Doxa, I was at that show. The best bit (in my opinion) was not actually this, but the Crossroads encore - a bit shambolic overall, but MT walked on halfway through with Terry Reid, plugged his Les Paul in and took a quick solo that killed everyone dead - twelve bars and out, but worth every note (about three minutes in):
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I guess Gimme Shelter is one of the most obvious examples - Richards played lead on the studio version and on the 1969 live versions, then let both Taylor and Wood do that part in 1972-1973 and 1975 respectively. Another one that sticks in my mind is the first time Bye Bye Johnny was played on the 1972 tour (in Vancouver), when Keith let MT do both the solos.
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QuoteHairball Clapton is indeed clearly evident on I Can't Quit You Baby, although it's not one of his best solo's by a long shot imo. I love him, but not sure if he added much to the sessions. Perhaps the neurological issue he's talked about is truly effecting his playing. My feelings too - his playing on I Can't Quit You Baby is pretty shaky, by his standards anyway.
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Here's part of White Room, including most of MT's solo:
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QuoteTheflyingDutchman Did Billy Cobham show up? I was really looking forward to seeing him, but sadly no, he did not appear. Clapton was one of the big talking points in the ticket queue. Pretty much everyone assumed he was going to appear at the end of the show, and quite a few people were visibly annoyed when it became clear that he wasn't there. The latter half of the set had more
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QuoteFP I was interested to know if there are examples of Mick Taylor using modes in his solos or more exotic scales such as Harmonic and Melodic Minor? From the studio recordings he seems to stick to blues scales and natural minor but I wondered if there are any live shows that feature the more uncommon scales/modes mentioned above? If my memory serves, he does some nice Allman Brothers-type p
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QuoteRocky Dijon Let's not confuse "well-documented" with "rampant fan speculation." They are not the same thing. Personally, I love Taylor's playing with and without the Stones. I thought Taylor with Dylan in Europe 1984 was him playing at the same level as with the Stones. That said, Jagger did not consider Taylor a "name" or hip enough to call him up
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He isn't the player he once was, sure, but I think 'often' might be pushing it a bit. The first Rambler at the O2 was all over the place and he stumbled a couple of times on CYHMK, otherwise I thought he did well. Anyway, I don't think too many players would thrive with the kind of pressure he was under. Sure he had professional sound guys, great vintage amplifiers and all the
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Paid well by the Daily Express? The Express scarcely have the money to pay anyone for scoops, even when there's actual news involved, and there's no sign that the journalist here did anything more than look at Taylor's Wikipedia article.
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Asking whether MT himself personally wrote those Facebook posts is surely the wrong question, no? The issue is whether the comments reflect his views and were written with his consent, and the answer to that has to be yes. The alternatives are impossible.
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I think he also means that the gallery contacting him about it is not the same as the Stones organisation doing so. The Stones office runs the PR, and presumably virtually everything else save the ticketing, for Exhibitionism. Anyway, it's awfully crappy behaviour from the Stones, and kind of a dark cloud over Exhibitionism for those of us that are mainly fans of that era and were lookin
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Dickey Betts is one of the all-time greats, but this wouldn't have worked for a couple of reasons: 1) There is an Allman Brothers-ish side to MT's playing, but there isn't really a Stonesy side to Dickey's, so far as I've heard. 2) Dickey is (or at least was) a more prolific composer than MT, and the Stones wouldn't have given him an outlet for his own work. 3
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Quotelapaz62 I have seen it referenced a few times as June 1990, unless they all used the same source and have just been recycling an error. According to Zentgraf's site, the Stockholm shows that were apparently used for the release are from April '89, but they were recording soundboards for possible inclusion as late as December that year. Who knows. Was MT okay about Stranger In Thi
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QuoteS.T.P God I love Taylor! Thanks for the upload. There are loads of good stuff out there It would be very welcome if he had put together a live cd from the late eighties... Stranger In This Town is from '89, I think (although it's a little difficult to get hold of these days) and his late 80s tours are pretty heavily bootlegged - if you haven't heard it, this is great:
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Lovely stuff, Lapaz, thanks for the upload.
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QuoteDandelionPowderman Is it the blond guy with the weird haircut on the Dylan anniversary gig? Yes, also seen here with Billy Gibbons around 4.30. He's a good player for sure.
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DLS, if you are who I think you are, I have a couple of questions - can you email me?
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- video of MT playing at the New Morning in Paris sometime in the 1990s, mainly interesting for the Gibson L5S he's playing. I knew he had one of these for a while, but had never seen any footage of him playing it. The L5S is probably one of Gibson's more obscure guitars, but it's the basis for Ronnie's new signature model, and Keith also had a single pickup version in the 80
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QuoteReagan Quotemarianna Doesn't his former manager run "his" website? Since the website runs the Facebook page, Mick didn't post that himself. And yet, this webpage has many of the same posts as his bootleg Facebook page (I call it that because, for a long time, it had to be listed as a fan page just to get to exist on Facebook). That page was, at the very least, run by
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I haven't been for a while, but Casbah Records in Greenwich was reasonably good for bootlegs (if a little out of the way for most). I don't remember finding a lot of Stones stuff there, though.
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Exhibitionism tickets, courtesy of my girlfriend.
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There aren't that many photos from the shows that Taylor did with Alvin Lee, but in this one you can just about see a Boogie-ish looking amp behind him on the right:
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I stood at the door for a while but he couldn't hear me knocking, I think.
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No. 9 wasn't Waiting On A Friend, it was I Gotta See from I Feel Like Playing. The last song was Just Kissed My Baby by The Meters, but I forget the one before that.
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The IORR sessions folder was just removed from my Dropbox and I can no longer access the Facebook group. What's happened?
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It's not raining at the moment, no, although it is genuinely chilly for the first time in a week or so.
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As far as that story goes, suffice to say that Glyn Johns had a book to promote at the time.
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QuoteGasLightStreet QuoteStoneburst CYHMK does, in a sense. It starts in G before switching to D for the guitar solo and the vamp at the end (although the key is slightly unstable during the sax solo and the outro). Eh, but that's not the song in the sense of modulation with the song. If that makes sense. It's a whole different song. You could say similar about Slave but that's p
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CYHMK does, in a sense. It starts in G before switching to D for the guitar solo and the vamp at the end (although the key is slightly unstable during the sax solo and the outro).
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It's sure lookin' to be a cold, cold winter here in London (and my feet been draggin' across the ground)
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