Rolling Stones rock packed house after price cuts in LA



By Sue Zeidler
LOS ANGELES | Sat May 4, 2013

LOS ANGELES (Reuters) - The Rolling Stones rocked a packed house in Los Angeles on Friday on the opening night of their North American "50 and Counting" tour, but only after websites slashed ticket prices and the band released additional cheap seats at the last minute.

The 17-date tour is the veteran British rockers' biggest in six years and follows a handful of dates in London, Paris and New York at the end of 2012 marking 50 years since they burst on to the music scene at London's Marquee Club in 1962.

"We first played LA in 1965. Thank you for coming to see us. We really appreciate it," frontman Mick Jagger said late on Friday during the show at Staples Center.

The 69-year-old strutted and gyrated in his trademark style through a string of classic Stones hits including "Gimme Shelter," "Paint it Black" and "Jumpin' Jack Flash."

Celebrities like Jack Nicholson and Melanie Griffith attended the show, which also featured guest performances by singer Gwen Stefani on "Wild Horses" and Keith Urban on "Respectable."

Days before the show, hundreds of seats were still available and secondary sellers scrambled to unload tickets by slashing prices from the original $250 to $600 price range which had irked many of even the most die-hard Stones fans.

The band also released additional seats at a modest $85 on its official website this week, the only price point that quickly sold out for the May 3 concert.

Buyers who opted to buy the $85 seats online were instructed to line up at the arena just before the show, and were told they would be notified of their locations which could range anywhere for prime seating to further back in the venue.

"It's very thrilling. It's like gambling and the Stones all rolled into one," said Los Angeles realtor Kelley Miller, who had bought a pair of $85 seats along with some friends, and stood in line to find out where they would be sitting.

Miller and her friends said they were happy to be seated anywhere at that price.

SATISFACTION

Among the highlights of the evening were the show's opening number "Satisfaction", performed by the UCLA Marching Band and the Stones' rendition of "You Can't Always Get What You Want," accompanied by the Cal State Long Beach Cole Conservatory choir.

The Rolling Stones last went on tour from 2005 to 2007, playing 144 shows globally and grossing more than $550 million, one of the world's most lucrative tours.

Guitarist Mick Taylor, who played with the Stones from 1969 to 1974, sat in on Friday to join Jagger, guitarists Keith Richards and Ronnie Wood and drummer Charlie Watts during "Midnight Rambler."

Later this summer, The Rolling Stones will play London's Hyde Park, and for the first time in their career, the Glastonbury music festival in England, both of which sold out.

The band played a more reasonably priced $20 "surprise" gig in Los Angeles the previous weekend at the 320 person capacity Echoplex club.

But even fans who coughed up the $600 asking price for the Friday night show seemed to find satisfaction.

"I wasn't one of the lucky ones who waited. I paid face value, about $620," said Los Angeles-based financial adviser Jim Cain. "But I don't have buyer's remorse," he added, grinning.

[www.reuters.com]

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bye bye johnny


By Sue Zeidler
LOS ANGELES | Sat May 4, 2013

LOS ANGELES (Reuters) -

Days before the show, hundreds of seats were still available

Only hundreds days before the show - not thousands or tens of thousands like so many on this board believed or wanted to believe.

Market balance

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uhbuhgullayew

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bye bye johnny


By Sue Zeidler
LOS ANGELES | Sat May 4, 2013

LOS ANGELES (Reuters) -

Days before the show, hundreds of seats were still available

Only hundreds days before the show - not thousands or tens of thousands like so many on this board believed or wanted to believe.

Damn. I was sure there were over a million of those 20,000 seats left...

The Rolling Stones joined by Gwen Stefani on tour opening night in LA

The band played a hit packed set at the Staples Center to officially start their '50 and Counting' dates

May 4, 2013

The Rolling Stones kicked off their 2013 50 and Counting tour last night (May 3) at the Staples Center in Los Angeles.

The band were joined by Gwen Stefani during the hit-packed show. The No Doubt frontwoman sang alongside Mick Jagger on 'Wild Horses', wearing a vest emblazoned with the Stones' 'Lips' logo.

Country musician Keith Urban later joined the band on guitar and vocals during 'Respectable', whilst former Rolling Stones member Mick Taylor played on 'Midnight Rambler' to huge cheers from the crowd, which included Muse drummer Dom Howard, actors David Hasselhoff and Pierce Brosnan and Arcadia Group CEO Philip Green.

The band took to the stage at 9pm (PT) and played a two hour long, 23 song set that included classic tracks 'You Can't Always Get What You Want', 'Satisfaction', 'Honky Tonk Women', 'Brown Sugar', 'Paint It Black' and 'Tumbling Dice'. Scroll down for a full setlist.

The show started with a brass performance of 'Satisfaction' by the UCLA Bruins marching band. Mick Jagger, Ronnie Wood, Keith Richards and Charlie Watts then entered the stage to play 'Get Off Of My Cloud', following it with 'The Last Time'.

The beaming band performed 'Emotional Rescue' live on stage for the first time since it was released in 1980, and also gave a rare live airing to 1968 'Beggars Banquet' track 'Factory Girl', during which Jagger played acoustic guitar.

"Good evening Los Angeles," said Jagger to the crowd. "Or is it just Beverly Hills, Brentwood and parts of Santa Monica?" he added, jokingly referring to the posher parts of town.

Jagger also apologised to the audience for the fact that the show date was shifted from May 2 to May 3. "It's either us or the Lakers," he said, referring to the basketball team who usually play the downtown Los Angeles venue. "So now you got us. It doesn't matter to Jack Nicholson, because he was coming to both of them," he added, pointing out the Hollywood star and famous basketball fan in the crowd.
To warm up for the current tour The Rolling Stones played a tiny club show in Los Angeles last Saturday (April 27).

The gig took place at The Echoplex in the trendy Echo Park neighbourhood.

Jagger was on energetic form throughout the hour-and-a -half long show, dancing and chatting with the crowd. "Thank you very much, you're too good to us," he said towards the end of the set. "The first show of the tour, probably the best one!"

The Rolling Stones played:

'Get Off Of My Cloud'
'The Last Time'
'It's Only Rock N' Roll'
'Paint It Black'
'Gimme Shelter'
'Wild Horses'
'Factory Girl'
'Emotional Rescue'
'Respectable'
'Doom & Gloom'
'One More Shot'
'Honky Tonk Women'
'Before They Make Me Run'
'Happy'
'Midnight Rambler'
'Start Me Up'
'Tumbling Dice'
'Brown Sugar'
'Sympathy For The Devil'
'You Can't Always Get What You Want'
'Jumpin' Jack Flash'
'Satisfaction'

[www.nme.com]

Pure satisfaction at Rolling Stones L.A. tour launch
Why skip the rent to see the Stones? For starters, Jagger's chicken dance, Keef's riffs and some of rock's greatest classics

LOS ANGELES — Anyone expecting nostalgia and flab at a Rolling Stones concert will have to search in the audience. On stage, the legendary band is lean, hungry and unsentimental, rocking with more swagger than a bullfighter and more brute force than the bull.

Friday's launch of the 50 and Counting tour at Staples Center served as a persuasive reminder of the band's undimmed powers, its admirable commitment to roots, the enduring appeal of its music, the magic of its chemistry and the reason it still holds claim to the title "world's greatest rock 'n' roll band."

Performing 23 songs over 2 1/2 hours before an all-ages capacity crowd, the Stones simply ripped the joint.

"The only reason we're here is to make the Lakers look younger," Mick Jagger joked midway through an athletic marathon that would humble Kobe Bryant.

The show, with its enormous tongue-logo stage and backdrop of inventive videos, triumphs as art, entertainment and a social blowout, event at $26 a song for the top-tier tickets.

Media have seized on those costly ducats, ranging from $85 to $600 (the season's priciest) and the fact that some high-end seats were slow to sell. As diehards and detractors debate whether the steep admission is justified, fans are packing the house.


Undecided over plucking down big bucks? Here are 10 reasons the Stones are worth tabling a few household bills.

The catalog.
Wild Horses, Satisfaction, Tumbling Dice, Honky Tonk Women. The Stones start it up with 1965's Get Off of My Cloud, then barrel through timeless anthems that sound as vital and threatening as they did decades ago when they first thrilled teens and rattled parents. Performed with purpose and energy, Midnight Rambler and Jumpin' Jack Flash explode with renewed intensity.
History's greatest rock singer.
Mick Jagger howls, yelps, croons and belts like no one else, stamping tunes with country twang, sexual heat or sheer menace. After wringing dark drama from Paint It Black, he unleashed a piercing falsetto for the stage debut of Emotional Rescue. After half a century, he remains untouchable.
Only Jagger moves like Jagger.
With Olympian stamina and the limber, lean body of a teen gymnast, Jagger and his quicksilver hips are in constant motion as he cops his signature choreography from boxers, ballerinas, traffic cops, cheerleaders, runway models, aerobicizers and barnyard animals.
The coolest rock star ever.
Keith Richards, a rock outlaw of vampiric imperishability. A mad tangle of gray hair, a wicked grin, a 50-year history of booze and drugs, a religious devotion to music.
Keef's guitar.
Those primordial riffs on Satisfaction, The Last Time, Brown Sugar are the sublime cornerstones of the Stone age. And with the body language of a drowsy leopard, he plays them as if he's by turns channeling Robert Johnson, Jimmy Reed and Lucifer.
More more more guitar.
Mick Taylor, a Stones guitarist from 1969 to 1974, is back for the anniversary tour, contributing a sterling solo on Midnight Rambler and ample fuel for a jamming threesome with Richards and Ron Wood that pulls the band back to the garage.
Charlie Watts.
A jazz-stoked metronome, the drummer (who turns 72 in June) has been the Stones' secret weapon from the start, as consistent pounding out the rock thunder of Jumpin' Jack Flash as he is conjuring the disco rhythms for Miss You.
The Beatles broke up.
Paul McCartney's shows are fantastic but those Beatles tunes are missing something, namely John Lennon. Half a Who remains. Led Zeppelin? Never gonna happen. Call them dinosaurs if you must, but the Stones are the last giants of rock's renaissance.
Gimme Shelter.
Steeped in sex, paranoia, dread and ambiguity, Let It Bleed's peak track encapsulates the late '60s and remains the best song of the rock era. Live, it's transcendent.
This could be the last time.
Yeah, every retirement prediction has been followed by another tour, and the Stones are exhibiting the command and vitality to propel them another 50 years. And yet, it has to end some day. Boomers who want a last hurrah and kids who want bragging rights may not want to risk waiting. Besides, there's nobody in the wings to replace Mick and the lads. A One Direction 50th anniversary tour in 2060? Doubtful but could happen. Maybe Keef will sit in.
[www.usatoday.com]

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uhbuhgullayew

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bye bye johnny


By Sue Zeidler
LOS ANGELES | Sat May 4, 2013

LOS ANGELES (Reuters) -

Days before the show, hundreds of seats were still available

Only hundreds days before the show - not thousands or tens of thousands like so many on this board believed or wanted to believe.

Damn. I was sure there were over a million of those 20,000 seats left...

There were billions and billions of those 20,000 seats left

Rolling Stones launch’50 and Counting’ tour with youthful energy, classic hits and big stars
[www.washingtonpost.com]

I like this
"Jack Nicholson was among the stars in the audience, and fans welcomed him with a round of applause as he took his seat.
“It was either us or the Lakers, so now you got us,” Jagger said early in the show, referring to the basketball playoffs that forced the band to postpone its opening concert from Thursday to Friday.
“It doesn’t matter to Jack Nicholson,” Jagger continued, “because he was coming to both of them.”

Thanks for the USA Today link. Some great photos accompanied the review.

Great review - Rolling Stones - Staples Center - May 3, 2013 (With Photos and Set List)
[blogs.laweekly.com]





Rolling Stones
Staples Center
May 3, 2013
Lina Lecaro

The Rolling Stones still put in the work, as was demonstrated by their stint here in Los Angeles over the last two weeks, which included a series of rehearsals in Burbank -- Falling James lurked outside -- and their secret show at the Echoplex.

Some may consider them dinosaurs, but we think they're as vital as ever, which was confirmed by last night's two hour plus tour kick-off show at the Staples Center.

The backdrop was a pair of giant lips, with a giant screen inside of it. Having been to many Stones shows, we can say that their stage set-up was one of their best ever. The "tongue pit," as it was being called, took up about half of the floor and was filled with fans, and a runway outlined its perimeter. It provided up close and personal time with Mick Jagger, who moved around it throughout the show. Seriously, when it comes to athleticism, Kobe Bryant's got nothing on Jagger.
Oh, and Jack Nicholson was there. He caused a hub-bub upon entering Staples, and sat in what looked like his usual Lakers seat. Jagger gave him a shout-out.

After a montage video featuring famous faces and random unknown fans waxing poetic about the Stones' eternal appeal, UCLA's marching band kicked things off with a lively version of "Satisfaction" -- right on the floor surrounding concert-goers. Jagger, Keith Richards, Ron Wood and Charlie Watts kept the energy level high with opener "Get Off My Cloud," which took a couple of minutes to find its groove, but had the entire stadium chanting along by the end.

A fun oldie, "The Last Time," came next and, coupled with "Cloud," suggested the show's set list might be heavy on '60s material. Indeed, they mixed in late 60s stuff with more hits from their '70s heyday in the first hour.

"Hello L.A., or should I say Beverly Hills, Brentwood and parts of Santa Monica?" Mick quipped early in the show, perhaps referencing the exorbitant ticket prices that only fans in those neighborhoods could afford. Recent reports have suggested that the Stones have lost their ability to fill arenas. The "random seat" $85 tickets sold-out immediately, leaving $250 and $600 seats still available as late as yesterday, prompting the band to release more for $85.

But we suspect any price was worth it. The band's jubilant version of "It's Only Rock 'n' Roll" was followed by a dramatically-lit rendition of "Paint It Black," and capped by a funky version of "Gimme Shelter," on which back-up singer Lisa Fischer's potent vocals did justice to Merry Clayton's original chorus.
Surprise guest Gwen Stefani didn't fair as well on her "Wild Horses" duet with Jagger. For one, she looked like Paris Hilton in her bedazzled outfit, long white-blonde weave and headband. She's gorgeous, but the glamorama would have been more appropriate for a dancey duet from a latter era Stones album like Some Girls. "Wild Horses" is a dark and beautifully melodic number and it's also one of the Stones most wistful and subtle. Stefani's style and her cheery lower register vocals added nothing to the tune, and in fact took away from Richards' harmonies. We like Gwen a lot, but this was not the right tune for her.
The duet seemed to throw off the set a bit, and unfortunately "Factory Girl" (off of Beggars Banquet) though a treat to hear live, didn't quite right the ship. But next Mick announced a number the band had "never done on stage before." Darryl Jones' sexy bassline and Charlie Watts' creeping rhythms led into "Emotional Rescue," on which Jagger started singing in a somewhat flimsy falsetto. He switched to a lower key pretty early into the song, and though we prefer the original key and arrangement, this version worked, especially since Jagger sang most of it close to the crowd, prancing and dancing around the tongue pit.

The second special guest of the the night was Keith Urban, who came on stage for "Respectable" a track that sounded rockin' and robust. Urban made it even better than the Echoplex version, and along with Wood and Richards, kind of jammed. A giddy Urban also sang along with Jagger, harmonizing with Richards on the higher side of the chorus. It was a highlight of the show.
After two newer numbers, "Gloom and Doom" and "One More Shot," it was time for Keef's solo numbers. Even Richards worshipers have to admit he looks more ancient than ever these days.The lines on his face are more defined, his hair is nearly white and a bald spot could be seen via the jumbotron. But that's Keef. He doesn't give a shit. He's badass and he knows it. His versions of "Make Me Run" and "Happy" may not have been flawless (back-up singers Fischer and Bernard Fowler helped a lot) but Keef was decent vocally and his guitar work was, as always, effortless.
Richards' mini-set always seems to provide a lot of fans their bathroom breaks, and they also provide Jagger a little breather. His renditions of "Midnight Rambler," "Miss You," "Start Me Up," "Tumbling Dice" and "Brown Sugar" followed, a bodacious blur of sexuality, attitude, soul, and pure physicality, all inspiring top-of-lungs sing-a-longs and blissful bootie shaking. We were seriously exhausted during this vigorous block of classics and we marveled at Jagger (who'll be 70 in July) as he just kept going and going, an Energizer bunny in tight black pants and fitted tee.
Mick Taylor provided some impressive guitar work on "Rambler," interacting with his former bandmates and his replacement Ron Wood. Known as the shy one, he wasn't for this gig. Unfortunately, his appearance was far too short. We'd hoped he's do a couple of numbers as he did with the band at the Echoplex.

"Sympathy for the Devil" was the last song of the main set, and for it Jagger emerged in a fluffy feather coat looking like Lucifer incarnate. The rhythms were intoxicating, and this was the moment when we really absorbed Watts' steady yet impassioned work on the drums. He gets lost behind the showiness of his mates, but in the end holds the whole thing down.

The angelic opener of "You cant Always Get What You Want" sung by Cal State Long Beach's choir began a three song encore, and it was maybe our favorite song of the night, invigorating everyone in the stadium. Jagger and co. had the mojo for two more -- "Jumpin' Jack Flash" and "(I Can't Get No) Satisfaction," and the fans were into it, cheering them on in our sweaty tongue t-shirts until we were about to pass out. The Rolling Stones are hands down the undefeated champions of big arena rock n' roll, and last night they proved it again.

The Rolling Stones Offer Plenty of Surprises in Los Angeles Tour Kickoff

'50 and Counting' trek opens with big guests, lots of energy



By Gavin Edwards
May 4, 2013 11:20 AM ET

After 50 years, certain aspects of Rolling Stones concerts are completely unsurprising, even if you've never been to one. The show concludes with "(I Can't Get No) Satisfaction." Charlie Watts plays his Spartan drum kit with flair and swing. Mick Jagger has more energy than a cheerleading squad that's been chugging Red Bull.

Kicking off their 50 & Counting tour last night at the Staples Center in Los Angeles, the Stones had plenty of twists, however – starting with the UCLA marching band, which began the show by working their way through the crowd while playing a remarkably funky version of "Satisfaction." Highlights of the set included a vigorous version of the folkie nugget "Factory Girl" from Beggar's Banquet and a song the Stones had never before played live ("never ever ever," Jagger testified), despite it being a Number One hit: "Emotional Rescue." The 1974 single "It's Only Rock 'n Roll (But I Like It)" got a stripped-down bluesy arrangement that made it sound like it belonged on 12 X 5, a decade earlier.

"You Can't Always Get What You Want" had a choir on loan from California State University's Long Beach campus and climaxed with a gospel breakdown. Country star Keith Urban came out for the Some Girls deep cut "Respectable" (very cool choice) and not only sang the hell out of it, but held his own trading guitar solos with Keith Richards and Ron Wood. He fared much better than Gwen Stefani, who looked adorable in a sparkly Stones shirt and ironed Seventies hair but couldn't find the heart of "Wild Horses," just offering vocal swoops and hiccups. Mick Taylor's one-song appearance on "Midnight Rambler" has been well-hyped, but the return of the prodigal Stone was still a treat. When Jagger and Taylor leaned in together, Jagger adopted his most ominous demeanor, but Taylor struggled to keep a grin off his face – he looked like he was having the time of his life, and he played like it, too.

Similarly, when Richards took charge of the band for two songs ("Before They Make Me Run" and "Happy" ), he had the gleeful demeanor of a teenager who'd just swiped his dad's car keys. "It's great to be here," he told the crowd. "It's great to be anywhere, let's be honest."

Jagger also alluded to the band's advancing years, saying that they were playing the Staples Center to make the Lakers look younger. (The show was pushed back one day so it wouldn't conflict with a potential Lakers playoff game.) But Jagger, at 69 years old, is in fine voice and still has an astonishing array of dance moves: he struts across the stage like Bob Fosse demonstrating a solo for the funky chicken, he windmills his arms in secret semaphore messages, he hops from one foot to the other as if the floor was electrified; he even does jazz hands. Richards contents himself with his trademark move, the left leg kick, but each time he does that kick, it feels like he's genuinely moved by the sounds coming out of his guitar and needs a physical outlet.
If Richards' fingers aren't as nimble as they once were, his phrasing has only improved with time. When he and Wood hit the core of a song, as they consistently did, they felt like two old friends sitting on a park bench, finishing each other's sentences.

The band was rounded out by the Stones' usual sidemen, including Darryl Jones on bass, Chuck Leavell on keyboards, Lisa Fischer and Bernard Fowler on backing vocals, and Bobby Keys on saxophone. The sound gradually filled out as the evening went on, until "Brown Sugar" and "Jumpin' Jack Flash" were full-blast rock & roll, capable of blowing a 50-amp fuse.

Although the arena was full, to pack the house, the promoter had to sell a slew of tickets discounted to $85 at the last minute. Top-notch seats went for as much as $600, which prompted Jagger's best line of the night: "Good evening, Los Angeles! Or is it really just Beverly Hills, Brentwood and parts of Santa Monica?"

[www.rollingstone.com]

[www.iorr.org]

Review by Robert Bagel

The Rolling Stones could not have started their tour better than they did tonight. From the guests to the song selection, to the way the band really seemed to be enjoying themselves, to the enthusiastic Staples Center crowd—it definitely ranks as one of the best shows I have seen.
I initially had some concern whether the City of Angels’ obsession with celebrity would surpass the music, when before the show everyone suddenly stood up as if the Pope or Queen had entered the room, and then pointed their cell phone cameras at…Jack Nicholson. The actor’s reputation as the number one fan of the Los Angeles Lakers basketball team played nicely into a few jokes by Mick Jagger. Jagger apologized for any inconvenience to fans because tonight’s show was moved from May 2 to May 3 due to the NBA playoff schedule, adding, “We know it didn’t matter for Jack Nicholson because he would be here either way”. Later Jagger poked fun at the often-criticized advanced age of the Lakers, saying about the Stones, “We’re just here to make the Lakers look young”. If there is any question whether L.A. is still a Lakers town, the answer was easily seen by sales at five merchandise stands I checked: Lakers themed concert shirts were sold out, while Clippers (the arena’s other basketball team) and Kings (L.A.’s reigning hockey champions) shirts were still available. The L.A. crowd did prove to be great, standing throughout the show and welcoming the two new songs and rarities. A highlight was the thunderous and sustained ovation after Keith was introduced, to which he responded by growling a simple three-syllable exhibition of his trademark style and cool: “HEY L.A.”.

Despite all the pre-show promotion that the band will “be on at eight”—a pattern we grew wise to during last year’s shows—an updated pre-show video did not begin until 8:58p.m. The Stones opened with Get Off of My Cloud, with some sound problems and distortion quickly solved within a few seconds so that sound was great for the rest of the evening, with Keith’s backing vocals on the first two numbers loud and strong, really making it sound like the Stones we know and love.

Gimme Shelter was excellent, as thankfully there was not a special guest for the female vocal, with Lisa Fischer dueting with Mick as she did just one time during last year’s shows. Gwen Stefani joined the Stones on Wild Horses, and sadly the quality of her performance could not match the quality of her hair extensions; she messed up the lyrics, but still managed an endearing though flawed guest appearance. Keith Urban was a real surprise, joining the band for Respectable in a similar spot that John Mayer appeared at last December’s Newark show. Urban had appeared at Eric Clapton’s Crosssroads Festival last month at Madison Square Garden, performing Tumbling Dice the same night that Keith Richards joined Clapton. Urban really fit in well with the Stones, as Richards seemed to have a great time trading licks with him. He also declined to use the separate microphone set up for him, instead sharing a mike with Jagger. The song was especially delicious with Urban singing the “…my wife” lyric, knowing he is married to Nicole Kidman. Like his playing in New York last month, tonight’s show is allowing Urban to gain major credibility as a guitarist, and not just as a country music singer or Mr. Nicole Kidman.

Factory Girl and Emotional Rescue were an amazing one-two punch for rarities, with Emotional Rescue being performed live for the first time ever. It had a more raw, reggae type bounce than the studio version, and the Staples Center crowd was very into it. It has always been an underrated song, and the title track of an underrated album. People always rave about Some Girls and Tattoo You, and ignore the fact that Emotional Rescue came out in between those two albums. Judging by the crowd’s reaction and the looks on the band’s faces, we will see and hear that song again before the tour concludes. Factory Girl compared well to the live version on the Flashpoint album, with both Mick and Keith playing acoustic guitars and Ron throwing in electric parts where appropriate.

Mick Taylor’s participation tonight was perplexing. Last month’s press reports made it sound like Keith suggested Taylor would have a larger role than his single song appearance on Midnight Rambler during each of last year’s shows. However, tonight Taylor appeared only on Midnight Rambler, and did not join the band for the closing bow at the very end of the show. Compared to last year’s performances, Taylor started sloppier and sounded more rushed, but then as the song developed his playing was brilliant, complimenting Mick’s phrasing with mind-boggling timing and quality. This is one part of the show that is likely to improve, as Taylor seems more comfortable and confident with each appearance. I just hope we see him a bit more. While on the subject of former Rolling Stones and guest appearances, this is the time to say that Bill Wyman is not missed at all, between his complaining about last year’s shows and selling coffee table books about the very band he is ridiculing. Darryl Jones’ bass on Emotional Rescue, and his solo on Miss You are now crowd favorites and add fresh, uncritical personality to the music.

Despite all of the talk of the band members’ ages and slow ticket sales due to insanely high prices, tonight we saw new challenges taken on and expectations exceeded, and a packed Staples Center rocking without a pause. To fully appreciate the boundaries that the Rolling Stones are currently pushing with this tour, one need only look to the Stones website for perspective. It has recently featured selections from their 1981 appearance with Muddy Waters, who at the time seemed like the grand old man of the blues. Muddy was 68 years old for that show, one year younger than Mick and Keith are now.

-----------------

Review by Dean Goodman

Great show, but absolutely no reason to pay more than $85 for a seat.
Of course some fans will be happy to fork out megabucks for a guaranteed spot in the pit or front sections. But since this tour is just a continuation of the past few tours, with a few new wrinkles here and there, the $85 lottery is the recommended way to go.

My wife and I ended up in Section 208, a decent spot opposite the stage where the retail rate was $485 per ticket (incl. $35 convenience fee). That's just theft. The people around us had $85 tickets as well. I assume those who paid full freight must have been feeling a bit nauseous. I suggest fans who have paid that sort of money offload their tickets as soon as possible.

For me, the highlight of the show was -- me. I made it into the introductory fan video twice, but I won't go into detail. I'll just say that it's about time I shared equal billing with Cate Blanchett, Johnny Depp, Angus Young and Iggy Pop.

The arena sound wasn't the greatest. They were well into the first song before I could tell what it was. It's almost like a Dylan show where you don't know what he's singing.

Other highlights were "Emotional Rescue" and "Factory Girl" and "Midnight Rambler." Mick Taylor was in full command of the latter song, and I admit there were moments when I wished I could have viewed it from a $650 seat -- up front, mind you, not a $650 seat at the back of the floor. Like many people here, I was shocked when he split after that one song. He's the main reason a lot of us are excited about this tour. There have to be some political shenanigans that we're not privy too.

I was surprised that people in my section didn't seem to dig "Emotional Rescue." It will be interesting to see if it makes it to Boston. Two disco songs in the set is arguably two disco songs too many, though "Miss You" isn't going anywhere. That was the song that got people around me off their asses after almost an hour of sedentary viewing. "Factory Girl" was sublime, and a sign of what this tour could be if the Stones stopped being a circus act.

The college kids were a nice touch on the "Satisfaction" and "You Can't Always Get What You Want."

Under normal circumstances I quite like Gwen Stefani, and consider No Doubt to be a guilty pleasure. I believe she is the only opening act that has made full use of the Stones stage. Gwen was up and down the ramp when I saw them in Detroit in 2003. Alas, Gwen and her long blonde Lady Gaga wig were ill-fitted for "Wild Horses." She ditched her appealing plaintive vocal in favor of something in a lower register akin to Lucinda Williams. It was a shame. I realized afterwards that she botched her lines. Such errors don't bother me. It's all just for show anyway.

(Oddly enough her husband, Gavin Rossdale, has also performed "Wild Horses." Bush covered it during a "Tonight Show" appearance in the mid-90s. I had Mick Taylor's L.A. home number at the time, and tried to orchestrate a guest appearance, but it didn't work out.)

Keith Urban is a great guitarist but otherwise about as bland as they get. He did an OK job on "Respectable" and was deferential to his namesake afterwards. I wonder what his prim wife thought about his singing "you're the easiest lay on the White House lawn."

There's not much more that can be said about the rest of the show. They need to drop all the goofy graphics, though. "Honky Tonk Women" is bad enough without the silly "King Kong" reenactment. Cartoon boobies - what are we? Nine years old? Mick's gorilla suit at the start of "Sympathy for the Devil" was beyond Spinal Tap. And Keith's dentures. He could go into business as a lighthouse off the coast of Maine.

I hope this review isn't perceived as too critical. I got my money's worth after all, and the Stones work hard to put on a good, crowd-pleasing show. There's just no "wow!" factor anymore. It's the sort of act they can keep doing for quite some time. In Vegas.



Edited 1 time(s). Last edit at 2013-05-04 22:06 by roby.

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proudmary
[
The Beatles broke up.
Paul McCartney's shows are fantastic but those Beatles tunes are missing something, namely John Lennon. Half a Who remains. Led Zeppelin? Never gonna happen. Call them dinosaurs if you must, but the Stones are the last giants of rock's renaissance.

[www.usatoday.com]

This is essentially less than half of The Rolling Stones. Mick and Keith are the only original members left in the band.

Charlie can be considered as a original member I think...

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roby
Charlie can be considered as a original member I think...

6 months of Rolling Stones gigs without him, that's no original member. He was THE drummer of the settled line up for when they became truly professional band though, so hey-ho.

Thanks for the reviews, so it seems the pre show fan movie has been updated? New fan interviews?

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His Majesty

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roby
Charlie can be considered as a original member I think...

6 months of Rolling Stones gigs without him, that's no original member. He was THE drummer of the settled line up for when they became truly professional band though, so hey-ho.

Right. But you split hairs about that...

Dean's review is stellar. Exactly what I imagine, and what I take away from the videos.

Great reviews! I paid the full $600 for my seat and I am not from Beverly Hills, Brentwood or any parts of Santa Monica but it was worth every penny and I have no regrets. I had the time of my life!!

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flacnvinyl
Dean's review is stellar. Exactly what I imagine, and what I take away from the videos.

Dean has sounded less than happy in his reviews for years, but he keeps coming/going back, AND THAT, is the proof in the pudding.



Edited 1 time(s). Last edit at 2013-05-05 00:27 by Max'sKansasCity.

The more simple is to write after all, always good reviews. If it can make you feel better...

Wild horses with Gwen Stefani: best version ever.



Edited 2 time(s). Last edit at 2013-05-05 00:28 by roby.

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gotdablouse
Thanks for the reviews, so it seems the pre show fan movie has been updated? New fan interviews?

A re-edit of the stuff they filmed before Christmas - there's a copy in the videos thread.

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flacnvinyl
Dean's review is stellar. Exactly what I imagine, and what I take away from the videos.

+1!