Quote
andrewt
This ain't vegas, it's 600 capacity nightclub. Do you see any video screens? Any runways? Any staging at all? Hell, no.

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TheBlockbuster
I hope all of the reamaning shows will be what you call ''Vegas Shows''. Better playing, better sound quality, better vocals.

Quote
andrewt
Wow, am I the only guy on this board that was at that show?
I've read people talking about PA mixes with low guitars, what PA mix? It was a club.
You were getting stage volume on the guitars and some PA on the vocals and drums.

This ain't vegas, it's 600 capacity nightclub. Do you see any video screens? Any runways? Any staging at all? Hell, no.

The sidemen were literally that -on the very side of the stage, and they only played part time.
Mostly it's five guys rocking on 20 foot wide stage.

There was no Chuck plinking. Keith played loud and really well. (although I'm no guitar player, I am very well acquainted with the Stones Repertoire).

This was my review the day after (from another forum)

THE INITIAL REALISATION:
I'm not sure if anyone ready my stressed out post from Tuesday afternoon but needless to say the whole experince start with the swelling realisation that it's happening again -The Rolling Stone club show. The first stage of the game is excitment and happiness, but that's soon quickly followed by stomach churning anxiety as the reality sets in that maybe it's a dream that out of reach. Then the fever sets in. It actually feels like a fever, like when you're just starting to get the flu. You're hot, flushed, light headed, nauseous.
You want to eat but you're not hungry. You need to sit but you want run and jump and scream. I think every fan here knows what I mean.
I was stuck at work as the whole thing leaked and my life flashed in front of my eyes as I saw people already lined up on the news.
At around 4, I couldn't take any more and told my boss "I have to go now, you may see me tomorrow but you may not, and can't say what shape I'll be in Thursday either". And I ran out hoping they'd understand.

THE SHOW:


Best ever. Bar none. Since all the VIPS were on the balcony and the lineup people were on the floor is wasn't too, too packed and even ten minutes before the show I was able to get up within ten feet of Keith and MIck. It was way better than the Palais in terms of not being packed in and having the life crushed out of you. I even had a little room to dance.

The lights went down. A rush went through the crowd. Micheal Cohl came out and didn't give a speech just said "Please welcome the Rolling Stones". No big entrance. Keith walked out first, looked at the crowd and his eyes started to well up. He mouthed "Thank you" and had the sweetest smile. Then Charlie stepped into his office and then MIck, Ronnie and the whole gang nonchalantly got in to place.

ROUGH JUSTICE:

"How you doing Toronto!" said mick and the next second it's Rough Justice coming out through the best sound system in existence. Loud as hell,sharp, crisp, all guitars. Keith and Ronnie cutting through the mix like a buzzsaw. This is no "Sad sad dad" folks. This is rock'n'roll at it's finest and the crowd went absolutely, absolutely @#$%& insane. Singing along to it like was off Hot Rocks - Pogoing, screaming, people jumping up and down, girls passing out, I looked over at Tom and saw the face of a mind being blown. All my fatigue went away in an instant and I screamed as well, jumped, and I was in tears -crying with joy -it was involuntary. They sounded so intense, so mean, so focused. Noone was following anyone on stage, there was no posing, no passengers, every band member was leading the charge at once.
Mick shimmyed, shaked, slinked, and sang straight from his gut.
No prisoners. Seriously, I've seen Ladies and Gents when they came out with Brown Sugar, I've seen a lot openers at a lot of shows and this had way more force than any of them.

LIVE WITH ME:

"oh yessss, are we doing okay? Here's an old number called Live With Me". Again - fast tempo. Mick singing higher than on the last tour, right in the range of the original. Keith again not slouching not doing and slash and strum but driving the riff like a frieght train, along with Charlie. The engine was cranked. It was THE SOUND. The sound so many posters have pined for. No plink, guitars at 11, bass for days, Charlie keeping time like a metronome but with a big plate of swing and a side order of soul. Horns blasting like a Stax record, Bobby Keys laying it down. You might see a pattern emerging here.

19TH NERVOUS BREAKDOWN:

"We're gonna an old number now, but we've reworked it and were gonna do it in a slightly different style, we hope you like it"

The buzz covers the room. "Who, What, What did he say, What is it?"
They kick into a slinky mid tempo bluesly shuffle ,with great Chuck piano I might add, and you could hear the gears working in people's minds. "What is this?" I thought it was Let It Bleed, that's what the intro reminded me of - a slow, groovy Let It Bleed. But then, with a different vocal melody and everything..."When you were a child you were treated kind but never brought up right..." The crowd tried to sing along to the chorus but the arrangement was so different you couldn't quite do it, so then the jumping stopped and evrybody just listened. So cool. Someone missed the cue to end the song and they had to come around for another 12 bars but it was great. Mick looked around at the band like "That's okay....this time".Hopefully this ends up on the b-stage.

SHE'S SO COLD:

Whaaa? Didn't see this coming. Great version that got the groove down. I was a little busy in this one dealing with a crazy blonde who trying to climb on to people shoulders and falling all over the place causing chain reaction shoving so not much detail here.

DEAD FLOWERS:

Mick comes out with the acoustics; "Here's one called Dead Flowers".
Good version but not that standout aside from Keith doing harmony on his mike--which was two feet away from Mick's - they were looking at each other and smiling and that's the closest I'll ever see the old days of Keith'N' Mick sharing the Mike. keith's harmoies were great -he's in strong voice.

BACK OF MY HAND:

"We're gonna do a new blues for you"

This is hardcore blues. Mick on slide, Ronnie on Slide, Keith on B.B.KING detail picking out delicious single notes. I thought this was gonna be some sex double entendre but it's an apocolyptic vision and a descendant of Gimme Shelter in my mind. Full of voodoo, psychics, magic, palm readers,..."I can see it on the back of my hand".
Long solos from Ronnie and, shiver me timbers, a slide workout from Mick. Testify, Testify Mick.

AIN'T TOO PROUD TO BEG:

After the slow blues back to the party. I can't fully describe how sharp and hammering that opening chord was. Mick prancing evrywhere. waving his arms, exhorting the crowd to new heights. The weave of weaves in the breakdown. I'll keep these briefer now because I realise I'm strating to repeat myself with this "frieght train, engine steaming, riffhard, sounds better than ever" business but it's true.

INFAMY:

"Oh Toronto, you look so good. We've been coming here a lot to rehearse and you're always very welcoming and kind. You give us space when we need it and you also give us enough attention to get our egos pumped up before the tour" Imagine crotch wetting Mick smile here. Big cheers. Then the band intros. Ronnie, who was concentrating like crazy and watching Keith every two seconds lightens up for the first time and does his intro dance for the crowd.
He's a top lad, my British friends would say. Then Charlie. Oh Charlie!
Insane applause that went on for about a minute. Mick had to stop and he just leaned on Keith's shoulder and Mick and Keith put their arms around each other and just watched as the crowd cheered, beaming. "And on guitar, Keith Richards". And the din got even louder to the point where it felt like the the whole club was going to lift off into the air - "Keith, Keith" the chants went on. The love was tremendous.
Again the intense emotion brought tears to my eyes, and again to Keith's. Who just tried to talk but was choked up and had to wipe the tears from his eyes. "What can I say, Thank You Toronto". "This is the best place to rehearse and since it's rehearsals you're all guinea pigs, hah ha, since you're the guinea pigs here's a new one for you it's called...(with deep voice) Infamy". Best Keith tune since Talk Is Cheap- in fact it was the best Winos song ever made. There's a whole story going on in the tune that Keith was acting out. Tom Waitsy, sorta. If Johnny Cash hit the pocket and riffed hard it may sound like this. This is the Keith tune that encapsulates the entire myth.
"You've got in for me. All the infamy". A bridge reminiscent of Before They Make Me Run but the rest is like, again, the best X-Pensive Winos tune ever written.

OH NO NOT YOU AGAIN:

You know what, it's cool but kind of the weak link in my mind.,
It seems they had a bit of trouble with groove. Still rocked but if there was a less than A+++ song maybe this was it. Others may disagree, though.

GET UP STAND UP:

"This was written by Bob Marley and Peter Tosh I believe" (looks at Keith, Keith concurs) Holy shit! Heaven. Transcendant. Spiritual. Life affirming. It went on forever. Jagger was wailing from the soul, possessed, in contact with the great spirits. The song ends six minutes later--then-- Jagger walks up "Yee-O-O-O-, Yee-O-O-O" the crowd instantly responds - Mick the pied piper is leading the crowd through the call-and-response chant that becomes hypnotizing, a high all to itself . I hit an another realm of existence.
Then back in anonther huge jam. The absolute highlight for me.

MR.PITIFUL:

"We're gonna do an Otis Redding song, a fast one"

Can you say 1966? The greatest Chuck Berry cover band becoming the greastest Otis Redding/Mar-Keys cover band. Mick starts to sing into the solo and then walks back to Charlie and changes his lyric in mid-step "This is the supposed to be solo, I must be Mr. Pitiful"
Party time.

TUMBLING DICE:

Yep, it rocked rolled grooved. Ronnie came out on the ramp and his monent of glory on the solo.

BROWN SUGAR:

Rocking version. The crowd messed up and cam ein early on the yeah yeah yeah woo's. I swear I felt these guys were thinking, "Hey, they can blow a cue too, I don't feel so bad about my mistakes anymore"

JUMPING JACK FLASH:

War Horse? @#$%& you! And You. And You! And You! Best rock song ever written is more like it. Most demonic version I've ever heard.
Two words: Keith @#$%& Richards. And then with a big swing of his arms Keith yelled "Let's wrap it up" and on the next bar it was all over but the cheering. Mick, Keith and Ronnie took bows and everyone left the stage. A minute or two of insane chering later the curtains pull back meekly and the Charlie Watts walks out (or was pushed by Mick, Keith & Ronnie?) and walks to centre stage and and does a bow and stands there for a while the greatest applause and cheers shower him with love. Then with a wave and smile he was gone. But the tour has only begun. Boston, you're in for a @#$%& treat. If the Stones are going out, they're going out with the biggest bang!

Quote
Slick
disagree. if they sell a lot of this vegas show, you will only end up getting more vegas shows. best to completely boycott this trash, then they will realize that the vintage shows are what the true fans want.

Quote
Gazza

Quote
Slick
disagree. if they sell a lot of this vegas show, you will only end up getting more vegas shows. best to completely boycott this trash, then they will realize that the vintage shows are what the true fans want.

Who on this board or anywhere is qualified to speak for what makes a 'true fan' or second guess what 'true fans' want?

You're missing the whole point of this archives series, which is, as far as I can see, to open their vaults and release shows from different periods of their 50-year career. To limit these releases to a span of about 10-12 years defeats the entire purpose, and to ignore totally a period which takes up almost half of the era the band has existed is nonsensical.

If you dont want it, dont buy it. There are fans here who think the '78 and '81 periods are bloody awful - should the Stones have pandered to their demands as well? Not every 'true fan' is going to love every era or every tour - if you read some of the stuff on this site, you'd be forgiven for thinking the Stones didnt exist until 1968. Should the band ignore the period before that year too because there arent enough 'true fans' left who will appreciate a release with Brian Jones?

Quote
GumbootCloggeroo

Quote
andrewt
This ain't vegas, it's 600 capacity nightclub. Do you see any video screens? Any runways? Any staging at all? Hell, no.

Technically, there was a little runway that was constructed at the front of the stage. You can see it here at the 42 second mark:

It looks to me like the outer edge of the stage was reconfigured for The Stones. I don't recall it being oval-shaped like that normally.
edit: Looking at it again, it seems as though the stage was kept the way it is (the white lines threw me off) but they added the little runaway at the front.

Quote
andrewt
There was no Chuck plinking.

Quote
kowalski

Quote
andrewt
Wow, am I the only guy on this board that was at that show?
I've read people talking about PA mixes with low guitars, what PA mix? It was a club.
You were getting stage volume on the guitars and some PA on the vocals and drums.

This ain't vegas, it's 600 capacity nightclub. Do you see any video screens? Any runways? Any staging at all? Hell, no.

The sidemen were literally that -on the very side of the stage, and they only played part time.
Mostly it's five guys rocking on 20 foot wide stage.

There was no Chuck plinking. Keith played loud and really well. (although I'm no guitar player, I am very well acquainted with the Stones Repertoire).

This was my review the day after (from another forum)

THE INITIAL REALISATION:
I'm not sure if anyone ready my stressed out post from Tuesday afternoon but needless to say the whole experince start with the swelling realisation that it's happening again -The Rolling Stone club show. The first stage of the game is excitment and happiness, but that's soon quickly followed by stomach churning anxiety as the reality sets in that maybe it's a dream that out of reach. Then the fever sets in. It actually feels like a fever, like when you're just starting to get the flu. You're hot, flushed, light headed, nauseous.
You want to eat but you're not hungry. You need to sit but you want run and jump and scream. I think every fan here knows what I mean.
I was stuck at work as the whole thing leaked and my life flashed in front of my eyes as I saw people already lined up on the news.
At around 4, I couldn't take any more and told my boss "I have to go now, you may see me tomorrow but you may not, and can't say what shape I'll be in Thursday either". And I ran out hoping they'd understand.

THE SHOW:


Best ever. Bar none. Since all the VIPS were on the balcony and the lineup people were on the floor is wasn't too, too packed and even ten minutes before the show I was able to get up within ten feet of Keith and MIck. It was way better than the Palais in terms of not being packed in and having the life crushed out of you. I even had a little room to dance.

The lights went down. A rush went through the crowd. Micheal Cohl came out and didn't give a speech just said "Please welcome the Rolling Stones". No big entrance. Keith walked out first, looked at the crowd and his eyes started to well up. He mouthed "Thank you" and had the sweetest smile. Then Charlie stepped into his office and then MIck, Ronnie and the whole gang nonchalantly got in to place.

ROUGH JUSTICE:

"How you doing Toronto!" said mick and the next second it's Rough Justice coming out through the best sound system in existence. Loud as hell,sharp, crisp, all guitars. Keith and Ronnie cutting through the mix like a buzzsaw. This is no "Sad sad dad" folks. This is rock'n'roll at it's finest and the crowd went absolutely, absolutely @#$%& insane. Singing along to it like was off Hot Rocks - Pogoing, screaming, people jumping up and down, girls passing out, I looked over at Tom and saw the face of a mind being blown. All my fatigue went away in an instant and I screamed as well, jumped, and I was in tears -crying with joy -it was involuntary. They sounded so intense, so mean, so focused. Noone was following anyone on stage, there was no posing, no passengers, every band member was leading the charge at once.
Mick shimmyed, shaked, slinked, and sang straight from his gut.
No prisoners. Seriously, I've seen Ladies and Gents when they came out with Brown Sugar, I've seen a lot openers at a lot of shows and this had way more force than any of them.

LIVE WITH ME:

"oh yessss, are we doing okay? Here's an old number called Live With Me". Again - fast tempo. Mick singing higher than on the last tour, right in the range of the original. Keith again not slouching not doing and slash and strum but driving the riff like a frieght train, along with Charlie. The engine was cranked. It was THE SOUND. The sound so many posters have pined for. No plink, guitars at 11, bass for days, Charlie keeping time like a metronome but with a big plate of swing and a side order of soul. Horns blasting like a Stax record, Bobby Keys laying it down. You might see a pattern emerging here.

19TH NERVOUS BREAKDOWN:

"We're gonna an old number now, but we've reworked it and were gonna do it in a slightly different style, we hope you like it"

The buzz covers the room. "Who, What, What did he say, What is it?"
They kick into a slinky mid tempo bluesly shuffle ,with great Chuck piano I might add, and you could hear the gears working in people's minds. "What is this?" I thought it was Let It Bleed, that's what the intro reminded me of - a slow, groovy Let It Bleed. But then, with a different vocal melody and everything..."When you were a child you were treated kind but never brought up right..." The crowd tried to sing along to the chorus but the arrangement was so different you couldn't quite do it, so then the jumping stopped and evrybody just listened. So cool. Someone missed the cue to end the song and they had to come around for another 12 bars but it was great. Mick looked around at the band like "That's okay....this time".Hopefully this ends up on the b-stage.

SHE'S SO COLD:

Whaaa? Didn't see this coming. Great version that got the groove down. I was a little busy in this one dealing with a crazy blonde who trying to climb on to people shoulders and falling all over the place causing chain reaction shoving so not much detail here.

DEAD FLOWERS:

Mick comes out with the acoustics; "Here's one called Dead Flowers".
Good version but not that standout aside from Keith doing harmony on his mike--which was two feet away from Mick's - they were looking at each other and smiling and that's the closest I'll ever see the old days of Keith'N' Mick sharing the Mike. keith's harmoies were great -he's in strong voice.

BACK OF MY HAND:

"We're gonna do a new blues for you"

This is hardcore blues. Mick on slide, Ronnie on Slide, Keith on B.B.KING detail picking out delicious single notes. I thought this was gonna be some sex double entendre but it's an apocolyptic vision and a descendant of Gimme Shelter in my mind. Full of voodoo, psychics, magic, palm readers,..."I can see it on the back of my hand".
Long solos from Ronnie and, shiver me timbers, a slide workout from Mick. Testify, Testify Mick.

AIN'T TOO PROUD TO BEG:

After the slow blues back to the party. I can't fully describe how sharp and hammering that opening chord was. Mick prancing evrywhere. waving his arms, exhorting the crowd to new heights. The weave of weaves in the breakdown. I'll keep these briefer now because I realise I'm strating to repeat myself with this "frieght train, engine steaming, riffhard, sounds better than ever" business but it's true.

INFAMY:

"Oh Toronto, you look so good. We've been coming here a lot to rehearse and you're always very welcoming and kind. You give us space when we need it and you also give us enough attention to get our egos pumped up before the tour" Imagine crotch wetting Mick smile here. Big cheers. Then the band intros. Ronnie, who was concentrating like crazy and watching Keith every two seconds lightens up for the first time and does his intro dance for the crowd.
He's a top lad, my British friends would say. Then Charlie. Oh Charlie!
Insane applause that went on for about a minute. Mick had to stop and he just leaned on Keith's shoulder and Mick and Keith put their arms around each other and just watched as the crowd cheered, beaming. "And on guitar, Keith Richards". And the din got even louder to the point where it felt like the the whole club was going to lift off into the air - "Keith, Keith" the chants went on. The love was tremendous.
Again the intense emotion brought tears to my eyes, and again to Keith's. Who just tried to talk but was choked up and had to wipe the tears from his eyes. "What can I say, Thank You Toronto". "This is the best place to rehearse and since it's rehearsals you're all guinea pigs, hah ha, since you're the guinea pigs here's a new one for you it's called...(with deep voice) Infamy". Best Keith tune since Talk Is Cheap- in fact it was the best Winos song ever made. There's a whole story going on in the tune that Keith was acting out. Tom Waitsy, sorta. If Johnny Cash hit the pocket and riffed hard it may sound like this. This is the Keith tune that encapsulates the entire myth.
"You've got in for me. All the infamy". A bridge reminiscent of Before They Make Me Run but the rest is like, again, the best X-Pensive Winos tune ever written.

OH NO NOT YOU AGAIN:

You know what, it's cool but kind of the weak link in my mind.,
It seems they had a bit of trouble with groove. Still rocked but if there was a less than A+++ song maybe this was it. Others may disagree, though.

GET UP STAND UP:

"This was written by Bob Marley and Peter Tosh I believe" (looks at Keith, Keith concurs) Holy shit! Heaven. Transcendant. Spiritual. Life affirming. It went on forever. Jagger was wailing from the soul, possessed, in contact with the great spirits. The song ends six minutes later--then-- Jagger walks up "Yee-O-O-O-, Yee-O-O-O" the crowd instantly responds - Mick the pied piper is leading the crowd through the call-and-response chant that becomes hypnotizing, a high all to itself . I hit an another realm of existence.
Then back in anonther huge jam. The absolute highlight for me.

MR.PITIFUL:

"We're gonna do an Otis Redding song, a fast one"

Can you say 1966? The greatest Chuck Berry cover band becoming the greastest Otis Redding/Mar-Keys cover band. Mick starts to sing into the solo and then walks back to Charlie and changes his lyric in mid-step "This is the supposed to be solo, I must be Mr. Pitiful"
Party time.

TUMBLING DICE:

Yep, it rocked rolled grooved. Ronnie came out on the ramp and his monent of glory on the solo.

BROWN SUGAR:

Rocking version. The crowd messed up and cam ein early on the yeah yeah yeah woo's. I swear I felt these guys were thinking, "Hey, they can blow a cue too, I don't feel so bad about my mistakes anymore"

JUMPING JACK FLASH:

War Horse? @#$%& you! And You. And You! And You! Best rock song ever written is more like it. Most demonic version I've ever heard.
Two words: Keith @#$%& Richards. And then with a big swing of his arms Keith yelled "Let's wrap it up" and on the next bar it was all over but the cheering. Mick, Keith and Ronnie took bows and everyone left the stage. A minute or two of insane chering later the curtains pull back meekly and the Charlie Watts walks out (or was pushed by Mick, Keith & Ronnie?) and walks to centre stage and and does a bow and stands there for a while the greatest applause and cheers shower him with love. Then with a wave and smile he was gone. But the tour has only begun. Boston, you're in for a @#$%& treat. If the Stones are going out, they're going out with the biggest bang!

Thanks for posting this great review. Can't wait to listen to the official bootleg.

Quote
Gazza

Quote
Slick
disagree. if they sell a lot of this vegas show, you will only end up getting more vegas shows. best to completely boycott this trash, then they will realize that the vintage shows are what the true fans want.

Who on this board or anywhere is qualified to speak for what makes a 'true fan' or second guess what 'true fans' want?

You're missing the whole point of this archives series, which is, as far as I can see, to open their vaults and release shows from different periods of their 50-year career. To limit these releases to a span of about 10-12 years defeats the entire purpose, and to ignore totally a period which takes up almost half of the era the band has existed is nonsensical.

If you dont want it, dont buy it. There are fans here who think the '78 and '81 periods are bloody awful - should the Stones have pandered to their demands as well? Not every 'true fan' is going to love every era or every tour - if you read some of the stuff on this site, you'd be forgiven for thinking the Stones didnt exist until 1968. Should the band ignore the period before that year too because there arent enough 'true fans' left who will appreciate a release with Brian Jones?

Quote
Slick
... and i do think they risk losing a lot of goodwill recently generated amongst the old school fans by radically jumping forward AGAIN into light-weight, watered-down stones, as there are already TONS of released material from the vegas years.

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shadooby
So, is tomorrow the day?

Quote
kowalski

Quote
shadooby
So, is tomorrow the day?

Don't think so because there has been no pre-announcement (twitter, FB...) so far.

Quote
Slick

Quote
Gazza

Quote
Slick
disagree. if they sell a lot of this vegas show, you will only end up getting more vegas shows. best to completely boycott this trash, then they will realize that the vintage shows are what the true fans want.

Who on this board or anywhere is qualified to speak for what makes a 'true fan' or second guess what 'true fans' want?

You're missing the whole point of this archives series, which is, as far as I can see, to open their vaults and release shows from different periods of their 50-year career. To limit these releases to a span of about 10-12 years defeats the entire purpose, and to ignore totally a period which takes up almost half of the era the band has existed is nonsensical.

If you dont want it, dont buy it. There are fans here who think the '78 and '81 periods are bloody awful - should the Stones have pandered to their demands as well? Not every 'true fan' is going to love every era or every tour - if you read some of the stuff on this site, you'd be forgiven for thinking the Stones didnt exist until 1968. Should the band ignore the period before that year too because there arent enough 'true fans' left who will appreciate a release with Brian Jones?

alright i will scratch 'true' fans and substitute that with 'old school' fans.... and i do think they risk losing a lot of goodwill recently generated amongst the old school fans by radically jumping forward AGAIN into light-weight, watered-down stones, as there are already TONS of released material from the vegas years.

Quote
Gazza

Quote
Slick

Quote
Gazza

Quote
Slick
disagree. if they sell a lot of this vegas show, you will only end up getting more vegas shows. best to completely boycott this trash, then they will realize that the vintage shows are what the true fans want.

Who on this board or anywhere is qualified to speak for what makes a 'true fan' or second guess what 'true fans' want?

You're missing the whole point of this archives series, which is, as far as I can see, to open their vaults and release shows from different periods of their 50-year career. To limit these releases to a span of about 10-12 years defeats the entire purpose, and to ignore totally a period which takes up almost half of the era the band has existed is nonsensical.

If you dont want it, dont buy it. There are fans here who think the '78 and '81 periods are bloody awful - should the Stones have pandered to their demands as well? Not every 'true fan' is going to love every era or every tour - if you read some of the stuff on this site, you'd be forgiven for thinking the Stones didnt exist until 1968. Should the band ignore the period before that year too because there arent enough 'true fans' left who will appreciate a release with Brian Jones?

alright i will scratch 'true' fans and substitute that with 'old school' fans.... and i do think they risk losing a lot of goodwill recently generated amongst the old school fans by radically jumping forward AGAIN into light-weight, watered-down stones, as there are already TONS of released material from the vegas years.

'Jumping forward again'?

This is the first release from that era in this series.

Are you seriously suggesting that the Stones should just ignore the entire second half of their career in a series of releases that are supposed to mark their entire career - and forget about the fact that for many of their fanbase, that era represents the only era they know? Just because some fans look down on it as inferior?

Neither the 'old school fans' (and where does that era begin and end anyway? 1969? 1974? 1982? 1990?) or 'modern era fans' have any right to monopolise anything, expect to have all their whims and tastes catered for or dictate anything to any artist.

Bottom line is that it isn't all about you, me or any 'section' of fans.

It wouldn't be my personal choice of era to highlight, but once any artist allows a select group of fans to dictate the definition of what parts of their oeuvre is 'good' or 'bad' then they lose all control over their work, cease to deserve to be regarded as artists and may as well give up.

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Slick
four flicks & biggest bang box sets, flashpoint, live licks, live at the max, st louis 97 dvd, miami 94 dvd, live security, shine a light. i think thats all of them; youve heard one of these shows, youve heard them all, jaggers phrasing never changes & the big band sounds the same.

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Justin

Quote
Slick
four flicks & biggest bang box sets, flashpoint, live licks, live at the max, st louis 97 dvd, miami 94 dvd, live security, shine a light. i think thats all of them; youve heard one of these shows, youve heard them all, jaggers phrasing never changes & the big band sounds the same.

FFS, if you can't hear a difference between any of those recordings, no wonder you're pissed. Thankfully, I still have my ears and brain in tact in order to distinguish the differences between all those eras. You'd be pretty thick to not be able to distinguish between those tours.

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24FPS
But with me people seem to demand that I keep their youthful memories intact in a glass case specifically preserved for them and damn the sacrifices I have to make. Oh, the Stones, it's part of my youth, man, they say, because they saw you in Hyde Park 18 years ago and they have their @#$%& conservative little mental picture of you and they don't want you to change - not that they've bought a record of yours in 15 years. Why should I live in the past just for THEIR petty... satisfaction?