Tag Archives: Rolling Stones
Funny how back at the dawn of the ’80s, the punks, goth kids, and New Wavers thought the Stones were dinosaurs lumbering from a prehistoric age, lumbering toward the conclusion of their two-decade run after having outlasted everyone else from the black-and-white TV generation. Little did any of us know that unlike the T. Rex — they even outlasted him — the beasts of burden weren’t even at the halfway mark.
“Charlie’s good tonight in’nit he?” — Mick Jagger, Madison Square Garden, 1969. Charlie Watts’s drum kit was a pitch-perfect reflection of the man who sat behind it for The Rolling Stones for nearly 60 years: modest yet essential. Charlie famously eschewed rock drum solos as frivolous, show-offy expressions of ego. A lifelong jazz devotee and […]
Talk about setting a high bar. How do you match an album (1968’s “Beggars Banquet”) that has “Sympathy For The Devil” as its opener? Simple. Make “Gimme Shelter” the opening salvo on your follow-up record. Some of us didn’t need a big box set (out now) marking the golden anniversary of “Let It Bleed” to […]
As a small tribute to today’s birthday boy, guitarist extraordinaire Mick Taylor, (who turns an improbable Seven-O), here’s my take on one of the most famously obsessed-over, and mythologized slabs of live rock & roll of the past 50 years that Mr. Taylor was intrinsic to bringing to life — and which, until fairly recently, wasn’t even officially released (and even then, as a mostly digital-only treat). Hence this review, written by my alter-ego “Leedslungs71,” of another enterprising foray into the nether realm of unofficial, fan recordings that have kept this blistering concert and indelible moment alive and humming across generations of listeners for more than forty years. (This piece first appeared at the terrific Collectors Music Reviews blog and website, which is populated by those of us who care about such things).
The 300 lucky radio station contest winners who crowded into a dozen buses bound for Toronto’s El Mocambo Tavern one early March evening in 1977 began booing when they thought they wouldn’t be seeing the club’s headliners, April Wine, after all. Also on the bill that night was some opening act called The Cockroaches. They […]
To truly consider the Rolling Stones, it’s simply not adequate to ponder a clutch of hit singles or a few best-selling albums, or even an epochal moment or movement in music history. No, to properly contemplate the Stones is to throw a wide net across the stretching seas of the decades encompassing music, fashion, and culture that’s informed their existence (and vice versa). And bring your magnifying glass and microscope.
Diamonds from the Mines: In the service of being a little less “Blue & Lonesome” (even though we’re quite enjoying the state of mind the new LP brings, so thanks boys), we’ve rolled away the stones and cracked open our hermetically sealed, climate-controlled “RPM” vaults to peruse a handful of sparkling jewels and (thankfully) non-scuffed […]
Ultimately, despite (or perhaps because of) being bashed-about and knocked-out off-the-cuff, “Blue & Lonesome” firmly and expansively situates itself in time and place. Like most good albums, it captures and distills a mood and a feeling, a frame of mind, a state of being, and it’s a welcome, if relatively brief (at 42 minutes), escape.
MAC & KEYS: Two years ago this week we lost two titans who helped shape the sound, course, and texture of roughly a half-century of rock music, not to mention that of their frequent collaborators and employers, the Rolling Stones, who benefitted greatly from their skillful, soulful mastery on the horns and keys. I’d like to […]
THE KING IS DEAD (But Johnny B. Goode Lives On): Chuck Berry, Rock ‘n’ Roll’s Pioneer Architect of Youthful Abandon, Dies at 90.
Chuck was/is a progenitor of the gloriously messy swamp of cross-pollinated sounds we call rock ‘n’ roll. With his own influences as disparate as T-Bone Walker and Nat “King” Cole, Berry burst on the national scene in the early 1950s as a five-tool artist who wrote, sang, played, performed, and created an exciting new form from existing traditions, effortlessly fusing elements of nascent Teenage Pop (which he helped invent), Tin Pan Alley, Blues, R&B, Rockabilly, Swing, and even Country and Western.