Which I know I must have heard back in the day, but have absolutely no memory of whatsoever.
Actually, if truth be told, I do vaguely remember the above song -- the album's opener "Leather Jacket" (presumably about the lead singer of Taylor's former band) -- and I vaguely remember thinking, at the time, that it was kind of cute in a jangly guitar sort-of power pop kind of way. Now I'm thinking it's closer to pro forma 70s California soft-rock, and given that Taylor's singing is at best serviceable, I'm not surprised it made so little impression on me. As for the rest of the album, I suppose I'll give it a listen, but the fact that the third song is titled, with dazzling originality, "Slow Blues"(!) leads me to think there's probably nothing on it I might have overlooked with impunity in 1979.
15 comments:
I feel bad in general for Mick Taylor. This just makes me feel worse.
It's clear that he was on the receiving end of some truly bad business advice and musical direction here, as there is nothing in that song that even hints at the power of his playing. How incredibly sad to think that this was his major-label debut. (FWIW, his 1990 live album, Stranger in This Town, while still uneven, is definitely worth hearing.)
nothing in that song that even hints at the power of his playing
If those opening chords had been struck with more earnest, a sharper attack, and a little more sustain, you would have had a great power pop intro. I think Mick Taylor was so appalled by what he'd seen and experienced with the Stones, that he never committed himself that deeply again, and stayed well back from the brink.
Harry Chapin meets Billy Joel
Some people are born supporting players; they may even be brilliant in the role, so much so that they overshadow the star, but only if they understand their strengths and limitations.
For example, Leonard Nimoy never tried to make Spock the star of Star Trek, rather he just worked at making him the most fully-realized, compelling character he could; and created an iconic figure in the process and, for may fans, overshadowed Shatner/Kirk in the process.
Mick Taylor was not a songwriter, singer or even a bandleader; what he was was an amazing lead guitarist, soloing for the "greatest rock'n'roll band in the world." Too bad that wasn't enough....
Oops, used the phrase "in the process" twice in the same sentence.
Bad Gummo! Bad!
There's a reason you didn't remember this album, Steve.
I'm going to go against the prevailing sentiment here (and everywhere else) that MT was a great, unjustly overlooked guitarist. He wasn't. In 1969 the Stones wanted someone who sounded like Clapton, and Taylor's sound was perfect.
But what he actually played? Not so much. There are studio tracks where he's rehearsed and/or edited into coherence but the 1972 concert film "Ladies and Gentlemen the Rolling Stones" tells a different story. His playing throughout the film (less so on rehearsed bits) is little more than a series of copybook exercises. At one point in "Tumbing Dice" you can read Keith's lips as he says, "Stop fucking playing!"
As someone once said about Roy Buchanon, "MIllion-dollar hands and a ten-cent head." I think he's also benefited in retrospect from Ron Wood's manifest incompetence.
I have that record and have enjoyed it since the day. I need to rip it to the computer though.
Having said that, I agree that Mick Taylor would be better IN a band than leading a band. But trading him for Ron Wood, who never stopped playing in his life, is not a step up!
I think it just vexed Keif that the playing was better than his.
Trey
Well, we'll have to disagree on "Ladies and Gentlemen" as far as Taylor's playing goes. And I will grant you that I've got live bootlegs of Stones shows in the year or so before Taylor split where his work could be described as noodling -- up to a point.
But his work on the studio albums is magnificent, that's all I'm gonna say. If it was achieved by judicious editing, so be it -- it's still great.
Not much noodling on Time Waits For No One.
Lots of great playing though.
Trey
And come to think of it, there would be no I'm Just Waiting For a Friend without Time Waits for No One. So if Taylor could get his royalties for that one, he could sue the glimmer twins for the later song!
Trey
I do remember that you reviewed the album for SR back in the day and were not particularly impressed. I don't remember what the review actually said, other than your Performance description of the album to be "At Sea".
I just listened to the album and found your description to be rather on the mark, although I will say that on its own terms it is rather pleasant. Taylor comes across as a rather undistinguished songwriter--the aforementioned "Slow Blues" is actually one of the highlights, and MT wisely keeps it at just over the 3 minute mark. The worst is the next tune, "Baby I Want You", which is not to be confused with Bread's "Baby I'm-A Want You".
The singing? Serviceable at best is fair, but better than I was expecting, and actually holds up better over the course of an entire album than either Richards' or Wood's. The playing? Tasteful as ever. Pleasant, if ultimately unmemorable, it probably would have been rated higher if Taylor had remained in the Stones.
Actually, "Leather Jacket" sounds quite a bit like Richard Lloyd's ALCEHMY. By accident, I'm guessing...
And what is the deal with Dylan's performance at the Grammies last night? Those arm gestures! He looked like Ed Grimley.
I must say! Was Pat Sajak there too? I must be going mental.
Trey
OK, all you MT nay-sayers. Yes, it's true that his albums and voice are less than memorable... BUT, and again I say BUT... I have seen MT live six times since 1984. (The most recent being 2010 at a small club in Northhampton, MA) And that's when he blows everyone else out of the water. He is sublime. Powerful, rhapsodic, dynamic. Witness his "Jammin' with the Blues Greats" DVD headed by Mayall. He (MT) and Albert King make, as one reviewer opined, "make time stand still". But I can't stop there... Mayall's 70th birthday bash on the "Blues for the Lost Days" cut is yet another example of his complete command of his instrument and it's sound. Note to Simels: Go ahead and release the tracks I sent you. I KNOW that none but you and I and a coupla' friends have ever heard these.
Post a Comment