Whether you are a fan of the Rolling Stones or not, one of the most fascinating things about them is their guitar musicianship. When people talk about great guitarists in the worlds of rock, blues and R&B they often highlight virtuosos like Eric Clapton or Stevie Ray Vaughan, who admittedly can play clean and fast like no-one else; but Rolling Stones, as staffed by Keith Richards and Ron Wood (not the Mick Taylor or Brian Jones chapters), draws attention to another sort of expertise, that they themselves call the “fine art of weaving.” These two long-in-the-tooth players roll around the necks of their guitars like two figure skaters on a rink, each doing their own thing, but somehow fitting perfectly. If Keith goes up the neck, Ronnie goes to the far end, and the licks intertwine, as can be heard so well in tunes such as “Beast of Burden.”
It might seem relatively straightforward to do this, with blues-based rock lending itself so easily to lazy lengths of twelve-bars, but most bands do not do this. There is the rhythm guy and there is the lead guy.
The fine art of weaving is a craft that comes from years and years of endless live performance – something most musicians can only dream of, but it highlights the essential element of any successful live band, which is a form of telepathy, in which every member of the band knows what each other will do, and can, as a result, perform confidently. This confidence reflects in everyone’s performance, and then projects out into the audience.
Many bands perform in a woefully under-rehearsed state, having practiced the tunes a few times, but not having perfected the show. Each member is still just a musician, and the five or six of them have not yet fused as a group, and this shows.
On-stage telepathy comes from hours of rehearsal and live play. It comes from an attitude that a performance is more than just knowing the set list. Mick can hand off to Keith and Ron. Phil Collins handed off to Mike Rutherford. Lady Gaga and Michael Jackson both had absolute faith in their musician and dancers to never have to look over their shoulders once to know if all was unfolding as it should.
For the 99.9% of us musicians who aren’t in the full-time professional league, rehearsal time is scarce, and gig opportunities usually hard to come by. But it is essential to recognize that the ability to play one’s own piece of the tune is only a small fraction of the end product. If you are in a five-piece band, ten you are not one-fifth of that band. You are more like one-tenth. Because no matter how hard you practice at home, it is the “act” that counts equally if not more than the actual tune.
In my humble opinion, a rehearsal should run through at least one set from start to end exactly as it would be played on stage, including the prepared announcements and banter (if any). Only then will true telepathy start to develop.