Watching one of my favorite Stones shows, Circus Krone 2003:

video: [www.youtube.com]

Quote
TheBlockbuster
Watching one of my favorite Stones shows, Circus Krone 2003:

video: [www.youtube.com]

Listening to this again made me realise that the guitar department is better today, actually. Great setlist on this show, though.

Quote
DandelionPowderman

Quote
TheBlockbuster
Watching one of my favorite Stones shows, Circus Krone 2003:

video: [www.youtube.com]

Listening to this again made me realise that the guitar department is better today, actually. Great setlist on this show, though.

When it comes to Ronnie I agree, he is way more focused today. But Keith is so low in the Circus Krone mix, that we don't really hear the full picture. Having heard tons of other 2003 shows I think he was a lot better back then.

Quote
TheBlockbuster

Quote
DandelionPowderman

Quote
TheBlockbuster
Watching one of my favorite Stones shows, Circus Krone 2003:

video: [www.youtube.com]

Listening to this again made me realise that the guitar department is better today, actually. Great setlist on this show, though.

When it comes to Ronnie I agree, he is way more focused today. But Keith is so low in the Circus Krone mix, that we don't really hear the full picture. Having heard tons of other 2003 shows I think he was a lot better back then.

Keith played a bit more BS 2002-2007. He's more disciplined and to the point today, I think, but it's a matter of taste. Ronnie was awful on that tour.

Dance is awkward on Circus Krone..

Quote
DandelionPowderman
Keith played a bit more BS 2002-2007. He's more disciplined and to the point today, I think, but it's a matter of taste. Ronnie was awful on that tour.

Dance is awkward on Circus Krone..

Reminds me of two versions of LSTNT, pay-per-view concert 1997 where Keith's really driving the rhythm forward and Saitama 2006 where he's instead just playing around with some lackluster pentatonic licks.

Keith was especially poor 2005-2007, but he had some moments of irrelevant playing on the licks-tour also.

The problem nowadays is his limited chops.



Edited 1 time(s). Last edit at 2017-03-29 19:39 by TheBlockbuster.

Quote
TheBlockbuster

Quote
DandelionPowderman
Keith played a bit more BS 2002-2007. He's more disciplined and to the point today, I think, but it's a matter of taste. Ronnie was awful on that tour.

Dance is awkward on Circus Krone..

Reminds me of two versions of LSTNT, pay-per-view concert 1997 where Keith's really driving the rhythm forward and Saitama 2006 where he's instead just playing around with some lackluster pentatonic licks.

Keith was especially poor 2005-2007, but he had some moments of irrelevant playing on the licks-tour also.

The problem nowadays is his limited chops.

He changed from open G in 1997 to standard tuning again on LSTNT in 2006-2007. I agree, but thought he was pretty off in 1997 as well compared to 1981/82 and 1967.

"In Need" Grand Funk Railroad from Live album. These guys were a tough band early on.

.............Rolling Stones - What Am I Gonna Do With Your Love............



ROCKMAN

Rev Robert Wilkins - Prodigal Son
[www.youtube.com]
exquisite.

"BURKE, VIRGINIA—"Prodigal Son," one of the tracks on the Stones' Beggar's Banquet LP, is not an original by Mick Jagger and Keith Richards, although the album credits, as revised from the original banned LP cover to the one inspired by the record company, list it as such. It is a song written and recorded by Reverend Robert Wilkins, a 72-year-old former blues singer turned minister. He first recorded it in February of 1964 for Piedmont Records (Reverend Robert Wilkins—Memphis Gospel Singer Piedmont 13162), a now defunct specialist label that featured Mississippi John Hurt, as well as reissues of classic blues and ragtime numbers.

The original cover for Beggar's Banquet had clearly credited Wilkins with the tune, and since the confusion was pointed out to London Records and the Stones business office, publishing, royalties and other attendant financial details have been happily and properly straightened out.

It's more than just a matter of credit where credit is due; anyone who copyrights a song is paid composer royalties for any recordings of that song. The standard music publishing contract provides that the author gets 50 percent of the royalties, the publisher gets the other 50 percent. Nowdays, this generally means that for each song recorded on an LP, the composer gets 1 ¢ per copy sold.

The song rights are owned by Wynwood Music, Box 141, Burke Va. 22015, headed by Peter Kuykendall, a former bluegrass singer and arranger (he worked with the Country Gentlemen), and sound engineer; he mastered Wilkins' Piedmont LP. When contacted, Kuykendall hadn't heard of the Stones recording.

"We usually try to keep close tabs on this sort of thing, but it's not always possible," he explained. "But I'll certainly get my papers in order and put in a claim – and hope for the best. The Stones may accept it and pay on it right off," he continued, "which was the case with Cream's version of Skip James's 'I'm So Glad' on their first LP. I don't know if it was Clapton or who, but when they found out about the claim they said, 'Let's not fight it, he needs the bread.'"

Dick Spottswood, who recorded the Reverend's first and only LP, is an old-time record collector, bluegrass enthusiast, and former head of several specialized blues and folk labels. He filled in Reverend Wilkins' background. "He was born Robert Timothy Wilkins, January 16, 1896, in Hernando, Mississippi, Negro on his father's side, white and Cherokee Indian on his mother's. When he was very young, Wilkins' father was forced to leave the state to avoid prosecution on bootlegging charges. Wilkins' mother remarried, to a very fine guitar player, who taught Robert. By age 15, Robert was playing for dances, parties, etc., and he became a very fine guitarist and singer. In 1915, he left for Memphis, Tennessee, and other than a short spell of military service in World War I, he's lived there ever since. He never did make his living completely by singing, but music has always been a part of his life."

In September of 1928 Wilkins made his first blues recordings, for Victor label. The song was "Rolling Stone Blues, Parts I & II" (another twist!) "Robert used a borrowed guitar with a broken neck – he didn't want it released, but Victor went ahead. For later sessions he got a better guitar, the sound was much improved. A year later, 1929, Wilkins recorded "That's No Way To Get Along," a blues ancestor of "Prodigal Son," using the same melody and guitar lines, only with blues lyrics (available today on a reissue LP Mississippi Blues 1927-1940, Origin Jazz Library OJL-5). Wilkins worked as a pullman porter and stockyard clerk, singing and recording on the side.

"In 1936 he was 'converted' to Christian ideals, which meant that he stopped singing secular music. In 1950 he undertook his first ministry, and he is now an herb medicine specialist and minister of the Church of God In Christ, in Memphis."

Spottswood, a connoisseur of old blues, "rediscovered" Wilkins in a manner that seems absurdly simple when you hear of the decade-long hunts for other old blues men. He heard a rumor that Wilkins was alive in Memphis, went to a library, got a Memphis directory, and found two Robert Wilkinses listed. So he sat down, wrote identical letters to both addresses, and the right man answered. The recording sessions and Newport appearances followed.

"Wilkins' guitar style hadn't changed," Spottswood said. "But the old blues songs had become guitar instrumental pieces – he would play anything – it was only sinful to sing the words. Or he would rework the old songs, as the case with 'That's No Way To Get Along' becoming the biblical tale of 'Prodigal Son.'

"Today Wilkins is making a comfortable living as a minister, and he's the patriarch of a large family, including his wife, children, in-laws and grandchildren. He sings and plays gospel songs as a regular part of his weekly service – but he's still proud of the old blues."

Later, Kuykendall phoned the Reverend and told him of the Stones recording, without mentioning the copyright difficulties. "He seemed quite happy that people will be hearing his song," Kuykendall said. "It couldn't bother him that a rock group has done it."

This story is from the March 1, 1969 issue of Rolling Stone.
______________________________________________________________________________

Mississippi Fred McDowell - You Gotta Move
[www.youtube.com]
exquisite

ROCKMAN

Coffee machine peculating...is it Friday yet?

'Everybody Knows About My Good Thing' RS Blue & Lonesome
Moved last Friday, Sat. had to call a Plummer,
there was no leak in my shower drain. Cute yeah?
Not cute Sunday when I had to call again.
Fixed and fine, but listening today driving I hear how serious The RS
took this- giving it their all. Jagger's voice is incredible.
My freezers full of meat only after Costco -

Lee Perry & David Lynch ----- Chrome Optimism



ROCKMAN

Quote
hopkins
Mississippi Fred McDowell - You Gotta Move
[www.youtube.com]
exquisite

Perfect timing my first listen of the original, and view/ see the light in his eyes, grave, fascinating I thought it was a RS original from Sticky.
Well well well.

Owe by Arnel Pineda

[www.youtube.com]

Black keys : black Mud

"we know it's a bit late but we hope you don't mind if we stay"