THE ROLLING STONES : LICKED LIVE IN NYC

THE ROLLING STONES : LICKED LIVE IN NYC

Disc One (67:08)

Intro
Street Fighting Man
Start Me Up
If You Can't Rock Me
Don't Stop
Monkey Man
Angie
Let It Bleed
Midnight Rambler
Tumbling Dice
Band Introductions
Thru And Thru
Happy

Disc Two (61:43)

Gimme Shelter
You Got Me Rocking
Can't You Hear Me Knocking
Honky Tonk Women (with Sheryl Crow)
(I Can't Get No) Satisfaction
It's Only Rock 'N' Roll (But I Like It)
When The Whip Comes Down
Brown Sugar
Sympathy For The Devil
Jumpin' Jack Flash

Label : Rolling Stones Records

Venue : Madison Square Garden, New York City, New York, USA

Recording Date : January 18, 2003

Release Date : June 10, 2022

Review (All About Jazz) : It is no little poetic justice, but also a perfectly appropriate gesture of respect on its own terms that, when The Rolling Stones first appear on the Madison Square Garden stage in Licked Live In NYC, vocalist Mick Jagger is swinging his arm up and down, right in time with the massive thud coming from the drums behind him manned by the late Charlie Watts. Whether or not intended as homage to the dear departed co-founder of the group who passed last year, it does signal how the playing of the group-expanded here to a baker's dozen musicians and singers-revolves around the latter's work on the kit as it's locked in with guitarist Keith Richards' instrument. Such observations do not in any way disparage bassist Darryl Jones. He of the intimidating physical presence and membership of a Miles Davis band amplifies Richards and Watts' thunder on his own instrument, an effect reinforcing how those two charter members of the Stones lay the foundation of "Start Me Up." Guitarist Ronnie Wood maintains that precise but nonetheless abandoned atmosphere with his own torrid solo, while Chuck Leavell, former Allman Brother (circa Brothers and Sisters (Capricorn, 1973), unfurls a suitably turbulent organ backdrop. Beginning what has continued in recent years as a concerted effort on the Stones' part to mix up otherwise predictable setlists, eternally-popular tunes such as that pair are part of a setlist here comprised of more than a few so-called 'deep cuts.' In a slightly tongue-in-cheek, countrified arrangement (superior to the superficial soundalikes "Far Away Eyes" or Dead Flowers"),"Let It Bleed" appears in close proximity to "Monkey Man," another cull from the album of that prior cut's same name, while "If You Can't Rock Me" from It's Only Rock 'n Roll (Rolling Stones, 1974) resides comfortably next to "Don't Stop," the single released from the compilation Forty Licks (Rolling Stones, 2002) this road work supported; hardly a profound song, its name could stand as the subtitle for this set as it is without the coy self-consciousness that has occasionally been the bane of the often-caricatured frontman's writing, singing and playing over the years. Yet such relatively minor faults appear only rarely here, except in Jagger's transparently scripted between-song patter. In fact, the ebb and flow of the performance is unmistakably stable, even in the truncated 'Bonus Feature' of video from the Amsterdam stop of this year-plus tour of 2002-3. The intensity hardly flags over the course of the approximately two-hour duration of the concert and the extended improv is no exception on "Can't You Hear Me Knockin," where saxman Bobby Keys' gutsy solo leads the way for Jagger to take a provocative turn on harmonica. Given its late single set placement, "Sympathy For The Devil" might well be considered overkill, but instead turns into an opportunity for stage production to approach the sensory overload of the musicianship. It's also the audience's chance to surrender itself (if it hadn't already) to an abandoned fever pitch after "Brown Sugar" (which in a rare act of political correctness, the Stones no longer play) and before the hammer-down closing of "Jumpin' Jack Flash." Not coincidentally, Richards' two-song spotlight-the reflective "Thru and Thru" and the uproarious "Happy"- encapsulates the astute pacing. It's a tension/release method the Rolling Stones perfected (how many?) years before, yet they manage to maintain it, quite likely through deceptively rambling rehearsals (like those included as another bonus on the DVD). Still, it's no small achievement in such cavernous environs as the legendary Big Apple venue, especially when Sheryl Crow appears as a guest on "Honky Tonk Women." (Lisa Fischer is much less disingenuous in her head-to-head vocal interplay with Jagger on "Gimme Shelter"). The sole breather, such as it is, comes when the band walks to and from the mid-floor stage for a quick mini-set during which, as elsewhere in the show, there's something unusual to look forward to: with Jagger on guitar, a core sextet savages "When The Whip Comes Down." As on the blues romp of "Midnight Rambler," the theater is obvious, but not overly so, even as bandmembers (most often Woods) mug for the camera. Through its various transitions, the video pacing is no more predictable than the performance itself (an asset that comes to the fore even more prominently sans visuals on CD); producer/director Marty Callner maintains loyalty to the drama intrinsic to a Rolling Stones' performance, then at a four-decade milestone of their history (dull cover art seemingly straight from a TV image is not the man's domain). Not surprisingly, the corps of vocalists (featuring one-time Beach Boy, Blondie Chaplin, as well as Bernard Powell) plus a horn section led by the aforementioned late kindred spirit of Richard's, are most prominent on material from Exile on Main Street (Rolling Stones, 1972) like "Tumbling Dice." The highlighted presence of both those elements fortunately becomes a means to natural showmanship reaffirming the personnel's engagement, not for mere crowd-pleasing. Likewise, Sam Wheat's audio mix, subsequently mastered by Mazen Murad, provides just enough audio clarity to capture the various troupe members' contributions (how many Rolling Stones recordings boast a pristine clarity?). With the continual/continuous release of vault titles such as Licked Live In NYC, it's almost as if the Rolling Stones are daring audiences to find fault with the consistency of their performances over al these many decades. With 2022 marking the iconic British band's sixtieth anniversary, it's a perspective worth considering, and not just in terms of the Stones' longevity: this title represents the sixth such release of its kind. Certainly, as issued in the chosen formats (CD, DVD, LP and Blu Ray), Mercury Studios and the artists are aiming to hit all the various markets and demographics. Yet journalist Paul Sexton's touches upon a point he does not pursue to any great length during his essay within the sixteen-page booklet inside the tri-fold package. That is, this tour regularly included performances staged in stadiums, arenas and theaters, in the same general vicinity, with Boston and Chicago among the most prominent next to the group's native England). Given Jagger's education in the field, perhaps it's the economics that not only compel usage of content for the main program here from an HBO special broadcast, but also preclude audio and video recording from a small(er) venue (there is From The Vault: Sticky Fingers Live at the Fonda Theater (Eagle Rock, 2017). Still, if the content and potential sales are there, a limited(?) edition package of such recorded performances from nearby locations in a given locale would be more than merely a curio. It would delineate in the clearest possible terms not only how the Rolling Stones so judiciously tailor their shows to the venue(s), but also how their collective musicianship is the fundamental source of excitement wherever they play.

Review (Americana Highways) : This 40th-anniversary tour brought The Rolling Stones to NY's Madison Square Garden on Jan. 2003. Originally produced by the Stones & TGA the venue was produced/directed by Marty Callner & originally released as a 2003 HBO special. The program's fully restored/remastered with 4 previously unreleased songs, some live Amsterdam tunes & rehearsals. Rolling Stones Most fans know who does what. Mick Jagger, Keith Richards, Ronnie Wood & the late Charlie Watts supplemented by Darryl Jones (bass/bv), Chuck Leavell (keyboards/bv), Bobby Keys (sax), Bernard Fowler & Lisa Fischer (bgv), Blondie Chaplin (acoustic guitar/percussion/bgv), Tim Ries (sax/keys), Kent Smith (trumpet) & Michael Davis (trombone). Sheryl Crow appears as a guest on "Honky Tonk Women." It's 17 classics over 2 CDs (2 hours-9 minutes) of Licked Live In NYC (Drops June 10-Mercury Studio/Universal Music). Through the decades the band has always been exciting despite some spotty performances. Yet, the magical combination of Jagger & the sparks from the twin guitars of Richards & Wood, the steady inventive dynamic beat of the late Mr. Watts. Other bands were cake, The Stones were pastries. At this junction, it's nothing short of miraculous since they still rock & no one does it better. The Who are equally intense, driving & talented. But they don't have the snarl, gritty aplomb, the ghosts & goblins of reputations, the burnt thick tabloid smoke & the notoriety that followed the band for decades that endeared them to a mass audience. On this live issue, the excitement's captured, the energy has traction & The Stones' proficient repertoire - always a busy hive of songs filled with musical bees & Jagger buzzes. Richards & Wood's guitar strings come wiry out of their wrists & stretch down the necks to unleash the unified gnarling notes that slice like blades. The music's what they always deliver. "Start Me Up," was an instant classic & came after the 70s punks told the group of "old men" to hang it up. But the punks are gone. The Stones still play. Some say they should retire. If they do that's when rock music will slip away. Judging from the 2022 stage show they have lots of viable rock music up their sleeves. Their new originals should reflect their age - let's not kid ourselves. It can be done. One new title should be "Ain't Goin' Nowhere," as this concert professes. These men still have lots of vinegar. "Monkey Man," is excellently performed but many smoking songs come peppered on the 2nd disc. The show is carefully paced & Jagger (a natural-born performer) never overreaches. This is where his crafty genius is evident - though his over-pronouncing of words in "Satisfaction," gnaws. I don't know why he does this. He has the swagger still & the musicianship sizzles. Bobby Keys' sax pours super-charged notes throughout "Brown Sugar." Mick isn't concerned with showboating vocals - he's focused on dynamic showmanship. To re-write a famous Charlton Heston quote (about rifles) into a good Keith Richards lyric - "the only way to take this guitar is to pull it from my dead cold fingers." From the sound of this CD - that may be true. The well-designed package has a stitched color insert.

Review (Lust For Life) : De Live Licks-tournee waarmee The Rolling Stones in 2002 en 2003 de wereld rondtrok, was een van de meest ambitieuze uit de lange loopbaan van de band. De Stones verdeelden shows over arena's, sporthallen en theaters, waarbij de setlist telkens werd aangepast. Zoals dat ook gebeurde in Nederland, waar de band in 2003 in De Kuip, Ahoy, Vredenburg en de Amsterdam Arena speelde. Een uitputtend verslag verscheen destijds in de vorm van de dvd-box Four Flicks. Het daaruit afkomstige optreden in de Madison Square Garden in New York wordt nu zelfstandig uitgebracht, waarbij beeld en geluid zijn opgeknapt. Vier songs die destijds gesneuveld bleken - o.a. Start Me Up, Gimme Shelter en Sympathy For The Devil - zijn alsnog toegevoegd. Als bonusmateriaal bevat deze nieuwe versie daarnaast impressies van een repetitie en een drietal songs van de show in Amsterdam, met daarbij een vlammende uitvoering van het scabreuze Star Star. Zijn de extra's genoeg om de Four Flicks-bezitters opnieuw over de streep te trekken? Het zijn persoonlijke afwegingen, al weegt wel mee dat het optreden voor het eerst ook op cd en lp verkrijgbaar is. Aan de muziek hoeft het niet te liggen. De speelse opzet van de tournee haalde het beste boven in de veteranenclub. Mick, Keith en de rest zetten gedreven versies neer van klassiekers als Let It Bleed, Midnight Rambler, Brown Sugar en Jumpin' Jack Flash, waarbij de band voor zijn doen ook nog eens behoorlijk strak speelde. En wat is het heerlijk om Charlie Watts onbekommerd op zijn slagwerk te zien inhakken.