Keep them coming.

JumpingKentFlash

KR Riff Cousins Ep. 6:

[youtu.be]

What happens when Keith does standard ideas in open G — and vice versa?

Check it out.

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MelBelli
Time to give Mick Taylor some love. Here I look at some tasty lines MT played in Dorian mode as well as the natural minor scale. Check it out!

[youtu.be]

So glad to see you back!

With new content too! (Although I must admit that I miss the video from years ago where you broke down Taylor's work on Brussels Affair.)

I look forward to giving everything in your channel a listen. Thanks!

-R

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Reagan

Quote
MelBelli
Time to give Mick Taylor some love. Here I look at some tasty lines MT played in Dorian mode as well as the natural minor scale. Check it out!

[youtu.be]

So glad to see you back!

With new content too! (Although I must admit that I miss the video from years ago where you broke down Taylor's work on Brussels Affair.)

I look forward to giving everything in your channel a listen. Thanks!

-R

Thanks, Reagan!

When Rolling Stone gave the old channel some attention, I kind of got embarrassed — felt like I needed to professionalize it. So I took it down. And then ... life took over. Dumb move on my part! Thanks for giving it a look.

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MelBelli

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Reagan

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MelBelli
Time to give Mick Taylor some love. Here I look at some tasty lines MT played in Dorian mode as well as the natural minor scale. Check it out!

[youtu.be]

So glad to see you back!

With new content too! (Although I must admit that I miss the video from years ago where you broke down Taylor's work on Brussels Affair.)

I look forward to giving everything in your channel a listen. Thanks!

-R

Thanks, Reagan!

When Rolling Stone gave the old channel some attention, I kind of got embarrassed — felt like I needed to professionalize it. So I took it down. And then ... life took over. Dumb move on my part! Thanks for giving it a look.

I'm just so glad it's back. And these new videos do look more professional!

Another two great episodes! I especially like how you put the Spanish-style episode together. Hope I didn't come off as a know-it-all with that B7, that wasn't my intention.

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MonkeyMan2000
Another two great episodes! I especially like how you put the Spanish-style episode together. Hope I didn't come off as a know-it-all with that B7, that wasn't my intention.

Not at all, MonkeyMan! On the contrary, I was inspired. My hope is to get a virtual conversation going — not to pronounce like I’m the expert.

Also, here’s a quick review/analysis of the new song.

To my ears, sounds like the bridge has an Fm6 as well as a G#dim. Whoa, Mick!

[youtu.be]

I love these videos. A great channel indeed.

JumpingKentFlash

Fantastic MelBelli your analysis of the new song. That Fm6 is very "appropriate" as it evoques a feeling of suspens, danger,mystery. Some chords have thatpower to trigger almost specific emotions, it seems a sort of mimesis. Do you identify special chords that you use to carry specific emotions when writing music?
Keep on rockin" Melbelli!
Rockandroll,
Mops

Keith had a Fm6 in Make No Mistake, no?

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DandelionPowderman
Keith had a Fm6 in Make No Mistake, no?

When playing No Mistake in A, I think the chord you are referring to is made of ;f.a.d.g#.b and f. I don't know what its name is but I like it!

Rockandroll,
Mops

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rollmops

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DandelionPowderman
Keith had a Fm6 in Make No Mistake, no?

When playing No Mistake in A, I think the chord you are referring to is made of ;f.a.d.g#.b and f. I don't know what its name is but I like it!

Rockandroll,
Mops

I'm pretty sure Keith only plays E/F (dark string), F (d-string), D (b-string), F/E (e-string), F (d-string) and D (b-string) in an arpeggio on MNM - although he touches that A (g-string) a couple of times to fill out.

Probably not exactly the same chord, but it has a somewhat similar effect.

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DandelionPowderman

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rollmops

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DandelionPowderman
Keith had a Fm6 in Make No Mistake, no?

When playing No Mistake in A, I think the chord you are referring to is made of ;f.a.d.g#.b and f. I don't know what its name is but I like it!

Rockandroll,
Mops

I'm pretty sure Keith only plays E/F (dark string), F (d-string), D (b-string), F/E (e-string), F (d-string) and D (b-string) in an arpeggio on MNM - although he touches that A (g-string) a couple of times to fill out.

Probably not exactly the same chord, but it has a somewhat similar effect.

You mean Ab, not A... But there's also a B in there which makes it more of an Fdim. With a pinch of maj7 thrown in.

E/F - low string; open D string; G# (g string); open B string; F/E (high string); D (b string).



Edited 1 time(s). Last edit at 2020-04-25 17:13 by z.

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z

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DandelionPowderman

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rollmops

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DandelionPowderman
Keith had a Fm6 in Make No Mistake, no?

When playing No Mistake in A, I think the chord you are referring to is made of ;f.a.d.g#.b and f. I don't know what its name is but I like it!

Rockandroll,
Mops

I'm pretty sure Keith only plays E/F (dark string), F (d-string), D (b-string), F/E (e-string), F (d-string) and D (b-string) in an arpeggio on MNM - although he touches that A (g-string) a couple of times to fill out.

Probably not exactly the same chord, but it has a somewhat similar effect.

You mean Ab, not A... But there's also a B in there which makes it more of an Fdim. With a pinch of maj7 thrown in.

E/F - low string; open D string; G# (g string); open B string; F/E (high string); D (b string).

No, definitely A.

EDIT: I've played the A there for 32 years (a kind of Dm, with the F in the bottom), and it still sounds good.

However, it sounds like you're right. I never heard the arpeggio that minor-heavy, but it is. Thanks!



Edited 2 time(s). Last edit at 2020-04-25 18:12 by DandelionPowderman.

FDim7 is close to Fm6, but has a different flavor to my ears.

The double-flatted seven and the six are the same note (D). And they share an Ab in common too.

In MNM, Keith pulls off first string and plays an E note. And I believe we hear the open second string, B, ringing in there too.



Edited 1 time(s). Last edit at 2020-04-25 18:05 by MelBelli.

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rollmops
Fantastic MelBelli your analysis of the new song. That Fm6 is very "appropriate" as it evoques a feeling of suspens, danger,mystery. Some chords have thatpower to trigger almost specific emotions, it seems a sort of mimesis. Do you identify special chords that you use to carry specific emotions when writing music?
Keep on rockin" Melbelli!
Rockandroll,
Mops

Thanks, man!

Chords definitely can have character in that way, but, imo, thinking in terms of modes is better for mood-setting. Rick Beato’s channel is *great* for delving into the sound of each mode.

The use of G#dim7 in LIAGT is a classic tool for playing something interesting on your way to another chord.

KR episode 7:

[youtu.be]

Looking at ballads in F!

Trail begins with a Some Girls outtake, then I move into All About You, Sleep Tonight, and Hate It When You Leave. Honorable mention: Let It Loose.

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MelBelli
KR episode 7:

[youtu.be]

Looking at ballads in F!

Good one, only I think it’s Keith on piano on Sleep Tonight

C

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liddas

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MelBelli
KR episode 7:

[youtu.be]

Looking at ballads in F!

Good one, only I think it’s Keith on piano on Sleep Tonight

C

Man, I don’t know. Sounds to me like Chuck.

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MelBelli

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liddas

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MelBelli
KR episode 7:

[youtu.be]

Looking at ballads in F!

Good one, only I think it’s Keith on piano on Sleep Tonight

C

Man, I don’t know. Sounds to me like Chuck.

Of course I don't know either, but the opening piano does sound a lot like what Keith plays on the 77 Toronto recordings.


C

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liddas

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MelBelli

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liddas

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MelBelli
KR episode 7:

[youtu.be]

Looking at ballads in F!

Good one, only I think it’s Keith on piano on Sleep Tonight

C

Man, I don’t know. Sounds to me like Chuck.

Of course I don't know either, but the opening piano does sound a lot like what Keith plays on the 77 Toronto recordings.


C

Oh I'd say 100% Keith on piano. The style is his; the attack is harder than Leavell. The small trills he adds are Keith. But more than any reason - Keith in '86 especially, would never have given Leavell such a key slot in the basic track, in the skeleton of the song.

From timeisonourside.com:

Drums: Ron Wood
Bass: Keith Richards
Acoustic guitar: Keith Richards
Electric guitars: Keith Richards
Lead vocal: Keith Richards
Background vocals: Keith Richards, Ron Wood, Bobby Womack & Don Covay
Piano: Keith Richards
Synthesizer: Chuck Leavell

i wish it could be keith on piano. but i don´t think so.
a few bars in the beginning - yes...but during the song there are too many little licks, here and there, and that´s too fast and quick for keith.
it sounds like a "pro".
keith on piano (listen to the toronto tape) is more rhythm, chord-playing. no lines oder melodies.
and on other recordings (thief in the night, love is overdue, all bout you) he used the piano onnly as a "colour" for the song.
wether there are two pianos (keith-piano and another person did a few overdubs)
or...my guess,
it is tom waits on piano. the style of playing is very much his.
and he was at the sessions for sure....for backing vocals on "harlem shuffle" - and maybe he stayed overnight for "sleep tonight"

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DandelionPowderman
From timeisonourside.com:

Drums: Ron Wood
Bass: Keith Richards
Acoustic guitar: Keith Richards
Electric guitars: Keith Richards
Lead vocal: Keith Richards
Background vocals: Keith Richards, Ron Wood, Bobby Womack & Don Covay
Piano: Keith Richards
Synthesizer: Chuck Leavell

I’ve seen this before, and I think it’s just supposition — based on quote from Keith that he wrote it on piano. But the playing is too fluid, too “pro,” as FooltoCry says. I would love to think that that it’s Tom Waits. But it sounds like Chuck — especially in those quick, blues-gospel-ish changes through Am and Gm.

Superb stuff !


And all the better for the obvious love and respect for Keith as a musician,

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MelBelli

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DandelionPowderman
From timeisonourside.com:

Drums: Ron Wood
Bass: Keith Richards
Acoustic guitar: Keith Richards
Electric guitars: Keith Richards
Lead vocal: Keith Richards
Background vocals: Keith Richards, Ron Wood, Bobby Womack & Don Covay
Piano: Keith Richards
Synthesizer: Chuck Leavell

I’ve seen this before, and I think it’s just supposition — based on quote from Keith that he wrote it on piano. But the playing is too fluid, too “pro,” as FooltoCry says. I would love to think that that it’s Tom Waits. But it sounds like Chuck — especially in those quick, blues-gospel-ish changes through Am and Gm.

I agree MelB, that we can't take that credit list as gospel. It's also supposition. But we can use our ear, and knowledge of a lifetime listening to Stones, and reading about their inner workings.
I think using the '77 Toronto tapes w/ Keith on piano can be a good starting point, but keep in mind this is 9 years earlier. And I would not under rate Keith as a pure musician; as someone who can grow by leaps on piano. But even
77 already has a pretty fluid left hand going; and he throws in a good bit of riffs on right hand too. It does not take prodigy levels to go from chords and a few lines to some rather good sounding runs. The piano parts are IMO pure Keith.
I have never heard Leavell play the piano with such hard attack. And also by Leavell's standards - a rather clunky.
But again, more than anything - this is a solo Keith tune. On those songs Keith usually does it all. It is also the type of song that a writer will have worked out, and know inside out. He would have written it on piano; the guitars are obviously over dubbed, and just play fills. I just can not fathom a scenario where Keith would stand aside ,and let someone play his song. he is not that type of composer/ conductor.
Tom Waits makes no sense. And even if: listen to Tom's piano playing. it is very gentle.

We can punt for now on the question of Sleep Tonight.

Here’s a change in programming: a look at four Waddy Wachtel solos, highlighting, in particular, Waddy’s dramatic use of unison bends.

Song examples: Warren Zevon, “Looking for the Next Best Thing,” Steve Perry(!), “Oh Sherrie,” and Keith’s “How I Wish” and “Something for Nothing.”

Please do check it out!

[youtu.be]

I wish Keith didn`t release Sleep Tonight with Ron`s drumtrack. Let´s face it. He ain`t no drummer... It is a beautiful tune, but I just can`t see past those horrible unsteady drums.

[www.reverbnation.com]

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audun-eg
I wish Keith didn`t release Sleep Tonight with Ron`s drumtrack. Let´s face it. He ain`t no drummer... It is a beautiful tune, but I just can`t see past those horrible unsteady drums.

I would agree it’s suboptimal. Charlie was a mess at the time. The Glimmers were a mess. You have to squint to see it, but Keith was about to head into the second prime of his career.