QuoteTravelinMan QuoteDandelionPowderman QuoteTravelinMan QuoteDandelionPowderman Wrong. He kept doing solo albums and shows, in addition to his day job. Why are we discussing Ronnie in the Taylor-thread, btw I have a close friend that was on the road with the Stones in the 90's. I will not go into details, but he was not "doing his day job" very well. My point was to
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QuoteTravelinMan In fact, Keith Richards and Ron Wood are much more lazy, they just have the Stones machine to put them where they need to be and when. No, they ARE the Stones machine. It's them spending months and months in the studio to write and record. And look at Wood -the moment the Stones aren't touring he immediately organizes some shows with friends, does radio shows and w
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Quotewavelength I think his conflict is that he grew to resent the hand that fed him and that he that he is under no illusion that without his tenure in the band his career would not amount to much. He must find that hard to live with. His conflicts with Jagger and Richards are all caused by his 'manager'. That's really all there is to say about it. Mathijs
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No. Next topic. Mathijs
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Quotesaltoftheearth Quotebobo Strange how such a «fantastic» guitar player more or less never really achived anything after leaving Stones. Well…he did that Dylan tour in 84 and sounded awful….and some other less known stuff for the average rock music fan. It is not strange at all! He needs adequate counterparts because he is notcapable of writing great material, and if the musicians in his ban
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This tour book is fantastic! Absolute great labor of love! I just spent this summer reading and browsing, and there is just so much great information! If you think you know it all then there's this book... Great job Erwin! Mathijs
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Quotedcba Wasn't it in 72? "The flush of Mick Taylor joining the band had subsided somewhat. Substance abuse had changed him almost beyond recognition from the quiet fresh-faced genius I met when he joined the band. In fact, the last time I had worked for the Stones was in 1972, recording and mixing some of Exile on Main St. My brother Andy did most of the album at Keith’s house i
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QuoteTravelinMan I can't really figure out which album he is talking about regarding Taylor. Goats Head where he did a handful of mixes that weren't used? He didn't mix anything on Exile, Goats, or IORR. Glyn had made a similar remark about Taylor during IORR sessions in London, where Taylor wanted to add drums, bass, piano and vocals to a track. He ended the statement with a �
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QuoteDoxa Quotebakersfield As I've often said before, DW was seen as a return to form after the sterile Undercover. Even Keith Richards agreed with a journalist that Undercover was 'dull'. But... it has become an article of faith on this board to hate DW for some reason. To my ears side two of Undercover sounds phoned-in compared to side two of Dirty Work which is a solid run of go
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I thought the show was utterly fantastic. We were standing in the pit, about a meter from the small stage. I don't care about the mistakes -yes, they all are getting old. Richards sometimes seem to have difficulties remembering, but also Jagger needs a prompter for some of the lyrics. I don't care. The Waldbuhne is hands down the most amazing arena in Europe. There simply is no bad
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QuoteRocky Dijon The Jim Barber interview was excellent. Does he really go by Jimi? That's cheeky. Never knew he was on the European tour before UNDERCOVER. I've heard some of his recollections of those sessions. I don't recall him talking about PRIMITIVE COOL ever. Jim has shared quite some stories about the Primitive Cool days. A problem is that he is quite a short tempered guy
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QuoteRocky Dijon By the way, I seem to recall Musician magazine reporting Robbie Shakespeare played on "Feel On, Baby" and on the 12" mix of "Undercover of the Night," but that the LP version was Bill. Curious if Mathijs is certain it is Robbie on the LP. Actually, the long 12" mix has Bill Wyman on it for parts. The intro and middle, the fairly long part of only
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Quoteliddas Last night I was trying to figure out how to play a couple of licks Keith plays in his SWH solo (the opening and last lick of the second part) but ended picking up the bass to play along with Bill's line. I find it absolutely superb. In general, I love his late period with the Stones. Unfortunately he doesn't play much on the Undercover album, and is almost absent on
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Quoteliddas QuoteBowieStone Pretty sure that’s Robbie Shakespeare on bass on Undercover of the night. I remember Bill taking the credit somewhere. By memory the undercover bassline is not too far away from the Rock and the hard place one (which is 100% bill). I have not compared the outtakes with the released version. Could it be that Robbie overdubbed some bass licks (the repeated one that y
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QuoteTravelinMan It's definitely a Leslie speaker, or a Uni-Vibe. No its not -it's the Varitone of the ES-355 on setting 2 or 3. Mathijs
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QuoteTravelinMan Soul Survivor is without a doubt Taylor. Listen to the heavy vibrato during the outro. Yes, I stand corrected. Mathijs
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Quoteliddas QuoteMathijs Turd On The Run – no Taylor Mathijs I know we discussed this years earlier, but I still think that the 2nd guitar that enters at the 1 min mark center left in the mix is Taylor. C I don't believe that's Taylor at all -it's a repetitive, staccato riff in open G, capo on second fret, almost the same as Richard's riff / solo guitar on Sha
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QuoteTravelinMan QuoteMathijs QuoteTravelinMan I think Let It Loose was pretty old, Olympic. Loving Cup I now believe was from Nellcote after rewatching the Stones in Exile doc. Torn And Frayed I believe is Nellcote because of Jim Price’s story. Turd On The Run is a mystery. It could have been recorded anywhere. Was Stop Breaking Down at Stargroves or Olympic? Loving Cup, T&
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QuoteTravelinMan QuoteMathijs QuoteFP I think Travelin Man mentioned somewhere else that on Stones in Exile you can hear a demo of Taylor playing the riff on acoustic briefly. This is why we think Taylor plays the dobro part and also why he gets the writing credit. Keith plays the main electric part but Taylor double it on the dobro. That's Keith playing the slide and the dobro. And
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QuoteFP I think Travelin Man mentioned somewhere else that on Stones in Exile you can hear a demo of Taylor playing the riff on acoustic briefly. This is why we think Taylor plays the dobro part and also why he gets the writing credit. Keith plays the main electric part but Taylor double it on the dobro. That's Keith playing the slide and the dobro. And all guitars on Happy are Keith
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QuoteFP It is possible a couple of tracks were recorded there however we don't know if these were for Exile or GHS. Tracks that may have been recorded (or rerecorded) at SS include T*rd On The Run, Let it Loose, Loving Cup & Torn and Frayed. However no sessionography I have checked agrees on the exact recording location of all the songs. No this is wrong. No tracks were recorded at S
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QuoteTravelinMan I think Let It Loose was pretty old, Olympic. Loving Cup I now believe was from Nellcote after rewatching the Stones in Exile doc. Torn And Frayed I believe is Nellcote because of Jim Price’s story. Turd On The Run is a mystery. It could have been recorded anywhere. Was Stop Breaking Down at Stargroves or Olympic? Loving Cup, T&F and SBD are all from Oly
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QuoteTaylor1 QuoteMathijs Nothing is presented as fact, but if you add everything up there is quite a clear picture to be seen. I do not want to downplay Taylor's role in the Stones, but it is my opinion that he was far less important than what many people state: that he made the golden Stones period great. Now this may be true for the 1972/1973 tours (where I agree), but not for the previou
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QuoteDandelionPowderman No, Taylor plays the rhythm throughout. His right hand gives him away (playing style). Keith would never play a boogie this way all through a song. Totally agree. When Taylor plays a Berry style boogie rhythm his right hand often plays an 'and-one', an upstroke right before the '1'. On Star Star you hear this as a full muted upstroke over multiple s
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Nothing is presented as fact, but if you add everything up there is quite a clear picture to be seen. I do not want to downplay Taylor's role in the Stones, but it is my opinion that he was far less important than what many people state: that he made the golden Stones period great. Now this may be true for the 1972/1973 tours (where I agree), but not for the previous tours, and certainly not
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QuoteTaylor1 Ialways thought Taylor's guitar on the album version of Live With Me was Keith and Keith's part was Taylor's. Is Taylor paying rhythm on the album version of Live With Me Taylor's plays the slashing chords, Richards the bends and double stops. Mathijs
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QuoteTravelinMan The replaced parts on Ya Ya’s were probably done because the tone didn’t have enough crunch. Taylor played fairly clean rhythm live. Taylor's parts were erased as they clashed with Keith's main rhythm guitar. It's the same for quite some Taylor parts on Exile, that were erased as it clashed with Richards' idea for parts. On tracks like Rocks Off and Rip T
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I am enjoying this show much more than I thought I would. Nice set list, they actually play quite good and I think the sound is actually really good. Likely the last show were Wood still played quite decently. Mathijs
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QuoteTravelinMan Hear the Music: Richards playing the Leslie guitar and Taylor playing the one with what sounds like a fuzz octave pedal. Heartbreaker: Taylor plays the watery lead guitar but I’d have to listen again to see if there is another guitar or not. Heartbreaker: Keith: bass, all electric guitars, acoustic guitar Taylor: lead guitar (solo's) Can't You Hear the M
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QuoteTravelinMan QuoteMathijs QuoteTravelinMan QuoteTravelinMan I listened to this the other day and I was admiring Keith Richards super clean Chuck Berry fills. Really a nice touch with the reverb on those. Some of his best IMO. I think this song absolutely fits on this album as the closer. It’s a hell of a way to end the album. I think they should have completed All The Rage back then and ha
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