Mick Taylor, the free verse of the Stones
By Sergio Ariza
"It's
just that demon life has got you in its sway"
Mick
Taylor played with fire and got burnt. He was part of “the greatest rock n roll band in the world”
in its best period and was the best guitarist, technically, that they have
had, doing solos that Keith Richards, Brian Jones and Ron Wood could only dream about;
but in contrast to them, Mick Taylor was never really a Rolling Stone (at least
in his literal meaning or in his lifestyle). He left the job that all the other
guitarists (men?) all over the world yearned for because to be a Rolling Stone ‘wasn’t
his thing’, his thing was to play guitar like the angels and to do solos that
stuck in the mind like a hook. His professional relationship with Richards created
one of the most important double guitar acts in history and their styles were
complementary but, personally, they couldn’t be more different. The Stones did
their best tours and albums with Taylor, and also defined their definitive
sound; Keith was the architect of that sound but the Stones’ riffs never had,
neither before nor after, a more outstanding soloist than Taylor.
Mick Taylor, who was born on 17 January 1949, began
playing guitar very young. By the age of 14 he was devouring albums by Elmore James and Freddie King, playing along to them
on the record player, and two years later he was on stage with one of the
fathers of the British blues scene, John
Mayall, replacing the most famous guitarist in the country, Eric Clapton. Clapton had not
turned up for a performance, Taylor was in the audience and knew Mayall’s
albums, so after a pause he went up to the stage and asked if they would let
him play and, as Clapton’s Les Paul was already there, Mayall decided to run
the risk; the boy fulfilled his role to perfection. So much so, that one year
later when both Clapton and his replacement, the great Peter Green, left to form their own
bands, Mayall decided to call him and make him a member of the Bluesbreakers at just 17 years old.
His first album with the band, in which John McVie was still the bassist, was Crusade, and on tracks like Snowy Wood he showed that Clapton’s
boots were not too big for him to fill. He made a greater contribution to the
following two albums of the band: Bare
Trees and Blues From Laurel Canyon,
released in 1968. Taylor began to find himself as a soloist despite being less
than 20. At that moment he was already playing a 59 Gibson Les Paul Standard that
he had got from Keith Richards himself; fate is as whimsical as that.
Among his most interesting achievements during
his time with Mayall were: his use of the wah
wah on No Reply (on which the
influence of Hendrix can be heard); the expressive solo using feedback, that sounds
inspired by Clapton, of I Started Walking
(one of the ‘suites’ that filled the whole of the A side of Bare Trees); his first flirtations with
a Stratocaster on Vacation and Walking On Sunset; and the evidence that
he had become a ‘slide maestro’ with The
Bear and 2401.
At the start of 69 Taylor left Mayall; his two
predecessors had left to form two of the most important rock bands in the
country - Cream and Fleetwood Mac - so Taylor was not too bothered about his future. He
didn’t form a band but instead joined “the
greatest rock n roll band on the planet”. Until he joined the Stones they
were not called that, but with the inclusion of this guitarist the title fitted
to perfection. Their last album had been their best to date, Beggar's Banquet, and they were
finishing another that was second to none, Let
It Bleed, and were ready to return to the stage and reclaim the crown of rock.
Taylor would be the icing on the cake of this golden period that would extend
until his exile in France.
Taylor received the call after his ex-boss
recommended him to the Stones, who were thinking about substituting Brian Jones
as he had lost all interest in the band and was in the middle of a
self-destructive relationship with drugs. On 24 May he went to the London Olympic
studios and began to exchange 'licks' with Keith Richards on the last song that
they recorded for Let It Bleed, Live With Me. The result was magic, both
guitarists melded together to perfection and the Stones entered a new era. For
many this period was the best of their career, above all if we consider that on
this song another key man in the history of the band would make his first
appearance: the saxophonist Bobby Keys.
Two weeks later the guitarst received the call
that the majority of guitarists would love to have; he was an official member
of the band. In one of his first sessions he recorded the incredible Jiving Sister Fanny, which showed that they
had chosen the right guitarist. That song shows a glimpse of how raw they would
sound in the 70s; sounding more like the basement where they recorded Exile On Main Street than Let It Bleed, whick is why they probably
left it out of the album. What it would appear on it was his slide on Country Honk, for which he used the same
Selmer that he had used on 2401 with
Mayall. Much more important was his contribution to the rock versión of that
song, Honky Tonk Women, which would
be the first song of ‘the Taylor period’ that would see the light. It was
released on 3 July 1969, the same day that they found Brian Jones dead in his
swimming pool. As I said, it was the end of an era...
The official start of the new era took place
two days after in London’s Hyde Park, in front of 250,000 people. Not a bad way
for a young man of 20 to be introduced to the world as the substitute of the
man who had started the band. But Taylor didn’t flinch when he put God’s guitar
on his shoulder at 16, and he was not going to do it then. Next to a giant
photo of Brian Jones, with his trusty SG in his hands, Taylor launched into a
frenetic version of I'm Yours, I'm Hers
in which the whole world could see that the Stones now had a 'guitar hero' in
its ranks. It was with that SG which Taylor completed almost the whole of the
first tour, which gave them their title as “the
greatest rock n roll band” , and that finished in the tragic gig at Altamont
where a Hells Angel stabbed a spectator. Mick Taylor could already see what he
was getting himself into. This tour is reflected in the fantastic Get Yer Ya Ya's Out, one of the best
live records in history, where we can enjoy Taylor on numbers as spectacular as
Street Fighting Man and Midnight Rambler; which can be seen as the
definitive version.
Now as a member with full rights he recorded Sticky Fingers, another absolute
classic. It was here that Taylor had his best moments as a Stone, from the
country touches, almost pedal steel, that he achieves with his Gibson ES-345 on
Dead Flowers, to the two incredible
solos with his Les Paul (the first with slide and the second my favourite of
his whole career) on the marvellous Sway,
without forgetting his exquisite solo, with a nod to Santana, on the long jam that closes Can't You Hear Me Knocking and his fantastic contributions (like
the inclusion of strings) on the lovely end of Moonlight Mile.
The Stones were on a roll and their next work
would be the culmination of this incredible stage, Exile On Main Street. Recorded in 1971 in exile on the French Côte
d'Azur, it was here where Taylor started to become addicted to drugs. That was
not too difficult, bearing in mind that they recorded the album in Richards’
mansion, where heroin was as available as the daily bread. So much so that at
times Taylor pulled the lead of his guitar and watched as one of Keith’s
friends fell with the same roll on his bleeding forearm. The result was, at the
same time, the best album of his career (and one of the five best of all times)
and the end of that golden period. The huge party followed by the big hangover.
Still, the contributions of Taylor continued to be excellent as his incredible
solo on Shine A Light and his mastery
with the slide on All Down The Line, Stop
Breaking Down and Soul Survivor clearly
demonstrates. It was also the only time that the Jagger/Richards tandem gave
him part of the credit on a song, Ventilator
Blues.
After that orgy of creativity and drugs things
were never quite the same within the band. Despite an excellent introductory
tour, when the Stones have possibly never sounded better, in some ways the
chemistry of the band fell apart, with each one going their own way, and things
went sour between Jagger and Richards. The following two albums were a step
below their great classics and Taylor began to feel increasingly unhappy. His ‘strange
departure’ was due to various reasons. On the one hand he believed that his
contributions to the compositions were not recognised, and on the other the bad
environment was affecting him, specifically with Richards complaining that he
played very well live but was useless in the studio. He also saw that the band
was disintegrating and was not going to last much longer and lastly, but not
least, their lifestyle was affecting his health and he feared that his health,
and probably his life, was at risk.
So in December 1974 the bombshell dropped, he
left the Rolling Stones, something that his Satanic Majesties could never
understand. Previously he had signed his marvellous ‘goodbye letter’ with the
solo for Time Waits For No One, his
favourite of his time with the band. The Stones replaced him with Ronnie Wood, whom
Taylor had helped on his first solo album, and despite albums as interesting as
Some Girls, they would never again
play at the same level as they did with Taylor. That said, it could be said that
Taylor lost the most, as he never had the excellent material of Jagger and
Richards to stand out with his solos.
In 1975, in a certain way, he returned to put
himself in Clapton’s shoes, by joining Jack
Bruce’s band with whom he went on tour in 1975, although he didn’t record
anything. In 1977 he collaborated with Little
Feat live and with Gong in the
studio; and in 1979 his solo debut album appeared - which confirmed that Taylor
was a much better musician than composer. In the 80s he toured with John Mayall
again and met Bob Dylan with whom he
played on two of his best songs of the decade, Tight Connection to My Heart and Sweetheart like you, besides being his guitarist on his 1984 tour
that would be reflected on the album Real
Live. With such material, Taylor again gave the best of himself.
A guitarist can stand out on not very good
material but they need great material to give the best of themselves. And this
is how the best of Taylor would come, revisiting his great moments like Sway together with Carla Olson. Because there is no doubt that Taylor is technically
the best guitarist who has passed through the Stones, playing things that Keith
Richards could only dream of. But it has to be said that Keith composed Satisfaction, Sympathy For The Devil,
Jumpin' Jack Flash and Midnight
Rambler, while Mick Taylor has only
played (marvellously) on them; which,
let us be honest, still makes him one of the best guitarists in history.