engaged.
> No more interaction

"No more interaction"? Have you listened to the various Midnight Ramblers, particularly Fort Worth? What about BBJ? Taylor really kicks up the rhythm during KR's leads and plays a cool slide during the verses, all clearly interacting with what both Richards and Jagger are doing. I could go on... All you need to do is watch L&G. It seems like half the time the camera picks up Taylor he is looking over at Richards or Jagger to see what they are doing so he can--for lack of a better term--"interact".

> 1973: more cosmic extravaganza, Taylor plays
> continuous solo, finishing the show by practicing
> his scales (Street fighting man"). Richards do not
> care much, he even not look at Taylor on stage.
> Divorcee pronounced.

There is much soloing, but "continuous" is quite overstated. Yes, at Brussels, Wembley and Frankfurt Taylor stands out, but even at Brussels KR solos for HTW, MR, Angie (near the end), etc. As for interaction, MR at Brussels shows lots of interaction. I think what you--and probably Richards--saw as a lack of interaction I see as Taylor asserting himself more and not merely donning the straightjacket KR set out for him ("you get 12 bars here", "and you can have 24 bars there", "and don't do anything during the TD break"). WHile the '69 and '72 tours were great, I prefer the '73 shows.

> In 1973, Talyor
> and Richards play - I like the image coming, it
> belongs to a bass player friend of mine- the
> "see-you-at-the-end-of-the-song" way.

This is just the way Some Girls was described when it came out; obviously, focusing on Lies and the like.

For me, SFM at this point was supposed to be chaos with a beat. I thought the Stones approach to this was much more interesting than The Who's take on this.

> One thing is: a musician is not supposed to
> perform pure scales on stage, this should be kept
> for home or backstage.

I don't know who came up with this rule other than someone who did not know what to do with scales on stage or think outside the pentatonic box. Merely running up and down scales is likely to be boring. Playing an Am scale over a C chord can lend an interesting perspective to a song and break the bounds of the pentatonic box that can make solos predictable and limited. As with just about any tool, it depends what you do with it or how you use it. Ultimately, it seems to depend on whether you have anything to say with any particular tool.

Dear Esky darling : no one pretends to post here 100% accurate threads. This is a board to have fun, interact (once again) with fans - This is not a court, or and accounting audit.

Besides, giving an opinon is always a bit of a caricature if it has to stay concise... In that sense, maybe every of us should blend his prose with words to temper the main idea - so instead of "no interaction", it would read "not much interaction anymore" -

In return, I kindly suggest to not abuse of this slightly "copy and paste" style, ie be more active than reactive. Throw yourself in the water.

I think you are right concerning 1970, but this new stuff has surged from the vault not so long ago... Indeed, it has been called the "last tour", so I am happy there is more available now.

keith was deeply jealous of taylors playing imho
thus forcing him out by not talking or looking at taylor on stage
making him feel like a hired hand and an outsider
it is also said that keith used to torment taylor in the studio
by calling him stupid and making him feel like he didnt know what he was doing
in other words this is my band , stay the hell out of my way

I think that in 73 Keith was so into drugs that he couldn't even care if there was someone in the band playing better than him.

C

Melillo is correct. By 1973, Keith was starting to torment MT, calling him, among other things, a 'terrible player in the studio'. There is no doubt in my mind that Keith was attempting to push MT out by that time. This marginalization from the band, I think, is the REAL reason why MT left . . .

Finally after all this time, a post from OpenG comes in that I can fully endorse!
Total agreement and happiness...please let it be true...

"....VIBRATO... I GIVE UP..."


Don't back down from your convictions man, hold strong! You cannot convert us pagans anyway.

And I for one will go home and listen to CYMK and TWFNO over and over and be able to completely enjoy them without the word Vibrato creeping into the back of my mind.

Long Live Brian Jones, Mick Taylor, AND Ronnie Wood!!!!!

PS and I wish once in a while you could lighten up and see some humor and sarcasm and not take all of it all so personally.

"1970 or the nicknamed "lost tour": not much boots to listen to, but great stuff. Interaction." -- Bullshit; nearly the entire tour is bootlegged and I've got them all.

Keith and Taylor did interact on stage w/visual cues. That's about it. WTF are you talking about? Are you sure you are referring to The Stones?

"The wonder of Jimi Hendrix was that he could stand up at all he was so pumped full of drugs." Patsy, Patsy Stone