-Mick and Keith sharing a hug -That's most I've seen ronnie move around the stage. -Mick giving Ronnie a high five after finishing the song -Keith giving a loving "F*ck you" gesture with his arms after the song is over and patting Ronnie on the back.
Oh, Man... That was great! Thanks for posting that, Promoman. That is a much more seasoned version than what I saw in Boston a few years ago, and what we get on the FF DVD... Loved Ronnie's solo, Mick's solo, and I even liked what Chuck was doing for a while there. Jesus. That says something. Awesome.
Mick's harp, Ronnie.... MAN the FF version was good, Paris 07 was great, but this... This really is priceless. Dynamite, if released. It also prooves half the world wrong, which is a nice side-effect. Oh man, isn't it almost impossible that nothing from the O2-trio will be released on dvd or anything?
I'm trying not to put any comparable value to it because it is, like I said, priceless... But what I'm trying to say is that I would easily pay the original price of Live Licks or who knows how much more only for a dvd-single of this performance.
Fabulous Ronnie indeed - was anyone reminded of Mick Jones in the heyday of the Clash? Mick's solo has enriched a lot since Live Licks. Great tonality, great build-up. Also Keys' solo is more interesting. So they DO still improve! Good to know!
sweeeeeet - thank you Promoman ~ thank you Stones! i still don't get what Mick was looking for with that harp part (i had the impression at the time that the guitarists didn't get it either) but that's part of the joy too.
huh?! Keith's doing fine, while the soloists take their shining turns, just like always in this number.
those of you who hear that harp turn as something really fine: can you offer some guidance in how to dig it, please and thank you? like i said, on the night it looked to me like the guitarists were rather baffled by it, and i see that in this clip too - but i'd be real pleased to learn about the "great tonality" that otonneau perceives.
smile: look at the moment when Keith starts "replying" to what Mick's playing - and the comradely comfort he gives him afterwards: it's only rock & roll, baby - now take it away Ronnie - take it where it wants to go [throwing hail hail Rolling Stones confetti all over]
Edited 1 time(s). Last edit at 2008-01-15 21:58 by with sssoul.
No, take Ronnie away! That solo is just painfully aimless. As is Mick's really - although it's ............. well, different.
I've seen Mick do great ones and Ronnie do far better.
I've not seen one Keith performance where he really takes control and rules the song as on SF. I know they're aiming for a different vibe, but it would be great to see him strident and powerful in the song's first section.
Yes the harp part if indeed a stretch. Mick even seems baffled and is playing around with differend blows and draws, and just doesn't seem to be getting it. There is a long stretch where Keith isn't even playing! Sorry CYHMK on Four Flicks is way better.
Yuck. What a shabby performance. Jagger high-fives THAT solo? It's grotesque. I don't remember Keith standing on stage doing nothing in the heyday. When I say this is very self satisfied and self indulgent band think of this clip. It's all there. Keith clowning. Jagger's disgusting prancing. Ronnie hamming it up.
I haven't heard Ronnie doing better solos than this on CYHMK. Please let me know what shows he did far better on... Aimless? It's improvisation, and he's good at it.
Keith has a couple of mistakes, but else he's fine.
Mick's harp solo is quite good IMO, but different than the Licks-solos.
Mick's harpsolo does not have the build-up as we've seen in other performances. He could have easily played it the way we'd expected, the way he did throughout Europe in the preceding shows, but he chose to do something different. The lick he's playing and working around, is a nice bluesy warm thing with a great feel, I think it's very nice, I love it just as much as I love the way he played it in Paris.
thanks sluissie! the Mick trying something different is way cool with me - i'm just trying to get what the artist is aiming at. not every improvisation works - that's part of what the word means - but i'm quite open to the idea that i'm the one who's missing something, not Mick. so anyone with more Lessons in How to Dig This Harp Turn: bring 'em on, please & thank you!
This goes to show that opinions are like a*holes.. Everybody has one. I've seen many shows and for me this one was one of the best. There is truth in all of the posts above.
To me the joy of watching a band play has to to with the enthousiasm and joy they have doing it. They seemed to enjoy themselves very good in London.
Virtuousity on stage if brought without joy is very boring.
I can give a couple of examples of far better ones. London 29/8/03. Glasgow about a fortnight later. First night. (8/9/03?) But they are not joyful, nor soulful. Twangy, bendy, fuzzy excursions, but more coherent than what's on offer here.
"They seemed to enjoy themselves in London"
I've enjoyed myself many a time at parties, but i might have been a crashing bore to those around me.
All the performances of this song I've seen, the intro is weak, almost casual. They sort of stumble into the song. The drums are leading and Keith following. Compare SF. They cannot rise to that power and force these days and the song's live strength now relies on the 'build' of the second section. Perhaps they should just start the song in the middle like MT does?
Not a serious suggestion - but a shame we don't get the full contrast of moods. The fact that Taylor does not do 'Keith's' section live might be a mark of respect - or an acknowledgement that some things are sacred. (Actually, although MT's solos on this are still good, I've not heard an outstanding one, and he seems to use the song as a platform to allow his band their solo moments of glory).
smile: putting it down is like ... okay, some people apparently feel better when they do that - go ahead, light up the town! but i'd way rather learn how to dig it better. i know some people sometimes mistake me for an indiscriminate slob, but too bad: i want to dig it because that's what it's for.