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Mick Ralphs Bad Company tone

Luke Gibson

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Our band plays Can't Get Enough & Movin' On, I use the open C tuning and it's a blast, it just nails the tone and vibe (the strings are pretty tight & it's tuff to play lead) I can hardly wait for them to come up in the set. I've always played Good Lovin' Gone Bad is in standard tuning but for some reason it's never got the sound that Mick gets on the album, almost seems like something else is going on....?

On the off chance Mick is lurking and reads this, buddy you are a true influence and inspiration, you ROCK!!
 

Jim Jones

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I love Mick! In recent years I've taken to figuring out a bunch of his Mott the Hoople riffs and solos. He's got one of my favourite vibratos of all time and the man knows tone.
 

Bruce R

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Ditto, Jim. I have found myself listening more to guys from my past that I didn't pay much attention to at the time. Mick, Mick Ronson is another.
 

soulbrojcs

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ZW, Its been a couple of years. But I remember when Mick was showing me and Johnny A his old Esquire backstage. It had the 5th & 6th string tuned in unison. I could be remembering it wrong though. But it was a gas checking out the same guitar I saw him using on the last Mott tour in '73. I think the 1st Bad Company album was already in the can and he was fulfilling his tour committment.

BTW, Mick told me he lurks around here alot....So everybody wave. He is one of the nicest people. :dude:

normal_mralphs3.jpg
WOW!!! how freakin' cool!!! and yeah, the open "C" tuning is right on the mark, as is the Esquire for the rhythm tracks/LP Jr. for solos. and if reading. Mick... BIG fan!!! ;-)
 

Dishimyuh

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GLGB is standard tuning. "Honey Child" was the open C and sounds like its possibly could've been recorded with the Esquire. "Feel Like Making Love" & "Simple Man" were standard with a low drop D.
Thanks Billy.
I've always played Good Lovin' Gone Bad is in standard tuning but for some reason it's never got the sound that Mick gets on the album, almost seems like something else is going on....

I'm like you, it just doesn't sound right.
 

blauserk

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normal_mralphs3.jpg


Do you recall if he replaced the steel saddles with brass saddles? I tuned my stock '57 Esquire to open C and plugged it into my Plexi and even EQing it heavily, it was brighter than the recorded tone. One of the later pix in this thread looks like it has brass saddles:

MR_Esquire.jpg
 

Luke Gibson

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normal_mralphs3.jpg


Do you recall if he replaced the steel saddles with brass saddles? I tuned my stock '57 Esquire to open C and plugged it into my Plexi and even EQing it heavily, it was brighter than the recorded tone. One of the later pix in this thread looks like it has brass saddles:

MR_Esquire.jpg

I can't answer the question regarding the saddles but I can say with my guitar tuned to C it seems to be overall brighter sounding. I'm assuming it's due to the higher tension of the strings....?
 

soulbrojcs

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Ditto, Jim. I have found myself listening more to guys from my past that I didn't pay much attention to at the time. Mick, Mick Ronson is another.
Myself included here... I find that there's just no one that has come up in the wake of these guys that could be considered carriers of the flame, so to speak. I find that with the Blues, Jazz, & Country guys as well. I've been going back and digging out bands/guitarists that were on the scene back then, and in hindsight were great, but I didn't listen to as much as my regulars.

Did anyone else experience listening to the Stones, Cream, Hendrix, Zeppelin, but NOT being able to get into to the originators like Muddy, The Wolf, Jimmy Reed, etc... then only being able to listen to THOSE guys, but NOT the Rock guys, and finally coming full circle being able to listen to, and appreciate both?
 

Jim Jones

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Myself included here... I find that there's just no one that has come up in the wake of these guys that could be considered carriers of the flame, so to speak. I find that with the Blues, Jazz, & Country guys as well. I've been going back and digging out bands/guitarists that were on the scene back then, and in hindsight were great, but I didn't listen to as much as my regulars.

Did anyone else experience listening to the Stones, Cream, Hendrix, Zeppelin, but NOT being able to get into to the originators like Muddy, The Wolf, Jimmy Reed, etc... then only being able to listen to THOSE guys, but NOT the Rock guys, and finally coming full circle being able to listen to, and appreciate both?

I can relate completely! I've come full circle as well. Hunting down some Magic Sam as we speak. :)

Hey, have you heard Vintage Trouble yet? New band that at times sounds like Otis Redding singing for Free. Well worth a listen! (The 2nd half of Run Outta You will make you think Free for sure...even with the Octavia.)
 

jcs

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Mick Ralphs is one of the best rock guitarists period!

In the late 70's i saw Bad Co. in KC at the Kemper Arena a few times....the last time Bad Co. played there (Desolation Angels tour), the roof collapsed a few days later.....
 

zombiwoof

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Wasn't Good Lovin Gone Bad done in an open tuning as well?

"GLGB" is just standard tuning in the key of A. The first two measures of the opening riff is done over a 5th string A pedal note, then going to first position G and D chords. Most or all of the chords in the song are in the first position (open chords on the first three frets). Pretty simple, not any special tuning IMO.

Al
 

lpnv59

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"GLGB" is just standard tuning in the key of A. The first two measures of the opening riff is done over a 5th string A pedal note, then going to first position G and D chords. Most or all of the chords in the song are in the first position (open chords on the first three frets). Pretty simple, not any special tuning IMO.

Al

This is correct but there is a little more to it. There is a a single note [ E-F#-G ] climb up to the 1st position G which is arpegiated into the D chord. The D chord is also somewhat arpegiated as well striking the open root/5 notes on the down stroke, then high root/5 using the 2nd string and climbing down with a slurred and slightly bent up single C note on the 5th string before repeating the riff.
 

zombiwoof

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This is correct but there is a little more to it. There is a a single note [ E-F#-G ] climb up to the 1st position G which is arpegiated into the D chord. The D chord is also somewhat arpegiated as well striking the open root/5 notes on the down stroke, then high root/5 using the 2nd string and climbing down with a slurred and slightly bent up single C note on the 5th string before repeating the riff.

Yes, I know about how to play the various parts, I was just saying that it is basically in regular tuning, and not a special tuning like the C tuning being discussed. I wasn't trying to give a complete lesson on playing the song!. There is also that descending pattern (A-G-D/Fsharp-Dm/F as I recall) leading to the A-G-D ending of the chorus. All of this is playable in regular tuning.

Al
 
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