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GasLightStreet
In regard to the subject, I dunno. Based on what I've heard of both tours I'm more partial to 1981 but the LEEDS show sounds excellent. I might be more partial to 1981 because a majority of live material I've heard is from that tour.
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GasLightStreet
I can't remember who generally chimes in about Bobby on this tour. Doxa, perhaps. If I recall correctly, har har, Bobby joined in around 3/4 of the US tour and was on the entire 1982 tour.
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gastonl74
Your appreciation is very good! The two tours seem completely different to me, the horn section changes a lot in the performances.
Chuck contributes more to the musical, and at least you can hear it, instead Ian Maclagan is only heard in Beast Of Burden, then it seems that they lower the volume!
and it is true that Mick's voice is much better than on the tour `81
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GasLightStreet
I can't remember who generally chimes in about Bobby on this tour. Doxa, perhaps. If I recall correctly, har har, Bobby joined in around 3/4 of the US tour and was on the entire 1982 tour.
Bobby joined from October 9 in LA, and stayed until the end. So he played 90% of the tour.
The second part of the 1981 is far better than 1982 in my opinion. In 1981 they still were the big bad Rolling Stones, in 1982 the horns became way too orchestrated and Chuck Leavell injected a healthy dose of non-RnR into the Stones.
Mathijs
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shawnriffhard1
Vienna-
[youtu.be]
Not perfect video, but the sound is quite good. Overall, a very worthy viewing, IMO.
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GasLightStreet
What I've always found so interesting is how awful the sound they put out for the TATTOO YOU tours works great with Under My Thumb, When The Whip Comes Down, Imagination, Time Is On My Side, Going To A Go-Go, Let Me Go, Let It Bleed and even Honky Tonk Women but the rest of it is awful, which is more of a result of the rushed and frantic performances grinding against the twanky bright trebly sound, which, bizarrely, on some tunes the heave of Wyman's playing is fantastically audible and provides great audio examples of his and Charlie's interaction.
That aside, it's possibly their most distinct live sound on record.
They sounded pretty damn good in 1978 in comparison. Whip on SUCKING IN THE SEVENTIES as well as all of LIVE IN TEXAS is awesome. It's alive and has a vital essence to it that's akin to 1969-1973's energy.
Perhaps their best (post-Taylor) sound was present with the BRIDGES and LICKS tours. VOODOO had a bit of lethargy to it, even when they were cooking on Tumbling Dice and Monkey Man and I Go Wild.
It's happenstance that the clothing helps define the sound but that's strictly a historical convenient aspect of putting the shininess or brightness or punkness etc to the music: in a weird way, it does combine.
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Stoneage
Apart from that, I still wish they had made a double album out of "Still Life". Maybe it was meant for that initially since it was a gatefold album?
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MadMax
Neighbours from Leeds is almost as good as Imagination from Hampton. But for me, the autumn of 1981 just edges it, probably a lot of it 'cause of Mac.
I'd say the supply lines seems to have been BETTER in Europe or the sped up shows depends on not getting enough of the peruvian marching powder and instead having to rely on the stuff Lemmy from Motörhead used to prefer....?
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DandelionPowdermanQuote
MadMax
Neighbours from Leeds is almost as good as Imagination from Hampton. But for me, the autumn of 1981 just edges it, probably a lot of it 'cause of Mac.
I'd say the supply lines seems to have been BETTER in Europe or the sped up shows depends on not getting enough of the peruvian marching powder and instead having to rely on the stuff Lemmy from Motörhead used to prefer....?
Too cheap stuff for the Stones