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jahisnotdead
I've probably written this on this thread before but this arrangement of satisfaction has always been my favorite.
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liddas
Never understood why people consider the 89/90 tour to be a sort of recreation of the studio versions. Only because Devil returns to be a piano driven song?
C
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DoxaQuote
liddas
Never understood why people consider the 89/90 tour to be a sort of recreation of the studio versions. Only because Devil returns to be a piano driven song?
C
Yeah, very strange. Like what these two dudes claim:
Ron Wood & Keith Richards (1989): No longer winging it
Ron: We're doing You Can't Always Get What You Want just like the record, with all the builds and crescendos. In '81, we would just start the song and kind of wing it. I used to have a solo that wasn't any specific length. But now we've got to work within limitations, certain amounts of bars. I've got to be on the ball or everyone will be making chord changes and I won't. That one song has got a lot of tricks in it for me personally.
Keith: Over the years, you develop a simplified road version of a song that you get used to. But this time, we thought, Let's go back and listen very carefully to the records to find what we were originally going for when we made it. All the subtleties and the half bar jumps. We thought we ought to do the songs up proud and have the things that were on the record. And once you go back and research what you did, you say, Well, the reason we did it like that is because we had these voices or because we had these horns. That's why we have the enlarged line-up. Tumbling Dice without the voices is kind of bare.
(The source: timeisonourside.com)
- Doxa
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Taylor1
This all presupposes that in a live experience trying to replicate exactly how the song sounded on record is better than doing it differently.Although I really like the 1989- 1990, the looser jamming earlier is just as good.I think the earlier extended playing on songs detracted from Mick being the focal point.
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DandelionPowderman
Still loving the album. It sounds better than 7th of July and the others, with the exception of Atlantic City.
Regarding arranging the songs to sound like the originals, that is indeed true. However, it didn't take long before they (Keith in particular) started doing things that were far off from the studio albums. YCAGWYW from Live At The Max springs to mind
The funniest thing he did must be on the Live At The Tokyo Dome-album, where he is downright sabotaging Matt's synth guitar solo after 2000 LYFH
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DandelionPowderman
Not really outtakes, but there were a few more released from the tours:
Sympathy For The Devil (live): From the Highwire EP
Tumbling Dice: Extra track on CD-single Jumping Jack Flash (from Live at the Max)
Street Fighting Man: Extra track on CD-single Jumping Jack Flash (from Live at the Max)
Harlem Shuffle: Extra track on CD-Single Ruby Tuesday
Gimme Shelter: 1993 charity single
Live at the MAX was released in The Netherlands only. There are some available on [www.discogs.com] (edit, bit prizy though...)Quote
dedospegajososQuote
DandelionPowderman
Not really outtakes, but there were a few more released from the tours:
Sympathy For The Devil (live): From the Highwire EP
Tumbling Dice: Extra track on CD-single Jumping Jack Flash (from Live at the Max)
Street Fighting Man: Extra track on CD-single Jumping Jack Flash (from Live at the Max)
Harlem Shuffle: Extra track on CD-Single Ruby Tuesday
Gimme Shelter: 1993 charity single
Where can I find those? Not in the singles collection box set right?
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Doxa
And Atlantic City could be individually one of the best Stones concerts ever. The band was hot as hell, with all the cylinders on. Shit, take "Bitch" - can anyone play rock and roll any better than that? They play just so incredibly well - so damn tight, but still having a groove like no one else.
- Doxa
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MononoMLive at the MAX was released in The Netherlands only. There are some available on [www.discogs.com] (edit, bit prizy though...)Quote
dedospegajososQuote
DandelionPowderman
Not really outtakes, but there were a few more released from the tours:
Sympathy For The Devil (live): From the Highwire EP
Tumbling Dice: Extra track on CD-single Jumping Jack Flash (from Live at the Max)
Street Fighting Man: Extra track on CD-single Jumping Jack Flash (from Live at the Max)
Harlem Shuffle: Extra track on CD-Single Ruby Tuesday
Gimme Shelter: 1993 charity single
Where can I find those? Not in the singles collection box set right?
Think i bought mine in Rotterdam at the Imax in Rotterdam, my copy got this hype sticker
too.
I don;t know about the charity single.
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DandelionPowderman
Still loving the album. It sounds better than 7th of July and the others, with the exception of Atlantic City.
Regarding arranging the songs to sound like the originals, that is indeed true. However, it didn't take long before they (Keith in particular) started doing things that were far off from the studio albums. YCAGWYW from Live At The Max springs to mind
The funniest thing he did must be on the Live At The Tokyo Dome-album, where he is downright sabotaging Matt's synth guitar solo after 2000 LYFH
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MelBelli
I’m sure this has been talked about before, so, apologies in advance, but did Ronnie overdub a b-bender part for SMU here?
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GasLightStreetQuote
DandelionPowderman
Still loving the album. It sounds better than 7th of July and the others, with the exception of Atlantic City.
Regarding arranging the songs to sound like the originals, that is indeed true. However, it didn't take long before they (Keith in particular) started doing things that were far off from the studio albums. YCAGWYW from Live At The Max springs to mind
The funniest thing he did must be on the Live At The Tokyo Dome-album, where he is downright sabotaging Matt's synth guitar solo after 2000 LYFH
7th Of July sounds awesome though!
Jumpin' Jack Flash was released in several countries in Europe. Those that had IMAX theaters at the time.Quote
MononoMLive at the MAX was released in The Netherlands only. There are some available on [www.discogs.com] (edit, bit prizy though...)Quote
dedospegajososQuote
DandelionPowderman
Not really outtakes, but there were a few more released from the tours:
Sympathy For The Devil (live): From the Highwire EP
Tumbling Dice: Extra track on CD-single Jumping Jack Flash (from Live at the Max)
Street Fighting Man: Extra track on CD-single Jumping Jack Flash (from Live at the Max)
Harlem Shuffle: Extra track on CD-Single Ruby Tuesday
Gimme Shelter: 1993 charity single
Where can I find those? Not in the singles collection box set right?
Think i bought mine in Rotterdam at the Imax in Rotterdam, my copy got this hype sticker
too.
I don;t know about the charity single.
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liddas
Never understood why people consider the 89/90 tour to be a sort of recreation of the studio versions. Only because Devil returns to be a piano driven song?
Very simply it was Jagger's 88 solo show template adapted to the stones.
And Jagger's solo show was heavily influenced by what the big acts of the time where doing (Jackson, Madonna, Police, Prince, Bowie etc.), by the sounds of the 80's (synths, loops etc.), and, probably mostly, by what technology allowed to do on stage.
I don't think that the so called professional version of the band that was born with that tour had anything to do with Jagger being fed up with the sloppiness of the previous tours. That's BS. The band HAD to standardize its output so that lights, screens, inflatable dolls and so on could function in sinc.
Jagger always loved the extended jams because being the stage animal that he is, he knows that that is the time for him to work the crowds - and rest his voice too -
C
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SighuntQuote
liddas
Never understood why people consider the 89/90 tour to be a sort of recreation of the studio versions. Only because Devil returns to be a piano driven song?
Very simply it was Jagger's 88 solo show template adapted to the stones.
And Jagger's solo show was heavily influenced by what the big acts of the time where doing (Jackson, Madonna, Police, Prince, Bowie etc.), by the sounds of the 80's (synths, loops etc.), and, probably mostly, by what technology allowed to do on stage.
I don't think that the so called professional version of the band that was born with that tour had anything to do with Jagger being fed up with the sloppiness of the previous tours. That's BS. The band HAD to standardize its output so that lights, screens, inflatable dolls and so on could function in sinc.
Jagger always loved the extended jams because being the stage animal that he is, he knows that that is the time for him to work the crowds - and rest his voice too -
C
I saw your post and I would have to agree with part of it. From what I read at the time, it appeared that Jagger was influenced by what was going on with then current music trends. And I also believe your observation is on point that a lot of the Stones re-arrangement of classic tunes on the Steel Wheels stemmed from "Jagger's 88 solo show template adapted to the stones."
But I have to disagree with your assessment that "the so called professional version of the band that was born with that tour had anything to do with Jagger being fed up with the sloppiness of the previous tours."
And once again, I'm drawing from what insider Bill German observed at the time and reported in his book. Jagger's mindset was that he did not think that the Stones previous loose/raw/ idiosyncratic (i.e "road versions" or whatever you want to call it) style of playing would be endearing to a modern (circa 1989) audience, and in order to reach the largest demographic (and not just the hardcore Stones fans), the decision was made to play the hits the way the people remembered them (which produced a more professional, polished ensemble). Once again, it was more a business decision at the time.
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liddasQuote
SighuntQuote
liddas
Never understood why people consider the 89/90 tour to be a sort of recreation of the studio versions. Only because Devil returns to be a piano driven song?
Very simply it was Jagger's 88 solo show template adapted to the stones.
And Jagger's solo show was heavily influenced by what the big acts of the time where doing (Jackson, Madonna, Police, Prince, Bowie etc.), by the sounds of the 80's (synths, loops etc.), and, probably mostly, by what technology allowed to do on stage.
I don't think that the so called professional version of the band that was born with that tour had anything to do with Jagger being fed up with the sloppiness of the previous tours. That's BS. The band HAD to standardize its output so that lights, screens, inflatable dolls and so on could function in sinc.
Jagger always loved the extended jams because being the stage animal that he is, he knows that that is the time for him to work the crowds - and rest his voice too -
C
I saw your post and I would have to agree with part of it. From what I read at the time, it appeared that Jagger was influenced by what was going on with then current music trends. And I also believe your observation is on point that a lot of the Stones re-arrangement of classic tunes on the Steel Wheels stemmed from "Jagger's 88 solo show template adapted to the stones."
But I have to disagree with your assessment that "the so called professional version of the band that was born with that tour had anything to do with Jagger being fed up with the sloppiness of the previous tours."
And once again, I'm drawing from what insider Bill German observed at the time and reported in his book. Jagger's mindset was that he did not think that the Stones previous loose/raw/ idiosyncratic (i.e "road versions" or whatever you want to call it) style of playing would be endearing to a modern (circa 1989) audience, and in order to reach the largest demographic (and not just the hardcore Stones fans), the decision was made to play the hits the way the people remembered them (which produced a more professional, polished ensemble). Once again, it was more a business decision at the time.
In fact I completely agree with you in half (to quote a Roma football player of some years ago) also on the second point. What I meant to say is that what we call the professional version of the band was in fact a shared artistic decision (very likely "suggested by Mick") to make the show the most effective and not - as I have read here many times - the condition imposed by Mick on the Keith to allow the Stones to continue touring or for him to tour with the stones, which is the same.
Same as in the past: they added an ace soloist to the set when solos where popular, sort of changed direction when punk buried glam, and so on.
To my ears, the Stones - in their canon - always were a very tight band. Of course, on very large stages with the technology of the 60 and 70s, shit happened more often.
So my point is that the perceived extra tightness of the 89 tour is mainly related to the addition of extra musicians on stage, and the need to balance all of them in the mix, as noted by Ronnie and Keith in the passages quoted by Doxa above.
One thing is sure though, no matter what Jagger and the rest of the band thought when they decided to recover touches of the origial studio arrangements here and there, 90% of those attending the concert couldn't tell the difference between a piano and guitar version of Devil, and even if they could, they wouldn't give a damn as long as Mick does his thing
C
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GasLightStreet
SFTD changed drastically. It's arguable, I guess, that it was closer to the studio version. It wasn't - but they paid homage to it. When it kicked in with the band, well, then it was different but not like previously. But it hasn't changed since since 1989. Which is kind of weird.