Quote
GasLightStreet
Listening online... Route 66 is great! Very surprised with how alive Hand Of Fate is.

Indeed. Such a fun version, and perfectly placed in the set.

[vocal.media]

“The new live release captures the last time the Stones were truly dangerous.

By 1977, the Rolling Stones were in trouble. Their previous albums, It’s Only Rock’n Roll and Black and Blue, did not match the heights of their halcyon run of legendary albums from 1968 to 1973. The loss of Mick Taylor was a tremendous blow to them artistically, and Keith Richards’ drug habit was spiraling out of control and affecting his musical ability. Despite bringing in former Faces guitarist Ron Wood to the fold, the band struggled to match the fireworks of their peak years, and their live shows had become sloppy and lethargic, lacking in the vigor and danger that made their 1971-73 treks among rock’s most celebrated live experiences.
After their widely criticized 1976 tour of Europe, the band themselves realized what everyone had known for some time: the Stones needed an injection. Not the kind that was slowly killing Keith, but a fresh, energetic platform to reestablish themselves as rock’s most exciting band and a true force to be reckoned with.
On March 4th and 5th, 1977, the band booked two gigs at Toronto’s legendary El Mocambo club, a 500 seat venue where local bands made their bones, as opposed to the 20,000 seat arenas the World’s Greatest Rock and Roll Band had grown accustomed to since their 1960s’ heyday. Keith had just been busted in Toronto on a heroine charge, so the performance was a sort of goodwill gesture in that regard. The band hadn’t played in a venue of this size since they were starting out.
Bootlegs of this show have circulated in fragmented form since shortly after the show was performed, but in 2022, in preparation for the band’s 60th anniversary, the Stones have finally released tracks from both shows in their entirety. The release, simply titled El Mocambo ’77, confirms what was thought of all this years: the El Mocambo shows are among the greatest and most important Rolling Stones shows of all time.
From end to end, this is the Stones at their best: raw, loud, gritty, snarling, dangerous, teetering on the edge of chaos. Sloppy, but ‘good sloppy’: the entire band is in a groove and playing for their lives, especially Keith who got his shit together for these shows and gave some of the most searing guitar work of his entire career. He owns this entire show and crushes every dirty lick, riff and rhythm that comes his way. Mick is at his lascivious best, Wyman and Watts hold down the fort as forcefully as they always have, and Wood fully comes into his own, perfecting his signature ‘weaving’ with Keith and laying down some smoking hot axe work of his own on tracks like “Crackin’ Up” and “Worried About You.”
There isn’t a weak performance of any of the 23 songs, but some of the highlights include arresting renditions of Stones classics “Honky Tonk Women” and “Jumping Jack Flash,” a pulsating “Hot Stuff,” and the forgotten gem “Dance Little Sister” that barely stays on track but manages to be one of the most exciting Stones live cuts of all time. The blues cuts, particularly “Worried Life Blues” and “Mannish Boy,” show why the Stones are the only white boys who can do black blues music justice, injecting their own personalities into music while maintaining reverence for their progenitors.
The sound quality brings out the revelatory quality of the full performances out further, not losing any nuances or making the music sound too clean for its own good. Everything you’re meant to hear jumps right out of the speakers.
Coupled with beautiful packaging that delves deep into the shows’ legacy, El Mocambo ’77 sits comfortably up there with Get Yer Ya Ya’s Out and Brussels Affair ’73 as one of their best live releases, a forceful reminder of when they were far more than rock’s most entertaining nostalgia act and truly the Greatest Rock and Roll Band in the World.”

For those with Amazon music, the quality is ridiculous, the Ultra HD is lossless FLAC audio at 24-bit/192kHz. I haven’t tried the Dolby Atmos yet.

I get why some people are annoyed with Clearmountain mixes — he definitely leans towards treble and reverb. I personally like this sound, but I understand where people are coming from.



Edited 2 time(s). Last edit at 2022-05-15 06:08 by mnewman505.

Quote
keefgotsoul
[vocal.media]

“The new live release captures the last time the Stones were truly dangerous.

By 1977, the Rolling Stones were in trouble. Their previous albums, It’s Only Rock’n Roll and Black and Blue, did not match the heights of their halcyon run of legendary albums from 1968 to 1973. The loss of Mick Taylor was a tremendous blow to them artistically, and Keith Richards’ drug habit was spiraling out of control and affecting his musical ability. Despite bringing in former Faces guitarist Ron Wood to the fold, the band struggled to match the fireworks of their peak years, and their live shows had become sloppy and lethargic, lacking in the vigor and danger that made their 1971-73 treks among rock’s most celebrated live experiences.
After their widely criticized 1976 tour of Europe, the band themselves realized what everyone had known for some time: the Stones needed an injection. Not the kind that was slowly killing Keith, but a fresh, energetic platform to reestablish themselves as rock’s most exciting band and a true force to be reckoned with.
On March 4th and 5th, 1977, the band booked two gigs at Toronto’s legendary El Mocambo club, a 500 seat venue where local bands made their bones, as opposed to the 20,000 seat arenas the World’s Greatest Rock and Roll Band had grown accustomed to since their 1960s’ heyday. Keith had just been busted in Toronto on a heroine charge, so the performance was a sort of goodwill gesture in that regard. The band hadn’t played in a venue of this size since they were starting out.
Bootlegs of this show have circulated in fragmented form since shortly after the show was performed, but in 2022, in preparation for the band’s 60th anniversary, the Stones have finally released tracks from both shows in their entirety. The release, simply titled El Mocambo ’77, confirms what was thought of all this years: the El Mocambo shows are among the greatest and most important Rolling Stones shows of all time.
From end to end, this is the Stones at their best: raw, loud, gritty, snarling, dangerous, teetering on the edge of chaos. Sloppy, but ‘good sloppy’: the entire band is in a groove and playing for their lives, especially Keith who got his shit together for these shows and gave some of the most searing guitar work of his entire career. He owns this entire show and crushes every dirty lick, riff and rhythm that comes his way. Mick is at his lascivious best, Wyman and Watts hold down the fort as forcefully as they always have, and Wood fully comes into his own, perfecting his signature ‘weaving’ with Keith and laying down some smoking hot axe work of his own on tracks like “Crackin’ Up” and “Worried About You.”
There isn’t a weak performance of any of the 23 songs, but some of the highlights include arresting renditions of Stones classics “Honky Tonk Women” and “Jumping Jack Flash,” a pulsating “Hot Stuff,” and the forgotten gem “Dance Little Sister” that barely stays on track but manages to be one of the most exciting Stones live cuts of all time. The blues cuts, particularly “Worried Life Blues” and “Mannish Boy,” show why the Stones are the only white boys who can do black blues music justice, injecting their own personalities into music while maintaining reverence for their progenitors.
The sound quality brings out the revelatory quality of the full performances out further, not losing any nuances or making the music sound too clean for its own good. Everything you’re meant to hear jumps right out of the speakers.
Coupled with beautiful packaging that delves deep into the shows’ legacy, El Mocambo ’77 sits comfortably up there with Get Yer Ya Ya’s Out and Brussels Affair ’73 as one of their best live releases, a forceful reminder of when they were far more than rock’s most entertaining nostalgia act and truly the Greatest Rock and Roll Band in the World.”

"The new live release captures the last time the Stones were truly dangerous..."


And from there, they slowly but surely turned in to a Disneyland meets Vegas type of act - caricatures of their former selves.
Still fun to see them live even to this day for the nostalgia and entertainment, but a far cry from when they truly mattered as a "dangerous" rock and roll band.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......



Edited 1 time(s). Last edit at 2022-05-15 06:09 by Hairball.

Worried Life Blues is excellent.

Ronnie’s stock just keeps going up and up.

Keith is a bit out of tune in Worried About You.

Maybe interesting how close the lyrics are to the finished version in 1981.

Nice how Ronnie's solo laid back while Charlie was laid back.

Quote
GasLightStreet
Keith is a bit out of tune in Worried About You.

Maybe interesting how close the lyrics are to the finished version in 1981.

Nice how Ronnie's solo laid back while Charlie was laid back.

Yeah...seems like Ronnie tries to push forward but Charlie keeps holding back.
In the studio cut he switches to the snare after the solo starts, but here he keeps going with the bass drum, even after Mick kicks in...

Quote
deardoctortake1
Doesn't Mick play guitar on Crazy Mama?

Yes, in 1997, 5 string open G tele

But this looks like a 6 string strat type he used on Fingerprint file in 75-76, I thought the only song he played guitar on live until When The Whip Comes Down in 78

LP junior double cut on this one.

Quote
mnewman505
Dear Management,

Double Door 1997.
One CD and one standard def Blu-Ray, two disc set.

Knebworth 1976.
Two CD and one standard def Blu-Ray, three disc set.

Please and thank you.

The 1971 shows where Wild Horses and CYHMK were played are ones I want to hear. Wonder if they’re in the vaults?

Quote
keefgotsoul

Quote
mnewman505
Dear Management,

Double Door 1997.
One CD and one standard def Blu-Ray, two disc set.

Knebworth 1976.
Two CD and one standard def Blu-Ray, three disc set.

Please and thank you.

The 1971 shows where Wild Horses and CYHMK were played are ones I want to hear. Wonder if they’re in the vaults?

The only reason I picked those two — because I know they are just sitting on a shelf in the vault. Honestly, I’ll take anything I can get. I don’t think the Stones fully grasp or understand the value of their unreleased live material. This El Mocambo album is truly a revelation — the Black & Blue material alone is staggering and far surpasses the studio release.



Edited 3 time(s). Last edit at 2022-05-15 07:55 by mnewman505.

Quote
mnewman505

Quote
keefgotsoul

Quote
mnewman505
Dear Management,

Double Door 1997.
One CD and one standard def Blu-Ray, two disc set.

Knebworth 1976.
Two CD and one standard def Blu-Ray, three disc set.

Please and thank you.

The 1971 shows where Wild Horses and CYHMK were played are ones I want to hear. Wonder if they’re in the vaults?

The only reason I picked those two — because I know they are just sitting on a shelf in the vault. Honestly, I’ll take anything I can get. I don’t think the Stones fully grasp or understand the value of their unreleased live material. This El Mocambo album is truly a revelation — the Black & Blue material alone is staggering and far surpasses the studio release.

I completely agree with you

Quote
Elmo Lewis
After one listen through, my response is WOW!

The energy! Ronnie's playing. Watts and Wyman (Bill was on top of his game)! Of course, The Glimmers. Hell, even ole Billy Preston sounds great!

I also love the production values. More like Bob Seger's Live Bullet than the recently releases live stuff.

Most of these versions beat LYL totally.

All around - A+


A question: Has Hey Negrita ever been played live?

Yes it was played at every show in 1976 (except maybe Frankfurt, gotta check it up).

This release is a gem, I wanna buy multiple CD's and give it to friends and family to let them know how Rock n Roll should sound like. A cyanide moment along with Brussels '73, Fort Worth '78 and Hampton '81. Hand Of Fate just sounds A M A Z I N G!!!!



Edited 1 time(s). Last edit at 2022-05-15 08:56 by MadMax.

Quote
SomeTorontoGirl
Thanks for the livestream link, z. Not sure if anyone tuned in. I literally stumbled on this, was just driving by and saw the marquee showing a Rolling Stones album release event.

The event was hosted by local radio guy Jeff Woods and the panel consisted of Rob Bowman (attended the first night concert as a fan, later became a Musicologist, earned a PhD and wrote a book about the Stones); David Bluestein (was in charge of booking gigs there at the time); Duff Roman (was the program director at CHUM and facilitated the gig); David Marksell of The Museum (which hosted Exhibitionism in Kitchener and soon will in Winnipeg) and Michael Wekerle, who bought and restored the ElMo.

There was a recorded interview to start, with Myles Goodwyn of April Wine. He noted that, when the Stones’ equipment truck blew up in Montreal in ‘72 their band scrambled and got all the equipment the Stones needed to perform. Five years later, when looking for a band to open and be a decoy, they got the call. Nice karma.

There were some great stories - and a table full of free stuff!








[photos.smugmug.com]

[photos.smugmug.com]

I watched some of it, Rob Bowman had some nice stories.
He explained that the Cockroaches was only a name they used for the backstage passes, but it was nowhere mentioned to the public that a band called the Cockroaches was playing that night. It's just a myth. There was only a 'Closed' sign outside.



Edited 1 time(s). Last edit at 2022-05-15 09:23 by z.

Quote
DandelionPowderman

Quote
ironbelly
And now let's talk about overdubs on this one

Worried Life Blues

Funny imho that's the weakest track on the whole disc.

Heck !!!!! .....



ROCKMAN

I was working at Kingman & James Streets. Hamilton, Ontario at the time. Hamilton is close to Toronto. When I heard of the 2nd gig I drove up after work and tried to get in to the club. No such luck. I went around the back alley and saw the gear being loaded in. One of which being Keith’s plexiglas. Anyway despite my lack of success I have this release. Listened to it all tonight. It is brilliant.

Quote
keefgotsoul
[vocal.media]

“The new live release captures the last time the Stones were truly dangerous.

By 1977, the Rolling Stones were in trouble. Their previous albums, It’s Only Rock’n Roll and Black and Blue, did not match the heights of their halcyon run of legendary albums from 1968 to 1973. The loss of Mick Taylor was a tremendous blow to them artistically, and Keith Richards’ drug habit was spiraling out of control and affecting his musical ability. Despite bringing in former Faces guitarist Ron Wood to the fold, the band struggled to match the fireworks of their peak years, and their live shows had become sloppy and lethargic, lacking in the vigor and danger that made their 1971-73 treks among rock’s most celebrated live experiences.
After their widely criticized 1976 tour of Europe, the band themselves realized what everyone had known for some time: the Stones needed an injection. Not the kind that was slowly killing Keith, but a fresh, energetic platform to reestablish themselves as rock’s most exciting band and a true force to be reckoned with.
On March 4th and 5th, 1977, the band booked two gigs at Toronto’s legendary El Mocambo club, a 500 seat venue where local bands made their bones, as opposed to the 20,000 seat arenas the World’s Greatest Rock and Roll Band had grown accustomed to since their 1960s’ heyday. Keith had just been busted in Toronto on a heroine charge, so the performance was a sort of goodwill gesture in that regard. The band hadn’t played in a venue of this size since they were starting out.
Bootlegs of this show have circulated in fragmented form since shortly after the show was performed, but in 2022, in preparation for the band’s 60th anniversary, the Stones have finally released tracks from both shows in their entirety. The release, simply titled El Mocambo ’77, confirms what was thought of all this years: the El Mocambo shows are among the greatest and most important Rolling Stones shows of all time.
From end to end, this is the Stones at their best: raw, loud, gritty, snarling, dangerous, teetering on the edge of chaos. Sloppy, but ‘good sloppy’: the entire band is in a groove and playing for their lives, especially Keith who got his shit together for these shows and gave some of the most searing guitar work of his entire career. He owns this entire show and crushes every dirty lick, riff and rhythm that comes his way. Mick is at his lascivious best, Wyman and Watts hold down the fort as forcefully as they always have, and Wood fully comes into his own, perfecting his signature ‘weaving’ with Keith and laying down some smoking hot axe work of his own on tracks like “Crackin’ Up” and “Worried About You.”
There isn’t a weak performance of any of the 23 songs, but some of the highlights include arresting renditions of Stones classics “Honky Tonk Women” and “Jumping Jack Flash,” a pulsating “Hot Stuff,” and the forgotten gem “Dance Little Sister” that barely stays on track but manages to be one of the most exciting Stones live cuts of all time. The blues cuts, particularly “Worried Life Blues” and “Mannish Boy,” show why the Stones are the only white boys who can do black blues music justice, injecting their own personalities into music while maintaining reverence for their progenitors.
The sound quality brings out the revelatory quality of the full performances out further, not losing any nuances or making the music sound too clean for its own good. Everything you’re meant to hear jumps right out of the speakers.
Coupled with beautiful packaging that delves deep into the shows’ legacy, El Mocambo ’77 sits comfortably up there with Get Yer Ya Ya’s Out and Brussels Affair ’73 as one of their best live releases, a forceful reminder of when they were far more than rock’s most entertaining nostalgia act and truly the Greatest Rock and Roll Band in the World.”

More nonsense.The 1975 tour was great. Wood and Richards do not weave on the El Mocambo.There is clear lead/rhythm playing on most tracks.There is no more weaving on some tracks than with Taylor live . What was the great renaissance the Stones had after El Mocambo? Some Girls which a lot of people loved as a top album, and then the 1980s,one of their worst decades.Goat, IORR and Black n Blue I’d argue are better than Emotional Rescue ,Undercover and Dirty Work



Edited 2 time(s). Last edit at 2022-05-15 12:44 by Taylor1.

If there isn't weaving on the songs in standard tuning, there never was any



Edited 1 time(s). Last edit at 2022-05-15 14:05 by DandelionPowderman.

Quote
Hairball

Quote
keefgotsoul
[vocal.media]

“The new live release captures the last time the Stones were truly dangerous.

By 1977, the Rolling Stones were in trouble. Their previous albums, It’s Only Rock’n Roll and Black and Blue, did not match the heights of their halcyon run of legendary albums from 1968 to 1973. The loss of Mick Taylor was a tremendous blow to them artistically, and Keith Richards’ drug habit was spiraling out of control and affecting his musical ability. Despite bringing in former Faces guitarist Ron Wood to the fold, the band struggled to match the fireworks of their peak years, and their live shows had become sloppy and lethargic, lacking in the vigor and danger that made their 1971-73 treks among rock’s most celebrated live experiences.
After their widely criticized 1976 tour of Europe, the band themselves realized what everyone had known for some time: the Stones needed an injection. Not the kind that was slowly killing Keith, but a fresh, energetic platform to reestablish themselves as rock’s most exciting band and a true force to be reckoned with.
On March 4th and 5th, 1977, the band booked two gigs at Toronto’s legendary El Mocambo club, a 500 seat venue where local bands made their bones, as opposed to the 20,000 seat arenas the World’s Greatest Rock and Roll Band had grown accustomed to since their 1960s’ heyday. Keith had just been busted in Toronto on a heroine charge, so the performance was a sort of goodwill gesture in that regard. The band hadn’t played in a venue of this size since they were starting out.
Bootlegs of this show have circulated in fragmented form since shortly after the show was performed, but in 2022, in preparation for the band’s 60th anniversary, the Stones have finally released tracks from both shows in their entirety. The release, simply titled El Mocambo ’77, confirms what was thought of all this years: the El Mocambo shows are among the greatest and most important Rolling Stones shows of all time.
From end to end, this is the Stones at their best: raw, loud, gritty, snarling, dangerous, teetering on the edge of chaos. Sloppy, but ‘good sloppy’: the entire band is in a groove and playing for their lives, especially Keith who got his shit together for these shows and gave some of the most searing guitar work of his entire career. He owns this entire show and crushes every dirty lick, riff and rhythm that comes his way. Mick is at his lascivious best, Wyman and Watts hold down the fort as forcefully as they always have, and Wood fully comes into his own, perfecting his signature ‘weaving’ with Keith and laying down some smoking hot axe work of his own on tracks like “Crackin’ Up” and “Worried About You.”
There isn’t a weak performance of any of the 23 songs, but some of the highlights include arresting renditions of Stones classics “Honky Tonk Women” and “Jumping Jack Flash,” a pulsating “Hot Stuff,” and the forgotten gem “Dance Little Sister” that barely stays on track but manages to be one of the most exciting Stones live cuts of all time. The blues cuts, particularly “Worried Life Blues” and “Mannish Boy,” show why the Stones are the only white boys who can do black blues music justice, injecting their own personalities into music while maintaining reverence for their progenitors.
The sound quality brings out the revelatory quality of the full performances out further, not losing any nuances or making the music sound too clean for its own good. Everything you’re meant to hear jumps right out of the speakers.
Coupled with beautiful packaging that delves deep into the shows’ legacy, El Mocambo ’77 sits comfortably up there with Get Yer Ya Ya’s Out and Brussels Affair ’73 as one of their best live releases, a forceful reminder of when they were far more than rock’s most entertaining nostalgia act and truly the Greatest Rock and Roll Band in the World.”

"The new live release captures the last time the Stones were truly dangerous..."


And from there, they slowly but surely turned in to a Disneyland meets Vegas type of act - caricatures of their former selves.
Still fun to see them live even to this day for the nostalgia and entertainment, but a far cry from when they truly mattered as a "dangerous" rock and roll band.

1978 was still pretty stripped down. Even the stadium shows were pretty raw. Just the band + Ian Mclagan & Stu. No sax player even. 1981 (sponsored by Jovan) things got a little more showbiz with the cherry picker & such. The music was still pretty basic although they did add Ernie Watts on sax. I was lucky I got to see 1 show in 78 & 2 in 81.

Quote
keefgotsoul
The 1971 shows where Wild Horses and CYHMK were played are ones I want to hear. Wonder if they’re in the vaults?

Add Sympathy for the Devil" from 1971 ( ! ) to the list:

[iorr.org]

Quote
z
I watched some of it, Rob Bowman had some nice stories.
He explained that the Cockroaches was only a name they used for the backstage passes, but it was nowhere mentioned to the public that a band called the Cockroaches was playing that night. It's just a myth. There was only a 'Closed' sign outside.

His stories were great! He kind of suggested that the name Cockroaches came from the old joke that after a nuclear war, only Keith and cockroaches would survive. He also told stories about trying to get in to the show on the first night - he was still a teenager but had contacts in the music business and learned about the show, but nobody could get him in. So he went to the Harbour Castle hotel, located their floor (security in ‘77 apparently wasn’t a thing) and went down the hall knocking on doors. The only one who answered was Anita and, having been arrested a few days before Keith, she apologized and said she was already in too much trouble so couldn’t help him! He lined up outside first thing in the morning and a cop told him he had to move - he told the cop he actually didn’t have to move and the cop roughed him up. He said he still wasn’t leaving, and didn’t. Over the course of the day, not eating or drinking, he won the cop over and it was the cop who eventually got him in. I didn’t get that bit recorded, sadly. He lined up again for the second night but word had leaked out, the street was swarmed and closed, and the same cop saw him and told him he was out of luck for that one! I’ll remember his stoicism when I next have to queue up for the Pit!

Quote
Hairball


And from there, they slowly but surely turned in to a Disneyland meets Vegas type of act - caricatures of their former selves.
Still fun to see them live even to this day for the nostalgia and entertainment, but a far cry from when they truly mattered as a "dangerous" rock and roll band.

Disneyland meets Vegas? The guys became professionals. Mick has evolved from that drunk and cocaine loaded shouting singer to the most disciplined, professional and hard training frontman in buisiness. This should not be a slam on their younger times, sure is was fun and "dangerous" and all, but would you really have liked a 50+ year old jagger to act on stage like his former 30 year old self did? Or a 78 year old man being on cocaine, doing that shout singing while barely hitting the notes? I'm glad the guys got professional. I'm glad they grew up. That's the only possible way to perform with dignity at a higher age. Everything else would have been truly embarrassing. If you want to call that Disneyland Stones then do. Maybe it has something to do with you who still would like to feel like you did when the Stones and you were young?



Edited 1 time(s). Last edit at 2022-05-15 15:09 by StonedRambler.

Quote
DandelionPowderman
If there isn't weaving on the songs in standard tuning, there never was any

Where is the weaving on Hand of Fate,Hot Stuff, Brown Sugaror Rip This Joint? It sounds just like Taylor Richards circa 1973. Wood is clearly soloing over Keith’s guitar.By your definition of weaving Taylor and Richards also were weaving.Taylor was weaving a second guitar when he wasn’t soloing.He wasn’t off stage taking a bathroom break.The El Mocambo Rip this Joint guitars arrangement sound just like the Brussels except Wood takes the Trevor Lawrence solo as well.



Edited 2 time(s). Last edit at 2022-05-15 16:07 by Taylor1.

Quote
StonedRambler

Quote
Hairball


And from there, they slowly but surely turned in to a Disneyland meets Vegas type of act - caricatures of their former selves.
Still fun to see them live even to this day for the nostalgia and entertainment, but a far cry from when they truly mattered as a "dangerous" rock and roll band.

Disneyland meets Vegas? The guys became professionals. Mick has evolved from that drunk and cocaine loaded shouting singer to the most disciplined, professional and hard training frontman in buisiness.

Add to this the fact that in 1989 everyone (except the fans of course) were against them. They were "too old" (sic) and the tour was dubbed the "steel wheelchairs tour". So yeah they had go professional : discipline (the opening gig was a masterful tour de force, no stoned sidemen, and a regular level of performance from gig to gig.

They had to kick the naysayers in the butt (and they did).

"a "dangerous" rock and roll band"
Keith is smart enough to know that behind this tag there was a desire from the audience to live vicariously what he lived (booze and drugs). And maybe from some fans the secret and shameful lust to see him croak onstage in front of their eyes (I'm thinking of the 73-76 years). He got clean, he survived some of his fans, and I'm glad he did.

-



Edited 1 time(s). Last edit at 2022-05-15 16:24 by dcba.

Absolutely great. Really worth to buy.... I ain't got more to say.
Some people said "it doesn't sound like a club show." But it does.
Thanks to Mick and Keith for the wonderful release.

Quote
StonedRambler

Quote
Hairball


And from there, they slowly but surely turned in to a Disneyland meets Vegas type of act - caricatures of their former selves.
Still fun to see them live even to this day for the nostalgia and entertainment, but a far cry from when they truly mattered as a "dangerous" rock and roll band.

Disneyland meets Vegas? The guys became professionals. Mick has evolved from that drunk and cocaine loaded shouting singer to the most disciplined, professional and hard training frontman in buisiness. This should not be a slam on their younger times, sure is was fun and "dangerous" and all, but would you really have liked a 50+ year old jagger to act on stage like his former 30 year old self did? Or a 78 year old man being on cocaine, doing that shout singing while barely hitting the notes? I'm glad the guys got professional. I'm glad they grew up. That's the only possible way to perform with dignity at a higher age. Everything else would have been truly embarrassing. If you want to call that Disneyland Stones then do. Maybe it has something to do with you who still would like to feel like you did when the Stones and you were young?

Perfectly stated.

Quote
schillid
GUITARISTS sound focused.
Unusually FOCUSED

Suspiciously focused.

El Studio was involved!

Quote
crholmstrom

Quote
Hairball

Quote
keefgotsoul
[vocal.media]

“The new live release captures the last time the Stones were truly dangerous.

By 1977, the Rolling Stones were in trouble. Their previous albums, It’s Only Rock’n Roll and Black and Blue, did not match the heights of their halcyon run of legendary albums from 1968 to 1973. The loss of Mick Taylor was a tremendous blow to them artistically, and Keith Richards’ drug habit was spiraling out of control and affecting his musical ability. Despite bringing in former Faces guitarist Ron Wood to the fold, the band struggled to match the fireworks of their peak years, and their live shows had become sloppy and lethargic, lacking in the vigor and danger that made their 1971-73 treks among rock’s most celebrated live experiences.
After their widely criticized 1976 tour of Europe, the band themselves realized what everyone had known for some time: the Stones needed an injection. Not the kind that was slowly killing Keith, but a fresh, energetic platform to reestablish themselves as rock’s most exciting band and a true force to be reckoned with.
On March 4th and 5th, 1977, the band booked two gigs at Toronto’s legendary El Mocambo club, a 500 seat venue where local bands made their bones, as opposed to the 20,000 seat arenas the World’s Greatest Rock and Roll Band had grown accustomed to since their 1960s’ heyday. Keith had just been busted in Toronto on a heroine charge, so the performance was a sort of goodwill gesture in that regard. The band hadn’t played in a venue of this size since they were starting out.
Bootlegs of this show have circulated in fragmented form since shortly after the show was performed, but in 2022, in preparation for the band’s 60th anniversary, the Stones have finally released tracks from both shows in their entirety. The release, simply titled El Mocambo ’77, confirms what was thought of all this years: the El Mocambo shows are among the greatest and most important Rolling Stones shows of all time.
From end to end, this is the Stones at their best: raw, loud, gritty, snarling, dangerous, teetering on the edge of chaos. Sloppy, but ‘good sloppy’: the entire band is in a groove and playing for their lives, especially Keith who got his shit together for these shows and gave some of the most searing guitar work of his entire career. He owns this entire show and crushes every dirty lick, riff and rhythm that comes his way. Mick is at his lascivious best, Wyman and Watts hold down the fort as forcefully as they always have, and Wood fully comes into his own, perfecting his signature ‘weaving’ with Keith and laying down some smoking hot axe work of his own on tracks like “Crackin’ Up” and “Worried About You.”
There isn’t a weak performance of any of the 23 songs, but some of the highlights include arresting renditions of Stones classics “Honky Tonk Women” and “Jumping Jack Flash,” a pulsating “Hot Stuff,” and the forgotten gem “Dance Little Sister” that barely stays on track but manages to be one of the most exciting Stones live cuts of all time. The blues cuts, particularly “Worried Life Blues” and “Mannish Boy,” show why the Stones are the only white boys who can do black blues music justice, injecting their own personalities into music while maintaining reverence for their progenitors.
The sound quality brings out the revelatory quality of the full performances out further, not losing any nuances or making the music sound too clean for its own good. Everything you’re meant to hear jumps right out of the speakers.
Coupled with beautiful packaging that delves deep into the shows’ legacy, El Mocambo ’77 sits comfortably up there with Get Yer Ya Ya’s Out and Brussels Affair ’73 as one of their best live releases, a forceful reminder of when they were far more than rock’s most entertaining nostalgia act and truly the Greatest Rock and Roll Band in the World.”

"The new live release captures the last time the Stones were truly dangerous..."


And from there, they slowly but surely turned in to a Disneyland meets Vegas type of act - caricatures of their former selves.
Still fun to see them live even to this day for the nostalgia and entertainment, but a far cry from when they truly mattered as a "dangerous" rock and roll band.

1978 was still pretty stripped down. Even the stadium shows were pretty raw. Just the band + Ian Mclagan & Stu. No sax player even. 1981 (sponsored by Jovan) things got a little more showbiz with the cherry picker & such. The music was still pretty basic although they did add Ernie Watts on sax. I was lucky I got to see 1 show in 78 & 2 in 81.

How was 1975-1976 bloated as opposed to El Mocambo? Exact same musicians , the Stonesus Brown Preston and Stewart. So this is bloated? video: [youtu.be]If You Can’t Rock Me /Get Off My Cloud , LA1975,is great rock , as great as anything on El Mocambo