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Rocky Dijon
First off we're judging by what circulates which is a couple takes only when these guys spent months in the studio cutting countless versions with different overdubs in 1972/73 and 1979/80/81. Look to Brown Sugar and Miss You as examples. The saxophone solo replaces a discarded guitar solo. Listen to the amazing soaring jazz notes on Waiting on a Friend. The likely inference is that Taylor recognized his creative contribution when he heard Sonny Rollins' saxophone solo.
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DandelionPowdermanQuote
Rocky Dijon
First off we're judging by what circulates which is a couple takes only when these guys spent months in the studio cutting countless versions with different overdubs in 1972/73 and 1979/80/81. Look to Brown Sugar and Miss You as examples. The saxophone solo replaces a discarded guitar solo. Listen to the amazing soaring jazz notes on Waiting on a Friend. The likely inference is that Taylor recognized his creative contribution when he heard Sonny Rollins' saxophone solo.
That's what I've been thinking all along: That Rollins's solos were influenced by Taylor's playing.
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DandelionPowderman
Not the notes, but a variation on Taylor's theme could be possible.
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Rocky Dijon
The saxophone solo replaces a discarded guitar solo. Listen to the amazing soaring jazz notes on Waiting on a Friend.
The likely inference is that Taylor recognized his creative contribution when he heard Sonny Rollins' saxophone solo.
Oh my, Rocky Dijon - would you really bring in Sonny Rollins and tell him "play what that guy played"?!
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GasLightStreet
The official release sounds like Keith on guitar - and only Keith. If Taylor played on it it's not in the mix, just as it sounds on the bootlegs. Maybe Taylor played so much on it that it was messy and they kept it out.
Maybe he didn't play on it.
His demand to be paid for the LP version that he's not on was most likely dismissed since he was already paid for the original session. Once you're paid for recording you don't get paid for not being on the final version. Has he ever stated specifically what he did? I've not ever seen it.
Yeah yeah yeah there are tracks without Keith on them that are just Mick T and Mick T and Mick J on guitars. But there are other tracks without Mick T on them, like Happy and Tumbling Dice and Soul Survivor and Coming Down Again and It's Only Rock'N'Roll and Luxury.
Actually Taylor played bass on Coming Down Again and Tumbling Dice and played slide on Soul Survivor. Apparently Taylors suit was settled, not dismissed, a pretty good indication he indeed played on the released version. And the Stones don't get paid for their sessions, recording is on the expense side of the balance sheet.
And as Taylor got paid an equal share for all record sales when he was an equal member, it didn't matter one bit whether he was on all the tracks or not. Of course the writers got their publishing money but that is different. The fact that this was released on a record after Taylor was gone is the reason he demanded to get paid for it, and rightly so, imo. This coupled with the fact we have never heard Keith talking about his contribution to the track and that he has never really played it live exactly like the released version, the subtle hammers and licks that he often exploits on other tunes he played on, makes me think this one is all Taylor.
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GasLightStreet
If you listen to the guitar in this song it does this raunchy lick throughout the tune. That's what makes me think it's Keith and not Mick.
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Rocky Dijon
First off we're judging by what circulates which is a couple takes only when these guys spent months in the studio cutting countless versions with different overdubs in 1972/73 and 1979/80/81. Look to Brown Sugar and Miss You as examples. The saxophone solo replaces a discarded guitar solo. Listen to the amazing soaring jazz notes on Waiting on a Friend. The likely inference is that Taylor recognized his creative contribution when he heard Sonny Rollins' saxophone solo.
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MathijsQuote
Rocky Dijon
First off we're judging by what circulates which is a couple takes only when these guys spent months in the studio cutting countless versions with different overdubs in 1972/73 and 1979/80/81. Look to Brown Sugar and Miss You as examples. The saxophone solo replaces a discarded guitar solo. Listen to the amazing soaring jazz notes on Waiting on a Friend. The likely inference is that Taylor recognized his creative contribution when he heard Sonny Rollins' saxophone solo.
I don't believe that at all. The outtakes with the various Sonny Rollins overdubs (sorry, not all of them are in wide circulation) prove that Rollins was not playing after a certain idea, but he was really just jamming and finding ideas by himself. If there is a form of inspiration it is in the piano by Hopkins. If there was a lead guitar of sorts, it would have been available on these tapes as well. Also, Rollins is not the kind of player you would tell to copy anything....
Mathijs
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thijs1981
Perhaps Taylor played the high notes Mick sings in the intro on guitar?
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thijs1981
Perhaps Taylor played the high notes Mick sings in the intro on guitar?
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DancelittleSisterQuote
thijs1981
Perhaps Taylor played the high notes Mick sings in the intro on guitar?
You mean that boot with the falsetto? Best theory so far. I always suspected Jagger to be a part time member of the Sistine Chapel.
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DandelionPowderman
Nobody noticed that Keith IS indeed playing the stuff that's played on the studio version in concert?
The difference is that he has two other guitars to play off. Mick is doing the straight rhythm of the studio version with his acoustic. Ronnie is doing some phrasing. But Keith is indeed doing the three different licks that (albeit somewhat sloppier) you'll find on the studio version. He plays more, yes, but that's because he has two other guitars to interplay with.
But the three main licks are there.
The Cmaj7 single string-stuff (b and e-strings in this case) is something Keith loves to play, and has done countless times in different variations – no matter if the song is in A minor or C.
Here's a comparison between the studio version and Hampton 1981:
[www.youtube.com]
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DandelionPowderman
Nobody noticed that Keith IS indeed playing the stuff that's played on the studio version in concert?
The difference is that he has two other guitars to play off. Mick is doing the straight rhythm of the studio version with his acoustic. Ronnie is doing some phrasing. But Keith is indeed doing the three different licks that (albeit somewhat sloppier) you'll find on the studio version. He plays more, yes, but that's because he has two other guitars to interplay with.
But the three main licks are there.
The Cmaj7 single string-stuff (b and e-strings in this case) is something Keith loves to play, and has done countless times in different variations – no matter if the song is in A minor or C.
Here's a comparison between the studio version and Hampton 1981:
[www.youtube.com]
Taylor uses a lot of HO and PO as well, very often in his solos, so why not between chords? Who knows. WTH. We can debate until the seas run dry. Let's enjoy the music.
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DancelittleSister
I don't know. The funny thing I noticed is that Keith is using a capo as well on the studio clip, in that club in NY, and in Hampton '81. On the original outtake with one guitar only there's no capo to be heard.
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GasLightStreet
If you listen to the guitar in this song it does this raunchy lick throughout the tune. That's what makes me think it's Keith and not Mick.
Not sure which lick you are talking about but check out the live versions of the tune and see if you hear Keith playing that raunchy lick the same way as on the record. He was never one not to exploit a raunchy lick once it made the recording.
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Naturalust
Well those comparisons just support the case that it was probably Taylor who played on the track, imo. In any case people are forgetting that Taylor sued the Stones for this track specifically and received a settlement. Do you truly think he would have bothered if his guitar work was wiped off the track and replaced with Keith's or if he hadn't played on the track at all? I think this is the best evidence we have for such things, we all know Taylor isn't a sue-happy kind of guy and could have probably launched more litigation on a number of other issues and has refrained for whatever reason.
The bottom line at this point is that is sounds like it could have been either of them but we have direct evidence it was Taylor based on the lawsuit. Why people are having a hard time accepting this and go to great lengths to prove otherwise is comical really. Is it really so important to give Keith yet more credit for Stones songs than he already has?
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GasLightStreet
Those precise jangly notes... very clean, very simple, straight forward, not heave or thrust behind them: that sounds like Taylor.
Taylor's rhythm playing is very reserved and clean. But Keith has done that as well - just listen to @#$%& Angie.
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Night Manager
I`m wondering why no one in this discussion considers the possibility that it was neither Mick T nor Keith