MadisonSquareGarden, NY, 13.September 2005

  • Von Shidoobee:


    Ashley (left) and Mary-Kate Olsen join the Rolling Stones family – from left, Tyrone Wood (Ron's son); Lizzie Jagger (Mick's daughter); Leah Wood (Ron's daughter); Theodora Richards (Keith's daughter); and Ron's wife, Jo – backstage Tuesday during the Stones' A Bigger Band concert in New York. "

    From People Magazine - the Bigger "Band" concert.

    Mehr Bilder vom Madison Square Garden:


    Sweet Cousin Cocaine, lay your cool cool hand on my head...

    Edited once, last by LittleQueenie ().

  • NYDailyNews review MSG
    Full-blooded Stones
    back with a 'Bang'

    The Rolling Stones spat in the eye of age at Madison Square Garden last night.
    Despite the fact that its members are now in their - what? 80s? 90s? - they performed like hormonally driven teens with something new to prove.

    It wasn't the songs that gave the group special vim or surprise. This is the third tour in a row in which the Stones have opened with "Start Me Up." And once again, the core of their show stressed the kind of numbers that made them bad-boy legends to begin with: "Tumblin' Dice," "Bitch," etc. - numbers the band didn't bother to reinterpret or update in any substantial way.

    Yet the way the musicians moved through these songs - how they interacted with each other - filled these potentially desiccated musical corpses with fresh pints of blood.

    When the Stones attacked a classic like "All Down The Line," the song found life in the tussle between the crack of Charlie Watts' drums and the braying tandem guitars of Ron Wood and Keith Richards. While Watts held down a smacking beat, Richards and Wood tore away at each other's riffs, teasing and sniping, by turns faking each other out and wittily giving in. Since they're both mainly rhythm players, neither stretched too far into a solo. Instead, they injected little bursts of chords - cunning, concentrated note clusters - which invested every number with increasing tension.

    The group tried to break things up in several modest ways. They tore the famously manic "Nineteenth Nervous Breakdown" into a blues grinder, with sexy results. And they offered a few songs from their surprisingly strong new CD, "A Bigger Bang."

    The witty "Rough Justice" held its own with their classics, if only because it so smartly imitated them. But Richards tried something more rare by singing the new R&B-funk track "Infamy" with a wily charm.

    While the musicians hold the key to the Stones, Mick Jagger brought his own canny brand of swagger. With his still-sinewy figure and full head of hair, you could mistake him for a much younger man, so long as you don't eye the video blowups too closely. Last night, his energy didn't flag as he threw his rubber band of a body around the stage with cocky aplomb.

    By Stones standards, the staging was spare, the better to stress the rawness of the music.

    After all, despite the hoopla that surrounds their tours, including their sky-high ticket prices, the Stones remain an intimate machine, a tight little unit.

    In the end, it's a simple thing that keeps them going - the prickly kick of their riffs carries an energy that just won't quit.


    Sweet Cousin Cocaine, lay your cool cool hand on my head...

  • Rock Review | The Rolling Stones
    They May Be Seniors but They’re Still the Stones

    [size=7]Norman Y. Lono for The New York Times[/size]
    Mick Jagger fronting the Rolling Stones at Madison Square Garden on Tuesday night with, from left, Ron Woods, Keith Richards and Charlie Watts.

    Sign In to E-Mail This
    Published: September 14, 2005
    "Thangyaooh! Thangyaooh! Splendid! Are you feeling good?" Toward the end of the Rolling Stones' concert at Madison Square Garden on Tuesday night, Mick Jagger did his fascinating preteen girl walk - on his toes, heels almost coming down as an afterthought - to sweep fully across the stage one more time. And a particularly strong version of "Jumpin' Jack Flash" motored up, ending the band's 20th show at the Garden since 1969.

    The Stones are touring behind their album of new material, "A Bigger Bang," (Virgin) released last week, their first album of new material in eight years. Their last tour, in 2002 and 2003, came after a greatest-hits collection, "Forty Licks," and those shows enshrined the back catalog by showing, on the screens above the stage, an image of a Stones album cover appropriate to the number being played. This tour, on the other hand, is partly about some new songs that sound old.

    But the Stones have sort of stopped being "about" things: it's outside all brackets, connected to very little current rock 'n' roll, and not any kind of normal working band. Since they don't mesh much with the context of the outside world, one can just focus on the work itself - the perseverance of Mr. Jagger's imposing body language, and the weirdly overdecorated groove carpentered by the guitarists Keith Richards and Ron Wood, the drummer Charlie Watts and the bassist Darryl Jones.

    Mr. Watts and Mr. Jones stamped out tight rhythm all night, while Mr. Richards and Mr. Wood played their charmingly sloppy push-pull game, sometimes getting the tangle of slashing chords and winding, bending notes to sound elegant, but often wobbling off track. "Start Me Up" had some awkward out-of-sync moments; "Infamy," from the new album, contained long stretches of piled-on guitar that seemed to go against the idea of musicians playing particular musical roles. There were long, extended vamps that didn't really build, and "19th Nervous Breakdown," the evening's surprise, was also one of its draggier moments. The Stones haven't often played it in recent years, and they took it at half-tempo, with four guitars in the mix, including Mr. Jagger and the backup musician Blondie Chaplin. It didn't sound like a song about panic. It sounded more like a song about hot-tub therapy.

    But there were surges of power during the set. "Jumpin' Jack Flash," for one, which settled into a perfect tempo with full concentration; ditto "It's Only Rock 'n' Roll" and the new "Rough Justice." Mr. Richards continues to supply many of the band's best moments. Several times he broke out of his serene, smiling demeanor and strode forward purposefully to play hard iterations of Chuck Berry riffs, and in "Miss You," while the stage extended forward to the middle of the theater with the band on it, he improvised continuous, well-wrought blues licks.

    Mr. Jagger, for his part, smoothed over the rough spots. Barely smiling, jaws flexing as he raced around working at his craft, exercising the crowd with chants and falsetto taunts, he showed amazing willpower: he is determined to make the big-theater ritual work as it used to.


    Sweet Cousin Cocaine, lay your cool cool hand on my head...

  • Also, die Bilder geben mir den Rest...muss das toll gewesen sein. Vor allem, Jagger so nahe dran. Und dieser Blick in das Publikum.
    Ich will das auch haben...

    Eim Ingenieur is nix tu schwör:heilig, aber n´em Renter immer!!!

  • Sind alle von der Seite (Ronnie), wo Lisa und Bernard und Blondie stand aufgenommen. Leider sieht man da uns nicht. D.h. man sieht mehr auf das Publikum vorne vor Keith.

    Aber es sind geniale Aufnahmen ooohhhh es war wirklich alles so kompakt und nahe zum Publikum.