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yeah, I felt for the guy, but to me he seemed too nervous to put on a good performance. He harmonized well with mick, but his solo lines were not there.
Mick's made a frickin' career out of mock dixie singing. Jeeesus.
They weren't there for me, 'cause they weren't Mick!
That switching thing bugs me a bit - like tacky 80's tv specials.
[thepowergoats.com]
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Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Justin
()
Date: April 2, 2008 21:10
Thanks for the heads up from Rocks Off...
The cover is on the homepage of www.rollingstone.com. Maybe someone can upload it?
With Jagger:
In your mind, what's the difference between the Stones we see in this movie versus the Stones in, say, 1972?
Much older [laughs]! I'm still singing the same old songs, you know. It's just a more matured style of playing, with maybe some of the more extravagant edges taken out. You know, the band — they were very inconsistent back then. They would do a fantastic show one night, @#$%& raise the roof and be amazing, and the next night they would do a terrible show, where the tempos are wildly wrong — too fast, too slow, terrible train wrecks and awful mistakes. Now it's a much more consistent-playing group.
Looking at old footage, you appear to be even more physically frenetic onstage now than in the old days. How can that be?
The problem for me is that you need a certain amount of physicality and oxygen and fitness just to sing. So if you use too much up dancing, you got nothing to sing with. I'll err on the side of the physicality, and I let the singing down. So I can't make the notes some nights. I've overdone the physicality.
How did you feel looking at the long, intense close-ups on you in the movie?
It was a little bit too much, I felt. But directors always like to use slow numbers to have these lingering shots. Yeah, I didn't care for it too much. Boring. It didn't look very good.
Your performance of "Far Away Eyes" is really campy and funny in the movie — it's a reminder of how much acting there can be in your singing.
All of these songs have characters. They're all different. That's the thing about the Stones, they have lots of other kind of facets which make them kind of interesting. They're not really stuck in classic-rock mode. If you were forced to define that particular character . . .
Oh, God, don't force me [laughs]! Don't force me to intellectualize it. I just do the characters. I've done a couple of songs — even very early, on those songs like "Dear Doctor" and all that — they're that sort of character. I have an affinity with that country thing, I think.
[Excerpt from Issue 1050 — April 17, 2008]
----------
In the Rolling Stones' new concert movie, Shine a Light, there is a vintage interview with guitarist Keith Richards. A reporter asks Richards what he thinks about when he's onstage playing with the Stones. Richards coolly replies, "I don't think onstage. I feel."
Directed by Martin Scorsese, Shine a Light captures the Stones in their current feral prime, in breathtaking close-up. Scorsese shot the band in 2006, during two intimate shows at New York's Beacon Theatre, with guest appearances by Buddy Guy, Christina Aguilera and Jack White of the White Stripes, who duets with Mick Jagger in a heated country-soul version of "Loving Cup," from 1972's Exile on Main Street. But Shine a Light — named after another Exile song and the latest in a long line of Stones documentaries, including Gimme Shelter (1970), Ladies and Gentlemen, The Rolling Stones (1974) and @#$%& Blues, Robert Frank's notorious, unreleased chronicle of the backstage excess on the Stones' '72 U.S. tour — is a testament to the power of feeling, the blues-band empathy and brotherly defiance that continue to drive and define Richards, Jagger, guitarist Ron Wood and drummer Charlie Watts in concert.
Shine a Light has also inspired a first: the following interview with Richards and White, in front of a roaring fire in a New York townhouse on a recent wet, cold afternoon. Born half a lifetime and a few rock revolutions apart, Richards, 64, and White, 32, had never talked at length before. In fact, White did not see the Stones live until the White Stripes opened two shows for them in 2002. But the two guitarists quickly bonded over their mutual love of the blues and the spontaneous joys of live performance. "It's like describing the Pyramids to someone who has never been there," White says, when asked what he feels in the middle of a hot guitar solo. "A man after my own heart," Richards agrees, smiling.
Richards, who, after a fall from a tree, underwent brain surgery a few months before the Beacon shows, brushes off doubts about his health. "I must be fine, because I'm not seeing any doctors," he growls cheerfully. As for a future Stones tour, "I've never heard anything about not going out again," Richards says. "I'm basically giving the guys a year off. I'm not pushing. But I might withdraw their wages," he adds with a cackle, "and see how they feel then."
Keith, what do you think of "Shine a Light"?
Richards: I'm just seeing what Marty Scorsese sees in the Stones. I was never aware of the cameras. I knew they were there. But once you go to work, your job is to give the audience what they want and, at the same time, get yourself off. I've no doubt that Mick was far more aware that he was making a movie. But once I get going, I just look at Charlie.
I've always been amazed by how much fuss goes on around us — the big screens, the technology. And it has to be coordinated. Mick loves to coordinate. But I'm selfish. I gotta feel good. I can't go up there worrying about things. I go onstage to get some @#$%& peace and quiet.
Jack, what did you learn about the Stones when you opened for them?
White: How good they were. You could see the comfort level between them, in Keith's guitar playing and Ron's slide playing. It's impressive, man, when that confidence is exuded. Someone once told me when I first started playing — you get a lot more respect if you act like you own the joint. If you fumble around, you don't gain respect.
Richards: You could have asked me that question back when we went from clubs to opening for Bo Diddley, Little Richard and the Everly Brothers on one tour [in 1963]. I learned more in those six weeks than I would have learned from listening to a million records.
What was the primary lesson?
Richards: Stagecraft — what works and how to feel comfortable onstage. The Everly Brothers were superb every night — those beautiful harmonies. We'd open, then climb the rafters and hang there, watching them. Watching Bo Diddley was university for me. Every set was twenty minutes long in those days. When he came off, if he had two strings left on the guitar, it was a @#$%& miracle. The Duchess was there [on guitar], and Jerome Green, with the maracas in each hand. It was my job to be Jerome's minder. I used to fetch him from the pub — "You're on, mate."
[Excerpt from Issue 1050 — April 17, 2008]
------------
With Scorcese:
What's up with you and music? You've made documentaries on the blues, the Band, Bob Dylan and soon Bob Marley. Now you've caught the Rolling Stones onstage in Shine a Light. Isn't singing in the shower enough for you?
No, I don't think so [laughs]. I wish I could create music, but I can't. What I can do is put images and music together.
What's the first memory you have of hearing the Rolling Stones?
It was 1965. I was driving on the Long Island Expressway in a Volkswagen, and suddenly out of this mono speaker came the opening guitar licks of Keith Richards and "Satisfaction." And the impression of Mick Jagger's voice, then the lyrics and the driving, relentless nature of the song. It's like a motor. I had to go back and find their other music.
What about the Stones stuck with you? I hadn't yet seen them live, so it had to do with the energy of the music, the guitars, the percussion. From "The Spider and the Fly" all the way up to the album Let It Bleed, each song is like a narrative, and the band together is like a single character in these narratives. Jagger's voice sounds like a musical instrument. In my head, I'd imagine camera moves or editing patterns, and it freed my mind creatively. A lot of that relentless energy went into Mean Streets, into Taxi Driver. The Stones made the music I listened to.
Who had the idea for the movie?
Jagger was talking about doing a film of the show, A Bigger Bang. It would be an event — over a million people and fifty cameras, on the beach in Rio — so I was thinking about doing it in IMAX 3-D.
So how did it go from Rio to squeezing into Manhattan's Beacon Theatre?
I found I do better in smaller venues, where you can really see them perform.
But there's so little history in the movie, as opposed to No Direction Home and The Last Waltz. The Stones are the most documented band in history — what more do we need to know about them? I had to keep telling everybody, "The history of the Rolling Stones is right there onstage in their faces, in the way Mick is moving and the way Keith is handling that guitar and the way Charlie Watts plays the drums and the way Ronnie Wood is working. So why don't we see how they work with each other onstage? Maybe we get caught up in that very primal euphoria."
[Excerpt from Issue 1050 — April 17, 2008]
Video from shoot:
[www.rollingstone.com]#
I've never seen Mick and Keith hug that way. Not sure if it was for the camera but it was pretty warm to see....
The cover is on the homepage of www.rollingstone.com. Maybe someone can upload it?
With Jagger:
In your mind, what's the difference between the Stones we see in this movie versus the Stones in, say, 1972?
Much older [laughs]! I'm still singing the same old songs, you know. It's just a more matured style of playing, with maybe some of the more extravagant edges taken out. You know, the band — they were very inconsistent back then. They would do a fantastic show one night, @#$%& raise the roof and be amazing, and the next night they would do a terrible show, where the tempos are wildly wrong — too fast, too slow, terrible train wrecks and awful mistakes. Now it's a much more consistent-playing group.
Looking at old footage, you appear to be even more physically frenetic onstage now than in the old days. How can that be?
The problem for me is that you need a certain amount of physicality and oxygen and fitness just to sing. So if you use too much up dancing, you got nothing to sing with. I'll err on the side of the physicality, and I let the singing down. So I can't make the notes some nights. I've overdone the physicality.
How did you feel looking at the long, intense close-ups on you in the movie?
It was a little bit too much, I felt. But directors always like to use slow numbers to have these lingering shots. Yeah, I didn't care for it too much. Boring. It didn't look very good.
Your performance of "Far Away Eyes" is really campy and funny in the movie — it's a reminder of how much acting there can be in your singing.
All of these songs have characters. They're all different. That's the thing about the Stones, they have lots of other kind of facets which make them kind of interesting. They're not really stuck in classic-rock mode. If you were forced to define that particular character . . .
Oh, God, don't force me [laughs]! Don't force me to intellectualize it. I just do the characters. I've done a couple of songs — even very early, on those songs like "Dear Doctor" and all that — they're that sort of character. I have an affinity with that country thing, I think.
[Excerpt from Issue 1050 — April 17, 2008]
----------
In the Rolling Stones' new concert movie, Shine a Light, there is a vintage interview with guitarist Keith Richards. A reporter asks Richards what he thinks about when he's onstage playing with the Stones. Richards coolly replies, "I don't think onstage. I feel."
Directed by Martin Scorsese, Shine a Light captures the Stones in their current feral prime, in breathtaking close-up. Scorsese shot the band in 2006, during two intimate shows at New York's Beacon Theatre, with guest appearances by Buddy Guy, Christina Aguilera and Jack White of the White Stripes, who duets with Mick Jagger in a heated country-soul version of "Loving Cup," from 1972's Exile on Main Street. But Shine a Light — named after another Exile song and the latest in a long line of Stones documentaries, including Gimme Shelter (1970), Ladies and Gentlemen, The Rolling Stones (1974) and @#$%& Blues, Robert Frank's notorious, unreleased chronicle of the backstage excess on the Stones' '72 U.S. tour — is a testament to the power of feeling, the blues-band empathy and brotherly defiance that continue to drive and define Richards, Jagger, guitarist Ron Wood and drummer Charlie Watts in concert.
Shine a Light has also inspired a first: the following interview with Richards and White, in front of a roaring fire in a New York townhouse on a recent wet, cold afternoon. Born half a lifetime and a few rock revolutions apart, Richards, 64, and White, 32, had never talked at length before. In fact, White did not see the Stones live until the White Stripes opened two shows for them in 2002. But the two guitarists quickly bonded over their mutual love of the blues and the spontaneous joys of live performance. "It's like describing the Pyramids to someone who has never been there," White says, when asked what he feels in the middle of a hot guitar solo. "A man after my own heart," Richards agrees, smiling.
Richards, who, after a fall from a tree, underwent brain surgery a few months before the Beacon shows, brushes off doubts about his health. "I must be fine, because I'm not seeing any doctors," he growls cheerfully. As for a future Stones tour, "I've never heard anything about not going out again," Richards says. "I'm basically giving the guys a year off. I'm not pushing. But I might withdraw their wages," he adds with a cackle, "and see how they feel then."
Keith, what do you think of "Shine a Light"?
Richards: I'm just seeing what Marty Scorsese sees in the Stones. I was never aware of the cameras. I knew they were there. But once you go to work, your job is to give the audience what they want and, at the same time, get yourself off. I've no doubt that Mick was far more aware that he was making a movie. But once I get going, I just look at Charlie.
I've always been amazed by how much fuss goes on around us — the big screens, the technology. And it has to be coordinated. Mick loves to coordinate. But I'm selfish. I gotta feel good. I can't go up there worrying about things. I go onstage to get some @#$%& peace and quiet.
Jack, what did you learn about the Stones when you opened for them?
White: How good they were. You could see the comfort level between them, in Keith's guitar playing and Ron's slide playing. It's impressive, man, when that confidence is exuded. Someone once told me when I first started playing — you get a lot more respect if you act like you own the joint. If you fumble around, you don't gain respect.
Richards: You could have asked me that question back when we went from clubs to opening for Bo Diddley, Little Richard and the Everly Brothers on one tour [in 1963]. I learned more in those six weeks than I would have learned from listening to a million records.
What was the primary lesson?
Richards: Stagecraft — what works and how to feel comfortable onstage. The Everly Brothers were superb every night — those beautiful harmonies. We'd open, then climb the rafters and hang there, watching them. Watching Bo Diddley was university for me. Every set was twenty minutes long in those days. When he came off, if he had two strings left on the guitar, it was a @#$%& miracle. The Duchess was there [on guitar], and Jerome Green, with the maracas in each hand. It was my job to be Jerome's minder. I used to fetch him from the pub — "You're on, mate."
[Excerpt from Issue 1050 — April 17, 2008]
------------
With Scorcese:
What's up with you and music? You've made documentaries on the blues, the Band, Bob Dylan and soon Bob Marley. Now you've caught the Rolling Stones onstage in Shine a Light. Isn't singing in the shower enough for you?
No, I don't think so [laughs]. I wish I could create music, but I can't. What I can do is put images and music together.
What's the first memory you have of hearing the Rolling Stones?
It was 1965. I was driving on the Long Island Expressway in a Volkswagen, and suddenly out of this mono speaker came the opening guitar licks of Keith Richards and "Satisfaction." And the impression of Mick Jagger's voice, then the lyrics and the driving, relentless nature of the song. It's like a motor. I had to go back and find their other music.
What about the Stones stuck with you? I hadn't yet seen them live, so it had to do with the energy of the music, the guitars, the percussion. From "The Spider and the Fly" all the way up to the album Let It Bleed, each song is like a narrative, and the band together is like a single character in these narratives. Jagger's voice sounds like a musical instrument. In my head, I'd imagine camera moves or editing patterns, and it freed my mind creatively. A lot of that relentless energy went into Mean Streets, into Taxi Driver. The Stones made the music I listened to.
Who had the idea for the movie?
Jagger was talking about doing a film of the show, A Bigger Bang. It would be an event — over a million people and fifty cameras, on the beach in Rio — so I was thinking about doing it in IMAX 3-D.
So how did it go from Rio to squeezing into Manhattan's Beacon Theatre?
I found I do better in smaller venues, where you can really see them perform.
But there's so little history in the movie, as opposed to No Direction Home and The Last Waltz. The Stones are the most documented band in history — what more do we need to know about them? I had to keep telling everybody, "The history of the Rolling Stones is right there onstage in their faces, in the way Mick is moving and the way Keith is handling that guitar and the way Charlie Watts plays the drums and the way Ronnie Wood is working. So why don't we see how they work with each other onstage? Maybe we get caught up in that very primal euphoria."
[Excerpt from Issue 1050 — April 17, 2008]
Video from shoot:
[www.rollingstone.com]#
I've never seen Mick and Keith hug that way. Not sure if it was for the camera but it was pretty warm to see....
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Rev. Robert W.
()
Date: April 2, 2008 21:23
Note inside: the hilarious spoofs of the 1971 shots at Nellcote with Mick, Keith and Gram Parsons.
Now, if only they'll let Jack White produce them...
Now, if only they'll let Jack White produce them...
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Baboon Bro
()
Date: April 2, 2008 21:24
(on JW) No, please God no!
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
boston2006
()
Date: April 2, 2008 21:45
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
sweet neo con
()
Date: April 2, 2008 22:22
Jack WHite or Edward Scizzorhands?
IORR............but I like it!
IORR............but I like it!
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Glam Descendant
()
Date: April 2, 2008 23:42
>Now, if only they'll let Jack White produce them...
That could be awesome; he did an amazing job for Loretta Lynn.
That could be awesome; he did an amazing job for Loretta Lynn.
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Hound Dog
()
Date: April 2, 2008 23:53
Maybe the three of them should do a Robert Johnson style blues album while Ronnie is doing his supergroup thing.
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
skipstone
()
Date: April 2, 2008 23:54
I like Loretta's album. I just don't - his singing is very strange.
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
filstan
()
Date: April 3, 2008 00:07
Jack White singing and playing on Loving Cup was really great in the film. This was a guest who blended well with the band, which doesn't happen that often IMHO.
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Baboon Bro
()
Date: April 3, 2008 00:13
I object, as always. Don'like White's mock dixie singin'.
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Justin
()
Date: April 3, 2008 00:48
This marks the first time someone joining a Mick and Keith cover, no? I dunno how I feel about that....
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
cc
()
Date: April 3, 2008 00:53
Quote
filstan
Jack White singing and playing on Loving Cup was really great in the film. This was a guest who blended well with the band, which doesn't happen that often IMHO.
yeah, I felt for the guy, but to me he seemed too nervous to put on a good performance. He harmonized well with mick, but his solo lines were not there.
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
filstan
()
Date: April 3, 2008 03:24
Of course he was a bit nervous, but I thought that tension helped make the song work well. The guy is a huge Stones fan.
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Rockman
()
Date: April 3, 2008 10:21
Hey that behind the scenes of the cover
photo shoot is just lurverly....Mick kissin' Keith goodbye is just so sweet....
ROCKMAN
photo shoot is just lurverly....Mick kissin' Keith goodbye is just so sweet....
ROCKMAN
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Adrian-L
()
Date: April 3, 2008 10:28
great stuff - pleeeeeeeaaaaaaaassssssse guys,
get Jackie to produce your next album!
get Jackie to produce your next album!
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Baboon Bro
()
Date: April 3, 2008 10:38
Ok, if Adrian.... I give up 
...
Cant be any worse than the sonic misery at ABB...
Just as long as he doesnt sing on the album ...
Edited 1 time(s). Last edit at 2008-04-03 10:38 by Baboon Bro.
...Cant be any worse than the sonic misery at ABB...
Just as long as he doesnt sing on the album
...Edited 1 time(s). Last edit at 2008-04-03 10:38 by Baboon Bro.
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Adrian-L
()
Date: April 3, 2008 10:42
Quote
Baboon Bro
Ok, if Adrian.... I give up
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Roll73
()
Date: April 3, 2008 12:47
Quote
Baboon Bro
I object, as always. Don'like White's mock dixie singin'.
Mick's made a frickin' career out of mock dixie singing. Jeeesus.
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Baboon Bro
()
Date: April 3, 2008 19:30
Yeah, but that's Mick. He has his own rules.
Mock cockney is the same,i'nnit?
Mock cockney is the same,i'nnit?
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
jamesfdouglas
()
Date: April 3, 2008 19:56
Quote
cc
yeah, I felt for the guy, but to me he seemed too nervous to put on a good performance. He harmonized well with mick, but his solo lines were not there.
They weren't there for me, 'cause they weren't Mick!
That switching thing bugs me a bit - like tacky 80's tv specials.
[thepowergoats.com]
Re: Mick, Keith and Jack White on Rolling Stone Cover
Posted by:
Cafaro
()
Date: April 3, 2008 20:04
SELL! SELL! SELL!!!!!
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