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GasLightStreet
I'm curious to hear the GYYYO! version with the live vocal, the "But it's alright, yeah it's alright" instead of the "But it's allllllll-ryyyyyyyyyyyte" vocal.
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doitywoikQuote
DandelionPowderman
Well, check out Crackin' Up (Love You Live) and LSTNT (Still Life), and you'll find that they do
Not sure about the 70s but in 81/82 Mick did play rhythm in concert on a (small) number of songs.
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JordyLicks96Quote
DandelionPowdermanQuote
JordyLicks96
The official release of GET YER YA YA'S OUT features no new guitar overdubs. New vocals were overdubbed for 7 of the 10 tracks:
Jumpin' Jack Flash
Carol
Stray Cat Blues
Live With Me
Little Queenie
Honky Tonk Women
Street Fighting Man
Of course there are guitar overdubs on Ya Yas. Check out the rhythm guitar tracks on Carol and Little Queenie
Keith played new rhythm guitar tracks and wiped Taylor.
I'm not too sure about that. You could be right but unfortunately there are no audience recordings from the first show at MSG on November 28th to compare with. I do have original soundboard recordings of Carol, Little Queenie, and Street Fighting Man from Ya Yas with the original vocals. I'll be posting them to my YT channel tomorrow. Listening to those, it doesn't sound like any new guitars were added.
Plus here's some rare footage from the first show on the 28th. Jumpin' Jack Flash and Carol are shown. This is the version of Carol used on Ya Yas and judging by the footage, it sounds EXACTLY the same on Ya Yas. Let me know what you think
[www.youtube.com]
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JordyLicks96Quote
GasLightStreet
I'm curious to hear the GYYYO! version with the live vocal, the "But it's alright, yeah it's alright" instead of the "But it's allllllll-ryyyyyyyyyyyte" vocal.
I posted the entire first show at MSG on Nov. 27th yesterday, which has the original vocal for JJF and HTW! Audience recording but it's very weird to hear the same music from GYYYO with the original vocal instead.
[www.youtube.com]
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TheflyingDutchmanQuote
MathijsQuote
RobertJohnson
MT is a great Rhythm guitarist - too
Actually, not really. He's fairly lacklustre in his rhtyhm playing, and likes to accent the 1 on the beat, which is obstrusive with Keith's sense of timing.
Mathijs
Taylor likes a bit more of subtle variety when playing rhythm guitar. Often he switches very fast and smart between lead, licks and rhythm. Dance little sister is a great example. Gimme shelter Philly '72 another. Whether it's obstrusive with Keith's sense of timing is completely irrelevant. At the contrary, they complemented each other. Of course playing rhythm guitar is not Taylor's main occupation, unlike Keith, who made it his expertise. However the footage below shows us that Taylor easily produces a great rhythm groove that doesn't make him lesser rhythm player than Keith if he has to. Different? Yes. With Keith as rhythm player aboard Taylor didn't have to give it all. He liked noodling better. The lazy bastard.
Realin' and Rockin' Taylor 1986
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Palace Revolution 2000
While I love Ron Wood , and they love to talk about weaving etc, they never got that roll back. Ron and Keith sort of doing the same thing often.
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MathijsQuote
TheflyingDutchmanQuote
MathijsQuote
RobertJohnson
MT is a great Rhythm guitarist - too
Actually, not really. He's fairly lacklustre in his rhtyhm playing, and likes to accent the 1 on the beat, which is obstrusive with Keith's sense of timing.
Mathijs
Taylor likes a bit more of subtle variety when playing rhythm guitar. Often he switches very fast and smart between lead, licks and rhythm. Dance little sister is a great example. Gimme shelter Philly '72 another. Whether it's obstrusive with Keith's sense of timing is completely irrelevant. At the contrary, they complemented each other. Of course playing rhythm guitar is not Taylor's main occupation, unlike Keith, who made it his expertise. However the footage below shows us that Taylor easily produces a great rhythm groove that doesn't make him lesser rhythm player than Keith if he has to. Different? Yes. With Keith as rhythm player aboard Taylor didn't have to give it all. He liked noodling better. The lazy bastard.
Realin' and Rockin' Taylor 1986
This I don't understand. It's quite important for a rhythm part not to get in the way of another, more driving, rythm part, or with the main vocal or piano melody. This is the sole reason Taylor's parts are so often wiped, as he tends to emphesize different timinig signatures than Keith. Also Taylor's rhythm parts were mostly recored live, without any vocals, and during overdubbing sessions when the lyrics and vocal melody is added, and then are found to be obtrusive.
Taylor's way of playing a driving boogie, like on Star Star, or any of the RnR numbers they did in 1972 and 1973 is just not fully convincing as he does not accent the back beat -which defines the roll in rock - but he accents the upbeat. He's a bit like Darryl Jones, whom also plays tightly 'on the one', which takes out all the air out of RnR.
By the way, Taylor does not play any rhythm guitar on Dance Little Sister, that's all lead.
Mathijs
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Mathijs
...Taylor's way of playing a driving boogie, like on Star Star, or any of the RnR numbers they did in 1972 and 1973 is just not fully convincing as he does not accent the back beat -which defines the roll in rock - but he accents the upbeat. He's a bit like Darryl Jones, whom also plays tightly 'on the one', which takes out all the air out of RnR...
Mathijs
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TravelinMan
In regards to “weaving”: Maybe on the records like “Beast Of Burden” it sounds okay, but live a lot of the times they just played over top one another and it does not sound good. Accidental counterpoint is what I call it, and a lot of the time it is hot garbage.
Concerning Taylor: A lot of the songs he played on didn’t need another rhythm guitar, so he could either play exactly what Richards did or emphasize different parts of the beat, or play lead.
IMO, of course.
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DandelionPowdermanQuote
TravelinMan
In regards to “weaving”: Maybe on the records like “Beast Of Burden” it sounds okay, but live a lot of the times they just played over top one another and it does not sound good. Accidental counterpoint is what I call it, and a lot of the time it is hot garbage.
Concerning Taylor: A lot of the songs he played on didn’t need another rhythm guitar, so he could either play exactly what Richards did or emphasize different parts of the beat, or play lead.
IMO, of course.
On BOB Keith plays the riff and Ronnie plays licks. For real weaving try the coda on Down In The Hole.
Regarding Taylor it's more correct to say that he thought those songs didn't need another rhythm guitar, as many of them had two different rhythm guitars. Either way is fine, of course, but it's a matter of taste.
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TravelinManQuote
DandelionPowdermanQuote
TravelinMan
In regards to “weaving”: Maybe on the records like “Beast Of Burden” it sounds okay, but live a lot of the times they just played over top one another and it does not sound good. Accidental counterpoint is what I call it, and a lot of the time it is hot garbage.
Concerning Taylor: A lot of the songs he played on didn’t need another rhythm guitar, so he could either play exactly what Richards did or emphasize different parts of the beat, or play lead.
IMO, of course.
On BOB Keith plays the riff and Ronnie plays licks. For real weaving try the coda on Down In The Hole.
Regarding Taylor it's more correct to say that he thought those songs didn't need another rhythm guitar, as many of them had two different rhythm guitars. Either way is fine, of course, but it's a matter of taste.
Well it sort of depends on the song and what the piano, for instance, is doing too. “Shine A Light” and “Let It Loose” don’t need another guitar, and so there isn’t another guitar. The narrow mix of “Rip This Joint” means that one of those rhythm guitars needs to be dominant, so it is Richards’ more intricate part. You pan them wide and they sound perfectly fine spread out in a wide stereo mix.
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JordyLicks96Quote
GasLightStreet
I'm curious to hear the GYYYO! version with the live vocal, the "But it's alright, yeah it's alright" instead of the "But it's allllllll-ryyyyyyyyyyyte" vocal.
I posted the entire first show at MSG on Nov. 27th yesterday, which has the original vocal for JJF and HTW! Audience recording but it's very weird to hear the same music from GYYYO with the original vocal instead.
[www.youtube.com]
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Midnight Toker
As far as I recall, Keith was not using any open tunings on JJF at the time.
Please correct me if I am wrong. Sounds to me like he is playing in standard tuning starting over a B chord on JJF. B-D-A-E
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Midnight Toker
As far as I recall, Keith was not using any open tunings on JJF at the time.
Please correct me if I am wrong. Sounds to me like he is playing in standard tuning starting over a B chord on JJF. B-D-A-E
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Palace Revolution 2000
While I love Ron Wood , and they love to talk about weaving etc, they never got that roll back. Ron and Keith sort of doing the same thing often.
I wholeheartedly disagree. The way Keith and Wood weaved their rhtyhm parts and riffs and licks from 1977 to 1981 is truly amazing, and really one of the hardest thing to achieve.
Mathijs
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Palace Revolution 2000
here's an example: Sympathy for the Devil. It took a long time for them to find a groove again after Taylor left. And he played the most basic rhythm guitar ??
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Palace Revolution 2000
here's an example: Sympathy for the Devil. It took a long time for them to find a groove again after Taylor left. And he played the most basic rhythm guitar ??
I prefer the LA Friday (13) version of Sympathy over any other version!
Mathijs
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GasLightStreet
Mick's vocals on JJF - love it. Gives me a new angle to listen to it on GYYYO! for vocal bleed through.
Hearing this with some boominess oddly reveals just how heavy they were, like SFTD, not heavy like Metallica heavy but heavy with attitude and confidence - they'd never sounded like that before - and would continue with that through 1973, albeit a bit more streamlined.
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GasLightStreet
Mick's vocals on JJF - love it. Gives me a new angle to listen to it on GYYYO! for vocal bleed through.
Hearing this with some boominess oddly reveals just how heavy they were, like SFTD, not heavy like Metallica heavy but heavy with attitude and confidence - they'd never sounded like that before - and would continue with that through 1973, albeit a bit more streamlined.
Right! A few years back I gave a copy of Brussels to an excellent guitarist who wasn’t much of a Stones fan. He was floored by how heavy they were live.