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TravelinManQuote
DandelionPowderman
Category C? Funny
This is how Ronnie played round the time they hired him:
[www.youtube.com]
I'll take the «category C» over Mandel's tapping any day. Which memorable songs did he write, and how come I'm not more drawn to his work, if he was so special? He did good on Hot Stuff, I'll give him that, though. But I can't see how the Stones would have benefitted that style over a long career.
Nah, this is just jealousy.
I couldn't get through that. Too many bad Santana-isms. C+ IMO, not that it matters because it's good you like it.
It also doesn't matter if you don't like Mandel's work, plenty of others do. He was cutting it up in Chicago's Southside with TRUE bluesmen, played Woodstock, and played with John Mayall. His solo stuff is really interesting and he was doing a lot of experimentation.
Kind of like how Wood said he can do what Richards can, but not the other way around. Mandel can do what Wood can do, but not the other way around.
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DandelionPowderman
I think you're missing the point with the «he can do what the other guy can do»-argument. A lot of people can play the notes and chords that Ronnie and Keith play, that's true. However, how come they always sound way off when they try?
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DandelionPowdermanQuote
TravelinManQuote
DandelionPowderman
Category C? Funny
This is how Ronnie played round the time they hired him:
[www.youtube.com]
I'll take the «category C» over Mandel's tapping any day. Which memorable songs did he write, and how come I'm not more drawn to his work, if he was so special? He did good on Hot Stuff, I'll give him that, though. But I can't see how the Stones would have benefitted that style over a long career.
Nah, this is just jealousy.
I couldn't get through that. Too many bad Santana-isms. C+ IMO, not that it matters because it's good you like it.
It also doesn't matter if you don't like Mandel's work, plenty of others do. He was cutting it up in Chicago's Southside with TRUE bluesmen, played Woodstock, and played with John Mayall. His solo stuff is really interesting and he was doing a lot of experimentation.
Kind of like how Wood said he can do what Richards can, but not the other way around. Mandel can do what Wood can do, but not the other way around.
We all like different things. That's a good thing.
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DandelionPowderman
Btw, you don't have to lecture me about Mandel. I know his stuff
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DandelionPowderman
I think you're missing the point with the «he can do what the other guy can do»-argument. A lot of people can play the notes and chords that Ronnie and Keith play, that's true. However, how come they always sound way off when they try?
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GasLightStreet
Wow. It's getting worse and worse for Harvey Mandel. He's looking more and more of a shuttered old complaining fool. "Not to brag"... what a jerk. It's obvious why Keith didn't want him in the Stones - he's beyond arrogant.
Keith is unique.I think what he does playing riffs and his sense of rhythm would be hard to replicate.With respect to to Wood, people forget how big Rod Stewart and to a lesser degree the Faces werewhen they picked Wood.Stewart was like Mick’smainrival.I think Jagger liked the idea of stealing away a Stewart’s guitarist.AndI think Mick and Keith want to be incorporate some of the Faces kind of party atmosphere music into the Stones.You can see it on the1975 tourQuote
TravelinManQuote
DandelionPowdermanQuote
TravelinManQuote
DandelionPowderman
Category C? Funny
This is how Ronnie played round the time they hired him:
[www.youtube.com]
I'll take the «category C» over Mandel's tapping any day. Which memorable songs did he write, and how come I'm not more drawn to his work, if he was so special? He did good on Hot Stuff, I'll give him that, though. But I can't see how the Stones would have benefitted that style over a long career.
Nah, this is just jealousy.
I couldn't get through that. Too many bad Santana-isms. C+ IMO, not that it matters because it's good you like it.
It also doesn't matter if you don't like Mandel's work, plenty of others do. He was cutting it up in Chicago's Southside with TRUE bluesmen, played Woodstock, and played with John Mayall. His solo stuff is really interesting and he was doing a lot of experimentation.
Kind of like how Wood said he can do what Richards can, but not the other way around. Mandel can do what Wood can do, but not the other way around.
We all like different things. That's a good thing.
Right, that's my point.Quote
DandelionPowderman
Btw, you don't have to lecture me about Mandel. I know his stuff
Not trying to lecture you, but you reduced his career to tapping and "what songs did he write?"
I don't think that's fair. He's a very accomplished guitarist who is still being interviewed evidently.Quote
DandelionPowderman
I think you're missing the point with the «he can do what the other guy can do»-argument. A lot of people can play the notes and chords that Ronnie and Keith play, that's true. However, how come they always sound way off when they try?
Because they're amateurs? Because they're not in Open G? Many bar bands make this mistake, actually.
I don't even agree with it BTW. I honestly don't think Wood can play everything Richards can play and I've always thought that comment was pompous and from an inflated ego. That's why I never get upset if people knock Wood down a notch. Plus he's said some pretty ugly stuff about Mick Taylor over the years when I've never heard anything negative from MT regarding Wood.
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Send It To me
Outrageous slander! Ronnie is not a C+ player. He's clearly B-.
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roundnround
Mandel sounds like an angry, bitter man. Good thing he was not chosen. If not Ronnie Wood, Wayne Perkins would have been a much better choice. But Ronnie is great!
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Mathijs
The magic to Ron Wood for me is that his guitar playing sounds so simple but when you want to copy it, it turns out to be much more complicated. His playing in 1975, 1978 and 1981 is actually much more technically advanced, much faster and much more intricate than you think on first listen. And Wood has taste -he always plays the right part to a track, especially when they play soul ballads and the kind. He plays what the song demands, and not flashy things to show how good he is.
Mathijs
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Mathijs
The magic to Ron Wood for me is that his guitar playing sounds so simple but when you want to copy it, it turns out to be much more complicated. His playing in 1975, 1978 and 1981 is actually much more technically advanced, much faster and much more intricate than you think on first listen. And Wood has taste -he always plays the right part to a track, especially when they play soul ballads and the kind. He plays what the song demands, and not flashy things to show how good he is.
Mathijs
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Mathijs
The magic to Ron Wood for me is that his guitar playing sounds so simple but when you want to copy it, it turns out to be much more complicated. His playing in 1975, 1978 and 1981 is actually much more technically advanced, much faster and much more intricate than you think on first listen. And Wood has taste -he always plays the right part to a track, especially when they play soul ballads and the kind. He plays what the song demands, and not flashy things to show how good he is.
Mathijs
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Testify
This whole audition thing always seemed ridiculous to me.
They wanted to finish their album and needed some guitar contributions, that was an excuse to get these "collaborations" for free.
I don't think they ever really thought about these guitarists, as possible replacements for Taylor, they wanted Ronnie (even after Brian left they wanted Ronnie), they always wanted Ronnie, because they thought he was the most suitable, a good character, a friend of both Keith and Mick, he could help with the writing of the songs if they needed it and he had the same philosophy of rock and roll as them.
The problem was that Ronnie was still in the Faces, but they also knew that Rod S.'s intention was to have his own solo career, so it was only a matter of time.
It is said that Ronnie was also present at those "stupid" auditions, but Ronnie had already played with both Keith and Mick, he had also written IORR with Mick what was the need to audition. None.
This is demonstrated by the fact that they immediately asked Ronnie to play on the 75 tour, but he was still on tour with the Faces, however they made the end of the Faces tour coincide with the beginning of the Stones tour.
But Ronnie was asked already in 69 to join the RS, but it is said that he did not answer the phone but Rod S. or someone else from the Faces and said no.
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Testify
This whole audition thing always seemed ridiculous to me.
They wanted to finish their album and needed some guitar contributions, that was an excuse to get these "collaborations" for free.
I don't think they ever really thought about these guitarists, as possible replacements for Taylor, they wanted Ronnie (even after Brian left they wanted Ronnie), they always wanted Ronnie, because they thought he was the most suitable, a good character, a friend of both Keith and Mick, he could help with the writing of the songs if they needed it and he had the same philosophy of rock and roll as them.
The problem was that Ronnie was still in the Faces, but they also knew that Rod S.'s intention was to have his own solo career, so it was only a matter of time.
It is said that Ronnie was also present at those "stupid" auditions, but Ronnie had already played with both Keith and Mick, he had also written IORR with Mick what was the need to audition. None.
This is demonstrated by the fact that they immediately asked Ronnie to play on the 75 tour, but he was still on tour with the Faces, however they made the end of the Faces tour coincide with the beginning of the Stones tour.
But Ronnie was asked already in 69 to join the RS, but it is said that he did not answer the phone but Rod S. or someone else from the Faces and said no.
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DandelionPowderman
Of course he is. He is a very good guitar player. However, he is known for tapping and (over)use of electronic effects. So, in this context, with this interview, it wasn't really unfair to mention that, imo.
And Mandel never wrote or played on (or sang!) big songs like Ooh La La or Stay With Me, songs that people really remember. Getting input from a top notch songwriter was probably a plus when they considered Ronnie, too.
It was the Stones Mandel wanted to join, so there probably were a lot of abilities that came as a pre-requisite for him before he could be considered - also things that didn't have to do with technical abilities as a musician.
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Mathijs
The magic to Ron Wood for me is that his guitar playing sounds so simple but when you want to copy it, it turns out to be much more complicated. His playing in 1975, 1978 and 1981 is actually much more technically advanced, much faster and much more intricate than you think on first listen. And Wood has taste -he always plays the right part to a track, especially when they play soul ballads and the kind. He plays what the song demands, and not flashy things to show how good he is.
Mathijs
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RiffKichards
All these years since 1975 have shown that Ron Wood was the best possible choice.
He was born to be a Rolling Stones.
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TravelinManQuote
Mathijs
The magic to Ron Wood for me is that his guitar playing sounds so simple but when you want to copy it, it turns out to be much more complicated. His playing in 1975, 1978 and 1981 is actually much more technically advanced, much faster and much more intricate than you think on first listen. And Wood has taste -he always plays the right part to a track, especially when they play soul ballads and the kind. He plays what the song demands, and not flashy things to show how good he is.
Mathijs
He might have developed taste over time, but there was a period when he immediately joined the band where he tried too hard to fill Taylor's shoes and most definitely overplayed. He's not a six minute soloist. He just isn't, and that's fine. I'm glad it came to him (or somebody told him) and he altered his approach.
I don't find anything he did technically challenging, but maybe I'm missing something. Have any examples I should try? I just remember a lot of tremolo picking (for the "fast" parts) and lack of vibrato. I've never been a fan of his tone either, but that's subjective.
IMO, Beast of Burden is his best work with the Stones.
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TravelinMan
He might have developed taste over time, but there was a period when he immediately joined the band where he tried too hard to fill Taylor's shoes and most definitely overplayed. He's not a six minute soloist. He just isn't, and that's fine. I'm glad it came to him (or somebody told him) and he altered his approach.
I don't find anything he did technically challenging, but maybe I'm missing something. Have any examples I should try? I just remember a lot of tremolo picking (for the "fast" parts) and lack of vibrato. I've never been a fan of his tone either, but that's subjective.
IMO, Beast of Burden is his best work with the Stones.
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Big Al
Yes, like the LA '75 show. It really sounds like he's trying desperately to unleash his inner Mick Taylor. By the '78 tour, we've got the Ronnie will know today.
From a certain point on Keith and Ronnie try to intertwine with the guitars, Ronnie always tries to understand where Keith is going to intertwine. Sometimes the result is really effective, but both improvise a lot, they never do a single the same.Quote
maidenlaneQuote
Big Al
Yes, like the LA '75 show. It really sounds like he's trying desperately to unleash his inner Mick Taylor. By the '78 tour, we've got the Ronnie will know today.
True, there are moments on LA 1975 Gimme Shelters (and they are always just moments) where you would think it's Mick Taylor.
But Ronnie plays only in phrases, Taylor plays in paragraphs or chapters -- coherent beginnings, middles and endings.
That said, I enjoy Ronnie's three-second licks as much as anyone's -- you could say there's no one better, if you have the patience to wait for them to occur.