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The Rolling Stones Fan Club of Europe
It's Only Rock'n Roll

ARCO Arena
Sacramento, CA, USA
Saturday Feb. 6, 1999

Review by Jimmy Whitley, Sacramento

The Concert was delayed slightly due to construction near Interstate 5 and the Del Paso Blvd off ramp by the ARCO Arena. The crowd from where I was this time was of the "Hot Rock's" variety. After Live with Me, Mick welcomed everyone and confessed that "I felt like SHIT the first time!" His voice was GREAT unlike the ARCO accoustics! During You got me rockin there was a misqueued ending.

I have to get this off my chest so here goes: Honky tonk women,Chuck's Piano Solo,You know where I am going with this! I said it at Oakland.I said it at the first Sacramento too. I told you ONCE and I told you TWICE. But Keith and Chuck did'nt listen to my advice...although a lot of the drunk weekend warrior with no sense of rhythm types seemed to really go for it though.

During Ruby Tuesday they did a nice split screen of Mick and Keith side by side singing. Let me go out on a limb here: I am starting to feel that Moonlight Mile has left the building. Mick played what looked like a Gibson Hummingbird on Dead Flowers that I noticed was NOT wireless. It had a patch cord that had to be at least 100 feet long. Some Girls: "WHITE"

During Keith's set we did not get the silver nor gold nor diamonds. I knew as soon as I saw NO PEDAL STEEL and Keith with a TELECASTER something was going to be different. I enjoyed "Thief" as it was my first time and Keith went "all the way." Ronnie's daughter Leah sang backing with Lisa and Pierre de Beauport was on Keyboard next to Chuck.

Speaking of Chuck, I saw him run by me outside in the cold wind going AWAY from the building before the show. I told my girlfriend, "that looked just like Chuck but with shorter hair." When he came on stage I knew it was him that I had seen breeze by.

Out of Control had no cage. After the mini stage set before walking back to the large stage, this lady had a HUGE bouquet of flowers shaped with a valentines day heart on top. She kept trying to give it to Mick while he sang on the little stage but he stayed focused. I thought to myself that he had to have seen these. When Ronnie walked by her he was trying to get them from her and Keith was restraining him as a joke! Ronnie would struggle to get closer to the flowers (that were intended for Mick) I could not hear any of the dialog that must of been said but I am sure it was good. Finally Ronnie gave Mick the huge flowers and everybody cheered.

By Start me up, Keith and Ronnie both looked really BORED. They were trying to keep each other awake and amused by goofing around a bit. from here on out most of the songs had shortend endings i.e. two chorus's versus the normal four, etc. Now Silver seem's to have fallen as well and Tumblin Dice added. Please don't get me wrong. You KNOW my love/loyalty for the stones is unquestionable BUT this is starting to remind me of a STADIUM tour (set list wise) with the obscure going out and the warhorse usuall stuff sneaking back in . I guess you can't always get.... I still enjoyed myself though and will be watching for what's next.

Thank's to The Rolling Stones for using a quote of mine on their official website. They took TEN YEARS off of my life! ( I am 34, not 24 ) One last thing, JAKE BERRY, please consider my message. Thanks for coming back to Sacramento!

Start time:  9:35
End time  : 11:35

The set list:

  1. Jumping Jack Flash
  2. Live With Me
  3. Respectable
  4. You Got Me Rocking
  5. Honky Tonk Women
  6. Ruby Tuesday
  7. Dead Flowers
  8. Some Girls
  9. Saint of Me
  10. Paint It Black
    -- Introductions --
  11. Before They Make Me Run (Keith)
  12. Thief In The Night (Keith)
  13. Out Of Control
  14. Route 66 (B-stage)
  15. When The Whip Comes Down (B-stage)
  16. Midnight Rambler (B-stage)
  17. Tumbling Dice
  18. It's Only Rock'n Roll
  19. Start Me Up
  20. Brown Sugar
  21. Sympathy for the Devil (encore)


Review by Dan Wall

Last Saturday (Jan. 30) night, Mick Jagger was singing the blues. Not the "Little Red Rooster" or "I Can Hear You Knocking" kind of blues, either. One week ago, in what was no doubt a bitter reminder of the Rolling Stonesí legendary partying days, Jagger was (probably) puking his guts out in a San Jose hotel room with the flu and bronchitis, and two dates planned for that city had to be cancelled.

This Saturday (Feb. 6), Jagger was singing the blues again. But this time, it was the kind of stuff heís famous for. For the second time in just 10 days, the Stones pulled into Sacramento for an early date on the "No Security" tour, and this time the group had it all together.

Jaggerís illness was just beginning to surface on January 27 during the second date of the tour, and the crowd that night, anticipating one of the bandís legendary shows after 33 years of waiting, undoubtedly went home a bit disappointed. Not so this time, as the group roared through a two-hour set that included many favorites and some odd bits thrown in for good measure.

Playing on a stripped-down (for these guys, anyway) stage decorated with yellow and black construction zone markings and fastened with 10 huge lighting standards, the Stones hit the stage at 9:30 p.m. with "Jumping Jack Flash and didnít look back until they hit the limos after the encore of "Sympathy for the Devil." Jagger was back to his usual self after recovering well enough to perform earlier this week in Denver and Salt Lake City. Outfitted in various tank tops and shiny shirts, the diminutive singer had his way with the sell-out crowd, prancing, preening and acting pretty much "Mick-like" for the entire show.

Guitarists Keith Richards and Ron Wood held court at center stage. Richards, looking as haggard as my granddad (who died 25 years ago), played his role with aplomb, firing out all the key riffs, most of the solos and taking over the spotlight for vocals on "Before They Make me Run" and "Thief in the Night." Wood, resplendent in skin-tight black jeans and muscle shirt, played his rock-god role alongside Richards, and bassist Darryl Jones, who held down the bottom. Drummer Charlie Watts, who seems to be the sentimental favorite among the original Stones when introductions are made at mid-set, was rock solid, as usual.

The group used many of the same backing musicians from the recent "Bridges to Babylon" trek (save for one new horn player), but the set list was very different. The songs were divided into segments, with the first five rockers being followed by a rotating two-song section that on this night included "Dead Flowers" and "Ruby Tuesday."

Some newer stuff sandwiched "Paint it Black" before Keith took over. From there, the real highlight came when the band moved to the small stage set up in the middle of the arena floor for "Route 66," "When the Whip Comes Down" and "Midnight Rambler." This segment also served to be a real boon for those who spent $150 to sit in the "front" row-the front row of the small stage, which was easily more than 100 feet away from the real thing.

The run for home that features "Tumbling Dice," "Itís Only Rock and Roll," "Start Me Up," "Brown Sugar" and "Sympathy for the Devil" is simply unsurpassed in the annals of live rock and roll performance.

After seeing the band in Oakland on the first date of the tour, I can report that this set was even better, and the crowd, which was much more vocal than the opening night throng, helped push the band to new highs. Whether this is the "last time" the Stones ever play in the state capitol-it took them 33 years to get back and I doubt if the Stones will be around in 2032-Sacramento rock fans can rest easy in knowing they saw the worldís greatest rock and roll band at the top of its game on this night.


Review by Rich Agnew,Oakland, CA

It was a great show. The Rolling Stones have got to be the greatest rock'n roll band in the world. I can't think of anyone else who is. I had a second deck seat behind the stage. It turned out to be the best seat in the house. There were speakers set up facing the second deck. So i was 20 feet from two banks of speakers. They nearly split my head open. I could see the stage between the equipment hanging from the rafters and the deck. Mick would turn to us every ten minutes and rile us up. I couldn't see charlie, but i could hear him loud and clear. When they went to the b-stage, the rafter equipment realigned itself so we could see the stage.

I've seen the fellas a few times over the years and I saw them in Oakland on Jan 25. The show on Feb 6 was the best I have ever seen they were hot. The whole crew was hot. Mick sang better than ever and played harmonica extremely well. The back up singers were great on theif in the night. Ronnie's daughter was great with Lisa Fisher. When Keith and Ronnie's guitars were in the forefront of a song, no band in the world was greater.


Review by Dean Goodman

As much I love the Stones more than anything else, I'm very concerned that this tour is really nothing more than a rehashed Bridges to Babylon deal. The novelty of seeing them in "intimate" confines with 18,000 of our closest friends is starting to wear thin. And the reality of paying big bucks for the privilege is becoming very scary.

I could forgive them on both scores if they'd just be a bit more rebellious with the set list: apart from dumping Miss You and Satisfaction, they've made no effort to differentiate the music on this special tour from any other stadium jaunt. One of the Sacramento reviewers said Keith and Ronnie were looking bored towards the end of the show. Well of course! that homestretch of tired old songs culminating in the archaic Sympathy for the Devil is nothing if not tiresome by now.

My worries really started to unfold Saturday when they played three "new" songs, "Ruby Tuesday," "Dead Flowers" and "When the Whip Comes Down." But hey! I heard all those on B2B. It's kinda pathetic when we rave about a handful of such additions to the set list when really we should be bitching loudly about how they're throwing away a great opportunity on this tour to roll out some really esoteric stuff.

"Undercover" may not be a Stones classic, but it offered a very different Stones vibe, and the song's resurrection was laudable. Now it seems they dumped it, maybe because the high rollers didn't know it. I think Mick is too obsessed with trying to please the crowd with every song. Just a glimmer of befuddlement seems to throw him completely. I can only hope he's playing the tried and tested stuff in the regions where the Stones don't play much, and when they come to LA, Chicago, Philly, they'll be more adventurous. (By the way I never thought I'd say it but "Memory Motel" is becoming a little old, partly because I'm still in therapy over the Dave Matthews debacle in Amsterdam.)

Still, Sacramento #2 had its moments, building on the momentum of their Salt Lake City gig, which is probably my favorite so far (though Mick says a good concert is more than just the music, it's the people, the vibe etc). For me, SLC was a buzz because I found myself in an expensive section next to the main stage with some rowdy, hardcore fans -- a rare mix these days. Kudos to that city for showing "Time is On My Side" at one of the local movie theaters.

I'll always remember Sacramento #1 because an usher told me to sit down since people had complained about me. That show, Mick's attempts to lead the crowd into a chant for "Saint of Me" were disastrous, and I wondered whether the audience was just plain dead when Charlie threw one of his sticks into the crowd and no one lunged for it. And then there was Mick's cold. Did anyone notice in SLC though, how Mick blew his nose and later sprayed his throat: the traces of his illness are still there.

The second show, the crowd was more boisterous, and Mick was obviously very pleased. After "Saint of Me," he rushed to the crowd on Keith's side and started high-fiving some of the fans. He hardly does that so early in the program. (I wonder if this is why he gets sick all the time: the hoi polloi aren't washing their hands before touching him?) The "I like it" chant on It's Only Rock'n'Roll enlivened an otherwise overworked song.

It seems the ridiculous cage has been junked. Only the Stones could spend a zillion dollars on a stage prop like that and decide after two times to throw it out. I'll buy it off you, Mick. The Keith/Chuck interplay on Honky Tonk Women drives me nutty too, and I make a conscious effort to focus on Mick while this charade is played out. Well, I'm still committed to another 10 shows, but I've decided not to go to 3 or 4 I'd penciled in. I just don't think the Stones are playing for the real fans.


Review by James Constantine

Shakedown in the Capital City
Rolling Stones Back On Track in Sacramento

Who would of thought we'd be back in Sacramento twice in a year, exclaimed Keith Richards to the crowd after he was introduced by partner Mick Jagger during last nights Rolling Stones show. In a weird quirk of booking, The Rolling Stones triumphantly returned to Northern California, only a week after postponing a pair of San Jose gigs due to the Mick Jaggers illness. This show at The Arco Arena, home to the National Basketball Associations Sacramento Kings, was originally the first Capital City show booked and put on sale, while the show held here the previous week was added afterwards.

Northern California has long been a hotbed of Rolling Stones triumphs and disasters beginning with Keith Richards near electrocution at the groups 1966 Sacramento show, followed by the bands disastrous debacle at Altamont Motor Speedway in 1969. So it was certainly not without historical precedence that the Stones, who spent the better part of three weeks in San Francisco rehearsing for the No Security tour, would only perform one show in the Bay Area proper. This was a fact not lost on Northern Californian Rolling Stones freaks who braved the hellacious stormy weather to converge on the state capital to sate their palette on the 60s icons. And they were not to be disappointed.

Despite the fact that the Arco Arena show was sold out since November when tickets went on sale, the Will Call area near the Arco Arena box office was bustling with deals offering tickets for far less than face value, a godsend to fans turned off by the tours lofty ticket prices. Inside the arena, venders hawked all matter of Stones related paraphernalia from varsity jackets at $250 a pop to plate signed lithographs that fetched $100.00. These venders also were selling actual hand signed framed lithos for $1500 to $2000, not exactly chump change for the decidedly middle aged audience, some of whom forked over $250 bucks a ducat.

Compared to the Rolling Stones opening night in Oakland, the band played tight and assured from Keefs opening guitar riffs of Jumpin Jack Flash, Jagger bore no signs whatsoever of the illness which plagued him just a few days earlier. Jagger prowled the stage in black shades and a black leather jacket, prancing and shaking like a man 30 years younger. The Rolling Stones mined their 60s catalog to reprise Live with Me, Ruby Tuesday, Paint It Black, and Honky Tonk Woman. Honky Tonk Woman, was featured early in the shows first half, unlike during the bands opening show in Oakland, where it was performed on the smaller stage. Despite the criticisms, the crowd never fails to erupt when Keith nuzzles up to keyboardist Chuck Leavell, and takes the piano solo himself during Honky Tonk Woman.

Richards was all over the place too. His solos were full of his awesome power, stage presence and posturing which make him one of the most imitated rock stars ever. Ruby Tuesday was a complete surprise and came in the slot that the band had played Moonlight Mile, and Memory Motel. in previous shows. The Stones continued to add more songs during this evening as Dead Flowers, and When The Whip Comes Down, (played on the small stage), also made their No Security debuts. Other changes from opening night included the bands scrapping of the cage that came down during Out of Control, Keiths deleting I Got The Silver, in favor of Thief in The Night, and the addition of Tumblin Dice that was performed when the band returned to the main stage.

Arco Arena is one of the smaller venues on this tour. So when the band came out through the crowd to play on the smaller stage in the rear of the area floor, they provided the patrons in the back an intimate club like setting. Old chestnuts like Route 66, When The Whip Come Down, and a roadhouse rendition of Midnight Rambler, that could have come straight off of Get Yer Ya Yas, ignited a crowd frenzy. The short set took on the aura of a smoky bar, as a foggy trail of sweet smelling Northern California grown marijuana enveloped the stage in a surreal haze as Jagger wailed on his harmonica. The final main stage songs: Tumblin Dice, Its Only Rock n Roll, Start Me Up, and Brown Sugar, were as exciting as the cyclone ride at Coney Island with the band celebrating its treasured song canon with stunning results. The encore of Sympathy For The Devil, contained all the spooky voodoo imagery and power that made the original version so enduring.

The Arco show was superior to opening night in almost every way, however, Northern California Rolling Stones freaks left the Arena asking themselves whether this would be the final shows, because, as of this writing, the band had not confirmed that they will reschedule the two San Jose dates. At the rate the band is playing and getting better, if the Rolling Stones do reschedule at the end of the tour as some suspect, the final shows of the 1999 No Security tour will go down as one of the best the legendary band has ever performed.


Review by Forrest Smith

If anyone was at Arco Arena last night they might have been thinking of the concert in San Diego. It was cold, windy, and rainy. We didn't care this time. The concert was indoors and THE STONES WERE AWESOME. I had seen the Stones indoor at Moody Coliseum in Dallas in 1969 and I saw them in Ft. Worth at the Tarrent County Convention Center in 1972. I forgot what it was like seeing them indoors. Since then I had only got to see them outdoors. I thought the show was incredible. The sound was good, I had great seats. The band was cooking. Mick had all kinds of energy. Keith and Woody were unreal. If anyone wants to see Woody playing these days, this is the tour to see him. He didn't play that much in the last tour, but last night he was smoking, so was Keith.

On the B-Stage, during Route 66, some girl had taken off her bra and tossed it on stage, it hooked on Woody's guitar. He finished Route 66 and the When The Whip Comes Down, with that bra hanging from his guitar. What a show.

There toward the end, as I knew the show was fixing to end, I thought to myself, this may be the last time I get to see the Stone's and it's a shame. Right now they have never played better in their life. I think they could stay on tour forever.

I can't wait to see them in Anaheim, and I hope you faithful Stone fans get to see them. They are worth the price of whatever you had to pay.


Review by Denise - Sacramento, CA

I saw the Stones last night in Sacramento (2/6/99) - my first time and I had such a blast!! It was very, very exciting to be in the same room with THE ROLLING STONES. Our seats were great, too. Mick was absolutely mesmerizing - totally sexy and charged! His energy is phenomenal. We females can't get enough of him - if he's like that on stage.... The whole experience made me so glad that I didn't miss out on seeing them in this relatively small venue. The crowd was amped - the section I was in stood up throughout most of the 2-hour concert. I was grateful that Mick was well and that the whole band seemed to be having as much fun as the rest of us. Viva Rolling Stones, baby!


Review by Bill Denler, San Rafael, CA

I drove from Marin over to Sacramento for the second Stone's show in hopes for something unique, since tickets were going for $90 - $250+. The No Security Tour, in my opinion, was to be a tour of arenas that would be designed for the smaller venues where the Stones could focus on the music rather than the stage show found in the B2B, Voodoo and Steel Wheels tours. In addition to the smaller venue tour which immediately followed the B2B tour, I was hoping for some changes in the set lists as well as some rare songs, since the No Security album came with tracks not previously available through the other live albums.

I was wrong.

Although the Stones can rock better than any other band, why do they continuously play tunes that were already played in the B2B tour? My friends already think I'm obsessed with the Stones, so this is very difficult for me to say about the greatest rock and roll band in the world. If someone is willing to pay these huge ticket prices, then hears Honky Tonk Women, then the natural reaction would seem to be disappointment.

If the Stones could open up, and start to mix up the set list (more than they are now), and start playing more tunes that they don't play, I think these high paying fans will get greater satisfaction.

Here is my point... Let's assume that everyone that sees the Stones on this tour has a) seen them before, or b) a huge fan and just want see them in a smaller venue, or c) both! Now, if you have seen them before, you've certainly heard Brown Sugar, Start Me Up, Honky Tonk Women, Tumbling Dice, Sympathy For The Devil, Jumping Jack Flash, It's Only Rock n Roll etc... How many more times are they going to play these?? This is the greatest rock n roll band in the world!! Are they selling themselves short? Where is the creativity? Where is the obscurity? Where is the improvisation? How about playing tunes they've never played before, or changing it around?

Did the Stones really think that their fans favorite songs are the ones you hear on the radio everyday?

Mick, I have high hopes for the rescheduled dates in San Jose.


Review by Mark Stevens

Just some general responses to the reviews,and concerns regarding ticket prices voiced here. I've now seen two of these no security shows,after having seen the stones three times in stadiums in 1981, 1994, and 1997. I'm also a professional musician, so i pay very close attention to how the songs are re-worked and performed for the tours.

Based on what i've heard on Jan 25th and then Feb 6th, i'd have to say that the band IS giving attention to the idea of changing the set as much as is possible given the technical demands of a show like they are doing. A lot of improv and interplay is going on between Keith and Ronny, which can really get lost in the mix in halls like the arco arena, but that improv is coming within the context of an established set of songs. Computerized mixing has made it easier for the soundmen and women, but they had to work their asses of in sacramento to get a good mix, and it didn't start to "blow clear" until 5 or 6 songs in to the set.

There are many factors affecting shows this size that the audience isn't typically aware of, sound being one of them,lighting designers being another. As far as ticket prices, the obsession with being as close as possible is ruining the experience for many people. I've been behind the stage, and in the back out front, and have seen two shows for about $110.00 - and this allowed me not to get hung up on how much i spent - and not to have higher expectations as a result. It might be more fun for some of you to spend less, yet see more shows, and watch how the performances change between gigs - that's where the fun is!


Review by Mark Seidman

After seeing the first Sacramento show, I was totally impressed with the band. (See my review of the
1/27 show.) So on a whim, I checked to see what Ticketmaster had available in a single seat for the 2/6 show. To my astonishment, they had a great seat right next to Keith's side of the stage so I grabbed it!

First the high notes:

This was my best chance to see Charlie Watts in action. I was able to check him out periodically and he continues to amaze me. I know that he's a jazz aficionado, so I really appreciate his commitment to the Stones. He certainly doesn't need the money. From Keith's side of the stage, you can really see the special relationship he has with Charlie. They play off each other more than I realized. I never knew how hard he pounded those skins until this show. Way to go, Charlie!

Keith is absolutely amazing. He is the real deal. He's been doing this for more than 3 decades, but he obviously loves it and he's damn good at it. The man just doesn't seem to ever burn out. He sounds better than ever. Where does he get that sound in Midnight Rambler? And I have a new respect for "Respectable" - Keith simply shows how to make a simple riff burn! And if he wants to do that goofy bit on the piano during Honky Tonk Women, hey, he's earned it as far as I'm concerned. Long live the king of the 5-string!

When the full band's cooking (backup singers and horns), it just doesn't get any better. Unlike the times when they went for years between tours, they show the benefit that comes from touring pretty solidly (with the odd gap here and there) for two years. This is as tight a unit as you'll find.

As with the earlier Sacto show, I was so impressed how much this tour was about the music rather than the show. That's why I had to go back for more and why I'll see if I can get into one of the San Jose shows when they make up those dates. I'm very grateful that the band mixed up the set so much from the first time. Of the 21 tunes, almost 1/3 (6) were different. I love Dead Flowers and Tumbling Dice so it was great to hear them live again.

And the low notes:

Ah yes. "Echo Arena". I have to say that the sound just wasn't as clean to the side of the stage as it was deeper in the arena where I sat for the earlier show. Great sight lines from every seat, but it's a tough building soundwise.

Where did Ron's energy go? For years, I remember him as a high energy, fun loving stage presence. I do appreciate the band putting the music first, but c'mon Ronnie, cut loose a bit. I noticed this in the first show, but even moreso in the second show. This might have been due to the fact that he was pretty upset that he couldn't hear his monitor early in the show. He was clearly pissed and eventually walked directly over to tell someone about it.

Some idiot in the upper level insisted on throwing ice on the band when they went to the small stage. Great. The band hasn't been to Sacramento for 30 years and with shit like that, it will probably be another 30 before they come back. And there was even more weirdness... When they got back to the main stage, another person decided to grab hold of Keith and not let go. Keith had to yank himself free and shake his fists at this guy. I think this was during "It's Only Rock and Roll". So I don't blame Keith for not returning to the little platform right next to the crowd for the rest of the night.

After seeing how hot they were for the first show (despite the fact that Mick felt "like shit"), this one was a little flatter. There were plenty of high moments, but the band just didn't catch fire like they did in the earlier show. They seemed to be ready to move on down to L.A.

And finally, if you're reading this, you're no doubt a serious Stones fan. Despite my few negative comments, this tour is one of their best. Do yourself a favor and don't miss this one!


Read all about the "No Security" and "Bridges To Babylon" tours of 1999 in the It's Only Rock'n Roll magazines. New issue IORR 35 out Jan 20, 1999.


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