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Mathijs
Richards was aware of open tunings way before he met Ry Cooder, through Brian Jones and the countless blues recordings they listened to. Keith has stated that he learned a lot from Jesse Ed Davis and Taj Mahal when they hung out in 1968. The thing he took from Cooder was that he could use open tunings for more than slide or rhythm guitar, but that you can play all these riffs and embellishments as well. Listen to the acoustic guitar of Downtown Suzie, or Ry's slide guitar on Memo to Turner, and all the licks are there that Keith based Honky Tonk Women, Loving Cup and Tumbling Dice on.

Then again, he did use many of of these already before he started using open G. Things like the riff of Nervous Breakdown or the the main riff on Monkey Man are quite similar to what he would later do in open G.

Mathijs

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TheflyingDutchman
Open tunings go back as far as the 19th century, the Banjo. That's were the open tunings on guitars come from. My guess would be that Brian and Keith just were the right guys at the right time to discover it when the Blues hit the UK in the early 6-tees. Keith was the most successful because he started writing songs with it that became big hits. Brian was left in the blue, that's for sure.

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Mathijs

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TheflyingDutchman
Open tunings go back as far as the 19th century, the Banjo. That's were the open tunings on guitars come from. My guess would be that Brian and Keith just were the right guys at the right time to discover it when the Blues hit the UK in the early 6-tees. Keith was the most successful because he started writing songs with it that became big hits. Brian was left in the blue, that's for sure.

Open tunings exist for as long as people stringed gut over a wooden soundboard. On guitars and its predecessors, perfect fifth tunings and open tunings were more standard than standard tuning -many classical pieces from the 1800's were written in open G for example. Five string standard tuning ADGBE was used for larger sized guitar instruments from the 1600's on, but wasn't the standard until the development of the 6 string Spanish guitar in the early 1820's.


The standard banjo tuning is Standard C, GCGBD but many tunings are applied. Open G wasn't really used until the invention of the modern 5-string banjo and its use in bluegrass since the 1940's.

Mathijs

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TheflyingDutchman
Don't shoot the piano player.

The most succinct way I can think of to describe the latticed style that Keith Richards says he has sought to achieve with Ron Wood is to say that for thirty-five years the Stones have been trying to do with four hands what Cooder can do with two".

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Spud

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TheflyingDutchman
Don't shoot the piano player.

The most succinct way I can think of to describe the latticed style that Keith Richards says he has sought to achieve with Ron Wood is to say that for thirty-five years the Stones have been trying to do with four hands what Cooder can do with two".

Rather exaggerating an already chippy position, often adopted over the years by Ry Cooder fans.

I love Ry Cooder....and credit where it's due .

But he's essentially a wonderful guitar player and....a wonderful guitar player .

He's never written anything comparable with the above mentioned songs... which apparently rip off his style.

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TheflyingDutchman
Don't shoot the piano player.

[www.newyorker.com]


"And before long, the Rolling Stones were collecting royalties for “Honky Tonk Women,” which sounds precisely like a Ry Cooder song and absolutely nothing like any other song ever produced by the Rolling Stones in more than forty years. According to Richards in his recent autobiography, Cooder showed him the open G tuning which became his mainstay and accounts for the full-bodied chordal declarations that characterize songs such as “Gimme Shelter,” “Jumpin’ Jack Flash,” “Start Me Up,” and “Brown Sugar.” The most succinct way I can think of to describe the latticed style that Keith Richards says he has sought to achieve with Ron Wood is to say that for thirty-five years the Stones have been trying to do with four hands what Cooder can do with two".

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MelBelli
Those riffs have nothing to do with the licks Keith copped from Ry Cooder. My feeling has always been that the essence of the “Keith Riff” is the barred first finger and the “-sus” hammer-on with second and third fingers. That was present on “19th Nervous Breakdown” (and even, in a different way, on “Route 66”).

As Mathijs indicates, I think what Keith took from Cooder was the idea of the pedal-tone fills played with third and first strings in open-G — as on the intro of HTW and the fill played at :25.

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TheflyingDutchman
Our fellow Dutchman Jan Akkerman could write a book about it. He's going to play Sticky Fingers next year. I wonder how he'll approach Sister Morphine i.e. Ry Cooder

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Koen

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TheflyingDutchman
Our fellow Dutchman Jan Akkerman could write a book about it. He's going to play Sticky Fingers next year. I wonder how he'll approach Sister Morphine i.e. Ry Cooder

He's probably going to noodle the crap out of it. Of course with a big 'look ma, no hands' smirk.

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Spud

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TheflyingDutchman
Don't shoot the piano player.

The most succinct way I can think of to describe the latticed style that Keith Richards says he has sought to achieve with Ron Wood is to say that for thirty-five years the Stones have been trying to do with four hands what Cooder can do with two".

Rather exaggerating an already chippy position, often adopted over the years by Ry Cooder fans.

I love Ry Cooder....and credit where it's due .

But he's essentially a wonderful guitar player and....a wonderful guitar player .

He's never written anything comparable with the above mentioned songs... which apparently rip off his style.

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DandelionPowderman

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Spud

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TheflyingDutchman
Don't shoot the piano player.

The most succinct way I can think of to describe the latticed style that Keith Richards says he has sought to achieve with Ron Wood is to say that for thirty-five years the Stones have been trying to do with four hands what Cooder can do with two".

Rather exaggerating an already chippy position, often adopted over the years by Ry Cooder fans.

I love Ry Cooder....and credit where it's due .

But he's essentially a wonderful guitar player and....a wonderful guitar player .

He's never written anything comparable with the above mentioned songs... which apparently rip off his style.

The HTW-riff stems from the TSMR-sessions

GS in open G sounds interesting