Jagger quipped about Schwarzenegger, "Apparently he's been fundraising outside, selling bootleg T-shirts and scalping tickets", to the crowd, with Richards adding, "Hey, Arnold, don't forget our cut on the T-shirts. The show included state-of-the-art electronics that presented visual screen shots of the Stones Tongue and live footage.
The stage was 25 m 84 ft tall. The multi-level construction included balconies behind the stage with accommodation for audience. As on the Bridges to Babylon and Licks tours, the band played part of the set on a 'B' stage in the center of the field. A section of the stage detached itself and rolled the entire band along a catwalk, creating an "island" B stage in the middle of the stadium.
Unusual stage designs in and of themselves have been a feature since Rolling Stones Tour of the Americas ' The introduction featured fireworks and computer-generated graphics representing the literal Big Bang. The four band members' faces hazily appear, and further graphics depicting fast travel through a city's streets before Keith Richards appeared on the screen to the sound of the band's opening song mainly " Start Me Up " or " Jumpin' Jack Flash " although a handful of other numbers opened shows on the tour.
During the concerts, one large central screen played live footage of the various band members, predominantly Jagger. Either side of the main screen, there were two sets of lighting effect panels that combine with the main screen to produce visual effects at various points in the show. At stadium gigs, during " Sympathy for the Devil ", huge flames were sent into the air above the stage.
During the s, this song only made sporadic live appearances, though is captured on 's Love You Live. However, since 's Steel Wheels Tour , "Sympathy for the Devil" has become a setlist mainstay and a vehicle for the show's most elaborate effects. Jagger flew to Britain the day before to see his father one last time before returning to Las Vegas the same day, where he was to perform on Saturday night.
The show went ahead as scheduled. The set list played at the concerts changed at every destination and included new and old songs, but mostly centred around the same numbers. Altogether 80 different songs were played. The set list for the final show in The O2 in London, England, on 26 August — the last concert of the tour — was the following:  . According to Setlist. Three Days Grace opened both concerts in Regina. Blue October opened for them in Nampa, Idaho. The two shows in San Francisco were supported by Metallica , who said they were "honoured" to break a seventeen-year span of not performing an opening show, in order to open for the Stones.
The Stones acknowledged this gesture by giving them 75 minutes per show, instead of the usual 45 to 60 minutes. They were also Metallica's only dates that year as they had planned to take off from touring. However, due to Keith Richards ' fall from a tree, the shows were cancelled. Due to heavy rain his amps, etc. From Wikipedia, the free encyclopedia. Retrieved 1 January Retrieved 4 May USA Today. Ottawa Citizen. Retrieved 15 July The Independent.
Retrieved 6 August Digital Spy. The Age, business section. Fairfax publications. Archived from the original on 25 December Retrieved 29 November NBC today.
Associated Press. Archived from the original on 8 October Archived from the original on 11 December Retrieved 13 November Of course, the less charitable observer might suggest that the Rolling Stones have spent almost 30 years pretending to be something they patently are not.
They were the first big rock band to realise that mythology was a more bankable asset than music: stoke the myth and millions will turn up to see you live, regardless of how shoddy your recent work is. These days, the same money-spinning logic is applied by everyone from Brian Wilson to Oasis, but nevertheless, there is the sense that the Rolling Stones may have overplayed their hand. Even diehard fans long ago gave up hopefully proclaiming their latest effort as a stunning return to form, and quietly appended the group's soubriquet to the World's Greatest Live Rock'n'Roll Band.
Such thoughts seem to have rallied the troops. Rough Justice, the opening track on A Bigger Bang, races off, a ragged, distorted blur of slide guitar, thumping drums and Mick Jagger on winningly ridiculous, priapic form. In fact, a certain Carry On spirit seems to permeate much of the album, from the title to a Keith Richards number that reworks the old Kenneth Williams "they've all got it infamy" gag, to the question raised by Rough Justice: they've certainly pulled it out, but can men of their age keep it up for an hour?
The answer is: almost. There's plenty of spirit here but, sadly, the songwriting runs out of puff long before the performances do, lending a hammy tone to the album's weaker moments. Previous page. A Bigger Bang [2 LP].
The Rolling Stones. Bridges To Babylon [2 LP]. Audio CD. Voodoo Lounge [Reissue]. Undercover [Remastered]. Dirty Work [LP]. Next page. Customers who bought this item also bought. Bridges To Babylon [Reissue]. Emotional Rescue [Remastered]. Dirty Work [Reissue]. Special offers and product promotions Amazon Business: Make the most of your Amazon Business account with exclusive tools and savings. Register a free business account. Product Description A Bigger Bang is an ambitious, wide-ranging collection of hard-hitting, high-powered rock and blues songs.
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Please try again later. Verified Purchase. I picked this up as a bargain-priced used CD, curious about how the Stones had progressed into the 21st century. The album is OK, but not their greatest work. Nice to listen to in the car stereo when I want to hear something that rocks.
But I much prefer their earlier albums. If you love the Stones and you can find a used copy for a low price, this would be worth picking up. But if you don't have earlier albums such as "Exile On Main St. Every Stones album since Some Girls has had 2 or 3 or more absolutely outstanding tracks, but often the albums have been spotty. I'm not sure this is the best since Tattoo You-- I'm still giving that nod to Voodoo Lounge-- but it is a far stronger album than anyone had any right to expect.
There are two kinds of Stones songs; the ones that sound like the radio songs, and the great album tracks that many never hear. Charlie Watts was recovering from throat cancer surgery during the formative stages of this record, and I think his brush with mortality had a profound effect on Mick and Keith, pushing them together for their closest working sessions in years.
The urgency and proximity shows; this is a record that sounds like old rockers kicking back against mortality, and the result is uplifting; nothing new, but a hell of a take on the tried and true.
My haiku review: old blues cats get down no new ground broken; just old ground, tastefully trod "Rough Justice" will be immediately recognizable as Big Riff Stones Rocker Single. Like Motown, the Stones often kick off the records with the obvious single, rope you in right away. This one features the 5-man line-up of Mick, Keith, Woody, Watts and bassist Darryl Jones; Keith's shredded-voice backing vocals are a delight.
That this is a better song than the opener is the reason you buy Stones albums; because there are great nuggets liberally dispersed throughout, songs like this. Charlie's touch is especially light, and the feel is Muddy Waters, "I'm a Man.
A heavy riff away from being a classic Stones rocker. Funny lyric. The radio can have it. Familiar enough to appeal to the casual listener, but almost generic next to some of the richer work here. Evocative of "You Got Me Rocking. Charlie's rock steady beat anchors this one with deftness and ease. Jagger sort of overdoes it, but the song is a triumph. Bands like the Stones were political all the time in the 60s "Street Fighting Man" , but nowadays such a blunt diatribe seems shocking although nowadays there are a lot more cuss words.
Regardless of your political leanings, it remains difficult to both totally rock and espouse a political world view, unless you're the Clash. I can't help but think the same track with a different lyric would be a better song and I agree with the politics ; nice piercing harp and snarling lick from Keith.
A good groove tune in the vein of his Talk is Cheap work, but it would probably play better in the middle of the record than at the end. Basically, this is an extremely strong minute album stretched out over 64 minutes. Like most recent Stones records, there are more than enough top-flight songs to make this worthwhile.
It isn't earth shattering, but it is earth rump-shaking. Not bad for a bunch of old geysers. Ronnie Wood is less of a presence than usual he says he cut his tracks in 4 days , which is unfortunate, but he is deployed quite judiciously on the songs he plays on, and as always is a perfect foil for Keith.
And the groove which Jagger, Keith and Watts lock onto when they work together alone more than makes up for Woody's absence on several tracks. Finally, Don Was produces by largely staying out of the way, which is right.
These guys know how to make a record, know how to sound like they sound. The last one they did with Was, 's Bridges to Babylon, had too much affect; this one is just the Stones sounding like the Stones. So if you like the Stones, you'll like it.
Waited a while before I reviewed this CD. Recently I loaded it into my Ipod and have been rocking out to it regularly. First of all, I find it to be great fun.
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