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StonedRamblerBjornulf is just really tallQuote
bitusa2012
GREAT photos BV. Tell me/us… somehow you seem to have superb pics taken from slightly above ground/pit level. They don’t seem to be taken from IN the bottom of the pit. You’re looking straight at the band, even slightly DOWN on them occasionally. Do you levitate???
Took a little bit for me to get the jokeQuote
bitusa2012Quote
StonedRamblerBjornulf is just really tallQuote
bitusa2012
GREAT photos BV. Tell me/us… somehow you seem to have superb pics taken from slightly above ground/pit level. They don’t seem to be taken from IN the bottom of the pit. You’re looking straight at the band, even slightly DOWN on them occasionally. Do you levitate???
Meet him in Perth in 2014. No, he’s not!!!! ;-)
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DandelionPowdermanQuote
Jeffer
He play's the intro in open G, just as he did with the Winos.The sounds reminds of a Telecaster. After the intro is done, ha changes to the Gibson Les Paul Jr with standrad tuning. Look att the clip where he is hiding in the beginning and Ronnie's guitar is the only you can hear during the switch.
[www.youtube.com]
No, he doesn't. And he didn’t with the Winos.
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JefferQuote
DandelionPowdermanQuote
Jeffer
He play's the intro in open G, just as he did with the Winos.The sounds reminds of a Telecaster. After the intro is done, ha changes to the Gibson Les Paul Jr with standrad tuning. Look att the clip where he is hiding in the beginning and Ronnie's guitar is the only you can hear during the switch.
[www.youtube.com]
No, he doesn't. And he didn’t with the Winos.
Sorry, I was wrong.
But he plays the lick different and this way fits him better because it's similar to his open g-chords. The lick is played the same way in th 89-90 tour.
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JefferQuote
DandelionPowdermanQuote
Jeffer
He play's the intro in open G, just as he did with the Winos.The sounds reminds of a Telecaster. After the intro is done, ha changes to the Gibson Les Paul Jr with standrad tuning. Look att the clip where he is hiding in the beginning and Ronnie's guitar is the only you can hear during the switch.
[www.youtube.com]
No, he doesn't. And he didn’t with the Winos.
Sorry, I was wrong.
But he plays the lick different and this way fits him better because it's similar to his open g-chords. The lick is played the same way as in the 89-90 tour which you can hear from Atlantic City with Stones and Boston 93 with Winos.
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StonedRamblerI think I might have been played in open E. It sounds similar to the original version which is in Open E. You can definitely hear that it's a different guitar, does not sound like the LP Junior but rather like a Fender - judging from that one Youtube video that is available.Quote
DandelionPowdermanQuote
Jeffer
He play's the intro in open G, just as he did with the Winos.The sounds reminds of a Telecaster. After the intro is done, ha changes to the Gibson Les Paul Jr with standrad tuning. Look att the clip where he is hiding in the beginning and Ronnie's guitar is the only you can hear during the switch.
[www.youtube.com]
No, he doesn't. And he didn’t with the Winos.
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MelBelliQuote
JefferQuote
DandelionPowdermanQuote
Jeffer
He play's the intro in open G, just as he did with the Winos.The sounds reminds of a Telecaster. After the intro is done, ha changes to the Gibson Les Paul Jr with standrad tuning. Look att the clip where he is hiding in the beginning and Ronnie's guitar is the only you can hear during the switch.
[www.youtube.com]
No, he doesn't. And he didn’t with the Winos.
Sorry, I was wrong.
But he plays the lick different and this way fits him better because it's similar to his open g-chords. The lick is played the same way as in the 89-90 tour which you can hear from Atlantic City with Stones and Boston 93 with Winos.
I know what you mean. It’s not in open-G, but he is doing it like he used to … he’s playing A shapes rather than E shapes, starting at sixth fret rather than 9th. I prefer that, too, and it’s allowing him to grab the slightly different arpeggio that you hear on the record.
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DandelionPowdermanQuote
MelBelliQuote
JefferQuote
DandelionPowdermanQuote
Jeffer
He play's the intro in open G, just as he did with the Winos.The sounds reminds of a Telecaster. After the intro is done, ha changes to the Gibson Les Paul Jr with standrad tuning. Look att the clip where he is hiding in the beginning and Ronnie's guitar is the only you can hear during the switch.
[www.youtube.com]
No, he doesn't. And he didn’t with the Winos.
Sorry, I was wrong.
But he plays the lick different and this way fits him better because it's similar to his open g-chords. The lick is played the same way as in the 89-90 tour which you can hear from Atlantic City with Stones and Boston 93 with Winos.
I know what you mean. It’s not in open-G, but he is doing it like he used to … he’s playing A shapes rather than E shapes, starting at sixth fret rather than 9th. I prefer that, too, and it’s allowing him to grab the slightly different arpeggio that you hear on the record.
But is he doing that now?
EDIT: Yep, he is. Even touching on the suspended chord that is different on the studio version.
I like it. He should add a touch of tremolo to it.
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Rocktiludrop
Sorry to be a pain but can someone ( DP or a guitar anorak ) confirm if Keith is playing the intro to Gimme Shelter, it's fantastic.
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DandelionPowdermanQuote
Rocktiludrop
Sorry to be a pain but can someone ( DP or a guitar anorak ) confirm if Keith is playing the intro to Gimme Shelter, it's fantastic.
Yes, he's playing it differently. A-shaped chords/riffs, like he did with the Winos + a few licks from the studio version
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RocktiludropQuote
DandelionPowdermanQuote
Rocktiludrop
Sorry to be a pain but can someone ( DP or a guitar anorak ) confirm if Keith is playing the intro to Gimme Shelter, it's fantastic.
Yes, he's playing it differently. A-shaped chords/riffs, like he did with the Winos + a few licks from the studio version
Thanks Dande, hope he sticks to it, he's always got a surprise, nice solo on Slipping away too.
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bye bye johnny
Review: The Rolling Stones show why they’re the greatest rock ‘n’ roll band
Scott Mervis
October 5, 2021
Emily Matthews
Mick Jagger wasn’t around “when Jesus Christ had his moment of doubt and pain,” as he sang late in the set, but he was actually around just after the Blitzkrieg raged.
Somehow, he’s still running around stadium catwalks like a teenager.
The wonders of the 78-year-young Jagger, in an array of sleek, flashy jackets, were on full display Monday night when The Rolling Stones. after a pandemic delay, finally touched down at Heinz Field on the No Filter Tour.
With the Stones having played their first show here in 1964, it now widens the gap between Pittsburgh shows to a whopping 57 years. Making each of the shows all the more precious, this was just the 11th stop here during that span (as they ignored us for 17 years between the glorious ‘72 tour and Steel Wheels in ‘89).
This time, the Stones travel with heavy hearts, having just lost the heartbeat of the band, Charlie Watts, in August. He was honored at the top of the show with a moving video montage of him playing a simple backbeat.
The Stones hit the stage at 8:48 p.m., striking a defiant tone with “Street Fighting Man,” guitars clanging and Jagger singing in clipped fashion. He was just getting warmed up.
It launched a 19-song set, all but three of which were classics from their mid-‘60s to early ’80s heyday. They could have gone on for six or seven more hours with those. Paul McCartney does 35-plus song sets, just sayin’, but he doesn’t have to “move like Jagger” (an obligatory phrase now in any Stones review).
“It’s quite emotional when you see these images of Charlie up on the screen,” Jagger told the crowd. “We played with each other for 59 years…We dedicate this show to Charlie Watts.”
The Stones are now the two originals in Jagger and his 77-year-old Glimmer Twin Keith Richards, along with “the new guy” Ronnie Wood, who moved over from The Faces in 1975. The three of them generate the core of a sexy sound that has defined the Stones through the decades.
Their roots are in American blues, so despite some of their records being glossy at times, they much prefer LOUD and RAW to slick, produced and note-perfect. That element of chaos to the guitar work makes it all the more visceral and electric, and clearly have a blast doing it.
Early on, they stormed through “Let’s Spend the Night Together,” “Tumbling Dice” and “19th Nervous Breakdown” before getting to the first rarity with “Troubles a’ Comin,” a cover of a Chi-Lites song they recorded in 1979 that’s just now being released as part of the “Tattoo You” boxed set.
“I was hoping to do ‘As Tears Go By’ in Italian, but it didn’t win,” Jagger said of the online fan-vote request song. The honors went to “Angie,” given a lovely treatment with RIchards on acoustic guitar.
It was paired with “You Can't Always Get What You Want,” done this time without the full choir production, but with a searing Wood solo, a crowd sing-along and a revved-up gospel finish.
“Thank you, Pittsburgh, you sang brilliantly!” Jagger hollered. “Even better than Cleveland.”
“Living in a Ghost Town,” the funky, almost tropical rocker released during the pandemic, followed the trend new Stones songs sounding enough like old Stones songs. With the energy waning a bit on that one, they cranked things right back up again with “Start Me Up,” a song probably played hundreds of times in this stadium, “scene of a lot of drama,” as Jagger called it.
Before making the band intros, Jagger mentioned not having much time to explore the city — like “glaring at myself at the Andy Warhol Museum” — but he did say he hit Primanti’s on Saturday, and that he would have to loosen his britches. They are slimmest size possible.
Eleven songs in, he went off to get oxygen, or whatever he does, leaving the stage to Keef, in a leopard blouse and bright yellow knit hat, to handle the vocals on “Slipping Away” and “Before They Make Me Run,” which included a touching moment when he put his hand on his heart to sing, “It’s another goodbye to another good friend.”
In for that good friend was a different old friend in Steve Jordan, a member of Richards’ late ‘80s solo band X-pensive Winos. He filled in nicely by driving a muscular beat with bassist Daryl Jones, who replaced Bill Wyman in 1994. Rounding out the ensemble were keyboardists Chuck Leavell and Matt Clifford, backing vocalists Bernard Fowler and Sasha Allen, and saxophonists Tim Ries and Karl Denson.
They got to jam out together when Jagger returned for a disco-funk workout on “Miss You,” followed by a magnificent “Midnight Rambler” with the singer blowing harp and an absolute barsage of loud snarling from the guitars. It was the Stones in peak form.
Once Jagger caught his breath, they stomped into one of the great, exotic odes to misanthropy, “Paint It Black,” followed by a cosmic “Sympathy for the Devil” with a hellish fire to the screens and Richards taking liberties with the classic solo
“Jumpin’ Jack Flash” was an absolutely ecstatic closer, the riff ringing out so loud you could probably hear it in Squirrel Hill.
There was no doubt we were watching the greatest rock ‘n’ roll band of all time.
“That’s it for Pitt!” Jagger yelled, leaving the stage.
Ir wasn’t totally it because they came back with a “Gimme Shelter” that unleashed Allen in a shout-away with Jagger on the B-stage, and, finally, the song that made the Stones the Stones: “(I Can’t Get No) Satisfaction.”
The first time they played it here was ‘65 at the Civic Arena, when LBJ was the president and the song hit the planet like an asteroid. More than a half-century later, there’s life left in “Satisfaction” — and in the Stones, who were satisfied in every possible way ages ago, but keep rolling every time we think they’re done. They certainly earned those fireworks at the end.
Will they be back when they’re 83? Stay tuned.
Among those privileged to open for the Stones over the years in Pittsburgh: The Byrds, Stevie Wonder and Pearl Jam. Winning that coveted spot this time was Ghost Hounds, the Stonesy Pittsburgh-based band formed by guitarist, Hollywood producer and minority Steelers owner Thomas Tull.
They had a dynamic frontman of their own in Tre Nation, who was up to the challenge of impressing the people who weren’t still hanging in the parking lots and the concourse.
Since the tour for the debut album, they’ve enhanced the sound with three backup singers. Highlighting their set was the soul-rocker “She’s All Gone,” boogie-woogie number “Bad News” and their bluesy version of the old Cliff Richard tune “Devil Woman.”
Tull wished his 12-year-old twin boys happy birthday, saying “I’m glad I could get The Rolling Stones for your birthday.”
[www.post-gazette.com]