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Palace Revolution 2000

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hbwriter
i'm still playing this album EVERY day - but......

how
could
they
omit wyman
from
the
sleeve???

I'm asking myself now if it is a legal matter. They must have learned a lesson when revisiting these albums/ boots for reissues. To realize how vital Taylor, Jones and Wyman have been to their most iconic material.

Bill's bass playing on Crazy Mama is beyond sublime.

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drwatts

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Palace Revolution 2000

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hbwriter
i'm still playing this album EVERY day - but......

how
could
they
omit wyman
from
the
sleeve???

I'm asking myself now if it is a legal matter. They must have learned a lesson when revisiting these albums/ boots for reissues. To realize how vital Taylor, Jones and Wyman have been to their most iconic material.

Bill's bass playing on Crazy Mama is beyond sublime.

He is always great. Check out his playing on Get Yer Ya Ya's

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GasLightStreet

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Taylor1
What does Mick Taylor have to do with Melody, a lame song written by Billy Preston. Ahundred years from now, people will still be listening to the best Stones music with Taylor. Yeah.

What does Taylor1 have to do with posting anything that doesn't involve Mick Taylor, who noodled incessantly in 1972-73, about a song that has nothing to do with Mick Taylor?

A hundred years from now people will still be listening to the best music with Ronnie Wood. Oh yeah.

.Taylor was brillant on those 1972-1973 tours . Most Objective people agree. Just read up on what Jagger , Richards, Wyman and Watts have said about his playing live on those tours. They disagree with you.And about the noodling, its only in your dinner



Edited 1 time(s). Last edit at 2022-06-30 19:35 by Taylor1.

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Rockman
Starfoooker & Jumpy Jack are down right dangerous ...

Special care if driving .... these tracks cause road-rage

My tricycle needs a new fender!! Great show

Sorry if it was already posted.

Myles Goodwin of April Wine talks about The Rolling Stones at the legendary El Mocambo shows in '77

That interview from the live stream album release at the ElMo on May 14 - nice to see it again! I loved his story about Mick seeing how high he could jump without hitting his head on the ceiling (which is much higher since the renovations). Thanks for posting Cristiano!

FINALLY able to get a copy of this at a reasonable price. I never expected El Mocambo to be released, so this has been a rock godsend. It fills in another chapter year in their Golden Age, the 1977 Stones. All we had before this was the subpar Love You Live with four Toronto cuts. What a setlist!

It looks like professional relations have deteriorated to the point there's not even a hint of Bill in the photos, and he was an official member! It's funny though. The Paul Sexton accompanying text to the booklet quotes Bill a couple times. It's like no matter how much the what's left Stones try to push Bill out of their history, the more engineers and rock writers have started to give him his proper due.

Great release. Caught at their sleaziest, tabloid fodder pinnacle. And it sounds much better on my home stereo than I expected.

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drwatts

Quote
Palace Revolution 2000

Quote
hbwriter
i'm still playing this album EVERY day - but......

how
could
they
omit wyman
from
the
sleeve???

I'm asking myself now if it is a legal matter. They must have learned a lesson when revisiting these albums/ boots for reissues. To realize how vital Taylor, Jones and Wyman have been to their most iconic material.

Bill's bass playing on Crazy Mama is beyond sublime.

Sublime? No

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Cooltoplady

Quote
drwatts

Quote
Palace Revolution 2000

Quote
hbwriter
i'm still playing this album EVERY day - but......

how
could
they
omit wyman
from
the
sleeve???

I'm asking myself now if it is a legal matter. They must have learned a lesson when revisiting these albums/ boots for reissues. To realize how vital Taylor, Jones and Wyman have been to their most iconic material.

Bill's bass playing on Crazy Mama is beyond sublime.

Sublime? No

Correct, he said "BEYOND sublime".

I may've said it earlier in the thread but...

This release is vying for the greatest live Stones release ever.

GYYO! has always been number one for me. LIVE IN TEXAS surpassed all other previous live albums.

But MOCAMBO might... I dunno. I get the aspect of its time, but the retrospect in regard to their live discography, official or Eagle Rock releases...

It's definitely Top 3.

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GasLightStreet
I may've said it earlier in the thread but...

This release is vying for the greatest live Stones release ever.

GYYO! has always been number one for me. LIVE IN TEXAS surpassed all other previous live albums.

But MOCAMBO might... I dunno. I get the aspect of its time, but the retrospect in regard to their live discography, official or Eagle Rock releases...

It's definitely Top 3.

It makes me wonder what we'd be thinking if this had been released instead of LYL 77. I've never loved that album, save side 3. If they had released Mocambo in it's entirety in 77, and Brussels in 73...I mean think of that Live album legacy...those 3 released contemporaneously. Staggering.

It's shot up to my #1 live album... brilliant, pure Rolling Stones. It rocks.

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treaclefingers

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GasLightStreet
I may've said it earlier in the thread but...

This release is vying for the greatest live Stones release ever.

GYYO! has always been number one for me. LIVE IN TEXAS surpassed all other previous live albums.

But MOCAMBO might... I dunno. I get the aspect of its time, but the retrospect in regard to their live discography, official or Eagle Rock releases...

It's definitely Top 3.

It makes me wonder what we'd be thinking if this had been released instead of LYL 77. I've never loved that album, save side 3. If they had released Mocambo in it's entirety in 77, and Brussels in 73...I mean think of that Live album legacy...those 3 released contemporaneously. Staggering.

You have a point there. It's a bit sad case that LOVE YOU LIVE was at the time the only live album to represent the 70's live Stones. It gives a way too weak idea what the band was like in that decade. Great that they are now adding missing pieces, but that is just for us diehards, not affecting to the picture the band had at the time.

Had Klein people not fvcked up the 'great lost live album' from 1972 the picture might have been different.

EDIT: I recall when I first heard Brussels '73 (BEDSPRING SYMPHONY was my bootleg called). I couldn't believe my ears how incredible that sounded. Can they really be that great?!

- Doxa



Edited 3 time(s). Last edit at 2022-09-09 09:29 by Doxa.

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Doxa

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treaclefingers

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GasLightStreet
I may've said it earlier in the thread but...

This release is vying for the greatest live Stones release ever.

GYYO! has always been number one for me. LIVE IN TEXAS surpassed all other previous live albums.

But MOCAMBO might... I dunno. I get the aspect of its time, but the retrospect in regard to their live discography, official or Eagle Rock releases...

It's definitely Top 3.

It makes me wonder what we'd be thinking if this had been released instead of LYL 77. I've never loved that album, save side 3. If they had released Mocambo in it's entirety in 77, and Brussels in 73...I mean think of that Live album legacy...those 3 released contemporaneously. Staggering.

You have a point there. It's a bit sad case that LOVE YOU LIVE was at the time the only live album to represent the 70's live Stones. It gives a way too weak idea what the band was like in that decade. Great that they are now adding missing pieces, but that is just for us diehards, not affecting to the picture the band had at the time.

Had Klein people not fvcked up the 'great lost live album' from 1972 the picture might have been different.

EDIT: I recall when I first heard Brussels '73 (BEDSPRING SYMPHONY was my bootleg called). I couldn't believe my ears how incredible that sounded. Can they really be that great?!

- Doxa

And that's the reason why the Stones kinda "tolerated" bootlegs because they were very well aware that they added to their legacy. Their legal settlement with Klein hindered official releases of studio or live re-recordings of songs that were originally recorded for ABKCO for a period of 5 years without Klein's permission. The only way to make 1971-1975 live recordings of ABKCO-era songs available to the public was radio broadcasting (Leeds 1971/Europe 1973) and the "magic of bootlegging". It was even rumoured back then that the band themselves gave out certain studio material like CS Blues or Chess Sessions that were legally not under their control to underground people, however no hard facts are available and the band would never confirm this.

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retired_dog

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Doxa

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treaclefingers

Quote
GasLightStreet
I may've said it earlier in the thread but...

This release is vying for the greatest live Stones release ever.

GYYO! has always been number one for me. LIVE IN TEXAS surpassed all other previous live albums.

But MOCAMBO might... I dunno. I get the aspect of its time, but the retrospect in regard to their live discography, official or Eagle Rock releases...

It's definitely Top 3.

It makes me wonder what we'd be thinking if this had been released instead of LYL 77. I've never loved that album, save side 3. If they had released Mocambo in it's entirety in 77, and Brussels in 73...I mean think of that Live album legacy...those 3 released contemporaneously. Staggering.

You have a point there. It's a bit sad case that LOVE YOU LIVE was at the time the only live album to represent the 70's live Stones. It gives a way too weak idea what the band was like in that decade. Great that they are now adding missing pieces, but that is just for us diehards, not affecting to the picture the band had at the time.

Had Klein people not fvcked up the 'great lost live album' from 1972 the picture might have been different.

EDIT: I recall when I first heard Brussels '73 (BEDSPRING SYMPHONY was my bootleg called). I couldn't believe my ears how incredible that sounded. Can they really be that great?!

- Doxa

And that's the reason why the Stones kinda "tolerated" bootlegs because they were very well aware that they added to their legacy. Their legal settlement with Klein hindered official releases of studio or live re-recordings of songs that were originally recorded for ABKCO for a period of 5 years without Klein's permission. The only way to make 1971-1975 live recordings of ABKCO-era songs available to the public was radio broadcasting (Leeds 1971/Europe 1973) and the "magic of bootlegging". It was even rumoured back then that the band themselves gave out certain studio material like CS Blues or Chess Sessions that were legally not under their control to underground people, however no hard facts are available and the band would never confirm this.

Interesting! So one could ironically say that thanks to ABKCO we actually got such a gem like Brussels '73. Had the Stones had a proper live album out (like the 1972' lost'one) probably they wouldn't have bothered so much with radio broadcasts. Seemingly Mick put quite a lot effort for Brussels broadcast, being involved in mixing it, and probably even making some new vocals as some sources claim (by the way, Dylan was making BLOOD ON THE TRACKS in the same studio at the same time - damn, two masterpieces were in the works there.. ).

- Doxa

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Doxa

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retired_dog

Quote
Doxa

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treaclefingers

Quote
GasLightStreet
I may've said it earlier in the thread but...

This release is vying for the greatest live Stones release ever.

GYYO! has always been number one for me. LIVE IN TEXAS surpassed all other previous live albums.

But MOCAMBO might... I dunno. I get the aspect of its time, but the retrospect in regard to their live discography, official or Eagle Rock releases...

It's definitely Top 3.

It makes me wonder what we'd be thinking if this had been released instead of LYL 77. I've never loved that album, save side 3. If they had released Mocambo in it's entirety in 77, and Brussels in 73...I mean think of that Live album legacy...those 3 released contemporaneously. Staggering.

You have a point there. It's a bit sad case that LOVE YOU LIVE was at the time the only live album to represent the 70's live Stones. It gives a way too weak idea what the band was like in that decade. Great that they are now adding missing pieces, but that is just for us diehards, not affecting to the picture the band had at the time.

Had Klein people not fvcked up the 'great lost live album' from 1972 the picture might have been different.

EDIT: I recall when I first heard Brussels '73 (BEDSPRING SYMPHONY was my bootleg called). I couldn't believe my ears how incredible that sounded. Can they really be that great?!

- Doxa

And that's the reason why the Stones kinda "tolerated" bootlegs because they were very well aware that they added to their legacy. Their legal settlement with Klein hindered official releases of studio or live re-recordings of songs that were originally recorded for ABKCO for a period of 5 years without Klein's permission. The only way to make 1971-1975 live recordings of ABKCO-era songs available to the public was radio broadcasting (Leeds 1971/Europe 1973) and the "magic of bootlegging". It was even rumoured back then that the band themselves gave out certain studio material like CS Blues or Chess Sessions that were legally not under their control to underground people, however no hard facts are available and the band would never confirm this.

Interesting! So one could ironically say that thanks to ABKCO we actually got such a gem like Brussels '73. Had the Stones had a proper live album out (like the 1972' lost'one) probably they wouldn't have bothered so much with radio broadcasts. Seemingly Mick put quite a lot effort for Brussels broadcast, being involved in mixing it, and probably even making some new vocals as some sources claim (by the way, Dylan was making BLOOD ON THE TRACKS in the same studio at the same time - damn, two masterpieces were in the works there.. ).

- Doxa

i seem to recall at least two interviews from the early 70's where mick says that he likes bootlegs and just wished they were cheaper (since he wasn't getting any money from them) and that they where better

how common was this postive view on bootlegs by artists in the 70's?

it's odd considering the bands financial problems in the early 70's that mick would take such a postive view of bootlegs since he wasn't seeing a dime from there sales

seems to maybe lend some credence to the idea that the band was leaking recordings they wanted out there at the time but had no reasonable legal means to release themselves

or at least why they never really raised much of a fuss over them being released



Edited 1 time(s). Last edit at 2022-09-09 12:25 by ProfessorWolf.

<it's odd considering the bands financial problems in the early 70's that mick would take such a postive view of bootlegs since he wasn't seeing a dime from there sales>

I think he said that a couple of years later, in more prosperous times

The Stones weren't exactly poor when they fled the country either.

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DandelionPowderman


I think he said that a couple of years later, in more prosperous times

The Stones weren't exactly poor when they fled the country either.

no he said it in august 1970 in a interview on swedish radio before the 70 tour

agreed they weren't poor but they where financially in trouble at that time

Renting Nellcote is indeed "not being poor"
Renting a fancy appartement in Paris is indeed "not being poor" ...
and so on.
But being forced to leave your home land due to a huge tax bill ... is being poor.
Well, the Stones survived and that's what counts, really

I'm a GHOST living in a ghost town

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ProfessorWolf

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DandelionPowderman


I think he said that a couple of years later, in more prosperous times

The Stones weren't exactly poor when they fled the country either.

no he said it in august 1970 in a interview on swedish radio before the 70 tour

agreed they weren't poor but they where financially in trouble at that time

I stand corrected. I was thinking of a 1973 interview.

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DandelionPowderman

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ProfessorWolf

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DandelionPowderman


I think he said that a couple of years later, in more prosperous times

The Stones weren't exactly poor when they fled the country either.

no he said it in august 1970 in a interview on swedish radio before the 70 tour

agreed they weren't poor but they where financially in trouble at that time

I stand corrected. I was thinking of a 1973 interview.

that's probably the other one i remember

love to know the source of that other interview

So… who plays harmonica on “Mannish Boy” during this show as Mick sings? Always wondered…

Expanding on what Doxa said, it is a pity that El Mocambo wasn't released in total, in place of Love You Live. LYL is what started the whole 'Vegas' Stones talk. It felt contrived, and lacked excitement. El Mocambo brought them back to that compressed feeling of being on a small stage. (Something they replicated with good effect with Sticky Fingers at the Fonda).

LYL was from 1975 and '76 shows. The Stones had already moved past that sound to a leaner, more muscular sound on El Mocambo. And Ronnie was totally integrated by 1977.

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Dbs1972
So… who plays harmonica on “Mannish Boy” during this show as Mick sings? Always wondered…

mick does in the studio

it was overdubbed

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24FPS
Expanding on what Doxa said, it is a pity that El Mocambo wasn't released in total, in place of Love You Live. LYL is what started the whole 'Vegas' Stones talk. It felt contrived, and lacked excitement. El Mocambo brought them back to that compressed feeling of being on a small stage. (Something they replicated with good effect with Sticky Fingers at the Fonda).

LYL was from 1975 and '76 shows. The Stones had already moved past that sound to a leaner, more muscular sound on El Mocambo. And Ronnie was totally integrated by 1977.

I've never seen/heard it that way ie Vegas. Upon a few years later, it was the 1989-90 tours that started the Vegas bit.

Love You Live is a great live album. Not sure why some people dislike it. Best live versions of SFTD and IORR. Just a shame Hey Negrita wasn't included.

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Dbs1972
So… who plays harmonica on “Mannish Boy” during this show as Mick sings? Always wondered…

Mick in a studio

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GasLightStreet

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24FPS
Expanding on what Doxa said, it is a pity that El Mocambo wasn't released in total, in place of Love You Live. LYL is what started the whole 'Vegas' Stones talk. It felt contrived, and lacked excitement. El Mocambo brought them back to that compressed feeling of being on a small stage. (Something they replicated with good effect with Sticky Fingers at the Fonda).

LYL was from 1975 and '76 shows. The Stones had already moved past that sound to a leaner, more muscular sound on El Mocambo. And Ronnie was totally integrated by 1977.

I've never seen/heard it that way ie Vegas. Upon a few years later, it was the 1989-90 tours that started the Vegas bit.

I don’t hear any difference between the sound of the band in1975-1976 and El Mocambo.It still has Preston and Brown.The band is exactly the same.Woodand Richards are still playing a defined lead/ rhythm sound. The only difference I hear is Jagger isn’t slurring and barking his vocals like he’s really coked up. The sound of the band is the same taking into consideration they are playing in a club which might alter the sound a bit and the band always sounds slightly different from tour to tour.1981doesn’t sound exactly like 1982



Edited 1 time(s). Last edit at 2022-09-11 21:23 by Taylor1.

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Taylor1

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GasLightStreet

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24FPS
Expanding on what Doxa said, it is a pity that El Mocambo wasn't released in total, in place of Love You Live. LYL is what started the whole 'Vegas' Stones talk. It felt contrived, and lacked excitement. El Mocambo brought them back to that compressed feeling of being on a small stage. (Something they replicated with good effect with Sticky Fingers at the Fonda).

LYL was from 1975 and '76 shows. The Stones had already moved past that sound to a leaner, more muscular sound on El Mocambo. And Ronnie was totally integrated by 1977.

I've never seen/heard it that way ie Vegas. Upon a few years later, it was the 1989-90 tours that started the Vegas bit.

I don’t hear any difference between the sound of the band in1975-1976 and El Mocambo.It still has Preston and Brown.The band is exactly the same.Woodand Richards are still playing a defined lead/ rhythm sound. The only difference I hear is Jagger isn’t slurring and barking his vocals like he’s really coked up. The sound of the band is the same taking into consideration they are playing in a club which might alter the sound a bit and the band always sounds slightly different from tour to tour.1981doesn’t sound exactly like 1982

The guitar sound is different, with the new Mesa Boogies they used at EM.

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GasLightStreet

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24FPS
Expanding on what Doxa said, it is a pity that El Mocambo wasn't released in total, in place of Love You Live. LYL is what started the whole 'Vegas' Stones talk. It felt contrived, and lacked excitement. El Mocambo brought them back to that compressed feeling of being on a small stage. (Something they replicated with good effect with Sticky Fingers at the Fonda).

LYL was from 1975 and '76 shows. The Stones had already moved past that sound to a leaner, more muscular sound on El Mocambo. And Ronnie was totally integrated by 1977.

I've never seen/heard it that way ie Vegas. Upon a few years later, it was the 1989-90 tours that started the Vegas bit.

I first heard the Vegas Stones reference in the late 70s. And LYL is what kicked it off. SFTD and IORR are mediocre at best. We just got El Mocambo, and didn't get Live in Texas until 2011, so the general Stones public had nothing to compare it to.