Los Angeles Forum January 18, 1973 Nicaraguan Earthquake Benefit
REVIEW- No, I was not there, just a review of the show.

Source: All-Meat Music - TMOQ (Silkcut1978.Soundboard.Goody)
Audience Recording A-

Overall: Great show. The recording is an audience source but to a trained bootleg ear, it's very listenable. As we all know it's an historic performance with an interesting set list. Solid B+

Impressions: The band is a little rusty in between tours. MT continues to rise in prominence.


1. BROWN SUGAR- Keith misfires at .06. Recovers well. MT comes in at .41. Bobby's solo at 1:30 is low in the mix or recording but sounds solid. MT at 1:43 just crushes it. It's like a hammer coming down. During 72/73, he timed it perfectly as to when Bobby would finish his solo and MT comes in a split second later laying it down. In the second half of song we hear Nicky plucking away, but Taylor takes over the song and noodles to the end. Strong finish. A-

2. BITCH- Bobby and Jim are now upfront in either the mix or recording. Keith's solo starts off slow, heats up but kinda meanders. The break is good. Mick teases the crowd and Bill's bass is thumping. After the break, Keith starts back up then MT quickly follows at about 3:42. Always like MT to come in a little later, let Keith have another go around. During the U.S. 72 and Australia 73 they either come in together or stagger it. Strong finish. Mick sounds in fine form. A

Mick- We only had a few days to get this together. What are going to do, Keith?

3. ROCKS OFF- Keith nails the opening riff. At around 1:10 and a little before the band sounds a little off and not much urgency to Mick's vocal as in the past U.S. tour. Maybe Mick senses its a bit off and is distracted by it. (Maybe it is the infamous wobble rearing its head!) 2nd verse is much better. Around 1:55 MT and Keith are trading off licks and blowing the ceiling off the place, whoa! MT is just asserting himself. The break is a little lacking, missing the MT fingers fluttering notes affect at “feel so mesmerized, all down inside . . .” Good ramp up and back to the verse with Nicky pounding away. Micks energy level is a little low. B

4. GIMMIE SHELTER- At the start, a little gasp from the crowd, which is nice. Long intro from Keith with no one really joining in. At 1:06 he is probably wondering where is the the piano, horn and MT's guitar. Finally MT rights the ship and Mick starts singing. So many times MT keeps a song together during the time period. MT playing the riff as he did at the end of '72 tour -during the verse best heard on Philly 72- by Europe 73 he hangs back more during the verse. Heading into the chorus MT is just carrying the song. Must have been easy to play off of because his timing is so good. Good contrast with some 75 versions of Gimme Shelter when it's on the brink of flying off the rails and Mick seemed to almost have to guess when to sing. Here, MT has it all laid out for him. Solo 2;17. At 2:25 fingers flying fluttering. The solo is actually a little pedestrian for MT standards. No high trend and then going higher. The great thing about MT solos is what Eric Clapton once said- you need a beginning, middle, and end or climax to a solo. Good noodling throughout but definitely over plays over Mick during the love sister verse, always liked him sort of sitting back a little during that part. A little sloppy overall. B

Mick- going to do some old ones

5. ROUTE 66- Short intro by Keith. Charlie is off beat during intro. Comes together beautifully. Mick's vocal soars. Nicky is hammering away. Good solo by Keith. Wish they kept this for the Australian shows. A-

Mick- This is vintage, defiantly vintage

6. IT'S ALL OVER NOW- Great intro, crowd loves it. Some off notes at .39, Keith back up vocal is sublime. More or less back to the album version, but love the 1967 arraignment of the chorus . . . MT fills during second verse are a little to strong but nice to hear. Bobby's solo is “vintage”. MT playful slide fills at 2:00. MT solo is good playing off with Keith at the beginning of it. A little chaotic ending. They tighten it up during Hawaii shows. B

Mick- We are trying, a little rusty on that one. Thanks everyone. Says something about 100 bucks for tickets.

7. HAPPY - Keith's intro is right on, so is his singing. MT guitar up front, interesting noodling at 1:45and 3:00. A

8. TUMBLING DICE- Good intro, nice wobble and roll throughout. flubbed lyric at 1:24. Extended mid section, MT holds back a bit, nice horn crescendo. B+

9. NO EXPECTATIONS- Beautiful intro, a change from the last time they played it at Hyde Park. Charlie's trying to figure out what to do at 1:08. Mick's vocal is top notch. Charlie eases in at 2:06. Solo is nice, but short. Imagine if they had included this in the set for the Australian shows. Nicky is coming through at 4:30. A-

Mick- Out of practice-the sound crew . . .

10. SWEET VIRGINIA- Mick's harp is off and the intro slags. Lyric flub at 2:35. Bobby's solo soars and his fills carry the song. A little wobbly at around 4:30. B-

11. YOU CAN'T ALAWAYS GET WHAT YOU WANT- Mick sings beautifully. A little subdued from the '72 versions, particularly those end of tour romps. Familiar Taylor runs during the 2nd and 3rd chorus then his solo always brings a warm cozy feeling. No hand off to Bobby during solo, but Bobby comes in second to last chorus and it builds to its climax. A-

Mick- Comment about Charlie gets a laugh

12. DEAD FLOWERS- A little sped up, in line with the 72 versions. MT solos during chorus and his solo is right on. A

Mick- Click clack click clack, remember that one, Keith?

13. STRAY CAT BLUES- Done in the 1971 arraignment, which may have been new to the American audience because of their familiarity with the Ya-Ya's arraignment, but certainly harckens back to the studio version. MT shines on the solo, a little forceful at times. At 3:35 a little meandering but the jam is extended a little. A-

14. LIVE WITH ME- The arraignment is more like Ya-Ya's, instead of the piano intro of 1971. Nice guitar interplay. It's definitely rocking, enough to plow through the stop gaps. Needs a little more rehearsal. B-

15. ALL DOWN THE LINE- Intro a little off, but gets on track. MT shines as usual. Solo is solid. Horns not as prominent during the outro but then they suddenly come alive. B+

16. RIP THIS JOINT- Bobby shines, Mick seems to lag on this one. But it rocks as it usually did in 72 and 73. B+

17. JUMPIN JACK FLASH- MT use the wah-wah bar affect during chorus like he did a lot in 72. It's tight and horns join in during the last verse. The outro is chaotic as it usually was, good jam, seemed a little short. B+

18. STREET FIGHTING MAN- Something about that rip this joint/jjf/Street combo to end the show warms the cockles. MT shines once again and just seems to play lead guitar so effortlessly. Bobby and Jim join in at 2:10. At 2:29 a little mishap, maybe Keith trips up like in the film Ladies and Gentlemen! (was that during JJF?) As the chaotic end jam outro starts in, the recording is cut. B+

19. MIDNIGHT RAMBLER- The greatest performance of this song ever. Ah just kidding . . .