Pink dating guitarist
I use a Boss Heavy Metal distortion pedal and a Boss digital delay pedal, which then goes into the Fender Super Champ.
There's no denying the great string of classic albums the Rolling Stones issued during the late ‘60s and early ‘70s - 1969's Let It Bleed, 1970's, 1971's Sticky Fingers, and 1972's Exile on Main Street.
The guitar duo of Taylor and Keith Richards was quickly becoming one of rock's best, as evidenced by the concert recording, (Get Yer Ya Ya's Out) (and the turbulent concert movie, Gimme Shelter).
But the best was yet to come from the Taylor-era Stones line-up, as evidenced by such classic studio efforts as Sticky Fingers (on which Taylor supposedly helped co-pen the songs “Sway" and “Moonlight Mile," but received no credit) and the double album Exile on Main Street (on which Taylor received one of his few ‘official' songwriting credits, for “Ventilator Blues").
But after reaching such a highpoint, there was predictably eventually going to be a fall-off, which came in the form of such not-as-stellar releases as Goats Head Soup and It's Only Rock N' Roll.
Although the Stones remained one of the biggest rock bands in the world, Taylor was growing restless (not to mention that the group's well-documented party hearty lifestyle was beginning to weigh heavily on him), and in 1975, the guitarist shocked the music world by leaving the group.
On both tunes he takes his time and builds the solos artfully.
Rather than just a series of tricky licks, he seems to orchestrate his statements carefully for maximum emotional effect, and yet he doesn't work out these solos ahead of time.“That very nasty distortion you hear at the beginning of the song is basically the result of the Steinberger going through two little amps in the studio—a Fender Super Champ and a Gallien-Krueger.
I got a chance to interview him today and found out that this Aussie–38, a pro on the guitar, piano, drums and the baseketball court, is single, looking and loves a beautiful girl no matter what color she is.
The early-mid ‘60s saw Taylor play with such obscure local acts as the Juniors and the Gods, during which time he thoroughly studied such blues guitarists as Freddie King and Albert King.