O.k, here's what I know:

The guitar Keith used might be an SG, although it certainly wasn't a black one: they hardly existed in black! Black was a colour used only for the three pickup SG Custom version which is rarer than rare. George Gurhn believes only about 10 were made. So, it's either Taylor's 1961 SG without bigsby or Taylor's 1963 SG with Bigsby. Another possibility is the double cut-away Les Paul Junior. Although I don't have pics of Keith using a Junior before 1973, Keith, Taylor and Ian Stewart all have commented that Keith used a double cut Junior a lot in 1969 and 1970. But my very own guess is that Keith used the Ampeg Dan Armstrong. The sound on the album is 100% total the sound of the PLexi with the Rock Drive pickup. It has the same gritty nasal sound. Also, Keith used his 1959 LP Custom for all open G tracks on the 1969 tour, except for Brown Sugar at Altamont where he used the Dan Armstrong-he even specially retuned his Plexi in order to play Brown Sugar. Listen to this version, and you'll hear the sound is exactly the same.

Keith used the Dan Armstrong for Brown Sugar during the 1970 and 1971 tour, a 1957 Stratocaster for the 1972 tour and the Ted Newman Jones guitar for the 1973 tour.

The sound of the opening lick of Brown Sugar is drenched in plate delay, for a simple reason. If you have one rythm guitar that lacks bottom and high-end (thus mainly mids) the guitar will drown in the bass and drums. In order to lift the guitar to the front of the mix, the track is doubled to the other channel and a delay of about 20 ms. is added, resulting in a processed stereo sound, lifting the guitar to the front of the mix.

Mathijs

Christ you know allot Mathijs, respect for that man.

Impressive knowlege!

You are right. I was listening to sticky in the car tonight thinking i bought this album when it was released but listening to the brown sugar guitars is still amazing, totally amazing...........still!!

Avast Cap'n! Good to see you on board! Arrrrrrrrrrrrrr!!!

The effect is tape delay, a.k.a. slapback. Dry guitar panned to one side, delayed guitar panned to the other.

My favorite part of GS (the movie) is seeing inside Muscle Shoals. Brown Sugar and Wild Horses were recorded there on a Scully 280 1" 8-track. The amps for the tape recorder were all mounted in a rack. I have a 2-track 1/4" Scully (still works). The amps look the same as a 280. I like to tell people that my amps are from the old Muscle Shoals recording studio. They were used to record Brown Sugar. The top one was channel five-- Keith's effects channel. The bottom, Mick Taylor's guitar.

wow, amazing stuff in this thread. Like finding a perfectly perserved antique and discussing how it was made. To me the guitar(Keith's) part on BS might be my favortie sound of all time. Whenever I think of what rock 'n' roll guitar 'really' sounds like I think of the intro to that song.

I mean think about it, here's a guy who invented a whole new way to play rock 'n' roll guitar (using open- G tuning; and no, I'm not saying he invented the 'tuning', but, he DID invent a style using it that was/is unique to rock 'n' roll), and, BS is him perfecting it. It's like Keith's best interpretation of what Chuck Berry was all about. When I hear this song I hear a direct link to Chuck Berry in the 'spirit/feel' that the song evokes, albeit more raunchy and dirty, but, that again is Keith's stamp on what he absorbed. To me Keith picked up the rock 'n' roll torch directly from Chuck and carried it on, but, unfortunatly no one seems to have picked it up from Keith. (clue me in if I'm wrong about that) Maybe that's one of the reason's why he's still so important.



I ain't stupid, I'm just guitarded.

cool thread indeed - sorry to sidetrack it with these Bigsby questions!
but thanks, ChrisM, for the clarification - i did know the Bigsby is an early "whammy bar", but didn't realize the B5 model was also a Bigsby. i take it from your explanation that both models are pretty equal in terms of functionality, stability, etc? actually the B7 looks like a pretty weighty piece to have on there, especially if one isn't using it.



Edited 1 time(s). Last edit at 2008-02-29 23:34 by with sssoul.

and while we're at it ... what is this guitar, please and thank you very much indeed?


- MSG, november 27th or 28th 1969 (don't know who took it, sorry!)

Hey sssoul, the Bigsby questions are part of what's making this thread so cool. And yes, if that Les Paul with the B7 were to hit you in the head (Keith!) you'd be hurting pretty good. The Bigsby doesn't weigh all that much (a pound or two?) but when combined with the weight of the Les Paul it's a formidable instrument in many ways. My guess on the guitar you're asking about is that it's a Gibson 345/355? Not sure really, but, someone here will know, lol And they will probably be able to tell you what song(s) he played it on.

I ain't stupid, I'm just guitarded.

smile: thanks for your indulgence, Rank Outsider, and for the guitar-identifying input. finetuning my question a little:
that MSG instrument seems *not* to be the one he used for JJF at Hyde Park (below):
the finish seems different - or is that just the lighting/angle?


- july 5th 1969 (from Stones in the Park, courtesy the brilliant BrownEyedGirll)








Edited 1 time(s). Last edit at 2005-09-23 13:21 by with sssoul.

Sorry to break in here and change the subject matter but didn,t jagger write
the intro riff on acoustic guitar and keith took the idea and put it down on
electric in open g.

The "Brown Sugar" Sessions: Jimmy Johnson on Recording the Stones
By Bruce Borgerson
Photos courtesy of Jimmy Johnson


1 2 3



Were you the only engineer on hand for the Stones sessions?

Yes, I did all those myself, along with my assistant, Larry Hamby. It was supposed to be Jimmy Miller, from what I understand, but he didn't show up. It was my intention to assist him when the whole thing started, because I heard they would be bringing their own people. As it was, he never made it down. So I became the unofficial-official engineer for all those sessions.

Did you cut all the basic tracks here?

They did some overdubbing later, of backgrounds, saxophone and acoustic guitar. But electric guitars, lead vocals, piano and even the percussion was done right there, Jagger did that. Mick Taylor was on those sessions, of course, and during "Wild Horses" Jim Dickinson showed up, from Memphis. What happened is that their touring piano player, who was also their road manger, Ian Stewart, he played on "Brown Sugar" some, but during "Wild Horses" Jim Dickenson was out behind the where we put the guitar amps "Do you remember Paul Simon's 'Kodachrome' where we went to double time and the tack piano comes in, the piano kind of goes crazy? That was our tack piano, an old upright piano; we put tacks on the hammers so it sounded like a honky tonk. Anyway, Jim was back there just tiddling on it, playing along with what they had settled on as the groove, and Keith walked by and said, "Hey you need to play that!"

Let's try to reconstruct how "Brown Sugar" was tracked. First, what mics did you have set up, starting with the drums?

We only had three mics on the drums. We ran a U47 up over the top up over the top, about nose high to the drummer. We had a high stand out in front, with the mic facing downward at the kit, from the bass drum in with a little boom that came over the snare. So it gave a good overview of the whole kit, so you could play with a lot of dynamics and you could get an incredible sound. In fact, Charlie Watts wanted to buy that microphone! But of course, I wouldn't sell it. He couldn't get over the sound we were getting.

On the bass drum we used the E-V 666, a fantastic dynamic mic for the time. It was on a little stand looking to the backside of the drum. Then I had a hi-hat mic, which I think was another (E-V) RE-15, though it could have been a little (E-V) 635A, that remains in question.


Charle Watts, suffering U47 envy. The RE-15 was a better mic, had more response. We avoided using the 635A unless we had to. Actually, if not the RE-15 it might have been an SM57, more likely than the 635A.

And Charlie brought all his own drums?

Yes, he brought all of this own kit.




What guitar was Keith playing?

It was a Gibson, but not a Les Paul. Do you know that model that was right under the Les Paul, the solid body double cutaway-what is that? Oh yeah, the SG. I think it was an SG, and as I recall it was black. I remember it had those sharp horns on the cutaways. That's what he played most of the time he was here.
And Mick Taylor?

Taylor, to my recollection, was playing a Strat. And guess what we came up with for Bill Wyman? Do you remember those Plexiglas body basses that were around then? I checked with David Hood later and he says it was a Dan Armstrong. So to the best of our recollection, that's what it was. He played through David’s Fender Bassman setup, the tube head and separate box.

And the guitar amps?

Keith played a Fender Twin, and so did Mick Taylor, and they brought those in with them. The loudness on those tracks really came from Keith. I had it put in that back booth and shut the door on it.

So Mick's was out in the room?

Yeah, it was out, set where I normally played. If you looked from the control room it was on the left side, about the middle, facing toward the front. You see, we had all these wonderful baffles, covered with burlap, with that pink insulation underneath. We would corner off the sound with a couple of baffles up against each other. It would just knock the directness off, it took a lot of top end off.


The "Brown Sugar" Sessions: Jimmy Johnson on Recording the Stones
By Bruce Borgerson
Photos courtesy of Jimmy Johnson


1 2 3



If you’ve seen the Rolling Stones Gimme Shelter movie, you might recall Jimmy Johnson’s brief speaking role. He was the one coaching Keith Richards on the proper Alabama pronunciation of "Y'all come back, y'hear."


Playback at Muscle Shoals Sound. L to R: Jimmy Johnson, Mick Jagger, Mick Taylor, Terry Woodford (of Muscle Shoals’ publishing division). For three nights in December of 1969, the Stones cut basic tracks and live vocals for three songs: "You Gotta Move," "Wild Horses" and "Brown Sugar." The sessions took place at Muscle Shoals Sound Studios-the "burlap palace" at 3614 Jackson Highway-a non-descript former casket factory which the four rhythm section members had purchased earlier that same year.


Prior to venturing out on their own, the foursome (Johnson, bassist David Hood, keyboardist Barry Beckett and drummer Roger Hawkins) had been the core players at Rick Hall's Fame Studios, where their rhythm tracks laid the foundation for soul hits by Aretha Franklin, Wilson Pickett, Etta James, Arthur Conley and others.

Since early in his Fame days, Jimmy Johnson had switched roles back and forth, playing fatback rhythm guitar on some sessions, engineering others. His early engineering credits included "Sweet Soul Music" and "When a Man Loves a Woman." But when the Rolling Stones arrived-with little advance notice-Johnson was confronted with something quite other than the relatively low-volume, laid-back soul and pop sessions that were his usual fare. On one hand, you could say the fledgling Muscle Shoals studio was ill-equipped for the task. On the other hand, you might say maybe this turned out to be a good thing. Let recording history be the judge. In this interview, conducted in July, Johnson reconstructs (as best can be expected after 32 years) the night that gave us a rock song for the ages.

Editor's note: This is the shortened, "web friendly" version. The complete interview is scheduled for publication soon in Tape Op magazine. Watch this site for details.

Let's try to set the scene for those sessions, starting with the console you used.

When we did the Stones sessions, we had a Universal Audio console with tube modules, the one with the big rotary knobs, knobs as big as your hand. We had ten inputs.

There was some fixed EQ on it, a fixed low end at 100Hz, and you could go two clicks of boost at two and four dB, and you could roll back to minus three. But that's all it was. It also had an echo send on it. Back then, we were using a live chamber. It wasn't until a year after that we got an EMT plate. Of course, we were uptown then!

Did you get the Universal modules new, or from another studio?

We bought all the modules new, and put it in our own little console frame. We had a cabinetmaker build us a console, the same as Rick did over at Fame, this was the same thing he had. At the time, it was one of the best things you could get, depending on your budget, of course. Our budget wasn't too big at the time.

And what kind of tape machines did you have?

We had a Scully eight track, a one-inch, and it was great. We had no noise reduction, though back then we cut a lot of stuff at 15ips. We just packed a lot of it on! And the tape was very forgiving, so as a result it turned out well. We got a lot of saturation, and that kind of became part of the sound. Back then...I don't even remember any noise reduction at the time. I know there wasn’t any when we went up to Atlantic in '66. But there might have been some around that I didn't know about.





The "Brown Sugar" Sessions: Jimmy Johnson on Recording the Stones
By Bruce Borgerson
Photos courtesy of Jimmy Johnson


1 2 3



Were you the only engineer on hand for the Stones sessions?

Yes, I did all those myself, along with my assistant, Larry Hamby. It was supposed to be Jimmy Miller, from what I understand, but he didn't show up. It was my intention to assist him when the whole thing started, because I heard they would be bringing their own people. As it was, he never made it down. So I became the unofficial-official engineer for all those sessions.

Did you cut all the basic tracks here?

They did some overdubbing later, of backgrounds, saxophone and acoustic guitar. But electric guitars, lead vocals, piano and even the percussion was done right there, Jagger did that. Mick Taylor was on those sessions, of course, and during "Wild Horses" Jim Dickinson showed up, from Memphis. What happened is that their touring piano player, who was also their road manger, Ian Stewart, he played on "Brown Sugar" some, but during "Wild Horses" Jim Dickenson was out behind the where we put the guitar amps "Do you remember Paul Simon's 'Kodachrome' where we went to double time and the tack piano comes in, the piano kind of goes crazy? That was our tack piano, an old upright piano; we put tacks on the hammers so it sounded like a honky tonk. Anyway, Jim was back there just tiddling on it, playing along with what they had settled on as the groove, and Keith walked by and said, "Hey you need to play that!"

Let's try to reconstruct how "Brown Sugar" was tracked. First, what mics did you have set up, starting with the drums?

We only had three mics on the drums. We ran a U47 up over the top up over the top, about nose high to the drummer. We had a high stand out in front, with the mic facing downward at the kit, from the bass drum in with a little boom that came over the snare. So it gave a good overview of the whole kit, so you could play with a lot of dynamics and you could get an incredible sound. In fact, Charlie Watts wanted to buy that microphone! But of course, I wouldn't sell it. He couldn't get over the sound we were getting.

On the bass drum we used the E-V 666, a fantastic dynamic mic for the time. It was on a little stand looking to the backside of the drum. Then I had a hi-hat mic, which I think was another (E-V) RE-15, though it could have been a little (E-V) 635A, that remains in question.


Charle Watts, suffering U47 envy. The RE-15 was a better mic, had more response. We avoided using the 635A unless we had to. Actually, if not the RE-15 it might have been an SM57, more likely than the 635A.

And Charlie brought all his own drums?

Yes, he brought all of this own kit.




What guitar was Keith playing?

It was a Gibson, but not a Les Paul. Do you know that model that was right under the Les Paul, the solid body double cutaway-what is that? Oh yeah, the SG. I think it was an SG, and as I recall it was black. I remember it had those sharp horns on the cutaways. That's what he played most of the time he was here.
And Mick Taylor?

Taylor, to my recollection, was playing a Strat. And guess what we came up with for Bill Wyman? Do you remember those Plexiglas body basses that were around then? I checked with David Hood later and he says it was a Dan Armstrong. So to the best of our recollection, that's what it was. He played through David’s Fender Bassman setup, the tube head and separate box.

And the guitar amps?

Keith played a Fender Twin, and so did Mick Taylor, and they brought those in with them. The loudness on those tracks really came from Keith. I had it put in that back booth and shut the door on it.

So Mick's was out in the room?

Yeah, it was out, set where I normally played. If you looked from the control room it was on the left side, about the middle, facing toward the front. You see, we had all these wonderful baffles, covered with burlap, with that pink insulation underneath. We would corner off the sound with a couple of baffles up against each other. It would just knock the directness off, it took a lot of top end off.



The "Brown Sugar" Sessions: Jimmy Johnson on Recording the Stones
By Bruce Borgerson
Photos courtesy of Jimmy Johnson


1 2 3



So you could balance it out, but not stop leaking altogether.

Exactly, you couldn't really snuff the sound out. It wasn't as evident in the other mics, but it was there.

How did you mic the guitars?

On the guitar amplifiers, let's see there were two different ones, on Mick's I had a Shure SM-57, and then on the other I was using.. I might have been using an RE-15 on Keith. But I had a real problem with Keith because he was running a Fender Twin amp WIDE open, I mean that sucker was getting... it. I had a real problem with distortion going on, but I happened to remember that my maintenance guy, about a month before that, had left me a 20dB pad that he had made, a homemade pad, so I just stuck it in between. So I dropped that level before it hit the front of the Universal Audio and it saved the day. Otherwise, I would have been @#$%&. I still thank God for that. I would have just been screwed. So on Keith's amp, 'oh no, I remember what was on his amp, an RCA 77DX, because I was having to get that level down any way I could, it was a ribbon mic. With the pad and that RCA, I made it, just barely. A lot of that had to do with how it sounded, and I was always real pleased with that guitar sound.

I assume you close-miked the amps.

Yes, they were miked about two or three inches from the grille cloth, and with the Twins, we would get right in front of one of the two speakers. I'd make sure that both were working all right, and that one didn't have a hole.




How about the piano mics?

On the piano I was using only one mic, not two, so I had to move it around to find the hot spot. I'm going to have to think on that one. I think it was a U47, that was the other one, because three was all we had. And we used them all on every session. Jagger sang on a U47.



So the U47 on Jagger, that was a live vocal track? Or was it overdubbed?

I don't think so, not unless he had to fix something in London. The only overdub I remember was the percussion that he did. He had mono earphones of course, and they were hearing what the board was hearing, they couldn't get a separate mix.

Did you have a mic on the bass amp?

Yes, the bass guitar mic was an RCA 44. We didn't have direct back in those days.

How much separation could you get in that studio?

Well, Keith's guitar amp was in a booth, and Jagger was in the back of the room with baffles around him. There was some leakage going on, but you couldn't tell because he was so close to the mic. It was part of the sound. The drums did not have a booth, they were open, but with baffles. But there was a lot of leakage on the drums, cymbals and stuff, even though he didn't play real hard.

Really? But there's a lot of impact in the drums on that song, more than on most Stones tunes.

Yeah, it's that mic and the way we set it. Even today, that would be a good way for a rock band to mic their drums, if they like some great live drumming sound. They would be surprised to find that sometimes less is more. I think it would blow them away.

And the sound of Keith's guitar is so good, and I really attribute it to that RCA DX77 with the pad, going into that Universal Audio tube console which warmed it up, too. Pretty wild, huh.

Did you use any compression on those tracks?

None. At the time, I did not have a compressor in the building. It was a couple more years before we had compressors. The only outboard gear was that 20dB pad, that's all I remember.

What about board EQ? Did you use much of that?

Mostly, on all sessions, I would use one click or two on the highs to air it out. It was set at around 3 or 4K, with two dB steps; you could go to two or four. We had 100Hz for the low end, and I guess around 3500 for the high.

I remember Barry Beckett saying he was sitting outside on the steps and could feel the building shaking.

Yeah, when they stated grooving around one in the morning, when I started the machines, it was an unbelievable thing; I have not experienced anything quite like that since.

If you compare Brown Sugar to other cuts done by Glyn Johns at about same time, most came out on Let It Bleed, you don't get that kind of room sound. They have that clean separation, you don't get the feeling of the whole room being pumped up by the music.

Right. You get the same thing from those old Motown records, cut at Hitsville USA in Detroit. When they moved to LA it all changed, they never had that wonderful sound again. I don't understand how they could divorce it that way. But I love that sound, and the old Philly Studio, Sigma Sound and all the great records done by Gamble and Huff, God they were great!

Yeah, but up in Philly, they were probably saying, "How can we get that funky sound they have down there in Muscle Shoals?"

Oh, we didn't even think about that. I suppose the grass is always greener somewhere else.

RELATED LINKS

More on the Muscle Shoals Sound Studio during that era.

A series of articles on Muscle Shoals music scene from the local newspaper.

Jimmy Johnson's home page.

You're welcome sssoul They are (after looking at the pics several times) certainly different guitars, although both Gibson hollow/semi-hollow bodies, can't tell which is which. Anyway they both are beautiful guitars, I'd like to play the one from Hyde Park, something tells me it's got a nice dirty/warm sound when cranked, lol

I ain't stupid, I'm just guitarded.

>> didn't jagger write the intro riff <<

so i've heard, Open G, except that Mick's said he wrote it on electric:
"I wrote that song in Australia in the middle of a field. They were really odd circumstances. I was doing this movie, Ned Kelly, and my hand had got really damaged in this action sequence. So stupid. I was trying to rehabilitate my hand and I had this new kind of electric guitar, and I was playing in the middle of the outback and wrote this tune."
that's from [www.timeisonourside.com]
(oh and it was good of you to post that whole Jimmy Johnson interview - that's what i meant when i posted the link: [www.prosoundweb.com] )

Damn Ms Sssoul! I have never seen a photo of Keith with that Gibson ES 345 (The pic before the Hyde Park one) from the '69 tour! This is great stuff! He used this guitar rather sparingly during that tour but I seem to recall he used it on 'Little Queenie' As to the guitar in the Hyde Park photo it's hard to tell but I believe it is a Gibson ES 330. Keep 'em coming!

Looks like a "Wittner" Capodaster - true? (the bluish HydePark pic)
Nowadays he uses "shubb" capos - again, true? anyone?

cool, i'm glad the photos are grooving you, ChrisM! if i find any more odd 1969 Keith guitars in my files i'll post them for sure.

meanwhile i looked up those models you mentioned here: [www.provide.net]
and find it interesting that they keep saying the models with Bigsbys didn't sell well. what was the problem with those things, and why do some people want 'em anyway? (ahem: it's not that i'm all hung up on Bigsbys - just grateful to have found someone who seems willing to say something about them!)

Thanks for the link Ms Sssoul. I stand corrected though. The guitar I identified as an ES-345 is actually an ES-355. As to Bigsbys, some people love them some hate them. It seems they were not too popular amongst players in the 1960s though.

Bigsby tremolos throw your guitar out of tune if you play them too wild. Just listen to Neil Young. He has a Bigsby.



Edited 1 time(s). Last edit at 2005-09-23 21:36 by everything's turnin'.

If the Bigsby and guitar are set up correctly tuning shouldn't be a problem, at least it hasn't been for me. If you want to do Eddy Van Halen stuff with one though, forget it as it wasn't designed to be used in that fashion but with more subtle approaches in mind. Our Neil does push the envelope with his use of it though!

So, just to give you a picture of the equipment...

Keith was probably playing a black Gibson SG Ebony similar to this one:


Keith and Taylor probably had them plugged in one of these:



Taylor was playing a strat. Further information isn't mentioned, so I take it it's just one of these:


Then there was Bill, with one of those Dan Armstrong basses. It must have looked a bit like this:


His amp was probably one like this(I can only guess):

Cool shit people! Those photo's are awsome Retile.

I ain't stupid, I'm just guitarded.

I'll add the capos I mentioned


Wittner from the pic on the top of this page (3)


shubb capo, does Keith use these nowadays?

Sssoul I have a 72 SG with the bigsby. While it is not quite as stable in holding tuning as a fixed setup the main thing I see against it is re-stringing. Most guitars you just poke the string through a hole with the bigsby you have to slip the ring on the end of the string over a pin.

Strings break more on a Bigsby?

thanks very much for these Bigsby insights, people!
so (if you'll still tolerate questions!) what is it that's great about Bigsbys -
what causes some people to favor them despite the tuning problems and inconvenience?

The guitar on the 1969 picture is an ebony 1959 Gibson ES-355, block inlays, custom head inlay, golden PAF pickups, wired to mono. The guitar was bought in june 1969 while rehearsing for the upcoming tour, and remained a favourite of both Taylor and Keith until 1971, when all the guitars were stolen at Nellcote. This guitar can be seen at the back of the Ya-Ya's cover too in the hands of Taylor. They had two ES-355's: Keith's ebony 355, and Taylor's winered 355. In Tarle's Exile book they play these guitars on 75% of all pictures, so they really must have liked them. On the 1969 tour Keith played Little Queenie and Midnight Rambler on the 355. The ES-355 guitar is Keith's favourite since the 1997 tour, where's he plays an ebony and a chery model.

The picture of Hyde Park is Keith with a Gibson ES-330. Although the shape is much like the 335/345/355 range, it doesn't have a wooden center block making the guitar fully hollow. This, and the P90 pickups, makes it great sounding but useless on stage, as it feedbacks too much.

I checked pictures of the small white amp next to Keith's amps during this new tour, and it is a Leslie rotating speaker cabinet, used for Infamy.

Mathijs

fascinating - thank you kindly, Mathijs!

just so folks don't have to keep backing up, here's that 59 ES-355 again:


- MSG, nov 27th or 28th 1969 (don't know who took it, sorry!)

that seems to be the only photo i have of it - or wait, maybe ... is that it there on the left in this shot from Nellcote?


- 1971, by Dominique Tarle, courtesy of mainstreetblog

as for the ES-330 ... is this it again? (the shot's usually dated 68, but i believe it's 69):


- probably 1969 (don't know who took it, sorry!)

another one i'm always interested in is the one Keith used on Gimmie Shelter: "a full-bodied, Australian electric-acoustic, f-hole guitar. It kind of looked like an Australian copy of the Gibson model that Chuck Berry used ... It had all been revarnished and painted out, but it sounded great. It made a great record ... And on the very last note of Gimmie Shelter, the whole neck fell off. You can hear it on the original take."
- Keith, quoted on [www.timeisonourside.com]



Edited 3 time(s). Last edit at 2010-10-25 11:59 by with sssoul.

with sssoul Wrote:
> another one i'm always interested in is the one
> Keith used on Gimmie Shelter: "a full-bodied,
> Australian electric-acoustic, f-hole guitar. It
> kind of looked like an Australian copy of the
> Gibson model that Chuck Berry used ... It had all
> been revarnished and painted out, but it sounded
> great. It made a great record ... And on the very
> last note of Gimmie Shelter, the whole neck fell
> off. You can hear it on the original take."
> - Keith, quoted on

That was a "Maton" hollow body guitar with Filtertron pickups, the brand still is very active but mainly selling in Australia.

Mathijs