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Taylor1

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crholmstrom

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Hairball

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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

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TravelinMan

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schillid
GUITARISTS sound focused.
Unusually FOCUSED

Suspiciously focused.

El Studio was involved!

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crholmstrom

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Hairball

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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.

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Taylor1

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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.

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LeonidP
I'm a happy man!




Happy Boy!

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retired_dog


However, it must be said that Europe 1976 in particular was not exactly praised by critics and many fans and regarded as a low point in their live career so far.

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crholmstrom

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LeonidP
I'm a happy man!




Happy Boy!

RIP Country Dick Montana. I knew him & he was an awesome guy. Wild man for sure but there was another side of him. I got to hang out with him until dawn after his final New Year's Eve show. Good times. Gone far too young.

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Elmo Lewis
My only knock is Ollie is too damn busy on Hot Stuff.

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rebelrebel
Charlie is absolutely sublime on this release. Well, they all are but it's so nice to hear him again.

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witterings
Today I've bought and downloaded the Live at the El Mocambo as hi-res audio 24bit - 96 kHz, as official download from qobuz. After unzipping the files, I've got these Files in my directory:

01-01-Charlie_Watts-Honky_Tonk_Women-SMR.flac

I think it's a very nice gesture, whoever it comes from!
Long live The Rolling Stones!

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chevysales
Every listen I find more guitar work that amazes me and some kick ass drums.

Rocks Off has some absolutely fantastic guitar work in last two minutes.

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schillid

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chevysales
Every listen I find more guitar work that amazes me and some kick ass drums.

Rocks Off has some absolutely fantastic guitar work in last two minutes.

???
I don't think Rocks Off is on this

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EddieByword

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retired_dog


However, it must be said that Europe 1976 in particular was not exactly praised by critics and many fans and regarded as a low point in their live career so far.

I know the critics were already down on the stones in '76 but fans?....Who says these things? Earl's court was sold out for 6 nights (it was about the same size as MSG) and apparently, according to the press, there were over a million ticket applications and................2 months after this "low point" 250,000 turned up at Knebworth to see and hear it all again..........

I really enjoyed Earl's court and Knebworth as did everyone else I know who went ...........

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Nikkei
Why not also tour as The Charlie Watts

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donvis
Love the performance. But why oh why the horrible echo/ reverb? There was absolutely nothing wrong with the sound of Side 3 of Love You Live. The uniqueness of the whole thing was a club setting. Now it just sounds like another arena show. The Elvis FTD label is run by former fans. That is what these vault releases need. A fan/collector/expert tempering Mick’s instincts. As much as you all love it how much better would it sound if it sounded like Side three of love you live????