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kowalski

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DandelionPowderman
I think it's outrageous that we have to wait 48 hours longer than in the US.

We'll get the FLAC version though!

I think it's outrageous too!
And I also think it is outrageous that the US doesn't get FLAC.
But then: tonight the Black Keys!

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silkcut1978_

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The Archive promised to be a place where fans of the World’s Greatest Rock and Roll Band “can listen to unheard music, ..."

Now we're not exactly talking about unheard music, do we?

alright, 'can listen to music you werent supposed to have heard until now'..

If they go for Atlantic City 89 will they have clearance for Axel, Eric etc?

Think it's fair to say the archive is going to be upgrades of widely circulated material for a while.

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DandelionPowderman
IMO, there is no reason not to release the 100 Club show:

23 February 1986
THE ROLLING STONES & FRIENDS. London, 100 Club
Concert in tribute to the late Ian Stewart (STU). Unverified.

- Route 66 (Bobby Troup)
- Down The Road Apiece (Tony Raye)
- Key To The Highway (William Broonzy/Charles Segar)
- Confessin’ The Blues (Walter Brown/Jay McShann)
- Mannish Boy (Mel London/Ellas McDaniel/McKinley Morganfield)
- Bye Bye Johnny (Chuck Berry)
- Harlem Shuffle (Bob Relf/Ernest Nelson)
[- Just Another Night (MJ) -broken off, probably Jeff Beck only]
- Little Red Rooster (Willie Dixon)
- Down In The Bottom (Willie Dixon)
- Dust My Blues (Elmore James)
- Little Queenie (Chuck Berry)

Musicians: The Rolling Stones partly with Eric Clapton (gtr)/Jeff Beck (gtr)/Simon Kirke (dr)/Pete Townshend (gtr)/Jack Bruce (bass)/Chuck Leavell (keyb)

But - As far as I remember it wasn't even recorded!
Sorry,just seen. Already posted . .



Edited 1 time(s). Last edit at 2012-02-01 14:40 by CousinC.

We need a release from 1970 or 1971/Leeds. In 1970 they still had that 1969 groove (listen to JJF!)

Who wants some cheese with their whine?

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NoCode0680
Well stonesdan I don't want to say anybody is whining, because when somebody is... let's say "stating a grievance", nobody likes to be called a whiner, and arguing gets us nowhere. And I can understand being disappointed in not getting what you hoped for. I think the key is to realize you aren't always going to be specifically catered to.

I honestly don't want to quote YCAGWYW here, or make a pun, but it's so hard, even though I'm making an effort not to.

ok, then i'll do it. we're going to vent our frustration...if we don't we're gonna blow a 50-amp fuse...or something....sing it to me now....

I know there were some songs from Still Life from this Hampton show.
Let's Spend The Night Together was one of them.
On SL they cutout a little piece at the end.
I hear now this piece is still in (as on all the boots).
Nice that they kept to the original.

Mr.Fancyman

PS: Thanx Jan for the download link..... ;-)

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HighwireC
The Rolling Stones, Hampton Coliseum: Live 1981 (Rolling Stones, digital-only, 2012)
1.Under My Thumb
2.When the Whip Comes Down
3.Let’s Spend the Night Together
4.Shattered
5.Neighbours
6.Black Limousine
7.Just My Imagination
8.20 Flight Rock
9.Going to a Go Go
10.Let Me Go
11.Time Is On My Side
12.Beast of Burden
13.Waiting on a Friend
14.Let It Bleed
15.You Can’t Always Get What You Want
16.Band Intros
17.Little T&A
18.Tumbling Dice
19.She’s So Cold
20.Hang Fire
21.Miss You
22.Honky Tonk Women
23.Brown Sugar
24.Start Me Up
25.Jumpin’ Jack Flash
26.Satisfaction

All tracks recorded December 18, 1981 at Hampton Coliseum, Hampton, Virginia.

[theseconddisc.com]

"I am waiting, I am waiting, oh yeah oh yeah..."

But meanwhile time to make some observations about the set list.

Even though the track #16, "Band Intros" is a good follower of the old classic "We Want The Stones", it is such a treasure by other means as well.

First of all. They really believed on the new sound of the band. Six tracks from TATTOO YOU, five from SOME GIRLS and two from EMOTIONAL RESCUE. That's 13! - over half of the set! If one critizises the set list for not having certain numbers, or generally not liking the Pathe Marconi era, that's her right, but they really act like a living and breathing band here. They really point out that they are proud of their latest material. If one misses Taylor era material - too bad for them; this is the late 70's/early 80's Rolling Stones here. And I like that.

Secondly, trusting so much to their recent music, they have no shame being nostalgic. For the first time ever, they seem to approach their early 60's material without being the danger of being old fashionable, "Time is On My Side", "Under My Thumb", and "Let's Spend The Night Together" are iconic Brian/pre-"golden era"/JJF/BB 60's songs (to an extent we could add "Satisfaction" also there; they didn't play that song that often during the 70's, and seemingly had difficulties how to deal with its iconic status). They play them proudly, not even being dare to open the show with two of them (of the first three numbers). Each version - of course documented effectively already in STILL LIFE - does honour to them, and sound mature and majestic (well, "Satisfaction" not so much).

Thirdly, the high profile material they played to death from 1969 to 1976 is as absent as it already was in 1978. No "Sympathy", no "Shelter", No "Rambler", no "Street Fighting Man", not to mention lesser tracks - those dark, anthem-like songs that very much defined them at the time. What is left are just the obvious big single hits, "Jumping Jack Flash", "Honky Tonk Women", "Brown Sugar" , "Tumblin Dice" - belonging to the grand hit finale with "Satisfaction" and the recent hit "Start Me Up" (the last time the band believed so much to their current material that it belonged to that part of the show!). Only one anthem makes its come-back: "You Can't Always Get What You Want". Together with it, they introduce a new song from the classical period: "Let It Bleed". Not a song from the time between EXILE and SOME GIRLS also points out that that period was sort of dated (No "Angie", no IORR, no "Star Star", etc).

Lastly, a good Stones show needs some cover oddities; "20 Flight Rock" was a fresh surprise (after the obvious Berry numbers of the recent tour", and "Going To A Go-Go" is a postively surprising choice as well.

A great set list!

- Doxa



Edited 4 time(s). Last edit at 2012-02-01 15:23 by Doxa.

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Gazza

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silkcut1978_

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The Archive promised to be a place where fans of the World’s Greatest Rock and Roll Band “can listen to unheard music, ..."

Now we're not exactly talking about unheard music, do we?

alright, 'can listen to music you werent supposed to have heard until now'..

My god, I know I can complain...but man this is really something. We got an unheard 1973 show in brilliant quality, even with a track that we thought they hadn't even played. Then we get the full Texas 78 show, fully restored and in brilliant quality, and now we get one of the best ever Stones shows, in a quality ten times better than on any boot we've had. And of course, we got a Some Girls Deluxe as well.

Finally, finally The Stones open the vaults. And still people complain, with stupid phrases like 'I think/know where it is heading too...'

Damn.

Mathijs

did anyone else notice that at least one overdub was kept from the still life version? keith's b/u vocal on time is on my side...they covered over a flub of his on the still life version and it was kept for this release.

and although i agree this mix is better than the best versions of the boot version...i wouldn't exactly say it was dramatically improved. mostly, it's cut out the unnecessary crowd din and sharpened the guitars...but i'd call it a marginal upgrade...really no need to toss away your boots, imo....

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DandelionPowderman

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Doxa

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Mathijs
And if you ask me what was the highest inspired performance, I'd say Hampton 81 anytime. Musically, as a band, the Stones have never been any better. It is the culmination of 20 years Stones.

Mathijs

I wouldn't perhaps rank Hampton '81 so high (but surely among the very best ever), but I like that description of "culmination of 20 years". I think that somehow marks the nature of 1981/82 tour altogether. They had been a living and breathing, that is, evolving band, for two decades and somehow they let all that experience - been there, done that - to be heard in their sound then. Yeah, in some cases they do sound sloppy and everything, but I think that is a part of the charm. Like "look kids, we don't need to prove anything to anyone anymore. We play just the way we want to.". In a sense there is huge difference to 1978 tour that still had that feeling of "now we need to show all those new bands who are the real rock and rollers and energy bombs". In 1981 they needn't need to prove anything at all; they were the biggest rock and roll band in the world without any real competition. A positively retro-sounding TATTOO YOU and "Start mre Up" was a great soundtrack for all that. I think the result is very stressless, unique sounding music that I find majestic and powerful. That sound and attitude charmed me very much in the early 80's. It had some nostalgia (based on rock and roll history, being legends) flavor sure but is was a fascinating part of their then current sound.

I think the contrast in attitude (to be heard in sound) is huge to 1989 - and any tour ever since - when they need to prove that they are as good as ever (before) - that it is the "Best Stones yet", etc. The new "professionalism" somehow kicked the attitude and balls out of the band. And besides, it was not any longer culmination of anything - they were not any longer a living and a breathing band in the sense they earlier were. Now they were a nostagia act milking out the past, sounding sometimes almost like a Rolling Stones cover band.

To me eyes The Stones achieved something "this is as far as this can naturally go" in 1981. Since then - starting in 1989 - they had just tried to make some kind of nostalgia reconstructions of the achievements of those 20 yaers. It really starts a new page in their story with a very different tone in it.

- Doxa

Good analysis, but I wanna hear the 100 Club show from 1986 first, before I jump to conclusions

I don't have any recorded evidence, but I highly doubt that any conclusions can be drawn from the 100 Club show in 1986. Judging from the setlist, it looks more like an impromptu jam with songs rather played from their collective memory than a well-rehearsed "show".

I seldom disagree with Doxa, but on this topic I have to say that I can't agree with his 1981 being the "culmination of 20 years"-theory. While 1978 was a return-to-form, reinventing themselves as a current force venture, I see the 1981 tour, and more so the European leg of 1982,as a phase of increasing disorientation within the band. Other than 1978 with Some Girl, they knew that Tattoo You was not a creative highpoint of the current band, but born out of the necessity that came with the fact that creatively, the band was not able to come up with an all-new album. By 1982, the confidence and vigor of 1978 was totally gone and most shows sounded rather ramshackle. 1981 had some stellar shows, Hampton of course included, but also some apparent signs of decline which became all too obvious in Europe 1982. Someone else mentioned that the Some Girls material sounded rather lifeless in 1981/82 compared to 1978. I think that's because the spirit of 1978 was largely gone by then. In 1978, they played songs with breakneck speed because they felt like it. So to speak, in 1981 and 1982, they played songs with breakneck speed to hide something - the increasing lifeliness and emptiness within the band.

This does not take away an ounce from the fact that shows like Hampton '81 are amongst the best they ever played!

The set list is awesome and the sound is great. What more can we ask for?

Is it possible, that we (Europe) get something else instead of Hampton, and thus the waiting? Just a thought. Sorry if it is already been mentioned.

fyi, WMMR reviewer is not impressed...
WMMR

Wmmr review is a joke , Texas 78 wasn't released by google, enough said.

"pale in comparison to their legendary bootlegs" is he serious? Did he even listen to the new releases?

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StonesTod
and although i agree this mix is better than the best versions of the boot version...i wouldn't exactly say it was dramatically improved. mostly, it's cut out the unnecessary crowd din and sharpened the guitars...but i'd call it a marginal upgrade...really no need to toss away your boots, imo....

now that IS in fact interesting

Even the supposed improvement seems to be missing.

@Mathijs: "and now we get one of the best ever Stones shows, in a quality ten times better than on any boot we've had" - well, we'll have to wait a few more hours to see if it's any better, let alone ten times better, don't you think so? And by the way you tend to forget that what is the best for you might be the worst for others. This is for sure not OUR best or one of the best ever Stones shows as you modified it lately - it's your favourite and not everybody's wet dream.

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Mathijs

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Gazza

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silkcut1978_

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The Archive promised to be a place where fans of the World’s Greatest Rock and Roll Band “can listen to unheard music, ..."

Now we're not exactly talking about unheard music, do we?

alright, 'can listen to music you werent supposed to have heard until now'..

My god, I know I can complain...but man this is really something. We got an unheard 1973 show in brilliant quality, even with a track that we thought they hadn't even played. Then we get the full Texas 78 show, fully restored and in brilliant quality, and now we get one of the best ever Stones shows, in a quality ten times better than on any boot we've had. And of course, we got a Some Girls Deluxe as well.

Finally, finally The Stones open the vaults. And still people complain, with stupid phrases like 'I think/know where it is heading too...'

Damn.

Mathijs

Well said. This particular Stones fan is very pleased with what they've recently given us! My God - Brussells, Texas 78, now Hampton! I thought Hampton was a great show on the bootleg I used to have. Can't wait to hear it with a Bob Clearmountain mix!

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StonesTod
...really no need to toss away your boots, imo....

and I was just working in a new pair of tennis shoes.
Damn. Let me go get those boots back

waiting in anticipation
Dont think, all my love is in vain

Indeed, stop complaining and be happy with what is released.
Jeroen

DP - {I seldom disagree with Doxa, but on this topic I have to say that I can't agree with his 1981 being the "culmination of 20 years"-theory. While 1978 was a return-to-form, reinventing themselves as a current force venture, I see the 1981 tour, and more so the European leg of 1982,as a phase of increasing disorientation within the band. Other than 1978 with Some Girl, they knew that Tattoo You was not a creative highpoint of the current band, but born out of the necessity that came with the fact that creatively, the band was not able to come up with an all-new album. By 1982, the confidence and vigor of 1978 was totally gone and most shows sounded rather ramshackle. 1981 had some stellar shows, Hampton of course included, but also some apparent signs of decline which became all too obvious in Europe 1982. Someone else mentioned that the Some Girls material sounded rather lifeless in 1981/82 compared to 1978. I think that's because the spirit of 1978 was largely gone by then. In 1978, they played songs with breakneck speed because they felt like it. So to speak, in 1981 and 1982, they played songs with breakneck speed to hide something - the increasing lifeliness and emptiness within the band.

This does not take away an ounce from the fact that shows like Hampton '81 are amongst the best they ever played!}

Some good points here, but I'm not too sure I'd agree that Tattoo You was full of older tracks because the Stones had lost the ability to come up with good new material. I think it was a problem of logistics and maybe some poor planning on someone's part. Instead of recording a whole new album and then planning a tour, they had the tour booked perhaps too soon in advance. According to interviews I've read with Mick and Keith, they realized they were in a time crunch to get an album out to tour behind. Therefore they scoured the vaults and selected some great material that was almost finished and the songs were great selections that begged to be put on an album. Start Me Up, Black Limousine, Slave, and pretty much everything else made for a great album even if the basic tracks originated in the past. And they did have time to record a few brand new ones which are also great. To me it doesn't make sense to say they played many songs very fast in '78 because they felt like it, but they played them fast in '81 to hide "lifelessness" in the band. I think they played them fast because they were into it and they were rocking! I thought they were just as vital in '81 as they were in '78. To me, Hampton proves it!

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Turner
fyi, WMMR reviewer is not impressed...
WMMR

if they didn't use the original multi tracks, why can i hear the guitars at the beginning of under my thumb? and the saxophon is there all the time while on the bootleg it is faded in the background at some moments. and i hear more of Ian MacLagans backing vocals. this review is bullshit.

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stonesdan60

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Mathijs

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Gazza

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silkcut1978_

Quote

The Archive promised to be a place where fans of the World’s Greatest Rock and Roll Band “can listen to unheard music, ..."

Now we're not exactly talking about unheard music, do we?

alright, 'can listen to music you werent supposed to have heard until now'..

My god, I know I can complain...but man this is really something. We got an unheard 1973 show in brilliant quality, even with a track that we thought they hadn't even played. Then we get the full Texas 78 show, fully restored and in brilliant quality, and now we get one of the best ever Stones shows, in a quality ten times better than on any boot we've had. And of course, we got a Some Girls Deluxe as well.

Finally, finally The Stones open the vaults. And still people complain, with stupid phrases like 'I think/know where it is heading too...'

Damn.

Mathijs

Well said. This particular Stones fan is very pleased with what they've recently given us! My God - Brussells, Texas 78, now Hampton! I thought Hampton was a great show on the bootleg I used to have. Can't wait to hear it with a Bob Clearmountain mix!

Everybody here, me included, who is somewhat disappointed in Hampton 1981 was absolutely satisfied with both Brussels and Fort Worth. So there's no need to try twisting this into the lame "people here are never satisfied". That's just BS.

Brussels and Fort Worth was stunning. And Hampton is also stunning. But the trouble is that I/we have allready been "stunned" by the bootleg. Is that so hard to grasp?

But of course I'll be downloading this official Hampton release as well, since it has better stereo seperation.



Edited 2 time(s). Last edit at 2012-02-01 17:06 by Erik_Snow.

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Erik_Snow

Everybody here, me included, who is somewhat disappointed in Hampton 1981 was absolutely satisfied with both Brussels and Fort Worth. So no need in trying to twist this into "people here are never satisfied. That's just BS.

Brussels and Fort Worth was stunning. And Hampton is also stunning. But the trouble is that I/we have allready been "stunned" by the bootleg. Is that so hard to grasp?

Not for me,I agree.

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CousinC

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DandelionPowderman
IMO, there is no reason not to release the 100 Club show:

23 February 1986
THE ROLLING STONES & FRIENDS. London, 100 Club
Concert in tribute to the late Ian Stewart (STU). Unverified.

- Route 66 (Bobby Troup)
- Down The Road Apiece (Tony Raye)
- Key To The Highway (William Broonzy/Charles Segar)
- Confessin’ The Blues (Walter Brown/Jay McShann)
- Mannish Boy (Mel London/Ellas McDaniel/McKinley Morganfield)
- Bye Bye Johnny (Chuck Berry)
- Harlem Shuffle (Bob Relf/Ernest Nelson)
[- Just Another Night (MJ) -broken off, probably Jeff Beck only]
- Little Red Rooster (Willie Dixon)
- Down In The Bottom (Willie Dixon)
- Dust My Blues (Elmore James)
- Little Queenie (Chuck Berry)

Musicians: The Rolling Stones partly with Eric Clapton (gtr)/Jeff Beck (gtr)/Simon Kirke (dr)/Pete Townshend (gtr)/Jack Bruce (bass)/Chuck Leavell (keyb)

But - As far as I remember it wasn't even recorded!
Sorry,just seen. Already posted . .

I believe it was. Of course I can't prove it but I know someone that I have no reason to doubt who claims it was recorded and they've seen samples from it. All I can say is ( I was told) all those 81 -89 sbs were taken from video source and....

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stonesdan60
DP - {I seldom disagree with Doxa, but on this topic I have to say that I can't agree with his 1981 being the "culmination of 20 years"-theory. While 1978 was a return-to-form, reinventing themselves as a current force venture, I see the 1981 tour, and more so the European leg of 1982,as a phase of increasing disorientation within the band. Other than 1978 with Some Girl, they knew that Tattoo You was not a creative highpoint of the current band, but born out of the necessity that came with the fact that creatively, the band was not able to come up with an all-new album. By 1982, the confidence and vigor of 1978 was totally gone and most shows sounded rather ramshackle. 1981 had some stellar shows, Hampton of course included, but also some apparent signs of decline which became all too obvious in Europe 1982. Someone else mentioned that the Some Girls material sounded rather lifeless in 1981/82 compared to 1978. I think that's because the spirit of 1978 was largely gone by then. In 1978, they played songs with breakneck speed because they felt like it. So to speak, in 1981 and 1982, they played songs with breakneck speed to hide something - the increasing lifeliness and emptiness within the band.

This does not take away an ounce from the fact that shows like Hampton '81 are amongst the best they ever played!}

Some good points here, but I'm not too sure I'd agree that Tattoo You was full of older tracks because the Stones had lost the ability to come up with good new material. I think it was a problem of logistics and maybe some poor planning on someone's part. Instead of recording a whole new album and then planning a tour, they had the tour booked perhaps too soon in advance. According to interviews I've read with Mick and Keith, they realized they were in a time crunch to get an album out to tour behind. Therefore they scoured the vaults and selected some great material that was almost finished and the songs were great selections that begged to be put on an album. Start Me Up, Black Limousine, Slave, and pretty much everything else made for a great album even if the basic tracks originated in the past. And they did have time to record a few brand new ones which are also great. To me it doesn't make sense to say they played many songs very fast in '78 because they felt like it, but they played them fast in '81 to hide "lifelessness" in the band. I think they played them fast because they were into it and they were rocking! I thought they were just as vital in '81 as they were in '78. To me, Hampton proves it!

Some good points here, Dan, but I don't necessarily agree with everything.

IMO, some songs from Some Girls improved on the 1981-tour. Shattered and Imagination come to mind.

However, the 1982 shows tend to be noticable weaker than the show from the US.

Concerning the tempo, I'm not sure if the tempo would be very different if we measured with a metronome, but it had something to do with Charlie's playing, imo. He was a bit static and machine-like on this tour.

It´s impossible for me to buy it in Brazil. So would need some help to receive the files. If you have the files let me know. I can pay to receive all songs.

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DandelionPowderman
However, the 1982 shows tend to be noticable weaker than the show from the US.

Well, yes, but there were some amazing 1982 concerts, as well. Which is somewhat overlooked, as most people pay more attention to the 1981 recordings. First show at Wembley Stadium and 2nd show in Frankfurt, for instance, are just as good as the very best 1981 shows.

Getting rid of Ernie Watts and Ian MacLagan was not a good move.