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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One more example: Midnight Rambler, 1989, Atlantic City. Granted, they were under a roof, and the house blend sounds very good. But both Keith and Ronnie sound cleaner, slightly “wetter.” Same licks; different rigs and setups.
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Here is Ronnie using what sounds like the same compression and phaser he used in ‘78 and ‘81: The lines are the same as he attempts today. But they “sing.”
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Mathijs could probably tell you chapter and verse what gear they were using in that clip. I know Keith was soloing through a Marshall or Soldano head. But it’s not just overdrive or gain; there is some delay and/or modulation in that signal. Ronnie has it, too. It gives the notes a subtle “bloom” or “halo.” When Ronnie soloed on YCAGWYW back then, he could make it sing or soar with ease; listen t
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Quotejumpingjackflash5 I do not agree. Especially Keith's setup fits his style perfectly. No need to change. This is about as good a single-line guitar solo as Keith Richards, in any era, will ever play live. If you gave him, in 1990, the Tweed Twin and Les Paul Jr. he’s playing now, he wouldn’t have been able to do it.
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I know I sound like a broken record on this topic, but it’s so ironic that it bears repeating: as Keith and Ronnie have naturally declined, their rigs have gotten simpler, especially since 2012. I suspect the reason is that PA systems have gotten so much more powerful and sophisticated — you don’t need to move as much air as you did in the ‘70s and ‘80s. Small amps — or even no amps at all! — are
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Keith is not as far from this as it might seem (if he could use this guitar and rig today). But you’d still be missing the key ingredients of Charlie and Bill: (International Rock Awards broadcast, 1990. Frankfurt? Hanover?)
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QuoteGasLightStreet Ronnie's live solos have been outstanding, for me from 1994 to at least up through the LICKS tour, on Tumbling Dice, Start Me Up, Shattered, Dead Flowers. But he's not really a soloist. Possibly his finest moment in regard to a slide solo is in Out Of Tears. Ronnie's playing in this version of Start Me Up, including his melodic lines toward the end with
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QuoteGreen Lady QuoteRocktiludrop Rambler Mick almost struggling to keep up with the pace here, Ronnie really kicking it into touch, the band are on fire and it's one of those nights. Just confirmed what I heard last night: Mick does say "I wanna stop!" at around 3.45 here, right? No. He says, “All right, take it home.”
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I found an orphaned cousin of “All Down the Line” — “So Divine (Aladdin Story”):
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New York magazine piece on this:
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Paint it Black was pretty rough in Dallas last night.
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QuoteJustin Pros: Vocals, Steve and Darryl come through amazingly well; crisp, powerful Cons: Ronnie and Keith fluctuate so drastically in the mix it takes away from their performances; robbing the audience of the natural "weave" and an appreciation of what each guitar player is doing I miss the "stereo" effect in the live soundscape. In recent years, the sound design is
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QuoteMelBelli Quotegrzegorz67 QuoteHairball Quotewaterrats QuoteGreen Lady Quotewaterrats I just can't help it - Keith's pink cap - some kind of funny... Oh, and his solo on SSS was really off key, hehehe ... Yes, that was weird. Off key or what? He missed the right scale on the fretboard... I think he missed the fretboard altogether... My ears are STILL hurting Can’t wai
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Quotegrzegorz67 QuoteHairball Quotewaterrats QuoteGreen Lady Quotewaterrats I just can't help it - Keith's pink cap - some kind of funny... Oh, and his solo on SSS was really off key, hehehe ... Yes, that was weird. Off key or what? He missed the right scale on the fretboard... I think he missed the fretboard altogether... My ears are STILL hurting Can’t wait to hear it!
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Interesting that Keith says he had to be talked into (by Mick) including Living in the Heart of Love. Also says he expects they will work it into the setlist at some point … I have my doubts about that. Such a cut-and-paste arrangement. It would be tough to get through on stage without getting lost.
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QuoteMisterDDDD Quotedoitywoik QuoteMaindefender In the second stanza, I hear “call up Steve and Dwayne” instead of “Come up stealin’ the Wine”. Lol anyone else?? Maybe Steve Austin and Dwayne Johnson? Maybe the song is about a cage fight or so? Fiji Jim- (Hendrix), Duanne (Allman), Steve (?) Winwood, Wonder, Marriott
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