• Guys, we've spent considerable money converting the Les Paul Forum to this new XenForo platform, and we have ongoing monthly operating expenses. THE "DONATIONS" TAB IS NOW WORKING, AND WE WOULD APPRECIATE ANY DONATIONS YOU CAN MAKE TO KEEP THE LES PAUL FORUM GOING! Thank you!

Mick Ronson's Les Paul + other gear.

Midnight Blues

Well-known member
Joined
Feb 20, 2011
Messages
1,703
From Guitar Player:


http://www.guitarplayer.com/artists...nson-says-documentary-coming--exclusive/52341


Suzi Ronson Pays Tribute to Mick Ronson, Says Documentary Coming | EXCLUSIVE




BY SUZI RONSON




May 26, 2015


"Today is the birthday of who is, to many, the quintessential guitar god, Mick Ronson. In look, demeanor, tone, talent, charisma, and devotion to the art, Ronson was near-perfect, and his emergence in the glam era—alongside David Bowie in the Spiders From Mars—cemented his appeal as something almost Byronic in its beauty, luster, and power. Ronson was taken too soon on April 29, 1993, working on his last album almost until the moment he succumbed to cancer. Here, his wife Suzi, offers an exclusive tribute to the man she shared with the world.

A Man From Hull


Mick Ronson was such an unusual person. He really didn't care much about fame or money. He cared about music.


He was one of those rare people who was unspoilt by fame. He appreciated his fans, and, as many of them have told me, he took the time to connect with them—maybe have a drink with them, or a cigarette outside the stage door.


He loved us, and we adored him. His loss for our family, and I mean his whole family—not just his daughter Lisa and I—has been unfathomable.


None of us will ever be the same. Life changed for us so dramatically it’s hard to imagine.


The legacy he left was enormous, and I can only imagine the music he would have created if he had lived. I feel he would have gone into composition of film music, as he loved to arrange strings, brass and piano. You only have to listen to the five Bowie records he was involved with, or Lou Reed's Transformer, to understand the gift he had.


Mick started to play music when he was a child, and he was one of those rare musicians that were born with the gift. Mick didn’t decide to become a musician—he was born that way.


When I hear people say they are going to be in a band, the ambition always includes being famous and making a sh*t load of money. I am lucky, as I have heard in my life many truly fantastic artists. It has nothing to do with fame and money. Of course, these artists are rare. I mean, do you think Van Gogh painted for money or fame? He couldn’t help but paint. He was truly gifted. The same that can be said of Mick.


I am fortunate enough to finally be able to say the Mick Ronson documentary that Marc Coker and I have labored over for the last five years or so has come to fruition. Jon Brewer—a renowned documentary filmmaker—has taken the project, and is promising to create something really special with it. It should be released early next year.


I want to do something in Hull for the 2017 City of Culture Award. I am contacting Mick's friends and meeting with a promoter on Thursday. I know that Ian Hunter, Joe Elliot, and Steve Harley are all interested.


I hope the Council will consider a permanent Memorial for Mick. He was a fantastic musician, he was but he was also a good, kind, and decent man. He came from Hull, and he was proud of where he came from. His accent was as thick the day he died, as it was when he lived there. He was—and still is—a credit to that city.




FullSizeRender.jpg



A Few Moments of Mick's Edgy Glory
http://www.youtube.com/watch?v=5g6--QoPsDM


http://www.youtube.com/watch?v=Y15iusA4ylc


http://www.youtube.com/watch?v=xcBzrZy6uOI "
 

Midnight Blues

Well-known member
Joined
Feb 20, 2011
Messages
1,703
More from Guitar Player:


10 Things You Gotta Do to Play Like Mick Ronson | GuitarPlayer


mick-ronson-10-things.jpg



10 Things You Gotta Do to Play Like Mick Ronson


BY JESSE GRESS


December 1, 2008


"SUZI RONSON HAS BEEN WORKING on a documentary about the life and times of her late husband, as she tells GuitarPlayer.com. She recalls that, “While on the road, Mick would often call a fan to thank them for a letter. Sometimes he was treated with disbelief and hung up on. It is so unbelievable that Mick at the height of his stardom would take the time to do that!”


These random acts of kindness epitomize the spirit of guitar legend Mick Ronson (1946-1993), a prime contender for rock’s MVP, often called the First Real ’70s Guitarist, and a heroic inspiration to all those whose lives he touched. Ronson began his musical studies early on, learning to play piano, violin, and recorder as a youngster in his hometown of Hull, Yorkshire. At 17, he bought his first guitar and soon after began playing with local bands.

Ronson’s enthusiasm was evident from the start: “I think that was the best time ever,” he told GP in 1976. “Just learning how to play. It was a real thrill simply to switch on an amplifier and listen to it work.”

A quick study, Ronson spent from 1963 to1965 playing with local Hull acts such as the Mariners and the Crestas before making his first move to London in 1966. Unable to get things happening, Ronson returned to Hull in 1967, joined the Rats, then Treacle, and supplemented his musical income with gardening work, all the while soaking up the work of his heroes, Jeff Beck, Jimi Hendrix, Keith Richards, and George Harrison.

February 1969 brought an important turning point when former Rats drummer John Cambridge brought Ronson back to London to join a new band called Hype, which was fronted by an up-and-coming singer-songwriter named David Bowie. Bowie and Ronson hit it off from the start, and Ronson became Bowie’s right-hand guitar man and fiery stage foil, adding production and arranging touches to the singer’s first two albums, The Man Who Sold the World (Bowie dropped the Hype moniker upon the album’s release in 1970) and Hunky Dory (1971). Following the first album’s lukewarm reception, Ronson contributed to an early version of Elton John’s “Madman Across the Water,” then returned to Hull once again to form Ronno—coined from his nickname—with bassist Trevor Bolder and drummer Woody Woodmansey, both former Rats (and future Spiders).

It was this lineup, with the addition of keyboardist Mike Garson, that Bowie tapped to craft the definitive ’70s Brit-rock album, 1972’s The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Recorded in less than three months, Ziggy took the world by storm as both Bowie and Ronson were elevated to stardom virtually overnight. As word of his contributions to the Bowie catalog spread, Ronson became an in-demand producer (he co-produced Lou Reed’s Transformer with Bowie in 1972), arranger, and session player, attributes that would serve him well long after the Spiders played their last gig at London’s Hammersmith Odeon on May 3, 1973.

Post-Ziggy, Ronson gigged on and recorded two more albums with Bowie (Aladdin Sane and Pinups) and, in 1974, formed a relationship with Ian Hunter during a brief flirtation with Mott the Hoople—one that would result in various incarnations of the Hunter-Ronson Band a few years later. After splitting with Bowie, Ronson shifted his focus to a pair of solo albums for RCA (Slaughter on 10th Avenue and Play Don’t Worry) that emphasized his lead vocals over his guitar work. Unfortunately, both titles were only moderately received. This, coupled with a 1974 U.K. tour scathed by British critics, may have led to Ronson’s next change-of-life, one that defied all expectations from the glam-rock god.

In the fall of 1975, Ronson was invited to New York to join T-Bone Burnett and a killer rhythm section as the backing band for Bob Dylan, Roger McGuinn, Joan Baez, Ramblin’ Jack Elliott, and Kinky Friedman on Dylan’s Rolling Thunder Revue tour. In 1976, Ronson formed the Mick Ronson Band and, in the fall of that year, moved upstate to Woodstock, New York, where he began a lasting love affair with the small hamlet known as the Colony of the Arts. Here, Ronson would set up a home base for his family and band, one that allowed him to concentrate on the dozens of sessions and productions that would come his way throughout the remainder of the ’70s and ’80s. (For a complete list of these, plus a full discography, go to mickronson.com. www.mickronson.com)

Riding a steady wave of work during the ’80s into the ’90s, an enthusiastic Ronson made a trip to London in 1991 to plan his first solo UK tour since 1974, only to be diagnosed with liver cancer. Instead of relenting to his illness, Ronson threw himself into his work, performing with Graham Parker, producing Morrissey’s mega-hit Your Arsenal, participating in a Freddie Mercury tribute concert, and ultimately recording Heaven and Hull, Ronno’s last solo album, which featured appearances by Bowie, Hunter, John Mellencamp, Chrissie Hynde, Joe Elliott, and Sham Morris, and was completed and mixed after Mick’s death on April 30, 1993. Authorized posthumous Ronson releases include Just Like Us, Showtime, Mainman, and Indian Summer, a shelved soundtrack project filled with stellar fretwork.

So how does one go about assimilating three decades of such vast experience and fierce dedication? Not surprisingly, there are a few prerequisites. Before you even touch that guitar, you’ve gotta...


1. BE A GENTLEMAN


Though his edgy and often furious guitar playing might seem to contradict this, Mick Ronson was by all accounts, including my own, a gentleman’s gentleman. You’d be hard pressed to find any negative criticism from any of Ronson’s family or friends, and those who worked with Ronson have always expressed nothing but the highest praises for his musicality, professionalism, work ethic, and overall kindheartedness. Many claim that they never even saw Ronson get ruffled, let alone mad. The lesson? Aim that pent-up aggression at your guitar, not your mates.

2. PLAY, DON’T WORRY


Ronson had a few favorite instruments, but was never a slave to his gear. Early on, he often played instruments in various states of disrepair, from missing strings to cracked necks held together with gaffer’s tape, but still managed to get the job done. At 19, Ronson acquired his first “really playable guitar,” a Fender Telecaster, but it wasn’t long before he switched to the 1958 Gibson Les Paul Custom with which he became most often associated. By mid-1973, Melody Maker listed Ronson’s rig as three Les Paul Customs strung with Rotosounds (.009, .011, .014, .025, .035, .044) pumped through a Marshall Major 200-watt head and one 120-watt 4x12 Marshall cabinet loaded with Celestions, plus a Cry Baby wah and an American Tonebender formerly owned by Pete Townsend. Ronson’s less-seen ’70s instruments included a Carlos Robelli acoustic, a black Gibson SG Special, and a Fender Mustang. He was also fond of Fender Pro Reverb amps and often employed an Echoplex and later, a Roland Space Echo—not only for delay effects, but to add warmth and just a touch of grit by hitting the front end of his amps a little harder.

Though he also grew to love Fender Stratocasters, the Tele eventually became Ronson’s go-to guitar for the duration of the ’70s through the ’80s, when his amp collection also expanded to include various Music Mans and Mesa/Boogies. Though he swapped out guitars and amps with regularity (he preferred stock models), the Cry Baby wah, which Ronson would click on and leave stationary after finding the pedal’s edge-of-feedback sweet spot, remained a key component of his sound throughout his career. Coming from one who waxed so many monstrous and memorable guitar tones, Ronson’s casual attitude towards the tools of his trade may seem surprising, but the bottom line is that he simply looked at his gear as a means to an end. “Sometimes, I wouldn’t think of what I was plugging into,” he told GP, “as long as it works.” Only a poor craftsman blames his tools!

3. GO BEYOND GUITAR


A combination of early musical training and intuition allowed Ronson to operate well beyond the boundaries of most 6-string slingers. A compassionate collaborator, Ronson once commented that his greatest strength was coming up with riffs and hook lines, and “making things up so songs sound more memorable.” Apparently, many agreed. Ronson, in addition to his groundbreaking work with Bowie, was called upon to lend his well-honed guitar, keyboard, arranging, and production skills to recordings by dozens of artists, including Lou Reed, Roger McGuinn, John Mellencamp, and Morrissey. An extremely social guitarist, Ronson rarely practiced alone after becoming proficient on the instrument, preferring instead the intimate experience of playing music with others, whether it was with a well-known artist, for an unsigned band demo, or simply jamming in houses and hotel rooms.
 

Midnight Blues

Well-known member
Joined
Feb 20, 2011
Messages
1,703
Continued:

4. BECOME A GOLDEN GOD


From his very first recordings with Bowie, it was obvious that Ronson had the whole package (though the outfits came later). “The Width of a Circle,” the opening track from The Man Who Sold the World, commences with the regal, single-note Ronno riff shown in Ex. 1a, while the E-D-E chord figure that follows in Ex. 1b is pure protopunk informed by a Yardbirds rave-up. Be sure to note the doubled tempo in the latter. (Note: Many of these examples have been notated at half of their actual tempo to provide more bang for the buck.) You can construct Ronson’s verse figure by alternating measures of A5 whole-note power chords with this figure. The combination of halftime single-note riffage with a frantic double-time chordal figure is an early testimonial to Ronson’s arranging prowess.


Ronson1a_1b.jpg


5. COVER ALL BASES


Fortified with signature growly Les Paul chunk, Ronson’s opening riff to Bowie’s “Panic in Detroit” (Aladdin Sane) comes off like Bo Diddley taking a wrong turn down a dark, sinister alley. Ex. 2a shows you how it’s done. Establish a swing-sixteenth feel and pay close attention to the details, which include accents, muted notes, slides, and staccato phrasing blended with full-valued notes. (Tip: Feel free to fill up the remainder of beat four in bar 2 with appropriate slides or scratches.) Ex. 2b depicts an excerpt from the song’s verse rhythm figure, an amalgam of a descending single-note scalar run played as straight eighth-notes followed immediately by an energetic chordal figure similar to the one in bar 2 of Ex. 1a, albeit applied to a static E chord. The cool thing here is how Ronson blends the previous two techniques to forge a single muscular riff.


Ronson2a_2b-1.jpg



6. MASTER THE MELODIC INTERLUDE


Some may refer to them as solos, but many of Ronson’s signature riffs were more akin to miniature compositions or interludes than traditional wailing guitar leads. Ex. 3, similar to what Ronson laid down in Bowie’s “Starman,” is a perfect example of how to build a strong, memorable melodic line over a simple IV-I-V-I progression (Bb-F-C-F). The idea is to target the 3 of each chord on every downbeat and connect them with adjacent Fmajor scale tones, while “playing” the strategically placed rests and making the melody more guitar-y by adding bends and finger vibrato. For total authenticity, convert all eighth-note triplets to syncopated sixteenth notes (i.e., all upbeats) beginning on the last sixteenth of the previous downbeat. Now, sing it, baby: “La, la-la-la, la, la-la-la, la, la-la-la, la, la-la-la.”


Ronson3.jpg
 

Midnight Blues

Well-known member
Joined
Feb 20, 2011
Messages
1,703
Continued:

7. KNOW WHEN TO CUT LOOSE


While Ronson was a master of subtlety and restraint, he could certainly blow it out with the best of them. The stage was Ronson’s element where he would, much in the manner of his main man Jeff Beck, liberate signature licks by altering their rhythmic phrasing and stretching them out with extended trilling or bending excursions like the one in Ex. 4a. (Tip: Play this one over A and D chords applied to the rhythmic motif from Ex. 1a.) The wailing, upper-register riffing in Ex. 4b recalls Ronson’s penchant for three-against-four rhythmic displacement, or hemiola. Note that while the 3/16 motif begins on a downbeat every three beats, it will take three full measures for the lick to recycle back to beat one. Ex. 4c shows a quintet of similar patterns that can also be played as 3/16 (or 3/8, depending on tempo) hemiolas, or reapplied as repeated sixteenth-note triplets. Have at them, then incorporate rhythmic trills like the one in Ex. 4d. Branch out by trilling between various adjacent minor and major pentatonic scale tones.


Ronson4a_4d.jpg



Ronson occasionally went aggro on a single note, as in Ex. 4e, but also peppered his forays into ferocity with more sweeping (and distinctively British) phrasing, like the open-string-based sus4-to-vibratoed-tenth resolution in bar 1 of Ex. 4f, and the 5-to-6 bend and release in the next measure. Ronson’s extended bending tangents typically went on much longer than illustrated in Ex. 4g, but here we get the idea across in two bars. Play this whopping major-third bend (that’s two whole steps, folks) as long as you like (Tip: It works well over Ex. 1b), then resolve to the Beck-ish lick in bar 3. Other suitable bendies include b3 to 5, 3 to 5, 5 to b7, and b7 to 9.


Ronson4e_4g.jpg



8. KEEP MOVING FORWARD


Ronson’s work ethic was always inspirational, but never more so than after he was diagnosed with a devastating illness in 1991. The man simply never stopped working, and Ronson’s final album, Heaven and Hull, brims with his finest guitar work, almost as if he was paying a final tribute to friends and heroes. “Don’t Look Down,” the opening track, epitomizes Ronson’s hope and optimism with a fuzzy tapestry of toneful Tele magic that’s right up there with Beck’s finest. Ex. 5a shows both the opening riff (Tip: Try combining Gtrs. 1 and 2 into a single part.), plus the much darker, minor-tinged octave melody Ronson overdubbed four bars in. Despite those ominous octaves, there’s no mistaking Ronno’s positive message once Joe Elliott’s vocals enter with a glorious, harmonized E-major melody. Even Ronson’s most tortured-sounding licks end up resolving on uplifting runs like the short, countryflavored snippet in Ex. 5b. Buy the record and you’ll hear exactly what I mean.


Ronson5a.jpg



Ronson5b.jpg
 

Midnight Blues

Well-known member
Joined
Feb 20, 2011
Messages
1,703
Continued:

9. KNOW WHEN TO LAY BACK


The exquisite, middle-ten solo in “When the World Falls Down” (Heaven and Hull) is a testimonial to Ronson’s maturity as a composer, arranger, and player, as well as a textbook example of how to craft a heart-wrenchingly melodic guitar solo that’s as memorable as it is masterful using only a handful of notes. If you think this sounds easy, record ten bars of the circular E-Am-G progression, then compose your own solo. See what I mean? If you come anywhere near Ex. 6, consider yourself an apt pupil. The first seven-and-a-half bars can be played by a single guitar using octaves, but halfway through bar 8, Ronson drops the lower part to create a two-octave split, an ingenious strategy that elevates the solo to even greater heights.


Ronson6.jpg



10. GET “ZIGGY” WIT IT


When it comes down to naming one Ronson riff you’ve gotta know, I guess “Ziggy” is the biggie. Sure, Bowie originally demoed the song’s signature opening figure on 12-string acoustic, but it took Ronson’s subtle tweaks, rolling arpeggios, and honking cocked-wah tone to transform it into the iconic riff it has since become. Bask in the majesty of Ex. 7, then check out other “Ziggy” highlights, including Ronson’s low-register single-note counterlines, edge-of-feedback harmonics, and luscious, May-worthy triple-tracked harmonies. Yep, that’s Ronno— savory stuff with just the right amount of edge.


Ronson7.jpg



Special thanks to Suzi Ronson, George Cowan, John Holbrook, and Ian Kimmet.
For all things Ronno, please visit mickronson.com."
 

Ad_02Std

Active member
Joined
Apr 12, 2005
Messages
5,055
A bit of pre-Bowie Mick Ronson for you all.

<iframe width="420" height="315" src="https://www.youtube.com/embed/HSwWAkD7jhs" frameborder="0" allowfullscreen></iframe>
 

65Jr

New member
Joined
Aug 4, 2015
Messages
4
Continued:



10. GET “ZIGGY” WIT IT


When it comes down to naming one Ronson riff you’ve gotta know, I guess “Ziggy” is the biggie. Sure, Bowie originally demoed the song’s signature opening figure on 12-string acoustic, but it took Ronson’s subtle tweaks, rolling arpeggios, and honking cocked-wah tone to transform it into the iconic riff it has since become. Bask in the majesty of Ex. 7, then check out other “Ziggy” highlights, including Ronson’s low-register single-note counterlines, edge-of-feedback harmonics, and luscious, May-worthy triple-tracked harmonies. Yep, that’s Ronno— savory stuff with just the right amount of edge.


Ronson7.jpg



Special thanks to Suzi Ronson, George Cowan, John Holbrook, and Ian Kimmet.
For all things Ronno, please visit mickronson.com."

The funny thing about this is that the D chord noted here (2 3 2) was played by Mick (in every film/video I've seen) as a barre D at the fifth fret.
 

Midnight Blues

Well-known member
Joined
Feb 20, 2011
Messages
1,703
From Guitar Player:


http://www.guitarplayer.com/artists...-some-credit-to-the-real-ziggy-stardust/63750


RonnoBesideBowie.jpg



"Beside Bowie: The Mick Ronson Story" Gives Some Credit to the REAL Ziggy Stardust


By Michael Molenda


September 3, 2017


"** Full disclosure: Mick Ronson is one of the main reasons I started playing guitar seriously. He is a major influence on my attitude and creative muse, as well as my personal touchstone for what a rock guitarist of a certain era should be. Therefore, to be completely honest with our wonderful Guitar Player readers, I am admitting that I did not attempt to be journalistically objective in the following report. Reader beware...


Without taking anything away from David Bowie's genius, vision, and ambition, the story of his early days may have ended quite differently had Mick Ronson not become his musical foil, creative sentinel, and lead guitarist. So many of the thrilling and ferocious riffs and beautiful sweetening parts (pianos, strings, etc.) on Bowie's The Man Who Sold the World (1970), Hunky Dory (1971), The Rise and Fall of Ziggy Stardust and the Spiders From Mars (1972), Aladdin Sane (1973), and Pinups (1973) would never have happened without Ronson, and it's temping to believe that those records — and all of those songs — would have been pale ghosts with Ronson's contributions deleted.


But Ronson's mammoth and essential impact on Bowie's recordings — as well as those by Lou Reed, Mott the Hoople, Ian Hunter, John Mellencamp, Bob Dylan, Morrissey, the Rich Kids, and several random talents that he graciously assisted for little or no compensation — has been celebrated by an almost exclusive club of guitar players and Bowie zealots. WE know how valuable Ronson was to the Bowie legend and guitarcraft in general, but Bowie's larger-than-life persona tended to overshadow much of Ronson's importance from the general public.


It didn't help that Ronson appeared to be uncomfortable in the spotlight as a solo artist, tended to make unfruitful business decisions, loved playing far more than exploiting any celebrity cache he garnered over the years, and remained exceedingly deferential in Bowie's presence.


But now — thankfully — a new documentary directed by Jon Brewer, Beside Bowie: The Mick Ronson Story [Cardinal Releasing], endeavors to put things as right as possible through film clips and interviews with Ronson and Bowie, Angela Bowie, Ian Hunter, Lou Reed, Earl Slick, Rick Wakeman, and others.


Here's the official trailer for the film, which is just beginning to see theatrical release this week...




While one documentary won't suddenly "fix" decades of relative public neglect, it's certainly a welcome event for those who know and love the real Ziggy Stardust of the '70s glam era and beyond. Beside Bowie is also a lovely way to reconnect with — and celebrate — Ronson's feral majesty. He died way too soon at just 46 years old from liver cancer in 1993. I miss all the music he may have had in his future."
 

thin sissy

Well-known member
Joined
Jan 2, 2006
Messages
2,691
I'm so glad that this doc was made, can't wait to watch it. The fact that they are going to re release the book is great news as well, since I haven't been able to find a copy.
 

Triplet

Well-known member
Joined
Mar 13, 2006
Messages
1,675
I think those who are fans of the era are well aware of Mick's contributions.

Seems to me that if Mick preferred to keep low-key while alive he would probably like to keep it that way now... :jim
 

Midnight Blues

Well-known member
Joined
Feb 20, 2011
Messages
1,703
That's a good point Triplet, but not only does it keep his memory alive, it exposes his music/contributions to those who otherwise might not have had the opportunity.
 

Mike58

Member
Joined
Feb 8, 2002
Messages
171
Well, like many others ( and I’m 62 now 😱) Mick is THE reason I ( and Ziggy) ‘played guitar’
I’m now a reasonably knowledgeable guitar nerd , but then... it was the tone and the notes that HIT HARD .. and released my inner musical core.
In technical terms it was probably his vibrato, cocked wah and distorted clarity that hit home.
Saw him live a few times .. Ziggy tour Glasgow, Solo and Hunter Ronson.
I’ve got a Les Paul Custom that I keep meaning to strip and tribute .. but it’s too valuable .. need to find a lefty knackered one and rebuild.
These threads bring back so many memories.. very deep, very personal
Thank you
M
 

Midnight Blues

Well-known member
Joined
Feb 20, 2011
Messages
1,703
I'm 62 myself, soon to be 63 and Mick has been one of my favorite players since the early '70s too. I loved his playing, his tone and even his vocals.

I'm not the OP and I know this is an old Thread, but if I see something worth sharing, I try to post it. It's a way to keep Mick alive, if only in memory and hopefully expose him to others that haven't heard him.

The "Other Woman" tone:

 

Midnight Blues

Well-known member
Joined
Feb 20, 2011
Messages
1,703
One of my most vivid memories from the '70s was when my uncle took me to NYC in 1974, for a meeting he had. The night before, while we were walking around Times Square, I saw
SulonxZ.png


I'll never forget that.
 

thin sissy

Well-known member
Joined
Jan 2, 2006
Messages
2,691
I'm 62 myself, soon to be 63 and Mick has been one of my favorite players since the early '70s too. I loved his playing, his tone and even his vocals.

I'm not the OP and I know this is an old Thread, but if I see something worth sharing, I try to post it. It's a way to keep Mick alive, if only in memory and hopefully expose him to others that haven't heard him.

The "Other Woman" tone:

Love that song, just about a perfect guitar solo too (like most songs he did). I think his solo stuff is where he really shines, and sadly the solo stuff often gets overlooked when people review Ronno. It's mostly the Ziggy days mentioned (great as well of course!).
 

Midnight Blues

Well-known member
Joined
Feb 20, 2011
Messages
1,703
Love that song, just about a perfect guitar solo too (like most songs he did). I think his solo stuff is where he really shines, and sadly the solo stuff often gets overlooked when people review Ronno. It's mostly the Ziggy days mentioned (great as well of course!).
I agree. That's one of my favorite songs that he did.

Not that I didn't like what he did with Bowie, because I did and after all, that's how I found out about him, but I like his solo albums much better.
 
Top