Rolling Stones

[Kudzu Guillotine]

Looks like they have opened up the vaults.

[BigTom]

Looks like they have opened up the vaults.

Awesome stuff...I picked up the Brussels Affair probably 25 years ago at a record convention.

[Van]

Looks like they have opened up the vaults.

Here is what great about this. Most of this recording is the late show with a couple early show tracks mixed in . The Brussels Affair that most of us all know and love was the ealry show on the same date. As far as I know the late show was only available as an audience bootleg. This is awesome they are finally opening the vaults.

[roland]

Just tried to order the FLACs, but found out that it isn't available in the States except as an Android/Google download. Poop.

[Gator McKlusky]

This sounds great! Some of the tracks are diferent recordings than the widely available boot and are mixed a lot better. Totally worth the $5 download.

[Hud]

Thanks for posting KG, I'm looking forward to some quality recordings being released. I just recently started getting back into the Stones. Seems like this show is available as a free stream at wolfgangs vault for anyone that just wants to stream it.

[Hud]

http://www.wolfgangsvault.com/the-rolli ... -1973.html

[Kudzu Guillotine]

Tim Easton on Some Girls, as posted on his Facebook page:

SOME GIRLS

Some Girls was the first Rolling Stones album that I purchased during the same year it came out. I was living in Akron, Ohio and attending the seventh grade at St. Hillary's Catholic school. My best friend Joe Ciriello and I were on the B squad basketball team and our coaches were firing up Miss You on WMMS while we were driving to a game one day. I asked them who the funky black dudes were on the radio. They laughed and said it was the Rolling Stones. I said no way, because I listened to that band and they play songs like "Get Off My Cloud." In that time in my young life I would fall asleep with the vinyl of High Tide and Green Grass on repeat-with both the turntable and speakers within arms reach of my pillow-so that early Stones hits like Mother's Little Helper were permanently pressed into my subconscious. There was no way these guys were the same band that played Satisfaction.

Sure enough, it was the Stones. I didn't know or care much about Ronny Wood joining the band, Keith's drug use, Stu bailing on the sessions for whatever reasons, disco, punk, or any of the things that led to the band getting together in Paris to make this new record. I just knew the beat was driving and the bass was very present and it made my 7th grade ass shake a bit. There was a slightly embarrassing moment that happened when I brought the record home, dropped the needle on my parent's sound system in the living room, started shaking it, and turned around to see my Dad watching me in bewilderment and disgust. Rock and roll and all of it's body shaking liberation was again laying waste to the kids in all the cities of North America and the relatively calm suburbs of Akron, Ohio.

Somewhere in Texas or maybe California, Alejandro Escovedo was surely jamming to that record as well. Every time I see him play, he drops a cover from Some Girls. It used to be Beast Of Burden, which I sang with him in Utah once. The last time I saw him at the Continental Club in Austin, in the spring of 2011, they were singing Shattered. My band in college, the Haynes Boys, used to do Respectable, and once at the Winnipeg Folk Festival, I sang Far Away Eyes with Todd Snyder and Ollebelle. Why doesn't anybody ever sing the title track!

For me, it was all about the weaving of Ronnie and Keith's guitars which of course Keith goes on and on about in his recent autobiography. I followed them both on different days, depending on my mood and direction. It was tight and loose at the same time. It was wild and crunchy, and most of the songs were recorded in the key of A, which I could handle. I was just learning guitar, and didn't know about Keith's tuning, but you could hear Ronny's guitar in there and figure out how to get close enough for bedroom legend Stones concerts.

Then there was the cover. It was and is a playground of cross dressing and bitchiness. You can approximate it with the "Yearbook Yourself" application on your smartphone now. It was so bad ass and of course there was controversy at home and abroad with many versions printed but either way you had fun with this jacket. Who were some of these freaks on the cover? Lucille Ball and Jayne Mansfield I could recognize, but there were things going on that made me wonder what was out there.

I hadn't quite smoked reefer yet but was just about to. And of course after I did there was no looking back for me. I got the message inside Rock and Roll and it was that you didn't have to get a job and live a boring life. You could travel and experience new things. You could leave Ohio!

I had an after school thing as a landscaper and was probably most definitely smoking grass on the job when the Stones were playing the Cleveland Coliseum one night after Some Girls had come out. It might have been after Tattoo You came out. I was second in command that day and I pushed hard to just throw down the rakes and boogie up to Cleveland. "It's the Stones man!" I pleaded, but nobody took me up on it and I didn't have a driver's license yet so it wasn't to be. For whatever reason, I had to wait until the Bridges to Babylon tour to see them at the Horseshoe in Columbus, Ohio.

The sound of the rock songs on SOME GIRLS...When The Whips Comes Down, Lies, Respectable...these are the songs that sound most like I would like my band to sound like when we are in the thick of it. A band that knows it's Rhythm and Blues history and also isn't afraid if it goes off the rails just a bit in the name of Rock and Roll. The band Big Star also achieves this for me but in a different way. They actually were from the south, loved black music and The Beatles, and had a way of making records that no band except maybe The Raspberries could come close to. Making records is one thing, but live...that is the energy that moves me the most, and the Stones pretty much left both these bands in the dust even while, by their own admission, sucking in the 70's.

By the time I arrived in New York City for my first bohemian adventures, the 80's were about a third over and I paced around the city with Shattered (and Waiting On A Friend) in mind. The Stones were working plenty to keep their groove going, and Keith, who had been right on the edge of losing it all, managed to come back and stick his boot right in the groove of that period, making most of the stuff on the radio or MTV seem mighty fluffy to me. My friends were into RATT or Men At Work or whatever but I was going farther back in time every day. After I had sorted out who Howling Wolf and Muddy Waters were, I started digging on Peter Tosh and Bunny Wailer plus Robby and Sly-most likely because the Stones were running with these guys too. I was starting to shop at Thrift Stores and might have even worn a black trench coat over my Wanted: Dread or Alive shirt that I picked up after seeing Jimmy Cliff and Peter Tosh at the Front Row in Cleveland, OH in September of 1982.

The Front Row had a revolving stage and if you were in the front row of so called venue, you witnessed plenty. Jamaican drummers in full throw down plus Peter Tosh slapping his spliff to see if it was still lit. After the show I went back stage to meet him and he was standing next to a tall, beautiful African woman in a colorful dress. I handed him my ticket to sign and told him it was my first reggae concert. He said "you are hooked now mon" and carried on talking to the Nubian Princess. He had attempted to sign my ticket but wrote the "h" of his last name on his own pants which left my stub with autograph from "Peter Tos."

Somehow, I wasn't able to get to a proper Stones gig, but I had seen two of the greatest Jamaicans to ever hit the tour circuit. Bob Marley and John Lennon had died within the same year-just as the decade was kicking off, and I chose to leave private school(Walsh Jesuit) and go to public school(Akron Firestone) plus get intensive Spanish language and cultural training in order to go to the Dominican Republic two summers in a row('82 and '83). The first time was with a junior Peace Corp type of group called Amigos De Las Americas, which still trains young kids to work in the barrios and countryside of Latin America today. I participated in the immunization program, whereby I learned to give shots to kids in the barrios of Santo Domingo. The second time was just to skateboard the whole country, meet girls, and drink El Presidente beer-which led to a two week period of skating NYC on my way back-in order to prevent the reverse culture shock I had experienced the year before when I went straight from the D.R. to the suburbs of Akron.

I ended up seeing The Wailers on the Legend tour sometime in the second half of the 80's while attending Ohio State, and by this time Some Girls was an old record from the 70's while I sorted out the entrance to my life of bands like The Gibson Brothers, Scrawl, Great Plains, and The Royal Crescent Mob-which ruled the scene in central Ohio, and traveling bands like The Cowboy Junkies(who I would later tour with) or The Afghan Whigs.

While attending The Ohio State University and majoring in English, I took on a job as the doorman at Bernie's Bagels in Columbus, OH and when I started it was one band playing three sets a night. There wasn't much bar fighting at that particular basement club so a shorter dude like myself could actually be the door guy. I went to Europe on and off for a few years and when I came back on the scene it was 3 bands or more in the furry of the growing central Ohio DIY music and I was "promoted" to sound man-which basically meant setting up a few mangled microphones, turning the system up as loud as you could before it fed back, and grabbing a few or more beers at the bar while the kids went to town.

Somehow, the 90's had nearly come and gone, and one night a drunken patron looked at me and asked "what the fuck are you doing on that side of the sound board?" I only let that stew a year or less before making a record with my band, hitting the road, and trucking onward.

Some Girls is not my favorite Stones record, but it probably rocked my life the hardest. It altered the course for me. Changed my direction.

[Kudzu Guillotine]

The trailer for the new Stones doc, Crossfire Hurricane. It comes out in the UK in November and premieres on HBO in the U.S. later this year.



Looks like there's another Stones-related movie in the pipeline. One called Charlie Is My Darling '65 that features archival footage from a brisk two city tour from '65. More details on that here.

[Penny Lane]

Tim Eason on Some Girls, as posted on his Facebook page:

Tim Easton? (the musician?) Wow, I listened to him a lot when I was at Ohio State and I remember Bernie's Bagels fondly..I think it's still there. I had forgotten about him for the past 10 years or so..

[Kudzu Guillotine]

Tim Eason on Some Girls, as posted on his Facebook page:

Tim Easton? (the musician?) Wow, I listened to him a lot when I was at Ohio State and I remember Bernie's Bagels fondly..I think it's still there. I had forgotten about him for the past 10 years or so..

One and the same. I first heard of him around the time of his debut album Special 20 and the one where he's backed by Wilco (The Truth About Us) but I didn't really start paying attention to him in a big way until he put out Break Your Mother's Heart. Ever since then I've tried to catch him every time he passes through here. He's sort of a mainstay around these parts as he used to live out at Pine Hill Farm (where the Truckers did a couple of acoustic shows) and also played there during the PHF Farewell concerts in late 2002. I see where he's going to be opening for American Aquarium at the Lincoln here in Raleigh soon. It's been at least a couple (maybe more) years since he last played here so I'd love to catch that one. I just don't have any real desire to see American Aquarium. No offense to the AA fans here, of which I know there are a few.

[Clams]

Extended version of "Bitch" from the upcoming Sticky Fingers re-release....

http://www.spin.com/2015/05/rolling-sto ... ium=button

[Flea]

They should release Cocksucker Blues. Chrissake, everyone knows what complete waste products they were then anyway.

[Rocky]

Extended version of "Bitch" from the upcoming Sticky Fingers re-release....

http://www.spin.com/2015/05/rolling-sto ... ium=button

Thanks for the link Clams. That shit is jammin'. Mick Taylor is killing it toward the end.

[Tequila Cowboy]

Extended version of "Bitch" from the upcoming Sticky Fingers re-release....

http://www.spin.com/2015/05/rolling-sto ... ium=button

Thanks for the link Clams. That shit is jammin'. Mick Taylor is killing it toward the end.

Indeed. That dude was an absolute beast in his prime.

[Flea]

Extended version of "Bitch" from the upcoming Sticky Fingers re-release....

http://www.spin.com/2015/05/rolling-sto ... ium=button

I like this better than the released version.

[beantownbubba]

Extended version of "Bitch" from the upcoming Sticky Fingers re-release....

http://www.spin.com/2015/05/rolling-sto ... ium=button

Hell yeah. To these ears, the horns aren't quite up to snuff but everything else totally smokes!!

[Clams]

Extended version of "Bitch" from the upcoming Sticky Fingers re-release....

http://www.spin.com/2015/05/rolling-sto ... ium=button

Hell yeah. To these ears, the horns aren't quite up to snuff but everything else totally smokes!!

You could even say it's bitchin', right Bubba?

[Kudzu Guillotine]

Exile On Main Street turns 50 on Thursday.

https://www.theguardian.com/music/2022/ ... _iaXZDu9F4

[chuckrh]

Exile On Main Street turns 50 on Thursday.

https://www.theguardian.com/music/2022/ ... _iaXZDu9F4

It makes me sad that they're continuing without Charlie. They've turned totally into a nostalgia act. It's like Blue Oyster Cult with a super good PR/publicity machine. I hear that ticket sales are soft in Europe. Not shocking given the world economy vs the outrageous amount they charge for tickets. Hopefully they don't embarrass themselves.

[Kudzu Guillotine]

Exile On Main Street turns 50 on Thursday.

https://www.theguardian.com/music/2022/ ... _iaXZDu9F4

It makes me sad that they're continuing without Charlie. They've turned totally into a nostalgia act. It's like Blue Oyster Cult with a super good PR/publicity machine. I hear that ticket sales are soft in Europe. Not shocking given the world economy vs the outrageous amount they charge for tickets. Hopefully they don't embarrass themselves.

From the footage I saw from the previous tour I saw zero evidence of anyone embarrassing themselves.

[tinnitus photography]

Exile On Main Street turns 50 on Thursday.

https://www.theguardian.com/music/2022/ ... _iaXZDu9F4

It makes me sad that they're continuing without Charlie. They've turned totally into a nostalgia act. It's like Blue Oyster Cult with a super good PR/publicity machine. I hear that ticket sales are soft in Europe. Not shocking given the world economy vs the outrageous amount they charge for tickets. Hopefully they don't embarrass themselves.

maybe more like The Who than BOC.

but musicians are gonna wanna music. i can't blame them.

[chuckrh]

Exile On Main Street turns 50 on Thursday.

https://www.theguardian.com/music/2022/ ... _iaXZDu9F4

It makes me sad that they're continuing without Charlie. They've turned totally into a nostalgia act. It's like Blue Oyster Cult with a super good PR/publicity machine. I hear that ticket sales are soft in Europe. Not shocking given the world economy vs the outrageous amount they charge for tickets. Hopefully they don't embarrass themselves.

From the footage I saw from the previous tour I saw zero evidence of anyone embarrassing themselves.

I'm a long time Stones fan. First time I saw them was 1978 & have seen them well over 20 times since then including 1 club show. I listened to quite a few tapes from the last tour. Some were pretty good, some not so much. It's a different band without Charlie. He was the engine. Also, they have the guitar sound so processed that it's hard to hear what they're actually playing. The other thing that sort of divided the show was how Mick sounds. Some shows he actually sings & those are good. Others he basically shouts the whole show. I've hit the point in my decrepitude that I'm not going to any more nostalgia shows. Shows where the bands are touring without any valid newer material. The Stones played 1 newer song (Ghost Town) that actually is a decent song. The rest was what the fans call the warhorses. The setlist hasn't changed much if any in over 10 years. I was in the music biz for over 25 years so I went to literally hundreds of shows. For a time I was actually paid to go beyond the free tickets & backstage passes, etc. With ticket prices being what they are I had to draw a line somewhere (fixed income). So with a few exceptions I'm sticking to club & theater shows by either young artists or people like Bob Dylan who are still exploring new sounds & ideas. Dylan is playing a theater here. While it was spendy, I've heard a few shows from the current tour & he's doing over half material that's never been played live before. & it's fantastic. I've also lucked out on Mike Campbell & the Dirty Knobs. They're opening a few big shows around here (Chris Stapleton & the Who) but also doing a club show. Much cheaper & I'd rather hear Mike play 2.5 hours on his own than 45 minutes opening. It's just me. It's very hard for me to go to shows now & more so with the arena & stadium shows. The only 2 I have like that are Roger Waters (who is promising new material in the show, like last time) & Red Hot Chili Peppers who have a very good new record & 1 of my favorite guitar players back. Taking a hard pass on stuff like Motley Crue/Def Leppard. It's just not worth spending $125 to me to sit in the nose bleeds & listen to the same old crap. I'm sure the spectacle will be fun but it won't have much to do with actual music. & I don't care for the Who orchestra thing. Roger's done something weird with his voice & to me the orchestra has castrated what's left of one of the mightiest rock bands ever.

[305 Engine]

In my teens and early 20s, I took Exile and the rest of that 1968-72 canon so seriously that I refused to see the Stones live (it would have been Bridges to Babylon era) because I thought I'd be incredibly disappointed. Pretty precious obviously but I think its ok to be precious about music at that age.

I've seen them since and had a good time but I feel similarly precious now. I dont begrudge them continuing to want to play those shows but I cant get enthusiastic about it. The blues covers album might have been a good way to draw a line under the band.

[chuckrh]

In my teens and early 20s, I took Exile and the rest of that 1968-72 canon so seriously that I refused to see the Stones live (it would have been Bridges to Babylon era) because I thought I'd be incredibly disappointed. Pretty precious obviously but I think its ok to be precious about music at that age.

I've seen them since and had a good time but I feel similarly precious now. I dont begrudge them continuing to want to play those shows but I cant get enthusiastic about it. The blues covers album might have been a good way to draw a line under the band.

I would've been happy to hear them do more of the blues record. It was pretty good for what it was. Sadly, they only tossed in a few songs here & there during the tour that happened after it came out. Then they disappeared. I got lucky & saw a great show in 2019. The stars were aligned right & it was a perfect day & show. I'm happy to leave it at that. For me, the last really good tour was the 40th anniversary Licks show. They were changing the setlists nightly & featuring different albums. I saw several shows on that tour & the Bigger Bang tour. The one great show on Bang was around Halloween in Seattle. They had Motley Crue open & Ronnie had too much fun pre-show. Early in the show he did a solo on Tumbling Dice that sounded like Sonic Youth & not in a good way. After that he was turned way down or unplugged whilst Keith & Blondie Chaplin did the heavy lifting on guitar. Keith was fantastic that night. Ron just ran around acting goofy. He must've got talked to because 2 nights later in Portland he was much better. The 50th anniversary show I saw in Vegas was a huge disappointment outside of Mick Taylor playing 1 SONG. That show also featured 1 of my least favorite Stones songs ever: Emotional Rescue. Bleh! & finally, that was the tour that featured guests every night. In Vegas they could've done something special with BB King, who was in town. Instead we got Katy Perry singing on Beast of Burden. She wasn't horrible but the slot could've been so much better. So, I still listen to the Stones but I think I'd be happier if Keith decided to do a solo theater tour. The Expensive Winos show I saw was fantastic. Sadly, Bobby Keyes & Sarah Dash are no longer with us. I got to meet them (& Keith). Bobby Keyes was really nice & I really miss him in Stones sound now. Keith was cool, too.
Other than that, I draw the line at 81, 82. I saw one show in 78 & 2 in 81. Ian Stewart was still alive & provided great rock & roll piano when he felt like it haha. 82 was the last tour that featured Keith heavily on the backing vocals, no backup singers. When they came back in 1989 they had turned into, for lack of a better term, the Vegas Stones. Huge production, lots of extra musicians & singers. The earlier shows I saw were in stadiums but the production was a lot more stripped down. It was way more about the music in those days. They're a commodity now.

[beantownbubba]

The funny part of all these "reunion tours" and "farewell tours" and "never ending tours" is that the boomers who flock to the show have a total lack of self-awareness that they've turned into their parents and into everything they used to make fun of and were going to tear down. There are plenty of Stones fans that would love to see/hear the band continuing to evolve, playing new music, trying new things, doing anything but being parodies of themselves, but face it, there are tons of fans who simply want to relive their youth and to see and hear it just the way it was. What is surprising to me is how many post boomer bands are now part of the same circuit. Time truly does fly.

While it may be slightly cringeworthy in some cases (depending on the band's "persona" and how much they're into faking spontaneity), I can't blame the musicians for making money when and where they can even though the largest slice goes to those who need it least. Viewed more positively I can't blame the musicians for wanting to play music in front of a live and adoring audience. I could blame the fans who view music though a nostalgic lens and want only to relive their glory days from the comfort of $500 seats but clearly there's a whole lot of human nature involved and objecting is futile. This is a fairly new revelation to me. I used to think that "oldies" and nostalgia acts were only appealing to other, ummm, older generations. But it turns out that while the names of the acts change, the impulse appears to be fairly universal.

For those of us to whom music still matters as something more than the sum of its parts it might help to view this phenomenon as being about something other than Music w/ a capital M. Call it nostalgia, call it oldies, call it entertainment, call it the Vegasification of America. Call it what you will, but it's not going away.

[tinnitus photography]

The funny part of all these "reunion tours" and "farewell tours" and "never ending tours" is that the boomers who flock to the show have a total lack of self-awareness that they've turned into their parents and into everything they used to make fun of and were going to tear down. There are plenty of Stones fans that would love to see/hear the band continuing to evolve, playing new music, trying new things, doing anything but being parodies of themselves, but face it, there are tons of fans who simply want to relive their youth and to see and hear it just the way it was. What is surprising to me is how many post boomer bands are now part of the same circuit. Time truly does fly.

While it may be slightly cringeworthy in some cases (depending on the band's "persona" and how much they're into faking spontaneity), I can't blame the musicians for making money when and where they can even though the largest slice goes to those who need it least. Viewed more positively I can't blame the musicians for wanting to play music in front of a live and adoring audience. I could blame the fans who view music though a nostalgic lens and want only to relive their glory days from the comfort of $500 seats but clearly there's a whole lot of human nature involved and objecting is futile. This is a fairly new revelation to me. I used to think that "oldies" and nostalgia acts were only appealing to other, ummm, older generations. But it turns out that while the names of the acts change, the impulse appears to be fairly universal.

For those of us to whom music still matters as something more than the sum of its parts it might help to view this phenomenon as being about something other than Music w/ a capital M. Call it nostalgia, call it oldies, call it entertainment, call it the Vegasification of America. Call it what you will, but it's not going away.

also related:

https://www.theatlantic.com/ideas/archi ... ic/621339/

[tinnitus photography]

i mean, i definitely am part of the problem... i was happy to see the last Genesis show and really hope i get approved for Roxy Music this summer. i also buy an inordinate amount of reissues, which i should probably take a closer look at...

but i also try to keep fairly current so it's not like i am only living with my music tastes from 30-40 years ago.

[beantownbubba]

also related:
If

Is Old Music Killing New Music?

I don't know how I missed this article when it first came out so thanks for posting. Gioia is not wrong, and his stats are useful for filling in the blanks in my knowledge but I can't help thinking he's missing something(s). For one thing he lambasts the industry, appropriately, for missing out on new trends and new hits, yet he ends the article by proclaiming that new music always comes from the bottom up, not the top (the music industry) down. This is surely correct, so why spend all that time excoriating the guys who we know aren't going to discover the next big thing anyway?

Plus, I think he misses 2 related major developments that directly impact his concerns: Most important, the split of the mass audience into a bunch of niche audiences; it's ever harder to reach across boundaries and have an old fashioned hit or a new fad that becomes more than yet another genre or sub-genre. Second, the sheer availability of music. I'm thinking primarily of streaming services. Millions of songs, all available for free or almost free. One couldn't listen to them all in multiple lifetimes. Let's just say that back in the heyday (call it the 60's, 70's, 90's, whatever) an average music fan had less than 100 albums. Of course they would get tired of them and look for something new, or not have anything available that fit their mood quite right so they had to look elsewhere. They might have heard of lots of potentially interesting music but it wasn't always easy or cheap to find/buy/listen to all that potential gold. Now, w/ infinite choices, it seems like its more surprising when a song actually is able to capture broad, cross demographic attention.

i mean, i definitely am part of the problem...

I have some knowledge of your musical tastes/interests from your posts and I'm gonna go way out on a limb and say that you are not the problem.

[tinnitus photography]

yeah the fractionation of music and how people listen to it and get exposed to it is a great point. who knew 2-3 years ago that Tik Tok can make major stars of people!