Charlie's Good Tonight

“Charlie’s good tonight,” announced Mick Jagger on Get Yer Ya Yas Out live album documenting the Stones 1969 US tour.

And he was. Every night.

Not a flashy drummer, he kept the time and the groove, followed cues from Keith Richard’s backside and provided the skins work for some of the best rock music ever. The Stones aren’t the place to find elongated drum solos. And quite right too. Charlie was the rock steady heartbeat that propelled the Stones from Crawdaddy residences in Richmond pubs to mega tours around the world. From timid Chuck Berry covers to those classics we all know.

From what I’ve seen, and from what I’ve read, Charlie was a shy and modest man, contented with his wife and his passions. Not a diva at all or a hotel wrecker. To him music was its own reward.

Charlie follows Brian Jones (and Ian Stewart if you want to be a completist) of dead Stones. 80 is not a bad innings though.

So, I’ve selected one of my favourite live cuts to be his requiem. The 69 Hyde Park concert was an out of tune mess. New boy Taylor wasn’t fully up to speed yet and the sound was atrocious. But the version of Jumpin’ Jack Flash is a classic. Listen - and watch - how Watts propels the Stones through the song. He was rarely animated but here, well let’s say he leads the band with an almighty energy. Rock on Charlie.

Charlie Watts. RIP.

More Stones appreciation here

Mick Taylor's Top Studio Tracks

“Ye shall know them by their fruits”

— Matthew 7:16 (KJV)

We all know that in the Mick Taylor Years (1969 / 74) the Rolling Stones were at their live peak. He added a real lead guitar muscle to complement their riff heavy catalogue. They went from being great to being the best. Watching the Stones in this period ranks - with me anyway - alongside watching Elvis 1969-72.  Yeah, two great acts at their peak at the same time. Saw neither. Thank goodness for YouTube.

Apparently Keith Richards once told Mick Taylor he was great live but shit in the studio. There's a ring of truth to this - even if it was overstated. Taylor certainly was less dominant in the Stones albums he played on. Maybe he knew he was being shafted for song writing credits. Maybe Mick and Keef overshadowed MT when it came to controlling who did what and when. They certainly bossed the mixing desk. Playing live they didn't have the same control.

But dig (not too deep) and you have some classic Mick Taylor performances committed to vinyl. 

I've tried to filter out songs where he was just 'one of the band' and purposefully pick songs where it's absolutely all about Mick Taylor. Agree? Disagree? Tell me in the comments.

Mick Taylor appeared on Stones albums between 1969 and 1973*. They are Let It Bleed (just a little) and then Sticky Fingers, Exile on Main Street, Goat's Head Soup and It's Only Rock n Roll plus the live album Get Yer Ya Ya's Out. 

To me, I'd probably rank them Sticky Fingers, Goat's Head Soup, Exile on Main Street, It's Only Rock n Roll. Which is strange as my favourite MT tracks appear on It's Only Rock n Roll. 

Sway - Sticky Fingers (1971)

Keith was absent and so the two Micks fooled around in the studio together, coming up with this gem. A real guitar-heavy rocker, taken at a stately pace, it's one of those Stone tracks that should be better known but it's cult like obscurity makes me feel good I'm in the know. As does my possession of an original Andy Warhol designed jeans zip cover (framed and on my wall next to 8/9 others of similar vintage). This was, for a while, my fav Stones track. Jagger sings exceptionally on this - as demonstrated by his later, pitiful, attempt on the 2013 tour. MT's guitars are hard, the solos fluid - slide and then full on rock solo as the track ends. One to look up if you don't know it.

Winter - Goats Head Soup (1973)

Winter is one of those epic ballads the Stones seemed to just knock off in their sleep in the mid 70's (Angie, Memory Motel, Fool to Cry, Coming Down Again). Just like Sway, it features no Keith Richards. What separates this from the others is the Mick Taylor guitar solo which is both powerful and incendiary. Taylor had a way of complementing Jagger's vocal lines, adding fillers and runs throughout the song. Like he would do when the Stones played live. Many people rate this his best solo. I enjoy it but, no, it would be bettered the following year.

 Can't you Hear Me Knocking - Sticky Fingers (1971)

It starts with a Keef riff and then, according to MT, when everyone was putting their instruments down at the end of the song, the groove just continued - first Bobby Keyes on sax and then, the Master Mick, the God of guitar (virtuosity be his name) started soloing. One take. Not rehearsed. As live as you can get and this is the result. The Stones should have employed this method on their recordings 69-73; just turn Mick Taylor loose. What you get is a classic and a classic because he turns the songs around and pushes it into new directions. That's one of Taylor's strength - his ability to effortlessly improvise.

All Down the Line - Exile on Main Street (1972)

Rock and rolling Stones kicking it back in the South of France, noses in bags of narcotics, dodging tax and playing some of their best music ever! Exile on Main Street was a groove, a feel, the sound of  - to steal a phrase from Sir Paul - a Band on The Run. Mick Taylor adds some sharp, rocking slide guitar, taking the solo. To see how hard MT worked on this track - watch the video below.

Til the Next Goodbye - It's Only Rock n Roll (1974)

Another acoustic ballad, another slide solo. Beautiful song and for some reason completely overlooked. Why?

Honky Tonk Women - Let it Bleed (1969) / Brown Sugar - Sticky Fingers (1971)

Two songs from 1969 (Though Brown Sugar lay in the vaults over a year). Mick Taylor's introduction to the band. Honky Tonk Women - apparently MT made a small but telling contribution. He rocked up the song from the country ballad (Country Honk) to the rock classic we know now. Brown Sugar, is another group ensemble song where MT adds to mix but doesn't stand out. Recording on the sly in 1969 in Muscles Shoals, it was Mick Taylor's suggestion that they play this unreleased song at Altamont when all was falling on the Stones' heads. Didn't make the film Gimme Shelter but the audio of this first ever version is the Stones against the wall, punching back.

Time Waits for No Man - It's Only Rock n Roll (1974)

The boss. The winner. The best track Mick Taylor and the Stones studio track. So beautiful. So wistful. And that solo at the end! An artist at the top of his game in a band throwing in a good performance. In the late 80's I wrote a shit song called 'It's Raining Again' and the only good thing about it was that I grafted a sausage fingered version of this MT's solo in the middle. The song is perfect in every way - Jagger's lyrics, Keef's spine tingling riff, Wyman, Watts, Nicky Hopkins and Ray Cooper all adding to the mix. And then Mick Taylor solos like a bastard for two / three full minutes of magic. He employs Latin influenced runs up and down the fretboard. Wow! This is what the Stones could have been. This is the Stones, timeless, standing out of time, looking at us and beckoning mere mortals forward. 

I'm done.

To read my other Mick Taylor pieces, click here...

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* Yeah - Waiting on A Friend was reused in the 80's.

Mick Taylor and that Guitar Solo

They say the Devil has all the good tunes (except when he goes down to Georgia, of course!). But perhaps just sympathising with Old Nick also conjures up a decent tune too.

I remember the first Stones album I bought myself. I was 15. Coming off the back of a couple of Greatest Hits compilations, I went and bought the live album Get Yer Ya Ya's Out. Live albums can often be a mistake as they tend to offer thin, over-emoting, out-of-tune and unnecessarily long versions of well-loved – and crafted - studio songs.

But not so Get Yer Ya Ya's Out...

It's a tour album commemorating the infamous 1969 US Tour - yes the one that ended with the screw up that was Altamont. I come back to this album frequently. I can safely say; I learnt to play guitar strumming along with this album. Recorded at Madison Square Garden, it captures the Stones as they transitioned away from Brian Jones and into the demi-god led outfit that included Mick Taylor. Finally, the Stones had some serious lead guitar muscle to complement the Human Riff, Keef. They would get better in the next couple of years, but this is the only official live album of the Stones Mark 2 line up.

My fav track was Track 1 / Side 2: Sympathy for the Devil. (“Paint It Black you devils! Do Paint It Black!”) E-D-A verses dropping to B for the chorus. Brilliant to play along with and attempt the extended guitar solo at the end of the track. Yes, I learnt my pitiful lead axeman skills from this track. Well at least for the first minutes of the solo anyway! Because suddenly the solo gets hard - real hard. What is a rhythm guitarist's best ever solo morphs into a shit-hot guitar hero work-out. You can hear the change about 4:30 into the track. It’s almost as though Keef took a snort half way through and felt emboldened to shout "Oi! Hendrix, Clapton - come and have a go if you think you’re hard enough!"

But YouTube and the internet have revealed the mystery behind the split personality on Sympathy for the Devil’s guitar solo. For of course – Keef plays the first half and then hands over to Mick Taylor. In less than two minutes, Mick Taylor pisses on Richards and - in the cock-measuring contest that was the Stones – for the next five years, never again would Keith attempt to challenge Taylor. There has only ever been one lead guitarist in the Stones and his name was Mick Taylor.

I’ll write in due course more about this golden era of the Stones. When they really deserved the moniker ‘The Greatest Rock n Roll Band in the World’. But for now, listen to this audio and you’ll see what I mean. Keef starts soloing at 3:18. Mick Taylor takes over the baton at 4:30 and from 5:20 streaks down the back straight to take both the tape and the Gold Medal.

As I said, the Stones would get better after 1969. Taylor would get more confident – aware that his fluid, melodic soloing would propel songs like Midnight Rambler, Gimme Shelter, Street Fighting Man to ever higher levels. But Get Your Ya Ya’s Out is where it began and, on Sympathy for the Devil, you can hear him shyly but definitely, take over the band’s sound.

Enjoy.

To read other Mick Taylor related articles, click here...

or

Mick Taylor’s greatest Stone song? Try this!

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Time Waits For No One - Mick Taylor's Greatest Stones Song

“Time can tear down a building or destroy a woman’s face
Hours are like diamonds, don’t let them waste
Time waits for no one, no favours has he
Time waits for no one, and he won’t wait for me”

— Time Waits for No One - Rolling Stones 1974

In the late 80's I wrote a song called 'It's Raining Again'. I used to play it loudly in my rented flat on Montpelier Road, Brighton. It was shit. The only good thing about the song was in the instrumental break where I grafted a sausage fingered version of Mick Taylor’s solo from Time Waits for No One.

Ah, Time Waits for No One. This is the Stones, timeless, standing out of time, looking back at us and beckoning us mere mortals forward. Yes, this is the best track Mick Taylor and the Stones ever recorded. So beautiful. So wistful. And that solo at the end! It was Mick Taylor’s swan song with the band, at once both a calling card and an elongated - but elegant - adieu.

The song’s brilliance however comes from all the players in the group - it’s not just an excuse for Taylor to let rip. That’s the beauty of MT’s time in the Stones, he took them to another level but, without him, the starting point was pretty damn high anyway.

So, credits? Jagger's thoughtful lyrics echo Chaucer (time and tide wait for no man) as the singer muses about the transitory nature of life. Keef's adds the recurring spine tingling riff. Wyman, Watts, the ever ready, ever steady back line, all present and correct. Nicky Hopkins adds his characteristically dramatic piano flourishes whereas Ray Cooper contributes the pervasive metronomic backing that tick-tocks the track into immortality.

And then Mick Taylor solos like a bastard for two / three full minutes of magic. He employs Latin influenced runs up and down the fretboard (influenced by a recent trip down the Amazon). Like all the best Mick Taylor solos, this one is fluid and melodic and probably pretty spontaneous. You get the impression that if he were to play it again, do another a take, he’d do it in a completely different - but equally good - fashion.

Each crescendo on the guitar, proceeded by the supporting buttresses of melodic scales, is a highlight. As Mick works his way up the fretboard (though delightfully at one point he reverses) he carries the listener effortlessly to the stars. I believe many die-hard Stones fans request this track to be played at their funeral. It certainly has an ethereal beauty, at once balancing the beauty of life, music, art, nature, love with the fragility of those very qualities.

Listen below if you’ve never heard this track. The Stones could have gone this way. Mick Taylor though was not destined to be with them for long. In Time Waits for No One he’s playing his own exit music and damn fine it is too.

Want to know more? The five greatest Mick Taylor Stones studio recordings?

Top Mick Taylor Studio Tracks

“Ye shall know them by their fruits”

— Matthew 7:16 (KJV)

We all know that in the Mick Taylor Years (1969 / 74) the Rolling Stones were at their live peak. He added a real lead guitar muscle to complement their riff heavy catalogue. They went from being great to being the best. Watching the Stones in this period ranks - with me anyway - alongside watching Elvis 1969-72.  Yeah, two great acts at their peak at the same time. Saw neither. Thank goodness for YouTube.

Apparently Keith Richards once told Mick Taylor he was great live but shit in the studio. There's a ring of truth to this - even if it was overstated. Taylor certainly was less dominant in the Stones albums he played on. Maybe he knew he was being shafted for song writing credits. Maybe Mick and Keef overshadowed MT when it came to controlling who did what and when. They certainly bossed the mixing desk. Playing live they didn't have the same control.

But dig (not too deep) and you have some classic Mick Taylor performances committed to vinyl. 

I've tried to filter out songs where he was just 'one of the band' and purposefully pick songs where it's absolutely all about Mick Taylor. Agree? Disagree? Tell me in the comments.

Mick Taylor appeared on Stones albums between 1969 and 1973*. They are Let It Bleed (just a little) and then Sticky Fingers, Exile on Main Street, Goat's Head Soup and It's Only Rock n Roll plus the live album Get Yer Ya Ya's Out. 

To me, I'd probably rank them Sticky Fingers, Goat's Head Soup, Exile on Main Street, It's Only Rock n Roll. Which is strange as my favourite MT tracks appear on It's Only Rock n Roll. 

Sway - Sticky Fingers (1971)

Keith was absent and so the two Micks fooled around in the studio together, coming up with this gem. A real guitar-heavy rocker, taken at a stately pace, it's one of those Stone tracks that should be better known but it's cult like obscurity makes me feel good I'm in the know. As does my possession of an original Andy Warhol designed jeans zip cover (framed and on my wall next to 8/9 others of similar vintage). This was, for a while, my fav Stones track. Jagger sings exceptionally on this - as demonstrated by his later, pitiful, attempt on the 2013 tour. MT's guitars are hard, the solos fluid - slide and then full on rock solo as the track ends. One to look up if you don't know it.

Winter - Goats Head Soup (1973)

Winter is one of those epic ballads the Stones seemed to just knock off in their sleep in the mid 70's (Angie, Memory Motel, Fool to Cry, Coming Down Again). Just like Sway, it features no Keith Richards. What separates this from the others is the Mick Taylor guitar solo which is both powerful and incendiary. Taylor had a way of complementing Jagger's vocal lines, adding fillers and runs throughout the song. Like he would do when the Stones played live. Many people rate this his best solo. I enjoy it but, no, it would be bettered the following year.

 Can't you Hear Me Knocking - Sticky Fingers (1971)

It starts with a Keef riff and then, according to MT, when everyone was putting their instruments down at the end of the song, the groove just continued - first Bobby Keyes on sax and then, the Master Mick, the God of guitar (virtuosity be his name) started soloing. One take. Not rehearsed. As live as you can get and this is the result. The Stones should have employed this method on their recordings 69-73; just turn Mick Taylor loose. What you get is a classic and a classic because he turns the songs around and pushes it into new directions. That's one of Taylor's strength - his ability to effortlessly improvise.

All Down the Line - Exile on Main Street (1972)

Rock and rolling Stones kicking it back in the South of France, noses in bags of narcotics, dodging tax and playing some of their best music ever! Exile on Main Street was a groove, a feel, the sound of  - to steal a phrase from Sir Paul - a Band on The Run. Mick Taylor adds some sharp, rocking slide guitar, taking the solo. To see how hard MT worked on this track - watch the video below.

Til the Next Goodbye - It's Only Rock n Roll (1974)

Another acoustic ballad, another slide solo. Beautiful song and for some reason completely overlooked. Why?

Honky Tonk Women - Let it Bleed (1969) / Brown Sugar - Sticky Fingers (1971)

Two songs from 1969 (Though Brown Sugar lay in the vaults over a year). Mick Taylor's introduction to the band. Honky Tonk Women - apparently MT made a small but telling contribution. He rocked up the song from the country ballad (Country Honk) to the rock classic we know now. Brown Sugar, is another group ensemble song where MT adds to mix but doesn't stand out. Recording on the sly in 1969 in Muscles Shoals, it was Mick Taylor's suggestion that they play this unreleased song at Altamont when all was falling on the Stones' heads/ Didn't make the film Gimme Shelter but the audio of this first ever version is the Stones against the wall, punching back.

Time Waits for No Man - It's Only Rock n Roll (1974)

The boss. The winner. The best track Mick Taylor and the Stones studio track. So beautiful. So wistful. And that solo at the end! A fucking artist at the top of his game in a band at throwing in a good performance. In the late 80's I wrote a shot song called 'It's Raining Again' and the only good thing about it was that I grafted a sausage fingered version of this MT's solo in the middle. The song is perfect in every way -Jagger's lyrics, Keef's spine tingling riff, Wyman, Watts, Nicky Hopkins and Ray Cooper all adding to the mix. And then Mick Taylor solos like a bastard for two / three full minutes of magic. he employs Latin influenced runs up and down the fretboard. Wow! This is what the Stones could have been. This is the Stones, timeless, standing out of time, looking at us and beckoning mere mortals forward. 

I'm done.

To read my other Mick Taylor pieces, click here...

Tim's Blog RSS

* Yeah - Waiting on A Friend was reused in the 80's.

Mick Taylor: Street Fighting Guitarist

It's not a secret that I think the Stones were at their best - live - between 1969 and 1973. Collectively these years are known - by those who know these things - as The Mick Taylor Years. During this period, the Stones sported serious lead guitar muscle to match the chops and riffs of Keith Richard. This really was their live golden era (nothing though can match their recordings 1963-1969. Of course).

I won't get into any nonsense about Mick Taylor being the Stones. Clearly, Mick and Keef are obviously the beating heart of the Stones. They are the songwriters, the visual focal point, the direction, but with Mick Taylor, they now participated in the best live incarnation of “The Greatest Rock ‘n’ Roll Band in The World!”

It's one of the reasons - there are a few - why I don't go to see the Stones now. I'm their Number One fan but, pathetically, I want to see them in 1971 with Mick Taylor and not in 2017. I know, I know - I'm complex, capricious and not a little nuts. Deal with it, ladies.

So, onto Mick Taylor and the magic runs and solos he used to such incendiary effect back in the day when flares and drag queen make up marked a rock band. I'll trace Mick Taylor's development and influence in the band through one song over the years 1969, 1971, 1972, 1973.*

Street Fighting Man. Yes, it used to be the Stones’ powerhouse closer. It’s a riff laden ditty that combined fighting lyrics with punchy guitar. One word of caution though!! As I listen to live versions of this song 69-73, what is most noticeable - apart from the gradual rise in prominence of Mick Taylor's lead guitar - is the concomitant deterioration in quality of Jagger's singing. You can't discount the fact that a sloppy, word shortening, dicking about Jagger screws up the overall ambience of any performance. That is a shame because as Taylor gets better, Jagger gets worse.

So, back in 1969, Singer Mick cares and sings and articulates his words. By 1973, he's fucking about and missing out words and shouting. Frustratingly, whatever Guitar Mick did on guitar - if the lead singer is acting like a tit - the band is gonna sound worse. As it happens, I actually think by ’73 such was Taylor's shy dominance, he was getting too far to the front of the Stones. Yes, some of his stuff started to sound like guitar wank. Yes, you CAN have too much MT. Too many notes as they said of Mozart.

1969 - Get Your Ya Ya's Out

Jagger to the fore – “Get Down, boy!” (though there's more than a suspicion of studio touching up). Taylor sticking to the proscribed and approved lead lines. He often just riffs along with Keith which is no bad thing but that’s not why you have a shit hot soloist in the band now is it? As in all versions, Wyman's bass is awesome - propelling the group, shaking the earth and rooting the group in a solid foundation. The Stones as a group in front of 20,000 at Madison Square Garden.

1971 - Get Your Leeds Lungs Out.

Cards on table, I happen to think this is the Stones' greatest ever gig. They are on fire in this small-scale club setting. Taylor's more experimental on his lead lines than ’69 - his trademark fluidity is now evident. The melody lines he fingers, the vibrato he gets from his axe, all mark this version; it’s still a great group effort but this time propelled forward by MT.  Keef’s unusually ‘dirty’ guitar provides a perfect foil to the MT’s lyricism. But as Taylor ascends, Jagger begins to descend, cutting out words, beginning to shout more than sing. But not too much, yet. This is the summit.

1972 - Ladies and Gentlemen...

My it's a close one! The tempo is too quick and Jagger is seriously not singing anymore. But Mick Taylor is kicking guitar ass! Keith gives good backing but it's now the Mick Taylor show. The close is built around MT soloing like a bastard Velvet Underground style. Watch the video below as his fingers - always in control - fly over the fretboard. This is a guitarist knowing he’s the Dog’s Bollocks and beginning to assert himself.

1973 – A Brussels Affair

Too quick and Jagger is now not really giving a fuck about singing – just yelping and swallowing words. I’m sure he looked good but any artistry has gone. However, as Jagger morphs into a Mick Jagger caricature, the music of the Stones has become Mick Taylor and supporting band. I love his sustained note at the end of the final chorus where the live band mimic the clarion ending of the recording. And then we’re into a Sister Ray freak-out fade-out as the group get faster and faster and MT has a completely free hand to solo wherever and however he wants. Distressingly - freed from the discipline and control of the Stones’ format -  he seems to distressingly to run out of ideas. The end of this track – to my ears – is welcome. It probably felt better on the night.

And there we have it – the Mick Taylor years with the Rolling Stones told through versions of just one song. What can we conclude from this pub conversation with myself?

He’s clearly talented, dextrous and knows how to add lyrical lead lines to the riffs of the premier rock group of the era. Mick Taylor operates best when there’s a format he has to fit in with. Here, constrained, he can shine, do the unexpected and sound fresh and exciting. By the end of this period though – 1973 – when Jagger had become a parody and Keith retreated into strictly rhythm, MT ever so slightly starts to become annoying. It’s really not the Stones.

So – in what order do I rank the years? I’m sure of the best and the worst. Second and third place are a bit arbitrary and, in another mood, in another place, I’d rank them differently, but here, now and tonight, the 69 tour version beats Ladies and Gentlemen…

1. 1971

2. 1969

3. 1972

4. 1973

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* Not yet unearthed a decent 1970 performance.

Mick Taylor and that Guitar Solo

They say the Devil has all the good tunes (except when he goes down to Georgia, of course!). But perhaps just sympathising with Old Nick also conjures up a decent tune too.

I remember the first Stones album I bought myself. I was 15. Coming off the back of a couple of Greatest Hits compilations, I went and bought the live album Get Yer Ya Ya's Out. Live albums can often be a mistake as they tend to offer thin, over-emoting, out-of-tune and unnecessarily long versions of well-loved – and crafted - studio songs.

But not so Get Yer Ya Ya's Out...

It's a tour album commemorating the infamous 1969 US Tour - yes the one that ended with the screw up that was Altamont. I come back to this album frequently. I can safely say; I learnt to play guitar strumming along with this album. Recorded at Madison Square Garden, it captures the Stones as they transitioned away from Brian Jones and into the demi-god led outfit that included Mick Taylor. Finally, the Stones had some serious lead guitar muscle to complement the Human Riff, Keef. They would get better in the next couple of years, but this is the only official live album of the Stones Mark 2 line up.

My fav track was Track 1 / Side 2: Sympathy for the Devil. (“Paint It Black you devils! Do Paint It Black!”) E-D-A verses dropping to B for the chorus. Brilliant to play along with and attempt the extended guitar solo at the end of the track. Yes, I learnt my pitiful lead axeman skills from this track. Well at least for the first minutes of the solo anyway! Because suddenly the solo gets hard - real hard. What is a rhythm guitarist's best ever solo morphs into a shit-hot guitar hero work-out. You can hear the change about 4:30 into the track. It’s almost as though Keef took a snort half way through and felt emboldened to shout "Oi! Hendrix, Clapton - come and have a go if you think you’re hard enough!"

But YouTube and the internet have revealed the mystery behind the split personality on Sympathy for the Devil’s guitar solo. For of course – Keef plays the first half and then hands over to Mick Taylor. In less than two minutes, Mick Taylor pisses on Richards and - in the cock-measuring contest that was the Stones – for the next five years, never again would Keith attempt to challenge Taylor. There has only ever been one lead guitarist in the Stones and his name was Mick Taylor.

I’ll write in due course more about this golden era of the Stones. When they really deserved the moniker ‘The Greatest Rock n Roll Band in the World’. But for now, listen to this audio and you’ll see what I mean. Keef starts soloing at 3:18. Mick Taylor takes over the baton at 4:30 and from 5:20 streaks down the back straight to take both the tape and the Gold Medal.

As I said, the Stones would get better after 1969. Taylor would get more confident – aware that his fluid, melodic soloing would propel songs like Midnight Rambler, Gimme Shelter, Street Fighting Man to ever higher levels. But Get Your Ya Ya’s Out is where it began and, on Sympathy for the Devil, you can hear him shyly but definitely, take over the band’s sound.

Enjoy.

To read other Mick Taylor related articles, click here...

Tim's Blog RSS