Rolling Stones - 1973-01-18 LA Forum v2 (For Mick Taylor fans)

Rolling Stones 1973-01-18 LA Forum v2 (For Mick Taylor fans) 0:00 Introduction 0:40 Brown Sugar 4:16 Bitch 9:21 Rocks Off 13:38 Gimme Shelter 18:32 Route 66 22:03 It's All Over Now 26:47 Happy 30:07 Tumbling Dice 35:30 No Expectations 41:33 Sweet Virginia 46:19 You Can't Always Get What You Want 54:20 Dead Flowers 58:27 Stray Cat Blues 1:02:35 Live With Me 1:06:50 All Down The Line 1:11:13 Rip This Joint 1:13:24 Jumpin' Jack Flash 1:17:07 Street Fighting Man (End cut off) Encore of Midnight Rambler not on this version. There are at least two versions of this show. This one has a very bright high end and a million pops from the vinyl transfer. I've manually removed the most annoying ones, but a few remain. It was either that or use a depopping program, which usually squashes the sound quality in unpredictable ways. The first version I posted must have been put through a decent one, but it took a lot of high end off. And for some reason the song order of this version had been changed, swapping NE and TD. That has been corrected. The taper seems to have been very close to the stage on Mick Taylor's side. He dominates the mix more than any other 69-73 show I've heard. Keith is hard to hear in the mix of bass, drums and vocals when the band gets cranked up. Many of the beautiful photos are by James Fortune Photography Notes from Rolling Stone magazine, 1973-02-15, Ben Fong-Torres. Edited by Flip. But suddenly [Jagger] pops up, from behind the sleek white housing Chip Monck, stage and lighting manager, has designed, not only as an extravagant enclosure for the arps [*] (also painted white), but a catwalk playground for Mick Jagger as well. Mick pops up from the rear of this bank, to the top of a child-size sliding ramp, skitters down onto the stage, and flashes his mouth, first, and then his ensemble. The band, as always, looks bored behind him, grinding out the intro for Brown Sugar, and Jagger is a caped peacock, peaking already as holds a rhinestone-studded black costume ball mask up to his face, glitter onto the already glittering body. He giggles and does away with the prop, whirls around and around in a black cape and tosses it aside... Jagger is doing his basic dance step, left leg straightened out, loosened only at the toe, stomping flat footed on the duralon floor (painted with flaming orange and green serpents for the US tour), big mouth chomping away in anticipation of the first vocal explosion, and by the time Jagger has moved into Bitch, it is clear that between Jagger and the staging, it's a show. Mick Jagger is the hardest-playing man in show business. Finished with Gimme Shelter, he thinks maybe it's time for a few old ones, ones he didn't do last time around; he does Route 66, voice raspy and strong, as he implores, "Won't you get hip, to this kind of trip." "Vintage," he says after the ovation, "definitely vintage." Keith Richard, looking off-white of skin, dressed himself in white satin, steps forth to help out on It's All Over Now. The two are the only ones who move, aside from the non-Stones, hornmen Jim Gordon [sic] and Bobby Keys and pianist Nicky Hopkins. Charlie Watts is set in from the wall of speakers, and Mick Taylor and Bill Wyman continue to perfect their imitations of statues. "A bit rusty, that one," Jagger comments. Now he thanks the audience for showing up. "I know it's a lot of bread, but thank you," and into Happy, all red lights blazing, again with Keith, Jagger in one of his classic positions, chest out, arse up, hands cupping upper buttocks, then Tumbling Dice, Mick taking a break sitting on one of the tilted monitor speakers. The kisses, the let-it-out shouts of, "Aw-right!" Even the shorter shag-we are seeing the old Mick, working his blues away, flashbacking again for some of the hardest rock he ever did: Round And Round, letting the glittering shirt fall down over a glistening shoulder, letting the fall force the frontal zipper down past the navel, a glimpse of white shorts before he notices and jumps up, into Jumpin' Jack Flash. No one can touch him now, as he powers into the closing number, their ironic theme, Street Fighting Man, Mick phrasing each line like a snarl, throwing flowers and petals to the audience, while the band maintains the rev. Mick puts his cape on with a flourish, over his head, spins ten times, and he collapses onto his knees for the bow. An embrace with Keith and lights out. (*) I think he's referring to the piano? Notes from LA Times, 1973-01-20, Robert Hilburn. Edited by Flip. When the Stones go through some of their songs that date back to 1964, you realize how very much they've changed: from the scruffy, underfed-looking English kids who were excited by all the new things happening to them, to the confident, aggressive, rebellious, even sinister figures of the late 1960s, to their more recent, less self-conscious role as simply a great rock 'n' roll band. Altamont is only a memory now.