Thanks for breaking down Ronnie Woods parts too. You were so right when you said Ronnie just doesn’t get the recognition( love) that Keith does. The ancient art of “ Weaving” I think Keith calls it
I agree with Ronnie. However, with Keith's arthritis I think Ronnie needs to step up more to the front and do louder chugging rhythms. Kinda like what Taylor did as far as rhythm style. Taylor used to be mainly playing regular box chords back in those days between his solos. I don't think the weaving thing is working as well now. I'd love to see Ronnie change to the old Ampegs and play a heavier chord style using only humbuckers or P90s. I think the Strat into a clean Fender is a very poor choice for him. Too thin. And Keith could play what and when he wants. Keith is missing too many important parts of songs these days. It's sad but he seems to be happy with what he's playing. But the guitars aren't as out front as they need to be IMHO. Ronnie used to carry the Faces but his playing is sparse now and he seems to wave his arms around in the middle of a song instead of holding down a strong, raw rhythm. Which is what Keith used to do. Now Keith isn't chugging and carrying the rhythms.
I totally support the Open F theory. Keith likes to pile up guitars in different tunings and trying an Open F on an F song would be quite natural to him.
I’m realizing that my favorite guitarists are really parts of a two-guitar team: Keith and Ronnie; Malcolm and Angus; Andy Partridge and Dave Gregory (XTC); even John and George. They all knew how to arrange parts that intertwined and supported each other in a very elastic way. Each member of the team knew their responsibility on each song and they drew inspiration from the other. Thanks for your channel, I’m learning a lot!
The 78-81 records are like symphonies of guitars. Oddly, Emotional Rescue has some of the best Stones tones ever. Listen on headphones. It's fantastic. Some of the key tones are the MXR Phase 100 (mandatory) for Beast and SG songs and the Analog Delay from back then. The delay is no longer made and is pretty pricey on the used market. It's a big green box and runs off a real 3 prong power chord. It's the only delay that really gets that slapback. But you can get close. You probably know all this but I thought it was worth mentioning. I actually just treated myself to a '78 Phase 100 but I probably should have got the vintage delay instead. It seems to be harder to recreate or I'm just an idiot. But I've never been able to get the "She's so Cold" slapback. But also I'm not Keef. Lol. The amp on those records is a first edition Boogie combo. I think that is a very important part of the tone on those records as none of the other ones sound like that. I had my pedal making friend make me a Boogie Mark I preamp pedal and it nails it. He's very inexpensive and you can choose your own graphics. I chose the back of TY and it looks killer. No One Cares Pedals is the name on Instagram and Facebook. Tell him Kirk sent you so he knows what you want.
Hi 12...Glad to see you noticed Ron Wood...to me a brilliant guitar player..The stuff he did in the Faces.is really unique..esp Miss judys farm...and there are many more..I love the way you go straight to the meat of a song..no 5 minutes imo unnecessary stuff Keep up the great work...Dave
Totally makes sense! Never thought of this and have heard the note ring there forever. Thank you! And you’re right Keith always bounced around with his open tuning’s especially in the early days he favored open D and of course open E for gimme shelter.
Try tuning the 6th string up to a "G" it gives a fantastic, punchy sound to any riffs that are played in open G tuning - I picked that trick up from Elton John's guitarist, Davey Johnstone. He used the double G tuning on "Saturday Night's Alright for Fighting" & "The Bitch Is Back"
GREAT video - thanks for sharing it. You explain things so well; in such an easy-to-understand way. Your love for playing is obvious and inspires me to play more!
Very interesting, I think those idea's of tuning down where real. It does have the original sounds, and I have heard when the they did studio recordings that they did experiment with different tunings. Great work, Thanks.
Great video! 👏 The open F theory is very plausible indeed, kudos for that! It was possibly the time Keith started using his special 5-string gauge (.11 .15 .18p .30 .42). Rather hard to bend -especially on a tele- makes sense to tune down for lead!
I tune to open F constantly. I also remove the 6th string and replace it with my 5th string gauge and tune both in unison. Don't have to worry about deadening the 6th and the whole thing gives it a fatter sound. But it works great for regular open G and Stones songs.
Dude I love your channel! The lessons, the guitars, the playing, the insight... EVERYTHING is soo high quality. Thank you! My requests are Hole Hearted by Extreme and End Of The Line by The Travelling Wilburys
great job as always sir...speaking of the stones; i think 'its only rock n roll' would be a fun one to break down also...ronnie plays a 12 string acoustic and keef plays a great chuck berry type double stop lead solo; cool stuff...blessings to you brother
Speaking of Ron Wood, and because you asked for suggestions, how about "Had Me A Real Good Time"? I don't think anyone has. Great vid as usual- you really cleared up a few questions I had about this song!
Any jam from the Stone's 5 solid great albums is much better than start me up..Exile..Beggars.. sticky..majesty's.. bleed..Come on everything on those five is great..
If you stretch you pinky to 8th fret low E string you can play the opening riff in standard tuning (A string get's muted automatically), AND you can play all Ronnie Wood's cool parts!
A lot of Stones songs are that way IMHO. Bill Wyman was very underrated. I wish he was still in the Stones. They could put him on a cruise ship to America and he could travel by bus to gigs. Lol. Always plenty of time between shows these days and the buses available can be like suites.
Just adding to to the conversation don’t mean to say you are wrong, but I think the flub note in solo lick may be on purpose, otherwise why bother to tune to open F for an overdub?
I never notice Ronnie's part. Learned Keef's part years ago. You wouldnt happen to have video on Beast of Burden? They really intertwine on that and its kind of hard to hear Ronnie's part
@12footchain In your description you show the title "Boss OD2 Blues Driver" but the link is to a Boss BD-2W. Is your title for an older model or incorrect as the linked product isn't matching what is stated? Thanks in advance.
I gave a modded analog man boss driver so I recommended the wazacraft version which I think is closer to mine. It's all super cork sniffery subtlety though, so any option will sound good IMO
i always thought some of those lead guitar riffs sounded "deeper" than i am accustomed to hearing. maybe keith tuned down more to get that resonance or thickness on the track.
Yeah, it was a reggae at first. Pretty terrible. It's on the Deluxe. But the real version has been around forever. Apparently he thought it was someone else's song and told the engineer to wipe it. Very lucky for them that he didn't. Lol.
I don’t understand the tuned-down to F theory. Richard’s is playing bog standard Berry-style two stops in the key of Bflat, sixth position. Bending the Eflat on the G-string up to E, against the F-note on the B-string, 6th position. This F is the flubbed note you hear in the lead part, not an open string F. Richards has played this lick on countless records and gigs, check out his Let It Bleed solo on Hampton 1981. Keith has never tuned down a half or whole step, not on any recording except for open D acoustic where he added a capo to get back to E-tuning.
I guess I'm open to any idea about it, but what I would love to see is what you are saying being done. Have you seen a video of someone doing that solo with that F note? Even if this is a string bent into F? Would love to see it, I'm not being snarky, honestly asking would like to see how that pitch of the F note gets hit playing that lead.
@@12footchain You are playing it yourself around the 16:30 mark. I think your conclusion that the flubbed note is an open string is wrong, it is simply the F note on the B string, left over from one of the many overdubs he did. The explanation that he tuned down to F is an explanation for something that isn't there -it is a flubbed F note on the B-string, like so many other flubbed notes he has played. Check the solo of Sympathy on Ya-Ya's. He suddenly pulls out a Bflat over E, probably because he chucked away a cigarette stub and not because he was tuned to something exotic.
And to add: the question that needs to be answered is why would Richards tune down to F? Is that a solution to something? The licks are standard Berry licks he has played a gazillion times, in whatever key. Why would he need to tune down to F, something he has never done, if it is simple Bflat over F Berry style riffing? Your theory is an answer to something that isn't the problem.
@Mathijs1974 don't think I'm following. I don't see how you get an F note in the pitch that I hear it from anything you can do on the B string. I understand you can hit an F note onbthat string, but not at that pitch
@@12footchainit’s a simple F note, a left-over from 4 years of recording and erasing overdubs. Your conclusion that he is tuned down to F is not backed up by anything -there is absolutely no reason he had to tune down, nor is there any evidence he has done it before. It’s a flubbed note during a lick he has played many a times before and after.
Kieth calls what he does with Ronnie here "the ancient art of weaving". BTW if you don't have a dedicated Open G guitar always ready to rock then taking the 6th string off can be a real pain if you're probably gonna want to retune back to standard later etc. However playing Open G is very much better without that 6th string and it sounds better recorded too ('cos you don't get the background thump of the muted 6th in there and you can attack the 5th and 4th strings is all sorts of ways you can't with that annoying 6th there, it changes the way you can play basically). Think of it as a genuine excuse to justify buying another guitar happen you get into rocking Open G seriously. 😁
What are your settings on the HOF besides the plate option? I still haven't gotten a grasp on the pedal, too many options. The only thing I'll be using it for is Stones songs.
decay, effect level, tone all at 10 o'clock. I think the most impactful for me though with what I had was the Echoplex pedal set on lowest possible delay time (not sure what the ms would be on that) just to give it some added life. It did make a positive difference in the room, not sure it translated fully on youtube. I've never heard anyone really nail that tone either.
@@12footchain The Dunlop Echoplex? I have that as well. What are your other setting on that besides low delay? Delay and Reverb are just pedals I'm not confident with. I wish MXR would re-release those 70's green box delays. Should be able to just make a regular pedal these days. I have the Carbon Copy but it's not the same. Any help you ca give me is great. My second favorite guitar era is the 77-81 tones.
No offense. But I've never heard someone nail the studio guitar tone on SMU. Certainly not the Stones these days. Probably the closest they came was on the 81 tour. I think the secret is a cranked Boogie Mark I and using the neck hum bucker. IMHO the best Keef tones are humbuckers into Ampegs and Boogies. I had my pedal making friend make me a Boogie Mark I preamp pedal and it nails it. Let me know if you want his info. He's very inexpensive and you can choose your own graphics. I chose the back of TY and it looks killer. No One Cares Pedals is the name on Instagram and Facebook. Tell him Kirk sent you so he knows what you want.
His company is No One Cares Pedals on Facebook and Instagram. He can make anything and I have 8 pedals from him. Tell him Kirk sent you and he'll hook it up.
Is there any reason all of Keith's parts couldn't have been open F? I get that he had a crew to tune his guitars so it was no additional work for Keith, but it seems unnecessary to have two different open tunings when one would cover it.
I thought the same thing - but on his rhythm guitar part there are subtle little open G hits when he changes chords sometimes, like moving from the C position / 5 fret to the Bb position 3rd fret. sometimes he hits that open chord for an 8th or 16th beat before fretting the next chord - and those are in G, so couple options - either that track is fully open G tuning OR he is open F tuned with Capo on 2, and he plays it that way for the rhythm track. this is all so nerdy :-)
@@12footchain Thanks for responding. You pointed out those little open-string flourishes in the video. If I checked before asking, I would have noticed you answered the question! I'm sorry I wasted your time by not paying close enough attention. Edited to add that the nerding-out is what makes your videos really stand out. Thanks for making these easy-to-follow videos.
One thing I do when in open G is remove the 6th string like Keith does but replace it with the same gauge as your 5th string then tune both in unison. Really fatten ups the sound and it feels more normal. Don't have to worry about deadening the 6th. Just gotta make sure the 6th string is the same gauge. I just buy an extra 5th string gauge. But I don't change my strings unless I break one or it's been way too long. Also I take a rag and put vinegar on it to clean the strings. Just make sure you pull the string off the fretboard and just rub the string only. I think you'll love the sound of the two lower Gs in unison. I actually also tune the whole thing down a whole step for an even heavier sound but I don't play along with the records. I try to write my own songs in the tuning. So the differences make it not sound exactly like Keith. But in the same wheelhouse.
make no claims that he was better than Mick Taylor - agree. the Keith/Mick T period is the best for me if I can only choose one between Brian, MickT, or Ron W
I would never accuse you of being so foolish! You just mentioned that RW is overlooked or something whereas he’s just invisible to me. 😄 I saw a show where Mick came back and played can’t you hear me knocking, and instead of trying to contribute to the show Ron just goofed off pretending to be cool. Whenever you see him in concert playing MT songs, he can’t play them even though it’s been handed to him on a platter. Not kidding, I bet you would do a better job. I know there are plenty of guitarists that could. Somewhat annoyed that Mick is trying to survive while Ron is living it up. Should be the opposite!
Check out moises, you can upload a digital recording of a song, and the app splits out the different instruments and vocals using AI. It's not 100% perfect but it's very very good.
Keith didn't hit the wrong notes, make a mistake. If he did, he wouldn't leave it on the record. He's playing double stops in that section that starts at 1:22. Listen to the recording again. You missed that part. My previous comment was deleted so I've toned it down
I'm not making a negative judgement on his playing with my observation. Everything the guy does is top shelf. But he does hit that open string F note while playing the double stop lick at 1:27.
Just play the song. People can just figure out how to play it from watching. Don't talk, just play. It sounds mean but you'll get more views. People like me click away the minute you start talking.
@@scottcummings8602 Any song or jam on their 5 great solid records is much better than start me up.Start me up is unbearable.It's only for kids.. Horrible lyrics also, and I believe the stones don't even like it.That has been reported..
