If one ever imagined a band of such stealth and age phoning in a performance, look no further than these gentlemen guitars and their razoring leads.Īnother fantastic part of the evening was humor.
Musically, however, it was the stinging, back-and-forth solos courtesy Wood and Richard that was the night’s high point. Instead, they seemed to take their time, more than ever, finding and exploiting the good groove on chestnuts such as the blues stomping extended jam on “Midnight Rambler” and the slipped discoid “Miss You,” elongated by Jones’ rubber banded bass flexings. The Rolling Stones | photo by Josh Pelta-Heller for WXPNįrom that aforementioned slower take on “Street Fighting Man,” the set’s opener, there was no pretending that this group were a bunch of kids, despite Jagger’s renewed energy. That harmony alone was worth $3,000 – not that I was paying). (Not so messy though was that small stage’s version of the Stones’ country-billy “Dead Flowers,” complete with Jagger lowering his octave to a deep, bassy hoot and Richards’ first real harmony vocal of the night.
#THE ROLLING STONES LOVE YOU LIVE CODE#
This included everything from Jagger’s low guttural yowling away from the mic and a gospel hootenenay code to “You Can’t Always Get What You Want,” a more pensive than usual “Street Fighting Man” with Richards’ second line sounding like “Monkey Man,” and a cornball acoustic take on “Angie” from the intimate catwalk stage that was so marvelous messy, the foursome seemed to be laughing at it.
Along with finding, then burrowing deep into each song’s rhythmic pocket (thank you, Charlie and bassist Daryl Jones), the Rolling Stones – in small, nuanced ways – managed to make even the most timeworn of its tracks freshly funky. With Jagger back to fighting fitness after his recent heart surgery (which cancelled an earlier “No Filter” Philly tour date in the first place), Keith Richards back to brown hair (he let it go white for a while), Ron Wood looking fitter than ever (sobriety suits him) and Charlie Watts grinning (!!!!), the evening was prime latter-day strong Stones – ragged, slower, noisier and mightily rocking. Though not exactly in league with one of rock's all-time great live sets, 1969's GET YER YA YA'S OUT, LOVE YOU LIVE contains many highlights, such as the funky "Hot Stuff," the Richards-sung "Happy," several blues covers that kick off disc two ("Mannish Boy," Chuck Berry's "Around and Around," etc.) and an awesome, album-closing triple punch of "Brown Sugar," "Jumpin' Jack Flash," and "Sympathy for the Devil.The Rolling Stones | photo by Josh Pelta-Heller for WXPNĬelebrating a relationship with Philadelphia audiences that dates back 54 years (“54 fucking years,” according to Mick Jagger) and a noted assemblage of torn down arenas, The Rolling Stones sold out the Lincoln Financial Center on Tuesday night to adoring longtime fans (at least the t-shirts were old) and people with lots of money to burn (2 front pit tickets were easily $3000). So it's a pretty impressive accomplishment that the Stones could present such a fun and spirited performance as the one featured on LOVE YOU LIVE (taped at a rare club appearance at Toronto's famed El Macombo). That said, the group was going through one of the rockiest and most uncertain periods of its lengthy career Keith Richards had just been busted for heroin possession in Canada with the threat of a long prison sentence hanging over his head, new member Ron Wood was still finding his niche in the band, and Mick Jagger appeared more concerned with jet-setting. By the time the Rolling Stones got around to issuing the third live album of their career, 1977's LOVE YOU LIVE, the legendary band had reinvented itself from a dangerous and sleazy rock & roll group to a more polished arena rock outfit.
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