QuoteGasLightStreet He got ripped off by Mick and Keith for IORR and Hey Negrita He didn't get ripped off, IORR was traded against I Can Feel The Fire, and Hey Negrita was written by Mick and Keith with a riff from Wood. Mathijs
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Because the Stones just really didn't fit in. It really wasn't their scene. Mathijs
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My daughter skips Satisfaction in her Spotify list, as 'the sound quality is so bad'. I said it's 60 years old, and she replied 'that's why'. Mathijs
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While I find the Captain's work excellent and always an improvement, this is the first one where I like the orinal better. The original is very transparent, with a crackly and snapping sound to it. Now it sounds a bit muffled, especially the snare and cymbals. But do keep up the work! Mathijs
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Quotejp.M QuoteRollingFreak Every song on Aftermath is so damn good. ...except ” Take it or leave it ”... I find its a great attempt of writing a soul balad like they used to cover on their earlier records. Its not world-shattering, but a nice album track. Mathijs
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QuoteDandelionPowderman QuoteTravelinMan QuoteDandelionPowderman I was listening to Hide Your Love with headphones, and heard a guitar in the right channel for the first time! It comes in round 2:04 and does a classic Keith lick round 3:36. The baritone sax comes in at 2:04 That blues lick at 3:36 sounds like a classic Taylor Bluesbreakers lick. It might have been from his original take. L
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Quoteexilestones Keith and Stu, 1981 Photo by Michael Halsband Next to his parents and kids, Stu must have been the only person in the world not to be star struck when talking to Keith. Mathijs
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QuoteCristiano Radtke QuoteMathijs QuoteCristiano Radtke QuoteMathijs Quotemaidenlane Sadly, the centi-millionaires who paid Nicky union scale for records they made millions and careers off of aren't ponying-up the half a million or more it would take to honor their memories with a slick HBO-level documentary. I do not know if this is all true -Nicky was extremely in demand as a session
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QuoteCristiano Radtke QuoteMathijs Quotemaidenlane Sadly, the centi-millionaires who paid Nicky union scale for records they made millions and careers off of aren't ponying-up the half a million or more it would take to honor their memories with a slick HBO-level documentary. I do not know if this is all true -Nicky was extremely in demand as a session player in the 1960's and early
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Quotemaidenlane Sadly, the centi-millionaires who paid Nicky union scale for records they made millions and careers off of aren't ponying-up the half a million or more it would take to honor their memories with a slick HBO-level documentary. I do not know if this is all true -Nicky was extremely in demand as a session player in the 1960's and early 1970's and was paid top dolla
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QuoteTheflyingDutchman QuoteSpud I think modelling has reached the point of sounding very convincing...but it still doesn't feel quite right when you are the player. I've always found that plugging a good guitar into a good simple tube amp is almost like playing an acoustic in terms of the sound responding to your fingers. The more processing of any kind you put on the middle, the
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QuoteTheflyingDutchman QuoteMathijs In the 1970's when Keith still used Ampeg SVT's the humbucker came in handy to drive the amp into overdrive a bit more. I tried it a couple of times with an old SVT and it sounded fabulous, with lots of warmth bit still a lot of treble. With the later Boogie's he stopped using the neck humbucker for just about eveything, and when he used i
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QuoteSpud That's why I once asked you if you knew how Keith's bucker loaded Teles were wired. The neck bucker with standard 250K Tele pots is too dark to be really useful on it's own...but it does pair with the bridge pup for a beautifully filled out but airy tone in the mixed position. In the 1970's when Keith still used Ampeg SVT's the humbucker came in handy to d
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QuoteSpud Quite so...and when we build our own "Micawber" or "Malcolm" inspired copies...the instinct to do a neater job is very hard to resist I can never bodge it on purpose In my Tele the humbucker is a tad more removed from the neck indeed. I don't find it a fabulous sound by the way, too dark and muddy. Still need to fix it by installing a 600K pot. Mat
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QuoteSpud QuoteMathijs [... Even Ted Newman Jones, Keith's guitar tech throughout the 1970's, was an amateur at best who did quite a lot of botched up work on Keith's guitars. I can understand a thinner neck profile and a bigsby would make the guitar have tuning issues, but you normally fix that by cutting the nut properly and introducing some pencil graphite. Roller bridges an
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QuoteBig Al QuoteMathijs QuoteBlueranger They made that record long just because they could. In my opinion Side 2 drags after Out Of Time. I Am Waiting is good, but they should have put on Ride On Baby and Sittin On A Fence on last, instead of It’s Not Easy, Take It Or Leave It, Think and What To Do. I don’t think either of them should have made the cut. The only change I could see is to repl
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QuotePaintMonkeyManBlack Is it me or is mick limping? He walks and stands like a man who turns 82 in a few months. Still think he looks fabulous though! Mathijs
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QuoteSpud Many SGs are neck heavy, especially with Grover type tuners, but a Bigsby sometimes helps the balance a bit. Never heard of fitting a beefier truss rod to address that whiplash long neck issue. Is that something you've come across before Mathijs ? I heard of many stories where people in the 1970's considered themselves 'luthiers' and destroyed guitars by th
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QuoteEleanor Rigby So the SG is still "missing"... Thanks again to our Geir Hornes, and thanks for Robin Millar to reply -Taylor's Gibson SG was mended by a luthier who installed (a new) truss rod to improve tunning stability. The guitar was so neck heavy after the repair it was unplayable. Millar does not remember anymore what happened to the guitar of where it went. Mathijs
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QuoteBlueranger They made that record long just because they could. In my opinion Side 2 drags after Out Of Time. I Am Waiting is good, but they should have put on Ride On Baby and Sittin On A Fence on last, instead of It’s Not Easy, Take It Or Leave It, Think and What To Do. I don’t think either of them should have made the cut. The only change I could see is to replace Going Home with Sitin
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Many of the links lead to very murky websites...If you want your computer to be hacked go for it. Mathijs
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Altamont is a sublime concert -they play slow, the sound is raw and fabulous, and they really concentrate. Stray Cat, UMT, Gimme Shelter are best versions of the tour. Mathijs
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QuoteMathijs QuoteTravelinMan What happened to to the Ya Ya's SG? Might have even been called a Les Paul at the time. The story is vague -it was used in the summer of 1971 in Nellcote, and dissapeared after the robbery. But according to Mick Taylor he gave it to his brother in law Robin Millar. But there are no pictures of Millar owning it, even though he showed his studio and guitars duri
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QuoteEleanor Rigby QuoteMathijs QuoteEleanor Rigby Would love to see the DA show up one day...I'm guessing serial numbers are unknown? It's even unknown if Keith's DA had a serial number. The first 20 or so guitars were prototype models with a white resin pickup fitted. These guitars were given to musicians and also used for display at guitar fares, and most likely did not hav
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QuoteEleanor Rigby Would love to see the DA show up one day...I'm guessing serial numbers are unknown? It's even unknown if Keith's DA had a serial number. The first 20 or so guitars were prototype models with a white resin pickup fitted. These guitars were given to musicians and also used for display at guitar fares, and most likely did not have a serial number. When the guit
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QuoteRockingLonestar Do you know what happened to the white Music Man Silhouette that Keith played from 1988 to 1990? Because in 1992/93 he played a black one? Keith still has the white one, he used it in the studio until at least 2007. It was part of the Exhibiotionism Museum collection of instruments. The black Silhoutte was for sale on Ebay years ago -apperently through Alan Rogan Keith
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QuoteTheflyingDutchman QuoteMathijs Taylor sold both his 1958 and 1959 Les Paul guitars used with the Stones in 1982/1983 to a London shop, for 5000 pounds each. Both guitars were then bought by musicians, not collectors. The 1958 ended up with the Hardrock Cafe, and the 1959 (with the stripe between the pickups, now called the ' Exile Burst') still is in the hands of the musician,
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QuoteRoadster32 QuoteDandelionPowderman Macabre 2 by Zemaitis. This one is definitely not made by Tony Zemaitis. Tony made only two Macabre. One owned by Keith, which got stolen or disapeared somehow and a second one with the exact same specs which is now in the hands of a private owner. Tony Zemaitis made at least three Macabre's: Keith's original, one exacxt copy for Zema
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QuoteTravelinMan What happened to to the Ya Ya's SG? Might have even been called a Les Paul at the time. The story is vague -it was used in the summer of 1971 in Nellcote, and dissapeared after the robbery. But according to Mick Taylor he gave it to his brother in law Robin Millar. But there are no pictures of Millar owning it, even though he showed his studio and guitars during various in
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QuoteSpud It could well be in some mega rich collector's secret stash . Some of these guys are like the bloody mafia Taylor sold both his 1958 and 1959 Les Paul guitars used with the Stones in 1982/1983 to a London shop, for 5000 pounds each. Both guitars were then bought by musicians, not collectors. The 1958 ended up with the Hardrock Cafe, and the 1959 (with the stripe between the p
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