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There are several, actually: [www.iorr.org]
Keith ripped Ry Cooder off to 100% and said so himself. It's not the tuning, it's the style, licks, rhythm patterns etc.
A lot of us have tried to say that but it doesn't always go over well. But just because the Glimmers were unsupportive of Brian in many ways,
that doesn't (as you say) mean that Brian had anything to with Keith using open-G in what became his "signature style".
It's too bad if another Brian book trudges that same old path.
That assertion is way overblown, imo. Yes Keith took a couple of techniques and chord voicings/inversions from Ry, and succeeded to make them his own, which is the mark of a good artist....he made 'em his own.
Ry's playing and style is so much more than what Keith was able to cop. Ry does alot of counter rhythms, cross picking, bass runs and finger picking that Keith has never been able to duplicate. Keith just took the tuning and adapted it to his rock style. Ry is a master of that tuning and takes it to places, especially with the blues, that Keith never even tried to go.
peace
Keith did what all good players do: He was influenced by people. Borrowed a little, stole a little, but then gave it his own unique twist. The stuff about him supposedly "stealing" from Ry is overblown. If that's true, then who did Ry steal from? Others HE lsitened to when developing HIS style. If Keith had continued to play like Ry for years after 1969 that would be one thing, but he obviously didn't, and as much as I like Ry Cooder, he could never have written Brown Sugar or Rocks Off or Start Me Up.
You're right!
or...Jagger ripped off Brian for the tuning, Ry for the technique, Keith for the rhythm, James brown for the moves, probably Bill for the riff if you ask Bill, and at least a few old bluesman for the lyrics.
And I'm sure glad Ry never wrote Start Me Up or I'd have to question my huge respect for the guy. peace
Oh, no doubt about that. He was fooling with open-G as early as 1969.
Two different ways of using open tuning. Keith himself had done it before, but not for the purpose of creating sounds like JJF, SFM, HTW etc. He didn't remove the e-string before 1969, for instance.
The open tuning Brian used was mainly for slide playing.
And after that Keith took it somewhere else from the 70's, to a different planet so to speak.
Quoting 71Tele:
Keith did what all good players do: He was influenced by people. Borrowed a little, stole a little, but then gave it his own unique twist. The stuff about him supposedly "stealing" from Ry is overblown. If that's true, then who did Ry steal from? Others HE lsitened to when developing HIS style. If Keith had continued to play like Ry for years after 1969 that would be one thing, but he obviously didn't, and as much as I like Ry Cooder, he could never have written Brown Sugar or Rocks Off or Start Me Up.
Edited 1 time(s). Last edit at 2015-02-04 11:45 by RipThisBone.
Nàh. In that case he'd be in Led Zeppelin, not the Stones.
That's really open E.
Mathijs
Nor could Keith. Mick wrote Brown Sugar.
Edited 1 time(s). Last edit at 2015-02-05 02:05 by Redhotcarpet.
Fair enough, but I could have used any number of different examples to make the point.
What a cool video! Since this was before the muscle shoals sessions, it probably shows just what Mick brought to the table on this song. Obviously using one of Keith's guitars strung with 5 strings. Also shows just how much Keith took the arrangement and chords and made them work and groove a lot better. I think Mick could probably play it a lot better these days...not only is he a better guitarist than in 1969 but he's heard Keith nail it for so long. peace
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Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
Mel Belli
()
Date: February 3, 2015 19:13
Forgive me if there's already a thread pegged to this book. ...
Just cracked it a couple days ago. Interesting read so far, in particular Trynka's assertion that Keith surely must have seen Brian play in open-G tuning long before he ever met Ry Cooder. In effect, Trynka clears Keith of the charge of having ripped off Cooder, but, in turn, indicts him for failing to acknowledge Brian in the same matter.
I'm thinking there's a pretty simple explanation for this — and maybe it's something you all have chewed on already. Brian's playing in open-G was in the conventional ... I shouldn't say "conventional." In Brian's time and place, it was actually quite esoteric. ... Let's just say Brian used the tuning to play slide in the style that would eventually become familiar to most blues guitarists.
Ry Cooder helped Keith apply the tuning in a nonslide situation. In my own opinion, Cooder was the key to Keith's discovering that the I-IV chord move he was already doing with his index, second, and third fingers on standard-tuning riffs like "19th Nervous Breakdown," and open-D riffs like "Street Fighting Man," could be done with more ease and panache in the open-G tuning.
If this is true, Keith isn't really giving Brian short shrift at all. ...
Overall, it seems to me that Trynka overestimates Brian's chops as a guitarist. Not to knock the guy — he certainly boasted many virtues as a musician — but at one point, Trynka notes that Brian was into Charlie Christian(!). I mean, maybe that was the case, but can anyone point me to any lick, in any song, where Brian "blows through the changes" like a jazz guitarist? Or if it was more about sophisticated chord voicings — where are those?
Just cracked it a couple days ago. Interesting read so far, in particular Trynka's assertion that Keith surely must have seen Brian play in open-G tuning long before he ever met Ry Cooder. In effect, Trynka clears Keith of the charge of having ripped off Cooder, but, in turn, indicts him for failing to acknowledge Brian in the same matter.
I'm thinking there's a pretty simple explanation for this — and maybe it's something you all have chewed on already. Brian's playing in open-G was in the conventional ... I shouldn't say "conventional." In Brian's time and place, it was actually quite esoteric. ... Let's just say Brian used the tuning to play slide in the style that would eventually become familiar to most blues guitarists.
Ry Cooder helped Keith apply the tuning in a nonslide situation. In my own opinion, Cooder was the key to Keith's discovering that the I-IV chord move he was already doing with his index, second, and third fingers on standard-tuning riffs like "19th Nervous Breakdown," and open-D riffs like "Street Fighting Man," could be done with more ease and panache in the open-G tuning.
If this is true, Keith isn't really giving Brian short shrift at all. ...
Overall, it seems to me that Trynka overestimates Brian's chops as a guitarist. Not to knock the guy — he certainly boasted many virtues as a musician — but at one point, Trynka notes that Brian was into Charlie Christian(!). I mean, maybe that was the case, but can anyone point me to any lick, in any song, where Brian "blows through the changes" like a jazz guitarist? Or if it was more about sophisticated chord voicings — where are those?
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
Koen
()
Date: February 3, 2015 20:05
Quote
Mel Belli
Forgive me if there's already a thread pegged to this book. ...
There are several, actually: [www.iorr.org]
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
Redhotcarpet
()
Date: February 3, 2015 21:00
Quote
Mel Belli
Forgive me if there's already a thread pegged to this book. ...
Just cracked it a couple days ago. Interesting read so far, in particular Trynka's assertion that Keith surely must have seen Brian play in open-G tuning long before he ever met Ry Cooder. In effect, Trynka clears Keith of the charge of having ripped off Cooder, but, in turn, indicts him for failing to acknowledge Brian in the same matter.
I'm thinking there's a pretty simple explanation for this — and maybe it's something you all have chewed on already. Brian's playing in open-G was in the conventional ... I shouldn't say "conventional." In Brian's time and place, it was actually quite esoteric. ... Let's just say Brian used the tuning to play slide in the style that would eventually become familiar to most blues guitarists.
Ry Cooder helped Keith apply the tuning in a nonslide situation. In my own opinion, Cooder was the key to Keith's discovering that the I-IV chord move he was already doing with his index, second, and third fingers on standard-tuning riffs like "19th Nervous Breakdown," and open-D riffs like "Street Fighting Man," could be done with more ease and panache in the open-G tuning.
If this is true, Keith isn't really giving Brian short shrift at all. ...
Overall, it seems to me that Trynka overestimates Brian's chops as a guitarist. Not to knock the guy — he certainly boasted many virtues as a musician — but at one point, Trynka notes that Brian was into Charlie Christian(!). I mean, maybe that was the case, but can anyone point me to any lick, in any song, where Brian "blows through the changes" like a jazz guitarist? Or if it was more about sophisticated chord voicings — where are those?
Keith ripped Ry Cooder off to 100% and said so himself. It's not the tuning, it's the style, licks, rhythm patterns etc.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
with sssoul
()
Date: February 3, 2015 21:29
Quote
Mel Belli
If this is true, Keith isn't really giving Brian short shrift at all.
A lot of us have tried to say that but it doesn't always go over well. But just because the Glimmers were unsupportive of Brian in many ways,
that doesn't (as you say) mean that Brian had anything to with Keith using open-G in what became his "signature style".
It's too bad if another Brian book trudges that same old path.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
Naturalust
()
Date: February 3, 2015 21:37
Quote
Redhotcarpet
Keith ripped Ry Cooder off to 100% and said so himself. It's not the tuning, it's the style, licks, rhythm patterns etc.
That assertion is way overblown, imo. Yes Keith took a couple of techniques and chord voicings/inversions from Ry, and succeeded to make them his own, which is the mark of a good artist....he made 'em his own.
Ry's playing and style is so much more than what Keith was able to cop. Ry does alot of counter rhythms, cross picking, bass runs and finger picking that Keith has never been able to duplicate. Keith just took the tuning and adapted it to his rock style. Ry is a master of that tuning and takes it to places, especially with the blues, that Keith never even tried to go.
peace
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
liddas
()
Date: February 3, 2015 21:47
Rooster's slide part is in open G, so indeed open G was in the Stones camp way before Cooder.
I wouldn't overestimate the fact that rooster's slide part was played by Brian: Keith and Brian musically grew up together. Probably they even studied the same part together.
And, please, can we once for all get over the "Keith-ripped-Ry" myth. It's a myth.
C
I wouldn't overestimate the fact that rooster's slide part was played by Brian: Keith and Brian musically grew up together. Probably they even studied the same part together.
And, please, can we once for all get over the "Keith-ripped-Ry" myth. It's a myth.
C
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
71Tele
()
Date: February 3, 2015 22:53
Open G was no big secret - any blues guitarist would have been aware of it. It's what Keith DID with it that was key, and he took off from Ry Cooder and went his own way. The idea that there has to be some "source" like Ry or Brian to make Keith aware of open-G tuning is silly to anyone who plays guitar.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
LieB
()
Date: February 3, 2015 23:00
Ditto, what 71Tele said. And I agree with Naturalust as well. It's easy to hear the similarities between Keith's open G playing, especially the early stuff like Honky Tonk Women, and Ry Cooder's style. I'm sure Ry utilized open G in a more sophisticated and diverse manner, but Keith made it his own as well. Songs like Happy and CYHMK have a uniqueness and power to them that could not have come from Ry Cooder or Brian Jones.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
71Tele
()
Date: February 4, 2015 02:16
Quote
LieB
Ditto, what 71Tele said. And I agree with Naturalust as well. It's easy to hear the similarities between Keith's open G playing, especially the early stuff like Honky Tonk Women, and Ry Cooder's style. I'm sure Ry utilized open G in a more sophisticated and diverse manner, but Keith made it his own as well. Songs like Happy and CYHMK have a uniqueness and power to them that could not have come from Ry Cooder or Brian Jones.
Keith did what all good players do: He was influenced by people. Borrowed a little, stole a little, but then gave it his own unique twist. The stuff about him supposedly "stealing" from Ry is overblown. If that's true, then who did Ry steal from? Others HE lsitened to when developing HIS style. If Keith had continued to play like Ry for years after 1969 that would be one thing, but he obviously didn't, and as much as I like Ry Cooder, he could never have written Brown Sugar or Rocks Off or Start Me Up.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
Koen
()
Date: February 4, 2015 02:56
Jagger wrote Brown Sugar. He must have stolen Keith's open G tuning
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
71Tele
()
Date: February 4, 2015 03:16
Quote
Koen
Jagger wrote Brown Sugar. He must have stolen Keith's open G tuning
You're right!
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
Naturalust
()
Date: February 4, 2015 04:24
Quote
71TeleQuote
Koen
Jagger wrote Brown Sugar. He must have stolen Keith's open G tuning
You're right!
or...Jagger ripped off Brian for the tuning, Ry for the technique, Keith for the rhythm, James brown for the moves, probably Bill for the riff if you ask Bill, and at least a few old bluesman for the lyrics.
And I'm sure glad Ry never wrote Start Me Up or I'd have to question my huge respect for the guy. peace
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
71Tele
()
Date: February 4, 2015 05:03
Jagger wrote Brown Sugar, but did he write it in open G, or did Keith transpose it from what Mick gave him?
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
DoomandGloom
()
Date: February 4, 2015 06:04
The opening riff can be played respectably in standard tuning but Mick does have open 'G' chops shown in "Doom and Gloom".Quote
71Tele
Jagger wrote Brown Sugar, but did he write it in open G, or did Keith transpose it from what Mick gave him?
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
OzHeavyThrobber
()
Date: February 4, 2015 06:24
I don't believe it's possible to nick a "tuning" from anyone. It already exists. You know it - you don't know it. But nobody can give it to you anymore than it can be stolen.
Cooder can complain all he wants but the fact is Richards used G tuning to write one masterpiece after another.
Cooder's apparent complaints are akin to Charlie going mad about John Bonham in 1969 because he was "copying him".....by hitting the snare.
Richards' biggest talent (as is the case with Jagger imo) is that he is a born songwriter. The guitar - or tuning of it, or piano or whatever are just tools he uses to deliver the music he writes. Granted Jagger may not have written Brown Sugar or Richards Soul Survivor if Keith hadn't been shown G tuning and all it's nuances, but great music would have come no matter.
And in any event, Cooder or no-one else wrote these classic works. With regard to this topic - Keith did.
Keith rocks and thank God G tuning introduced itself to him...no matter how it happened.
Cooder can complain all he wants but the fact is Richards used G tuning to write one masterpiece after another.
Cooder's apparent complaints are akin to Charlie going mad about John Bonham in 1969 because he was "copying him".....by hitting the snare.
Richards' biggest talent (as is the case with Jagger imo) is that he is a born songwriter. The guitar - or tuning of it, or piano or whatever are just tools he uses to deliver the music he writes. Granted Jagger may not have written Brown Sugar or Richards Soul Survivor if Keith hadn't been shown G tuning and all it's nuances, but great music would have come no matter.
And in any event, Cooder or no-one else wrote these classic works. With regard to this topic - Keith did.
Keith rocks and thank God G tuning introduced itself to him...no matter how it happened.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
71Tele
()
Date: February 4, 2015 06:33
Quote
DoomandGloomThe opening riff can be played respectably in standard tuning but Mick does have open 'G' chops shown in "Doom and Gloom".Quote
71Tele
Jagger wrote Brown Sugar, but did he write it in open G, or did Keith transpose it from what Mick gave him?
Oh, no doubt about that. He was fooling with open-G as early as 1969.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
DandelionPowderman
()
Date: February 4, 2015 10:08
Quote
Mel Belli
Forgive me if there's already a thread pegged to this book. ...
Just cracked it a couple days ago. Interesting read so far, in particular Trynka's assertion that Keith surely must have seen Brian play in open-G tuning long before he ever met Ry Cooder. In effect, Trynka clears Keith of the charge of having ripped off Cooder, but, in turn, indicts him for failing to acknowledge Brian in the same matter.
I'm thinking there's a pretty simple explanation for this — and maybe it's something you all have chewed on already. Brian's playing in open-G was in the conventional ... I shouldn't say "conventional." In Brian's time and place, it was actually quite esoteric. ... Let's just say Brian used the tuning to play slide in the style that would eventually become familiar to most blues guitarists.
Ry Cooder helped Keith apply the tuning in a nonslide situation. In my own opinion, Cooder was the key to Keith's discovering that the I-IV chord move he was already doing with his index, second, and third fingers on standard-tuning riffs like "19th Nervous Breakdown," and open-D riffs like "Street Fighting Man," could be done with more ease and panache in the open-G tuning.
If this is true, Keith isn't really giving Brian short shrift at all. ...
Overall, it seems to me that Trynka overestimates Brian's chops as a guitarist. Not to knock the guy — he certainly boasted many virtues as a musician — but at one point, Trynka notes that Brian was into Charlie Christian(!). I mean, maybe that was the case, but can anyone point me to any lick, in any song, where Brian "blows through the changes" like a jazz guitarist? Or if it was more about sophisticated chord voicings — where are those?
Two different ways of using open tuning. Keith himself had done it before, but not for the purpose of creating sounds like JJF, SFM, HTW etc. He didn't remove the e-string before 1969, for instance.
The open tuning Brian used was mainly for slide playing.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
Mathijs
()
Date: February 4, 2015 11:26
Brian used both open G (LLR) and open E (Wanna Be Your Man, Mona) already in 1963, Keith started with open E and D in 1968, and due to Ry Cooder AND Jesse Ed Davies with open G in late 1968 or early 1969. By 1968 Ry Cooder already had just about every open G lick under his sleave, and Richards literally took about all to write his own open G book. Listen to Memo From Turner and the acoustic on Downtown Suzie, and that has each and every lick played by Cooder that would turn up in Richards book of licks later on.Honky Tonk Woman sounds very much like a warm-up by Ry Cooder.
Mathijs
Mathijs
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
RipThisBone
()
Date: February 4, 2015 11:43
Quote
Mathijs
Brian used both open G (LLR) and open E (Wanna Be Your Man, Mona) already in 1963, Keith started with open E and D in 1968, and due to Ry Cooder AND Jesse Ed Davies with open G in late 1968 or early 1969. By 1968 Ry Cooder already had just about every open G lick under his sleave, and Richards literally took about all to write his own open G book. Listen to Memo From Turner and the acoustic on Downtown Suzie, and that has each and every lick played by Cooder that would turn up in Richards book of licks later on.Honky Tonk Woman sounds very much like a warm-up by Ry Cooder.
Mathijs
And after that Keith took it somewhere else from the 70's, to a different planet so to speak.
Quoting 71Tele:
Keith did what all good players do: He was influenced by people. Borrowed a little, stole a little, but then gave it his own unique twist. The stuff about him supposedly "stealing" from Ry is overblown. If that's true, then who did Ry steal from? Others HE lsitened to when developing HIS style. If Keith had continued to play like Ry for years after 1969 that would be one thing, but he obviously didn't, and as much as I like Ry Cooder, he could never have written Brown Sugar or Rocks Off or Start Me Up.
Edited 1 time(s). Last edit at 2015-02-04 11:45 by RipThisBone.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
DandelionPowderman
()
Date: February 4, 2015 11:43
Is Mona really in open E? Sounds like Brian is playing straight chords + octave thirds on the three lightest strings where he is descending. Well, it could sound very similar in both tunings, I suppose..
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
RoughJusticeOnYa
()
Date: February 4, 2015 12:03
Quote
NaturalustQuote
71TeleQuote
Koen
Jagger wrote Brown Sugar. He must have stolen Keith's open G tuning
You're right!
or...Jagger ripped off Brian for the tuning, Ry for the technique, Keith for the rhythm, James brown for the moves, probably Bill for the riff if you ask Bill, and at least a few old bluesman for the lyrics.
Nàh. In that case he'd be in Led Zeppelin, not the Stones.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
Mathijs
()
Date: February 4, 2015 12:19
Quote
DandelionPowderman
Is Mona really in open E? Sounds like Brian is playing straight chords + octave thirds on the three lightest strings where he is descending. Well, it could sound very similar in both tunings, I suppose..
That's really open E.
Mathijs
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
Redhotcarpet
()
Date: February 5, 2015 02:04
Quote
RipThisBoneQuote
Mathijs
Brian used both open G (LLR) and open E (Wanna Be Your Man, Mona) already in 1963, Keith started with open E and D in 1968, and due to Ry Cooder AND Jesse Ed Davies with open G in late 1968 or early 1969. By 1968 Ry Cooder already had just about every open G lick under his sleave, and Richards literally took about all to write his own open G book. Listen to Memo From Turner and the acoustic on Downtown Suzie, and that has each and every lick played by Cooder that would turn up in Richards book of licks later on.Honky Tonk Woman sounds very much like a warm-up by Ry Cooder.
Mathijs
And after that Keith took it somewhere else from the 70's, to a different planet so to speak.
Quoting 71Tele:
Keith did what all good players do: He was influenced by people. Borrowed a little, stole a little, but then gave it his own unique twist. The stuff about him supposedly "stealing" from Ry is overblown. If that's true, then who did Ry steal from? Others HE lsitened to when developing HIS style. If Keith had continued to play like Ry for years after 1969 that would be one thing, but he obviously didn't, and as much as I like Ry Cooder, he could never have written Brown Sugar or Rocks Off or Start Me Up.
Nor could Keith. Mick wrote Brown Sugar.
Edited 1 time(s). Last edit at 2015-02-05 02:05 by Redhotcarpet.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
bleedingman
()
Date: February 5, 2015 02:25
Quote
71Tele
Jagger wrote Brown Sugar, but did he write it in open G, or did Keith transpose it from what Mick gave him?
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
bleedingman
()
Date: February 5, 2015 02:37
Brian used open tuning to play pure blues the way he heard it played by artists such as his then-namesake Elmore James. Talented and innovative as he was, I don't think he would have taken it to the level that Keith and Ry did, but I guess we'll never know.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
71Tele
()
Date: February 5, 2015 03:19
Quote
RedhotcarpetQuote
RipThisBoneQuote
Mathijs
Brian used both open G (LLR) and open E (Wanna Be Your Man, Mona) already in 1963, Keith started with open E and D in 1968, and due to Ry Cooder AND Jesse Ed Davies with open G in late 1968 or early 1969. By 1968 Ry Cooder already had just about every open G lick under his sleave, and Richards literally took about all to write his own open G book. Listen to Memo From Turner and the acoustic on Downtown Suzie, and that has each and every lick played by Cooder that would turn up in Richards book of licks later on.Honky Tonk Woman sounds very much like a warm-up by Ry Cooder.
Mathijs
And after that Keith took it somewhere else from the 70's, to a different planet so to speak.
Quoting 71Tele:
Keith did what all good players do: He was influenced by people. Borrowed a little, stole a little, but then gave it his own unique twist. The stuff about him supposedly "stealing" from Ry is overblown. If that's true, then who did Ry steal from? Others HE lsitened to when developing HIS style. If Keith had continued to play like Ry for years after 1969 that would be one thing, but he obviously didn't, and as much as I like Ry Cooder, he could never have written Brown Sugar or Rocks Off or Start Me Up.
Nor could Keith. Mick wrote Brown Sugar.
Fair enough, but I could have used any number of different examples to make the point.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
71Tele
()
Date: February 5, 2015 03:25
This is in open G. I know that Westerberg is a huge Keith fan and maybe he first got open-G from him, but he does something entirely different with it. Lots of other chord shapes, for example. Keith's playing was a bit like Ry's in HTW, but diverged soon after when he developed his specialty, which was basically those big sustained chord riffs.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
Naturalust
()
Date: February 5, 2015 04:31
Quote
bleedingmanQuote
71Tele
Jagger wrote Brown Sugar, but did he write it in open G, or did Keith transpose it from what Mick gave him?
What a cool video! Since this was before the muscle shoals sessions, it probably shows just what Mick brought to the table on this song. Obviously using one of Keith's guitars strung with 5 strings. Also shows just how much Keith took the arrangement and chords and made them work and groove a lot better. I think Mick could probably play it a lot better these days...not only is he a better guitarist than in 1969 but he's heard Keith nail it for so long. peace
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
Title5Take1
()
Date: February 5, 2015 06:04
The guitar above sounds like it's running through a box or something that gives it a wobbly sound, like the guitar in I Don't Know Why. (And I don't mean where Mick is vibrating single fingers on single strings; this clip is where I learned that wobbling-finger trick.)
Edited 1 time(s). Last edit at 2015-02-05 06:10 by Title5Take1.
Edited 1 time(s). Last edit at 2015-02-05 06:10 by Title5Take1.
Re: Paul Trynka's Brian Jones bio and open-G tuning
Posted by:
Redhotcarpet
()
Date: February 5, 2015 13:02
71Tele I agree about how Keith later on, by Exile, develops his own style. And more so in 1975/1976.
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