Gimme Shelter wrote on Oct 19^th, 2012 at 3:45am:



The funny thing is that it doesnt deal with anything prior to 1964. Whilst theres no (circulating) video footage of the Stones prior to February '64, I did expect some discussion about the very early days. Its as if they just exploded, fully formed in '64 or so.

The movie opens with footage of the band at MSG in 72 as shown on the Dick Cavett Show, then when they get on a plane afterwards, it sort of morphs into footage of them arriving at Amsterdam airport in the mid 60s.

Theres some lovely mid 60s footage I'd never seen before which augurs well for the expanded Charlie is My Darling. Fantastic live footage of (my memory may have thrown me here) 'I'm Alright' from what looks like Belfast 1965 which ends in a riot, clips of Mick and Keith working on composing "Sittin On A Fence" and even super 8 footage of the London Bach Choir doing their bit on 'You Cant Always Get What You Want'.  If you like watching riots, you wont be disappointed!

Its a well put together movie for the most part and well edited. I mean, you could be really anal and let the fact that some of the footage doesnt quite match up to the subject (eg they show B&W film from Nellcote, the narration talks about the problems recording in that environment and then you see them recording 'Loving Cup' - to someone who wasnt a Stones nerd, theyd think THAT was from Nellcote when its actually the Montreux '72 rehearsal footage transferred into B&W for the sake of continuity) but watching a movie by nitpicking one's way through stuff like that is missing the whole point, I think.

Steel Wheels wrote on Oct 19^th, 2012 at 7:10am:


No.

The only footage after 1981 was them playing "All down the line" at the Beacon mixed in with the closing credits (it was sort of a way of saying 'after all that madness, we're still doing it'). When the song ended and the credits rolled properly, the music played was "Doom & Gloom" and "One More Shot", about a minute or so of each.

The scene immediately before that shows them playing 'Miss You' from Fort Worth '78 and then its mixed in with stadium footage from 81 (and theres probably a few seconds of subsequent tours like VL etc, but blink and you'll miss it)

They preceded the movie with the new ad announcing the London and Newark shows.

Theres actually some nice 'background music' during the movie which included an instrumental of Moonlight Mile and an alternate take of No Expectations.

Can you sometimes get exactly what you want? The Rolling Stones turn the clock back on 50 years and open up the vaults. With mixed results.

Greg Wetherall.Music, film and theater critic



In recent years, the artists of rock 'n' roll's golden period have begun to open up and look back, becoming less precious about exposure and mystique. Dylan has stepped out of the shadows and written his own book, Chronicles, and even allowed Martin Scorsese to interview him for his documentary, No Direction Home. Led Zeppelin have just wrapped up and readied for release footage of their celebratory one-off 2007 reunion show filmed at London's O2, Neil Young has penned his memoirs, as has Pete Townshend. Long mocked because of their advancing age (grey hair and wisdom is anathema to the rock music crowd), the Rolling Stones plow on. Interestingly, if blues or jazz were their trade, age would not be an issue. However, it is not, and it is. Undeterred, these baby boomers are still rocking out and -- if the latest single "Doom and Gloom" is anything to go by -- still capable of producing the goods. It's quite possibly their strongest single in years.



It is high time therefore for a look back on an illustrious career that has famously had more than its fair share of sex, drugs and rock n' roll. However, those looking for a Beatles Anthology-esque examination will be disappointed. This is more ramshackle than that, much like the band themselves. This is a concise one-off film of only 118 minutes. Considering it took director, Brett Morgan, four months to wade through the archive footage (with assistance from co-producer, Mick Jagger), it is a shame that he hasn't been minded to create a more sprawling work, befitting of the Stones' lengthy career. In fact, the documentary ends abruptly at around 1977, and offers nothing after this date, save for closing credit live footage of Exile On Main Street track "All Down The Line" lifted from the 2008 film, Shine A Light.



Opening with color backstage footage and a live rendition of "Street Fighting Man," attention soon turns to the early days, and the maelstrom that consisted of live performance in the early and mid-60s for the Rolling Stones, with the incessant screaming and stage invasions. Emphasis is firmly placed on what it must have been like within this vortex, having to deal with a rapid ascent and devotional teenage girls (England) and boys (the rest of the world).



Whilst discussing the early period, coverage is given in a frank manner as to the band's feeling about the demise of original band member, Brian Jones. Whilst acknowledging his talent, it turns out that the band felt a degree of inevitability over his eventual death. Even though an element of mystery hangs over the drowning, Jones' relationship with drugs is well-known (Godard's film, Sympathy for the Devil, shows an induced and distracted Jones in the studio). As matters arose, the death came only two days before a free Hyde Park gig in front of 500,000 people -- a gig that would mark a baptism of fire for new guitarist, Mick Taylor, and also act as a remembrance for Jones. Drummer Charlie Watts recalls Mick crying in the corner of the dressing room on the day of the performance. By contrast, Keith states that his reason for not going to the funeral is because he didn't want to make it 'a circus,' and that he didn't even go to the funeral of his own mother and father.



Arriving at the late '60s, there are compelling scenes offered up by the Altamont stabbing of Meredith Hunter, but these are taken from the previously released feature, Gimme Shelter. This time around, however, it is enhanced by comments from the band looking back, which is illuminating seeing as it has since been perceived as the incident that killed the hippie dream and the anti-Woodstock.



Although the archive footage is interesting, there is not necessarily a dearth of unseen live material. The narrative itself is loosely played with, especially at the start, diverging down different avenues whilst vaguely seeking a chronological path (of sorts).



There are some interesting revelations contained within this documentary that will interest fans. For example, Mick Taylor finally provides the reason as to why he left the Stones. Jagger himself concedes that he did not know or understand why, and Taylor goes on to explain that during the early '70s, he was falling into heroin addiction.



Bill Wyman also distills what he believes is the sound of the Rolling Stones. Bearing a theory to Richards oft-quoted opinion that many bands can rock but not many can roll, he points towards the sound as being a consequence of Charlie's decision to follow Keith's lead, which means that the drums come in slightly behind the guitar, which is unusual in itself, whilst Bill's bass would be slightly ahead. Wyman describes this as leading to 'a wobble' effect, where things could fall apart at any given moment.



There is some interesting black and white footage of Mick and Keith writing material together in what is either backstage or in some sort of hotel room. Having an insight into how they worked together on the verge of what would be a particularly prolific part of their career is fascinating. Keith later voices opinion that of all the songs they wrote, "Midnight Rambler" would be the essence of the Jagger/Richards writing partnership. He states a belief that anyone else could have written any of the other tunes, but only he and Mick would have thought about making an opera out of the blues.



Coincidentally, much like that tune, this is certainly a film that goes on a ramble of its own. Starting in slightly messy fashion, like a band tuning up after a short time apart, and taking a while to lock into the groove. What is perhaps most surprising in this film, is that Mick Jagger possibly comes out as the most human and grounded out of all of them, save for Charlie Watts (of course), as he takes the wind and glamour out of the sails of some of Richard's more wild testaments. He is also the most openly candid in his reflections.



This has a lot common with Scorsese's aforementioned, No Direction Home; a film which covered Dylan in his '60s phase up to his conversion from acoustic guitar to electric, and the reaction that he encountered. In that film, Dylan spoke looking back on the events in talking heads. This film is much like that in spirit. Brett Morgan has ensured that the new interviews remain off-screen, however, so that old footage can take up the screen time. It must be said that the strongest live footage remains those procured from the previously released Ladies & Gentleman.



As far as flaws go, no reference is made at all to Ian Stewart, which seems a glaring omission considering this is an overview of the Rolling Stones' career and all the significant players. His distinctive piano work enhanced songs such as "Brown Sugar," amongst many others, and his lack of appearance in this documentary feels unfair and a missed opportunity. Also, there is no real detail on the relationship the Stones had with manager Andrew Loog Oldham.



Introducing the film, Jagger congratulated Brett Morgan for managing to cover 50 years of the Stones in a couple of hours. Well, he hasn't managed that. He has covered 25 years pretty well, but with some gaping holes. Whether this is down to the Stones' reticence in opening up, or a lack of probing is anyone's guess. The sudden conclusion to the film stuns, and makes for a dismissive hand waving to the output of the Stones in their later years. Although it is arguable that no sane person would equate this latter-day output as being near those of the first 20-or-so years of their existence, there have been a few interesting diversions in the subsequent post-Tattoo You era. Scant time is offered for Ronnie Wood and his involvement, which is a pity.



All of this begs a question: Is there a directors cut? Much like Cameron Crowe's film on Pearl Jam, Pearl Jam Twenty, is there a chunkier cut filling out and coloring in the parts omitted here?



At the premiere, Jagger gave a warning to the audience in preparation for the film saying that not all of the clothes stand the test of time. This may be true. However, even though the clothes may seem dated and out of time, the music and story feels timeless.



I know it's only a rock 'n' roll film, and you might not necessarily love it, but you'll probably like it.

*** (3 stars)


http://www.huffingtonpost.com/greg-wetherall/crossfire-hurricane-rolling-stones_...

Steel Wheels wrote on Oct 19^th, 2012 at 9:54am:


He was at that funeral.

I think I remember him being at her bedside during her last days, as well.

philgood wrote on Oct 19^th, 2012 at 5:44am:

Never seen Mick smile so much. Nice pic.

Sounds like a great documentary, but I don't know why it's only goes to '77, I guess all this new footage comes from what wasn't shown in Charlie is my darling, I think not to include Stu is terrible, he's not only co-founded but was on tour with The Stones up till he died, he contributed a lot of Piano on well 'known stuff, Ya Yas for instance.

How much is it socially acceptable - in this day and age - to pay, or charge, for a pair of scanty scanty panties with a gorilla's lapping tongue embossed onto it's front &/or rear?

Saint Sway wrote on Oct 19^th, 2012 at 1:30pm:


Thank you Sway.
I've amended the sig after today's ticket fiasco.

Steel Wheels wrote on Oct 19^th, 2012 at 9:54am:



Keith has a bit of a track record for rewriting history. During the movie, when talking about the riots at their gigs, he claimed that they didnt finish a show for two or three years - a complete fabrication.

Mick Jagger recalls Rolling Stones rooftop drama in Chester
Oct 25 2012 by David Holmes, Chester Chronicle


ROLLING STONES frontman Mick Jagger has recalled one of their wilder gigs
which took pace in Chester in the 1960s.

Mick was speaking on the red carpet before the world premiere of documentary Crossfire Hurricane, celebrating the band’s 50th anniversary, when the group was reunited with bass player Bill Wyman for the first time in 20 years.

Mick, 69, whose band embarks on a tour of Britain and the US next month, was asked by former Chronicle reporter Marc Baker, from Wrexham, about a concert his own mum Beverly went to in Chester in the 60s.

The band had to escape along the rooftops after the gig because the venue was surrounded by screaming teenage fans.

Mick said: “I remember we had a lady pianist with us also, who was one of the opening acts, I forgot her name and she was a concert pianist and it was quite funny.”

It is believed the gig was at the former ABC Theatre (new Primark extension) on September 15, 1964. And Mick reassured the journalist he was not losing his memory when it came to recalling the earlier gigs.

“I remember everything darling!” he said.

Talking about the documentary, Mick added: “I decided to do this film so we could look back at how mad it was and what a great time it was. The wildness is quite an important part of it. It captures the strangeness of that world we were living in.”

Rolling Stones guitarist Keith Richards recalled the same Chester gig earlier this year when he told BBC 6 Music’s Paul Sexton: “One time in Chester, we have the Chief Constable of Cheshire with us in full regalia with the ribbons and the medals and the swagger stick. Show’s finished earlier than he expects. The whole theatre is surrounded. Mayhem. Maniac teenage girls, bless their hearts.

“‘Right,’ he says. ‘The only way out, up the stairs, over the rooftops, I know the way!’. Suddenly you’re in his hands. So we get up on the Chester rooftops, and it’s raining. The first thing that happens is the Chief Constable almost slides off the roof. A couple of his bobbies managed to hold him up. We’re standing in the middle of this rooftop saying: ‘I’m not too familiar with this area, where do we go?’.

“He pulls himself together, and in a shambolic sort of way, they manage to get us down through a skylight and out of a laundry chute, or something. That was what happened every day, and you took it as normal. Everything was a Goon Show.”

A little over 5 hours till Crossfire Hurricane shows in Australia !

It's a Stonesy kinda Sunday

Pdog wrote on Oct 27^th, 2012 at 9:31pm:

Nov. 15th HBO. (at least in Canada here,but it's usually the same as the states)