"Special" reminds me of "Wind Call", the instrumental allegedly from the Munich 1974 sessions that first appeared on the great "Could you walk on the water" bootleg in 1994 with many other tracks that had only been rumored to exist before that.

--------------
IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio

any chance of a copy or link massively appreciated. message me and I'm yours forever

Mick Taylor Rhino interview




Staber Hans Peter

6/3/06



[www.rhino.com]
As the Rolling Stones circle the globe in what they've hinted just might
be the last time, one can't help but wonder what's up with the man that
bowed out of "the world's greatest rock'n'roll band" at the zenith of
their greatness—guitarist Mick Taylor. Turns out that just like his
former band, he remains out on the road making music.

Caught at his home about an hour outside London just a week shy of his
58th birthday, the gracious and soft-spoken Taylor—known for his shyness
during his days within the maelstrom of the early '70s Stones milieu—is
still feeling the buzz from a tour of Sweden with the young Wentus Blues
Band from Finland late last year. "This was our second tour together and
there were a couple of nights that were just fantastic," he enthuses. "I
still just love it," Taylor says of performing. "I also love making
records, but there's something about being up there playing for people
and interacting with the other musicians. I don't think it's an ego
thing for me. But it is something that I need to do."

That need first struck Taylor as a youngster growing up on the outskirts
of postwar London when he saw Bill Haley & The Comets and later picked
up his uncle's guitar and began delving deep into American blues. His
tutelage served him well one Friday night when, at the age of 16, he
went to see John Mayall's Bluesbreakers, whose star guitarist Eric
Clapton didn't show. "They were playing two sets, and it was obvious
from the first set that Eric wasn't going to be there. So I went back to
his dressing room between sets and Eric's guitar was there. I told John
that I played guitar. I was really just starting out then, but I did
know the songs." Indeed he did, sitting in to fill Clapton's
considerable shoes and duly impress Mayall, the godfather of British
blues. "I think we exchanged phone numbers afterwards but then lost
touch with each other. Then about two years later I heard he was looking
for someone to replace Peter Green and trying to find me, and I got in
touch with him." Taylor cut two of Mayall's seminal albums: Crusade and
Blues From Laurel Canyon. And thanks to the band's tours he rubbed
shoulders with a number of his blues heroes. "I got to go to America in
1967 and '68 and see a lot of those people play and meet them."

At 21, Taylor was tapped to replace Brian Jones in The Rolling Stones,
debuting with the band at their legendary 1969 Hyde Park concert. His
tenure with the band coincides with their artistic peak, and for some
fans the fluidity, grace, and musicality of his lead work remains the
ideal counterpart to the playing of Keith Richards. When he quit the
band at the end of 1974, much of the music world was amazed that he
bailed out from the very pinnacle of rock'n'roll stardom and success.
Taylor long ago gave up trying to explain what to many seems a quixotic
move yet to him made perfect sense and still does. "To really understand
it, you'd have to have been a member of the Rolling Stones at the time,"
he says. And his motivation to leave the band wasn't so much the toll of
the lifestyle or feeling somewhat slighted by the Jagger/Richards
leadership as wanting to follow where the music was leading him rather
than the dictates of stardom.

He joined forces with Jack Bruce for a stint, recorded a strong solo
debut that never caught commercial fire, and then did another pass
through the superstar stratosphere touring and recording with Bob Dylan
in the early 1980s. To Taylor, it was at least as amazing as joining the
Stones. "If you'd told me when I was 14 years old that I would be
playing with Bob Dylan someday, I'd never have believed it," he says. "I
think one of the reasons he asked me to work with him was because he
really doesn't look for musicians for their technical ability. He likes
musicians who are about the feeling and how you play the music."

Although Taylor has primarily stayed outside the spotlight since leaving
the Rolling Stones, he has remained active on his own and with other
artists. He has reunited a number of times over the years with Mayall,
most recently along with Clapton for his 70th birthday concert. "I
learned so much from him. He was really like a teacher to me," says
Taylor. He has also recorded with Carla Olson, Elliot Murphy, Debbie
Davies, and The Golden Palominos, and has continued to release his own
albums—1999's A Stone's Throw being his most recent—and perform
concerts, club dates, and at festivals with a variety of line-ups. He
has also recorded with former Stones bandmates Richards, Bill Wyman, and
even his replacement Ron Wood. A couple of years ago revisited his past
with a few tracks on Barry Goldberg's instrumental album of Stones
songs, Stoned Again. "It was really fun to play those songs again with a
different interpretation."

Though far more apt to reinterpret the blues classics in his shows,
Taylor remains proud of his Stones legacy, sometimes to his own
surprise, as when his wife recently spun Get Yer Ya Ya's Out, the
quintessential 1970 live album he played on. "I hadn't listened to it in
a long time. And she was playing it the other day and I was listening
and thinking, wow, that's really great, isn't it? I really like that."

Taylor hopes he might join his old band on stage when their current tour
hits Europe (he also sat in with them in 1981) and doubts that this will
be the band's last stand. "They always say that, don't they?" he points
out with a chuckle. "And they really don't need to do it for the money.
So I wouldn't be at all surprised if they keep going."

Taylor's not about to quit playing shows anytime soon either. "It's
addictive," Taylor confesses. But unlike some addictions he struggled
with in the past, "Music is very healing. I've met so many people over
the years who have told me stories about how something I played on
helped them through a rough period in their life or gave them hope when
they were down."

Ultimately, Taylor continues to follow the lead of the blues heroes that
originally fired his imagination in the 1960s and, to some degree,
pointed to life beyond the Rolling Stones when he left the band some
three decades ago. "It's a life and a lifestyle," concludes Taylor.
"There's no reason why you can't keep doing it. That's what guys like
Muddy Waters did."
[www.rhino.com]

As the Rolling Stones circle the globe in what they've hinted just might
be the last time, one can't help but wonder what's up with the man that
bowed out of "the world's greatest rock'n'roll band" at the zenith of
their greatness—guitarist Mick Taylor. Turns out that just like his
former band, he remains out on the road making music.

Caught at his home about an hour outside London just a week shy of his
58th birthday, the gracious and soft-spoken Taylor—known for his shyness
during his days within the maelstrom of the early '70s Stones milieu—is
still feeling the buzz from a tour of Sweden with the young Wentus Blues
Band from Finland late last year. "This was our second tour together and
there were a couple of nights that were just fantastic," he enthuses. "I
still just love it," Taylor says of performing. "I also love making
records, but there's something about being up there playing for people
and interacting with the other musicians. I don't think it's an ego
thing for me. But it is something that I need to do."

That need first struck Taylor as a youngster growing up on the outskirts
of postwar London when he saw Bill Haley & The Comets and later picked
up his uncle's guitar and began delving deep into American blues. His
tutelage served him well one Friday night when, at the age of 16, he
went to see John Mayall's Bluesbreakers, whose star guitarist Eric
Clapton didn't show. "They were playing two sets, and it was obvious
from the first set that Eric wasn't going to be there. So I went back to
his dressing room between sets and Eric's guitar was there. I told John
that I played guitar. I was really just starting out then, but I did
know the songs." Indeed he did, sitting in to fill Clapton's
considerable shoes and duly impress Mayall, the godfather of British
blues. "I think we exchanged phone numbers afterwards but then lost
touch with each other. Then about two years later I heard he was looking
for someone to replace Peter Green and trying to find me, and I got in
touch with him." Taylor cut two of Mayall's seminal albums: Crusade and
Blues From Laurel Canyon. And thanks to the band's tours he rubbed
shoulders with a number of his blues heroes. "I got to go to America in
1967 and '68 and see a lot of those people play and meet them."

At 21, Taylor was tapped to replace Brian Jones in The Rolling Stones,
debuting with the band at their legendary 1969 Hyde Park concert. His
tenure with the band coincides with their artistic peak, and for some
fans the fluidity, grace, and musicality of his lead work remains the
ideal counterpart to the playing of Keith Richards. When he quit the
band at the end of 1974, much of the music world was amazed that he
bailed out from the very pinnacle of rock'n'roll stardom and success.
Taylor long ago gave up trying to explain what to many seems a quixotic
move yet to him made perfect sense and still does. "To really understand
it, you'd have to have been a member of the Rolling Stones at the time,"
he says. And his motivation to leave the band wasn't so much the toll of
the lifestyle or feeling somewhat slighted by the Jagger/Richards
leadership as wanting to follow where the music was leading him rather
than the dictates of stardom.

He joined forces with Jack Bruce for a stint, recorded a strong solo
debut that never caught commercial fire, and then did another pass
through the superstar stratosphere touring and recording with Bob Dylan
in the early 1980s. To Taylor, it was at least as amazing as joining the
Stones. "If you'd told me when I was 14 years old that I would be
playing with Bob Dylan someday, I'd never have believed it," he says. "I
think one of the reasons he asked me to work with him was because he
really doesn't look for musicians for their technical ability. He likes
musicians who are about the feeling and how you play the music."

Although Taylor has primarily stayed outside the spotlight since leaving
the Rolling Stones, he has remained active on his own and with other
artists. He has reunited a number of times over the years with Mayall,
most recently along with Clapton for his 70th birthday concert. "I
learned so much from him. He was really like a teacher to me," says
Taylor. He has also recorded with Carla Olson, Elliot Murphy, Debbie
Davies, and The Golden Palominos, and has continued to release his own
albums—1999's A Stone's Throw being his most recent—and perform
concerts, club dates, and at festivals with a variety of line-ups. He
has also recorded with former Stones bandmates Richards, Bill Wyman, and
even his replacement Ron Wood. A couple of years ago revisited his past
with a few tracks on Barry Goldberg's instrumental album of Stones
songs, Stoned Again. "It was really fun to play those songs again with a
different interpretation."

Though far more apt to reinterpret the blues classics in his shows,
Taylor remains proud of his Stones legacy, sometimes to his own
surprise, as when his wife recently spun Get Yer Ya Ya's Out, the
quintessential 1970 live album he played on. "I hadn't listened to it in
a long time. And she was playing it the other day and I was listening
and thinking, wow, that's really great, isn't it? I really like that."

Taylor hopes he might join his old band on stage when their current tour
hits Europe (he also sat in with them in 1981) and doubts that this will
be the band's last stand. "They always say that, don't they?" he points
out with a chuckle. "And they really don't need to do it for the money.
So I wouldn't be at all surprised if they keep going."

Taylor's not about to quit playing shows anytime soon either. "It's
addictive," Taylor confesses. But unlike some addictions he struggled
with in the past, "Music is very healing. I've met so many people over
the years who have told me stories about how something I played on
helped them through a rough period in their life or gave them hope when
they were down."

Ultimately, Taylor continues to follow the lead of the blues heroes that
originally fired his imagination in the 1960s and, to some degree,
pointed to life beyond the Rolling Stones when he left the band some
three decades ago. "It's a life and a lifestyle," concludes Taylor.
"There's no reason why you can't keep doing it. That's what guys like
Muddy Waters did."


--
Hans Peter Staber
Salzburg
113441.745 at staber.net

According to this interview, Clapton is 12 years Taylor's senior?

Aah, those were Mick Taylor & Wentus Blues Band days.. Saw them a couple of times back in ca. 2002/04. A hot bunch they were together, not only Taylor seemed to be thrilled, me too. Still recall so well the first time I saw them... Wentus did one or two songs by themselves, then Taylor walked in.. and "Stop Breaking Down" by a pure EXILE style... The first time I saw that legendary Stones guitarist, and what impressed me most was how great and focused his playing actually was. Not something I was much used to by the current Stones guitarists around that time... I've seen Taylor since then with some other people, even with the Stones, but never been that good - or even close - as he was with Wentus Blues Band.

- Doxa



Edited 1 time(s). Last edit at 2018-09-19 14:25 by Doxa.

Double interview?

Quote
Koen
Double interview?

Can't be posted too often..

Based on the title of thread, thought Mick Taylor was giving his thoughts on the Rhino Walk currently in London, maybe critiquing Ronnie's contribution. The Tusk Rhino Trail art installation

Nice interview, thanks.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

So..................what happened? What is Mick Taylor doing now? Did he simply quit the business after his recent stint with the Stones?

[www.youtube.com]

No Expecations - Great Version

Rolling Stones - Separately (Instrumental, 1972) Unreleased Trax


[www.youtube.com]

DNA - Unreleased demo of 'Winter' - Mick Taylor instrumental (Rolling Stones)

Not sure what this really is but here are the details
[www.youtube.com]


Still upset that Mick and Keith didn't release the unedited one hour 'Can't you hear me nickin' solo on Sticky fingers, Mick Taylor had more instrumental ideas during the 1973 sessions for Goat's head soup.

"I came up with this highly unorthodox combination of chords while I was watching Benny Hill on the telly. D and A. It's brilliant. I don't think it had ever been combined before. C and G you hear a lot, and sometimes G and B, but D and A have never really been explored. I thought they should have a song dedicated to them that would let me solo for at least two hours. I finished watching Benny Hill, then immediately ran to the Stones mobile unit and laid down the basic track.

When I showed the song to Mick, he began to dance in a hypnotic trance. He asked me what chords they were and I said 'It's a D followed by an A. Then it repeats for two hours. Working title is DNA.' He was impressed and admitted that he had never heard a D chord sound so mystical. He then wrote 'Dancing with Mr.D' as a tribute to the D chord. Most people think that song is about a person, but it's really our little in joke.

Mick insisted on writing lyrics for my demo, and renamed it 'Winter'. I asked him, 'Mick, do you need to sing on everything? This song should be instrumental and credited to me and Benny Hill, because I wrote it while he kicked that little old man around the field. If I see Keith's name on one of my songs again, I will quit the band.'

Of course, he immediately ran out to the Rolling Stones' mobile crypt that was attached to the back of the Rolling Stone's mobile, to tell Keith about the song, but it was daytime and Keith refused to open his sarcophagus. This is what bothers me: Keith was not around for that album, he contributed very little, and when he was, he was so out of it, he would try to tune his three remaining teeth to open G. We would gently guide him back to his coffin, pick off a couple mushrooms that were growing on his neck, and then get back to recording without him.

About a year later, I met Benny Hill at a David Bowie pool party and told him how much of an influence he was on my playing and asked him to sign my Goat's head soup album. He smiled that mischievous smile, patted me on the head really fast, then kicked me in the ass, right into the pool! It was quite an honor. Almost made up for Mick and Keith stealin' my song again."

For a long time now my thought has been that we have been very lucky that Mick Taylor was replaced by Ronnie Wood.

Quote
OpenG
Rolling Stones - Separately (Instrumental, 1972) Unreleased Trax


[www.youtube.com]

Thanks, great instrumental.

Quote
MartinB
For a long time now my thought has been that we have been very lucky that Mick Taylor was replaced by Ronnie Wood.

...until you read this thread then you realized you were so very, very wrong for a long time.

Quote
OpenG
DNA - Unreleased demo of 'Winter' - Mick Taylor instrumental (Rolling Stones)

Not sure what this really is but here are the details
[www.youtube.com]


Still upset that Mick and Keith didn't release the unedited one hour 'Can't you hear me nickin' solo on Sticky fingers, Mick Taylor had more instrumental ideas during the 1973 sessions for Goat's head soup.

"I came up with this highly unorthodox combination of chords while I was watching Benny Hill on the telly. D and A. It's brilliant. I don't think it had ever been combined before. C and G you hear a lot, and sometimes G and B, but D and A have never really been explored. I thought they should have a song dedicated to them that would let me solo for at least two hours. I finished watching Benny Hill, then immediately ran to the Stones mobile unit and laid down the basic track.

When I showed the song to Mick, he began to dance in a hypnotic trance. He asked me what chords they were and I said 'It's a D followed by an A. Then it repeats for two hours. Working title is DNA.' He was impressed and admitted that he had never heard a D chord sound so mystical. He then wrote 'Dancing with Mr.D' as a tribute to the D chord. Most people think that song is about a person, but it's really our little in joke.

Mick insisted on writing lyrics for my demo, and renamed it 'Winter'. I asked him, 'Mick, do you need to sing on everything? This song should be instrumental and credited to me and Benny Hill, because I wrote it while he kicked that little old man around the field. If I see Keith's name on one of my songs again, I will quit the band.'

Of course, he immediately ran out to the Rolling Stones' mobile crypt that was attached to the back of the Rolling Stone's mobile, to tell Keith about the song, but it was daytime and Keith refused to open his sarcophagus. This is what bothers me: Keith was not around for that album, he contributed very little, and when he was, he was so out of it, he would try to tune his three remaining teeth to open G. We would gently guide him back to his coffin, pick off a couple mushrooms that were growing on his neck, and then get back to recording without him.

About a year later, I met Benny Hill at a David Bowie pool party and told him how much of an influence he was on my playing and asked him to sign my Goat's head soup album. He smiled that mischievous smile, patted me on the head really fast, then kicked me in the ass, right into the pool! It was quite an honor. Almost made up for Mick and Keith stealin' my song again."

That “story” sounds a lot like what one of the members here writes about Taylor. I remember hearing a long solo over that (link isn’t working) and some other Stones instrumentals but it’s not Taylor, just a fan.

Quote
TravelinMan

Quote
OpenG
DNA - Unreleased demo of 'Winter' - Mick Taylor instrumental (Rolling Stones)

Not sure what this really is but here are the details
[www.youtube.com]


Still upset that Mick and Keith didn't release the unedited one hour 'Can't you hear me nickin' solo on Sticky fingers, Mick Taylor had more instrumental ideas during the 1973 sessions for Goat's head soup.

"I came up with this highly unorthodox combination of chords while I was watching Benny Hill on the telly. D and A. It's brilliant. I don't think it had ever been combined before. C and G you hear a lot, and sometimes G and B, but D and A have never really been explored. I thought they should have a song dedicated to them that would let me solo for at least two hours. I finished watching Benny Hill, then immediately ran to the Stones mobile unit and laid down the basic track.

When I showed the song to Mick, he began to dance in a hypnotic trance. He asked me what chords they were and I said 'It's a D followed by an A. Then it repeats for two hours. Working title is DNA.' He was impressed and admitted that he had never heard a D chord sound so mystical. He then wrote 'Dancing with Mr.D' as a tribute to the D chord. Most people think that song is about a person, but it's really our little in joke.

Mick insisted on writing lyrics for my demo, and renamed it 'Winter'. I asked him, 'Mick, do you need to sing on everything? This song should be instrumental and credited to me and Benny Hill, because I wrote it while he kicked that little old man around the field. If I see Keith's name on one of my songs again, I will quit the band.'

Of course, he immediately ran out to the Rolling Stones' mobile crypt that was attached to the back of the Rolling Stone's mobile, to tell Keith about the song, but it was daytime and Keith refused to open his sarcophagus. This is what bothers me: Keith was not around for that album, he contributed very little, and when he was, he was so out of it, he would try to tune his three remaining teeth to open G. We would gently guide him back to his coffin, pick off a couple mushrooms that were growing on his neck, and then get back to recording without him.

About a year later, I met Benny Hill at a David Bowie pool party and told him how much of an influence he was on my playing and asked him to sign my Goat's head soup album. He smiled that mischievous smile, patted me on the head really fast, then kicked me in the ass, right into the pool! It was quite an honor. Almost made up for Mick and Keith stealin' my song again."

That “story” sounds a lot like what one of the members here writes about Taylor. I remember hearing a long solo over that (link isn’t working) and some other Stones instrumentals but it’s not Taylor, just a fan.

Sounds like something our poster TonyMo could have written



Edited 1 time(s). Last edit at 2018-11-29 14:54 by DandelionPowderman.

Quote
MartinB
For a long time now my thought has been that we have been very lucky that Mick Taylor was replaced by Ronnie Wood.

For a long time now my thought has been that we have been very unlucky that replacements were required.

Quote
His Majesty

Quote
MartinB
For a long time now my thought has been that we have been very lucky that Mick Taylor was replaced by Ronnie Wood.

For a long time now my thought has been that we have been very unlucky that replacements were required.

As long as the replacement adds something substantial, no matter who it is, it's fine with me, musically spoken. Actually that's crucial.



Edited 1 time(s). Last edit at 2018-11-29 14:35 by TheflyingDutchman.

Quote
OpenG
DNA - Unreleased demo of 'Winter' - Mick Taylor instrumental (Rolling Stones)

Not sure what this really is but here are the details
[www.youtube.com]


Still upset that Mick and Keith didn't release the unedited one hour 'Can't you hear me nickin' solo on Sticky fingers, Mick Taylor had more instrumental ideas during the 1973 sessions for Goat's head soup.

"I came up with this highly unorthodox combination of chords while I was watching Benny Hill on the telly. D and A. It's brilliant. I don't think it had ever been combined before. C and G you hear a lot, and sometimes G and B, but D and A have never really been explored. I thought they should have a song dedicated to them that would let me solo for at least two hours. I finished watching Benny Hill, then immediately ran to the Stones mobile unit and laid down the basic track.

When I showed the song to Mick, he began to dance in a hypnotic trance. He asked me what chords they were and I said 'It's a D followed by an A. Then it repeats for two hours. Working title is DNA.' He was impressed and admitted that he had never heard a D chord sound so mystical. He then wrote 'Dancing with Mr.D' as a tribute to the D chord. Most people think that song is about a person, but it's really our little in joke.

Mick insisted on writing lyrics for my demo, and renamed it 'Winter'. I asked him, 'Mick, do you need to sing on everything? This song should be instrumental and credited to me and Benny Hill, because I wrote it while he kicked that little old man around the field. If I see Keith's name on one of my songs again, I will quit the band.'

Of course, he immediately ran out to the Rolling Stones' mobile crypt that was attached to the back of the Rolling Stone's mobile, to tell Keith about the song, but it was daytime and Keith refused to open his sarcophagus. This is what bothers me: Keith was not around for that album, he contributed very little, and when he was, he was so out of it, he would try to tune his three remaining teeth to open G. We would gently guide him back to his coffin, pick off a couple mushrooms that were growing on his neck, and then get back to recording without him.

About a year later, I met Benny Hill at a David Bowie pool party and told him how much of an influence he was on my playing and asked him to sign my Goat's head soup album. He smiled that mischievous smile, patted me on the head really fast, then kicked me in the ass, right into the pool! It was quite an honor. Almost made up for Mick and Keith stealin' my song again."

That's the funniest thing I've seen in ages

Quote
Spud

Quote
OpenG
DNA - Unreleased demo of 'Winter' - Mick Taylor instrumental (Rolling Stones)

Not sure what this really is but here are the details
[www.youtube.com]


Still upset that Mick and Keith didn't release the unedited one hour 'Can't you hear me nickin' solo on Sticky fingers, Mick Taylor had more instrumental ideas during the 1973 sessions for Goat's head soup.

"I came up with this highly unorthodox combination of chords while I was watching Benny Hill on the telly. D and A. It's brilliant. I don't think it had ever been combined before. C and G you hear a lot, and sometimes G and B, but D and A have never really been explored. I thought they should have a song dedicated to them that would let me solo for at least two hours. I finished watching Benny Hill, then immediately ran to the Stones mobile unit and laid down the basic track.

When I showed the song to Mick, he began to dance in a hypnotic trance. He asked me what chords they were and I said 'It's a D followed by an A. Then it repeats for two hours. Working title is DNA.' He was impressed and admitted that he had never heard a D chord sound so mystical. He then wrote 'Dancing with Mr.D' as a tribute to the D chord. Most people think that song is about a person, but it's really our little in joke.

Mick insisted on writing lyrics for my demo, and renamed it 'Winter'. I asked him, 'Mick, do you need to sing on everything? This song should be instrumental and credited to me and Benny Hill, because I wrote it while he kicked that little old man around the field. If I see Keith's name on one of my songs again, I will quit the band.'

Of course, he immediately ran out to the Rolling Stones' mobile crypt that was attached to the back of the Rolling Stone's mobile, to tell Keith about the song, but it was daytime and Keith refused to open his sarcophagus. This is what bothers me: Keith was not around for that album, he contributed very little, and when he was, he was so out of it, he would try to tune his three remaining teeth to open G. We would gently guide him back to his coffin, pick off a couple mushrooms that were growing on his neck, and then get back to recording without him.

About a year later, I met Benny Hill at a David Bowie pool party and told him how much of an influence he was on my playing and asked him to sign my Goat's head soup album. He smiled that mischievous smile, patted me on the head really fast, then kicked me in the ass, right into the pool! It was quite an honor. Almost made up for Mick and Keith stealin' my song again."

That's the funniest thing I've seen in ages

'D and A; it's brilliant. I don't think it's ever been done before."

[www.youtube.com]

Mick Taylor with Black Cat Moan- Mick's Song

[www.youtube.com]

Black Cat Bone feat. Mick Taylor - Wake Up Call


Black Cat Bone & Mick Taylor - Ain't That I Don't Love You

[www.youtube.com]

[www.youtube.com]

Mick Taylor & Black Cat Bone - Cold Champagne

[www.youtube.com]
Mick Taylor & Black Cat Bone - Italian Summer

[www.youtube.com]

Mick Taylor-This Is Hip - Tribute To John Lee Hooker

It sounds quite rotten but I like it.

MT and company.

sted by: TheflyingDutchman ()
Date: December 9, 2018 03:13

It sounds quite rotten but I like it.

MT and company.


It must be MT's Rhythm LOL - I think MT's rhythm is awesome for the 3 chords

Quote
OpenG
sted by: TheflyingDutchman ()
Date: December 9, 2018 03:13

It sounds quite rotten but I like it.

MT and company.


It must be MT's Rhythm LOL - I think MT's rhythm is awesome for the 3 chords

Taylor was a splendid rhythm player if he felt the urge. The video proves it. Unlike Keith, he tends to vary a bit more though, on the rare occasions.

The drummer of the band I posted is Collin Allen.

Former John Mayall, Stone The Crows and Focus drummer Colin Allen’s wonderful memoir “From Bournemouth to Beverly Hills: Tales of a Tub-Thumper” is now available on Amazon Kindle so go check it out!

-



Edited 1 time(s). Last edit at 2018-12-09 23:57 by Stoneage.

Quote
OpenG
[www.youtube.com]

Mick Taylor with Black Cat Moan- Mick's Song

[www.youtube.com]

Black Cat Bone feat. Mick Taylor - Wake Up Call


Black Cat Bone & Mick Taylor - Ain't That I Don't Love You

[www.youtube.com]

[www.youtube.com]

Mick Taylor & Black Cat Bone - Cold Champagne

[www.youtube.com]
Mick Taylor & Black Cat Bone - Italian Summer

btw Black Cat Bone (not Moan, this is nonsense) is a German band from Metzingen (the City is known as Headquarters of the Hugo Boss clothing Company). Their guitarist is Hans Joerg Mueller who wrote some Songs for the Mick Taylor album. When I was young I had some talks with him, and I saw Black Cat Bone in concert. The local band must have been so good that Mick Taylor accepted their offer to be on the Black Cat Bone album.

[www.allmusic.com]


Joe Henry - Murder of Crows - Taylor plays on record from 1989 with Chuck Leavell.


Taylor plays on Step Across The Mountain, Right About Linen, Lose Me, Here and Gone and Vigalante from what I can remember. The track listings have a sample of each song. Taylor's slide guitar roars on first track Step Across The Mountain.


Scroll down to see track listings