Tell Me :
Talk
Mick Jagger and Jerry Hall at the Palace night club in Paris.
The three above photos are by Bertrand Rindoff Petroff
November 28, 1980
Francis Apesteguy photo
Edited 8 time(s). Last edit at 2018-07-04 21:48 by exilestones.
SAINT PAUL
The Rolling Stones got their ya-yas out in 1981 at the
St. Paul Civic Center, the best of their Twin Cities performances.
Dave Brewster, Minneapolis Star Tribune
Edited 2 time(s). Last edit at 2018-07-02 22:11 by exilestones.
1981 NYC - David McGough photo
Jerry Hall at “Le Palace” nightclub, Paris 1980
photo by Guy Le Querrec
Fabrice Emaer, Prince Nicolas Dadeshkeliani, supermodel Kira and Jerry Hall attend a party at the Palace.
photo by Bertrand Rindoff Petroff
Anita & Keith at a Jim Carroll Band concert - NYC June 26, 1980
Anita Pallenberg leaving Trax in New York City.
Great fantastic thread and great pics, thanks Exile. The tit pic is not Jerry though. Getty images got it wrong.
Really? Ahh, shit! It's such a great pic.
Thanks for your help. I hope to put all of these pictures together one day. This thread helps put pieces to the puzzle together.
Amazing thread, thank you exile.
Puffy Stickers
Edited 1 time(s). Last edit at 2018-07-04 18:01 by exilestones.
Edited 1 time(s). Last edit at 2018-07-14 02:12 by exilestones.
Patti Hansen, Kay Mitchell, and Keith Richards of the Rolling Stones 1982 in New York City.
Kay Mitchell looks as happy as could be to be having fun with Kieth and Patti, just as any of us would be!
I tried to research Kay Mitchhell. I'm not sure if she's the famous author. I don't think she is the writer.
Does anyone know who is this person?
Edited 1 time(s). Last edit at 2018-07-28 13:09 by exilestones.
Edited 1 time(s). Last edit at 2018-07-29 17:40 by exilestones.
Talk about your favorite band.
For information about how to use this forum please check out forum help and policies.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: June 4, 2018 04:44
SAINT PAUL
Edited 7 time(s). Last edit at 2018-07-02 22:13 by exilestones.
Edited 7 time(s). Last edit at 2018-07-02 22:13 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: June 4, 2018 04:46
Thierry Le Luron, Mick Jagger and Jerry Hall attend a Thierry Le Luron and Alain Delon Party at the Palace night club in Paris.Mick Jagger and Jerry Hall at the Palace night club in Paris.
Thierry Le Luron, Palace night club director Fabrice Emaer, Mick Jagger and Jerry Hall.The three above photos are by Bertrand Rindoff Petroff
November 28, 1980
Francis Apesteguy photo
Edited 8 time(s). Last edit at 2018-07-04 21:48 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: June 7, 2018 13:58
LONDON
Edited 2 time(s). Last edit at 2018-06-07 14:01 by exilestones.
Edited 2 time(s). Last edit at 2018-06-07 14:01 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: June 7, 2018 14:00
SAINT PAUL
"1981, St. Paul Civic Center — The Stones were never
better here, including on the new "Start Me Up."
Jagger swinging over the crowd in a cherry picker for
"Jumpin' Jack Flash" provided Stonesian outrageous fun."
Edited 5 time(s). Last edit at 2018-06-08 21:36 by exilestones.
"1981, St. Paul Civic Center — The Stones were never
better here, including on the new "Start Me Up."
Jagger swinging over the crowd in a cherry picker for
"Jumpin' Jack Flash" provided Stonesian outrageous fun."
Jon Bream - Star TribuneEdited 5 time(s). Last edit at 2018-06-08 21:36 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: June 10, 2018 17:59
SAINT PAUL
The Rolling Stones got their ya-yas out in 1981 at the
St. Paul Civic Center, the best of their Twin Cities performances.
Dave Brewster, Minneapolis Star Tribune
Edited 2 time(s). Last edit at 2018-07-02 22:11 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: June 13, 2018 18:31
1981 NYC - David McGough photo
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: June 18, 2018 17:30
Jerry Hall at “Le Palace” nightclub, Paris 1980
photo by Guy Le Querrec
Fabrice Emaer, Prince Nicolas Dadeshkeliani, supermodel Kira and Jerry Hall attend a party at the Palace.
photo by Bertrand Rindoff Petroff
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: June 23, 2018 00:29
Anita & Keith at a Jim Carroll Band concert - NYC June 26, 1980
Anita Pallenberg leaving Trax in New York City.
Re: Stones 1981-1982 Wardrobes
Posted by:
Redhotcarpet
()
Date: June 25, 2018 11:19
Quote
exilestones
Jerry Hall at “Le Palace” nightclub, Paris 1980
photo by Guy Le Querrec
Fabrice Emaer, Prince Nicolas Dadeshkeliani, supermodel Kira and Jerry Hall attend a party at the Palace.
photo by Bertrand Rindoff Petroff
Great fantastic thread and great pics, thanks Exile. The tit pic is not Jerry though. Getty images got it wrong.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: June 25, 2018 16:21
Quote
Redhotcarpet
Great fantastic thread and great pics, thanks Exile. The tit pic is not Jerry though. Getty images got it wrong.
Really? Ahh, shit! It's such a great pic.
Thanks for your help. I hope to put all of these pictures together one day. This thread helps put pieces to the puzzle together.
Re: Stones 1981-1982 Wardrobes
Posted by:
Redhotcarpet
()
Date: June 26, 2018 23:56
Quote
exilestonesQuote
Redhotcarpet
Great fantastic thread and great pics, thanks Exile. The tit pic is not Jerry though. Getty images got it wrong.
Really? Ahh, shit! It's such a great pic.
Thanks for your help. I hope to put all of these pictures together one day. This thread helps put pieces to the puzzle together.
Amazing thread, thank you exile.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: June 29, 2018 17:18
WASHINGTON DC
The Rolling Stones on the Road
by David Simon and Tony Pipitone
The opening notes of "Under My Thumb" roll off
the neck of Keith Richard's battered guitar, Jagger
bolts to center stage, holding his microphone in a way
that the little girls understand. He leers. He sings.
It's down to me. The way she talks when she's
spoken to.. .
Ronnie Wood lays down a few spotty leads, trying
hard not to smile. Bill Wyman glares. Charlie Watts
slaps at his high hat, his hard face betraying just a
touch of snide bemusement.
From note one of their three sell-out shows in
Largo, the Rolling Stones have 18,500 fans pocketed.
And in two hours and 20 minutes, a band of five
middle-aged men and four graying accompanists has
transcended two decades of pop culture, blasting its
way through time as only the world’s greatest rock 'n'
roll band could.
In the upper sections, the faithful stand on their
stretched toes. On the floor where seats went for as
much as $3OO trom scalpers they stand on their
seats. And near the front of the stage they stand on
each other.
No band of the past decade could accomplish what
the Rolling Stones have in their 40-city U .S. tour, and
no one dares to presume that they could. As Jagger
spits out the first verse of "When the Whip Comes
Down" with Richard and Wood menacing behind
him, 10 years of musical self-indulgence and pop
pretension come grinding to a sudden halt. The
Rolling Stones are in America. Rock 'n' roll is back to
the basics. Elvis. Bo Diddely. Chuck Berry.
Jagger is pure camp. He dances. He prances. He
owns the stage. As Richard and Watts bring the
tangled rhythms to a stumbling halt, Jagger tosses off
his ceremonial guitar, lurches to the mike and toys.
“Shattered” gives way to “She’s So Cold,”
and Jagger sheds a few layers of clothing. The
musical gives way to the sexual. He draws the
syllables out, enunciating clearly, just in case
you didn’t understand the first 200 times
around.
Put your hand on the heat, c'mon baby let's
go . . .
Jagger grabs at his crotch, much to the
crowd’s delight.
But six songs into the set Monday night, and
the enchantment begins to wear off. These are
the Rolling Stones. This is the greatest rock N
roll band once again doing what they've done
for nearly 20 years. But on opening night, the
Stones show no respect for as trivial a nuisance
as timing. The band is out of sync, off on a
series of random tangents, drowning each other
out in a flood of bass and distortion. The
guitars, so renowned for their consistency and
interplay, struggle through the faster riffs,
“Little T & A,” “Neighbors” and even
“Jumpin’ Jack Flash” being among the more
notable victims.
Yet the crowd, a perverse collection of blue
collar rockers, young business execs, the
middle-aged faithful and students, is oblivious
to such flaws. All eyes are on Mick Jagger. And
he delivers.
Am I hard enough, am I rough enough, am I
rich enough?
On Tuesday, the following night, Richard
would prowl the stage, slamming every rhythm
into its proper place, as if to atone for the sins
of the previous night’s work. Richard, dressed
as if he’d just emerged from a Brixton prison
riot, would anchor the band, providing sub
stance where there was nothing before. On
Tuesday, Richard would forsake almost every
lead, choosing instead to grind out some much
needed rhythm on his timeless Fender. He
finally cut loose l2 songs into the set on
“Let Me Go,” spewing out a blistering volley of
staccato triplets that would make Chuck Berry
wince with envy. And then, for one of the few
times during this two-month tour, Keith
Richard would smile.
But on Monday. Jagger is the workhorse. He
doesn’t flirt with the crowd. Instead, he offers
up a hardened, pornographic message to a
crowd of fascinated voyeurs. Like James Brown
and Elvis Presley before him, Jagger has
mastered the art of @#$%& you with every
song. On “Start Me Up,” Jagger is banging
away on a crowd of 18,500. He knows it; you
know it.
You make a grown man cry. . .
The band rolls into “Miss You.” The music
is ragged but raunchy: the lyrics are quite at
home in the gutter. Jagger carries the band
through this schizoid number with the ap
propriate degree of 1970 s gjitter. “Miss You"
wants to be rock, but has inherited the beat of
disco. The result lands in another realm en
tirely. Richard, his back to the crowd, lays
down the rhythm two feet from Watts’ bass
drum. Saxman Eddie Watts walks on and off
for a screaming solo, but his effort is buried
beneath Ronnie Wood’s shrill leads. Jagger
climbs atop the top of the massive, rotating
stage, distracting the crowd from the musical
carnage taking place.
On Tuesday, the boys will get it right.
Richard, all gristle and no flash, will drop low
before the second verse, taking the band with
him. With the arena almost embarrassingly
quiet, Jagger will creep to the edge of the stage,
cups his hands around the mike and slur out
his finest innuendo.
We gonna come around with some Puerto
Rican girls . . .
But the strongest songs of Monday’s set come
early. Sensing an easy victory, dagger struts to
the mike to declare that the band has a few
oldies to run through.
“This first one’s by Eddie Cochran. 1 don’t
care if you never heard of
him,” Jagger says wryly.
Richard counts it down and the band is off,
ripping through the rockabilly syncopation of
“Twenty Flight Rock.” Watts catches every
beat, every break and it’s clear that having
pumped life back into Cochran’s 1958 classic,
the Rolling Stones are quite pleased with
themselves.
She says, "c-c-c'mon over baby, I'm all
alone ”
Two verses, a chorus and then the Human
Riff takes his turn. Richard wheels to center
stage and bangs out his twelve-bar opus like it
was a S2O-dollar whore. One more verse, one
more chorus and it’s done —two minutes of
roots, rock and rebel. To emphasize the point,
dagger struts through a version of Smokey
Robinson’s “Going to a Go-Go.” Talk about
nostalgia.
On Tuesday, dagger’s jokes and Richard’s
riffing will be even brighter during these
seemingly purposeless tunes.
“Here's a song that we didn’t even record,”
laughs dagger, aided by a Watts drumkick.
And after breathing new life into Memphis
rockabilly and Motown soul, the Rolling Stones
add their own subtle touch to those early
legacies, “dust My Imagination,” an old
Temptations classic that showed up unex
pectedly on 1979's Some Girls album, provides
for some of the night’s best efforts. Once again,
dagger dons a guitar and chords along, his voice
capturing notes and nuances that weren’t there
before.
Two boys for you. what about two girls for
me?
The song winds its way down with con
siderable grace, and the hard edge that remains
so typical of the band’s live show is noticeably
absent. But on Tuesday, Richard becomes
possessed by the song. With one boot planted
firmly on Watts' bass drum, Richard will rock
for seven minutes, wringing the last bit of
power out of every chord. His passion even
upstages dagger, who dances to the rear of the
stage, and, with guitar in hand, proceeds to
mug and mimic his alter-ego. Richard winces
at the fury of his own rhythm, and Mick
imitates him. Richard slams home the final
chord, dropping one knee to stage, dagger
drops down alongside, finally drawing a quick
laugh from rock V roll’s first punk.
Before giving the set over to the obvious
songs, the Stones dig down deep and come up
with “Time Is On My Side,” the 1964 classic.
The stage rolls right, dagger wheels left, and
with little encouragement, 18,500 are singing
along.
Whether by accident or intent, the lyrics are
strangely prophetic for a group that his lived
almost as long as rock itself.
Time is on my side, yes it is.
jagger lifts up his sweaty shirt for the ladies,
dons a ragged white Stetson and croons like a
Las Vegas has-been. Even Richard, who once
sang this song in a ihin tie and Nehru collar on
the Ed Sullivan Show, strolls to the mike for the
chorus. A London punk singing mid-60s R &
B. The contradiction is not lost on Ronnie
Wood, who breaks up at the sight.
The band finds the rhythm, if not the timing.
Richard belts out “Little T & A” as dagger
leaves for a change of shirt. In keeping with the
circumstance, Richard fails, practically
swallowing the microphone and forgetting
about the guitar he was trying to play. Then
again, what can you expect from a walking
drug store on a busy night? Keith was ripped
on Monday night, but, then again, it was also
dark outside; one learns to expect these things.
Tuesday night he gets it right, coughing up a
chorus so loud and guttural that Richard
himself seems taken aback.
She 's mah little rock n ’ roll. . .
On Tuesday, Richard would crowd one
microphone with Wood to whine out the
background vocals on “Let Me Go." dagger, as
he did the previous night, would bolt down to
the lighting control stand 30 rows deep into the
audience and, once there, belt out the third
verse and chorus before being whisked back to
the stage by a contingent of bodyguards. Such
bravado electrified the audience and amused
Richard, whose extended tour of duty at the
microphone caused him to miss his cue for the
lead by a few bars.
He quickly caught up.
Such mishaps are standard for the Rolling
Stones. The band thrives on spontaneous
combustion and solos have a habit of running
into and over each other as band members
ramble on separate paths. It’s not uncommon
to see Richard turn on his heel and yell, “Here
goes," only to find that dagger is singing the
next verse. At one point during “Let It Bleed,”
Wood and Richard both begin to solo only to
find that neither has picked up the rhythm.
In an age of phase-shifters, synthesizers and
rhythm machines, the Rolling Stones still seem
to understand just what rock V roil is.
On Tuesday, dagger strums an acoustic
guitar as an intro to “Waiting For a Friend.”
The electrical pickup goes bad and the in
strument sounds tinny and grating.
"Sounds shitty.” says Jagger, with a smile.
He continues to play.
On both nights, the Stones, for all the im
provisation, return to the benchmarks of their
career to close out the tour. “Honky Tonk
Women,” “dumpin’ dack Rash” and
“Satisfaction” follow each other in quick
succession.
Before the deluge, dagger stands at the edge
of the stage, leaning on lan Stewart’s piano.
The rogue takes his shirt off, loosens his belt
and leers at the women in the front row.
“It’s @#$%& hot in here, ain't it?”
Watts kicks into "Honkey Tonk Women.”
The lead in is sloppy, but both guitars find the
right feel soon enough. Bobby Keyes, perhaps
the greatest rock ’n’ roll saxman since Lee
Allen, walks on to close out a concert with the
last great rock 'n' roll band.
I met a gin-soaked barroom queen in
Memphis . . .
Jagger barely manages to drawl out the last
syllable of "Honky Tonk Women,” before
Richard kicks into “Brown Sugar.”
The arena rocks. Keyes, feeling the heat,
repeats his recorded sax solo note for note.
Richard prowls the stage, menacing the band
looking as if he’d strangle you with a used
guitar string if you missed a cue now. On "dack
Flash" the band throws caution away and rocks
for seven minutes.
The encore, of course, is “Satisfaction.”
The riff. The beat. The strut. And finally,
the leer. . .
I can 't get no. . .
Goodnight. Washington, D.C.
The Rolling Stones on the Road
by David Simon and Tony Pipitone
The opening notes of "Under My Thumb" roll off
the neck of Keith Richard's battered guitar, Jagger
bolts to center stage, holding his microphone in a way
that the little girls understand. He leers. He sings.
It's down to me. The way she talks when she's
spoken to.. .
Ronnie Wood lays down a few spotty leads, trying
hard not to smile. Bill Wyman glares. Charlie Watts
slaps at his high hat, his hard face betraying just a
touch of snide bemusement.
From note one of their three sell-out shows in
Largo, the Rolling Stones have 18,500 fans pocketed.
And in two hours and 20 minutes, a band of five
middle-aged men and four graying accompanists has
transcended two decades of pop culture, blasting its
way through time as only the world’s greatest rock 'n'
roll band could.
In the upper sections, the faithful stand on their
stretched toes. On the floor where seats went for as
much as $3OO trom scalpers they stand on their
seats. And near the front of the stage they stand on
each other.
No band of the past decade could accomplish what
the Rolling Stones have in their 40-city U .S. tour, and
no one dares to presume that they could. As Jagger
spits out the first verse of "When the Whip Comes
Down" with Richard and Wood menacing behind
him, 10 years of musical self-indulgence and pop
pretension come grinding to a sudden halt. The
Rolling Stones are in America. Rock 'n' roll is back to
the basics. Elvis. Bo Diddely. Chuck Berry.
Jagger is pure camp. He dances. He prances. He
owns the stage. As Richard and Watts bring the
tangled rhythms to a stumbling halt, Jagger tosses off
his ceremonial guitar, lurches to the mike and toys.
“Shattered” gives way to “She’s So Cold,”
and Jagger sheds a few layers of clothing. The
musical gives way to the sexual. He draws the
syllables out, enunciating clearly, just in case
you didn’t understand the first 200 times
around.
Put your hand on the heat, c'mon baby let's
go . . .
Jagger grabs at his crotch, much to the
crowd’s delight.
But six songs into the set Monday night, and
the enchantment begins to wear off. These are
the Rolling Stones. This is the greatest rock N
roll band once again doing what they've done
for nearly 20 years. But on opening night, the
Stones show no respect for as trivial a nuisance
as timing. The band is out of sync, off on a
series of random tangents, drowning each other
out in a flood of bass and distortion. The
guitars, so renowned for their consistency and
interplay, struggle through the faster riffs,
“Little T & A,” “Neighbors” and even
“Jumpin’ Jack Flash” being among the more
notable victims.
Yet the crowd, a perverse collection of blue
collar rockers, young business execs, the
middle-aged faithful and students, is oblivious
to such flaws. All eyes are on Mick Jagger. And
he delivers.
Am I hard enough, am I rough enough, am I
rich enough?
On Tuesday, the following night, Richard
would prowl the stage, slamming every rhythm
into its proper place, as if to atone for the sins
of the previous night’s work. Richard, dressed
as if he’d just emerged from a Brixton prison
riot, would anchor the band, providing sub
stance where there was nothing before. On
Tuesday, Richard would forsake almost every
lead, choosing instead to grind out some much
needed rhythm on his timeless Fender. He
finally cut loose l2 songs into the set on
“Let Me Go,” spewing out a blistering volley of
staccato triplets that would make Chuck Berry
wince with envy. And then, for one of the few
times during this two-month tour, Keith
Richard would smile.
But on Monday. Jagger is the workhorse. He
doesn’t flirt with the crowd. Instead, he offers
up a hardened, pornographic message to a
crowd of fascinated voyeurs. Like James Brown
and Elvis Presley before him, Jagger has
mastered the art of @#$%& you with every
song. On “Start Me Up,” Jagger is banging
away on a crowd of 18,500. He knows it; you
know it.
You make a grown man cry. . .
The band rolls into “Miss You.” The music
is ragged but raunchy: the lyrics are quite at
home in the gutter. Jagger carries the band
through this schizoid number with the ap
propriate degree of 1970 s gjitter. “Miss You"
wants to be rock, but has inherited the beat of
disco. The result lands in another realm en
tirely. Richard, his back to the crowd, lays
down the rhythm two feet from Watts’ bass
drum. Saxman Eddie Watts walks on and off
for a screaming solo, but his effort is buried
beneath Ronnie Wood’s shrill leads. Jagger
climbs atop the top of the massive, rotating
stage, distracting the crowd from the musical
carnage taking place.
On Tuesday, the boys will get it right.
Richard, all gristle and no flash, will drop low
before the second verse, taking the band with
him. With the arena almost embarrassingly
quiet, Jagger will creep to the edge of the stage,
cups his hands around the mike and slur out
his finest innuendo.
We gonna come around with some Puerto
Rican girls . . .
But the strongest songs of Monday’s set come
early. Sensing an easy victory, dagger struts to
the mike to declare that the band has a few
oldies to run through.
“This first one’s by Eddie Cochran. 1 don’t
care if you never heard of
him,” Jagger says wryly.
Richard counts it down and the band is off,
ripping through the rockabilly syncopation of
“Twenty Flight Rock.” Watts catches every
beat, every break and it’s clear that having
pumped life back into Cochran’s 1958 classic,
the Rolling Stones are quite pleased with
themselves.
She says, "c-c-c'mon over baby, I'm all
alone ”
Two verses, a chorus and then the Human
Riff takes his turn. Richard wheels to center
stage and bangs out his twelve-bar opus like it
was a S2O-dollar whore. One more verse, one
more chorus and it’s done —two minutes of
roots, rock and rebel. To emphasize the point,
dagger struts through a version of Smokey
Robinson’s “Going to a Go-Go.” Talk about
nostalgia.
On Tuesday, dagger’s jokes and Richard’s
riffing will be even brighter during these
seemingly purposeless tunes.
“Here's a song that we didn’t even record,”
laughs dagger, aided by a Watts drumkick.
And after breathing new life into Memphis
rockabilly and Motown soul, the Rolling Stones
add their own subtle touch to those early
legacies, “dust My Imagination,” an old
Temptations classic that showed up unex
pectedly on 1979's Some Girls album, provides
for some of the night’s best efforts. Once again,
dagger dons a guitar and chords along, his voice
capturing notes and nuances that weren’t there
before.
Two boys for you. what about two girls for
me?
The song winds its way down with con
siderable grace, and the hard edge that remains
so typical of the band’s live show is noticeably
absent. But on Tuesday, Richard becomes
possessed by the song. With one boot planted
firmly on Watts' bass drum, Richard will rock
for seven minutes, wringing the last bit of
power out of every chord. His passion even
upstages dagger, who dances to the rear of the
stage, and, with guitar in hand, proceeds to
mug and mimic his alter-ego. Richard winces
at the fury of his own rhythm, and Mick
imitates him. Richard slams home the final
chord, dropping one knee to stage, dagger
drops down alongside, finally drawing a quick
laugh from rock V roll’s first punk.
Before giving the set over to the obvious
songs, the Stones dig down deep and come up
with “Time Is On My Side,” the 1964 classic.
The stage rolls right, dagger wheels left, and
with little encouragement, 18,500 are singing
along.
Whether by accident or intent, the lyrics are
strangely prophetic for a group that his lived
almost as long as rock itself.
Time is on my side, yes it is.
jagger lifts up his sweaty shirt for the ladies,
dons a ragged white Stetson and croons like a
Las Vegas has-been. Even Richard, who once
sang this song in a ihin tie and Nehru collar on
the Ed Sullivan Show, strolls to the mike for the
chorus. A London punk singing mid-60s R &
B. The contradiction is not lost on Ronnie
Wood, who breaks up at the sight.
The band finds the rhythm, if not the timing.
Richard belts out “Little T & A” as dagger
leaves for a change of shirt. In keeping with the
circumstance, Richard fails, practically
swallowing the microphone and forgetting
about the guitar he was trying to play. Then
again, what can you expect from a walking
drug store on a busy night? Keith was ripped
on Monday night, but, then again, it was also
dark outside; one learns to expect these things.
Tuesday night he gets it right, coughing up a
chorus so loud and guttural that Richard
himself seems taken aback.
She 's mah little rock n ’ roll. . .
On Tuesday, Richard would crowd one
microphone with Wood to whine out the
background vocals on “Let Me Go." dagger, as
he did the previous night, would bolt down to
the lighting control stand 30 rows deep into the
audience and, once there, belt out the third
verse and chorus before being whisked back to
the stage by a contingent of bodyguards. Such
bravado electrified the audience and amused
Richard, whose extended tour of duty at the
microphone caused him to miss his cue for the
lead by a few bars.
He quickly caught up.
Such mishaps are standard for the Rolling
Stones. The band thrives on spontaneous
combustion and solos have a habit of running
into and over each other as band members
ramble on separate paths. It’s not uncommon
to see Richard turn on his heel and yell, “Here
goes," only to find that dagger is singing the
next verse. At one point during “Let It Bleed,”
Wood and Richard both begin to solo only to
find that neither has picked up the rhythm.
In an age of phase-shifters, synthesizers and
rhythm machines, the Rolling Stones still seem
to understand just what rock V roil is.
On Tuesday, dagger strums an acoustic
guitar as an intro to “Waiting For a Friend.”
The electrical pickup goes bad and the in
strument sounds tinny and grating.
"Sounds shitty.” says Jagger, with a smile.
He continues to play.
On both nights, the Stones, for all the im
provisation, return to the benchmarks of their
career to close out the tour. “Honky Tonk
Women,” “dumpin’ dack Rash” and
“Satisfaction” follow each other in quick
succession.
Before the deluge, dagger stands at the edge
of the stage, leaning on lan Stewart’s piano.
The rogue takes his shirt off, loosens his belt
and leers at the women in the front row.
“It’s @#$%& hot in here, ain't it?”
Watts kicks into "Honkey Tonk Women.”
The lead in is sloppy, but both guitars find the
right feel soon enough. Bobby Keyes, perhaps
the greatest rock ’n’ roll saxman since Lee
Allen, walks on to close out a concert with the
last great rock 'n' roll band.
I met a gin-soaked barroom queen in
Memphis . . .
Jagger barely manages to drawl out the last
syllable of "Honky Tonk Women,” before
Richard kicks into “Brown Sugar.”
The arena rocks. Keyes, feeling the heat,
repeats his recorded sax solo note for note.
Richard prowls the stage, menacing the band
looking as if he’d strangle you with a used
guitar string if you missed a cue now. On "dack
Flash" the band throws caution away and rocks
for seven minutes.
The encore, of course, is “Satisfaction.”
The riff. The beat. The strut. And finally,
the leer. . .
I can 't get no. . .
Goodnight. Washington, D.C.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: July 2, 2018 19:11
Puffy Stickers
Edited 1 time(s). Last edit at 2018-07-04 18:01 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: July 4, 2018 20:34
LEEDS
photos by David Hicks
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: July 14, 2018 02:01
Edited 1 time(s). Last edit at 2018-07-14 02:12 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: July 18, 2018 02:53
1981
1234 (Ronnie Wood album)
"1234," released in September 2, 1981, is the fourth solo album by Ronnie Wood.
It was Recorded in April–May 1981 at Chateau Recorders, Hollywood, and Record Plant, Los Angeles.
Culled from thrown-away ideas and rejects from previous efforts, 1-2-3-4 isn't much of a record.
His superstar friends make appearances, and the title track is rather catchy.
The album was co-produced by Andy Johns and features musical contributions from Ian McLagan,
Charlie Watts, Bobby Womack, Waddy Wachtel and Nicky Hopkins, among others.
Track Listing
1. 1234 (R. Wood)
2. Fountain of Love (J. Ford, R. Wood)
3. Outlaws (J. Ford, R. Wood)
4. Redeyes (R. Wood)
5. Wind Howlin' Through (R. Wood)
6. Priceless (B. Womack, R. Wood)
7. She Was Out There (R. Wood)
8. Down to the Ground (R. Wood)
9. She Never Told Me (J. Ford, R. Wood)
Personnel
Carmine Appice - Drums (6)
Jay Davis - Bass (6)
Jimmy Haslip - Bass (8, 9)
Nicky Hopkins - Piano (3, 4, 6, 8), Keyboards (9)
Jim Horn - Horns (1)
Jim Keltner - Percussion (1, 7, 9)
Bobby Keys - Saxophone (1)
Clydie King - Background Vocals (2, 6)
Robin LeMesurier - Guitar (6)
Steve Madaio - Horns (1)
Sherlie Matthews - Background Vocals (2)
Ian McLagan - Electric Piano (2), Organ (3, 7, 8), Keyboards (9)
Alan Myers - Drums (5)
Anita Pointer - Background Vocals (3, 9)
Mr. Rod Stewart - Arranger (6)
Alvin "Red" Taylor - Drums (1)
Waddy Wachtel - Acoustic Guitar (9)
Ian Wallace - Drums (2, 3, 8)
Charlie Watts - Drums (4, 7, 9)
Bobby Womack - Bass (2)
Ronnie Wood - Bass (1, 4, 5, 9), Guitar (2, 3, 4, 5, 6, 7, 9), Dobro (4), Piano (7), Keyboards (9), Vocals (1-3, 5-9)
Ron Wood - Producer
Andy Johns - Producer, Engineer
Tom Yuill - Engineer (5)
Eddie Delena - Assistant Engineer
Kevin Eddy - Assistant Engineer
Karrot Faye - Assistant Engineer
[en.wikipedia.org])
1234: [www.youtube.com]
Red Eyes: [www.youtube.com]
Outlaws: [www.youtube.com]
+++++++++
"B-52s Over Hollywood" - bumper art for TV show "Fridays", album cover Ronnie Wood 1234 - Capitol Records
DAVID PETERS DESIGN
more David Peters art: [dpetersart.com]
1234 (Ronnie Wood album)
"1234," released in September 2, 1981, is the fourth solo album by Ronnie Wood.
It was Recorded in April–May 1981 at Chateau Recorders, Hollywood, and Record Plant, Los Angeles.
Culled from thrown-away ideas and rejects from previous efforts, 1-2-3-4 isn't much of a record.
His superstar friends make appearances, and the title track is rather catchy.
The album was co-produced by Andy Johns and features musical contributions from Ian McLagan,
Charlie Watts, Bobby Womack, Waddy Wachtel and Nicky Hopkins, among others.
Track Listing
1. 1234 (R. Wood)
2. Fountain of Love (J. Ford, R. Wood)
3. Outlaws (J. Ford, R. Wood)
4. Redeyes (R. Wood)
5. Wind Howlin' Through (R. Wood)
6. Priceless (B. Womack, R. Wood)
7. She Was Out There (R. Wood)
8. Down to the Ground (R. Wood)
9. She Never Told Me (J. Ford, R. Wood)
Personnel
Carmine Appice - Drums (6)
Jay Davis - Bass (6)
Jimmy Haslip - Bass (8, 9)
Nicky Hopkins - Piano (3, 4, 6, 8), Keyboards (9)
Jim Horn - Horns (1)
Jim Keltner - Percussion (1, 7, 9)
Bobby Keys - Saxophone (1)
Clydie King - Background Vocals (2, 6)
Robin LeMesurier - Guitar (6)
Steve Madaio - Horns (1)
Sherlie Matthews - Background Vocals (2)
Ian McLagan - Electric Piano (2), Organ (3, 7, 8), Keyboards (9)
Alan Myers - Drums (5)
Anita Pointer - Background Vocals (3, 9)
Mr. Rod Stewart - Arranger (6)
Alvin "Red" Taylor - Drums (1)
Waddy Wachtel - Acoustic Guitar (9)
Ian Wallace - Drums (2, 3, 8)
Charlie Watts - Drums (4, 7, 9)
Bobby Womack - Bass (2)
Ronnie Wood - Bass (1, 4, 5, 9), Guitar (2, 3, 4, 5, 6, 7, 9), Dobro (4), Piano (7), Keyboards (9), Vocals (1-3, 5-9)
Ron Wood - Producer
Andy Johns - Producer, Engineer
Tom Yuill - Engineer (5)
Eddie Delena - Assistant Engineer
Kevin Eddy - Assistant Engineer
Karrot Faye - Assistant Engineer
[en.wikipedia.org])
1234: [www.youtube.com]
Red Eyes: [www.youtube.com]
Outlaws: [www.youtube.com]
+++++++++
"B-52s Over Hollywood" - bumper art for TV show "Fridays", album cover Ronnie Wood 1234 - Capitol Records
DAVID PETERS DESIGN
more David Peters art: [dpetersart.com]
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: July 23, 2018 01:44
VIDEO: [www.youtube.com]
The Rolling Stones: 1981 Tour Anniversary Part 1 Philly/Buffalo/Rockford/San Diego/San Francisco
VIDEO: [www.youtube.com]
The Rolling Stones: 1981 Tour Anniversary Part 2 San Francisco/Orlando/Dallas/NYC/Syracuse/Pontiac
The Rolling Stones: 1981 Tour Anniversary Part 1 Philly/Buffalo/Rockford/San Diego/San Francisco
VIDEO: [www.youtube.com]
The Rolling Stones: 1981 Tour Anniversary Part 2 San Francisco/Orlando/Dallas/NYC/Syracuse/Pontiac
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: July 27, 2018 01:57
Patti Hansen, Kay Mitchell, and Keith Richards of the Rolling Stones 1982 in New York City.
Kay Mitchell looks as happy as could be to be having fun with Kieth and Patti, just as any of us would be!
I tried to research Kay Mitchhell. I'm not sure if she's the famous author. I don't think she is the writer.
Does anyone know who is this person?
Edited 1 time(s). Last edit at 2018-07-28 13:09 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: July 29, 2018 17:39
Edited 1 time(s). Last edit at 2018-07-29 17:40 by exilestones.
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