The '70-'71 period is interesting and generally overlooked. Last week I listened to a number of '70 shows, Berlin, Paris (2), Cologne, Essen. People compliment Jagger's vocals these days, but I think his voice sounds trebled up, almost artifical. He's become a smooth, stylized singer, too smooth for my taste. But I was struck by his vocals during this '70 Europea
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Keith was on stage for SOL on Monday, but it was obvious to me that he was phoning it in. His acoustic guitar picking could not be heard and he looked totally disinterested. I don't blame him. Jagger's audacity in trying to sell that song would be amusing if it wasn't so....embarrassing. I am not surprised to hear he was not on stage. At least his absence is honest.
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Quoted from the boot: "recorded in excellent stereo. Many thanks to the famous "Mick Taylor We Miss You!" yeller, he expresses what we all feel. Thanks also to John Mayall for bringing him back alive." There is indeed someone yelling that during the show. A nice "The Stumble" on this one. Another good one OpenG.
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Yeah, I was thinking of catching Van in Oakland. I have not seen any official word yet, but Van has a sold out show in Detroit on the 7th, so it does not look good. Van will be in Spain in mid-November. After that it looks like he could make the rescheduled Vancouver show, but would he make the trip for only one show? Doubtful.
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The San Diego '69 performance of UMT is nice, too. IMO I'm Free is tripe, musically and lyrically, but in '69 it was a vehicle for some nice Taylor improvisation. Some Oakland, Inglewood and MSG performances come to mind. MSG 11/27 has a startling and sweet little 20 sec solo that leaves you asking "Where did THAT come from?"
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This may answer some of your questions: To quote the last line of this article: "It Doesn't Get Any Better Than This!"
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<<skip right to tumbling dice; it's a masterpiece.>> Indeed! My vote for the band's greatest moment on stage. But one point I recently noticed: At the very end of the song Taylor plays that closing riff 5 times. He connects the 2nd and the 3rd riff with a nice little spontaneous run of notes. Just another lovely Taylor touch that makes him worth the listen. Those
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This from Nico's site (comments by me): 21st January: Los Angeles, California, The Roxy (Band introduction/An Eye For An Eye/Rock It In The Pocket/Have You Heard/ Black Cat Moan/Checkin’ Up On My Baby/Oh, Pretty Woman/My Time After Awhile/Talk To Your Daughter/Room To Move) **This coincides with my information. Assuming they played two shows on the 21st (which makes historical sen
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I've always had the impression that there was a tape speed issue for the first few seconds of that song. My version of Keep Your Motor Running says GS, Philly 7/20. There were some great song performances in Philly those two days. The GS from the 21st, 1st, is one of my favs.
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The Mayall/Taylor/Bluesbreakers Reunion Tour started in early 1982. The band was booked into Australia and decided to do a warm-up gig at the Roxy in LA. When the owner of three clubs in the SF Bay area heard about it, he booked them for his clubs in Berkeley, Palo Alto and SF and the Reunion Tour actually opened there. At a Roxy show Dylan went back stage, met Taylor and suggested getting tog
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Mick Taylor is a test for even his most ardent fans. He was given the gift, the imagination, the ability, the ear. He is also temperamental and lazy. He can be gracious and contrary. But what bothers me most is what I perceive as a lack of inspiration, a lack of motivation. Frankly, I'm disappointed. But what right do I have to say that? He's done more with his life than I and pr
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I heard this story from someone who should know and I believe.....that the record company that set up this session was going to pay for Wolf's trip over, but not Sumlin's. The Brits (probably EC) said "No Hubert, no session." So, Hubert got a ticket over, too. Whoever did that...Good for him (or them).
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I will second Anderson's comments. Generally speaking the '72 versions of BS are my favorites. It was a great, concise and brisk opening song used to introduce the musicians. In '73 Taylor often played slide for the first part and fingered the second. I prefer the fingered versions of '72. It covered a lot of ground in less than 4 minutes. I really do not like the stretc
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I am fairly certain it is the same version that is on "Shake Your Hips," the VGP two disc set from Berlin 9/16/70 and Paris 9/23/70. The last song on the Paris disc is BS described as "On Line Recording." This Paris show is a really nice recording. As for this performance of BS...I cannot think of another performance quite like it. After Jagger says "Come on!" Ta
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Here you can read newspaper reviews of the '72 STP and some '73 shows. Not much in there about Keith or Taylor. It's all Jagger, Jagger, Jagger. The Village Voice had a wonderfully observant comment about Taylor's playing during one of the MSG shows. Wyman quoted it in his 2nd book. Generally, speaking, I think Taylor's playing was either overlooked or taken fo
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The greatest performance of this song ever recorded is Brussels. Play it loud, listen closely and listen to Taylor closely. The song closes sounding like a symphony. Watch the L&G performance of TD closely. When Keith starts the closing riff Taylor starts doodling. Keith hears it, steps back and shuts Taylor down. He may even say "Stop that!" Then he physically demonstrates
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<<As brilliant as Mick Taylor was with the Stones however, it could reasonably be argued that had he remained with the band, his virtuoso style of playing might have actually hindered their progression towards formulating their more consumer-friendly, one-size-fits-all stage production that we still see today. Conversely, it could be contested that in choosing to venture down such a road to
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<<Ronnie Wood was the PERFECT foil for the Stones from 1975-1980.>> Ironically true. The band reinvents itself as corporate pop entertainment for the masses. Something it spit on in the '60's. It never saw through the trap. It was all too easy and too lucrative. Image over substance. Style over talent. Personality over art. Ronnie fit in perfectly.
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A thought provoking post bp. Whatever one thinks about Taylor's playing in '73 I have No Doubt that it was played with the full support, encouragement and approval of Jagger. You hear it time and time again on any boot. But let's look at the tour from the other side of the stage.... I think you can see signs of the coming riff between Keith and Jagger. Taylor stated when h
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I do not want to belabor the point because I realize it is my peculiar theory, but what sounds more plausible to you? Taylor is dissatisfied in the band (for whatever reason), wants to leave and decides to let Jagger know at a party before, amongst other people, Ron Wood. Or...Taylor is dissatisfied in the band, wants to leave and something at the party sets him off to say "I'm out!&q
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<" Did you quit to piss off Jagger" - he would end the conversation quickly and walk away.> Yes, he would, no doubt. But I was imagining a situation when Taylor would be committed to a serious interview by say...RS mag. But the question would be more along the lines of "Did you quit THEN because Jagger did or said something that pissed YOU off?" Perhaps he'l
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Legally, ethically and morally, songwriting credit is a difficult area to define. It is litigated all the time. Ultimately it depends on the agreement of the parties. It can destroy bands. It can destroy friendships. Just ask Levon Helm and Robbie Robertson.
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Anyone who is interested in the subject of Taylor leaving the band can list the various reasons that have been cited for his discomfort in the band. I suspect all of them are true to some extent. Of all the cited reasons I suspect songwriting credit (at least as a financial reason) is the least of it. Where songwriting credit (as a point of respect) fits into his decision is anyone's gues
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He's been playing the instrumental portion of the song for years. Nothing new there. Sometimes it is an extended version with individual band members taking solos. Sometimes it is a straight run through with Taylor's seemingly endless and sophisticated variations. His performance evolves night by night and makes the SF one sound primitive in comparison.
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That show was at the end of an exhausting 4 wheeled tour across the country. I saw and spoke with members of the band in SF a couple nights after this show. They were bleary eye-ed. It was the last time Taylor played in the US for any extended period of time.
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They are different songs. Yes, Taylor gets music songwriting credit (words by Olson) on RF, but does not play on the track. Odd. Carla being generous?
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lol We could argue about it, but we'd both be quibbling. 7/26/72 was one of the band's great, great shows. My point was: Leave it to Taylor to come up with TWO definitive versions of the same song. It's an oxymoron, I know.
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I've seen Rescue Fantasy on a setlist before. The name of that song is, I believe, Remember That Moon. After the 1st Sway Carla says "You should have heard the rehearsal." She did not say that after the 2nd. :-)
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I call this boot Stones 101 because of the almost complete separation of the guitars in the left and right channels. Want to clearly hear what each guitarist is playing? Taylor without Keith? Or vice versa? Adjust the balance accordingly. A very interesting recording.
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Musically "Ya-Ya's" is the band at its sexiest. The slower tempos are so controlled, delicious, confident. When the band struck those slower opening chords of JJF the audience gasped. The band required the audience to come to them, rather than playing to the audience. You have definitive version #1 of LIV (L&G version being #2). SFTD is one of the great live performanances
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