Archive for Keith Richards

ShortRiffs — March 2017

Posted in Education, Music Business, Players, Playing with tags , , , , , , , , , , , , , , , on March 30, 2017 by theguitarcave

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Welcome to the March issue of ShortRiffs! Winter is almost over and Spring has sprung…sometimes. As always, there is some guitar-related stuff in the news, including some sad stories for us older folks. But it’s to be expected… I guess. Time keeps on slippin’ into the future and all that.

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CHUCK BERRY One of the founding fathers of rock and roll has died at the age of 90. What a life! What a legacy! There will never be another like him you can be sure of that. Anyone who has ever read his autobio or seen Hail Hail Rock and Roll knows what an iconoclastic character Chuck was; a driven, intelligent and very dangerous guy! It’s not hyperbole to say that pretty much every guitar player who came after owes some debt to Chuck’s jazzy, rocking guitar style. This was explored and best explained by none other than Eric Clapton in the Hail Hail movie. The patented Chuck Berry double-stops, slurs and bluesy bends formed the basis for many an early fledgling guitar player and on certain songs or in certain situations they actually sound better than other guitar options. While Chuck didn’t invent any of this technique, he certainly popularized and took it out to the mainstream and sold it well. Who else from the early days of rock and roll casts as long a shadow? Chuck’s style and music continue to be an influence on countless rock and rollers all over the globe. He’s the guy who launched 5 million bands, easily. Interestingly, he has said that “rock and roll paid the bills but his heart was in the big band era”. This is something I have alluded to in a number of posts on this blog: The big band era never gets the credit it deserves for its influence on the rock and rollers who came along in the 1950s, and then everything else that followed.

But Chuck Berry was much more than a singing guitar-slinger. He was a songwriter par excellence and his music was quintessentially 1950s post-war America; hot cars, juke joints, pretty girls, hamburgers, dancing, wide open highways, falling in love, and rock and roll. It was the music of a country that had plenty to offer and was a testament to the belief (especially at the time) that there was no greater place on earth. That’s what I see in all of Chuck’s performances and hear in his music, even the difficult personal relationship music. As long as life gives me the opportunity, I will make something of it! That can-do attitude, immense natural scope, and awesome lifestyle possibilities that made America the envy of the world really helped create the soundtrack we all know as rock and roll and nobody personified, enunciated and delivered it better than Mr. Berry. In time many other entertainers, including Brian Wilson, Jagger/Richards, Lennon/McCartney would expand on the very fertile ground that Chuck had tilled to create their own vision and version of the land of dreams and opportunity, but they all acknowledged the debt they owed to the original rock and roll Shakespeare! I am not unhappy that Chuck has left the building though the world is much poorer without him. Chuck always did what Chuck wanted to do when Chuck wanted to do it. If he is gone now, it’s because that is what he wanted and who am I to question what Chuck wanted? Long Live the King!

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Speaking of dreams and opportunities — Back in this post on Jimi Hendrix, I mentioned an old book in my possession, ‘Scuse Me While I Kiss the Sky. This book, Rock Dreams, one of the campiest and most far-out books ever done on the subject of rock and roll, has been in my possession for just as long. I recently found it at the bottom of a closet full of stuff. The book was written by Nik Cohn and illustrated lovingly, controversially and very gay-ly (for the time) by Guy Peellaert, an artist and illustrator probably best known for the David Bowie Diamond Dogs and The Rolling Stones’ It’s Only Rock and Roll album covers. The book had been put together the year before (1973) and according to Wikipedia it reportedly sold a million copies after it was published the following year. The book consisted of Peelaert’s visual illustrations which celebrated and exaggerated the rebel heritage of pop music and, particularly, rock and roll, with commentary by Cohn. Many of the original artworks were bought by actor Jack Nicholson. While the exaggeration is full-blown in some slides (as only the 1970s could be) the compositions and settings of some of the artists are really good. They transmit all of the visceral power that rock and roll promised and sometimes, delivered on. There are pics all over the web of this book, and it’s still available if you want to get your inner Rebel Rebel on!

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If you missed it, here is my review of the Django a Go Go concert that was held at the beginning of March at Carnegie Hall. My girlfriend and I had a magnificent time and we saw Stochelo Rosenberg (and Al Di Meola, Stephane Wrembel and many other great musicians)! It was totally a blast and we got our money’s worth of almost 3 hours of great guitar entertainment. Originally it was going to be part of the March ShortRiffs, but I go into a lot of detail. Check it out!

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Brian Setzer won Vintage Guitar Magazine Featured Artist of the Year. John Jorgenson came in right behind him in the same category. Both players stay incredibly busy and are at the top of the guitar-playing game so it’s great to see they are recognized! Brian Setzer’s Rockabilly Riot tour is happening in the USA in June of this year.

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Unfortunately, according to his wife, Glen Campbell, who I wrote about here, has now lost the ability to play guitar because of his Alzheimer’s condition. While everyone knew this was coming, it is a bummer and as someone who saw a loved one die of a degenerative brain illness I can relate to the pain and frustration of the family and loved ones, and, of course, Mr. Campbell himself. I only hope that until the end he remains somewhat cognizant of how important he and his music were to so many people for so many years. As a guitar player, he was just fantastic and some of his songs are very memorable moments in the American pop song lexicon.

Fun with Alternate Tunings

Posted in Education, Players with tags , , , , , , , , , , , , , on July 9, 2014 by theguitarcave

I saw something surfing online last night that reminded me maybe it would be cool to make a sticky thing for open tunings. After all, its a popular (if sometimes slightly complicated) topic and the manipulation of various strings on the guitar to various different pitches from the standard concert tuning has resulted in soooooo much quality music. So to whit, here’s a short primer with some background info.

I already touched on the subject of open tunings in the Keith Richards posts and if you are interested in what he did you can read here and here. I did NOT touch on the subject in the Jimmy Page posts even though I certainly could have. Page used many tunings over the years with great success. Some, like the completely twisted tuning for When the Levee Breaks (EACFAC) were probably his invention. Some like the infamous CIA (Celtic-Indian-Arabic) modal tuning (DADGAD) were not. Below is Davey Graham, a British guitarist who was an extremely huge influence on Page playing this tuning in a folk setting in the early 60s. Davey, in addition to being a great folk player also did well with jazz and “world music” before anyone thought of calling it that.

What led me to consider a post on tunings was a visit last night to the Joni Mitchell website. She has a whole section devoted to guitar transcriptions and over her very long, incredibly successful career used an estimate 50 +/- different tunings she basically just made up. She even has an archivist who has kept track of them for her. However, there is a system involved and if you are interested in the theory behind the tunings you can view that here. As you may or may not know, Jimmy Page and Robert Plant were completely enthralled with Joni Mitchell and may or may not have been influenced by some of her early 70s recordings. Jimmy didn’t use quite as many tunings as Joni, but he did have several interesting ones and I’ve listed them below. All of the tuning numbers are low-to-high and from the studio recordings. Some were changed live, Dancin’ Days was probably recorded with a guitar in standard and another in open G. After the list there is a nice version of a very pleasant and easy That’s the Way from Earl’s Court in 1975. Tune to open G and have fun!

Open G (DGDGBD)
That’s the Way
Going to California
Black Country Woman
Dancin’ Days*

Open C (CGCEGC)
Hats Off to Roy Harper

CIA (DADGAD)
Kashmir
White Summer
Black Mountain Side

Drop D (DADGBE)
Moby Dick
Ten Years Gone

Open A (EAEAC#E)
In My Time of Dying

“Page C” (CACGCE)
Poor Tom
Friends
Bron-Yr-Aur

“Page C 2” (CFCFAF)
Bron-Yr-Aur Stomp

“Page D” (DGCGCD)
The Rain Song

“Page Slide 1” (EFCFAE)
Jennings Farm Blues

“Page Slide 2” (EACFAC)
When the Levee Breaks

“Page Slide 3” (EADGBD)
Traveling Riverside Blues

Of course many other guitarists have used altered tunings throughout their careers. Sonic Youth have an online primer that details the tunings for what looks to be everything in their catalog! Quite the list of outrageous stuff! Many hard rock bands made use of the Drop D tuning including Pantera, Van Halen and Soundgarden. Speaking of Soundgarden, they had some really far-out tunings on the Superunknown and Down on the Upside albums. I was a fan of the EEBBBB tuning that is used on The Day I Tried to Live and My Wave. Burden in My Hand is a great example of a hard rock approach to an Open C tuning (which originally would’ve been used for acoustic bottleneck back in the day). In this post I detailed the C tuning metal players from Tony Iommi to Matt Pike favor and I will once again refer you to the Wiki page on guitar tunings, because it’s a good resource.

As I mentioned in the Keith Richards post linked above, altered tunings can really expand your sound, but they can also be a huge pain in the neck too, especially in a live situation. If you are in the position of being able to haul multiple guitars around then you can tune as many as you want to whatever you want. You certainly can’t be trying to adjust to dramatically different tunings between songs. If it’s just a matter of dropping the E string, you’ll be ok, but even going from standard to open G and then back to standard is a bit dodgy. I’ve found that doing so stretches out the strings in a way that makes the tuning sound weird and they go “dead” faster too. Ideally you should have a guitar for a certain tuning and set up the guitar to the various tension the tuning produces. An open A tuning, for example, puts much more stress on the guitar than the open G because the D, G and B strings all have to be raised a pitch. Generally, I’ve found that acoustic guitars especially have an easier time and a warmer tone if the strings are detuned into an altered tuning rather than being raised, but that certainly isn’t a rule. There is a lot of trial and error involved with this approach to guitar playing so just go nuts! We’ll end with the late, great Michael Hedges who was also an altered tuning aficionado. His catalog of songs with open/altered tunings is also quite extensive and there is a database here should you be looking for something.

Happy Birthday Keith Richards!

Posted in Players, Playing, This and That with tags , , , , , , on December 18, 2013 by theguitarcave
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Absolutely Awesome that my first guitar hero has made it to 70 years of age! Defying all pronouncements and expectations, he didn’t die before he was 30 and has become a rock elder in grand style! Plus he has created so many rad riffs over the years. HO HO HO!!

I still listen to Keith and the Stones frequently. Lately I’ve also listened to Elvis Presely’s The Sun Sessions, Creedence Clearwater Revival’s Cosmos Factory, and a bunch of Howlin’ Wolf. I’ve written a couple of things on Keith here and here. I also wrote this on the Gimme Shelter movie, which is my most popular post ever, except for the post on Django Reinhardt’s Improvisation #1.

I haven’t been blogging because of work and I’m back playing regular Gypsy Jazz gigs now. It’s really cool! All the practice has paid off. At some point next year I hope to put some more real guitar stuff on here.

For all of you jazzers: Morten Faerestrand has one of the best instructional channels on Youtube. I highly recommend! That is all!

Finally, it’s that time of the year when you’re going to hear Felize Navidad regularly, but did you know that José Feliciano is an outstanding guitarist? Check it out below in a duet with (of all people) Bing Crosby.

Happy Guitar Holidays to Everyone!

Brave New World?

Posted in Music Business with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on April 15, 2013 by theguitarcave

Musicians, artists, writers, designers and other creative people are in a perpetual state of harried flux as they try to keep up with all of the technological advances that have enabled revolutionary methods for creating and communicating. This is also true of businesses who have long been the arbiters of content creation, distribution and world-wide entertainment. As the changes gather momentum and the multitudes that are interconnected in cyberspace share INFORMATION, everyone must hustle to stay ahead of the curve or they run the risk of obsolescence. The old modes and models are fading away and younger generations come of age with no frame of reference to how the business of creation and delivery to marketplace was done before technological advances enabled these new paradigms. Unless you live in a cave you know this has created a great degree of tension: lively discussions, court cases, large fines, threats, jail time, and even death.

What is at the center of many of these disagreements are the issues of ownership and control. Who controls information? Who owns the content? Who controls the means of content delivery between people? Do laws that were written before this technological explosion took place still apply and should they? Are they even relevant anymore? Who should decide? What role do individuals have in deciding the fates of their entertainment? How much does the sharing/interaction process now affect and relate to the creative process? Is it time for new business models? Is the idea of music as a business outdated, outmoded and irrelevant? These issues can be expanded out into the greater realm of topics that are at the forefront of national and international discussion: How big is TOO BIG? Should any company or organization be TOO BIG TO FAIL? Are corporations people? How does the immense wealth of certain individuals and corporations negatively effect the electoral process in what are supposed to be democracies or republics? Are large, heavily-centralized entities really sustainable? Do they serve producers and consumers better than a smaller, more decentralized businesses? CAN’T WE JUST GO BACK TO QUAD-STEREO 8-TRACKS?

Some of these issues have already been explored on this blog:
here, here, here, here, and here. Though technology has changed the landscape dramatically in the last 20 years, the business of music, content development, delivery to an audience and copyright has always been an ongoing evolution. Here are some opinions on the current state of the music and entertainment industry from people you may know and some you don’t.

Zoiks! Gene Simmons from KISS blames the fans for ruining the music industry and hints that music as we know it will disappear because there is no incentive to make it without the potential for some kind of profit. I don’t completely disagree with the second part of his point, but the first part is a real doozy. Gene’s mad as hell and not taking it anymore…BTW, have you seen KISS Visa Card? He’s looking a little bit like The Terminator in this clip and I’m not sure what all the talk about “Big Tits” is about. (Women play music too, amirite?) I don’t know why, but this interview and the credit card and the “business” reminds me of this Young Ones sketch from the early 80s. Maybe this interview is supposed to be comedy.

If it sounds like Gene fell asleep immediately after completing The Elder and just woke up last week, I have an explanation, which I will share in Part II of this series (Sounds so DATELINE TONIGHT doesn’t it?) All I will say now is that according to the plot line of The Elder the bird flu apocalypse happens in 2014, so BEWARE!

And now for something totally and completely different. Here’s a point of view RANT I saw on one of my social media connections. I was actually surprised when I read it because usually this connection is pretty guarded. Maybe jet lag or a hacker had something to do with it but the sentiment has never been retracted. I’m not going to say who it was because this wasn’t an official publicity release. What really matters is this is a pretty successful musical entity that obviously has the same concerns as any musician regarding copyrights, control, etc.

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You’re probably thinking that the above author must be a punk rocker, death metal player, or someone with a lot of steel embedded in his/her face(NO, NO, and NO). Nothing is said about rap music or breasts and there is a very low opinion of Hollywood and the people in the entertainment industry. How Un-American! The author must be French! (NO). They also don’t care they’ve been ripped off. What gives?? The quote references the documentary below on the notorious online entity known as The Pirate Bay. Founded in Sweden in 2003, the site helps facilitate peer-to-peer file sharing by providing links to various types of (torrent) files that are posted (and downloaded) by users all over the world. The documentary is worth a watch when you have a moment. Many of the main drivers to all of the controversies that surround this BRAVE NEW WORLD (?) issue are contained within.

Here’s a letter to the editor of The New York Times that came to me via ROCKRAP. This is a very official type of communiqué on another aspect of the music industry. The author of the letter is Rubén Blades, a Grammy Award-winning singer, actor and activist.

“…Tom Carson’s review of Clive Davis’s “Soundtrack of My Life” (March 17) states: “As the head of Columbia Records in the 1960s, he discovered, among others, Janis Joplin.” Record executives do not discover artists: they stumble upon them. Not even Christopher Columbus would have had the chutzpah to claim he “made” America. Undisputedly, Davis contributed to making such talents publicly known. But at whose expense? Joplin probably never received her fair share of royalty payments and may never have owned her masters; nor is it likely that her family inherited the full financial fruits of her work. These usually go to people who can’t sing, can’t write, can’t play and yet end up millionaires, while true artists, like Rodriguez, end up broke and ripped-off. That record executives step forward to usurp credit for artists’ success is not uncommon. More disconcerting is that their self-serving accounts are considered worthy of review in your pages.

RUBÉN BLADES, New York

I believe that maybe this was part of the letter. I can’t find the original. If you’re confused about how we go from Janis Joplin to Rodriguez, I think Rubén is talking about Sixto Rodriguez, another very interesting music story. While there are some who would think that Rubén is being unduly harsh, the entertainment industry is completely PACKED with people who share his sentiments. Genre-defining, instrument-reinventing artists like Jimi Hendrix and his Experience made a whole lot of money for people who didn’t even know what end of the guitar to hold. If the influence of The Blues and Blues songs on rock and roll music was measured in dollars almost all of the early blues artists would’ve been very wealthy. Most of them died with much less.

What about big rock bands, like The Rolling Stones…what about them? They certainly have been very successful over the years. Probably have a good outlook on how the business is run, etc, etc. Mick Jagger expressed his views on file sharing in an interview with the BBC during the anniversary celebration of the release of Exile on Main Street. Mick’s answers are in blue type:

Things have obviously changed a great deal since those sessions. What’s your feeling on technology and music?

Technology and music have been together since the beginning of recording.

I’m talking about the internet.

But that’s just one facet of the technology of music. Music has been aligned with technology for a long time. The model of records and record selling is a very complex subject and quite boring, to be honest.

But your view is valid because you have a huge catalogue, which is worth a lot of money, and you’ve been in the business a long time, so you have perspective.

Well, it’s all changed in the last couple of years. We’ve gone through a period where everyone downloaded everything for nothing and we’ve gone into a grey period it’s much easier to pay for things – assuming you’ve got any money.

Are you quite relaxed about it?

I am quite relaxed about it. But, you know, it is a massive change and it does alter the fact that people don’t make as much money out of records. But I have a take on that – people only made money out of records for a very, very small time. When The Rolling Stones started out, we didn’t make any money out of records because record companies wouldn’t pay you! They didn’t pay anyone! Then, there was a small period from 1970 to 1997, where people did get paid, and they got paid very handsomely and everyone made money. But now that period has gone. So if you look at the history of recorded music from 1900 to now, there was a 25 year period where artists did very well, but the rest of the time they didn’t.

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NOTE: There are many more opinions and thoughts from various artists at the ROCKRAP site, including Tom Petty, Chuck D, Ice T and Pete Townshend, who provides a very eye-opening perspective.

In the following clip Lawrence Lessig presents an interesting overview on the early evolution of the music business, including the “Bidness War” between ASCAP and BMI, as part of TED talk he gives titled “Laws that Choke Creativity.” A very good talk and the historical parallels he draws are important for those who believe the issues that surround entertainment creation and delivery today are something new.

Another enterprising fellow who has garnered media attention lately is ex-hacker/businessman Kim Dotcom, founder of Megaupload and it’s associated sites. He rolled out Megaupload’s successor, Mega, in January on the 1-year anniversary of his arrest from copyright infringement and the forced-closing of Megaupload. Dotcom has been accused of costing the entertainment industry hundreds of millions of dollars and is currently fighting extradition to the USA for trial. He is defiant, believes he will be acquitted, and has plans to encrypt half of the internet to protect users from spying eyes. If for no other reasons, The Pirate Bay movie and Dotcom’s interview videos are interesting to watch not only because the networking, sharing, and business models are exposed, but it’s also amazing to see how it all GROWS, most of it virally. Dotcom estimates that at it’s zenith, Megaupload had 800 file transfers per second, 24/7/365. Fascinating! It’s important to note that there were plenty of legitimate users on Megaupload so it’s not like all of those transfers were “infringement” on anything.

Finally, are you one of those people who thinks music today is totally worthless? Does it seem everything in mainstream entertainment is written for a 12 year-old girl? Does the tired, formula-driven aura that surrounds the entertainment business remind you of other too-big-to-fail entities out there ravaging the landscape in an ever-increasingly desperate attempt to suck money out of your wallet while giving you nothing in return? Well, YOU ARE NOT ALONE! As a matter of fact, there are some really successful music icons who feel the same way you do! This last link is an entertaining, sometimes educational documentary on the music business in the USA. As a “movie” or “documentary” Before the Music Dies certainly has its shortcomings. The “flow” of the film could’ve been better and certainly watching it in clipped bits on Youtube doesn’t help. The film highlights some of the authentic artists performing today with live music clips but some of the performances are too long and I was skipping through to get back to the thread of the movie. Many salient aspects of modern “music production” — The 1996 Telecommunications Act, ClearChannel, Auto-tune, butt implants, quarterly profit returns and much more are covered and in some cases demonstrated to very grim or hilarious results (depending on your point of view). The numerous interviews (Eric Clapton, Les Paul, Doyle Bramahll II, Dave Matthews, Bonnie Raitt, Erykah Badu, Questlove, North Mississippi All-Stars and Brandford Marsalis) are very illuminating to say the least. It warms my heart to watch performers who have reached this level of success deriding the superficial, profit-driven, multi-tentacled vampire squid that is the entertainment business today. Bonnie Raitt, Brandford Marsalis and Dave Matthews all have some great money quotes and Eryka Badu is awesomely funny in a biting, social-commentary kind of way. I recommend highly — enjoy the movie and figure out how it may or may not impact your career or musical journeys.

PART II Coming soon!

Keith Richards — Part II —The 70s

Posted in Players with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 5, 2013 by theguitarcave

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The late 1960s and early 1970s saw Keith Richards coming into his own as a bona fide guitar hero and entertainment personality, albeit a very notorious personality. If you missed the first part of this expose, you can find it HERE, and the most popular post I’ve ever done, Gimme Shelter, is also chock-full of Keith or, “Keef” goodies. Following the release of Let It Bleed and the infamous 1969 American tour, Keith and The Stones would tour Europe and release two more powerhouse albums before returning to the States for an even more infamous tour in 1972. The albums, Sticky Fingers (parts of which were recorded on the ’69 tour in Muscle Shoals, Alabama) and the genre-defining Exile on Main Street, which was basic-tracked in Keith’s rented house in the south of France with the help of the new Rolling Stones Mobile (recording) Unit, would cement the band’s reputation as the swaggering high priests of outlaw rock and roll. These two records also completed the HOLY 5 (Beggars Banquet, Let It Bleed, Get Yer Ya Yas Out, Sticky Fingers, Exile On Main Street) run of Stones albums that is pinnacle of their career. All of these albums are very much driven by the guitar style Keith mashed together from all of his favorite blues, country and early rock and roll influences to recreate an updated form of rock and roll that is distinctly American. In that way, this period is very reflective of Keith’s artistic sensibilities and long-standing fascination with American culture in a way that nothing after 1972 would, not even his solo records.

During this time another British band was making their own indelible mark on rock music and as the 70s progressed they would eclipse the Stones in sales, popularity and sheer awesomeness. This, of course, was Led Zeppelin. The two bands had quite a bit in common, especially in the early 70s, the use of the mobile unit to record their groundbreaking records out of the confines of urban recording studios, for instance. There are many interviews with Keith and Jimmy Page that illustrate how much of the sound of these seminal recordings (the Stones 5 and Led Zeppelin III, Led Zeppelin IV, Houses of the Holy and Physical Graffiti) owe as much to the ambiance of their recording settings as they do the songs, players and instruments. Tales of the Stones recording Exile while dinner was being cooked upstairs or Keith ducking out of a session to put his son to bed (and not reappearing for 5 hours) align with Led Zep lore of the sound of John Bonham’s drum sound on When the Levee Breaks, captured in a Headley Grange hallway or all 4 members of the band dancing on the lawn after hearing first playbacks of Dancing Days. Recording these albums in this fashion allowed for greater artistic isolation because both groups were removed from urban environments, and was reminiscent of the old days when blues/country artists recorded in hotel rooms, kitchens, or on street corners. I believe this allowed both bands to bring a level of authenticity that approached high art to these recordings. Another similarity, one that Led Zeppelin embraced from the very beginning of their career, was that neither band had to be concerned with having a hot single out every two or three months and both had reached the superstar status level that afforded them the luxury of having to answer to no one, as long as the kids kept buying records and concert tickets. The Stones and Led Zeppelin had their own record labels by the mid-70s and this was a very big step (and one that isn’t talked about very often in the current file sharing discussions) of wrestling control away from record company executives and putting it firmly in the hands of the artists who were making the music. Not only was the music written and played in a very sympathetic environment, using all of the latest technology available, but the band (and a very willing engineer or two) recorded and produced the music as they saw fit. Personally, I think this has a whole lot to do with why these albums still rank as some of the best ever made and are very hard to beat for the sound of the BLUUZE excitement that jumps off of them when they are played.

BEGGARS BANQUET

This record was covered in Part I, but as an added bonus here is Street Fighting Man when it was Did Everyone Pay Their Dues? The video is from a trip Mick, Keith, Marianne Faithful and Anita Pallenberg took to South America in 1968. This trip would influence at least one song from Let It Bleed.

LET IT BLEED

A very menacing record – the sound, the lyrics, the subject matter, the way Keith has developed his slashing chord jabs and the relentless, insistent pulse of the rhythm section. 1968-1969 were bloody years and the Stones had their finger square on the pulse of what was happening. Let It Bleed was released in the USA immediately after Altamont and it’s so evil that it might as well have been the soundtrack. John Lennon seemed to believe that “Let It Bleed” referred the last Beatles album and it probably did. Mick Jagger had always been jealous and competitive of The Beatles and their success and with this record he finally came out on top. While Let It Be is a half-assed collection of songs and jams from an aborted pre-Abbey Road movie idea, Let It Bleed is a tightly-focused statement on the state of the world as the Stones saw it at the time. While soon-to-be jettisoned Stone Brian Jones and soon-to-be Stone Mick Taylor both appear on the record, it’s pretty much a total Keith show.

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Gimme Shelter kicks off the record with it’s dramatic, almost cinematic, building intro. Keith’s playing in open-E tuning and the treble chords in the intro set the listener up for the main body of the song because once the descending riff (a variation on Under My Thumb) kicks in he is beating you over the head with it. Charlie Watts is locked in on Keith once the song kicks in and never strays. On top of this rhythmic heaviness, there is some slide guitar, a short Keith solo, a bluesy harp and apocalyptic lyrics provided by Mick, and a female vocal break provide by Merry Clayton that is so intense it was blamed for the miscarriage she suffered after the session. It’s 4 1/2 minutes of mayhem and this is the first song on the record! It’s evil twin brother kicks off side 2. Midnight Rambler, a song that sketches the Boston Strangler, is even more intense than Gimme Shelter. Keith has described it as a blues opera and he and Mick wrote all of the various parts together while vacationing in Italy. Played in an E position with a capo on the 7th fret, the song is a perfect example of how much power Keith gets out of a very basic and compact approach to guitar. Thousands of blues-influenced songs use this E position on the first fret, but putting it up at the 7th fret and swapping in a “D” chord and progression instead of the standard 12-bar B-turnaround, turns the whole form inside out without diverging too far away from it. You can hear it’s the blues, but it’s also much more than the blues. I find the tone of the studio version of this song to be really amazing… it burps, kind of… and staggers along like a pervert in a dirty raincoat clutching a long knife. Keith used the same guitar on Gimme Shelter and Midnight Rambler and he recalled in 2002:

That was done on a full-bodied, Australian electric-acoustic, f-hole guitar. It kind of looked like an Australian copy of the Gibson model that Chuck Berry used. I played it on Gimmie Shelter too… It had all been revarnished and painted out, but it sounded great. It made a great record… (I got it f)rom some guy who stayed at my pad. He crashed out for a couple of days and suddenly left in a hurry, leaving that guitar behind. You know, Take care of this for me. I certainly did! But it served me well through the album. http://www.timeisonourside.com/SOMidnight.html

Monkey Man and Live With Me are two more nasty songs from this very nasty album. The first finds Keith locked in on one of his prototypical riffs; a hard-knuckled adaptation from Chuck Berry that sounds as if it might be in open tuning, but it is in standard C#/E major. This is the kind of hammer-time guitar thing that has made Keith a guitar hero and he probably spent days playing it over and over until it was exactly right. The slide part that happens as a break before the final “I’m a MONKEY!!” is probably open-E. Really nice layering of guitars and a tinkling piano above Charlie’s insistent drums. Monkey Man is a silly song lyrically, but a great music track. Live With Me is a swaggering ode to sleaze that features Mick Taylor on guitar and Keith on bass, which he likes to do from time to time. In concert, the propulsive bass line would be doubled on guitar with those slashing standard-tuned guitar chords played against the rhythm. Saxman Bobby Keyes makes his first appearance with the Stones on this track. On the softer side of things is a very bluesy adaptation of Robert Johnson’s Love in Vain that features Keith on acoustic picking and electric slide and Ry Cooder on mandolin. I believe the acoustic is in standard tuning and has a capo on the 3rd fret and Keith uses really cool finger-picking patterns to bring the desolation and loneliness of this song to life. Extra chords were added to the Robert Johnson version so it is a bit more complex than a 3 chord blues. You can hear shades of this same progression in I Got the Blues from Sticky Fingers. Country Honk is the original version of Honky Tonk Women (although the electric single version was released first) and was supposedly inspired by the gaucho cowboys Mick and Keith saw on their trip to South America (see how I tied that together?). Keith was always fascinated with the cowboy lifestyle from an early age and for sure the band is channeling a little bit of Hank Williams and white boy honky tonk music on this one. For this song you can leave it in standard or tune it to open-G and merge with parts Keith plays on the electric version which is definitely in open-G. You Got the Silver is Keith’s lead vocal debut and he plays acoustic and electric slide guitar in open-E/D, with a capo on the 1st or 3rd fret so the song is in the key of F. (Whether you tune to D or E is a personal preference). The atmosphere of this song is simply 60s beautiful and is easily one of the best songs the band ever did. Originally Mick also sang on the track and there are alternate versions out there with him on vocals, but Keith’s vibe is really cool and that makes the album version definitive. Let It Bleed and You Can’t Always Get What You Want round out the album and on both Keith is playing various acoustics and electric/slide guitars. When I saw the Stones on the 1981 tour they played Let it Bleed, which was great because it had never been a concert song before. You Can’t Always Get What You Want (played in open-E or D [acoustic] on the record and usually played in open-G with a capo on the 5th fret live) was a concert staple throughout the 70s.

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Let It Bleed was a critical and commercial success and really was the next big step (after Beggars Banquet) of the Stones’ new image to the world. As with the rest of the studio albums during this period, the best songs would be hits and favorites of legions of fans for decades to come and still make up a big part of any Rolling Stones set list. Musically, lyrically and artistically Let It Bleed is more than an album and is probably second only to Exile on Main Street as the best record the group ever did.

GET YER YA YAS OUT

I include this in the group of must-haves because it’s much more than a live album. A case could be made that it isn’t really a live album as there were a few overdubs done after the fact and any close listening to bootlegs from the tour or clips from the movie Gimme Shelter (like the one above) prove this. Not everything was changed and certainly all of the ingredients for a great live album were already there, but given that the band was on a creative roll and probably wanted to put their very best into their first real live album, it’s understandable they would play around with it. Another crucial component is Mick Taylor. His guitar playing gave the album a very HEAVY blues virtuoso feel in spots and it was smart to make the most of what he was now bringing to the band. He had only been involved for a few months prior to the tour but it was very clear from the beginning he was going to change the sound in a big way. The album rocks from beginning to end and some cuts like Midnight Rambler, Jumping Jack Flash, Live With Me, Street Fighting Man and Sympathy For the Devil have such a powerful sound and energy that it’s almost breathtaking. Taylor’s slide solo on Love in Vain (which he plays in standard tuning) is simply brilliant as is his solo (the 2nd one) on Sympathy. The rapid-fire negotiation of the 4 parts to Midnight Rambler come off perfectly and that song is so sizzling it is downright scary. The band would never sound like this again on a live release and that has everything to do with Mick Taylor, Keith’s good health and the band working with the realization that they have expanded their capabilities and execution and are firing on all cylinders. The maelstrom that was the late 60s probably had something to do with it as well as the fact that this was the first time the Stones had played America with powerful amps and PA systems. They rose to the challenge perfectly and this is a great transition from Let It Bleed to their next offering.

STICKY FINGERS

Sticky Fingers is a really good indication of how SMART The Rolling Stones are. They were always able to integrate whatever was going on at the time into their sonic palette and produce records that were simultaneously timely and timeless (This would also be true of Some Girls). Quite a feat when you think about it. Everything that would follow in the 70s: the debauchery, self-destruction, failed 60s ideals, tired and overplayed musical styles and the indulgences of the “ME” decade is contained in the lyrics and music of this record and really all Keith Richards and Mick Taylor did was further define the twin-guitar style that had already worked for the band for the better part of 7 years. Even though the 70s would be the era of long songs and jams, the Stones always kept it pretty tight around the blues wail/pop song format that had served them throughout the 1960s. While Brown Sugar or Bitch seem like a far cry from Satisfaction or The Last Time, musically they aren’t in terms of complication or excess. The refinement of the riffs, rhythms and parts, a much bigger sound, combined with Mick Jagger’s envelope-pushing lyrics only illustrate how the band grew over time. There are some interesting tidbits about these two songs that anchor each side of Sticky Fingers. Brown Sugar was a Mick Jagger composition right down to the rhythms and salacious subject matter. Keith turned it into a tour de force by adapting it to his open-G tuning, layering electric and acoustic guitars together and adding a very patented Chuck Berry ending to the song. Brown Sugar was recorded at Muscle Shoals during the ’69 tour and as I relate in the post on Gimme Shelter, part of the reason that the band ran into trouble on with various components of the counterculture on that tour was because of the fact that they had already moved on from the 60s (after the drug busts of 1967, the failure of Their Satanic Majesties Request, and Brian Jones’ death) and were already channeling a new decade. While many people from the hippie movement at the time thought that the Stones were an anachronism of a bygone era, the band glided effortlessly into the 1970s more successful than ever. Bitch, on the other hand, was a mess of a song that began without Keith, who showed up to record that day with a bowl of cornflakes in his hand. After listening to the band struggle with it for a few minutes he strapped on his guitar, simplified the riff and WHAMMO! Instant 70s AOR hit.

The rest of the album shows the band’s dedication to American roots music whether it be country; Dead Flowers, Wild Horses, the blues; I Got the Blues, You Gotta Move, or (what became) definitive 70s rock; Sway, Can’t You Hear Me Knockin’. Sister Morphine and the very unStonesy Moonlight Mile round out the record. Thanks to their always on-point music savvy and the addition of Mick Taylor, and a horn section, including saxman Bobby Keyes, the Stones had developed a formidable sound that greeted the 70s with sass, hipness, and their always insistent energy. Taylor’s fluid lead lines gave songs like Moonlight Mile, Sway and the Santana-esque 2nd half of Can’t You Hear (the first part is a brilliant Keith G-tuning workout) a big rock virtuosity that was perfect for the 70s. Jagger would say after Taylor’s departure that he had really enjoyed writing with the guitarist because he didn’t come from as limited a background as Keith and his more lead-based style allowed for departures from the typical Stones raunchiness. Sister Morphine featured slide guitar maestro Ry Cooder, who has long been rumored to have been the one who turned Keith on to open-G tuning and was also not the first person to be turned off by the druggie vibe that was becoming more a part of what the band (at least some of them) represented. A review I read of this record from a long time ago mentioned that there were enough overt drug references in the lyrics that one could get high simply by sniffing the record jacket. The nastiness of the lyrics combined with the very up front chugging of the band made this a very obvious and in-your-face record, much more so than any of the others of the “5 group.” The band would bury much of this on the next album and in some ways, that made all of the danger and debauchery even more bawdy and sinister.

A word about open tunings, a guitar technique Keith uses quite a bit. There are a few things to remember about using different tunings that players should keep in mind. 1) Keith was a pretty good rock and roll guitar player and had certainly come up with some genre-defining riffs before he started changing tunings, so don’t assume everything post ’68 is played in something other than standard tuning. Plenty of songs that some people think are in open-G aren’t. 2) Don’t assume that the tuning a song might have been recorded in is how it was played live (Jumping Jack Flash, You Can’t Always Get What You Want). Certain things, like that open-G, suspended chord sound one hears in the riff to Brown Sugar, are fairly obvious, but also keep in mind, that 3) it’s possible to play these songs without changing the tuning. I’ve watched Chris Spedding play Brown Sugar in standard tuning and Mick Taylor never played in open tuning as far as I know. Chris told me a story about how he played in front of Keith once and Keith mentioned that he liked the DRONE sound that playing with an open tuning gives to a song like Brown Sugar. That’s really what you miss if you play it in standard tuning — there is none of that sympathetic ringing that can give you a really big, sometimes slightly dissonant sound. Obviously that sound won’t work on everything and as a guitar player you have to use your judgment on what is best for you in various musical situations. From personal experience I can tell you I don’t favor two or more guitars in a band tuned to an open tuning. That gets really weird, especially live. I think a big part of the Stones sound during this period was that Mick Taylor remained in standard and played complimentary parts to Keith’s riffing. Even when they were doubling lines in a song like You Gotta Move, the sound is full without being disorganized because Keith plays his lines on an open-C tuned acoustic and Mick Taylor doubles on a standard-tuned electric. This is just my opinion and really only applies to roots style music. Bands like Soundgarden certainly employed various open tunings with more than one guitarist tuned out of concert tuning to great effect.

EXILE ON MAIN STREET

While some might disagree (certainly Mick Jagger always has), this record represented the pinnacle of the Rolling Stones creative vision and execution. While the band would enjoy hits, tremendously profitable tours and notoriety for the following forty years, they never topped Exile and once again, while the group and some assorted special guests were absolutely crucial to the way the record turned out, this is Keith’s album. It has everything that has been the hallmark of his style throughout his career: subtlety, the guitar as a vehicle for the song, slashing riffs, ingenious production, compact leads and a tremendous ability to recreate musical styles in a way that makes the songs sound absolutely authentic. It’s not just his guitar that’s at work here either. In some ways Keith is the equal to Page or McCartney when it came to using the studio almost as if it were another instrument and the production quality of Exile, controversial for it’s buried wall of sound mix, is exactly the same as his guitar style. He wears his influences on his sleeve and if you listen to those old records then it’s obvious he and the band got this album exactly right. He also deserves a whole lot credit for the vocals (lead and back up). In some cases they completely make the song. I don’t know how long the following song will be available (it seems to come and go from Youtube) but notice how the whole band wakes up on this version of Dead Flowers after Mick and Keith sing the first chorus. Many people have remarked on this quality of the band, especially live: when Keith wants to rock, there is no stopping the the band. His vocals are also a feature on “Exile” songs like Rocks Off, Casino Boogie, Soul Survivor, Torn and Frayed, Sweet Black Angel, Tumbling Dice and Sweet Virginia. While many rock and rollers don’t know this, gospel music is a big influence on the Stones’ sound. Keith is a HUGE fan and while many people would not see how church music could work with dirty rock and roll songs about nasty habits listen to Sweet Virginia, Tumbling Dice or Torn and Frayed again. What has kept Keith in the music business for over fifty years is the fact that he was always more than a guitar player into one style of music. Also, take it from someone who was there, Mick and Keith sharing a mic was one of the most ubiquitous and iconic photo images from the early/mid 70s.

Much has been made of the recording conditions in France for some of the basic tracks. Andy Johns, who was the engineer for the sessions gives a nice rundown on how it all worked HERE. The environment was hot and steamy, guitars went in and out of tune (you can hear this on the intro to All Down the Line), but in some ways it didn’t matter because the band was dialing in their cosmic blues infused slop rock where problems like wiggy tuning only added to the ambiance. Because the band (like Zeppelin and more after them) had been forced to flee Britain as a result of high taxes, there was an extreme sense of dislocation among members of the band and their entourage. This more than likely added to some of the jittery, nervous energy that can be found on parts of the record.

If there is one song that encapsulates the Keith Richards’ style during this period, Tumbling Dice is it. The “hit” that Exile on Main Street produced is an awesome open-G tuned, capo on the 4th fret (key of B) exploration of lead/rhythm ambiance. Except for a brief solo before the final verse the song is a perfect example of what Keith calls “guitar weaving,” two guitars playing sympathetic parts with enough restraint that a listener will have a hard time detecting which guitarist is doing what. What’s interesting is Mick Jagger is playing rhythm guitar on the recorded track and Mick Taylor is playing bass. The Exile sessions revolved around Keith’s “schedule,” or lack thereof, and whoever was around when he felt like playing/recording ended up on the track. Keith’s vocal track on the record, Happy, is another example of a song in the same Tumbling Dice tuning and an altered line-up, with producer Jimmy Miller filling in for Charlie Watts on drums. Hip Shake, as shown above, is another great example of Taylor and Richards weaving their guitar parts together. Ventilator Blues is the only song Mick Taylor received a songwriting credit for as it is his swampy guitar riff that drives the whole song. Bobby Keyes was actually the brains behind the rhythm of the song as Charlie Watts recalled later. Other highlights include the very emotional, gospel inspired Let it Loose with the guitars through a Leslie speaker and a gospel choir, recalling Al Green or Otis Redding perhaps. Robert Johnson’s Stop Breaking Down is given a loud, jamming performance featuring Mick Taylor’s slide and Mick Jagger’s harp. Rip This Joint is the fastest song the band has ever done and sounds like Little Richard on steroids. All of the instruments, including gospel choir arrangements were layered in to give the songs on the album a complete sound. No instruments or players really stick out as even a lot of the vocals are buried. While some, including Mick Jagger write this off to heavy drug use, I think this is the way Keith hears this music. His first solo album, released some 25 years later sounded similar. The rhythm section, guitars, saxes, harmonica, piano, vocals, percussion all kind of swirl together creating a sound tsunami that carries the listener away. This makes for a very dense and murky audio experience but I think it sounds very close to Phil Spector, Memphis or Chess Records. When the album mixes are BIG ROCK, It’s Only Rock and Roll and Dirty Work, the blues-inspired songs sound generic, flat and innocuous to me. The manner in which Exile was recorded and mixed is so important to not only how Keith wrote and played music, but also to the sonic concept of authenticity. The second part of the recording process took place in Los Angeles and various thing were cleaned up and added or overdubbed. But the basement feel and sound permeates the record and closes the book on the Stones’ glory days.

Plugging a Les Paul or a Telecaster into a Fender Twin or an Ampeg SVT with a little bit of delay or reverb and a nice healthy dose of volume and you have pretty much what you need for the Keith Richards Exile on Main Street sound. (The Dan Armstrong plexiglass guitar that he was playing on the ’69 tour was stolen in France during the making of the album). He was never much of an effects guy although there is a phaser used on Rocks Off and Keith would continue to employ slow phase on ballad songs (Comin’ Down Again) throughout the decade. The 1972 Americas tour was the debut of the prodigious use of Fender Telecasters, some of which were tuned to the open G (GDGBD) with the low E string removed. All Down the Line, Soul Survivor, Rip This Joint, Happy and the amazing Tumbling Dice are all very obvious open-G songs, most, if not all of them played with a Telecaster probably. This contrasted nicely with Mick Taylor’s Les Paul sound, especially when Mick’s slide guitar came into the equation, like on the following clip. There are quite a few great clips from the ’72 tour and they all ROCK!

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Following the release of Exile, the ’72 tour of the Americas and the ’73 tour of Europe were grand affairs. Not only did the denim-clad rowdies turn out in droves, but celebrities and the jet-set crowd were in attendance thanks to Mick Jagger’s marriage to Bianca Pérez-Mora Macias and his hobnobbing at all of the hottest spots the early 70s had to offer. Of course, these habits didn’t sit well with his guitar playing partner whose habits put him with a completely different class of people, described by others in and around the band as “the dregs of the earth.” This division, which had begun in France between those who took a lot of drugs (Richards, Taylor, Keyes, producer Jimmy Miller) and those who were much more restrained (Jagger, Watts and Wyman) became more pronounced. This led to sub-par material and acrimony between Keith and Mick Jagger. Mick was bored with rock and roll and was already making his views on this known as Exile was being released. His lifestyle and ambitions did not include being stoned to the point of incapacitation. Post-1972 he would be a lot more opinionated and forceful in his musical ideas for the group, whether that would him at odds with Keith or not. This happens and usually the result is the end of the band. That was certainly true with The Beatles. The Rolling Stones would carry on, but it would be different. While they would enjoy success and failures for another 40+ years they wouldn’t be the same important BAND anymore. They would gradually become an institution and much of that is simply a byproduct of longevity and the fact that there was a time, especially between 1968-1972 when there was no one playing and recording better music.

THE 70s & BEYOND

Even though nothing after Exile would be as much of a complete statement, there were some bright spots in the 70s and early 80s. I was a huge fan of the band growing up and heard all of the following as they were released so I’ll give a brief review of each.

Goat’s Head Soup — A very boring album. The band sounds tired even though Mick Taylor plays some ripping guitar in spots. He more than likely co-authored Winter, which is a really good song, way better than Angie in my opinion. A big rift between Mick Taylor and Keith also starts to emerge during this time and will culminate with Taylor’s departure after the next album. Keith is not down with the big soloing thing that has taken over rock circles (remember this is 1973…the biggest band on the planet is doing half hour versions of Dazed and Confused). But Taylor is completely down with being a LEAD player and is capable of bringing that to the music. On Exile Keith still had it together enough to bring in good stuff and force the guitar weaving style he enjoys so much. But starting with this album, the material isn’t as good or is just flat out derivative. They get it back on the next album a little bit, but Mick Taylor will begin to lose interest and feel constrained by the limitations of Keith’s vision of the band.

It’s Only Rock and Roll — Very underrated in my opinion. The title track is great, Dance Little Sister is awesome and has a great Taylor doing Keith solo on it. Keith channels his rhythm skills into a great reggae feel on Luxury, which I think is the best reggae-influenced thing the band ever did. The jazzy Latin-esque Time Waits for No One features a great groove, great lyrics and a very progressive style guitar solo from Mick Taylor. Perhaps his best moments as a Stone. Fingerprint File is flat-out amazing! Mick is doing an Isaac Hayes impersonation, but it doesn’t have the feel of bored parody…yet. He would definitely get there later in the decade. He plays the phased rhythm guitar, Keith plays the wah-wah guitar and Mick Taylor plays bass and it’s a great performance from all three. My favorite on a very good album. If You Can’t Rock Me, Short and Curlies, Til The Next Time and If You Really Want to Be My Friend are all solid songs and are played with great 70s feel and enthusiasm. This is the first record by Mick and Keith as The Glimmer Twins and Ron Wood, who was in the band shortly after the release, had a lot to do with the title track. This would be the last appearance of Mick Taylor until some of the songs worked on during his tenure are brought back for Tattoo You. Ron Wood will join the band for the 1975 tour of the USA.

Black and Blue — Even though Fool to Cry and Hot Stuff were popular, this album sucks and many people said the same thing at the time. I’m not of the opinion that the Stones did 70s dance music very well or that they ever should’ve tried. Miss You was a great tune and a smash hit, but this album isn’t and by his own admission Keith was so strung out at this point he was pretty much useless.

Love You Live — An abomination when compared with Ya Yas. The whole band sounds bored and remember what I said about Mick’s parody of Isaac Hayes? It’s in full effect on this record.

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Some Girls — The last GREAT Stones album. Keith is clean, Ron Wood brings a whole lot of new energy and punk rock/new wave and disco have helped give the band a new lease on life. This is Mick Jagger’s album and not only did he write some great songs and lyrics, he also plays so much guitar that several songs have a patented Lynyrd Skynyrd 3-guitar sound. (The two bands had played together in England in 1976…coincidence?). The disco-influenced Miss You was a huge hit and the rockers like Lies, When the Whip Comes Down, Respectable and Shattered are fast, furious, smart and nasty. Just what you would expect from the Rolling Stones. Faraway Eyes is funny and has a nice chorus and pedal steel from Woody. Just My Imagination I could’ve done without. The real musical gems of the record are Beast of Burden and Before They Make Me Run. Both of these songs are primarily Keith’s and were written during the period he was facing a possible lengthy prison term for a heroin bust. His riffing is smart and original on this record and he and Woody work together very well. Wood’s tenure in the Stones has certainly had some very low points, but up through ’83 he played his ass off. While he never had Mick Taylor’s chops and big sound, Woody certainly had a great touch and a few tricks up his sleeve. He really makes Some Girls come alive and this was a great soundtrack for the late 70s.You didn’t have to be a “rock guy” to like it.

Emotional_Rescue — I remember hearing this record a lot at the time, but I can’t remember why now.

Tattoo You — The last solid album (still a step down from Some Girls), culled from recordings in the vaults going back to Mick Taylor’s time in the band. The record has enough rockers, Start Me Up, Little T & A, Slave, paired with some really good ballads, including Worried About You and Waiting On a Friend to offer a really good balance of songs and they managed to make it all sound current and right for a live setting. As I said earlier, I saw the Stones on this tour and they really delivered well — long sets with a lot of surprise numbers — and the new stuff sounded really good. It was a total party!

The Rest
Tattoo You was pretty much the end though because everything released after ’81 sounded a bit too formulaic for me. I checked out Dirty Work and Undercover and saw them live a couple more times, but for me the late 60s and early 70s were the peak and there was and is a whole lot of other music to listen to. But Mick, Mick, Ron and KEITH gave me a whole lot of great rock and roll and GUITAR BRILLIANCE over the years and for that I am very thankful. I learned so much about music and rock and roll from listening to and playing the Rolling Stones music and any player can find oodles of goodies contained within any one of a number of tunes that will definitely be of use the next time a chance to ROCK OUT comes along.

One final thing… I really enjoyed the Chuck Berry Hail Hail movie (on Youtube in its entirety). Great cast of characters (Chuck, Jerry Lee Lewis, Bruce Springsteen, The Everly Brothers, Robert Cray, Bo Diddley, Bobby Keyes and a whole lot of Keith!). Oh and Little Richard! Any movie with Little Richard is going to be AWESOME because he is one crazy dude!

LIFE by Keith Richards

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Wish I could give this a rave review, but unfortunately, I can’t. I didn’t have high hopes for Keith’s autobiography because I am very familiar with the publishing formula that goes into the production of these memoirs. As a genre, or whatever, these books generally suck and are geared for people who don’t know much about the subject or just have to own everything that pertains to said subject. I know I’m jaded — I was reading interviews with Keith in CREEM magazine back in 1975!! Up until the late 80s I consumed every guitar mag interview he ever did. I’ve forgotten more than most people will ever know and much of what Life details, especially the drug use, was covered by others a long time ago. So if you, kind reader, don’t have that perspective then you’ll probably enjoy this…maybe. My copy was given to me and the person who gave me the book and two others I who know read it did a whole lot of skimming. The early chapters on Keith’s childhood and family are interesting and there were a few spots where he really plumbed his own depths, which resulted in a transcendence or at least an awareness of the meaning of (his) life. But the book is too long and unfocused and the editing/ghostwriting is horrible. It reads like Keith’s solo records sound and I’m not one of those people who think his solo records are that good. Sorry. What made the Keith and the Stones great was the team effort that honed and tightened everything for maximum impact. That’s how this book should’ve read and that would have been a significant improvement. The other problem is there is just not enough about the music and that is what Keith is, a musician. He isn’t a pirate, an outlaw or nonfiction writer. Why, at this point in his life he would want so much of his story to be about his involvement with substances I can’t imagine unless that was the marketing strategy to recoup a seven figure advance on information that has long been in the public domain anyway.