Tell Me :
Talk
What time is it at Bill's watch? I kind of read 8:20 PM
And which watch is it?
Edited 1 time(s). Last edit at 2016-08-09 20:08 by exilestones.
Special Thanks to Palace Revolution 2000 and Jean Marie
[yesterdayspapersoftherollingstones.blogspot.fr]
Nathalie Delon and Mick Jagger at a party at 'L'Apocalypse' nightclub -Bertrand Rindoff Petroff August 28, 1983
Unpublished Photography D'era Mick Jagger
(Looks like Paris)
Portrait of Mick Jagger , singer and frontman of rock ' Rolling Stones ', made shortly after the press conference he held on 18 May 1982.
May 18, 1982 | Credit: PHILIPPE WOJAZER
Edited 1 time(s). Last edit at 2016-08-19 07:26 by exilestones.
I wonder if this photo was taken before or after.
St Paul Civic Center by Jason Sands
Edited 2 time(s). Last edit at 2016-08-22 13:00 by exilestones.
Keith Richards
A Rolling Stone Real Alone
gently remastered by Captain Acid
Acid Project Vol. 03
Soundboard
CD 01
01. Worried Life Blues
02. Sing Me Back Home
03. She Still Comes Around
04. Apartment N.9
05. Sing Me Back Home
06. Worried Life Blues
07. Apartment N.9
08. Say It's Not You
09. Key To The Highway
CD 02
01. Over The Rainbow
02. Over The Rainbow
03. Blue Moon
04. Don't
05. The Nearness Of You
06. The Nearness Of You
07. Whole Lotta Shakin' Goin' On
08. Still In Love (Instrumental)
09. Instrumental
10. Whole Lotta Shakin' Goin' On
11. Say It's Not You
12. Don't
13. Blue Monday
14. Oh, What A Feeling
15. Sing Me Back Home
16. The Nearness Of You
17. Apartment N.9
18. All I Have To Do Is Dream
CD 01 tracks 1 - 8 : Sounds Interchange Studios, Toronto, Canada, March 12th-13th 1977
track 09 - New York City 1978
CD 02 tracks 1 - 9 : Los Angeles, El Dorado Recording Studio, March 1981
tracks 10 - 18 : Long View Farm, Brookfeld, Massachussetts, May 1981
[bootleg-addiction-forever.blogspot.com]
[www.guitars101.com]
(Note: Version 03 - An Upgrade.
If you have the previous version, you can delete it now. - gotdablouse
[electricladyland.synology.me] )
REVIEW by Review By RICCAR99
These compact discs focus on Keith Richards solo work which was done without any commercial purpose on his days off from the Stones. Disc One has been sourced mostly from vinyl (Tracks 1-8 from the ep The Toronto Sessions) while the rest come from A Stone Alone (VGP 377); likewise Disc Two comes mostly from Keith Richards 81-83 and the VGP title. Anyway this collection presents Keith at the piano from the Toronto sessions held the week after the El Mocambo shows and this is the reason for its title. After having worked on EQ-ing and reversing the phase some work had to be done on pitch that has been slightly corrected; in fact this is the second remaster for this title as the previous one was running a bit too fast. It is impressive to listen to the overall sound that presents a coherent picture of the man in the studio playing for his pleasure, chatting with a girlfriend and enjoying some gin. Nowhere any noise reduction has been applied and no compression at all. The sound output is natural and warm and the music can easily do the talking.
NEW VERSION - PITCH & PHASE CORRECTED ( Finished 29. December 2011 )
POSTED December 31. 2011; Happy New Year 2012, everybody.
Yes this is a new one, my second remaster of it. On this one i have fixed the pitch ( tracks were running a tad too fast ), phase ( i have flipped the phase on the tracks in soundforge and it all sounded more focused ) and i also did a bit more of level correction. All in all it is nothing epochal, but it sound a bit better now, more natural. Some of you may not notice the difference at all, but if you wanna compare with previous remaster, try CD 1 track 3. Piano and Keith`s voice sound more natural and warm. I have made the new checksum and all. Timing on an artwork has been corrected, because the tracks are a few seconds longer ( pitch & time stretch ), so you will need new artwork, too. The previous version - remaster has been deleted.
Happy new year 2012
Original notes :
Hi Stones fanatics,
this is something i wanted to do for years. Actually i have tried before, but was not satisfied with the results. But since then i have found much better sources. I would like to thank to 3 guys for this. First, Silkcut for his vinyl rip of "The Toronto Session", than Midnrambler for posting on HC "Keith Richards 1981 & 1983" and in the end Erik Snow for his post of VGP-377 "Keith Richards - A Stone Alone".
My remastering was just some EQ and level correction.After years of remastering bootlegs my philosophy is less is more, what i am trying to say is that most of the bootleg remasters suffer from being over-done.It looks like people are drawn to do something,just because they can. There was no noise reduction or compression used on this one,no brick-wall!
Another fantastic artwork was done by Mr.D.
Enjoy
Captain Acid November 2011
Talk about your favorite band.
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Re: Stones 1981-1982 Wardrobes
Posted by:
The Joker
()
Date: August 8, 2016 20:13
What time is it at Bill's watch? I kind of read 8:20 PM
And which watch is it?
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 8, 2016 21:44
That may be the second hand at the number six.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 9, 2016 19:04
LEXINGTON
.jpg)
Michael Conen
The Rolling Stones in concert
Rupp Arena 12-11-81
Lexington, Kentucky
Michael Conen
The Rolling Stones in concert
Rupp Arena 12-11-81
Lexington, Kentucky
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 9, 2016 19:40
Andy Warhol's Interview magazine August 1981 Cover and Interview: Rolling Stones Mick Jagger photos: Peter Strongwater [philoandphil.blogspot.com]
the above image originally posted by proudmary
Edited 1 time(s). Last edit at 2016-08-09 20:08 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 10, 2016 09:19
CLEVELAND
Special Thanks to Palace Revolution 2000 and Jean Marie
[yesterdayspapersoftherollingstones.blogspot.fr]
Special Thanks to Palace Revolution 2000 and Jean Marie
[yesterdayspapersoftherollingstones.blogspot.fr]
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 11, 2016 08:01
Special Thanks to Palace Revolution 2000 and Jean Marie
[yesterdayspapersoftherollingstones.blogspot.fr]
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 11, 2016 08:07
NY Times
THE POP LIFE; THE STONES ROLL ON, REFUSING TO BECOME SHOW-BUSINESS SLICK
By Robert Palmer
Published: November 4, 1981
¶ THE Rolling Stones visited Atlanta for about five hours last week - just enough time to land their chartered jet, race into town to the Fox Theater, play a two-hour set, race back to the airport and take off for Houston, the next stop on their 1981 American tour. The tour is expected to be the most profitable in the history of rock-androll; its sheer size has been staggering. It began with the group's having to add a second show in Philadelphia's immense John F. Kennedy Stadium, which seats about 92,000, and will probably end with two shows at the New Orleans Superdome. The band's five shows in the New York area, which begin tomorrow night at the Brendan T. Byrne Sports Arena in New Jersey's Meadowlands, will accommodate a total of nearly 150,000. That looks like an impressive figure, but ticket requests for these shows ran into the millions.
¶ Suddenly, everyone wants to see the Rolling Stones - their older fans are in their 30's and 40's, like the Stones themselves; their youngest fans are barely into their teens. ''The crowds were young, real young in Florida,'' Mick Jagger noted with evident relish as a makeup man applied pancake makeup to his face, a few minutes before the group was scheduled to go onstage in Atlanta. ''The front rows in Orlando were filled with these 12- or 13-year-old girls, some of whom were making the most unseemly suggestions.''
¶ Fearful Parents of 60's
¶ This is exactly what parents were afraid of back in the mid-60's, when a British newspaper asked, ''Would you let your daughter go out with a Rolling Stone?'' and magazines for teen-agers that ran features on the group regularly received answering letters from parents calling the Stones ''anti-Christs corrupting our children'' and that sort of thing. But this is 1981. The Stones have been rolling for nearly 20 years now, and although they have suffered some wear and tear, they have survived and prospered while their only real peers either splintered like the Beatles or burned out and found religion, like the born-again Bob Dylan. One reason they have pulled through is that they do not take themselves very seriously. ''You never know what to believe,' was Mick Jagger's response to a comment on the avalanche of ticket requests for the band's shows at Madison Square Garden and Byrne Arena. ''It may be three grandmothers in Queens sending in tons of ticket requests, for all I know.''
¶ But of course the Rolling Stones' American following is much larger than ''three grandmothers in Queens.'' And what do they see, those who are lucky enough to get tickets to a Stones show? In Philadelphia, at the beginning of the tour, they saw a band that was rusty enough to make mistakes, like starting a song in two different keys and crashing to a halt, and loose enough to smile, make a joke and carry on. The Stones are much tighter now, in the second month of their tour, but they are still making mistakes.
¶ These days, one rarely encounters a rock band that makes mistakes, unless the band is playing in a bar or a punk-rock club. Bands that sell millions of records and routinely perform in stadiums and arenas have honed their stage routines to slick, machinelike precision. Being this predictable is, of course, good business. It is a byproduct of big-time rock having moved out of the concert halls and theaters and into the sports arenas, where bands cannot afford to give too many poor performances. But to some rock-and-roll fans, usually the older, purist sort, rock-and-roll shows should include mistakes. Without mistakes, there are no surprises, and without surprises, this line of reasoning concludes, there is no rock-androll. There is something inferior - show business, mere entertainment.
¶ ''No, we're not slick,'' Mick Jagger said in Atlanta. ''We're still trying to be; making mistakes is embarrassing. But as far as us actually getting as slick as most of the bands playing today, I doubt we ever will. We've been trying for 20 years, and we haven't managed it yet.''
¶ The opening shows of the Rolling Stones tour may have been raw, but they were not raw enough for some people. After the first show in Philadelphia, several of the band's employees, veterans of a number of Rolling Stones tours, gathered in a hotel bar to air their grievances. ''What're the boys up to?'' one wanted to know; after two decades, the five Rolling Stones are still ''the boys'' to their friends and co-workers. ''Asleep,'' said another fellow, contemptuously. ''Ah, it isn't like it used to be. Where's the madness, the insanity?'' The Unspoken Law
¶ It is an unspoken but rarely questioned Rock and Roll Law that big-time rock tours are supposed to breed madness. Rolling Stones tours certainly do. Everybody who has been on one has a favorite madness story; this writer recalls an evening during the 1975 tour when the group checked into the Memphis Hilton at around 2 A.M. and were asked for a deposit on the dozens of rooms they had reserved by a panicky night manager. Peter Rudge, who was the tour's manic commander in chief, turned red and began screaming: ''So you want a deposit, eh? I'll show you a bloody deposit!'' He dashed outside to his limousine and returned a few moments later with a hefty leather briefcase, which he proceeded to open upside down over the hotel's front desk. The bag was full of money. Greenbacks filled the air, like a green tickertape parade, and drifted gently to the Astroturf carpet.''There,'' said Mr. Rudge, pleased with himself. ''There's your bloody deposit.''
¶ That night, Keith Richards kept a number of the hotel's guests awake by playing his electric guitar into the early morning. Then he decided that rather than fly to Texas after the show on the band's rented jet, he would drive. He enlisted the Stones' other guitarist, Ron Wood, in this risky enterprise. Later that day, they were arrested in Fordyce, Ark., after a policeman saw their car fishtail uncertainly. They were put in the Fordyce jail, which was surrounded by teenagers as soon as the news leaked out. Lawyers began calling Fordyce from as far away as London, threatening dire consequences should Mr. Richards and Mr. Wood not be in Texas that night for the Rolling Stones' arena concert. An agreement was reached, a private plane was sent in and Mr. Richards and Mr. Wood made it to the show in Texas with minutes to spare. Now that was madness!
¶ If the 1981 tour has been different, it is largely because Keith Richards is a different man. Once the most flagrant alcohol- and drug-abuser in the group, he has straightened up dramatically. He looks healthy, he is playing brilliantly and his backup vocals are often so lusty that they drown out Mr. Jagger, who is working harder to hold up his end of things as result. But when this writer arrived backstage at the Fox Theater in Atlanta, Mr. Richards and Mr. Wood seemed to be up to their old tricks. It was almost 9 P.M. and the opening act, England's Stray Cats, had almost finished their set, but Mr. Richards and Mr. Wood had not yet arrived at the theater. Mr. Jagger did not even know if they had arrived in Atlanta.
¶ Jerri Hall, the model and actress who has been Mr. Jagger's steady girlfriend for several years now, burst into the dressing room, laughing. ''Keith and Ronnie just got here,'' she reported, ''and do you know what Ronnie did? He came trudging into the theater, carrying his bags, with his head down, eyes on the ground, and he trudged right out onto the stage! The Stray Cats were on. He looked up, noticed that there was a lot of light and a band playing, turned around, and trudged backstage again.'' She collapsed in giggles. ''Now that's professionalism,'' Mr. Jagger said, deadpan.
¶ A terrible yowling became audible. In an adjoining dressing room, Keith Richards was waving a bottle and leading Mr. Wood, the keyboard player Ian McLagan, and the drummer Charlie Watts, among others, through a series of vocal-group imitations. This was no band of drug abusers; it was ''the boys'' having a boozy good time to psych themselves up for the show. Only Mr. Jagger, who has been very careful about his health during the tour, and the bassist Bill Wyman, who was standing in another room in an immaculate yellow stage suit, sipping at a drink, seemed to be above the fray.
¶ The Rolling Stones finally began their set at the Fox Theater at 10:35 P.M., and although the audience had waited more than an hour since the end of the Stray Cats' performance, they soon seemed to forget their impatience. The band sounded magnificent. Mr. Jagger was improvising, reaching for notes that were not in the original melodies of Stones evergreens like the opening ''Under My Thumb'' and ''Let's Spend the Night Together.'' Mr. Richards, who used to stay close to his amplifier and microphone, was all over the stage, moving like a dervish and kicking off song after song with guitar rhythms that were utterly authoritative, always in the right tempo and the right groove.
¶ Yes, there were mistakes. Mr. Richards would yell, ''I've got it,'' and take a guitar solo, only to find that Mr. Wood hadn't heard him and was soloing too. There were abrupt endings and missed cues. And none of this mattered at all. The band, raging like a forest fire, burned up 26 songs in less than two hours, yet every song got the attention it deserved; none was thrown away or walked through.
THE POP LIFE; THE STONES ROLL ON, REFUSING TO BECOME SHOW-BUSINESS SLICK
By Robert Palmer
Published: November 4, 1981
¶ THE Rolling Stones visited Atlanta for about five hours last week - just enough time to land their chartered jet, race into town to the Fox Theater, play a two-hour set, race back to the airport and take off for Houston, the next stop on their 1981 American tour. The tour is expected to be the most profitable in the history of rock-androll; its sheer size has been staggering. It began with the group's having to add a second show in Philadelphia's immense John F. Kennedy Stadium, which seats about 92,000, and will probably end with two shows at the New Orleans Superdome. The band's five shows in the New York area, which begin tomorrow night at the Brendan T. Byrne Sports Arena in New Jersey's Meadowlands, will accommodate a total of nearly 150,000. That looks like an impressive figure, but ticket requests for these shows ran into the millions.
¶ Suddenly, everyone wants to see the Rolling Stones - their older fans are in their 30's and 40's, like the Stones themselves; their youngest fans are barely into their teens. ''The crowds were young, real young in Florida,'' Mick Jagger noted with evident relish as a makeup man applied pancake makeup to his face, a few minutes before the group was scheduled to go onstage in Atlanta. ''The front rows in Orlando were filled with these 12- or 13-year-old girls, some of whom were making the most unseemly suggestions.''
¶ Fearful Parents of 60's
¶ This is exactly what parents were afraid of back in the mid-60's, when a British newspaper asked, ''Would you let your daughter go out with a Rolling Stone?'' and magazines for teen-agers that ran features on the group regularly received answering letters from parents calling the Stones ''anti-Christs corrupting our children'' and that sort of thing. But this is 1981. The Stones have been rolling for nearly 20 years now, and although they have suffered some wear and tear, they have survived and prospered while their only real peers either splintered like the Beatles or burned out and found religion, like the born-again Bob Dylan. One reason they have pulled through is that they do not take themselves very seriously. ''You never know what to believe,' was Mick Jagger's response to a comment on the avalanche of ticket requests for the band's shows at Madison Square Garden and Byrne Arena. ''It may be three grandmothers in Queens sending in tons of ticket requests, for all I know.''
¶ But of course the Rolling Stones' American following is much larger than ''three grandmothers in Queens.'' And what do they see, those who are lucky enough to get tickets to a Stones show? In Philadelphia, at the beginning of the tour, they saw a band that was rusty enough to make mistakes, like starting a song in two different keys and crashing to a halt, and loose enough to smile, make a joke and carry on. The Stones are much tighter now, in the second month of their tour, but they are still making mistakes.
¶ These days, one rarely encounters a rock band that makes mistakes, unless the band is playing in a bar or a punk-rock club. Bands that sell millions of records and routinely perform in stadiums and arenas have honed their stage routines to slick, machinelike precision. Being this predictable is, of course, good business. It is a byproduct of big-time rock having moved out of the concert halls and theaters and into the sports arenas, where bands cannot afford to give too many poor performances. But to some rock-and-roll fans, usually the older, purist sort, rock-and-roll shows should include mistakes. Without mistakes, there are no surprises, and without surprises, this line of reasoning concludes, there is no rock-androll. There is something inferior - show business, mere entertainment.
¶ ''No, we're not slick,'' Mick Jagger said in Atlanta. ''We're still trying to be; making mistakes is embarrassing. But as far as us actually getting as slick as most of the bands playing today, I doubt we ever will. We've been trying for 20 years, and we haven't managed it yet.''
¶ The opening shows of the Rolling Stones tour may have been raw, but they were not raw enough for some people. After the first show in Philadelphia, several of the band's employees, veterans of a number of Rolling Stones tours, gathered in a hotel bar to air their grievances. ''What're the boys up to?'' one wanted to know; after two decades, the five Rolling Stones are still ''the boys'' to their friends and co-workers. ''Asleep,'' said another fellow, contemptuously. ''Ah, it isn't like it used to be. Where's the madness, the insanity?'' The Unspoken Law
¶ It is an unspoken but rarely questioned Rock and Roll Law that big-time rock tours are supposed to breed madness. Rolling Stones tours certainly do. Everybody who has been on one has a favorite madness story; this writer recalls an evening during the 1975 tour when the group checked into the Memphis Hilton at around 2 A.M. and were asked for a deposit on the dozens of rooms they had reserved by a panicky night manager. Peter Rudge, who was the tour's manic commander in chief, turned red and began screaming: ''So you want a deposit, eh? I'll show you a bloody deposit!'' He dashed outside to his limousine and returned a few moments later with a hefty leather briefcase, which he proceeded to open upside down over the hotel's front desk. The bag was full of money. Greenbacks filled the air, like a green tickertape parade, and drifted gently to the Astroturf carpet.''There,'' said Mr. Rudge, pleased with himself. ''There's your bloody deposit.''
¶ That night, Keith Richards kept a number of the hotel's guests awake by playing his electric guitar into the early morning. Then he decided that rather than fly to Texas after the show on the band's rented jet, he would drive. He enlisted the Stones' other guitarist, Ron Wood, in this risky enterprise. Later that day, they were arrested in Fordyce, Ark., after a policeman saw their car fishtail uncertainly. They were put in the Fordyce jail, which was surrounded by teenagers as soon as the news leaked out. Lawyers began calling Fordyce from as far away as London, threatening dire consequences should Mr. Richards and Mr. Wood not be in Texas that night for the Rolling Stones' arena concert. An agreement was reached, a private plane was sent in and Mr. Richards and Mr. Wood made it to the show in Texas with minutes to spare. Now that was madness!
¶ If the 1981 tour has been different, it is largely because Keith Richards is a different man. Once the most flagrant alcohol- and drug-abuser in the group, he has straightened up dramatically. He looks healthy, he is playing brilliantly and his backup vocals are often so lusty that they drown out Mr. Jagger, who is working harder to hold up his end of things as result. But when this writer arrived backstage at the Fox Theater in Atlanta, Mr. Richards and Mr. Wood seemed to be up to their old tricks. It was almost 9 P.M. and the opening act, England's Stray Cats, had almost finished their set, but Mr. Richards and Mr. Wood had not yet arrived at the theater. Mr. Jagger did not even know if they had arrived in Atlanta.
¶ Jerri Hall, the model and actress who has been Mr. Jagger's steady girlfriend for several years now, burst into the dressing room, laughing. ''Keith and Ronnie just got here,'' she reported, ''and do you know what Ronnie did? He came trudging into the theater, carrying his bags, with his head down, eyes on the ground, and he trudged right out onto the stage! The Stray Cats were on. He looked up, noticed that there was a lot of light and a band playing, turned around, and trudged backstage again.'' She collapsed in giggles. ''Now that's professionalism,'' Mr. Jagger said, deadpan.
¶ A terrible yowling became audible. In an adjoining dressing room, Keith Richards was waving a bottle and leading Mr. Wood, the keyboard player Ian McLagan, and the drummer Charlie Watts, among others, through a series of vocal-group imitations. This was no band of drug abusers; it was ''the boys'' having a boozy good time to psych themselves up for the show. Only Mr. Jagger, who has been very careful about his health during the tour, and the bassist Bill Wyman, who was standing in another room in an immaculate yellow stage suit, sipping at a drink, seemed to be above the fray.
¶ The Rolling Stones finally began their set at the Fox Theater at 10:35 P.M., and although the audience had waited more than an hour since the end of the Stray Cats' performance, they soon seemed to forget their impatience. The band sounded magnificent. Mr. Jagger was improvising, reaching for notes that were not in the original melodies of Stones evergreens like the opening ''Under My Thumb'' and ''Let's Spend the Night Together.'' Mr. Richards, who used to stay close to his amplifier and microphone, was all over the stage, moving like a dervish and kicking off song after song with guitar rhythms that were utterly authoritative, always in the right tempo and the right groove.
¶ Yes, there were mistakes. Mr. Richards would yell, ''I've got it,'' and take a guitar solo, only to find that Mr. Wood hadn't heard him and was soloing too. There were abrupt endings and missed cues. And none of this mattered at all. The band, raging like a forest fire, burned up 26 songs in less than two hours, yet every song got the attention it deserved; none was thrown away or walked through.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 11, 2016 08:57
ROCK: STONES PERFORM AS AN INFORMAL TEAM
By ROBERT PALMER, Special to the New York Times
Published: September 26, 1981
¶PHILADELPHIA, Sept. 25— The Rolling Stones' 1981 American tour may turn out to be the biggest moneymaker in the 25-year history of rock and roll. But at their opening performance today at John F. Kennedy Stadium, the Stones were as informal, and occasionally ragged, as a neighborhood garage band.
¶ ''Oh, it's N.G.,'' Mick Jagger exclaimed, guitar in hand, after the group got off to a false start on ''Let It Bleed.'' But once the guitarist Keith Richards slammed out an authoritative introduction, the music fell into place. And that was the way it went during most of the Stones' 20-song set. There were plenty of rough spots, as one might expect from a band that hasn't played for a concert audience since 1978. There was also plenty of inspired, supercharged rock-and-roll.
¶ Mr. Jagger, Mr. Richards, the bassist Bill Wyman and the drummer Charlie Watts have been playing rock and roll together for 20-odd years, and at their best they sound as sleek and powerful as a finely tuned racing car. The guitarist Ron Wood has only been a Rolling Stone since the mid-70's, but he works so closely with Mr. Richards that the two musicians are able to exchange lead and rhythm roles more or less spontaneously. Ian Stewart contributed wonderful, barrelhouse-style piano throughout the performance, and Ian McLagan played organ.
¶ But it was up to Mr. Richards, who is perhaps the most rhythmically assured guitarist in rock to feed the band cues, working closely with Mr. Wyman and Mr. Watts, while Mr. Jagger strutted across the front of the stage. When the cues misfired or some of the players momentarily forgot the chord changes, the music's momentum faltered. But it never faltered for very long, and it soared to some exhilarating rock-and-roll epiphanies on several numbers, including ''Beast of Burden,'' ''You Can't Always Get What You Want'' and the more recent ''Hang Fire.''
¶ Mr. Jagger was wearing a sleeveless red T-shirt (which he discarded at the beginning of ''Brown Sugar,'' near the end of the two-hour performance) and what looked like a pair of white woolen long johns. He was still the tireless cheerleader, running from one end of the long stage to the other, jumping up and down to the band's resilient rhythms and riding out over the audience in the open cab of a large crane during ''Jumpin' Jack Flash.'' But his singing has consistently been underrated. He punches out words and syllables, contributing to the band's rhythmic drive, and he is a master of the deliberately delayed phrase and what can only be called the rock-and-roll stutter.
¶ Sometimes Mr. Jagger reaches for notes that aren't there, but the Rolling Stones have never been a letter-perfect band. The current vogue for stentorian quasi-operatic rock singing, as exemplified by performers like Pat Benatar or Meat Loaf, is foreign to their idea of what rock-and-roll is supposed to be.
¶ As musicians who were originally inspired by Chuck Berry and other first-generation rockers, the Rolling Stones are essentially traditionalists. At Kennedy Stadium, they did not use synthesizers or other electronic keyboard instruments, nor did they employ any sort of elaborate stagecraft beyond Mr. Jagger's running and jumping and his ride on the crane. They have given better performances, and their show will undoubtedly be more streamlined by the time they reach New York in early November.
¶ But with the Rolling Stones, streamlining isn't really the point. They aim first of all to create excitement, and while Mr. Jagger is their visual focus, ultimately it is the band's particular rhythmic lift that gets audiences up on their feet.
¶ Mr. Watts, who is probably the finest rock drummer since Earl Palmer and James Van Eaton wrote the book on the subject in the 50's,is the key to this rhythmic lift, and more of ten than not it is Mr. Richards who gets him started and pushes him to play harder. Without these two musicians, there would be no Rolling Stones. One suspects that Mr. Jagger would not be half as effective without them, and thatthe rock classics produced by the Jagger-Richards songwriting partnership would have been beyond the reach of either man working individually.
By ROBERT PALMER, Special to the New York Times
Published: September 26, 1981
¶PHILADELPHIA, Sept. 25— The Rolling Stones' 1981 American tour may turn out to be the biggest moneymaker in the 25-year history of rock and roll. But at their opening performance today at John F. Kennedy Stadium, the Stones were as informal, and occasionally ragged, as a neighborhood garage band.
¶ ''Oh, it's N.G.,'' Mick Jagger exclaimed, guitar in hand, after the group got off to a false start on ''Let It Bleed.'' But once the guitarist Keith Richards slammed out an authoritative introduction, the music fell into place. And that was the way it went during most of the Stones' 20-song set. There were plenty of rough spots, as one might expect from a band that hasn't played for a concert audience since 1978. There was also plenty of inspired, supercharged rock-and-roll.
¶ Mr. Jagger, Mr. Richards, the bassist Bill Wyman and the drummer Charlie Watts have been playing rock and roll together for 20-odd years, and at their best they sound as sleek and powerful as a finely tuned racing car. The guitarist Ron Wood has only been a Rolling Stone since the mid-70's, but he works so closely with Mr. Richards that the two musicians are able to exchange lead and rhythm roles more or less spontaneously. Ian Stewart contributed wonderful, barrelhouse-style piano throughout the performance, and Ian McLagan played organ.
¶ But it was up to Mr. Richards, who is perhaps the most rhythmically assured guitarist in rock to feed the band cues, working closely with Mr. Wyman and Mr. Watts, while Mr. Jagger strutted across the front of the stage. When the cues misfired or some of the players momentarily forgot the chord changes, the music's momentum faltered. But it never faltered for very long, and it soared to some exhilarating rock-and-roll epiphanies on several numbers, including ''Beast of Burden,'' ''You Can't Always Get What You Want'' and the more recent ''Hang Fire.''
¶ Mr. Jagger was wearing a sleeveless red T-shirt (which he discarded at the beginning of ''Brown Sugar,'' near the end of the two-hour performance) and what looked like a pair of white woolen long johns. He was still the tireless cheerleader, running from one end of the long stage to the other, jumping up and down to the band's resilient rhythms and riding out over the audience in the open cab of a large crane during ''Jumpin' Jack Flash.'' But his singing has consistently been underrated. He punches out words and syllables, contributing to the band's rhythmic drive, and he is a master of the deliberately delayed phrase and what can only be called the rock-and-roll stutter.
¶ Sometimes Mr. Jagger reaches for notes that aren't there, but the Rolling Stones have never been a letter-perfect band. The current vogue for stentorian quasi-operatic rock singing, as exemplified by performers like Pat Benatar or Meat Loaf, is foreign to their idea of what rock-and-roll is supposed to be.
¶ As musicians who were originally inspired by Chuck Berry and other first-generation rockers, the Rolling Stones are essentially traditionalists. At Kennedy Stadium, they did not use synthesizers or other electronic keyboard instruments, nor did they employ any sort of elaborate stagecraft beyond Mr. Jagger's running and jumping and his ride on the crane. They have given better performances, and their show will undoubtedly be more streamlined by the time they reach New York in early November.
¶ But with the Rolling Stones, streamlining isn't really the point. They aim first of all to create excitement, and while Mr. Jagger is their visual focus, ultimately it is the band's particular rhythmic lift that gets audiences up on their feet.
¶ Mr. Watts, who is probably the finest rock drummer since Earl Palmer and James Van Eaton wrote the book on the subject in the 50's,is the key to this rhythmic lift, and more of ten than not it is Mr. Richards who gets him started and pushes him to play harder. Without these two musicians, there would be no Rolling Stones. One suspects that Mr. Jagger would not be half as effective without them, and thatthe rock classics produced by the Jagger-Richards songwriting partnership would have been beyond the reach of either man working individually.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 15, 2016 08:03
CHICAGO TRIBUNE SPECIAL
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 15, 2016 08:15
Nathalie Delon and Mick Jagger at a party at 'L'Apocalypse' nightclub -Bertrand Rindoff Petroff August 28, 1983
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 15, 2016 08:58
Unpublished Photography D'era Mick Jagger
(Looks like Paris)
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 15, 2016 09:02
.
Edited 1 time(s). Last edit at 2019-12-29 16:52 by exilestones.
Edited 1 time(s). Last edit at 2019-12-29 16:52 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 15, 2016 09:13
Portrait of Mick Jagger , singer and frontman of rock ' Rolling Stones ', made shortly after the press conference he held on 18 May 1982.
May 18, 1982 | Credit: PHILIPPE WOJAZER
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 17, 2016 23:58
SLANEphoto by joanne
Derek Speirs Rolling Stones Gig at Slane Castle, July 24th, 1982. Also on the bill that day were the Chieftains. All photos by Derek Speirs – scanned by Brand New Retro from Magill Magazine, August 1982.
SLANE - Patrick Donald
Mick Jagger On Stage At Slane Castle In 1982 Photos by Andy Spearman
Eric Luke 24th July 1982 The Rolling Stones were the first international act to headline at the Slane Castle venue. The sloping grounds of Slane Castle formed a natural amphitheatre for the rock fans who came from all corners of Ireland and beyond to see the legendary group. As many 100,000 people attended the event. The admission fee was £12. Headlined by the Rolling Stones with support acts, The J. Geils Band, The Chieftains and George Thorogood and the Destroyers. 1982 SETLIST Under My Thumb When the Whip Comes Down Let’s Spend the Night Together Shattered Neighbours Black Limousine Just My Imagination (Running Away with Me) (The Temptations cover) Twenty Flight Rock (Eddie Cochran cover) Going to a Go-Go Let Me Go Time is on My Side Beast of Burden You Can’t Always Get What You Want Little T&A Angie Tumbling Dice She’s So Cold Hang Fire Miss You Honky Tonk Women Brown Sugar Start Me Up Jumpin’ Jack Flash (I Can’t Get No) Satisfaction
Edited 1 time(s). Last edit at 2016-08-19 07:26 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
Palace Revolution 2000
()
Date: August 18, 2016 11:43
Quote
exilestones
Nathalie Delon and Mick Jagger at a party at 'L'Apocalypse' nightclub -Bertrand Rindoff Petroff August 28, 1983
I wonder if this photo was taken before or after.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 19, 2016 07:05
MADRID
J. Giles Band
Rolling Stones unforgettable concert a day of biblical storm in July 1982 - MIGUEL PALACIOS 
On July 7, 1982 at the Vicente Calderon stadium in Madrid, with the Rolling Stones playing under a massive storm on his first visit to the capital of Spain. The Rolling Stones came to Spain from the hand of the promoter Gay Mercader and his company Gay & Company , returning to bring our country six years after that extraordinary concert in Barcelona June 11, 1976, just after the death of dictator Franco. Gay Mercader had intended to bring the Rolling Stones to Spain for the World Cup which was held that year in Spain, the 'Global 82', the challenge was that they acted in Madrid and Barcelona under the sponsorship of the sports brand Adidas. Concerts by The Rolling Stones were scheduled to take place in two evenings, the Estadio Vicente Calderon in Madrid and Estadio de Sarria in Barcelona in July 1982. Tickets for both concerts are put on sale, running out practically in a jiffy in Barcelona's Sarria 40 thousand and the Vicente Calderon also running low. But differences arise in the time between Pablo Porta, president of the Spanish Football Federation and World Championship and Raimundo Saporta, head of the cultural events of the World Cup, which makes the stadium the soccer team Espanyol not yield (Spanish) in Barcelona. Finally, the concert is canceled The Rolling Stones in Barcelona, moving to Madrid two days after the first in the same stadium. The Rolling Stones act in Madrid on 7 and 9 July 1982. The first concert with 65,000 tickets sold, filled to the brim, and the second concert with just a little time to maneuver to sell tickets was reached to almost a few weeks before concert with just about 26 thousand tickets sold, a powerful radio campaign wedges getting insistent that the July 9, 1982 went back to repopulate the Vicente Calderon. The Rolling Stones and that concert of June 7, 1982 will be remembered for the great storm that hit Madrid since the beginning of the concert, Mick Jagger and Keith Richards prefieron continue with the concert and not stopping before the collective madness of the nearly 70 thousand spectators that night. Concert tickets for The Rolling Stones in Madrid this July 7, 1982 cost 2000 pesetas, about 12 euros, and had as support the magnificent American band, The J. Geils Band . The Rolling Stones would call that tour as The Rolling Stones European Tour 1982 would be his first tour after six long years, and the longest to date, starting in the United States in 1981 from September until nearly the end of December 1981. Edited 2 time(s). Last edit at 2016-08-19 07:10 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 19, 2016 07:13
MADRID
[www.dirtyrock.info]
Apparently Mick changed his rain-soaked clothes during the show.
Edited 1 time(s). Last edit at 2016-08-19 08:39 by exilestones.
[www.dirtyrock.info]
Apparently Mick changed his rain-soaked clothes during the show.
Edited 1 time(s). Last edit at 2016-08-19 08:39 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 21, 2016 20:40
St Paul Civic Center by Jason Sands
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 21, 2016 20:48
EAST RUTHERFORDThe Rolling Stones had a great influence on Tina Turner’s career. Tina was influenced by their music and covered their songs throughout her career (Honky Tonk Woman, Jumping Jack Flash, It’s Only Rock ‘N’ Roll, Out Of Time). Moreover, she was impressed by their capability to sell out arena’s and stadiums all over the world. But it wasn’t just Tina who was influenced by the Rolling Stones, the Stones were big fans of Ike & Tina. They brought Ike & Tina along to open for them on their 1966 UK tour, introducing them to the UK audience. Also on their 1969 US tour, Ike & Tina were the opening act, and this got them more known among the wider US public.
Ike, Mick, Tina, Keith and Claudia Lennear backstage 1969 Another major turning point in Tina’s career came in 1981, when she was invited to open for the Rolling Stones during three dates in East Rutherford, New Jersey. This, together with appearances with Rod Stewart in concert and on Saturday Night Live, plus a succesful series of concerts at New York club The Ritz, marked the beginning of her comeback as a solo artist. Besides her opening act, Tina also duetted with the Stones on Honky Tonk Woman during their set. All three of the nights (November 5, 6 and 7) at the Brendan Byrne Arena (now IZOD Center) in East Rutherford were recorded. Oh, and in case you are wondering why Tina and Mick appear to be singing something else… that’s because they are! While Mick sings about Honky Tonk Women, Tina considers herself being one of them, a Honky Tonk Woman. Tina is known for changing the lyrics a bit for her cover songs (partly her creative input, partly because she has trouble remembering the lyrics). Therefore, here are the lyrics to Tina’s version of Honky Tonk Women: Honky Tonk Man. I met a gin soaked, bar-room man in Memphis, He tried to take me upstairs for a ride. He had to heave me right across his shoulder ‘Cause I just can’t seem to drink the man off my mind. I’m a honky tonk woman Gimme, gimme, gimme a honky tonk man. I laid a VIP in New York City, I had to get myself out of a fight with his wife. Later the man, he covered me in roses, red roses! He blew my nose and then he blew my mind. I’m a honky tonk woman Gimme, gimme, gimme a honky tonk man. [tinaturnerblog.com]
Andy Warhol, LeRoy Neiman and Tina Turner at a Rolling Stones concert. Photographer unknown.
Edited 2 time(s). Last edit at 2016-08-22 13:00 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: August 22, 2016 10:08
Keith Richards
A Rolling Stone Real Alone
gently remastered by Captain Acid
Acid Project Vol. 03
Soundboard
CD 01
01. Worried Life Blues
02. Sing Me Back Home
03. She Still Comes Around
04. Apartment N.9
05. Sing Me Back Home
06. Worried Life Blues
07. Apartment N.9
08. Say It's Not You
09. Key To The Highway
CD 02
01. Over The Rainbow
02. Over The Rainbow
03. Blue Moon
04. Don't
05. The Nearness Of You
06. The Nearness Of You
07. Whole Lotta Shakin' Goin' On
08. Still In Love (Instrumental)
09. Instrumental
10. Whole Lotta Shakin' Goin' On
11. Say It's Not You
12. Don't
13. Blue Monday
14. Oh, What A Feeling
15. Sing Me Back Home
16. The Nearness Of You
17. Apartment N.9
18. All I Have To Do Is Dream
CD 01 tracks 1 - 8 : Sounds Interchange Studios, Toronto, Canada, March 12th-13th 1977
track 09 - New York City 1978
CD 02 tracks 1 - 9 : Los Angeles, El Dorado Recording Studio, March 1981
tracks 10 - 18 : Long View Farm, Brookfeld, Massachussetts, May 1981
[bootleg-addiction-forever.blogspot.com]
[www.guitars101.com]
(Note: Version 03 - An Upgrade.
If you have the previous version, you can delete it now. - gotdablouse
[electricladyland.synology.me] )
REVIEW by Review By RICCAR99
These compact discs focus on Keith Richards solo work which was done without any commercial purpose on his days off from the Stones. Disc One has been sourced mostly from vinyl (Tracks 1-8 from the ep The Toronto Sessions) while the rest come from A Stone Alone (VGP 377); likewise Disc Two comes mostly from Keith Richards 81-83 and the VGP title. Anyway this collection presents Keith at the piano from the Toronto sessions held the week after the El Mocambo shows and this is the reason for its title. After having worked on EQ-ing and reversing the phase some work had to be done on pitch that has been slightly corrected; in fact this is the second remaster for this title as the previous one was running a bit too fast. It is impressive to listen to the overall sound that presents a coherent picture of the man in the studio playing for his pleasure, chatting with a girlfriend and enjoying some gin. Nowhere any noise reduction has been applied and no compression at all. The sound output is natural and warm and the music can easily do the talking.
NEW VERSION - PITCH & PHASE CORRECTED ( Finished 29. December 2011 )
POSTED December 31. 2011; Happy New Year 2012, everybody.
Yes this is a new one, my second remaster of it. On this one i have fixed the pitch ( tracks were running a tad too fast ), phase ( i have flipped the phase on the tracks in soundforge and it all sounded more focused ) and i also did a bit more of level correction. All in all it is nothing epochal, but it sound a bit better now, more natural. Some of you may not notice the difference at all, but if you wanna compare with previous remaster, try CD 1 track 3. Piano and Keith`s voice sound more natural and warm. I have made the new checksum and all. Timing on an artwork has been corrected, because the tracks are a few seconds longer ( pitch & time stretch ), so you will need new artwork, too. The previous version - remaster has been deleted.
Happy new year 2012
Original notes :
Hi Stones fanatics,
this is something i wanted to do for years. Actually i have tried before, but was not satisfied with the results. But since then i have found much better sources. I would like to thank to 3 guys for this. First, Silkcut for his vinyl rip of "The Toronto Session", than Midnrambler for posting on HC "Keith Richards 1981 & 1983" and in the end Erik Snow for his post of VGP-377 "Keith Richards - A Stone Alone".
My remastering was just some EQ and level correction.After years of remastering bootlegs my philosophy is less is more, what i am trying to say is that most of the bootleg remasters suffer from being over-done.It looks like people are drawn to do something,just because they can. There was no noise reduction or compression used on this one,no brick-wall!
Another fantastic artwork was done by Mr.D.
Enjoy
Captain Acid November 2011
Re: Stones 1981-1982 Wardrobes
Posted by:
Redhotcarpet
()
Date: August 22, 2016 16:23
Fantastic thread, thanks for all the uploads. 
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