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| Stonesmillenium2001 |
Recently Keith was playing a black gibson les paul with a bigsby vibrato bar and a gibson sg at a show with Waddy Watchel. Do you think those guitars will be used on the next Rolling Stones album and tour? |
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| scratched |
Maybe he finally found his old Black Beauty Les Paul that was stolen in 1971!
The SG sounds unusual for Keith. If it was an impromptu appearance from Keith, they might have been borrowed from Waddy or his band.
[Edited by scratched] |
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| jb |
Maybe-ask Jimmy Whitley. |
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| MidnightRambler |
Yeah, I found it a surprise when he decided to use that guitar with Waddy as well. And yeah, it kinda made me wonder if he'll use it more in future shows. I kinda doubt it, Keith I think is a little "superstitious" when it comes to his guitars. Certain guitars are played for certain songs. This past tour, he hasn't really brought out any new guitars to play. I truely believe what guitar he uses makes the song great or bad. Ever since he started to use that big ass Gibson for Satisfaction and Sympathy on this tour--the solos and songs have suffered. He used to use a Fender for both those songs. I know it sounds weird, maybe cuz I play the guitar--my mind works odd that way. |
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| scratched |
quote:
MidnightRambler wrote:
my mind works odd that way.
Mine too. A certain guitar can have the power to make or break a song. |
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| Stonesmillenium2001 |
Well if you look at history. Both Satisfaction and Sympathy for the devil were recorded with gibsons. Not only that the songs have been played on different guitars over the years. Look at the concert history from here.
Satisfaction
1965: varies on each show. In some performance a gibson les paul standard, gibson firebird and an epiphone casino is used.
1966: Guild hallowbody in the early part of the year. gibson les paul goldtop is used in the summer. black beauty gibson les paul custom is used in the fall.
1967: Black Beauty gibson les paul custom
1968: Black Beauty gibson les paul custom
1969 and 1971: Dan Armstrong Clearbody
1972: Black Beauty Gibson Les Paul Custom
1976 and 1978: Unknown
1981-1982: Fender Telecaster that is standard tuned
1989-1990: Musicman that is standard tuned
1994-1995: Gibson Les Paul Standard
1997-1999: White Fender Telecaster that is standard tuned
2002: Red Gibson ES355 with bigsby vibrato bar
2003: Pink and Silver fender telecaster that is standard tuned
Sympathy for the devil:
1968: Black Beauty Gibson Les Paul Custom
1969-1971: Dan Armstrong Clearbody
1975-1976: Unknown
1989-1990: Musicman
1994-1995: Single Cutaway Gibson Les Paul Jr
1997-1999: White Fender Telecaster that is standard tuned
2002-2003: Black Gibson ES355 with Bigsby Vibrato Bar
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| nankerphelge |
I love this place... |
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| Ten Thousand Motels |
Oh Bullshit & Red Herring. It's fingers & passion that count. If a man wants to make a guitar "work" he does it. The rest is all bullshit. |
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| scratched |
quote:
Stonesmillenium2001 wrote:
Well if you look at history. Both Satisfaction and Sympathy for the devil were recorded with gibsons. Not only that the songs have been played on different guitars over the years. Look at the concert history from here.
Satisfaction
1965: varies on each show. In some performance a gibson les paul standard, gibson firebird and an epiphone casino is used.
1966: Guild hallowbody in the early part of the year. gibson les paul goldtop is used in the summer. black beauty gibson les paul custom is used in the fall.
1967: Black Beauty gibson les paul custom
1968: Black Beauty gibson les paul custom
1969 and 1971: Dan Armstrong Clearbody
1972: Black Beauty Gibson Les Paul Custom
1976 and 1978: Unknown
1981-1982: Fender Telecaster that is standard tuned
1989-1990: Musicman that is standard tuned
1994-1995: Gibson Les Paul Standard
1997-1999: White Fender Telecaster that is standard tuned
2002: Red Gibson ES355 with bigsby vibrato bar
2003: Pink and Silver fender telecaster that is standard tuned
Sympathy for the devil:
1968: Black Beauty Gibson Les Paul Custom
1969-1971: Dan Armstrong Clearbody
1975-1976: Unknown
1989-1990: Musicman
1994-1995: Single Cutaway Gibson Les Paul Jr
1997-1999: White Fender Telecaster that is standard tuned
2002-2003: Black Gibson ES355 with Bigsby Vibrato Bar
You really have done your homework haven't you!? |
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| Snappy McJack |
quote:
Stonesmillenium2001 wrote:
Recently Keith was playing a black gibson les paul with a bigsby vibrato bar and a gibson sg at a show with Waddy Watchel. Do you think those guitars will be used on the next Rolling Stones album and tour?
What album? And what tour are you speaking of? Haven't you heard that these rumors have been quashed?
All members are going solo. "Licks" was it. It's over. |
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| jb |
quote:
Snappy McJack wrote:
What album? And what tour are you speaking of? Haven't you heard that these rumors have been quashed?
All members are going solo. "Licks" was it. It's over.
Good post!!! |
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| scratched |
quote:
Ten Thousand Motels wrote:
Oh Bullshit & Red Herring. It's fingers & passion that count. If a man wants to make a guitar "work" he does it. The rest is all bullshit.
But does Keith make it "work" nowadays? It seems that the passion has dimmed somewhat and the less said about his fingers the better.
Songs like Satisfaction and SFTD need 'biting' sounding guitars like Fenders to cut through. There's too much bottom end and sustain on the Gibson hollowbody's for songs like this the way they play them nowadays (it seemed to work in 1969 for example). They make the guitar parts sound mushy and undefined. I think they could get away with what parts they play if they used Fenders for these songs. |
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| T&A |
A buddy of mine who was at the Joint gig earlier this week told me that he thought Keith played very well - but that he shocked how loud he was in the mix. Perhaps a portent of things to come in 2005? When was the last time you thought to yourself at a Stones show, "gee, I am surprised how loud Keith is"? |
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| Diedre |
Yeah, but he wasn't in the hands of a Stones' soundman, most likely. The Stones have the worst sound for such a huge touring band with a huge sound system (and huge ticket prices to match). It has to be their sound people. |
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| Snappy McJack |
quote:
Diedre wrote:
It has to be their sound people.
I seriously doubt that.
Do you think that the Rolling Stones would hire some second-rate sound team? With the money they make they must and probably do only hire the best. |
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| Steel Wheels |
The 40 Licks shows that hit Philly where the best sounding shows to hit this town in some time. The Tower was a blast. |
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| beer |
keith played that triple pick up white SG in '73. after much debate, we came to the conclusion that he played it on Midnight Rambler and possibly another standard tuned song that had no capo, according to a a picture. a rare picture at that. Mathijs knows what he's talkin about and i think he guessed "Bye Bye Johnny", but i can't remember exactly. if ya wanna see him with it, watch the "Silver Train" video. or at least watch it for the glammy make up! Cheezy!! but still entertaining.
Chances of seeing Keith with an SG on the next Stones tour? slim to none, i reckon.
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| sammy davis jr. |
I think it's more like those guitars were what Waddy and co. had layin' around at the gig.....I seriously doubt those were even his guitars. As far as the mix, it's done either by the house soundman or the band's soundman. In either case, it wasn't the Stones' soundman, so it's really irrelevent to the next tour. |
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| egon |
quote:
sammy davis jr. wrote:
I think it's more like those guitars were what Waddy and co. had layin' around at the gig
yes, that's what stonesdough merntioned in another thread |
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| stonedinaustralia |
quote:
T&A wrote:
When was the last time you thought to yourself at a Stones show, "gee, I am surprised how loud Keith is"?
well that was certainly the case at the enmore show - while i was standing on keith's side he was definitely much louder than ronnie on stage - i know as i was right up against the stage and was hearing pretty much the on stage sound - the front of house speakers were to the side and raised up
i didn't think he was overly loud but it was hard to hear ronnie - esp. as ronnie's sound is always a bit "thinner" than keith's
as for the arena shows well i don't know but the size and power of the PA's there would make it harder to discern what was onstage as opposed to "front of house" - so in that instance if keith is way too loud you could put it down to the soundman not keith |
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| Scottfree |
quote:
stonedinaustralia wrote:
well that was certainly the case at the enmore show - while i was standing on keith's side he was definitely much louder than ronnie on stage - i know as i was right up against the stage and was hearing pretty much the on stage sound - the front of house speakers were to the side and raised up
i didn't think he was overly loud but it was hard to hear ronnie - esp. as ronnie's sound is always a bit "thinner" than keith's
as for the arena shows well i don't know but the size and power of the PA's there would make it harder to discern what was onstage as opposed to "front of house" - so in that instance if keith is way too loud you could put it down to the soundman not keith
Thinner? You mean non-existent......
Give me "75" Ronnie..... |
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| TheSavageYoungXyzzy |
quote:
Scottfree wrote:
Thinner? You mean non-existent......
Give me "75" Ronnie.....
Yeah, really. I hear "whirr whirr whirr PLINK PLINK PLINK PLINK!" at the start of Twickenham on Four Flicks and it makes me so mad I just turn it off. Both guitarists running on all cylinders for the first time in ages and fucking Chuck Leavell drowning them both out. Problem is, he needs to be up that high for the nights when one or the other isn't up there.
I'm beginning to think the real problem is they woke Ronnie up after twenty years only to find that they'd learned how to play without him. Admittedly they did it by sounding like a lounge act, and when both Keith and Ronnie got off their asses and played this tour it was magic, but too frequently one or the other (and on some disasterous nights cawf Munich cawf both of 'em) were content to be Stones first and guitar players second.
Still, I actually have hopes for this next album. With so many acts such as Dylan and even now Aerosmith realizing that they can't rest on their laurels anymore (what laurels did Aerosmith have in the first place?), I think the Stones have a serious challenge: age is no longer an excuse - they need to sound lean and mean or they're going to go gently into that dark night.
Say, out of curiosity and speaking of guitar sound, I always meant to do this but never had the time - we really should compare nights where "Can't You Hear Me Knocking" was played to the overall quality of the show, especially in relation to whether or not Woody was playing well (or indeed at all). I think when Ronnie knows he's got to do something monumental like try to outclass the Taylor solo he plays better overall; and when he can just phone in his show he does, smoking up with Keith in the back because he knows that the backing band covers their asses if they're too out of it to play.
There's no one bellweather song to do that with Keith, though. Some nights he was on and some nights he wasn't. Maybe something with the guitars specifically... which would bring us back to where we started this thread.
Wow, that was a bit of a ramble.
-tSYX --- Stayyyy with me... |
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| kahoosier |
Hey stoneinaustralia we must have been within feet of each other at the Enmore, LOL and I agree at times I had trouble hearing anyone other than Keith. In fact I remeber thinking there stage right that while hearing Keith so loudly added to the raw feeling of the event, it somehow detracted a bit from the overall show for me. What a huge surprise then to hear the boots recorded from other vantage points of that very show and find that te guitars were not carrying to the whole house. |
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| Scottfree |
quote:
TheSavageYoungXyzzy wrote:
Yeah, really. I hear "whirr whirr whirr PLINK PLINK PLINK PLINK!" at the start of Twickenham on Four Flicks and it makes me so mad I just turn it off. Both guitarists running on all cylinders for the first time in ages and fucking Chuck Leavell drowning them both out. Problem is, he needs to be up that high for the nights when one or the other isn't up there.
I'm beginning to think the real problem is they woke Ronnie up after twenty years only to find that they'd learned how to play without him. Admittedly they did it by sounding like a lounge act, and when both Keith and Ronnie got off their asses and played this tour it was magic, but too frequently one or the other (and on some disasterous nights cawf Munich cawf both of 'em) were content to be Stones first and guitar players second.
Still, I actually have hopes for this next album. With so many acts such as Dylan and even now Aerosmith realizing that they can't rest on their laurels anymore (what laurels did Aerosmith have in the first place?), I think the Stones have a serious challenge: age is no longer an excuse - they need to sound lean and mean or they're going to go gently into that dark night.
Say, out of curiosity and speaking of guitar sound, I always meant to do this but never had the time - we really should compare nights where "Can't You Hear Me Knocking" was played to the overall quality of the show, especially in relation to whether or not Woody was playing well (or indeed at all). I think when Ronnie knows he's got to do something monumental like try to outclass the Taylor solo he plays better overall; and when he can just phone in his show he does, smoking up with Keith in the back because he knows that the backing band covers their asses if they're too out of it to play.
There's no one bellweather song to do that with Keith, though. Some nights he was on and some nights he wasn't. Maybe something with the guitars specifically... which would bring us back to where we started this thread.
Wow, that was a bit of a ramble.
-tSYX --- Stayyyy with me...
Good posty....I'm just baffled by Ron & Keef, I don't know whether they lost their ability, are just very inconsistent, or just lazy. I have heard theories about all, but I still have yet to come to a conclusion. I really loved Wood's stuff from 75-82, and an occasional spot here and there. |
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| polksalad69 |
how can you tell the difference between a 335 and a 355? Otis Rush plays a 355 but you could have fooled me. |
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| polksalad69 |
how can you tell the difference between a 335 and a 355? Otis Rush plays a 355 but you could have fooled me. |
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| stickyturd |
That black Les Paul from the Joint IS Waddy's guitar. I know because the song before Keith came on, Waddy was playing it.
Waddy has an interesting setup. He plays about 4 different Les Pauls, and I don't think they are much different from each other. After every song, he has a guy take his guitar and hand him a new one. I am pretty sure the guy goes back to the kitchen and tunes the guitars. Maybe Waddy is just really concerned about being in tune!
Russ |
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| Stonesmillenium2001 |
A es-335 has no vibrato bar and the tuning peg area has a standard design. A es-345 and es-355 have vibrato bars and the tuning peg area has the gibson les paul custom design on it. |
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| ben c |
[quote]scratched wrote:
Maybe he finally found his old Black Beauty Les Paul that was stolen in 1971!
Didnt Jimmy Page have a LP BB + bigsby stolen too ?? |
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| Mathijs |
>Satisfaction :1976 and 1978: Unknown
1976 (Knebworth only)and 1978 (early shows): Fender 1972 Custom Telecaster.
>Sympathy for the devil:
>1975-1976: Unknown
In New York Keith played bass, in LA he played the Fender 1972 Custom Telecaster.
Further, Keith indeed used a 1961 Gibson SG Custom (actually in 1961 it was called Les Paul Model) for Midnight Rambler AND Bye Bye Johnnie.
The difference between a Gibson ES335 and ES355 is NOT the bigsby vibrato -this was optional on both models. The difference is the ES345 and ES355 both have Vari-Tone wiring, which means the guitar is wired in stereo (each pick-up can be sent to a different amp) and has an addional tone shaping facility. Further, the ES345 has split mother-of-pearl paralellogram neck inlays, the ES355 has block inlays. Last, the ES355 has the split diamond peg head inlay. Due to the Vari-tone circuit, the 345 and 355 are less desirable and therefore more affordable than ES335. Most blues men wanting a semi-hollow played the somewhat cheaper ES345 or 355.
Mathijs |
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