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laertisflash
Drbryant nailed it: "Perhaps a better term for post-89 would be the "polished and professional, but still pretty @#$%& good" era". Totally agree!
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His Majesty
The 50th and counting tour is something different from the Vegas era.
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His Majesty
The 50th and counting tour is something different from the Vegas era.
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DoxaQuote
His Majesty
The 50th and counting tour is something different from the Vegas era.
You put so much weight on Taylor...
- Doxa
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LuxuryStones
Are you referring to the ticket sales or the quality of the music ?
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His MajestyQuote
DoxaQuote
His Majesty
The 50th and counting tour is something different from the Vegas era.
You put so much weight on Taylor...
- DoxaQuote
LuxuryStones
Are you referring to the ticket sales or the quality of the music ?
The music and the vibes.
There are many genuinely moving moments from all of the 50 and Counting concerts. Brief moments where the music and people, the past, present and future all connect in a way that hasn't come across ever before.
There was a different feel to the 50 and Counting tour. It will be interesting to see if that carries over in to the next series of concerts.
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MarkSchneider
Gimme Shelter Tokyo 1990
[www.youtube.com]
This is Las Vegas (era)
Gimme Shelter Philly 1972
[www.youtube.com]
This is good old times
Thanks to DandelionPowderman
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Virgin Priest
I never used the term "Vegas Era."
From 1989 onwards I call it "The Never Ending Steel Wheels Tour".
Priest
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DandelionPowdermanQuote
MarkSchneider
Gimme Shelter Tokyo 1990
[www.youtube.com]
This is Las Vegas (era)
Gimme Shelter Philly 1972
[www.youtube.com]
This is good old times
Thanks to DandelionPowderman
Two good versions. None of them has anything to do with Vegas.
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DandelionPowderman
Nor is the original studio version...
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His MajestyQuote
DandelionPowderman
Nor is the original studio version...
Brian participated during the March 1969 sessions for it, but what ever he actually played appears not to have been used. Maybe the album credits are wrong though.
Point is, he was still a member when most of it was recorded thus still in a position to choose to influence it or not.
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DandelionPowdermanQuote
His MajestyQuote
DandelionPowderman
Nor is the original studio version...
Brian participated during the March 1969 sessions for it, but what ever he actually played appears not to have been used. Maybe the album credits are wrong though.
Point is, he was still a member when most of it was recorded thus still in a position to choose to influence it or not.
He isn't audible
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His MajestyQuote
DandelionPowdermanQuote
His MajestyQuote
DandelionPowderman
Nor is the original studio version...
Brian participated during the March 1969 sessions for it, but what ever he actually played appears not to have been used. Maybe the album credits are wrong though.
Point is, he was still a member when most of it was recorded thus still in a position to choose to influence it or not.
He isn't audible
He might be and we just don't know it's him. It doesn't matter as he was still a member when the majority of the music was recorded and present during atleast some of the recording sessions for the song.
You know full and well that one can influence a song without even playing.
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jamesfdouglas
I use it very regularily to describe 1989 and onwards. I use the term freely to other musicians, who although they may no have heard it before, they know EXACTLY what I mean when I use it.
Backing musicians, dancing-in-synch do-wop vocalists, additional guitar players, lights, balloons, lyric monitors synched to click-tracks, drum loop samples (the drum-equivalent of lip-synching to pre-recorded voclas), fireworks, safety nets, safety nets and more safety nets. Oh, and merchandise that would make George Lucas blush - all designed for maximum dollar intake.
The new music in this era (which stretches to nearly half of their existance) is a complete afterthought, completely limp, lifeless product, though confusingly barren of memorable hooks, and only enjoyed by hardcore fans who try to time-travel in their minds back to the days when a new Stones album meant something (30-plus years ago).
It's a useful term, and should be used more as a benchmark for other bands on How To Not Piss Your Legacy Into The Most Expensive Freakshow. For younger music fans, it's also important for them to understand that The Vegas Era is when the best gourmet burger bistro became McDonalds. Like Rod Stewart, The Rolling Stones DID have an era when they were absolutely incredible.
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GasLightStreet
That is brilliant!
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Spud
It's got up sides and down sides but it's hard to see how they could have gone any other way.
Tne "modern era" Stones have kind of been victims of their own continued popularity and pulling power.
They couldn't really have downscaled, even if they'd wanted to.
Big Stadiums & Arenas required a big production...which required discipline and a certain amount of predictability.
It also resulted in the type of show that satisfies most of the paying customers. We're the minority who would be pleased by different things.
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GasLightStreetQuote
Spud
It's got up sides and down sides but it's hard to see how they could have gone any other way.
Tne "modern era" Stones have kind of been victims of their own continued popularity and pulling power.
They couldn't really have downscaled, even if they'd wanted to.
Big Stadiums & Arenas required a big production...which required discipline and a certain amount of predictability.
It also resulted in the type of show that satisfies most of the paying customers. We're the minority who would be pleased by different things.
I disagree, in a sense, with some of that. They could have scaled down. They did for the No Security tour. At least in regard to venues. Big production - well they scaled it down for No Security as well. Even the 50 And Counting tour could be viewed as scaled down. But I doubt they actually need to have the giant dolls etc. That's all Mick's insecurity and thinking what the audience "wants". What was funny and new and interesting on the Steel Wheels tour had become so overdone and boring for Voodoo, those inflatables. OK it's creative and someone made it so it's art but... it's as bad as a TV commercial. What have some people said for years now? "Those giant Honky Tonk Women dolls were cool" instead of "They played Honky Tonk Women great on the 1989 tour"... people that I know anyway. They remember that crap. "That was cool". Uh huh.
I think Dancing With Mr D live on the 1973 tour is cool. But what do I know.
On the ABB tour they overplayed some places, like Chicago, which anyone but them could have figured out was not a good idea. The money they lost doing shows like that would force bands that deal with reality to adapt, make some better decisions. It's no wonder U2 broke the Stones ABB attendance and money record with their 360 tour - they didn't overstay their welcome! And their stage was no where near as ridiculous and allowed them to have more seats available.
Part of the Stones' choice to do what they've done could be viewed split - with the albums, they've done very safe things (not sure if the studio albums could fit the Vegas or the predictability tags but what they did put on the albums was mostly safe in regard to sounding like The Rolling Stones) while still managing to not have any hits but did only a few creative things (actual art, caring about the music) that people may have found more interesting if the albums were mostly creative. Love Is Strong and I Go Wild are good examples - I'm sure whatever Hot Rocks fans heard them as singles on the radio thought they were boring and bland, the Stones doing the Stones not very well. Stones by numbers. Not very good. "Ehhhh, they're doing the 'woo woo's in this song just like they did in Sympathy For The Devil. How original."
The other part of the split is... the tours were greatest hits safe. It can't be longevity. Because if it was then their recent albums, the ones from the last 25 years or whatever it is, would have songs played from them. Perhaps Mick started to notice just how many albums and songs they have that didn't make huge hits and figured maybe they should stick to the hits that they had since there's only a handfull of them and that can take up half the setlist...
Steel Wheels, Voodoo Lounge and A Bigger Bang are very safe albums with the odd track that showed that someone still had some actual creative interest in making art (Thru And Thru, Laugh, I Nearly Died, Slipping Away, Moon Is Up). Bridges To Babylon was the one artistic album, their most inventive LP since Undercover regarding doing something "different" ie art, creative, a bit mainstream yet 'different' for them, with only a few regular ol' Stones tracks on them (Flip The Switch, Lowdown, Too Tight).
It was also their best stage and stage production I think. And tour, regarding the Vegas Era. Nothing silly on that tour. The bridge was fantastic, the stage was elegant, very focused. They sounded good, nice set lists, new songs. They seem genuinely interested.
And yet the notion that they have to have a huge business just for playing music is beyond absurd. The ego of the Stones is way past Vegas even. There's more yes men on a Stones album production and tour than in Vegas!
I think they could have handled themselves better with some things but they're still going and drawing fans in to hear songs from the 1960s and early 70s so they did something right obviously ha ha.
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DandelionPowdermanQuote
Virgin Priest
I never used the term "Vegas Era."
From 1989 onwards I call it "The Never Ending Steel Wheels Tour".
Priest
That's just as narrow-minded
Wonder if the fans at the club shows in 2002, at the arenas in 1999 or at the O2 in 2012 felt that they were at a SW show...
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DandelionPowderman
I know that. Tell that to the Taylorites who love Sway, and think that Keith isn't on it
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His MajestyQuote
DandelionPowderman
I know that. Tell that to the Taylorites who love Sway, and think that Keith isn't on it
Hehe.
They don't listen to me, but he's clearly on Sway. Maybe they don't hear him because they mostly just listen to Taylors guitar.
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kleermaker
Keith backupvocals on Sway. Not putting his mark on the song though.