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24FPS

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Manofwealthandtaste
Is everyone aware of the bonus footage or 'Easter Egg' hidden on the DVD......?!

Please elucidate.

Hey there 24FPS, you need to go to the 'Sideshow' section and then move down to the decorative scroll on the left side below the picture of Keith and hit enter. There is a second one in the 'Set Up' section, arrow right and then got to lower right corner and enter.
Enjoy! - no spoilers here as to what you will find......

Brian wanted to leave the band though, but maybe not the perks that came with being in the band. See Bill's Stone Alone where Brian mentions wanting to leave during a session in May 1969.

The split was inevitable and mutual and obvious to all, he just needed a push.

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His Majesty
Brian wanted to leave the band though, but maybe not the perks that came with being in the band. See Bill's Stone Alone where Brian mentions wanting to leave during a session in May 1969.

The split was inevitable and mutual and obvious to all, he just needed a push.

A push, or maybe help?

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NashvilleBlues

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His Majesty
Brian wanted to leave the band though, but maybe not the perks that came with being in the band. See Bill's Stone Alone where Brian mentions wanting to leave during a session in May 1969.

The split was inevitable and mutual and obvious to all, he just needed a push.

A push, or maybe help?

Bill was threatening to leave for years (at least as early as Emotional Rescue), but the others persuaded him to stay.

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DandelionPowderman
I mostly stick to the Got Live-EP, which is far superior, imo, although it's nice to hear some tracks off the LP, too. UMT springs to mind. Incredible energy!

Oh yeah, their early R&B essence comes nicely through in the EP, and I think they still were a bit tighter unit then. Like still recalling how the other band members sounded like. Better sounds, too. But the feel of their concert interaction with the audience, shines there, too. A wonderful, significiant document. Amongst my favourite live releases by the band ever. Short and sweet.

I think the LP version of same title captures the band in a different moment, so it is hard to compare the two. By autumn 1966 they were so strongly Jagger/Richards hit material driven (although certain odd old inclusions a bit hinder the impression), and it has that 'pop era' charm there with an aggression and attitude that could move mountains. The band took freedoms, trusted their natural appeal, and didn't give a shit. My decision is just to remove the odd tracks, and the result is splendid, The Rolling Stones in their pure 1966 glory:

1.Under My Thumb
2.Get Off of My Cloud
3.Lady Jane
4.Not Fade Away
6.The Last Time
7.19th Nervous Breakdown
8.Have You Seen Your Mother, Baby?
9.Satisfaction

Pure dynamite! Try that, people!

- Doxa



Edited 4 time(s). Last edit at 2023-02-08 22:28 by Doxa.

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Doxa

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ProfessorWolf

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Doxa

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redkev
Would be cool to see the best bits from RnR Circus, One pus One, Stones in the Park and Gimme Shelter all in one neatly edited movie. Of course Gimme shelter is in a league of its own from those 4 but there are some great bits in the other 3. Off the top of my head YCAGWYW and PW from RnR, the woo woo bit from One plus One, Satisfaction (out of tune guitars n all) from Stones in the Park are just a few of the many bits which could be included.

Well, they could continue the story of "Sympathy For The Devil" after telling its creation in ONE PLUS ONE. You know, its story did not end there... The theatretical live introduction in R&R CIRCUS, like the dudes knowing they have a new killer song there. Then the huge Hyde Park final fiesta, hundreds of thousands hippies in half trance. And to end by showing what happened in Altamont...

I guess that very rarely, if ever, is the story of one song documented that well (and having such a story to go with it). A helluva song it is.

- Doxa

where does this fit into your evolution of the song?




or is it just to similar to the circus performance to distinguish it in a relevant way as related to the development of the song?

Oh yeah! I had forgotten this great tv performance. As usual, all but Mick's vocals is playback. Surely it belongs to the story. First visual presentation of the song for an audience. Mick's theatrics are really close to 'Turner stuff' he does in CIRCUS (no idea which one happened first), but it doesn't matter. Besides, it is funny how they act in order to mimic the development the song: Bill and Keith standing up and picking up new instruments while cameras on Mick's face...

- Doxa

frost came first nov 29th circus december 11-12

also something interesting one+one premiered in london on the same day as the frost performance

and rehearsals for rnr circus didn't begin until dec 6th at the marquee club

so it would seem they went into rehearsals with a largely preformed idea of how they wanted to perform and present sftd onstage

(well at least mick did)

which is pretty interesting in my opinion



Edited 2 time(s). Last edit at 2023-02-09 01:15 by ProfessorWolf.

Never got a thing from Who performance ... ok its rock

But soaked in that Stones finale ...
Cant say if it belongs in a circus though...
Always felt more like one is hidin' in a basement
watchin' a private show for that jaded faded junkie nurse ....

Lost opportunity with Salt Of Thee Earth ....
Coulda been a massive grand last song ... but those hats and cloaks ...



ROCKMAN

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Rockman
Never got a thing from Who performance ... ok its rock

Me neither. Yes, the band play impressively and are very tight, but I just don't like the song much.

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Manofwealthandtaste

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24FPS

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Manofwealthandtaste
Is everyone aware of the bonus footage or 'Easter Egg' hidden on the DVD......?!

Please elucidate.

Hey there 24FPS, you need to go to the 'Sideshow' section and then move down to the decorative scroll on the left side below the picture of Keith and hit enter. There is a second one in the 'Set Up' section, arrow right and then got to lower right corner and enter.
Enjoy! - no spoilers here as to what you will find......

Thank you. Will do.

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Congratulations

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NashvilleBlues

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His Majesty
Brian wanted to leave the band though, but maybe not the perks that came with being in the band. See Bill's Stone Alone where Brian mentions wanting to leave during a session in May 1969.

The split was inevitable and mutual and obvious to all, he just needed a push.

A push, or maybe help?

Bill was threatening to leave for years (at least as early as Emotional Rescue), but the others persuaded him to stay.

Brian had gradually ceased to be part of the band's functioning dynamic...that's the difference . What would have been the pointing of asking him to stay ?

He may have been fired...but he fired himself.



Edited 1 time(s). Last edit at 2023-02-09 10:52 by Spud.

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NashvilleBlues

A push, or maybe help?

For the time, Brian was receiving what was thought to be help. The rest of the stones were young and not exactly all that well balanced themselves though.

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Congratulations


Bill was threatening to leave for years (at least as early as Emotional Rescue), but the others persuaded him to stay.

Brian wasn't all that happy from really rather early on. Bill wasn't obliterating his mind and body with alcohol and drugs like Brian was.

So, why strongly ask a person who doesn't want to be there, can't tour and has destroyed himself to stay?

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Doxa
My decision is just to remove the odd tracks, and the result is splendid, The Rolling Stones in their pure 1966 glory:

1.Under My Thumb
2.Get Off of My Cloud
3.Lady Jane
4.Not Fade Away
6.The Last Time
7.19th Nervous Breakdown
8.Have You Seen Your Mother, Baby?
9.Satisfaction

Pure dynamite! Try that, people!

- Doxa

Got Live 1966 If You Want It: [youtube.com]

The Stones live set on the official release of the Circus is overdub free by the way.

At times, like on the intro of YCAGWYW, the mics are introduced gradually. This explains why you see Brian strumming his basic part, but don't ear him at the start. Brian's guitar comes in at circa 1.03 in to the song.

...

The same take of YCAGWYW, but with an acoustic guitar overdub, heard on 25X5 film suggests they tried to beef up the recordings for the project soon after filming.

I'm glad they did not make that as the official release!

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His Majesty

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Doxa
My decision is just to remove the odd tracks, and the result is splendid, The Rolling Stones in their pure 1966 glory:

1.Under My Thumb
2.Get Off of My Cloud
3.Lady Jane
4.Not Fade Away
6.The Last Time
7.19th Nervous Breakdown
8.Have You Seen Your Mother, Baby?
9.Satisfaction

Pure dynamite! Try that, people!

- Doxa

Got Live 1966 If You Want It: [youtube.com]

I hate the way they edited the intro for 'The Last Time' on the CD version (why?!).

The Got Live If You Want It LP would’ve made a great double EP, minus the two studio recordings. It is a vital love document of the era, thought be it, a flawed one. Like some others, I do prefer the DECCA EP. The ultimate live recording yo feature Brian, is, of course, the show featured as part of the Charlie is My Darling box-set. I still listen to that regularly, with that rip-roaring rendition of Route 66 being my absolute favourite moment. Funnily enough, I do really like the show-ending, with ‘God Save The Queen’ playing through the PA. That moment really does take you back in time.

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His Majesty

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Doxa
My decision is just to remove the odd tracks, and the result is splendid, The Rolling Stones in their pure 1966 glory:

1.Under My Thumb
2.Get Off of My Cloud
3.Lady Jane
4.Not Fade Away
6.The Last Time
7.19th Nervous Breakdown
8.Have You Seen Your Mother, Baby?
9.Satisfaction

Pure dynamite! Try that, people!

- Doxa

Got Live 1966 If You Want It: [playlist?list=PLawlYYZB_C4bZ8PtwvgjmM0-fKgq27jY6" target="_blank" rel="nofollow">youtube.com]

Alright! Exactamente!

- Doxa

The EP has a magic.
Despite the iffy sonics, it evokes an atmosphere and excitement like very few other recordings of anything, by anybody.

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Taylor1

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Spud

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Doxa

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Spud

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Doxa
But if we think the following American Tour 1969, how much Keith actually did back-up vocals there? In "Honky Tonk Women" surely, but were there any others?

It could be that instead that of being a practical matter (like I suggested earlier) or Keith not feeling like singing (shy, disinterested?) it might have been an artistic choice how the band wanted to present their live sound at the time. That they were a 'serious' modern blues rock act, not a merry 60's vocal group with back-up harmonies. Those were interesting times, and the band was all the time reshaping their act in order to keep relevant.

The famous Mick and Keith sharing a mic and doing the choruses together occurred later, in upcoming tours (so effective in things like "Can't Always Get What You Want", "Dead Flowers", "Happy", etc.)

- Doxa

There were certainly moments in Got Live where they fancied themselves as the bloody Beach Boys

Haha! A VERY rough version of The Beach Boys indeed, but damn I love it (the over-dubbed "Have You Seen Your Mother" with Keith's harmonies, or like dueting with Mick, is simply fabulous)! Yeah, it is incredible to think that there is only three years between GOT LIVE and YA-YA'S. Sounds like a different band and altogether a different era. The things happened so quickly back then. Both albums are doctored (YA-YA'S not that bloody much!), but I think they represent pretty well what the band and times were like and up to. As albums they are both great testimonies of their times.

But I love both incarnations of the band. Damn, there is more wild, joyful energy in GOT LIVE than in all their other major and more 'professional' and 'serious' live albums put together. More fvck ups and mistakes, too, but that belongs to the picture. I have never understood why people are so tough on it... I still recall the first impression I had the album: I didn't know anything about its all fakings, but I felt like being time-travelled to the mythical, chaotic time and place that all happened...

- Doxa

I love Got Live [the LP and the EP ] . I just wish the audience screaming was mixed a little lower !

[It's like the success of any performance in the early sixties was judged by how loud the screaming was .
That said I suppose it's fairly representative of the sound on the night. They could scream a whole lot louder than two AC30s and the typical PAs of the day ]

Other than vocals there was no doctoring or overdubs on Ya Ya’s of any musical significance.Listen to the bootlegs from NYC concerts the album was mostly drawn from .Other than rhythm guitars on Carol and Little Queenie, which are barely noticeable and are unimportant

If we take away the two studio cuts, is there really that big difference in doctoring to GOT LIVE? Mostly there it was just the vocals re-done and not much else.

Sometimes I get the feel that being 'authentic' the vocals do not matter that much. They could be doctored but that's alright - it is still an accurate documentation of the performance. I disagree here. To me the vocals are an essential part of a live performance. For example, no matter how much I love the YA-YA'S version of "Jumpin' Jack Flash" - the best there ever is I guess - I cannot think it as any authentic live performance. They are singing the chorus such a way that has nothing to do with what Mick did that night. That's a fake as anything ever (but sounding @#$%& fabulous and one essential reason why this version is so goddamn definitive and exceptional).

But the doctoring doesn't personally worry me, especially from those old days when live albums were artistic statements, saying much more than what actually the shows were like or being 'accurate documentations'. They were reconstructed artefacts in order to give an impression of the show (of course, people wanted to give a bit better representaion of themselves than what they actually did...)

- Doxa



Edited 4 time(s). Last edit at 2023-02-09 15:32 by Doxa.

There's overdubbed guitars etc too, even marimba on some versions of the album on UMT.

The way I see it, it's still them playing though. I just accept it as part live, part studio recordings by The Rolling Stones from the ace year that was 1966.

I've never ben troubled by doctored live albums. They're doctored to make them sound better .

Glitches, bloopers and sonic shortcomings may be lost or overlooked in the experience of a live show ...

...but you don't want to hear them over and over again on the record !

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Spud
If there were any of us there ...they've sure kept it quiet all these years.

May be the closest option to your question. Spanish Tony Sanchez the Stones photographer (my grandfather) was on set and we have some unbelievable never seen images of most of the performances! Before and during filming!

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Spud
I've never ben troubled by doctored live albums. They're doctored to make them sound better .

Glitches, bloopers and sonic shortcomings may be lost or overlooked in the experience of a live show ...

...but you don't want to hear them over and over again on the record !

I disagree. I think most (all?) of us own some warts 'n' all mixing desk or radio broadcast bootlegs, and to me they are generally far more fun.

Yes, they are huge fun, and a great alternative listen

...but I, for myself at least, wouldn't want them instead of a well produced and slightly "doctored " version.

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nickdominguez

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Spud
If there were any of us there ...they've sure kept it quiet all these years.

May be the closest option to your question. Spanish Tony Sanchez the Stones photographer (my grandfather) was on set and we have some unbelievable never seen images of most of the performances! Before and during filming!

Share the love!

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NashvilleBlues

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nickdominguez

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Spud
If there were any of us there ...they've sure kept it quiet all these years.

May be the closest option to your question. Spanish Tony Sanchez the Stones photographer (my grandfather) was on set and we have some unbelievable never seen images of most of the performances! Before and during filming!

Share the love!

Sure would like to see these.....or just a few of them!

vh1 special promoting the release of the r&r circus from 1996 with new interviews from those involved

i hadn't seen this before



Edited 1 time(s). Last edit at 2023-03-16 23:16 by ProfessorWolf.

It finally hit me that this may have been the straw that broke the camel's back. I think Mick saw how pitiful and superfluous (excepting No Expectations) Brian was. The Stones would need more in order to tour, but Brian would have been a liability, not a positive. The film couldn't hide how lost he was. How could they broadcast such a damning show? They would have been inundated with questions about Brian.

They made ninety percent of Beggar's Banquet without him. No more novelty instrumentation. That period in rock and pop was over. It was all guitars now, the instrument Brian practically abandoned.

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24FPS
It finally hit me that this may have been the straw that broke the camel's back. I think Mick saw how pitiful and superfluous (excepting No Expectations) Brian was. The Stones would need more in order to tour, but Brian would have been a liability, not a positive. The film couldn't hide how lost he was. How could they broadcast such a damning show? They would have been inundated with questions about Brian.

They made ninety percent of Beggar's Banquet without him. No more novelty instrumentation. That period in rock and pop was over. It was all guitars now, the instrument Brian practically abandoned.

Yup, think you nailed it. Must have pissed them off too...all that creative energy going into it only to feel they needed to shelve it.

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treaclefingers

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24FPS
It finally hit me that this may have been the straw that broke the camel's back. I think Mick saw how pitiful and superfluous (excepting No Expectations) Brian was. The Stones would need more in order to tour, but Brian would have been a liability, not a positive. The film couldn't hide how lost he was. How could they broadcast such a damning show? They would have been inundated with questions about Brian.

They made ninety percent of Beggar's Banquet without him. No more novelty instrumentation. That period in rock and pop was over. It was all guitars now, the instrument Brian practically abandoned.

Yup, think you nailed it. Must have pissed them off too...all that creative energy going into it only to feel they needed to shelve it.

Brian played on every track on Beggars except Factory Girl and maybe Salt of the Earth.Ge wasn’t missing from99 percent if the album.Let it Bleed he contributed nothing

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Taylor1

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treaclefingers

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24FPS
It finally hit me that this may have been the straw that broke the camel's back. I think Mick saw how pitiful and superfluous (excepting No Expectations) Brian was. The Stones would need more in order to tour, but Brian would have been a liability, not a positive. The film couldn't hide how lost he was. How could they broadcast such a damning show? They would have been inundated with questions about Brian.

They made ninety percent of Beggar's Banquet without him. No more novelty instrumentation. That period in rock and pop was over. It was all guitars now, the instrument Brian practically abandoned.

Yup, think you nailed it. Must have pissed them off too...all that creative energy going into it only to feel they needed to shelve it.

Brian played on every track on Beggars except Factory Girl and maybe Salt of the Earth.Ge wasn’t missing from99 percent if the album.Let it Bleed he contributed nothing

He played autoharp on You Got The Silver and percussion on Midnight Rambler. (Though I have no idea what that means. I certainly don't hear anything distinctive).


As for Beggars he contributes guitar on No Expectations, sitar on SFM, and mellotron a couple other places. It's kind of hit and miss whether he played harmonica or acoustic guitar in a couple places.