I saw the first show at Anaheim in '78 (the day before the "shoe" one) and I didn't think it was very good. They played in daylight, and there were no video screens back in those days. (As much as I hate watching television at a concert, without it most people in a stadium are watching a trained flea act!) The sound wasn't good either. The time between songs was s
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The point I was trying to make about the photo, when Ronnie changed from grin to grim, is that HE LOST HIS IDENTITY WHEN HE BECAME A STONE!! There was something so ALIVE about his playing...listen to the intro of I Can Feel the Fire...it has more spirit, more passion, than anything on, no make that the ENTIRE IORR album combined! So does another song from the same year: Bill Wyman's b
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Dancing in the Street works best in the context of the video. The way those two old pros work off each other reminds me of a clip of Frank Sinatra and Dean Martin horsing around on Dean's show in the 60's. It was just two pals having a lot of fun.
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I agree, Ronnie is a great guy and a huge talent. During the MT era it sometimes got a little confusing having two "Micks" in the band. (Although 99% of the time when you mentioned "Mick" in the Stones to someone it was always Jagger) So when Ronnie joined we got two Keiths! He was Faces' rhythm monster, on stage when sharing the mic he was Keef to Rod's Mic
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...he had the bad break of joining when "the Golden Age" (from JJF through Exile) was OVER! This is not to say that the Stones haven't produced some great work during since '75. And the work they produced prior to JJF would by itself would be worthy of RnR Hall of Fame membership (think Yardbirds). But during the Golden Age, THEY COULD DO NO WRONG!! And it wasn't
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As far as R-rated lyrics, you're forgetting the scatological reference that centers Sweet Virginia. And I seem to recall that Bitch wasn't released as a A-side, because it's title was too rough for radio back then! (Three years later Elton John would break that barrier on the Top 40 with his rather annoying The Bitch is Back) When I was in college I did a shift at the radi
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30 years ago today was my first show--the first night of their July 9-13 five night stand at the LA Forum. A few months prior I had bought my tickets the morning they went on sale at the Forum. There were different windows for each day. The last window I went to was for the 9th. I only had enough money left for one. That was my lucky break. The lady sold me a ticket that was the center
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The credits on Jump Back (not always accurate--they've got Charlie and Bill named as the rhythm section on IORR instead of Kenney Jones and Willie Weeks) list Billy Preston as the piano player on Waiting on a Friend. To my ears it sounds more like Nicky Hopkins. What say the rest of you?
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I remember driving to work in early '75 and the dj (it was either KMET or KLOS) announcing that he had the new single by Jack Bruce and Mick Taylor. He played it. (Wasn't real memorable, and I can't recall the name) Never heard it again. Also: (for all you collectors out there) The 45 version of "Leather Jacket" is a different mix than the album version foun
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Shattered. The whole thing practically falls apart at the break. The song gets back on it's feet, but a lot of the tension is lost. It's still a great song, but if they had re-worked the sloppy mid-section it could have been a Stone Classic like HTW, BS, etc.
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In the same way that the "girl" became a "woman" in the 1981 performances of "Under My Thumb," that second verse about "Cooking fresh food for her husband" in "Mother's Little Helper" seems in need of a little tweaking. But boy, that "What a drag it is getting Old!" line could be the great sing-a-long of the night. Perhaps the
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Goin' Home (with shortened jam, which segues into..) Down in the Hole One Hit To The Body Country Honk...which after 1st chorus, starts again as Honky Tonk Women
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In Peter Guralnick's excellent book, "Sweet Soul Music" (which is a must-read--go get it) there is an excerpt from an article written by Stanley Booth that talks about the session where Otis Redding with Booker T and the MG's recorded "Dock of the Bay." Stanley Booth was there! His fly-on-the-wall reporting puts you right there in the room! He captures that hist
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Bye-Bye Johnnie. (Don't you remember the version in Ladies & Gentlemen?)
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I think Rambler is improved upon in the Ya-Ya's version. (Much in the same way that U2 improved "Bad" in the live version on Wide Awake in America that followed the original on The Unforgettable Fire) However, it is the feel of the Let It Bleed original version that is mirrored in Break the Spell.
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Play the Let it Bleed studio version of Midnight Rambler and then seque into Break the Spell. Despite the 20 year difference, there's a similar audio mood going on there that really works well together.
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Personally I'd like to hear these two guys playing together....on a future Bob Dylan album. No big production, no stress to re-create the Stones old sound. Just a chance to hear them as musicians, PERIOD.
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The unreleased stuff will see the light of day, eventually. The question is, will it be heard by us--or our great-grandchildren? (maybe they'll even care, but not as much as we would) I wish they'd put it out now--even if they do it in limited (charge you an arm and a leg) release. Because right now, I'll buy it. All of it. If it takes another 20 years I may not be aliv
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I AM WAITING MOTHER'S LITTLE HELPER HAVE YOU SEEN YOUR MOTHER, BABY? (put them horns to work!) extra: SITTING ON A FENCE
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The one song I would like to hear this tour is Mother's Little Helper. Can you imagine a stadium full of aging fans singing "What a DRAG it is...getting OLD!" together? Audience participation and crowd bonding in one go. Perfect second song in the set!
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Deidre is 100% right: that IS Ronnie playing on "Crazy Mama!" I don't care what the credits read--his personality is all over those licks! And it's probably the best thing about that song, too. It seemed to me at the time that Mick and Keith threw that one on the album to pander to the hard rock segment of their audience that might have been disaffected by the various
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I seem to recall a story was that "Miss You" began with a earlier jam with Billy Preston on bass (!) and then when it was recorded, Bill W. recreated those licks. There might have even been a little bad blood over songwriting credits. Note that Preston hasn't worked with the Stones since Black and Blue (or the El Mocambo part of Love You Live after that) He did play on Wanderi
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FYI--One of Keith's favorite bands, the great NRBQ (founding member Joey Spampinato played bass with Keith, Chuck, Johnnie and co. in "Hail Hail Rock and Roll!") did a cover version of "Beautiful Sunday" on their 2002 album "Atsa My Band."
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