Keith Richards didn't really have a huge amount of spare time in the 60's to play on other artist's records, as being the guitarist and songwriter in the Rolling Stones was a full-time job, but he did manage to sneak off to appear on the TV broadcast of The Beatles' 'All You Need Is Love' in 1967, and to provide bass guitar with The Dirty Mac - the all-star band who played on the 'The Rolling Stones' Rock & Roll Circus' film. While he had his bass guitar handy he helped out Billy Preston on his 'That's The Way God Planned It' album in 1969, but the first time he actually added his guitar to someone else's record was in 1974, when he was heavily involved in Ron Wood's 'I've Got My Own Album To Do', providing guitar and backing vocals on a number of songs, and even co-writing two of them with Wood. Around this time he recorded with Alexis Korner, adding guitar to his own 'Get Off My Cloud', which would eventually appear on a Korner anthology in 2003, and also in 1974 he was invited to appear at the final concert of the Faces tour of that year, adding guitar to three tracks which would later appear on a recording of the show in 2000. Between 1976 and 1977 he recorded some tracks with John Phillips, alongside band-mates Jagger, Wood and Taylor, and he also co-produced what would become the 'Pay Pack And Follow' and 'Pussycat' albums. If you've heard my Rolling Stones reggae compilation you'll know that the Stones always had a fondness for reggae, and that was mostly down to Richards, so it's no real surprise to find him adding his guitar to albums by Peter Tosh and Max Romeo. In 1979 Richards and Wood contributed guitar and backing vocals to Ian McLagan's 'Troublemaker' album, on another reggae-inspired song 'Truly', and he also played guitar on Screamin' Jay Hawkins' remake of his classic 'I Put A Spell On You' for an anthology of the famed 50's rocker. In 1985 he added guitar and backing vocals to Tom Waits' 'Rain Dogs' album, and that was the beginning of a lengthy working relationship between them, with Richards also contributing to Waits' albums 'Bone Machine' in 1992 and 'Bad As Me' in 2011. In 1987 he was one of an impressive list of guitarists who played on songs from The Neville Brothers' 'Uptown' album, and although Richards career has spanned an impressive sixty years, this collection just covers a decade of guest appearances from the mid 70's to the mid 80's, which gave him the opportunity to play on songs which he wouldn't have been able to do in his day job. From 1988 to date he's guested on another 40 or so albums from friends and colleagues, but this is where it all started.
Track listing
01 Get Off My Cloud (from 'Musically Rich...and Famous: Anthology' by Alexis Korner 2003)02 Act Together (from 'I've Got My Own Album To Do' by Ron Wood 1974) 03 I'd Rather Go Blind (from 'The Faces' Final Concert' recorded 1974, released 2000)04 Pussycat (from 'Pay Pack & Follow' by John Phillips recorded 1976–77, released 2001)05 Stand Firm (from 'Bush Doctor' by Peter Tosh 1978)06 Truly (from 'Troublemaker' by Ian McLagan 1979) 07 I Put A Spell On You (from 'Portrait Of A Man: A History Of Screamin' Jay Hawkins' 1979) 08 Bell The Cat (from 'Holding Out My Love For You' by Max Romeo 1981)09 Big Black Mariah (from 'Rain Dogs' by Tom Waits 1985) 10 Midnight Key (from 'Uptown' by The Neville Brothers 1987)
Michael Kevin Taylor was born on 17 January 1949 in Welwyn Garden City, but was raised in Hatfield, and began playing guitar at age nine, learning to play from his uncle. As a teenager, he formed bands with schoolmates and started performing concerts under names such as The Juniors and the Strangers, who also appeared on television and put out a single. At aged 16 he went to see a John Mayall's Bluesbreakers performance at The Woodhall Community Centre, where the band performed their first set without a guitarist. It became clear that for some reason Eric Clapton was not going to show up, and seeing that his guitar had already been set up on the stage, Taylor approached Mayall during the interval to ask if he could play with them. He mentioned that he was familiar with the band's repertoire, and after a moment of deliberation, Mayall agreed. After playing the second set, and garnering Mayall's respect in the process, Taylor left the stage, joined his friends and left the venue before Mayall had the chance to speak with him. This encounter would prove to be pivotal in Taylor's career when Mayall needed someone to fill Peter Green's vacancy the following year, when Green quit to form Fleetwood Mac. Mayall placed a 'Guitarist Wanted' advert in the weekly Melody Maker music paper, and much to his relief immediately got a response from Taylor, whom he readily invited to join. From 1966 to 1969, Taylor developed a guitar style that is blues-based with Latin and jazz influences, and appeared on the albums 'Diary Of A Band', 'Bare Wires', and 'Blues From Laurel Canyon'. After Brian Jones was removed from The Rolling Stones in June 1969, Mayall recommended Taylor to Mick Jagger, and following a rehearsal session an impressed Jagger and Keith Richards invited Taylor back the following day to continue rehearsing and recording with the band, where he overdubbed guitar on 'Country Honk' and 'Live With Me' for the album 'Let It Bleed', and on the single 'Honky Tonk Women'. After the 1973 European tour, Richards' drug problems had worsened and begun to compromise the band's ability to function, with the band members living in various countries, and between recording sessions Taylor appeared on Herbie Mann's 'London Underground' album (appropriately enough on a cover of his own band's 'Bitch'), and also contributed guitar to 'Dolly' from Nicky Hopkins' 'The Tin Man Was A Dreamer'. In 1974 recording started on the Rolling Stones' 'It's Only Rock 'n' Roll' album, but he found it difficult to get along with Richards, and so not long after those sessions, Taylor went on a six-week expedition to Brazil, to travel down the Amazon River in a boat and explore Latin music. In December 1974 Taylor announced he was leaving the Rolling Stones, with his decision coming as a shock to fans, and especially the Stones, who were reportedly angry at Taylor for leaving at such short notice. In 1975 he formed a band with Jack Bruce and Carla Bley, but after a short European tour they disbanded the following year. In 1977 he attended London-based sessions for the John Phillips album 'Pay Pack & Follow', appearing on several tracks alongside Jagger, Richards and Wood, and the same year he also played guitar on sessions by Alan Merrill and Elliott Murphy. Taylor appeared as a special guest of Little Feat at the Rainbow Theatre in London in early 1977, sharing slide guitar with frontman Lowell George on 'A Apolitical Blues', and that summer he collaborated with Pierre Moerlen's Gong for their 1978 album 'Expresso II', helping out the following year on their 'Downwind' release. The early 80's were spent touring, firstly with Alvin Lee in 1981, then on a John Mayall's Bluesbeakers reunion tour from 1982-1983, and in 1984 he was part of Bob Dylan's touring band. In 1988 he played some great blues guitar on Speedo Jones' 'Have Blues Will Travel' album, and he also performed the lead guitar solo on Joan Jett & the Blackhearts' top-10 single 'I Hate Myself for Loving You'. During his time with the Stones he was always considered their most fluid and melodic guitar player, and this collection shows that skill superbly in a variety of different settings. 
Track listing
01 Bitch (from 'London Underground' by Herbie Mann 1973)02 Dolly (from 'The Tin Man Was A Dreamer' by Nicky Hopkins 1973)03 Always Another Train (from 'Alan Merrill' by Alan Merrill 1977, released 1985)04 Oh Virginia (from 'Pay Pack & Follow' by John Phillips 1977, released 2001)05 Rock Ballad (from 'Just A Story From America' by Elliott Murphy 1977) 06 Heavy Tune (from 'Expresso II' by Gong 1978)07 A Apolitical Blues (from 'Waiting For Columbus' by Little Feat 1978)08 What You Know (from 'Downwind' by Pierre Moerlen's Gong 1979)09 Break Your Broom (from 'Have Blues Will Travel' by Speedo Jones 1988)10 I Hate Myself For Loving You (from 'Up Your Alley' by Joan Jett & The Blackhearts 1988)
