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| headshrinker |
i read in one of my books that when he was writing the early songs that contained this riff like street fighting man and brown sugar, he'd been listening to alot of old blues albums. but does n e 1 know the artist he got that riff from coz i'd love to listen to them. |
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| sandrew |
You won't find the Keith Riff, as Keith plays it, from any of the great bluesman. They only inspired it, loosely.
Keith's innovation, if I may use such a weighty word, was to play in open tunings without a bottleneck.
The Keith Riff, if it was directly inspired by anyone, came from Ry Cooder. Listen to his "Paradise and Lunch" album -- it's got the Keith Riff all over it.
Keith'd be the first to admit Cooder helped crystallize his open-tuning experiments. You can hear the germ of the Riff in "Street Fighting Man" and "19th Nervous Breakdown" -- the two-fingered 4 chord from the barred 1 chord.
But it wasn't until Cooder and "Honky Tonk Women" that the Keith Riff as we know it came into existence. |
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| nankerphelge |
I dunno what to call it either.
But I know that Keith has something different.
His sound first got me into the Stones.
Everyone says what he does is so basic -- yet who else does it?
When Mick did his solo stuff, it looked like the singer from the Stones and a band that didn't have the right sound.
When Keith did his solo stuff, it sounded great but it still wasn't the Stones!
Keith doesn't always make it easy to like him!
But ya always gotta love him!!!
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| Bloozehound |
I've always been a bit interested in this myself, the Keith riff & Stones sound, how it evolved, open g tuning ect... by chance does anyone know a good article on the web somewhere about this? Thanks for any help. |
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| stonedinaustralia |
quote:
Bloozehound wrote:
I've always been a bit interested in this myself, the Keith riff & Stones sound, how it evolved, open g tuning ect... by chance does anyone know a good article on the web somewhere about this? Thanks for any help.
there have been a number of articles about this in the various guitar player magazines that appear on the magazine racks - "guitar player" in particular has covered this more than once - you could try to find some back issues |
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| Bloozehound |
I'm not a musician, i figure those guitar magazines have coverd this, but i don't read'em.
Since this was the topic I was just fishin' to see if anyone knew a quick link somewhere.
Thanks anyhow stoned
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| throbby |
As per the Stones MOJO mag special
...for the "Performance" soundtrack, Mick flew the Stones' keyboard player/arranger/buddy Jack Nitzsche over from Los Angeles. Nitzsche brought with him the former Rising Son and Magic Band guitarist Ry Cooder. This young blues scholar was to play mandolin on Love In Vain and show Keith Richards the Sears Roebuck guitar tuning derived from '20s country blues playing in which, banjo-style, the bottom string was removed and the guitar tuned to an open G. Keith was transfixed. "I took him for all he was worth," he told this writer in 1985. "His tuning, the fucking lot. I ripped him off." From being an experimentalist, Richards became a devotee... |
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| SoulSurvivr |
Jagger wrote the guitar for Brown Sugar |
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| Mathijs |
The thing is: open G is not particular rare. Most blues men have played open G, and devotees like Brian Jones liked to experiment with open G. Most important is what you do with it! Ry Cooder may have shown Keith the tuning, but Cooder never wrote anything remotely close to a SFM, HTW or what so ever. It's what Neil Young says: "every guitar got a certain amount of songs hidden", and for a prolific song writer as Keith is, a new tuning opens up a whole can of new songs. Just like it did for Jimmy Page, Chris Robinson, Jeff Buckley and the like.
Mathijs |
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| marko |
Mathjis,what you think of Jimmy Page?Wanna know your opinion.to me,he was brilliant guitarist,and also a performer. |
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| sandrew |
As I said above, the unique thing Keith did with open G was to play it without a bottleneck. He'd already "discovered" the Keith Riff on open D songs such as "Street Fighting Man."
But open G proved ideal. |
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| Mathijs |
Page is one of my all time favourite guitarists. He is one of the most inventive guitarist alive. I do find his lead playing scratchy and messy, but his knowledge of chords and tunings is encredible. The best Page to me is the acoustic Page, like on the live Going To California.
Mathijs |
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| marko |
Indeed,but also,i think it was one of his trademarks,of him
being a bit messy.i love that Gibson sound he had.can you
explain,how the hell,he get that sound out of marshall&gibson?usually,what i know,people who uses marshall
are only using&getting that Ac/Dc sound.Specially here in
Finland,,,all the blues/hard rock bands,has mostly the same
sound,which i found extremely boring.I know,that,maybe it was up to Jimmys tunings,and what mics he used on gibson.
To me best page is,No Quarter&dazed and confused.
If you want get GOOD boots from zep...e-mail me. |
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