I just asking but do you listen to different types of music.
Breath on me..just is a cool song
I mean did you ask me at the Hollywood show lisa or sasha...
I mean I love Lisa but Sasha rocks
I mean dirty works the song rocks
I grew up on 60 a.m. music as a little kid.
This has been a long trip thank God Ronnie doesn't sound like the glimmer twins
I value your opinion

Doxa- I hope you were responding to someone else because if it was me i am amazed that

You somehow missed the point so badly when I said I liked Ronnie’s solo albums better than Mick and Keiths that you began debating Ron Wood vs Jagger/ Richards as songwriters?
I like the albums BECAUSE the other Stones are on them you silly person.

btw, When you keep saying “ when the big boys are writing “ in reference to Mick and Keith are you including Matt Clifford, Steve Jordan, and Dave Stewart also? You know, the guys they write the songs with before they bring them to rehearsals the last 20 years, just asking.

You seem a little lost and may be better off a Beatlehead but I’ll try to educate you on a few things.
The Rolling Stones were a traveling party in the 70s, they went from studio to tour , some off time more studio, tour etc.
So when you misguidedly were pitting Ron vs Mick and Keith, I think your line was “ they were paying attention to the Stones while Ronnie was making his “ vanity projects”

No they weren’t, you might have heard this before, RW was in the Stones. When they were writing and recording he was there, then a tour. his stuff was done during the time in between.
Which is why it’s so good, there are songs with Charlie Watts on drums, Mick doing harmonies, Keith doing guitar parts and singing.
It’s easy to learn, check the studio times on everything from 74-82
It’s the band and friends just being loose,having fun and playing.
glad you liked Seven More Days, should’ve seen the tour.though I think the party may have gotten out of hand when Keith did that instead of the Stones.

Why do I say it’s for hardcore fans, well if you’re in Kansas City in 75 and Keith doesn’t do Happy and you know the song he’s playing, you qualify.

Haha. No Lem (and thanks for your great reply) , I wasn't responding to you, but just picked up an insight from you - that of digging Ron's solo stuff is a hardcore Stones fan item - and then wrote a totally different story over it, the one I guess differing completely from yours.

What you now wrote here I don't know how to disagree with. During the 70's Ron's solo stuff was a part of Rolling Stones world, even before he was a band member. What we disagree with is I guess judging the outcome, the very albums. With that people Ron had around him - Mick, Keith, Charlie, Taylor, Womack etc. - one might expect a bit better results. I guess for his big name friends taking part into them was just helping a good mate and having a good time, a damn great party for sure. That the results were so subpar - my opinion naturally - I can only point out one guilty one - the one in charge, the maestro himself. In the end, it is the weak song material and even worse lead singing to blame here (that of calling it a 'vanity/luxury project' stems from that - I really can't see it being anything else).

A memory line: I still recall the very moment I got GIMME SOME NECK (my first Wood solo album) into my hands. It looked so cool, all those great names involved, even Charlie. And then what a disappointment it was when I played the record. I was about biggest Rolling Stones fan boy in the world and I was hungry for anything Stones related (this was early 80's and I was a teenager), and this album was almost coming from the inner circle. It can't be much closer to a 'real' Rolling Stones album. But no matter how much I played the record, and tried to like it, I just couldn't 'get' it. It sounded aimless and totally pointless mess (pl. "Seven Days"). Most of the 'songs' sounded like jokes making no one laugh. I gave up. I haven't much listened the album ever since, but when I do, I still feel exactly the same. (After it, especially I'VE GOT MY OWN ALBUM TO DO sounded like a masterpiece, but probably because my expectations were so low).

But a good point about that of Mick and Keith needing partners to write with. That seems to be typical for them. I guess that needs to have something to do how they learned the whole craft in the first place, to do it with someone else. But what exactly is the role of the 'sparring partner' in the creative process is interesting and open question. Do they offer initial song ideas, or riffs, or are they just making suggestions how to develop the song further, etc. I guess for Mick people like Matt or Dave have a similar function that, say, Mick Taylor and Ron Wood once had. The only difference being that Jagger recognizes and gives a credit more easily now when the Jagger/Richards trademark is not so dominant any longer (Ron's descriptions of how hard is to 'earn' a credit is revealing of that matter). Anyway, the seeming dependence of co-writers of both Mick and Keith doesn't take anything out of their own genius, me thinks. But this would need another thread to open up more. Namely, I find that topic extremily interesting (the creative process of the Stones is unique in many ways).

But back to Ronnie. One thing that I have never seen a good explanation is why, since DIRTY WORK sessions, he is almost totally neclected or ignored by Mick and Keith. Taking how inner circle he once was, they - or any of the Stones - are not involved in his solo projects, nor he is asked to contribute into their solo projects, or his ideas/song sketches welcomed any longer to Stones sessions (I intentionally leave room for some counter examples here...)

- Doxa



Edited 7 time(s). Last edit at 2022-10-05 16:43 by Doxa.

Quote
Doxa
But back to Ronnie. One thing that I have never seen a good explanation is why, since DIRTY WORK sessions, he is almost totally neclected or ignored by Mick and Keith. Taking how inner circle he once was, they - or any of the Stones - are not involved in his solo projects, nor he is asked to contribute into their solo projects, or his ideas/song sketches welcomed any longer to Stones sessions (I intentionally leave room for some counter examples here...) - Doxa

Probably worth noting Mick hasn't worked with Dave Stewart for over a decade. Time often stands still for us like thinking of Darryl as "new" when he was the bass player for 29 of their 60 years. Matt Clifford needed to protect himself with a publishing deal to guarantee his fair share of what he contributes to Mick and/or The Stones. Whether or not that translates into a credit vs. a back-end deal remains to be seen where the Stones are concerned.
As for Ronnie being closed out, it's more to do with Keith and Mick going solo and Ronnie's changed status. Jane Rose told Keith after Aretha's JJF not to use Ronnie in the Winos or it would hurt the chances of the Stones reforming. Mick cited in 25x5 that Keith joining the Barbarians is what started the solo competition in his eyes. When Ronnie went off retainer and became a full member, tossing him a Jagger-Richards-Wood credit as bonus was over. Additionally, the relationship between the Glimmers became that much more tenuous once they were solo. Ronnie could no longer mediate. The Jagger-Richards-Wood triumvirate was over. Ronnie would either be highlighted with slide guitar or sidelined to come in and do a sponge job on top of Waddy or paint by numbers on a Jagger-Clifford canvas.

Quote
Doxa
... why, since DIRTY WORK sessions, he is almost totally neclected or ignored by Mick and Keith. Taking how inner circle he once was, they - or any of the Stones - are not involved in his solo projects, nor he is asked to contribute into their solo projects, or his ideas/song sketches welcomed any longer to Stones sessions (I intentionally leave room for some counter examples here...)

- Doxa

in my opinion, Keith's '77 Toronto bust was the beginning of the end. They really no longer lived with each other for their recording sessions and started doing things individually. Most of it makes sense, that was when the clean ups / rehabs started, they started taking families more seriously, and simply grew apart. Sad for the fans, but probably better for them.

Seemingly, it was thanks to Keith that Ronnie wound up on two Mick-tracks in 2017.

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DandelionPowderman
Seemingly, it was thanks to Keith that Ronnie wound up on two Mick-tracks in 2017.

Yeah, I was waiting that observation to come, and I was pretty sure you will do it, Dandie!

Yeah, most likely a potential Rolling Stones recording turned out to be a Jagger solo release.

- Doxa

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LeonidP

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Doxa
... why, since DIRTY WORK sessions, he is almost totally neclected or ignored by Mick and Keith. Taking how inner circle he once was, they - or any of the Stones - are not involved in his solo projects, nor he is asked to contribute into their solo projects, or his ideas/song sketches welcomed any longer to Stones sessions (I intentionally leave room for some counter examples here...)

- Doxa

in my opinion, Keith's '77 Toronto bust was the beginning of the end. They really no longer lived with each other for their recording sessions and started doing things individually. Most of it makes sense, that was when the clean ups / rehabs started, they started taking families more seriously, and simply grew apart. Sad for the fans, but probably better for them.

I guess to put all that together: they just grew up (not probably that gracefully, but still..) Sooner or later it tends to happen...

- Doxa



Edited 1 time(s). Last edit at 2022-10-05 23:33 by Doxa.

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Rocky Dijon

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Doxa
But back to Ronnie. One thing that I have never seen a good explanation is why, since DIRTY WORK sessions, he is almost totally neclected or ignored by Mick and Keith. Taking how inner circle he once was, they - or any of the Stones - are not involved in his solo projects, nor he is asked to contribute into their solo projects, or his ideas/song sketches welcomed any longer to Stones sessions (I intentionally leave room for some counter examples here...) - Doxa

Probably worth noting Mick hasn't worked with Dave Stewart for over a decade. Time often stands still for us like thinking of Darryl as "new" when he was the bass player for 29 of their 60 years. Matt Clifford needed to protect himself with a publishing deal to guarantee his fair share of what he contributes to Mick and/or The Stones. Whether or not that translates into a credit vs. a back-end deal remains to be seen where the Stones are concerned.
As for Ronnie being closed out, it's more to do with Keith and Mick going solo and Ronnie's changed status. Jane Rose told Keith after Aretha's JJF not to use Ronnie in the Winos or it would hurt the chances of the Stones reforming. Mick cited in 25x5 that Keith joining the Barbarians is what started the solo competition in his eyes. When Ronnie went off retainer and became a full member, tossing him a Jagger-Richards-Wood credit as bonus was over. Additionally, the relationship between the Glimmers became that much more tenuous once they were solo. Ronnie could no longer mediate. The Jagger-Richards-Wood triumvirate was over. Ronnie would either be highlighted with slide guitar or sidelined to come in and do a sponge job on top of Waddy or paint by numbers on a Jagger-Clifford canvas.

Yeah, true that about Stewart being history for a long time. It is probably that what happens nowadays in ten years, took only one year during the hectic 60's and 70's... Or my mind just don't register the recent happenings... Anyway, it would have even sounded better for the sake of argument if I had only talked about Matt in present sense and then put Dave to the same category as Taylor and Wood as Mick's 'sparring partners' of the past.

I have similar thoughts than you do about the 'fate' of Wood. Mostly it being due what happened between Mick and Keith. I have had the picture that Ronnie was the real casualty of 'WW3' and he was used as a pawn in the power struggle of Big Boys. He claims saving the Stones then, but I don't know. Could be. But he burned himself in the process if he did. But since then - the Piece Treaty of 1989 that set the rules for the New Stones Order - he cannot or is needed to mediate nor, more importantly, taking sides (interestingly, he worked pretty closely with Mick in UNDERCOVER and then with Keith in DIRTY WORK). The dilemma is that if one is not close either to Mick or Keith one cannot be in a creative inner circle of The Stones.

- Doxa



Edited 4 time(s). Last edit at 2022-10-06 00:36 by Doxa.

But how do you compare Ronnie to Keith and Mick? The confrontation can be between Ronnie and Mick or between Ronnie and Keith.
If you really want to make a comparison with Mick and Keith then the couple Rod and Ronnie make sense.
But what is it for? All three have written or contributed to writing historical rock songs, everything else is boring.
Let's say that while this is always recognized by Mick and Keith, Ronnie struggles more, few know that he is the co-author of Gasoline Alley and other songs by Rod S., without neglecting his dignified solo career.
But the race to see who is the longest is teenage stuff.

Quote
Testify
But how do you compare Ronnie to Keith and Mick? The confrontation can be between Ronnie and Mick or between Ronnie and Keith.
If you really want to make a comparison with Mick and Keith then the couple Rod and Ronnie make sense.
But what is it for? All three have written or contributed to writing historical rock songs, everything else is boring.
Let's say that while this is always recognized by Mick and Keith, Ronnie struggles more, few know that he is the co-author of Gasoline Alley and other songs by Rod S., without neglecting his dignified solo career.
But the race to see who is the longest is teenage stuff.

A good and wise point. But remember, this whole thread started with a dick contest premise... But in the end it boils down to subjective opinions: what one prefers/likes more or most. Personally I have not talked much about my own opinions (we know the arsehole analogy) especially negative ones, here at IORR lately, so I just for a change decided to give my own critical stance on this matter (Ron Wood catalog). I guess what I have written sounds harsh, but it is what it is. I guess the problem with judging Wood solo material is that it actually interests pretty small amount of us hardcore Stones fans. So those who not, or don't evaluate it very high, they don't even bother to write anything here (that's what I have done for ages). So the discussion is pretty one-sided, since only big Ron Wood solo material fans contribute. But, by comparison, if it is Keith's and especially Mick's solo works in question, almost anyone seems to be busy to comment something.

But back to the dick measurement. I think if it is Ron vs. Mick or Ron vs. Keith, Ronnie loses big time in both cases. If it is 'Mick and Keith' vs. 'Ron and Rod' it boils down to: which is a better rock and roll band, The Rolling Stones or The Faces. I don't bother to answer that one. If it would be 'Mick and Keith' vs. 'John and Paul', now that would be more even match...

- Doxa



Edited 2 time(s). Last edit at 2022-10-06 01:13 by Doxa.

I actually quite enjoy Ronnie’s solo stuff, and find all of it to be far more consistent style wise than any of the others. Would I have bought any of em he wasn’t a Stone? Probably not but that’s beside the point. For me 1234 has always been my favorite, but I also think Slide on This and Feel Like Playing are equally good. Slide on Live and Live and Eclectic are both great live albums as well. This thread actually caused me to go back and re-listen to all of his albums even!!! Annnnd I did some digging and discovered that he played on a lot of other albums too and I’ve been checking out those too - most notably the Dylan albums. Now I’m far from even a mild Dylan fan. Have his greatest hits and rarely play it. Whatever he’s written anyone else can cover it better. But man these albums with Ronnie have been critical bombs and I’ve really dug them all. His voice isn’t as bad and they sorta rock. Even his Christian albums. I’m amazed. I’m starting to think his famous stuff might be his least best stuff. Might even have to dive into his catalog more. And it all started with this Ronnie thread lol

Oops, see below



Edited 1 time(s). Last edit at 2022-10-06 10:17 by lem motlow.

Ronnie’s big mistake was he took sides, If you remember in Bill Germans book he contends that the Stones did in fact break up because everyone split into camps- the Keith camp and the Mick camp.
Ronnie went with Keith, I remember him saying some catty things about Mick having to come back because his solo thing didn’t go as planned.

I cringed,I thought damn brother you better watch your tongue, you ain’t Keith Richards.I like Ronnie alot, I’ve met him and talked about music for a bit.he’s exactly that guy you see but he’s lucky Jagger has the patience he does or Mick Taylor might have been standing to his right on the Steel wheels tour.

As Rocky said Jane told Keith not to take Ronnie on what became the Winos project, I don’t remember her saying it would complicate a Stones reunion.
As some have said when the reshuffle began Ron was the odd man out.Chuck began directing the show and Mick and Keith began a working relationship but were never friends again, that good time smiling, backslapping Mick-Keith-Ronnie thing was recreated onstage but not in real life and the music suffered, big time.

Quote
Doxa

Quote
Rocky Dijon

Quote
Doxa
But back to Ronnie. One thing that I have never seen a good explanation is why, since DIRTY WORK sessions, he is almost totally neclected or ignored by Mick and Keith. Taking how inner circle he once was, they - or any of the Stones - are not involved in his solo projects, nor he is asked to contribute into their solo projects, or his ideas/song sketches welcomed any longer to Stones sessions (I intentionally leave room for some counter examples here...) - Doxa

Probably worth noting Mick hasn't worked with Dave Stewart for over a decade. Time often stands still for us like thinking of Darryl as "new" when he was the bass player for 29 of their 60 years. Matt Clifford needed to protect himself with a publishing deal to guarantee his fair share of what he contributes to Mick and/or The Stones. Whether or not that translates into a credit vs. a back-end deal remains to be seen where the Stones are concerned.
As for Ronnie being closed out, it's more to do with Keith and Mick going solo and Ronnie's changed status. Jane Rose told Keith after Aretha's JJF not to use Ronnie in the Winos or it would hurt the chances of the Stones reforming. Mick cited in 25x5 that Keith joining the Barbarians is what started the solo competition in his eyes. When Ronnie went off retainer and became a full member, tossing him a Jagger-Richards-Wood credit as bonus was over. Additionally, the relationship between the Glimmers became that much more tenuous once they were solo. Ronnie could no longer mediate. The Jagger-Richards-Wood triumvirate was over. Ronnie would either be highlighted with slide guitar or sidelined to come in and do a sponge job on top of Waddy or paint by numbers on a Jagger-Clifford canvas.

Yeah, true that about Stewart being history for a long time. It is probably that what happens nowadays in ten years, took only one year during the hectic 60's and 70's... Or my mind just don't register the recent happenings... Anyway, it would have even sounded better for the sake of argument if I had only talked about Matt in present sense and then put Dave to the same category as Taylor and Wood as Mick's 'sparring partners' of the past.

I have similar thoughts than you do about the 'fate' of Wood. Mostly it being due what happened between Mick and Keith. I have had the picture that Ronnie was the real casualty of 'WW3' and he was used as a pawn in the power struggle of Big Boys. He claims saving the Stones then, but I don't know. Could be. But he burned himself in the process if he did. But since then - the Piece Treaty of 1989 that set the rules for the New Stones Order - he cannot or is needed to mediate nor, more importantly, taking sides (interestingly, he worked pretty closely with Mick in UNDERCOVER and then with Keith in DIRTY WORK). The dilemma is that if one is not close either to Mick or Keith one cannot be in a creative inner circle of The Stones.

- Doxa

The 'fate' of Wood - well... my observations and conclusions are a bit different. To sum it up, along the Jagger/Richards creative epicentre I think he burned out as quick and in nearly the same time periods (appr. 5 years +) as Brian Jones and Mick Taylor before him, but other then these two, he managed to survive and stay in the band - despite ongoing alcohol and substance abuse. My take is that after a while, he took his role as a Stones band member for granted and simply got lazy, so lazy that in fact he even let his live performances suffer from his habits - and it needs to be said that both, Keith and Mick stayed loyal to him through whatever hardships, even gave him full membership after Bill left and after years on wage .

That said, I have little to no doubt that the "big boys" would not have turned down any creative input if in fact he would have come up with any more worthwile ideas, song sketches, riffs or whatever than what he actually contributed and got credit for. But he obviously just didn't - otherwise this material would have landed on one of his solo albums, and as you've said, there's simply no indication whatsoever on his albums that any given material would have suited the Stones (apart from "I Can Feel The Fire" or maybe "Sure The One You Need", but this was before he joined the Stones).

<But he obviously just didn't>

He did, but he stopped trying.

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VoodooLounge13
I actually quite enjoy Ronnie’s solo stuff, and find all of it to be far more consistent style wise than any of the others. Would I have bought any of em he wasn’t a Stone? Probably not but that’s beside the point. For me 1234 has always been my favorite, but I also think Slide on This and Feel Like Playing are equally good. Slide on Live and Live and Eclectic are both great live albums as well. This thread actually caused me to go back and re-listen to all of his albums even!!! Annnnd I did some digging and discovered that he played on a lot of other albums too and I’ve been checking out those too - most notably the Dylan albums. Now I’m far from even a mild Dylan fan. Have his greatest hits and rarely play it. Whatever he’s written anyone else can cover it better. But man these albums with Ronnie have been critical bombs and I’ve really dug them all. His voice isn’t as bad and they sorta rock. Even his Christian albums. I’m amazed. I’m starting to think his famous stuff might be his least best stuff. Might even have to dive into his catalog more. And it all started with this Ronnie thread lol

This thread is good at least for something!

I wish I'd been in your shoes. To study the whole Dylan catalog with fresh ears... That's a helluva ride, gems jumping up from here and there, and from the places you least expect. The dude's career is incredible, full of interesting phases, and no matter what he does, the muse is almost everytime there, and he follows it pretty faithfully. A text book example of artistic career - and in my book being about the only true example of an artist stemming out of rock and pop culture (I usually hesitate to describe rock musicians as 'artists', but with Dylan I don't). And what goes for his controversial voice, it is a part of his art, his unique instrument of expression, and he does miracles with it, me thinks. No one can sing Dylan like he does.

Funny thing is that I wasn't any big Dylan fan yet when I had GIMME SOME NECK I described above. I knew his name and fame, and probably had some greatest hits album and listened it occasionally, probably just out of educating myself, like I did, say, The Beatles, but without any closer affection. Then I listened GIMME SOME NECK and "Seven Days" stood out. I was like, damn after all that Wood guy can write great tunes. And then I checked the credits and it said "Dylan". I cannot say that made me any bigger Dylan fan - that would take some years to really happen - but ley's say that made ne realize what is a difference between a great song writer and not that great. Wood never been able to convince me wrong about the first impression of his song-writing skills. (And the thing is that "Seven Days" is not that spectacular song in Dylan's oeuvre)

That said, I think Wood does a marvellous job in "Seven Days". The production is as bad as it is all over the album, but great music shines through despite of it, as it always does if there is substance. His raspy, a bit Dylan-like voice fits perfectly there (Keith's great back ups too). Great guitars too. Even better is the version in Dylan's 30th Anniversary concert (one of the highlights of the show).

If I recall right Dylan offered the song first to Clapton, but Eric wasn't interested. Wood was in the same room and said "Hey, give it to me, I'll do it" (or something to the effect). So that Bob did. A great outcome, since I don't think Eric with his clean style been able to do it as much justice as Ron did with his roughness. I think Ronnie actually 'owns' the tune. Very occasionally that happens with Dylan's tunes.

- Doxa



Edited 11 time(s). Last edit at 2022-10-06 12:43 by Doxa.

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Doxa

Quote
Testify
But how do you compare Ronnie to Keith and Mick? The confrontation can be between Ronnie and Mick or between Ronnie and Keith.
If you really want to make a comparison with Mick and Keith then the couple Rod and Ronnie make sense.
But what is it for? All three have written or contributed to writing historical rock songs, everything else is boring.
Let's say that while this is always recognized by Mick and Keith, Ronnie struggles more, few know that he is the co-author of Gasoline Alley and other songs by Rod S., without neglecting his dignified solo career.
But the race to see who is the longest is teenage stuff.

A good and wise point. But remember, this whole thread started with a dick contest premise... But in the end it boils down to subjective opinions: what one prefers/likes more or most. Personally I have not talked much about my own opinions (we know the arsehole analogy) especially negative ones, here at IORR lately, so I just for a change decided to give my own critical stance on this matter (Ron Wood catalog). I guess what I have written sounds harsh, but it is what it is. I guess the problem with judging Wood solo material is that it actually interests pretty small amount of us hardcore Stones fans. So those who not, or don't evaluate it very high, they don't even bother to write anything here (that's what I have done for ages). So the discussion is pretty one-sided, since only big Ron Wood solo material fans contribute. But, by comparison, if it is Keith's and especially Mick's solo works in question, almost anyone seems to be busy to comment something.

But back to the dick measurement. I think if it is Ron vs. Mick or Ron vs. Keith, Ronnie loses big time in both cases. If it is 'Mick and Keith' vs. 'Ron and Rod' it boils down to: which is a better rock and roll band, The Rolling Stones or The Faces. I don't bother to answer that one. If it would be 'Mick and Keith' vs. 'John and Paul', now that would be more even match...

- Doxa

Nothing to complain about, I just believe that Ronnie is a good music writer, but I don't judge him only for his contribution within the Stones or for his solo career, but for the whole of what he has produced. He will not be at the level of Mick and Keith but surely he was the only Stones (besides Mick and Keith) to have signed some recognized rock masterpieces ... and that's enough for me.

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Doxa

Quote
VoodooLounge13
I actually quite enjoy Ronnie’s solo stuff, and find all of it to be far more consistent style wise than any of the others. Would I have bought any of em he wasn’t a Stone? Probably not but that’s beside the point. For me 1234 has always been my favorite, but I also think Slide on This and Feel Like Playing are equally good. Slide on Live and Live and Eclectic are both great live albums as well. This thread actually caused me to go back and re-listen to all of his albums even!!! Annnnd I did some digging and discovered that he played on a lot of other albums too and I’ve been checking out those too - most notably the Dylan albums. Now I’m far from even a mild Dylan fan. Have his greatest hits and rarely play it. Whatever he’s written anyone else can cover it better. But man these albums with Ronnie have been critical bombs and I’ve really dug them all. His voice isn’t as bad and they sorta rock. Even his Christian albums. I’m amazed. I’m starting to think his famous stuff might be his least best stuff. Might even have to dive into his catalog more. And it all started with this Ronnie thread lol

This thread is good at least for something!

I wish I'd been in your shoes. To study the whole Dylan catalog with fresh ears... That's a helluva ride, gems jumping up from here and there, and from the places you least expect. The dude's career is incredible, full of interesting phases, and no matter what he does, the muse is almost everytime there, and he follows it pretty faithfully. A text book example of artistic career - and in my book being about the only true example of an artist stemming out of rock and pop culture (I usually hesitate to describe rock musicians as 'artists', but with Dylan I don't). And what goes for his controversial voice, it is a part of his art, his unique instrument of expression, and he does miracles with it, me thinks. No one can sing Dylan like he does.

Funny thing is that I wasn't any big Dylan fan yet when I had GIMME SOME NECK I described above. I knew his name and fame, and probably had some greatest hits album and listened it occasionally, probably just out of educating myself, like I did, say, The Beatles, but without any closer affection. Then I listened GIMME SOME NECK and "Seven Days" stood out. I was like, damn after all that Wood guy can write great tunes. And then I checked the credits and it said "Dylan". I cannot say that made me any bigger Dylan fan - that would take some years to really happen - but ley's say that made ne realize what is a difference between a great song writer and not that great. Wood never been able to convince me wrong about the first impression of his song-writing skills. (And the thing is that "Seven Days" is not that spectacular song in Dylan's oeuvre)

That said, I think Wood does a marvellous job in "Seven Days". The production is as bad as it is all over the album, but great music shines through despite of it, as it always does if there is substance. His raspy, a bit Dylan-like voice fits perfectly there (Keith's great back ups too). Great guitars too. Even better is the version in Dylan's 30th Anniversary concert (one of the highlights of the show).

If I recall right Dylan offered the song first to Clapton, but Eric wasn't interested. Wood was in the same room and said "Hey, give it to me, I'll do it" (or something to the effect). So that Bob did. A great outcome, since I don't think Eric with his clean style been able to do it as much justice as Ron did with his roughness. I think Ronnie actually 'owns' the tune. Very occasionally that happens with Dylan's tunes.

- Doxa

OK, on that point I most definitely have to disagree. Jimi's All Along the Watchtower, The Byrds - any of em!, GNR - Knockin On Heaven's Door.

Dylan's voice is what kills it for me. I can't. I just can't stomach it. Quinn the Eskimo is my favorite tune of his. I've seen him in concert (back on the Dylan/Simon tour) just so I could say I saw him once, and it was one of the worst half shows I'd ever seen. Paul Simon blew him outta the water. But for some reason these early - Mid-80's albums aren't too bad at all.

I'd like to, and might even dive much more into it all. Time Out of Mind I tried and it too suffers from his horrible vocals. I had to shut it off pretty early into it.

Totally OT - but Depeche Mode is another one that I want to dive into completely.

Did Ron wood play with Jeff beck
And one rod Stewart..faces
I find Mr wood song choices sound more in faces influenced song plus didn't he play with everyone..
Would you prefer mick Taylor 1st album or Ronnie with everyone on it

was "if you dont want my love" ron's song about Mick..
Im joking,,, but mick did give ron a nice kiss on snl..ha

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LeonidP

Quote
Doxa
... why, since DIRTY WORK sessions, he is almost totally neclected or ignored by Mick and Keith. Taking how inner circle he once was, they - or any of the Stones - are not involved in his solo projects, nor he is asked to contribute into their solo projects, or his ideas/song sketches welcomed any longer to Stones sessions (I intentionally leave room for some counter examples here...)

- Doxa

in my opinion, Keith's '77 Toronto bust was the beginning of the end. They really no longer lived with each other for their recording sessions and started doing things individually. Most of it makes sense, that was when the clean ups / rehabs started, they started taking families more seriously, and simply grew apart. Sad for the fans, but probably better for them.

They just don't share the same circles since those days .
They come together to work as the Stones , for the money and the love I think...but they each now inhabit their own very different worlds.

You can't really remain part of a schoolboy gang for ever ...though they managed it longer than most of us I suppose

More like since 1971, isn’t it?

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DandelionPowderman
More like since 1971, isn’t it?

I thought I read that they lived together in Jamaica for the Goats Head Recording. Similarly for Black & Blue, I thought, but not sure where. I'd have to check history on Some Girls, I don't really know where they were at that point.

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LeonidP

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DandelionPowderman
More like since 1971, isn’t it?

I thought I read that they lived together in Jamaica for the Goats Head Recording. Similarly for Black & Blue, I thought, but not sure where. I'd have to check history on Some Girls, I don't really know where they were at that point.

True, but they moved to different countries after France. And I don't think Mick and Keith hung out much after that.

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DandelionPowderman


He did, but he stopped trying.

He claimed he did, but did he actually? I think the proof is in the pudding, and the pudding must have ended up somewhere if Ronnie thought it was so good that it could have suited the Stones but was turned down for other than creative reasons.

So where are these great tunes?

But how beautiful Priceless is!
[www.youtube.com]

Pretty beat up...had it with you
Hey negrita...black limousine
Maybe influenced by Mr wood

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Doxa

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VoodooLounge13
I actually quite enjoy Ronnie’s solo stuff, and find all of it to be far more consistent style wise than any of the others. Would I have bought any of em he wasn’t a Stone? Probably not but that’s beside the point. For me 1234 has always been my favorite, but I also think Slide on This and Feel Like Playing are equally good. Slide on Live and Live and Eclectic are both great live albums as well. This thread actually caused me to go back and re-listen to all of his albums even!!! Annnnd I did some digging and discovered that he played on a lot of other albums too and I’ve been checking out those too - most notably the Dylan albums. Now I’m far from even a mild Dylan fan. Have his greatest hits and rarely play it. Whatever he’s written anyone else can cover it better. But man these albums with Ronnie have been critical bombs and I’ve really dug them all. His voice isn’t as bad and they sorta rock. Even his Christian albums. I’m amazed. I’m starting to think his famous stuff might be his least best stuff. Might even have to dive into his catalog more. And it all started with this Ronnie thread lol

This thread is good at least for something!

I wish I'd been in your shoes. To study the whole Dylan catalog with fresh ears... That's a helluva ride, gems jumping up from here and there, and from the places you least expect. The dude's career is incredible, full of interesting phases, and no matter what he does, the muse is almost everytime there, and he follows it pretty faithfully. A text book example of artistic career - and in my book being about the only true example of an artist stemming out of rock and pop culture (I usually hesitate to describe rock musicians as 'artists', but with Dylan I don't). And what goes for his controversial voice, it is a part of his art, his unique instrument of expression, and he does miracles with it, me thinks. No one can sing Dylan like he does.

Funny thing is that I wasn't any big Dylan fan yet when I had GIMME SOME NECK I described above. I knew his name and fame, and probably had some greatest hits album and listened it occasionally, probably just out of educating myself, like I did, say, The Beatles, but without any closer affection. Then I listened GIMME SOME NECK and "Seven Days" stood out. I was like, damn after all that Wood guy can write great tunes. And then I checked the credits and it said "Dylan". I cannot say that made me any bigger Dylan fan - that would take some years to really happen - but ley's say that made ne realize what is a difference between a great song writer and not that great. Wood never been able to convince me wrong about the first impression of his song-writing skills. (And the thing is that "Seven Days" is not that spectacular song in Dylan's oeuvre)

That said, I think Wood does a marvellous job in "Seven Days". The production is as bad as it is all over the album, but great music shines through despite of it, as it always does if there is substance. His raspy, a bit Dylan-like voice fits perfectly there (Keith's great back ups too). Great guitars too. Even better is the version in Dylan's 30th Anniversary concert (one of the highlights of the show).

If I recall right Dylan offered the song first to Clapton, but Eric wasn't interested. Wood was in the same room and said "Hey, give it to me, I'll do it" (or something to the effect). So that Bob did. A great outcome, since I don't think Eric with his clean style been able to do it as much justice as Ron did with his roughness. I think Ronnie actually 'owns' the tune. Very occasionally that happens with Dylan's tunes.

- Doxa

So I've been bouncing all around with some Dylan, but trying to go in order of his catalog, chronologically. So far, I think Blood on the Tracks is not the masterpiece most seem to regard it has. Matter of personal taste me thinks. I do really like The Freewheelin Bob Dylan, Highway 61 Revisited, and The Times They Are A-Changing. Man, North Country Blues - great stuff!!! It coulda been slotted right onto Bruce's Tom Joad album!!! I'll keep updating as I get more into the catalog.