Rolling Stones 2019 U.S. Summer Tour

We know you disagree. And we say you are in an extreme minority. You know, like moon landing deniers. All good.

 

I am in such an extreme minority that their best selling album (Some Girls) and biggest grossing tours are from the Wood-era, yet you presume to know the opinion of all Stones fans.

 

“Brothers and sisters, who’s fighting and a-wot for?”

It’s only rock n roll.

 

Thankfully, it isn't.

 

I have not seen them yet in 2019, but I saw them in 2013, and they were miles better than in 2006, although 2006 was a mixed bag performance wise.

 

I don't really consider Jones to be a major contributor post Satanic Majesties. Outside of No Expectations, which is a good track, his contributions were much more minimal than Taylor on Fingers/Exile.

 

Review of Gillette Stadium gig:

MUSIC REVIEW
At Gillette, there’s no stopping the Rolling Stones
By Marc Hirsh Globe CorrespondentJuly 8, 2019, 12:15 p.m.

Mick Jagger and the Rolling Stones at Gillette Stadium. (MATTHEW J. LEE/GLOBE STAFF)


There are surely few ways of ending the long Fourth of July weekend more ironic than by celebrating the British Invasion. But there the Rolling Stones were, England’s longest sustained occupiers of what began as an American art form — rock ’n’ roll — at Gillette Stadium on Sunday, as if in retaliation for the whole independence thing. Mick Jagger even took a wistful dig at the holiday (and the president), sighing, “If only the British had held onto the airports, the whole thing might have gone differently.”

Things were meant to go differently for the Stones as well; Sunday’s concert was rescheduled from June 8 due to Jagger’s heart valve procedure. But anyone who wasn’t scanning for some indication of the infirmity that forced the postponement very likely wouldn’t have found it, as the singer was slinky, wiry, and fully engaged. He strutted and preened throughout, and when he hit the words “gin-soaked” in the first line of “Honky Tonk Women,” his whole body undulated side-to-side like it was pure muscle memory.

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But if the typical line on Jagger, even without health scares, is that no one can believe he’s still spry, the typical line on Keith Richards is that no one can believe he’s still alive. He certainly was a far less physical presence, and not just by comparison; it wasn’t until five songs in, on the electric blues of Jimmy Reed’s “Ride ’Em on Down,” that he so much as cracked a smile.

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Even so, his playing remained as distinct as ever. The entire concert began with two crashing chords — the tonic followed by the IV, a Richards trademark — enough to send the Stones flying, right into “Street Fighting Man.” The guitarist knocked out cracking country licks on “Honky Tonk Women” and kicked off “It’s Only Rock ’N Roll (But I Like It)” with a Chuck Berry riff played on a red Gibson ES-355 (uncoincidentally Richards’s idol’s favored model). Ronnie Wood, meanwhile, continued being perhaps the only lead guitarist in rock history consistently overshadowed by his rhythm guitarist.

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Even more imperturbable was Charlie Watts, his steady, impeccable drive still undimmed after all these years. He deftly guided the band through at least three different rhythms on “Midnight Rambler,” kept “She’s So Cold” sharp and sinuous at the same time, and swung hard on the blues numbers. And the rolling crest of drums that led the Stones out of the first chorus of “You Can’t Always Get What You Want” was the first lift in a song that only kept lifting.

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Armed with acoustic instruments on a satellite stage, the band played only two songs as its core quartet: “Play With Fire” downplayed its chamber-pop roots, while “Dead Flowers” took on a more upbeat Laurel Canyon feel. For all of the mythologizing of the Stones as a simple rock ’n’ roll outfit, though, they’ve long been far more expansive than that. Still, they didn’t try to shoehorn additional instruments into songs that didn’t need them, bringing them out only when necessary, like Karl Denson’s raunchy saxophone solo on “Brown Sugar” (complicating a song whose deliberate offense has only grown). And the slow-motion lightning ripple of “Gimme Shelter” was tightened by backup singer Sasha Allen’s fierce vocals as she stalked up the catwalk and faced Jagger down as an equal.

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The Stones won’t be able to do this forever. Someday Jagger will give out, or Richards will, as unthinkable as the latter may be. But witnessing the show-closing “(I Can’t Get No) Satisfaction,” dragged closer to Otis Redding’s cover than the Stones’ original by now, it was hard not to think they’re still going to try like hell.

The Rolling Stones

With Gary Clark Jr. At Gillette Stadium, Sunday


Mick Jagger performed in concert with his band the Rolling Stones at Gillette Stadium.(MATTHEW J. LEE/GLOBE STAFF)

Ron Wood, Mick Jagger, and Keith Richards performed together. (TED GARTLAND FOR THE BOSTON GLOBE)

Mick Jagger performed with Gary Clark Jr and his band.(MATTHEW J. LEE/GLOBE STAFF)

The Rolling Stones at Gillette Stadium. (MATTHEW J. LEE/GLOBE STAFF)

 

I went to the Foxboro gig on Sunday, I thought the show was fantastic, Jagger was in tip top form, he sounded great and performed like the freak that he is, he’s still really a sight to behold. How anyone can be at that show and leave during the encore after what they were putting out, I don’t understand it, but to each his own I guess. I was in Pit 2 and if you’re thinking about going to one of the upcoming shows, it’s definitely the place to be. Surprisingly, we still had a great view of the B stage from there as well. If you can get a spot on the back rail near the center ramp it’s the best spot in the house imo.

And guys, forget about comparing the different eras and tours and just enjoy them for what they are now, they still put on a rock solid event!

 

Lol. No...I never said that but thanks for playing.

I do know what the prevailing opinion of the run from 69-72 is. Your is different. Like I said, all good.

Regarding your Some Girls argument, who was it that said ‘popularity does not equate to correctness’? Hmmm.

Enjoy the Stones. I do. All of it in fact.

 

Indeed.

 

The Big Four...

1968 is part of it, which is a sign of where the majority of the credit should be focused.

Mick and Keith and their songs.

 

However, if you include the outtakes from the Let Bleed sessions which appear on Metamorphosis, Taylor plays a bigger role in the Let Bleed sessions than he is given credit for most of the time and actually appears on more tracks from the sessions than Brian Jones.

 

I agree as in the concerts I saw in Boston and Singapore and many bootlegs I watched and listened to I think the playing on the 50 & Counting Tour and 14 on Fire was more consistent than the 2006 tour. Maybe having Mick Taylor touring with them raised the bar for the band? I know I read Keef loved having Mick T on tour and I thought I had read he was open to him joining the band again?

Not that the 2006 tour was bad by any means but I felt the latter tour was more consistent and the shows had more energy.

 

Those outtakes have no bearing on the album itself or it's impact. That it is thought so highly of without really featuring Jones or Taylor say's a lot. Many see it as their very best.

Does this spring 1969 recording suffer from not having Jones or Taylor? The widely held popular and critical assessment is that it doesn't.



To credit "the apex" to the MT era is being selective with what the popular and critical assessment say's. Jumpin' Jack Flash is marked as the beginning of this often called golden period.

 

Those outtake tracks were recorded at the Let It Bleed sessions so Taylor actually played more at the sessions than he is generally given credit for. That was my point.

In addition, earlier in the thread I was talking about playing live with Taylor vs. Wood and I find them more interesting live with Taylor. I like Woody and he has the opportunity to play any song live that Taylor played plus some that Taylor did not have the opportunity to play but I still find them live with Taylor to be more interesting than with Woody.

 

No one say's he didn't play a lot on the sessions once he joined. But, they are not on the album and had no bearing on the impact of Let It Bleed so it's irrelevant.

 

I get your point and I never said the outtakes had input on the album but some think Brian Jones had just as much input into the Let Bleed sessions as Taylor and I was pointing out that it is not the case.

 

Too little is known about what was and wasn't recorded whilst Brian attended sessions to be able to say either view with any certainty.

The available recordings obviously show Taylor was far more involved, but who knows what is on all of the tapes from February - May 1969?

 

Based upon what we have officially and on bootlegs.

It is also known that they turned Brian's microphone off at times because he was out of it.

 

You are stepping in to unknown territories.

 

What's unknown?

 

All that was recorded during The Let It Bleed sessions.

The specifics of when Brian was out of it and if or when they turned his microphone off.

 

What I respect most about the Stones is that they can still stand up and play!

Can't tell you how many rock bands (local cover bands where I live) that have members that are 10 to 15 years younger than most of the Stones, and they sit on chairs and play. Then they wonder why they can't get the audience on their feet to dance?!?!

I know this is kind of silly.

 

You could say that about anything. It is doubtful anyone will know every specific about any situation. You use the information and resources you have and you can elect to believe them or not based upon how reliable that information and those sources are.

 

Don't forget that Taylor also played on Waiting On A Friend and Tops