Keno's ROLLING STONES Web Site
FANS ALBUM REVIEWS
Thirty-Eight Live Albums Reviewed So Far
|Live Licks (3)||No Security (5)||Stripped (2)||Flashpoint (7)||Still Life (3)|
|Get Yer Ya-Ya's Out (8)||Rock n Roll Circus (1)||Love You Live (6)||Got Live If You Want It (2)||Shine A Light (1)|
March 30, 2005
Ahhhh! The obligatory "live album that fulfills our contractual obligations" is once again upon us- this one titled Live Licks, and heaped upon it is the inevitable Stones' fans scrutiny. Whether or not one cares for this collection probably depends on whether or not you like THIS version of the Stones. I mean, they HAVE evolved over 40 years and everyone has their favorite live period.
What's YOURS? The 72 lineup where the band rocked with almost HEAVY METAL intensity? The 75-77 version where the party took a back seat to the songs (Jagger's comical babblings on Love You Live?) The punkish feel from 78-81? The time they....GASP...REHEARSED (??!!) and sounded tight, professional and dare I say it, technologically up to date? (Steel Wheels) Or the most recent version- where the tempos, like the band themselves, slowed down and lost a lot of the ferocity and fire. I mean, "Gimmie Shelter" on No Security can't hold to a candle to a 72 bootleg where Mick Taylor's solo sounds like the guitar CAUGHT FIRE! That's for SURE!
So it was with much dread that I opened the plastic on my store bought Tower records copies of Live Licks and anticipated The Decline of The Greatest Rock and Roll Band, Part Two. I pressed track one on the CD player, closed my eyes, and braced for the WORST And then...
This record KICKS ASS. While there are still some age spots, for certain. it packs a punch sorely missing from the last few Stones live sets. Opening with an in your face version of "Brown Sugar" (a bit ragged but it still delivers and then delivering a blistering version of "Street fighting Man" that puts the Ya-Ya's version to shame (and that says a LOT), this band sounds like men with something to prove. In fact, almost all of disc one sounds fresh and exciting, be it the killer snare and tom fills of Charlie Watts on "Paint it Black" or the two guitar swagger of "It's Only Rock and Roll".
And then, Disc Two. I bought my first version of "Let it Bleed" in 1978, so I've been waiting well over 26 years to hear "Monkey Man" performed live. And it sounds GREAT! And "Can't You Hear Me Knockin" HAS to be the high point of the album. With 3 great solos by Bobby Keyes, Mick Jagger, and Ron Wood giving Taylor a run for his money, 33 years later. Throw in Jagger making the crowd scream like little kids on "That's How Strong My Love is", and you've got a winner.
Still, there ARE a few disappointments. "Happy" shows Keith slowing the song waaaaaayyy down. "When the Whip Comes Down" sounds about as menacing as a toddler, and some of the oldies but goodies would sound better in a Vegas lounge. But unlike the clunkers that dominated No Security, Live Licks overall shows the Stones in a deliberate attempt to return to form. Kudos to them. Now if you'll excuse me, for the first time in almost 15 years,I FINALLY have a live album to listen to since Flashpoint.
March 28, 2005
Following suit to the previous live album releases that have directly preceded the large tours, Live Licks is a collection of songs from the Licks 2002-2003 Tour. Live Licks is a two-disc album that contains well known hits on the first disc and rarities on the second.
The first disc is not that great. To begin with, 'Brown Sugar' is just pitiful. The editing and lackadaisical guitar work just squander all of this track's potential. 'Street Fighting Man' is a great cut, laid out straight from its MSG performance. 'Paint it Black' is alright, followed by 'You Can't Always Get What You Want'. I don't know about the rest of the Stone's fans out there, but I'm becoming fairly sick of this track being on every LIVE recording we get from the boys, and this version is by no means the best. 'Start Me Up' is a superb take from their performance in the Olympia Theatre in Paris. 'It's Only Rock and Roll' and 'Angie' are both fairly good tracks, with a overdubbed, but well done recording of 'Honky Tonk Women' with Sheryl Crow. 'Happy' is probably the better of the official live Stones releases. 'Gimme Shelter' cannot hold a candle to the studio version, and doesn't even stand up to the NO SECURITY take. '(I Can't Get No) Satisfaction' is just like all the other versions of this song we've heard throughout the years and is certainly not the best of the bunch.
The second disc fairs about the same. 'Neighbors' is WAY better than the TATTOO YOU edition. 'Monkey Man' gets a more guitars-y type feel. 'Rocks Off' is just plain pitiful, mainly because of the cutting of the third verse. 'Can't You Hear Me Knocking' is great. 'That's How Strong My Love Is' and 'The Nearness of You' are not strong tracks, but are more than made up for by a harder, blusier version of 'Beast of Burden'. 'When the Whip Comes Down' is good, but technically doesn't belong on this album, since it was previously released live. 'Rock Me, Baby' would be much better with the Young brothers of AC/DC, and simply just barely cuts it. 'You Don't Have TO Mean It' and 'Worried About You' are both weak tracks. The second disc ends with a superbly done 'Everybody Needs Somebody To Love', featuring Solomon Burke, who had it right when he said that the Stones are the "True crowned kings of rock and roll."
In conclusion, this is NOT a good start for any Stones fan who is wishing to get into their live performances. I strongly advise anyone who is interested in the LIVE catalogue to take a look at FLASHPOINT, LIVE IN ATLANTIC CITY (available on Ebay, which is a bootleg), and even NO SECURITY before buying this album. Moreover, if you have FOUR FLICKS, there is no point in buying this album what so ever, trust me.
By Jack Flash
November 12, 2004
The Stones' most recent release, a live album of the 2002 "Forty Licks" tour, entitled Live Licks, has drawn mixed reviews from critics, but among the Stones' faithful, it appears to be a flop. There may be several reasons for this reaction. One is that many of the tracks are the same ones used in the DVD of the "Licks" tour, Four Flicks. Another is that the original tracklist for the 2-disc live album was more enticing, and the Stones ditched it. And maybe Keith and Ronnie are losing it? I don't think so. Though Live Licks is certainly not the World's Greatest Rock N' Roll Band at their best, it's still a pretty good representation of an enormous tour. There are 12 songs on this LP that have never been released on a live album before, and there are great, great moments here. Keith conjures up one of his best riffs on a 9 1/2 minute "Can't You Hear Me Knockin'" that adds on Mick's powerful harmonica in the jam at the end, A great idea! On "Neighbors," Keith and Ronnie go crazy, and the boys made a good choice on in releasing a rocking version of "Monkey Man," and the closer "Everybody Needs Somebody To Love" is lots of fun. But there are some sloppy moments as well: a banal, uninspired version of "Brown Sugar," a dour take on "You Can't Always Get What You Want," and a disoriented version of "Rocks Off" where Mick forgets the lyrics and the final verse is edited out.
But, despite the kinks, all in all, Live Licks is an average to pretty good album. Other good performances include "Street Fighting Man," "Gimme Shelter," "Angie", "When The Whip Comes Down," and "Rock Me, Baby." Mick's voice is positively awesome (how does he do it?), Keith's guitar is good throughout, and Ronnie sounds fantastic at times. I guess if we gave it another name, it'd be "The Good, The Bad, and the Ugly". Then again, that'd be Keith's other name too.
To listen to some sound clips from LIVE LICKS or to buy it click here: Live Licks (Buy.com)
By Tommy MacLuckie
February 13, 2004
'You Got Me Rocking' is an excellent tune to kick off this seemingly contract filling live album. It's tight, it's kick ass and Mick even changes up his melody a bit (Guess I lost my spring). 'Gimme Shelter' is a fantastic performance, with Keith and Ronnie both bending and easing in and out of their weave. 'Flip The Switch' - it's great to hear this live, it's a little bit looser than the Bridges version, but to hear Mick grunt out "Ah flip the switch-uh" is hilariously great.
What I'll never understand is why they get a troglodyte (Dave Matthews) to ruin a great tune that gets its only live version to album ever. Aside from him, it's great to hear Keith bellow out his lines. 'Corinna' with Taj Mahal is a fun tune and features some great guitar work from Keith.
More fresh material - 'Saint Of Me' kicks - Ronnie goes bonkers on his solo. 'Waiting On A Friend' is nice, nice sax. 'Sister Morphine' is interesting, certainly much more so than another live version of 'Live With Me'. 'Thief In The Night' might be the best track on here though, it's just so damn good to hear. 'Out Of Control' is a monster and a great way to close the record.
People bitch about more live albums - don't buy them. I bought it because the Stones didn't come through New Orleans again so I had to have something. I like this album and listen to it quite often - it's the guitar work that I really dig.
By Anthony Nasti
Feburary 11, 2003
No Security was released in early 1999, and is by far the weakest, most spineless, most heartless and the most brainless live concoction The Stones ever released. In my opinion, anyway. There are few highlights, but mostly the album fails to deliver.
"You Got Me Rocking" is butchered here, whereas the studio version and the one performed at the 2003 HBO concert (which I attended) are the band at their best. Dave Matthews shows up on "Memory Motel". The effort is evident, but this version lacks the sincerity of the original version. "Saint Of Me," "Thief In The Night," and "Out Of Control" aren't really anything to good either.
The only thing that keeps the album from earning a 1.0 rating are the excellent performances of old tunes and one new one. "Gimme Shelter" is just amazing. Lisa Fischer beats Merry Clayton's vocals on the Let It Bleed version to a bloody pulp, and Keith's blistering guitar passages give it extra flavor. "Flip The Switch" is the only new tune I like, it's pure Stones. "Sister Morphine" is revived with considerable effect, it is been better than the original. Mick's chilling vocals are his best. "Live With Me" and a blistering "Respectable" rock, while they bring down the house with a sweltering "The Last Time", and Mick's duet with Taj Mahal on "Corrina" is an inspired pairing. Still, I recommend other live albums.
July 18, 2002
Normally, Stones live albums hold up pretty well, but this is as flat a release as I can remember. "You Got Me Rocking" is clearly inferior to the studio version. And "Respectable" has absolutely none of the energy of the Some Girls version. It sounds like a bad cover band playing a "Vegas" version. The only cut that captures the magic is "Gimmie Shelter". But I'm afraid I need shelter from this record. If I'm ever outta Sominex, I'll go with this record. True fans should stick to Flashpoint.
April 5, 1999
Absolutely one Hell of an Album. If any individual doubts whether or not the Rolling Stones are the world's greatest Rock n' Roll band, a simple purchase of this gorgeous LP will dispel any lingering fears. From the opening bars of 'You got me Rocking' to the spellbinding fluidity of 'Out of Control', the Stones prove that some things do indeed get better with age. A special award should be given to whomever selected the song list for this particular live disk. Songs like 'Gimme Shelter' and 'Waiting on a Friend' sound energetic and magnificent. The metronomic back- beat of King Charlie Watts on Friend is worth the price of the disk itself. God help us all if the Stones happen to lose this vital and coherent musician; surely the group could not replace such musical glue. While Keith Richards maybe the heart and soul of the Stones, Charlie is the rock solid core that holds every band member together with his simple yet sturdy playing. The band even musters up enough energy to get through the Richard's track, yet for seven plus figures a night you would too. Words can not express the joy I feel every time I choose to listen to this great and glorious album. I become imbued with the band's tightness and wonder off into my very own space-time continuum; save that it is spaceless and timeless and of such loveliness. I feel at peace with not only myself but the whole civilized/uncivilized world. Truly we live in a special period of time when music such as that found on No Security is produced for all the orb to hear. Rush out and buy this album now and thank me later.
March 4, 1999
The No Security album, I think, is the best live album I've heard. It's got a few of the favorites, but also some of the songs you would not expect to hear on a stones live album. One of my favorite songs on there is "Gimme Shelter" Ronnie and Keith are having a guitar hayday on that one! Lisa Fischer joins in and sings a part of it, giving the song a soulful touch. "Sister Morphine" Is on there too. It hasn't been played live very much, because Mick felt it was too deep of a subject (the song despicts a person dying in a hospital of a O.D.) Among other faves are 'Respectable', 'Thief In The Night', 'Out Of Control', 'You Got Me Rocking' and the Stones classic, 'Waiting On A Friend'. This album will give you a full dosage shot of the Stones at their best!
To listen to some sound clips from NO SECURITY or to buy it click here: No Security (Live - Alibris)
November 12, 2004
When I bought this album, I was mostly interested in the take on "Like a Rolling Stone" but as soon as I listened to the rest of it I was really amazed at how they had reworked a lot of their old classics from Exile on Main Street and Let it Bleed. The opening song is "Street Fighting Man", and it is exceptionally loud and hits you. "Like a Rolling Stone" is well played, but is ironically is not one of my favorites on this album. Micks voice just doesn't seem to fit the song. "Fade Away" is great. "Shine a Light" is just incredible. It's worth buying the album just for that. It is so different from what they recorded on Exile. The only qualm I have about it is that Mick seems to have forgotten some lyrics in the last verse. "Spider and the Fly" is really good. "I'm Free" is just ok, and to me is one of only two so-so tracks. "Wild Horses" is another exceptional track. "Let it Bleed" is really good, at least as good as the original studio version, and that was excellent. "Dead Flowers" is another superb recut. "Slipping Away", one of the contributions from lead vocalist Keith, is great contrast, and one of his better efforts. ("Thief in the Night", from B2B is his best in my mind) "Angie" is pretty good, Micks pitch is better than it was in the original studio. "Love in Vain" is great, with the mistake and aborted attempt left in. Refreshing! "Sweet Virginia" is really excellent. The closing track, "Little Baby" is not one of my favorites, but it's well done. I really don't think the Stones have a better "recent times" album than this one, and to me, and even among the studio album lineup, I would definitely put it in the top 3.
April : 16, 2000
Keith's mistake on the beginning of LOVE IN VAIN makes you laugh, and it's great,
that they have even included this. The Stones, like they always wanted to be, are shown.
First I was skeptical about the idea of the greatest rock band doing some kind of an
unplugged-album,but now I know: They come from the black music, which sounds best in front
of a small audience or alone in a studio. It's also not a typical unplugged-album, Mick
says, that the ones, that are, are boring. This album mainly includes songs from BEGGARS
BANQUET to EXILE ON MAIN STREET, and that alone already can't be bad, as,
when they came out, it was in the Rolling Stones' best time. It shows, how creatively they
can use their old songs, they always make something new and individual out of them. NOT
FADE AWAY gets a new mystic touch. With LITTLE BABY they even do a new cover of a W.
Dixon-song, like in the good old days. LIKE A ROLLING STONE- the first thought, when I
read the title: "Do they have to cover this, only because of their name?", but
then the illumination, they have songs like this about underdogs in the blood. And, hey
guys, why don't you do a complete back-to-the-roots for the one or other song and cover
for example ROLLING STONE by Muddy Waters, the song from which you have got your name?
To listen to some sound clips from STRIPPED or to buy it click here: Stripped Buy.com
GET YER YA YA'S OUT!
Ok - this album is plain and simple pure insanity. To me (and a lot of others evidently) it is one of the greatest live albums ever made. The energy here is off the hook. Also the cool thing is you get entirely different versions from the album both lyrically and musically. You get all the nitty gritty here with songs about sex with 13 year olds, sticking knives down peoples throats and of course the devil. The highlights here are 'Midnight Rambler' which is 9 minutes long and intruiging the entire time. They are on fire and so connected and playing off one another -the timing is incredible. Then after that leaves you breathless, some clairvoyant, thick New York accent, female, teenager in the audience screams out and calls Mick a 'devil' before they launch into 'Sympathy'!!! What? Yes! Did they edit that in? There is a wicked trade off of guitar solos in this one that rules! It all rocks and if there is one album to sit down with the headphones and a J, this one is it!
GET YER YA YA'S OUT
By Anthony Nasti
Feburary 11, 2003
Get Yer Ya-Ya's Out is the definitive Stones live release. It is a raw, energetic showcase of the Stones at their live peak. I really think they never released a better live album (though Flashpoint comes dangerously close and just nearly surpasses it).
Kicking off with an amazing 'Jumpin' Jack Flash', the band rocks and rolls for nearly an hour. 'Midnight Rambler' lives up to its title, rambling on and on for 9 minutes and 4 seconds, making it the longest Stones song ever after 'Goin' Home'. 'Sympathy For The Devil' is transformed from a damned Mexican samba into a hot blues jam. Rocks through and through. 'Live With Me' is blistering, but the sound is noticeably spotty. 'Little Queenie' and 'Carol' are scorching covers of Chuck Berry standards. Great guitar playing. Blazing solos. Ian Stuart's fantastic finger flourishes are superb. The charming 'Honky Tonk Women' & the milititant 'Street Fighting Man' close the album with flare.
GET YER YA YA'S OUT
November 17, 2002
Perhaps the best "live" stones album is Get Yer Ya ya's Out (although as any die hard Stones fans knows- this record is anything BUT live- almost all of Jagger's vocals are overdubbed, half the guitars a re overdubbed and the only true "live" take is 'Midnight Rambler'). But in the tradition of all good live albums (Skynrd's One More From the Road, Kiss Alive) it certainly does convey the "being there" experience better than any other live stones album. The Chuck Berry covers are excellent, the drumming of Charlie is crisp and tight and the soloing- live or not- of Mick Taylor and Keith makes for a pleasurable listening experience. Turn it up!
GET YER YA YA'S OUT
By richard steed
June 15, 2002
I love this album because of the interplay between the two guitar players. One moment, they're perfectly in synch and the next they're wandering off and doing their own thing. At the end, they're both back in synch. They both had a lot to offer and it's a true delight to listen to it and figure out who's doing what. After a few listens, it becomes apparent when Keith or Mick is running the show. I just wish there was more live material available from that era. Ron is a fantastic player and he took the band to a different level. I still, however, wish Mick had stayed on a bit longer. It's always nice to dream...
GET YER YA YA'S OUT
May 26, 2002
I think Get Yer Yas Yas Out released back in 70 is the greatest live album the Rolling Stones have ever made, as well as being one of the greatest live albums of all time. Besides being the soundtrack to their classic documentary Gimme Shelter of their '69 tour. The live versions of "Jumpin Jack Flash, Midnight Rambler, Stray Cat Blues, Sympathy For The Devil, Honky Tonk Women, Street Fighting Man" capture the Stones at the height of their rock-n-roll prowess, when they were important, which they would never be able to repeat again. Which is why their 82 live album Still Life is too lifeless. I do have to say that the only other great Stones live album in my opinion would have to be Love You Live back in '77 when they were at a crossroads, even though it will never be in the same league as Ya Yas, because this classic live album represents what the Rolling Stones are all about & what made them rock legends in the first place.
GET YER YA YA'S OUT
By Steve Cronen
July 13, 1999
The best live album the Stones ever put out, and its one Id rank up there with the Whos Live at Leeds. The Stones totally rock out on this one, truly claiming the title of the worlds greatest rock and roll band. Only a couple of things could have brought this one to a perfect score: The inclusion of songs like Im Free (a perosnal fave), Satisfaction, Gimme Shelter, and Under My Thumb.; and if the Stones would have kept the freaking opening to Stray Cat Blues as it is on Beggars Banquet! That beginning of the song on BB is what made me claim it as my favorite Stones song. And what do they do on here? They throw it out!!! ERGH!!! Um, anyway great album. I really suggest it to just about anyone.
GET YER YA YA'S OUT
By Gabe Michaels
I just listened to this album recently, and it is far and away my most favorite album. If I were rating every song on a scale of 1 to 10 every song would be over a 9.5. It has five of the Stones greatest songs ever, ( Jumpin' Jack Flash, Sympathy for The Devil, Midnight Rambler, Honkey Tonk Women, and Street Fighting Man) and the rest are nothing to complain about either. If you've heard the Stones, but never live, you don't know what your missing. Every song is just that much better. One of the songs in particular that comes into mind is 'Live with Me'. It is an Ok song on Let it Bleed. But hearing it live makes me love it. There were also two songs I heard for the first time, 'Carol', 'Stray Cat Blues' and 'Little Queenie', I probably listened to them each at least four or five times before moving on to another song. Even the slow 'Love in Vain' from the Let it Bleed disc is a joy to listen to. If you love the stones like I do and you've never heard them live you would be doing yourself an injustice in not buying this album. Even if you have never liked the Stones before you have to at least hear this album once before you can say anything more.
GET YER YA YA'S OUT
By Mr. Voodoo (email@example.com)
Feb 8, 1999
Get Yer Ya Ya's Out single-handedly defined what the live album should be. Upon its release "it was hailed as the greatest live album ever to be released. This refrain remains true to this day.
The album contains a very insightful look at the Rolling Stones' 1969 United States Tour. While the sound on the album is perfect, amazing insight has been given regarding its remastering and editing. For example, there are two solos cut out from 'Jumping Jack Flash', and an entire verse has been edited from 'Sympathy For the Devil'. Also, much of the comments made by Jagger have been inserted from different shows. Be that as it may, the album is spectacular. It was recorded from parts of the Baltimore and New York shows. The energy on the album remains at a level today that has not been reached by any other band since.
The first song, 'Jumping Jack Flash' starts your listening experience off with a bang. Richards and Taylor rip through an invincible version of this song, at a time when it was still new to everyone. The editing on this song as well as throughout the album is perfect. Taylor and Richards are in perfect sync with each other and the stereo sound is incredible.
The next song, 'Carol', is one of two Cuck Berry covers on the album. 'Carol' and 'Little Queenie' (the other cover) are both classic (even in 1969) rockers. Both songs are played with a stunning technique and feeling that make the song almost as much Richards and Jagger as it ever was Chuck Berry. Much of this can be attributed to the song which almost plays itself, but Jagger adds a sense that he is the one seeing the girl "standing over by the record machine". Richards as well makes the songs his own. In fact, he went on to play with Chuck Berry in the 80's for a movie called Hail, Hail Rock and Roll (a must for all Richards and Berry fans).
The first highlight of this already amazing album is 'Sympathy for the Devil'. Taylor actually begins the song as rhythm guitar. His expert backing fuels the song in a way which is almost not noticeable but essential. Its one of those things where you love the song, and you listen to it, but you don't notice Taylor on guitar. Meanwhile, Richards is playing a lead/rhythm line that dominates the entire song. Its almost as if the lyrics get in the way, but Jagger manages to make his part of the song equally important. With a little shrieking and yelling, he makes himself into a devil on stage. Midway through the song, Richards goes into perhaps the greatest solo of his career. The grit and grime that come from his guitar is amazing, and just as he finishes, Taylor takes over, giving a quintessential Mick Taylor solo. One of those things that dominates a song. But not in this one. Taylor is able to only add to its greatness. At this point Taylor and Richards have switched positions and Taylor and Jagger finish out the song above the Richards backbone. To say that this song is a masterpiece is to belittle it. Even more amazing is that it is only the second best song on the album.
The band also shows off a bit of their blues roots. Performing the very slow 'Love in Vain', and old Robert Johnson tune, which the Stones resurrected, and 'Midnight Rambler'. These two songs are as much what the Stones are about as 'Jumping Jack Flash' and 'Satisfaction' are. While not quite as well known or popular, these songsa re not just good songs, they are the songs that make up what is the Rolling Stones. A band that was able to mold itself from a blues cover band, through a poppy singles period, into a band that was able to be the blues, and yet remain popular.
The song that symbolizes the Rolling Stones popularity in 1969 was 'Honky Tonk Women'. This song remains a staple today at Stones concerts, a tribute to its undying popularity. This particular version is biting and a particular insight into the mind of Mick Jagger. Jagger recites the words as if he is telling the audience about what happened to him last night. Richards meanwhile bangs away on his guitar giving the song a very trashy feeling. Charlie Watts on drums makes sure that the song is a rocker. This song, perhaps more than any other would make Chuck Berry proud. It is a dirty tale of what Mick Jagger and the boys do, and who they meet.
Finally we come to the crowning jewel in the hat of this album. 'Street Fighing Man' is a raw number that rips apart the stage and leaves the entire stadium used up but dying for more. This was the Stones closing number for 5 straight years. When they ended a concert, you could always depend on hearing the the slowing building up guitar of Richards. Richards manages to take on chord and slowly build it up into a frenzy, unlike anyone has ever done. Jagger meanwhile rips into one of the greatest songs ever written like and animal. You can almost see him wandering around the protests and marches. Taylor adds a bit of class back to this song, enough to make you want to hear it again and again. I think my personal record for listening to this particular version of this song is around 10 straight.
If you only buy one album in you life, make it this one. If you only buy one Stones album in your life, make it this one. If you think the Grateful Dead where the greatest live band ever, buy this album. It converted one of my friends not away from the Dead, that would be a travesty, but into a hardcore Stones fan.
To listen to some sound clips from GET YER YA YA'S OUT! or to buy the CD, click here: Get Yer Ya Yas Out Buy.com or Get Yer Ya-Ya's Out 40th Anniversary Deluxe Box Set
By Tommy MacLuckie
May 12, 2006
When this came out in 1991 it was intense - fresh off the massive Steel Wheels/Urban Jungle tours. "Start Me Up" was - and still is - just mind numbingly powerful. "Sad Sad Sad" was - ha ha, and still is - a powerhouse - the best tune of the three from Steel Wheels represented on this LP. Other than that...it's just a boringly perfect by-the-numbers live album. "Highwire" was energetic and a strong tune - a leftover idea from the Steel Wheels sessions and at the time appropriate in a way although somewhat vague on what it was about. "Sex Drive" was a cool groove with some great Keith licks. The two studio tracks were more of a tease - why not just do 20 more and release another album? Not to be.
Aside from the mentioned songs above, the rest of the album is just - it's just too good performance wise. They were too tight, too good, too perfect. There is nothing rugged on this album. Full of hits and an odd track like "Factory Girl" and another version of "Little Red Rooster" - much lamer than the Love You Live version as well as having Clapton on it, Flashpoint is more of a Nopoint. Or Contractpoint. If you want to hear the same hits as always that are played perfectly, get this album. Otherwise, get it only for "Start Me Up" and "Sad Sad Sad" and "Highwire". Or just don't bother.
The whole shame of it was the B-sides could have at least made this album a little more daring - "Play With Fire", "Undercover Of The Night" - even with the overdubbed fading bwanging guitar riff just like the studio version - "Street Fighting Man", "Tumbling Dice", "I Just Want To Make Love To You" and "2000 Light Years From Home". All of the sudden you have something with a lot more substance to it. Thank whoever it is that invented the CD burner, laptop, software and iPod to allow people like me to make this situation true.
One positive note - if someone has a dilemma between Got LIVE If You Want It! and Flashpoint, get Flashpoint.
By Oklahoma Zeppelin
May 21, 2003
When the machine no longer needs the workers, you get 'Flashpoint.' The 'Stones' feel like small players fighting to keep up with the pulse of ROLLING STONES THE ENTITY. Lost and redundant. Why? Two words: Chuck god-dammed Leavell.
The bearded keyboardist from Birmingham gives us dozens of abuses -- like that keyboard break in 'Sad Sad Sad' and programming that cute, persistent little electronic triangle in 'Sympathy.' SYMPATHY! You think the devil needs a programmed triangle? A lot of it sounds good, but really nothing feels genuine; it's one giant manipulation -- that 'hey, we're doing FACTORY GIRL,' tacking on new studio songs to help market the album, Clapton, the piped-in comments ('cut the crap'), and doting too-responsive applause.
Most live albums get doctored. The problem here is -- and we all know it -- the Stones can't really play their instruments this well.
February 19, 2003
If you want a great late period live album from the Stones, check this one out. Some of their greatest hits are here, from "Start Me Up" to "Miss You" to "Satisfaction", along with some not so standard concert tunes like "Factory Girl", "Paint It, Black", and "Little Red Rooster". They've even thrown in some non concert keepsakes such as "Highwire" (a song about the Gulf War), and "Sex Drive" (which should have been marketed better. It's a lost jem of a jam). The sound is crisp, and the songs are tight. The only small complaint it that there were so many great songs played on that tour, it would've been nice to have had another disc with things like "Harlem Shuffle" and "Bitch" on it. *Note-I'm told there is a version, Japanese I think, that does include another disc of rarities, such as "Undercover" and "2000 Light Years."
By Anthony Nasti
Feburary 11, 2003
Released in 1991, Flashpoint is an official return to the glory days of Get Yer Ya-Ya's Out. Now don't get me wrong, Still Life and the manic Love You Live were great, but they were too sloppy. This one has them more focused on their playing than on their costumes and stage designs. This makes this a neatly played, brilliantly focused live album.
Kicking off with a blistering 'Start Me Up', the album blasts off into high gear. I especially enjoyed 'Paint It Black', 'Ruby Tuesday' and the best versions ever of 'Jumpin' Jack Flash', 'Satisfaction' and 'Brown Sugar'. 'Sympathy For The Devil' is more like the studio version, which is good, but I like the blues rocker versions on Love You Live and Get Yer Ya-Ya's Out. 'Paint It Black' is very different yet very similar to the original 1966 version. What makes it a different is that Brian Jones' masterfully played sitar intro is absent. What makes it similar is that like the studio version, it starts off quiet, then erupts and kicks you in the face. 'Little Red Rooster' is excellent with a scorching guitar solo by Eric Clapton. The version of Y'ou Can't Always Get What You Want' is superior to the other versions. It is excellent, and I played it several times after my great aunt Dora died. It made me feel better. 'Rock And A Hard Place',' Sad Sad Sad' and 'Miss You' are excellent. Flashpoint is great.
July 16, 2001
It may sound strange to the hardcore fan but when I was a record clerk I would always recommend this album as a first choice to anyone interested in discovering the Stones but who did not like the recorded sound of their sixties records. Indeed, for sheer sonic excitement this remains to my ears the most satisfying Stones album. The crisp digital production provided by Chris Kimsey makes the dueling guitars of Mr. Richards (right channel) and Wood (left channel) totally electrifying. It doesn't hurt, of course, that most of the versions present here are absolutely excellent. "Miss You", "Little Red Rooster" (with a blistering solo by Eric Clapton), "You Can't Always Get What You Want" and "Jumping Jack Flash" are the standouts here. Here's a funny little detail: the audience member screaming "Paint It Black! Paint It Black you devils!" on Get Yer Ya-ya's Out has been added to the mix and can be heard in the applause between two songs. I'm not telling you which ones, just listen closely! The two studio songs completing the album are among the best produced by the band in the late eighties. Collectors take notice: the guitar-driven version of "Sex Drive" on the recent Virgin remaster is not the same as the one on the original Columbia issue of Flashpoint where the brass parts were mixed higher.
July 10, 2001
A while back I bought this live album. I love the Stones, and when I saw the tracks, I had to get it. Unfortunately, after I listened to the whole CD, I was somewhat disappointed. "Start Me Up" sounded good, almost as good as the studio version. "Rock and a Hard Place" was great, bordering on the line of perfect. "Ruby Tuesday" and "You Can't Always Get What You Want" were fair. "Miss You" is even better than the studio album (live version doesn't sound much like disco). Then, the songs I really bought it for were coming on. "Paint it Black" sounds bad, Mick screws up some of the lyrics and the whole song just doesn't have much muscle compared to studio and various live versions. I figured the hell with it, cause "Sympathy For The Devil" was on next. My only problem with this was it was missing 3 verses. But it's alright now, in fact it's a gas cause "Jumpin' Jack Flash" is on next. Not the greatest live version but not the worst either. "Brown Sugar" followed with Mick again getting confused about the lyrics. "Satisfaction" made up for it though with and extended version. Then there were 2 bonus tracks added. "Highwire" and "Sex Drive" both studio versions. "Highwire" is great, awesome lyrics, some great riffs, and Mick gives some of his best vocals I've heard for a while on it. I have no idea why "Highwire" is so underrated. "Sex Drive" is alright, the lyrics are ok, vocals are ok, riffs are ok, it's just an ok song. I wouldn't recommend this for a good Stones live album, but I think "Highwire" is almost worth the money all by itself.
By Jay Corrigan
July 11, 1999
I honestly don't understand why this album does not receive more attention than it does. It doesn't appear on discographies, it is rarely the subject of reviews, and it is virtually impossible to find at record stores (I've only just recently discovered the Stones so maybe there's something I don't know). However, this is absolutely, without question, the greatest album I have ever heard. The opening song, 'Start Me Up' (which I've come to like as much as the Tattoo You version) is a great opening and lead-in to songs like 'Ruby Tuesday' and 'Factory Girl', a song whose guitar parts could almost stand by themselves. This album also has a great version of 'Miss You', a song that is performed so well it's scary. But just when you think that the album can't get any better, it does. Flashpoint ends with 'Paint It Black', 'Sympathy for the Devil', 'Brown Sugar', 'Jumpin' Jack Flash', and 'Satisfaction'. . . played concurrently. I pretty much have to take a break after 'Brown Sugar' to avoid having a heart attack. Those last five songs just ROCK. I've been searching for a Stones album that is as good as Flashpoint (and Some Girls comes close) but I haven't found one that can match its energy, song selection, power, and overall quality. So, I can't believe that an album this good doesn't get as much attention as, say, Bridges to Babylon (awful). Perhaps someone could clue me in on why this is.
To listen to some sound clips from FLASHPOINT or to buy it click here: Flashpoint Buy.com
ROCK 'n ROLL CIRCUS
December 19, 2002
This is, for all intents and purposes, a great record. Aside from the Stones' performances (which I'll get to), this record features some stellar performances by Taj Mahal (dig Jesse Ed Davis' licks!), The Who (a smokin' version of quick one), the Dirty Mac (Lennon/Mitchell/Clapton/Richards supergroup) tearing apart Lennon's "Yer Blues", and even Marianne Faithful doing a song written by Jagger/Richards. Rumor has it that this recording and the film from which it was taken were kept in the vaults because the Stones were blown off the stage by The Who. As a huge Stones fan, I regret to admit that this is true. The Who had just come off a huge North American tour and were in tip top shape. Truth be told, their performance leaves everyone else in the dust. That said, the Stones do turn in an admirable performance. Handicapped by a ailing Brian Jones, the Stones crank out wonderfully raunchy versions of 'Sympathy', 'Parachute Woman', and other (then unreleased) material. The high point of the Stones set for me has to be a bittersweet rendition of 'No Expectations', with Brian on slide. Truly transcendant! One of the most impressive things about this record is the sound quality. Crisp, clean, and lots of bottom end! Overall, a wonderful document of a tumultuous time in stones history! Pick this up...if you can find it!
To listen to some sound clips from Rock 'n Roll Circus or to buy it, click here: Rock and Roll Circus CD CC Music
By Cory Spivey
December 14, 2003
Record during the 1981 Emotional Rescue/Tattoo You tour. My father was at a show in Hampton, Virginia. It was broadcasted on "ON" TV. 2 songs were included on the album.
"Take The A Train"- introduction. "Under My Thumb."- 10x better than the studio version. The best part is that the part with the vibes (recorded in the studio by Brian Jones) has been replaced with Ronnie's guitar. The awesome intro is loud and had the crowd screaming! It's great."Let's Spend The Night Together." From Hampton, Virginia. Great, Wonderful. I like this song a lot. The only problem is Mick's weak vocal. "Shattered."- Hampton, Virginia. Not as good as the studio version from "Some Girls." I still like it though. "20 Flight Rock" Ok, not that great. Sounds better played in the A chord pattern. "Going To A Go Go" Some guy said it was from the Hampton VA show but since I have the show on VHS and DVD, I know that it is not. Great song. "Let Me Go" Not as good as the Hampton show, but I love this song. "Time Is On My Side" A softer version of the song. More blusey. I like it this way. "Just My Imagination (Running Away With Me.)" Even better on the Hampton DVD/VHS. I love this rendition of the song. "Start Me Up." The weakest track on the album. Love the studio version, but this one? No! "(I Can't Get No) Satisfaction." Love it on the Hampton DVD/VHS. Keith hits a guy who jumps on stage with his '72 black Fender Tele Custom. You need to see that. "Star Spangled Banner."- Outro This album is missing great songs from the tour, "You Cant' Always Get", "Brown Sugar", "Miss You", and "She's So Cold." I think I'm going to look for the Hampton '81 bootleg album. Still, this is a good album
By Anthony Nasti
Feburary 11, 2003
Still Life is one of my favorite Stones albums. I think critics and reviewers were certainly too picky and cynical. They do play a little sloppy, but it's a big step up from the messy yet brilliant Love You Live.
Kicking off with a blistering 'Under My Thumb', they are in top form here. 'Let's Spend The Night Together' and 'Shattered' are energetic and raw, while 'Twenty Flight Roc'k and 'Going To A Go-Go' are great. And doesn't get any better than it does on the 1-2-3-4-5 of 'Let Me Go', 'Time Is On My Side', 'Just My Imagination', 'Start Me Up' & a furious, 4:11 'Satisfaction'. Still Life is an excellent album.
December 14, 2002
'Under my Thumb' is really great, but they left out the best songs of the tour. Listen to boot's from the Tattoo You tour, songs like 'Neighbours' and you'll know. Time Is On My Side' is great. 'Going to a Go Go' is to short, the 45' vinyl version is a better buy, 'Beast of Burden' is included. 'Under my Thumb' is te reason for the six tongues.
To listen to some sound clips from Still Life or to buy it, click here: Still Life Buy.com
LOVE YOU LIVE
By Alex MacPherson
Love You Live is the best live Stones album ever recorded, except for Stripped, which is a mainly an acoustic record. LYL kicks off with a raunchy, riffing version of 'Honky Tonk Women' and heads straight into a medley of 'If You Can't Rock Me' and 'Get Off My Cloud'. Keith's 'Happy' is next and is blistetingly fast and hard, a great cut of a great song. The first disc closes with a mediocre 'Hot Stuff', a raging 'Starfucker' and decent versions of 'Fingerprint File', 'Tumblin' Dice' and 'You Can't Always Get What You Want'. The second disc is eight tracks of pure stones goodness. 'Mannish Boy' and 'Crackin Up' brings down the house and Ronnie plays killer slide on 'Little Red Rooster'. 'Around and Around' closes out the oldschool set and they launch into their "Warhorse Suite" with 'It's Only Rock'n'Roll', another great cut with searing guitar weaving. A fast 'Brown Sugar' and 'J.J. Flash' are next followed by a rocking 'Sympathy' to finish things off. Many people don't like this album because of Mick's singing but it sounds just like a club show when you listen, which it is (was). I highly reccomend this album.
LOVE YOU LIVE
By Tommy MacLuckie
February 13, 2004
Love You Live is their sloppiest live album period. And it's also a hell of a way to debut Ronnie Wood. Like Ya-Ya's before and the few since, it's loaded with overdubs. The true gems performance wise on this are 'Honky Tonk Women' - probably the best performance rhythm wise and guitar wise you'll ever hear - Keith's solo especially, it's outstanding. Ronnie's bits towards the latter part of the tune are excellent. 'Happy' is quite good considering the state of Keith back then. It fits his physical stance - rugged and flopped out. 'Fingerprint File' is interesting and waffles a bit when compared to the studio version - at least they were doing something different just by performing this tune. 'Starfucker' is a monster of a guitar song and is a beautiful train wreck. 'You Got To Move' is most excellent - a great romp through the Delta - and 'You Can't Always Get What You Want' sounds, dare I say it, inspired. Even Woody plays fantastically on this. The blues side is good but it would have been even better if the vocals and harmonica weren't so overdubbed. Aside from that gripe, 'Around And Around' is simply a barn burner and could be considered the best track on the album. 'It's Only Rock'N'Roll' sounds tight and romps - it sounds like they were having fun with this tune; 'Brown Sugar' and 'Jumpin' Jack Flash' are played so fast and sloppy that they're great just for that - a plane landing on a runway with no landing gear, just screeching and bouncing and tearing along out of control. Otherwise, considering what songs they are, these versions stink. 'Sympathy', with more overdubbed vocals, is actually quite good - Keith plays off more towards the end on some notes countering Ronnie that I haven't heard since the Licks Tour. I think Love You Live is a great idea of how popular they were, instead of a great album. And I actually enjoy hearing them sound terrible - makes everything else sound better. In the long run, who cares? Yes I know, it's only rock'n'roll, ha ha, but for a time capsule it's entertaining. And what a different band when compared to Ya-Ya's.
LOVE YOU LIVE
By jill lost jack
Feburary 11, 2003
I cant understand for the life of me why this album is so popular.Love You Live has the sound of a bunch of people who have just met and are trying to play different versions of the same songs. Jaggers voice is shot and he sounds as though he cant wait to get of the stage and go home. Infact on the hole of disc 1 the only song worth listening to is 'Star Star'. Disc 2 gets better and it is this disc that saves the album for me. But by then its to late. The best thing about this album is the art work. The front cover is fantastic!
LOVE YOU LIVE
By Anthony Nasti
Feburary 11, 2003
Love You Live is everything The Stones are all about- damn good live performances! While most people will bash the album for the sloppy playing and babbling vocals, I find it inspiring, lovely and sexy. And any album able to boast 'Honky Tonk Women', 'If You Can't Rock Me/Get Off Of My Cloud' and 'Happy' as its opening numbers can't be all that bad. And it doesn't get any betther than it does on their blistering performance on 'Hot Suff', while 'Star Star', possibly the raunchiest and nastiest Stones tune ever, is even nastier here. They up the tempo considerably, and Mick's vocal is what he's all about: S-E-X. 'Tumbling Dice' is taken at a more bluesy, sorta boring pace. It is one of the two songs here that could've have been better. 'Fingerprint File' is amazing. 'You Gotta Move' is so different from Sticky Fingers' version, it's heavenly. Whereareas, the one on Sticky Fingers was a drawling, boring, repetitive acoustic blues, the one here is an electric and exciting version. I love the solo in the beginning. 'You Can't Always Get What You Want' is the other song that could've been better. What the studio version had in entertainment, the version here lacks in it. I've been able to accept that that lovely choir on it isn't here or on Flashpoint's version, but what really ticks me off is that Keith's classic speed guitar solo at the end is not done here! Still, you literally can't always get what you want.
Disc 2 kicks off with a blistering performance of 'Mannish Boy'. This is one of the single best performances of their career, ranking third behind the No Security versions of 'Gimme Shelter 'and 'Live With Me'. After that comes ripping performances of 'Crackin' Cup', 'Little Red Rooster' and 'Around And Around'. The sound is kinda spotty, but it gives it more live atmosphere. After that comes a blazing 'It's Only Rock 'n' Roll'. The guitar solos are scorching. Mick's vocal are screeching. And don't even get me started on 'Brown Sugar'. Excellent version. Ian Stuart's piano playing is among his best, and I forgot to mention, his fantastic finger flourishes on 'Get Off Of My Cloud' are superb. 'Jumpin' Jack Flash' is brilliant. Mick babbles and slurs like a madman. Keith and Ronnie's guitar chug nicely out of tune. 'Sympathy For The Devil' finishes the album off nicely. The riff trading between Ronnie and Keith is amazing.
Love You Live is a stylish, sloppy, brilliant, sexy, arrogant, and overall great live double album. It is among the best.
LOVE YOU LIVE
By Soul Survivor
March 5, 2002
I recently purchased this album to find it was long overdue. The music and intensity is great. I do have one complaint however, Mick doesn't give a crap about the way he's singing. He and the Stones are just up on stage having fun. But either way you look at it, it's Mick Jagger! So to say this album is bad because he doesn't sing all the notes perfect is not true at all.
Mick Taylor is an emotional player. He really gets down in your soul and touches it where if the song is a "sad" song thats the way you feel. This is Ronnie's first full album (Not first full studio album) and he does in my opinion try to sound like Mick Taylor, but in the later years he did adapt a sound of his own.
Another thing about this album is, I have always said I would love to see the Stones alone on stage, I mean, how many bands are there where there are more backup people than there is the actual band by about double? Well, this album is just that. The Stones alone. That is if you don't include Billy Preston and he isn't even on every song.
To sum everything up this is my favorite live album aside from Ya Ya's. I rate them both a 10 because of the energy of both. But The latest live album's put out by the band, to me, are not quite the material that should be on a live album.
LOVE YOU LIVE
By Bobby Miller
This live album has just been re-released at a lower price and in digitally remastered quality. If it wasn't for that low price for this double CD set (around 13.99), I don't think it'd be worth it. Mick Jagger almost chokes on his lyrics by saying them real cut off that you can't even understand them, like he's trying to rush through the whole set. "Jumpn jah flah ih a gah". The first CD is pretty much like this, with Keith Richards doing 'Happy' as well (which unfortunately wasn't a good performance either.) The only track that really survives I think is 'Star Star'. Which seems to always be performed great live. The second CD starts off with like 4 great Blues numbers. 'Mannish Boy', 'Around and Around', 'Little Red Rooster', 'Crackin' up', were all recorded at the same place and are just plain great. The CD is worth it just for those 4 tracks. Incidentally, the tracks on these two CDS were recorded at separate places, so that's why the flow of it feels inconsistent. The rest of the second CD pretty much starts where the first one left off. There are a couple good grooves going on this album, but listenably, the Blues songs are the only ones (and 'Star Star') that you'll be coming back to. It's an average live album, with it's moments, but definitely no ya yas. There's no tension or atmosphere in most of this set.
To listen to some sound clips from LOVE YOU LIVE or to buy it click here: Love You Live Buy.com
GOT LIVE IF YOU WANT IT
January 31, 2005
To me this is by far the weakest Stones live album. I even prefer the technically worse live bootlegs from that period, e.g. the Paris 1965, recording because there you get an idea of the Stones craze during the Sixties. But the real gem is the EP of the same title, recorded live (and overdubbed?) during the March 1965 tour of Great Britain.
The official live LP was so heavily overdubbed that it is absolutely no pleasure to listen to. Obviously one stereo channel has the original live recording while on the other channel you have Jagger's voice and some instrumental overdubs. It was so badly executed technically that the original impression of the 'live' situation gets completely lost. Unfortunately, the Stones never released a proper live album but always overdubbed their concert recordings heavily. This is the most disappointing example
Got Live If You Want It
By Soul Survivor
June 8, 2002
Ah....The first "official" live album for the band. And for the time ("Stonesmania") I guess it's not that bad. I mean it has mostly all of their early hits but there is something about it that doesn't move me. The sound quality is not that great and the screaming girls gets in the way. It's just my least favorite live album from the band.
But it is the Stones, and with that there are upsides to this. It isn't as bad as I make it sound. It was around the time of this release (1966) that the Stones started getting a much harder sound, and a sound of their own. So you can hear that on this album.
This album also has my favorite version of "Satisfaction" from that time period. And I also like the version of "Get Off My Cloud".
But when you get down to it, if you want a Stones live album I wouldn't get this first. I know they were still really young, so that sound they had from '64 - '65 is still there. But for a live album I would get Ya Ya's.
To listen to some sound clips from Got Live If You Want It, or to buy the CD: Got Live If You Want It Buy.com
SHINE A LIGHT
September 3, 2008
The planets must have been properly aligned to get all the icons aligned - The Stones, Scorcese and Clinton - but such an alignment indeed did happen- and is documented by the film Shine A Light and the accompanying two disc soundtrack.
I don't think I'm going out on a limb to say that this is the best live recording the Stones have officially released (sorry - Brussels doesn't count due to the stupid contract the boys signed with Mr. Klein). Tight mixes, tight performances, a few surprises and spontaneity all add up to one pleasurable listening experience. Forget how old these guys are and just listen to the power and punch of the delivery- it's quite an accomplishment for any band of any age.
"Jumpin Jack Flash"- finally a version with an extended ending that captures the cool band interplay without being edited. Always a great opener and well executed here. "Shattered"- Haven't heard this one since Still Life and it's still got the swagger! "As Tears Go By"- A beautiful new arrangement with drums and bass that still captures the ragged beauty of the original. "Far Away Eyes"- Anyone who wonders why the Stones chose Ron Wood only needs to listen to this incredible pedal steel solo to see the dimensions Woody brings to the table. This solo steals the show. "Live With Me"- I don't normally care for Christine Aguilera's over the top lack of subtlety, but she takes this song to a whole new level. Everybody get out of the way- Christina owns this one. "Brown Sugar"- a barnstorming performance that seems like it will never end! Captures the "being there" aspect all the way! I found myself throwing my ands in the air and yelling "whoo!" Great job!
But with every Stones live album, there's a few rough patches. Buddy Guy's turn is wasted into a sloppy jam session, Jack White serves no purpose for singing on "Loving Cup" except for the fact that he's Jack White and hopefully someone 30 years younger will buy this album. And Keith's vocals make Bob Dylan sound like Luciano Pavarotti. Keith- hang up the mike bro. You've been killing us for a while now.
But all in all, you can do something with this one that you couldn't do for YEARS- just THROW IT ON, LET IT PLAY, and ENJOY!
Who knows? Maybe one day Klein and Jagger will sit down and hash it out, like they did for 40 Licks, to make the 73 live shows go legit. But the planets would once again have to be properly aligned. Don't hold your breath. The Stones have never shown a reverence for looking back. And with an album like Shine A Light, that's quite alright with me.
To listen to some sound clips from Shine A Light, or to buy the CD: Shine A Light Buy.com or Shine A Light 2-CD Deluxe Edition
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