Chords for Rolling Stones - Meeting Mick Taylor
Tempo:
128 bpm
Chords used:
D
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D]
[C] [D] [C]
[D]
[C] [D] Nick Taylor was from Welling Garden [C] City.
He was eight years old when his parents and
an uncle took him to see Bill Haley and the Comets at Golders Green Empire and that had
a most profound impact.
Shortly after that he begged for a guitar as a birthday present
and he actually took up playing seriously at the age of ten.
[N] At school he joined a group
which played shadows style instrumentals, complete with all the fancy footwork and all
that sort of thing.
But at the age of fourteen he began to gravitate more towards the blues.
People like Buddy Guy, B.B. King, T-Bone Walker, all the sort of classic blues guitarists.
And at the age of sixteen he actually moved to London with that intention.
Prior to that
he'd been in a group called the Juniors and after a lot of sort of messing about they
eventually got a one shot recording deal on Columbia which was an EMI subsidiary and they
did a song called There's a Pretty Girl which was pretty far removed from the blues but
it nevertheless got them a spot on a children's ITV programme called Five O'Clock Club.
But
that was the sort of fullest extent of the promotion and as a result There's a Pretty
Girl died a death and so did the Juniors.
Mick became so sort of disillusioned with
this that he went back to live with his parents in Welling Garden City.
At that point he joined
a group called the Gods and they got involved in some very silly publicity stunts which
included sort of going to Piccadilly Circus dressed in sheets and playing harps, you know,
to try and stress their sort of, you know, heavenly origins I suppose.
But he wasn't a
god for very long.
His final days with the Gods actually encompassed his first stint with John
Mayall's Blues Breakers because he went to a club called The Hop in Welling Garden City where
John Mayall was appearing simply because he was a fan of Eric Clapton.
There was a time when Eric
Clapton was in the Blues Breakers, so that would put it about 1965 or somewhere around then, and
Eric was quite often very unreliable and wouldn't show up to join us at Waterloo Station to get on
the gig bus or the gig van you might call it.
And so we had to go without him to a show that we did
in, I think it was near Welling Garden City.
And so we were prepared to go on as a trio and
we played a two-set thing.
During the interval this young lad comes up to me and says that he
played guitar and could he sit in with the band and I said, well I don't know about that because
we've got quite a catalogue of stuff that we do that's a little bit off the wall.
And he says,
don't worry I've seen you several times at the Flamingo.
So I thought, well there's nothing to
lose really, you know, we've only got one more hour to do.
And Eric not having shown up, Eric's guitar
was available so Mick just put it on and he played all the numbers that we did so he definitely knew
everything.
So I thought, well this is a good find.
I must keep in touch with him.
By the time
we came to the end of the show he disappeared back into the crowd and we never saw him again
for another year or two.
And the next time that he materialised was after Peter Green left and
I put an advert in the Melody Maker for Blues Guitarists and we were going to be holding
auditions but on the second day Mick showed up so that was pretty amazing.
So we found him and of
course the auditions ceased at that point because there was no point in looking any further.
It's very difficult to say the differences between guitar players and what they brought
to the table other than Eric and Peter Green all had their own individuality that they brought to
the band.
And in the same way I think Mick definitely had his own thing.
Indeed he was
able to cover all the songs that we were doing and we were all constantly adding things anyway.
So
in the course of his first appearances we chopped the set around and brought different songs to
the catalogue.
And he had his own style and he set himself apart from Peter and Eric.
And I think he was probably one of the factors was that Mick was very very keen on
jazz guitar players people like Grant Green for instance.
So he brought that sort of a jazz element
to it that the other two didn't have at all.
So that probably was the thing that set him apart
and it kind of altered the course of the Blues Breakers at that time.
But he was a you know very
very talented and it was a good fit and the people really took to him quite well.
[C] [D] [C]
[D]
[C] [D] Nick Taylor was from Welling Garden [C] City.
He was eight years old when his parents and
an uncle took him to see Bill Haley and the Comets at Golders Green Empire and that had
a most profound impact.
Shortly after that he begged for a guitar as a birthday present
and he actually took up playing seriously at the age of ten.
[N] At school he joined a group
which played shadows style instrumentals, complete with all the fancy footwork and all
that sort of thing.
But at the age of fourteen he began to gravitate more towards the blues.
People like Buddy Guy, B.B. King, T-Bone Walker, all the sort of classic blues guitarists.
And at the age of sixteen he actually moved to London with that intention.
Prior to that
he'd been in a group called the Juniors and after a lot of sort of messing about they
eventually got a one shot recording deal on Columbia which was an EMI subsidiary and they
did a song called There's a Pretty Girl which was pretty far removed from the blues but
it nevertheless got them a spot on a children's ITV programme called Five O'Clock Club.
But
that was the sort of fullest extent of the promotion and as a result There's a Pretty
Girl died a death and so did the Juniors.
Mick became so sort of disillusioned with
this that he went back to live with his parents in Welling Garden City.
At that point he joined
a group called the Gods and they got involved in some very silly publicity stunts which
included sort of going to Piccadilly Circus dressed in sheets and playing harps, you know,
to try and stress their sort of, you know, heavenly origins I suppose.
But he wasn't a
god for very long.
His final days with the Gods actually encompassed his first stint with John
Mayall's Blues Breakers because he went to a club called The Hop in Welling Garden City where
John Mayall was appearing simply because he was a fan of Eric Clapton.
There was a time when Eric
Clapton was in the Blues Breakers, so that would put it about 1965 or somewhere around then, and
Eric was quite often very unreliable and wouldn't show up to join us at Waterloo Station to get on
the gig bus or the gig van you might call it.
And so we had to go without him to a show that we did
in, I think it was near Welling Garden City.
And so we were prepared to go on as a trio and
we played a two-set thing.
During the interval this young lad comes up to me and says that he
played guitar and could he sit in with the band and I said, well I don't know about that because
we've got quite a catalogue of stuff that we do that's a little bit off the wall.
And he says,
don't worry I've seen you several times at the Flamingo.
So I thought, well there's nothing to
lose really, you know, we've only got one more hour to do.
And Eric not having shown up, Eric's guitar
was available so Mick just put it on and he played all the numbers that we did so he definitely knew
everything.
So I thought, well this is a good find.
I must keep in touch with him.
By the time
we came to the end of the show he disappeared back into the crowd and we never saw him again
for another year or two.
And the next time that he materialised was after Peter Green left and
I put an advert in the Melody Maker for Blues Guitarists and we were going to be holding
auditions but on the second day Mick showed up so that was pretty amazing.
So we found him and of
course the auditions ceased at that point because there was no point in looking any further.
It's very difficult to say the differences between guitar players and what they brought
to the table other than Eric and Peter Green all had their own individuality that they brought to
the band.
And in the same way I think Mick definitely had his own thing.
Indeed he was
able to cover all the songs that we were doing and we were all constantly adding things anyway.
So
in the course of his first appearances we chopped the set around and brought different songs to
the catalogue.
And he had his own style and he set himself apart from Peter and Eric.
And I think he was probably one of the factors was that Mick was very very keen on
jazz guitar players people like Grant Green for instance.
So he brought that sort of a jazz element
to it that the other two didn't have at all.
So that probably was the thing that set him apart
and it kind of altered the course of the Blues Breakers at that time.
But he was a you know very
very talented and it was a good fit and the people really took to him quite well.
Key:
D
C
D
C
D
C
D
C
[D] _ _ _ _ _ _ _ _
[C] _ _ _ [D] _ _ _ _ [C] _
_ _ _ _ [D] _ _ _ _
[C] _ _ _ [D] Nick Taylor was from Welling Garden [C] City.
He was eight years old _ when his _ parents and
an uncle took him to see Bill Haley and the Comets at Golders Green Empire and that had
a most profound impact.
Shortly after that he begged for a guitar as a birthday present
and he actually took up playing seriously at the age of ten.
[N] At school he joined a group
which played shadows style _ instrumentals, complete with all the fancy footwork and all
that sort of thing.
But at the age of fourteen he began to gravitate more towards the blues.
People like Buddy Guy, B.B. King, T-Bone Walker, all the sort of classic _ _ _ blues guitarists.
And at the age of sixteen he actually moved to London with that intention.
_ _ _ Prior to that
he'd been in a group called the Juniors and after a lot of sort of messing about they
eventually got a one shot recording deal on Columbia which was an EMI subsidiary and they
did a song called There's a Pretty Girl which was pretty far removed from the blues but
it nevertheless got them a spot on a children's ITV programme called Five O'Clock Club.
But
that was the sort of fullest extent of the promotion and as a result There's a Pretty
Girl died a death and so did the Juniors.
Mick became so sort of disillusioned with
this that he went back to live with his parents in Welling Garden City.
_ At that point he joined
a group called the Gods and they got involved in some very _ silly publicity stunts which
included sort of going to Piccadilly Circus dressed in sheets and playing harps, you know,
to try and stress their sort of, you know, heavenly _ origins I suppose.
But he wasn't a
god for very long.
His final days with the Gods actually _ _ encompassed his first stint with John
Mayall's Blues Breakers because he went to a club called The Hop in Welling Garden City where
John Mayall was appearing _ simply because he was a fan of Eric Clapton.
There was a time when Eric
Clapton was in the Blues Breakers, so that would put it about 1965 or somewhere around then, and _
Eric was _ quite often very unreliable and wouldn't show up to join us at Waterloo Station to get on
the gig bus or the gig van you might call it.
_ And so we had to go without him to a show that we did
in, I think it was near Welling Garden City. _ _
And so we were prepared to go on as a trio and
_ _ we played a two-set thing.
During the interval this young lad comes up to me and says that he
played guitar and could he sit in with the band and I said, well I don't know about that because
we've got quite a _ _ _ catalogue of stuff that we do that's a little bit off the wall.
And he says,
don't worry I've seen you several times at the Flamingo.
So _ I thought, well there's nothing to
lose really, you know, we've only got one more hour to do.
And Eric not having shown up, _ Eric's guitar
was available so Mick just put it on and he played all the numbers that we did so he definitely knew
everything.
So I thought, well this is a good find.
I must keep in touch with him.
By the time
we came to the end of the show he disappeared back into the crowd and we never saw him again
for another year or two.
And the next time that _ _ he materialised was after Peter Green left and
_ _ _ I put an advert in the Melody Maker for Blues Guitarists and we were going to be holding
auditions but on the second day _ Mick showed up so that was _ pretty amazing.
So we found him and of
course the auditions ceased at that point because there was no point in looking any further.
It's very difficult to say _ _ the differences between guitar players and what they brought
to the table other than _ Eric and Peter Green _ all had their own individuality that they brought to
the band.
And in the same way I think Mick _ definitely had his own thing. _
Indeed he was
able to cover all the songs that we were doing and we were all constantly adding things anyway.
So _ _
in the course of his first _ appearances we chopped the set around and brought different songs to
_ _ the catalogue. _
And _ _ he had his own style and _ _ he set himself apart from Peter and Eric.
_ And I think he was probably one of the factors was that Mick was very very keen on
jazz guitar players people like Grant Green for instance.
So he brought that sort of a jazz element
to it that the other two _ didn't have at all.
_ So that probably was the thing that set him apart
and it kind of altered the course of the Blues Breakers at that time.
But he was a you know very
very talented and _ _ it was a good fit _ and the people really took to him quite well.
_ _ _ _ _ _ _ _
[C] _ _ _ [D] _ _ _ _ [C] _
_ _ _ _ [D] _ _ _ _
[C] _ _ _ [D] Nick Taylor was from Welling Garden [C] City.
He was eight years old _ when his _ parents and
an uncle took him to see Bill Haley and the Comets at Golders Green Empire and that had
a most profound impact.
Shortly after that he begged for a guitar as a birthday present
and he actually took up playing seriously at the age of ten.
[N] At school he joined a group
which played shadows style _ instrumentals, complete with all the fancy footwork and all
that sort of thing.
But at the age of fourteen he began to gravitate more towards the blues.
People like Buddy Guy, B.B. King, T-Bone Walker, all the sort of classic _ _ _ blues guitarists.
And at the age of sixteen he actually moved to London with that intention.
_ _ _ Prior to that
he'd been in a group called the Juniors and after a lot of sort of messing about they
eventually got a one shot recording deal on Columbia which was an EMI subsidiary and they
did a song called There's a Pretty Girl which was pretty far removed from the blues but
it nevertheless got them a spot on a children's ITV programme called Five O'Clock Club.
But
that was the sort of fullest extent of the promotion and as a result There's a Pretty
Girl died a death and so did the Juniors.
Mick became so sort of disillusioned with
this that he went back to live with his parents in Welling Garden City.
_ At that point he joined
a group called the Gods and they got involved in some very _ silly publicity stunts which
included sort of going to Piccadilly Circus dressed in sheets and playing harps, you know,
to try and stress their sort of, you know, heavenly _ origins I suppose.
But he wasn't a
god for very long.
His final days with the Gods actually _ _ encompassed his first stint with John
Mayall's Blues Breakers because he went to a club called The Hop in Welling Garden City where
John Mayall was appearing _ simply because he was a fan of Eric Clapton.
There was a time when Eric
Clapton was in the Blues Breakers, so that would put it about 1965 or somewhere around then, and _
Eric was _ quite often very unreliable and wouldn't show up to join us at Waterloo Station to get on
the gig bus or the gig van you might call it.
_ And so we had to go without him to a show that we did
in, I think it was near Welling Garden City. _ _
And so we were prepared to go on as a trio and
_ _ we played a two-set thing.
During the interval this young lad comes up to me and says that he
played guitar and could he sit in with the band and I said, well I don't know about that because
we've got quite a _ _ _ catalogue of stuff that we do that's a little bit off the wall.
And he says,
don't worry I've seen you several times at the Flamingo.
So _ I thought, well there's nothing to
lose really, you know, we've only got one more hour to do.
And Eric not having shown up, _ Eric's guitar
was available so Mick just put it on and he played all the numbers that we did so he definitely knew
everything.
So I thought, well this is a good find.
I must keep in touch with him.
By the time
we came to the end of the show he disappeared back into the crowd and we never saw him again
for another year or two.
And the next time that _ _ he materialised was after Peter Green left and
_ _ _ I put an advert in the Melody Maker for Blues Guitarists and we were going to be holding
auditions but on the second day _ Mick showed up so that was _ pretty amazing.
So we found him and of
course the auditions ceased at that point because there was no point in looking any further.
It's very difficult to say _ _ the differences between guitar players and what they brought
to the table other than _ Eric and Peter Green _ all had their own individuality that they brought to
the band.
And in the same way I think Mick _ definitely had his own thing. _
Indeed he was
able to cover all the songs that we were doing and we were all constantly adding things anyway.
So _ _
in the course of his first _ appearances we chopped the set around and brought different songs to
_ _ the catalogue. _
And _ _ he had his own style and _ _ he set himself apart from Peter and Eric.
_ And I think he was probably one of the factors was that Mick was very very keen on
jazz guitar players people like Grant Green for instance.
So he brought that sort of a jazz element
to it that the other two _ didn't have at all.
_ So that probably was the thing that set him apart
and it kind of altered the course of the Blues Breakers at that time.
But he was a you know very
very talented and _ _ it was a good fit _ and the people really took to him quite well.
_ _ _ _ _ _ _ _