Jagger was clueless and had no idea what was going on. "Who's fighting and what for?" No one was fighting, Mick. It was pointless trying to calm the audience. The audience was not the problem. It was getting beat on by your security crew. Keith was the one that got it right. "If those guys don't quit it...we won't play." Altamont was the band's re
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For those of you who could use some advice about the '69 tour, I would seek out: "Cocaine On A Dentist Chair" for the Inglewood 11/8/69, 2nd show Tarantura's "Live'R" for the Oakland 11/9 shows The San Diego 11/10 show, various names, but I think they are the same source Dog n Cat's "Some Satanic Tour" for Baltimore 11/26 and Boston 11/29, 2
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<<The only thing about the '72 tour is that Taylor is sometimes too loud and sometimes plays on everything to the point where you just want him to shut the f*** up.>> IMO this is complete bullsh*t. I saw someone write that he thought the '70-71 period was the band at its best. I understand his point, but it is hard to argue that the '72 tour was not the band at i
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I saw the band 11/8/69, 2nd. The show started around 2:00 a.m. I sensed in the audience excitement, a vague sense of danger and curiousity. I say curiousity because how many people in the audience had actually seen the band before? To this day, I've met very few. We knew the records. We knew the reputation. We knew the monster singles. We knew the TV performances. But as the decade
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There is little in the band's discography that prepares you for Beggars Banquent. IMO it's the band's masterpiece. It is a fully realized mature work. It is at once sparse and richly produced. It's an inspired work created from the inside out with an almost complete lack of self consciousness. The band's eye is not on the mirror here, or the audience or the critics.
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No "Far Away Eyes" country parody there. The band played that song for keeps. You ain't gonna find much better pickers anywhere.
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The other odd thing about Taylor's first solo album...He did nothing to promote it. In '86 he put together a poorman's Bluesbreakers band and did blues covers. I find this period very depressing. NIce playing, but depressing nonetheless. But the audiences were well aware of the solo album and were calling out for songs from it. Finally, in late '86 he started to play Gidd
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It's a nice record, very tasteful, but it lacks a coherent musical vision. That "flaw" is perfectly acceptable at that point in his career, but I think it is a problem that has plagued him throughout his career. Where am I going? What do I want to do? So many things in his career have just fallen into his lap...sitting in for EC...Mayall looking him up...the Stones...Dylan comi
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As stated multiple times...It's Taylor, Taylor, Taylor. If you do not have the ear to figure it out...consider...Have you ever heard Jagger call Keith "Boy" or "Young Man?" Those are phrases he often used to introduce and encourage a live solo by the younger Taylor. I always thought HYL would have fit in well with the boogie/blues numbers which provide the meat and p
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BBJ '72...without a doubt. The guitar interplay has a sophistication CBerry could only dream about. Keith begins the song, but that tasty early riff is all Taylor before he turns the lead back to Keith. The Vancouver performance is unique in that Taylor plays the lead all the way through. MSG 7/26 is the quintessential performance, but they are all good. Carol '69 would be my sec
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Some Girls may be a classic of the Woody period, but that is not saying much. It's a fun record. It has a feel. It is slickly produced, but musically there is less going on there than most people credit. It is the band re-inventing itself to a younger audience in the post-punk era. I like the record better than its live performances. "Just My Imagination" live is for me a ban
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George made a guest slide appearance on Giddy-Up on Taylor's '79 s/t first record. As far as I know Taylor did not promote the record and did not play a song live from it until late '86. Nice planning, Mick.
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If you click on the "press coverage of the 1972 tour" link you can travel back in time and see how that deservedly legendary tour was reviewed by the press. Few reviews are very insightful and almost all of them are Jagger, Jagger, Jagger. Not much is said about the guitar players. Many are not flattering. I think it was a Philadelphia show where I thought the reviewer missed one of
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I have praised this performance of TD enough and will only point out that the "Brussels Affair" and "Europe '73 versions are NOT the best ones. "Definitive Brussels" and "Timeless: Europe '73" are better. At the close Taylor joins Keith to play the closing riff 5 times. Between the 2nd and third riffs Taylor plays this spontaneous, tasty run of link
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Shake Your Hips, Casino Boogie, Sweet Black Angel, Turd On The Run, Ventilator Blues, Stop Breaking Down and to some extent Torn and Frayed and I Just Wanna See His Face are for me the meat and potatoes of the "mythic" EOMS album. I say "mythic" because these songs define for me the gritty, edgey Stones guitar sound, but with RARE exceptions these songs have never been or hav
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Still...it is fun to hear that stuff played on the radio. I know someone who has a blues radio program. I've sent him "unreleased" Stones music that he's broadcast with an on the air "thank you." It was a kick to hear on the radio... live GS, LIV, BS from '72-'73. Those songs just JUMP out of your radio speakers. Not too long ago I heard an unmistaka
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There is a partial recording of Taylor playing Sway with Carla from Slim's in SF in '91. I know the taper. When Taylor starts his solo he (the taper) was so excited he got paranoid, looked down and noticed to his horror the "pause" button was on. True story. He did get most of the solo and three other songs. So, I am grateful for that at least. I know of only four reco
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I often wonder how the Klein experience shaped the band's, i.e., Jagger's money obsessed view of the world. Besides the nuts and bolts, what psychological damage did that experience do? If the band had not been broke in 1969, if it were able to reap the continuing benefits of its early work and the classic BB and LIB, would we have seen the well lubricated, money making machine of Rol
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I have no doubt the taper is the light haired (Andy Warhol looking) kid with glasses in the upper right hand corner of this photo. He is seen a number of times with his recorder in the GS movie. At one point his head fills the frame. His recording is more than decent and I would not knock it considering what he went through to obtain it. I applaude his tenacity. There are some ugly mom
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Again, I think the tempo of songs played in '69 made them...sexy, particularly JJF and MR. In fact, by today's standards, the '69 shows were fairly low key affairs. Slower tempos, straight ahead Chuck Berry RnR and medium tempo (or slower) blues. I remember being tantalized by the feeling that the band was holding back. I admired the band's choices then and I admire those
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I sat down in Border's for a half hour or so with Greenfield's new "Exile" book. There is a few page section in there about Taylor. After reading it I thought "That's why he left." You read this book or watch CS Blues and you cannot help but think the scene around and within the band at that time was...well, creepy. I saw a clip of Woody talking about EC w
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IMO: They play two versions of TD during this "rehearsal." The first one breaks down with Taylor "flubbing" around. I think this is an intentional set-up because the second "run through" is beautiful. Taylor's little solo is immaculate, tasteful. He is in complete control, knows exactly where he wants to go. There is nothing excessive about it. Does anyo
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The Forum, Inglewood, Nov. 8, 1969, 2nd. Memorialized on Disc 1 of Cocaine On A Dentist Chair (Disc 2 is Champaign), Street Hassle In LA and Born In The Crossfire Hurricane. The show did not start until the wee hours of the morning. Strong performance by Keith. One of the best SFTD performances, pre-Taylor solo.
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Taylor has often said that he is most proud to have worked with Dylan. There are accounts that it was an uneasy association, but Taylor seems to have fond memories of it. He said he was present when Bob wrote this song. Perhaps that is why he plays it. I'd like to hear him cover some other Bob tunes. Simple Twist of Fate? ....Baby Blue?
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This is a very funny thread. Let's consider: Taylor played this song in 1974. Played it again in a radio station studio in 2001, then slops up an impromptu performance in 2006 (that probably only occurred because of a request from his friend Nyhoff) and that demonstrates he has lost it? When Taylor flubs a performance like that it's due to laziness or lack of preparation. It may als
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Can anyone cite any reliable authority that that is EC playing guitar? The only place I have seen that is on a bootleg somewhere and that's it. I've heard the birthday party story too. That version does not sound like it was recorded at a birthday party. It may very well be EC, everybody says so, but over the years I have seen nothing written that would convince me and I've b
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Off the top of my head: He's played the instrumental portion of CYHMK for years and that's fair enough. He played JJF regularly during a brief period. In various settings he's played LRRooster, You Gotta Move, Shake Your Hips and Stop Breaking Down, but those are cover songs by the Stones. He has co-writing credit on Ventilator Blues. His No Expectations is a very nice re-w
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I still do not know how this paring came about. It's interesting for me to listen to what Taylor finds to play in Lee's speedball, boogie, blues-based RnR. Taylor gives it all a welcome shot of musical class. His grand moment during this tour was on "Can't Stop." After one performance Lee says "Mick Taylor! Amazing!" I have not listened to this recording
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Quite possibly America's greatest blues and soul singer was white and a woman...Janis. She could tear your heart and leave blood on the stage. Scary, really, she was so powerful. The only other singer that grabs me that way is Judy Garland. Both those women could dig deep. I'd pay just to hear Janis sing Ball & Chain. It is a shame she did not live long enough to get the accol
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The Idol Mind version of the '72 Vancouver show is a nice recording of an interesting show. Beside the setlist, the band was working out the arrangments and rhythms of the songs, so the arrangement of many of the songs is a touch different than the ones later in the tour that became so familiar. Take a listen to BBJ. Taylor plays the lead and it is not shared with Keith. T&F stumbles
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