Sneak Preview: Upcoming DVD 'Ladies & Gentlemen...The Rolling Stones'Phyllis Pollack
October 5th, 2010
http://cdn2-b.examiner.com/sites/default/files/styles/large/hash//3b/ec/3becbf4d88a33acc67d7a389e16e7e76.jpgKeith Richards in 1972.October 12, 2010 will mark the release of the long anticipated DVD containing what is arguably one of the greatest concert films ever made, “Ladies and Gentlemen…The Rolling Stones.” Fully restored and mastered from the original film print and multi-track audio masters, a subsequent deluxe box set edition which will contain additional bonus footage and memorabilia, will also be released by its distributor, Eagle Rock Entertainment. The company also released the Rolling Stones documentary “Stones In Exile” earlier this year.
Filmed during four Texas dates on The Stones 1972 American tour, “Ladies and Gentlemen…The Rolling Stones” was premiered in New York at the Ziegfield Theatre on April 15, 1974, followed by a run in select theaters. It was originally filmed in 16 mm.
Bonus features on the upcoming DVD include selected tour rehearsal footage from Montreux, two interviews with Mick Jagger, one from a 1972 “Old Grey Whistle Test” show, and one filmed earlier this year. The British TV series had a long run, ending in January 1983. The 2010 interview by rock critic Paul Sexton serves as a very basic primer on the film and songs that are included.
Within the interview footage, Jagger also discusses topics including David Bowie, The Beatles and songwriting.
While low quality bootlegs of various generation in have been around for years, the difference in quality when compared to the newly authorized release is jarring, to say the very least. The result of the authorized version is extremely laudable.
Jagger notes that the band purchased the footage, adding, “Now we cleaned it up. It was in a bit of a mess, I think. It needed quite a bit of money spent on it.” The result is worth it.
Despite its relatively uncomplicated, simple shots and basic film angles that are predominately filmed straight on, "Ladies And Gentlemen…The Rolling Stones” provides beautiful cinematography with its countless close-up shots.
While many would expect to revisit this film and somehow notice how much the band has changed as far as its live performances, there is one striking thing that has not changed. It would be acknowledging that Jagger’s most recent performances are no less energetic in their delivery than they were back in 1972. I can attest to that, myself, having seen the band’s final appearances from their 2007 European tour. Arguably, Jagger’s performances are even more physically energetic and hyper than they were in the early ‘70’s. When it comes to their live concerts, the band’s work ethic clearly has not dissipated since those days. In fact, during recent tours, it has likely become even more physically demanding than it was in 1972, noting the band’s relentless tour schedules, expanded itinteraries, the band playing larger venues that require more physical movement, and Jagger never retreating from the challenge of being rock and roll’s greatest front man.
Guitarist Keith Richards is still a master of rhythm, and drummer Charlie Watts’ subtle nuances drive this band with unequalled versatility in rock and roll.
The state of these affairs have never changed since the film was originally shot.
Originally executive produced by Marshall Chess, the film is produced by Rollin Binzer, Chess, Bob Freeze and Steve Gebhardt. The film, directed by Binzer, was recorded by Andy Johns and remastered by Freeze.
Photos in the package were shot by Bob Gruen and Ethan Russell.
The tracks the band plays in “Ladies And Gentlemen…The Rolling Stones,” have all remained relevant for almost four decades.
There is nothing about the film that seems dated.
Jagger with his long, feathered hairstyle, prancing in jumpsuits and glittered eye make-up, with Richards in full rhythm mode, donning satin shirts and long scarves with a rooster hair cut, carve timeless images. The music is all that rock and roll was ever meant to be. It is music for yesterday, today, tomorrow and for as long as rock is relevant, which it thankfully, obviously still is.
Mick Taylor’s fine guitar playing has been long replaced by Ron Wood. One can not help but be inspired by Taylor’s markedly fluid guitar work.
Former Stones bassist Bill Wyman cuts a dramatic figure of nostalgia.
Even Taylor’s aggressive and brilliant soloing does not overshadow Richards’ gift of using a riff to its fullest advantage.
Bobby Keys’ indelible melody lines from his sax solos during numbers like “Brown Sugar” are the perfect complement for Taylor’s wicked guitar solos that permeate Richards’ rhythmic vamps. It is a joy to watch Watts smiling as he plays “Bitch,” another track from the band’s “Sticky Fingers” album.
In addition to personnel changes, including Darryl Jones having replaced Bill Wyman subsequent to the band’s “Steel Wheels” tour, there are other comparisons to yesterday and today that are starkly apparent when viewing the film. Jagger is apologetic as he waits before starting the next song, because, as he states, “a few strings busted.” Today, however, with guitar techs ready to jump in at any minute they are needed, along with a cache of guitars in wait, it would be hard to imagine waiting for a Rolling Stones show to continue, because someone needs to start winding up another Ernie Ball string on a headstock for Richards.
At one point, Jagger refers to the fact it is time to “tune up.” A few moments later, he asks, “Can you hear me in the back?” The lead vocalist of the Greatest Rock and Roll Band In the World is not asking this question in order to elicit a meaningless “audience participation” moment, or to engage in mindless banter, but rather because he honestly doesn’t know.
Neither of two late great British keyboardists who also contributed to the tour, session player Nicky Hopkins or Ian “Stu” Stewart are given close-ups in the film. Hopkins is certainly heard, and Stewart is felt to those who knew him.
There are no backstage clips or audience shots, and they aren’t necessary in this film. The DVD solely focuses on performance, and that is more than enough to please anyone that will view this film.
Taylor’s licks played on one of his sunburst Les Pauls punctuate Richard’s riffs. Watts and Richards are a unified rhythm machine that could wake the dead together. The countrified “Dead Flowers” features Richards’ exceptional background vocals and extensive soloing from Taylor.
Richards’ signature song “Happy” is electrifying as he rocks in his high heeled boots, while Wyman is seemingly immobile, stands opposite the comparatively physically understated Taylor.
Another highlight of the concert film is the epic blues number “Love In Vain.” Arguably, when it comes to the blues, this is often where Jagger is at his best, whether it is on vocals, guitar or harmonica. Backed with Taylor’s dangerously expressive glass bottleneck slide on his pinky, the guitarist literally has the audience at his fingertips. Taylor’s style with The Stones is comprised of extremely deliberate soloing; he never wastes a note. Each one is extremely relevant and meaningful.
For “Sweet Virginia,” Richards and Taylor are each on acoustic guitars while playing this divine song that pays homage to California. With its luscious harmonies provided by Richards, Wyman stands seemingly motionless, adding a subtle but significant bass line.
For Jagger struts while donning yet another jumpsuit during “All Down The Line.” Its classic Taylor guitar phrasing, played with a glass bottleneck slide, climaxes with the horn section that also includes Jim Price, who like Keys, is also from Texas.
Watching Richards sway with his guitar as he plays “Tumblin’ Dice” is a sight for sore eyes as this master of rhythm is never upstaged, even as Jagger sashays through the song.
“Gimme Shelter” is also performed in the film.
With their uncanny ability to take a twelve bar blues riff and turn it into a haunting performance, the band plays “Midnight Rambler,” offering an unforgettable number with its seductive rhythmic changes.
During this song, Jagger conjures a harmonica solo that is as fierce as a guitar solo.
The rhythmic voodoo culminates into a bluesy bridge with Richards’ stealthy riffs cementing “Oh, don’t you do that” into the countless minds that have encountered this hypnotic track.
The band delivers another gift in this film, a version of “Bye Bye Johnny,” written in 1958 by Chuck Berry, one of his four Johnny B. Goode tracks recorded on Chess Records.
“Rip This Joint” is among the tracks played from “Exile On Main St.” It leads into “Jumpin’ Jack Flash,” one of the greatest rock and roll anthems ever written, if not the greatest song about survival to ever be recorded.
For the last song performed in the film, the band plays “Street Fighting Man,” Its lyrics ask, “What can a poor boy do, but to sing in a rock and roll band?” Thankfully, Richards, Watts and Jagger are still begging the same question today.
The Examiner Money was indeed well spent.
'L&G' cleaned up
very nicely -
'Happy' 8-)
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