QuoteEddieByword QuoteElmo Lewis Give me the truth now Don't want no shame I'd be hung drawn and quartered for a sheep Just as a well as a lamb WTF? In England a few hundred years ago punishment for minor crimes was severe - ie. Deported to Australia for stealing a loaf of bread. Hung, drawn and quartered was usually reserved for heresy, treason or witchcraft. Mick proba
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Refinement, sophistication — “wealth and taste”
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QuoteKRiffhard QuoteMelBelli Eighty-six: "Since you 86-ed me, pretty beat up" So, it means "Since you removed me"? Thanks More like rejected.
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Quotedead.flowers "I'm all sixes and sevens and nines" This refers to playing cards. Sixes and sevens and nines are insignificant cards of lowest value. EDIT: Layout Er, I think it’s rather a reference to “dice.” In craps, rolling sixes, sevens, and nines can be good or bad, depending on the situation. In 2010, Mick revealed he knew very little about gambling. A housekee
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Eighty-six:
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Bacchanal:
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Quotedead.flowers What about politesse? A word that no dictionary knows. Does he mean politeness or what? Was it ever questioned or explained?
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Mammaguay, bassodee:
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Restoration plays: Bell, book, and candle:
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QuoteDEmerson Even before that postponement, the band had planned to tour without Charlie Watts. What's the point of making up stuff like that I chalk that one up to just lazy/sloppy journalism, but not meaning to be 'inflammatory'. Had they said something like "even before the RESCHEDULED SHOWS" it would have been fine, and correct. Yes, more than likely a slo
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QuoteKeithNacho Just hear Keith's licks and fills in Wembley. He has lost 95% of his habilities. He was an excellent guitar player both rythm snd lesd, not a virtuoso, but very accurate for rolling Stones music. Maybe he reached his top at the end of 80s. Since then,the decline is dramátic. Just open g things. Even with very difficulty Even though his signature sound and rythm pulse is alw
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Quotematxil QuoteMelBelli Quotematxil QuoteRocktiludrop Could this be the reason we got 18 songs. I don't get it. A musician can have a bad night but then for the next time you either practice it thoroughly to make sure not to fail again or you decide that you can't do it anymore and give the part to someone else. But Keith has been consistently destroying Sympathy, especially the
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Quotematxil QuoteRocktiludrop Could this be the reason we got 18 songs. I don't get it. A musician can have a bad night but then for the next time you either practice it thoroughly to make sure not to fail again or you decide that you can't do it anymore and give the part to someone else. But Keith has been consistently destroying Sympathy, especially the solo, for more than a dec
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HTW solo turned into a miss. For some reason, he wasn’t ready. Was there supposed to be another chorus?
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Quotepowerage78 Awful Keith playing during Sympathy. Empty eyes, staggering gait, Keith is totally lost here. He seems not to know what to do. And instead of a solo, a totally incoherent sound mush. Sad to see. The playing is what it is. Mick mercifully called it off. But the tone is just the worst it could possibly be. And that *can* be fixed.
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That is coming straight from the soundboard, divorced from context of stage blend. And it’s still better than what he was doing in 2002 and onward. Distortion and delay are not hiding mistakes; those effects allowed him to take chances and push the envelope. He can’t even *try* much with a dry signal through a Twin. It’s like a sonic straitjacket. His 1989-90 rig was like a jet pack.
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Quoteyeababyyea QuoteTaylor1 Quoteyeababyyea QuoteTaylor1 1989 blows away any show from 2003.The band, especially Keith were great as was the setlist . And it was Bill's last shows in America The 1989 tour was too polished, stiff and rehearsed compared to the 2003 tour. They played with much more swagger in 2003 and the overall sound was much more appealing and authentic.
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New series! Ronnie Wood slide solos in open E. Episode 1, “Out of Tears”:
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QuoteBig Al QuoteAntoineParis The start of Keith's decline. A kind of... What a difference with 1999 Let's not forget that Bridges to Babylon was a decline from the 1994-95 Voodoo Lounge tour; and, of course, the latter-mentioned was a decline from his 'modern-era' peak: the Steel Wheels and Urban Jungle tours. It's all been downhill for Keith since 1994, basically. It
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The small-medium-large concept was a great compensation for the lack of a new album. I deeply regret not seeing an arena or theater show on that tour. DC only got a stadium show, and I didn’t have the means or time to travel elsewhere at the time. Looking back, it was the beginning of a gradual decline for Keith. Those botched “Brown Sugar” intros became a thing on that tour. There was talk
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QuoteSpud Keith Strums on the neck a lot because he prefers the response and sound... ...and that's partly why he has the guitar slung so low, to have it in the best place to hit chords and notes on the neck . Hmmm. To quote the great Frances McDormand, I’m not sure I agree with your police work there. You can easily access the neck of a guitar with your right hand even if you’re seate
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QuoteProfessorWolf i'm not a musician and i have a question for those who understand this better why is it that keith can play a great solo over and over again in connection but can't get the intro right it seems to me to be the easier thing to play Much as it pains me to say, he’s not playing great solos. But I know what you mean: why is the intro to JJF so halting when he seems just
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Switching to open-G, as with Winos in ‘88, would solve the Connection problem.
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Quoteretired_dog QuoteRocktiludrop QuoteMelBelli It was a great idea bringing back “Connection” for this tour: not just injections and infections, but “All I want to do / is to get back to you” for the post-quarantine reunion. But man, that performance in Detroit makes me think they’ve gotta dump it for the last two shows. It was not all Keith’s fault, either. Same here, was pleased to hear
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It is largely Keith losing his place and, during the solo, notes getting caught under his fingers. But between 11:40 and 12:00 in this clip, Ronnie must be the culprit, because Keith isn’t playing: One thing I’ve noticed: the guitar is slung so damn low, he has to bend almost to the floor to play anything with more-than-unusual detail. Looks painful!
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It was a great idea bringing back “Connection” for this tour: not just injections and infections, but “All I want to do / is to get back to you” for the post-quarantine reunion. But man, that performance in Detroit makes me think they’ve gotta dump it for the last two shows. It was not all Keith’s fault, either.
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It seems like there’s a long time between songs, too, generally speaking. The guy gets tired, needs a breather. I had side view seats in Brooklyn, 2012. Before he walked out for “Sympathy,” he was behind the drum riser, leaning and resting. That was almost 10 years ago. This is hardly shocking or even alarming. The point of my posts above is solely about tone — his and Ronnie’s. They are makin
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I’ll take your word for it. But the playing seems fine from both of them on MR. The tone is just godawful. For the life of me, I don’t know how they can find it satisfying: Nails on a chalkboard, and that includes Ronnie.
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I wouldn’t read too much into the Detroit News critic’s take. My guess is, if he’d been to one of the first few shows, he would have made the same observations. And people here get overhyped at the beginning of every tour.
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I’m 99% certain you’re right about why Keith chooses to sound the way he does. There’s no accounting for taste in tone. My main point here is to say that we’re exaggerating the effects of age on both of them.
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