Oh, about Ronnie: his solo on the Stripped version of Love In Vain is really beautiful. The stuff he plays over the walkdown and turnaround is great and totally in the spirit of the Let It Bleed recording (this is one of the few Stones songs where I feel no need to compare different versions and rate them - the original is wonderful, the legendary live versions with Taylor are incredible in their
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I mostly agree with Tele on this, but in the interests of fairness it's worth saying that some of the Satisfactions they did last year were absolutely great (although, IMO, that wasn't a musical thing so much as the fantastic carnival atmosphere they whipped up with Satisfaction as the final encore, particularly at Glastonbury).
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Quote24FPSDo we have instances of Taylor being really good on acoustic? I never think of his acoustic fingering, and in the Sweet Virginia video they never show Taylor again after the intro. (Where he doesn't play). It's not what he's known for, but yes, he is a fine acoustic player, as these relatively recent recordings from Kleermaker's YouTube channel demonstrate:
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QuoteDandelionPowdermanNo, I'm not. Taylor plays on top of Keith's solo lick at 2:55. Stonesburst asked a more specific explanation, and this is a good example. HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA
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QuoteDandelionPowdermanThis one? It's indeed a showcase of brilliant weaving, imo. Keith definitely turns to Ronnie and mouths 'stop @#$%& soloing' at 3.40 or thereabouts. There is more genuine weaving on either of the Montreux versions, on L&G, on Brussels and on a dozen other versions from the Taylor era than on this. Mathijs's comments about Taylor on the Montreux
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Quote71Tele Quotepmk251 There are no cheap thrills here. The patience and restraint in each performance is very sexy and exudes confidence. What, don't you prefer more "rock star attitude", when the guitarists run around the stage, pose and light cigarettes? Hahaha, touché
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Quote71Tele For the people who continually complain about Taylor being brought up at all: There was an "original sin" in this thread. Far from making it just a positive thread about Ronnie's solos, Mathijs couldn't help take yet another opportunity to pursue his bizarre "Taylor can't play rhythm" theory. That's bound to raise the ire of us Taylorites every
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Quote71Tele It is not only not silly to compare them when they played on many of the same songs live, but continual posting of solos from those songs almost automatically invites comparison. And for Mr. Wood, the comparison on those songs doesn't come out well. I speak of Tumbling Dice, YGAGWYW, Angie, Gimme Shelter, and others posted here as supposedly "great" Ron Wood solos. You
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He ran an extremely useful YouTube channel with lots of instructional videos on how to play Mick Taylor solos (although it seems to have disappeared). I believe he posts here sometimes as well.
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QuoteDandelionPowderman Stonesburst? Hello?
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QuoteDandelionPowdermanConverting isn't the purpose here, posting solos you like is. You telling me what I shouldn't like just isn't part of the deal here. You know I won't run from a good ol' debate, but this thread is about what the poster thinks are great solos./b] Quick, everyone, post as many Mick Taylor videos in this thread as you can.
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But let's keep this positive, shall we? From Boogie for Stu, here's Wood and Taylor killing it together on Worried Life Blues: And, just as with the Jimmy Reed shows, the crucial point is that there is no pressure on Ronnie to emulate Taylor here; with Taylor onstage next to him, Ronnie has time and space to be himself, and - far from any negative comparisons - the stylistic cont
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Quote71TeleIt is possible to be distinctive without being exceptional. Touché. Indeed, one can be distinctive by being rubbish. The Sway solo posted earlier in this thread is a good case in point: I know it's Ronnie Wood immediately because of how crap it is.
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QuoteDandelionPowderman Listen to the Jimmy Reed-shows and say that again. His playing is just as eclectically beautiful. Yes, there have been lots of complaining during the last 16/17 years here about Ronnie not having the same fuzzy classic rock solo sound, like Taylor or Page had. I thought you were an old poster with a new name, and took that you knew that for granted, sorry. PS: Tel
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QuoteDandelionPowderman Don't forget the fact that most people enjoy his playing Luckily, there only a few classic rock-oriented people around who moan about a thin tone without enough distortion etc. Personally, I enjoy John Lee Hooker's and Muddy's sound better I don't think I've ever heard anyone on this board complain about that. Who do you mean? Kleerie? Te
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Quoteliddas But Ronnie's roots are way into American black music, there is no doubt about it. Whenever he is in an authentic blues environment he is at home like a fish in the water. Just like Keith is. Think of the Checkerboard with Muddy - an I mean not the notes, but the timing, the intention! Think of his guitar work on the recent you got the Silver or worried life blues in boogie for st
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Insofar as blues and rock'n'roll are inseparable, yes, but we're talking about his soloing and my point is that he is not a distinctive blues soloist in the way that many of his 60s contemporaries were and are. Ronnie Wood is not who one instinctively thinks of when the term 'British blues explosion' is used: he isn't a direct successor of the BB/Freddie/Albert tradi
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Quotethree16 Ronnie not a blues player? wow. There are exceptions - his take on Love In Vain when he was in the Faces was posted earlier in the thread - but mostly this is true. Ronnie Wood is a rock guitarist: he doesn't come from the same tradition as Clapton, Green and Taylor do. This isn't a criticism, just an observation. At his best in the 70s and early 80s, he could clearly do
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QuoteDandelionPowdermanI'm not criticising other posters for not enjoying them - where did you get that from? I criticise other posters for comparing with other guitarists. That's not what this thread is about, is it? By your criterias, Keith has never done a good solo, btw Those are my criteria for playing a good solo on a song like You Can't Always Get What You Want, which
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QuoteDandelionPowderman It doesn't have to be any "melodic invention" to be great. Sometime one note is enough, like on Knock Your Teeth Out I like that solo very much. Suits the song brilliantly. Sounds lovely. It's odd though, because Ronnie can play some real nice stuff at slower tempos: here's a good case in point
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QuoteDandelionPowderman I was there (on this show), and Ronnie's solo sounds just as great today! Er, really? The first couple of notes are okay (being the same as the studio version), then he just heads back to the pentatonic root position and starts blasting out the same Chuck Berry licks he always plays until Jagger cuts him off. It's not exactly a bad solo, but there's no
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To try and get back on a more constructive path, I really like some of the little touches Wood adds to You Gotta Move here: And, from beyond the Stones, it got a mention earlier but lots of his playing on Eric Clapton's Rainbow Concert is very good. His slide work on Key To The Highway is especially enjoyable:
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QuotePowerage All this to finally recognize that nothing equals the Taylor years, on disc and and on stage ... This is the deciding battle in the Taylor-Wood war. I'll bring the vibrato and doughnuts, you take care of the timing, phrasing and coffee. Victory is close at hand.
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While this thread's still open: 'we piss anywhere' was an acceptable approach when it came to sixties counterculture, it is not acceptable when the issue at stake is millions of Palestinians being denied their civil and political rights. Also, it's been decades since the Stones pissed where they liked. They are a part of the establishment they formerly put the frighteners on.
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QuoteDandelionPowdermanI did, but you didn't comment on them. I've literally just gone through the entire bloody thread. In the last nineteen pages, you've posted the following from the post-Steel Wheels era, in no particular order: - Little Wing solo w/The Corrs (not a fan personally, but it's atmospheric and I can understand how one might enjoy it, sure) - I Gotta
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QuoteDandelionPowderman Now we're getting somewhere You see, Powerage, if I enjoy Ronnie's solos, and you repeatedly say that the stuff I treasure hurt your ears, it feels like you're saying that I a) don't have a clue, b) have bad taste or c) that I should know better. I'm glad that it wasn't meant that way As I recall, Powerage was referring to Ronnie
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QuoteDandelionPowderman And Mick Taylor saved Sway the last time? You should add "imo" in your post, because obviously everybody doesn't think like you I thought there was no need for comparison and we weren't discussing Mick Taylor? (P.S. yes, he did; his outro solos were the only worthwhile thing about the handful of otherwise mediocre Sways from this past tour.)
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QuoteDandelionPowderman It's funny that people call Ronnie "average". I have never heard anyone who plays like him, and call tell it's Ronnie in an instant when I hear him. Yes, me too. No-one else @#$%& up Sway or All Down The Line with such idiosyncrasy; I can tell it's Ronnie from the first off-key note.
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QuoteDandelionPowdermanI feel sorry for you, and the fact that you can't enjoy your favourite band anymore. Lots of us post here because we love, and are interested in discussing, what the Stones did in the 60s and 70s. Why is that a problem? What else would you expect from the immensely diverse fanbase of a band that's been going fifty years? Oh, and Dandie - post a few more Ronnie
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QuoteAquamarine You reminded me to download Going Back Home, which I just did. I so hope everything works out well for this wonderful man. Edit: Great God Almighty, that's a terrific album! It really is. I saw Steve Weston, who plays harp on it, with Muddy Waters' son in Twickenham last week. Stunning player. Daltrey and Wilko are no slouches either. I know Wilko has a lot of
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