"Time fortunately remained on the side of the Rolling Stones at Dodger Stadium the night before Thanksgiving, but given the litany of personal issues (health scares, rehab, deaths in the family) since the start of their "A Bigger Bang" tour in 2005, the band was probably most thankful that this, their fifth SoCal-area appearance, was their last U.S. gig and that the year was winding down.
Fans hoping to catch the Stones for the first time, a final time or simply once more had to be extraordinarily patient and willing to wait for them this time around. Not only had this show, initially skedded for Nov. 18, been pushed back to address throat concerns Mick Jagger encountered earlier this month, but the pre-holiday traffic maelstrom across the city and especially approaching the stadium threw the band yet another curve.
With a start time nearly an hour and a half after opener Bonnie Raitt to accommodate those arriving late, fans already at their seats had plenty of time to kill playing "Spot the Celebrity" ("Look, Alec Baldwin!! ... cool, Jake Gyllenhaal and Lance Armstrong!")
until that eventually reached a point of diminishing returns ("Hey, um, Bob Saget ... yeah, okay, Tom Green ... uh, Joe Don Baker?!").
But when Keith Richards, looking none the worse for wear -- relatively speaking -- walked onstage and began the signature riff to "Jumpin' Jack Flash," all was forgiven and forgotten for the next two hours. Jagger made the point of graciously thanking the crowd for their patience in dealing with all the delays, but the setbacks seemingly had no effect on the subsequent energetic perf and delirious aud response.
"The world's greatest" pulled off yet another stadium show like no one else can, and it's been a lasting, iconic image for many years, with massive videoscreens, flames, fireworks, Macy's Parade-sized inflatables, moveable staging, etc." [...] Source: Variety.com
The Glimmer Twins Return To Tinsel Town~
ReplyDeleteThe Glimmer Twins Return To Tinsel Town~
by Lewis G. Campbell
copyright November 2005
A 39 year long wait.
I waited 39 years to see the return of therollingstones*
to TheHollywood Bowl. "The Hollywood Bowl!!"
No venue in Southern California is as historic or important
as The Hollywood Bowl!!
In addition to this excitement, I had the luxury of taking
my Wife who had never seen therollingstones* in concert
and had been convinced by others in her past life that
therollingstones* were terrible live, that they walked out
before it was over, etc., etc.....
Add to that the belief that only bad girls and outlaws liked
therollingstones*, rumours of Keith's drug habits.....the
decadence....and you can see why I was excited to know
that...{having shown her through records, videos, books
and magazine articles, that she had been misinformed}
.....she had developed a keen interest and curiosity.......
This was going to be an event.
This was going to be historic.
My Wife is the most fun, lovely woman I have ever known and
to share this with her was going to be, I was certain, one of the
best moments in my long and varied concert going career.
What she was about to see was going to be life changing.
An evening with therollingstones* is not like "just any concert."
I learned that at 16 years old, on 5 December 1965, when I
first saw therollingstones* at the L.A. Sports Arena and again,
on 25 July 1966, at TheHollywoodBowl.
'twas as a result of these experiences that, when I learned of
therollingstones* return to TheHollywoodBowl, I reacted with
unrestrained intensity and set about making sure that we attended
this great and legendary return to the greatest venue in the
Los Angeles, California area.
The honest truth is that I stopped attending concerts by
mega-hugely popular bands, The Rolling Stones and
The Who-> in particular. Bands of this stature playing
stadiums and arenas with 20,000 to 100,000 fans,
fans that had become ugly, {as fans of any act so incredibly
popular always do}, had ruined one to many concerts for me.
So I turned my back on the concert experience, as far as
therollingstones* are concerned, in 1978 after the Anaheim
Stadium CA show.
Fast forward to summer 2005 and the announcement of
the "abiggerbang" tour, TheHollywoodBowl presents
therollingstones*. It's a no brainer...we're there!
Side One~ *Celluloid Heroes*
Track One~ *Road Trippin’*
We depart on Friday, 4 November, from the Northern California
redwoods through the central valleys in an uneventful and
pleasant trip to North Hollywood to visit my family home and
old haunts.
30 years gone, the old neighborhood, ain't even there no more.
Like Chrissie Hynde said, "I went back to Ohio, but my city was
gone."
Nonetheless, we stopped and took a photo of my childhood home
And my Grandmother’s home in old North Hollywood, agonizing
over the changes for the worst…ugly paint jobs, overgrown
foliage, ill kempt yards…all the usual things one laments losing.
Track Two~ *2001 Hollyhill Terrace*
Still Freaky Friday....we pass down Cahuenga Blvd. from Universal
City, carving out a path toward Hollywood, TheHollywoodBowl
and the infamous corner of Hollywood & Highland. Then we cruise
Hollywood Blvd. up to Vine St., picking out some stops to make on
Saturday and Sunday before “abiggerbang" goes off.
Then it's off, up Laurel Canyon past Frank Zappa's old house, through
the winding lanes of the famous canyon of the stars and stories that
legends still abound from, to Thousand Oaks, out of the city toward
some peace and sanity. A nice dinner with Nathan & Judy and the
Boys, and then some rest in a nice apartment given to us by them for
the weekend. Sleep, sweet sleep after almost 600 miles of travel.
Track Three~ *Valley Girl*
Up fairly early...off to make the 'rounds in the San Fernando Valley
and show my Lady all the places of my youth.
Lunch at the famous Italian Deli, Lucchese's, on the Sun Valley/Burbank
border where the best submarine sandwiches ever can be found. I'd
bragged about this place for years and we now sampled the proof that
it's legend lives up to it's reality.
Then we went to our old family florist and got flowers to take to the
lovely old cemetery where my Grandmother, Grandfather, Mother, Father,
Uncle Lewis, and Cousin Lee all share their resting places under shade
trees and rich green grasses. We groomed the cemetery plots and placed
the flowers on each gravesite, paying our respects in quiet solitude and peace.
Track Four~ *Within You and Without You*
Winding through the roads and masses of humanity in a city, huge in
size, we wound our way through Chevy Chase and the Los Feliz
District of Glendale, finding our way to Hollywood's Forest Lawn.
We drove the hills and winding ways of this legendary resting place
of so many famous people until we found the "Sanctuary of Golden
Slumbers" and paid our respects to Paramahansa Yogananda in
solitude, laying a beautiful Lily beside his resting place.
Paramahansa Yogananda is the Guru of Ravi Shankar and George Harrison,
As well as my Wife and myself, plus millions of others. A Hindu Yogi,
he is certainly one of the most gentle and enlightened souls to ever live.
Track Five~ *It’s All Part of My Rock ’n’ Roll Fantasy*
With our responsibilities behind us, we traced lines through the streets
of Glendale to Sunset Boulevard and cruised it from East Hollywood,
passing the landmark locations that made Rock and Roll History such
as....The Hullabaloo/Aquarius Theatre, TheWhisky, TheRoxy and
TheRainbowClub as I told my Lady stories of the Rock History I had
witnessed during the 1960s and 1970s. We then followed Sunset Blvd.
through Beverly Hills, past Dead Man's Curve to its end at the beach
and Pacific Coast Highway, Pacific Palisades.
There we visited Lake Shrine, the meditation sanctuary of the Self
Realisation Fellowship, an Ashram Meditation Retreat that houses
some of the ashes of Mahatma Ghandi in a hand carved sarcophagus
you can visit. Founded by Paramahansa Yogananda, Lake Shrine is
one of the most beautiful spots I have even been in the Los Angeles
area. Swans and water fowl are sacred there, in the spring fed lake,
and the peace is astounding. The Windmill Chapel for meditation is
so subliminally peaceful with its view upon the lake. In the late
afternoon at sunset the breeze and exquisite sunlight flow in through
opened curtained windows. You cannot help but walk away revitalised
and spiritually strengthened. Om. Peace. Amen.
Track Six~ *My Big 10 Inch….Record*
Now it was time to make way toward our Thousand Oaks home base,
up Pacific Coast Highway through Malibu, east through the winding
Malibu Canyon toward Agoura. But we were sidetracked by my
need to take my Lady to the best Italian Restaurant in the world,
Little Toni's in old north Hollywood...but first a trip to the West
Valley's Tower Records....
A couple hundred dollars we spent on holiday videos such as "Home
For The Holidays" directed by Jody Foster and "Alice's Restaurant"
starring Arlo Guthrie based upon his song of the same name, plus
some Christmas CDs by Johnny Mathis, Nat King Cole, and the
brand new one by Brian Wilson, along with some other DVDs and
CDs for flavour, and….flash....we were off to sample the Best Pizza
on Planet Earth at Little Toni's!!
Little Toni's lived up to his reputation...my Lady said it was the best
dough, sauce, cheese and pepperoni she had ever tasted. The Caesar
Salad was great too, and the leftover’s made for a great snack the
next afternoon before "abiggerbang!!"
A casual ride back to Thousand Oaks followed by a short, and
restless sleep....too much excitement and spicy Italian!!
Side Two~ *abiggerbang*
Track One~ *Walkin’ On Sunset*
Up early....rushing about to Hollywood in the morning haze to attend
the Self Realisation Fellowhip's oldest Temple, The Hollywood Temple
on Sunset Boulevard.
After a wonderful service, we went back to Thousand Oaks to visit
Nathan and Judy again for a while. Nathan surprised me with a new/used
computer system, a PC with a Pentium processor, about a 10 Gig hard
drive, ready to go...what a surprise!
Coffee and converstation followed until we needed to take a couple hours
in our apartment to rest up for *abiggerbang* and a short shopping spree
on Hollywood Boulvevard.
Track Two~ *Celluloid Heroes and Villains*
Hollywood bound...we arrive almost 3 hours early and nab a parking spot in
the Odin lot of the Bowl which enables us a very fast getaway when the show
is over. We take off on foot down Highland Blvd. to Hollywood Blvd. and head
east to find Herb Jeffries' Star on the Walk of Fame. Herb, my adopted Father
and Father-In-Law for 24 years, is a movie star and Jazz/Blues Legend that
made movies in the 1930s to present and sang for Duke Ellington, Oscar
Peterson and Count Basie as well as having to this day a rewarding solo
career. Herb received his Star on his 93rd Birthday on 24 September 2004
as a gala event celebrating his contribution to the arts and sciences of
film and the recording industries.
I sang The Kinks' "Celluloid Heroes" out loud as we walked down Hollywood
Boulevard, noting that Bing Crosby's star was only a few steps away from
Herb's. Fittingly so, since Herb was Bing's favourite singer according to my
late Mother-in-Law, Betty Jeffries.
Some shopping for tees 'n' trinkets to commemorate our trip to Tinsel Town,
we headed up Highland to TheBowl and took our places in the queue filled
with "The Human Zoo of Hollywierd."
A programme to keep company with the one I have treasured from
*thelasttime* therollingstones* played there in '66 {when I sat one
section closer}, and one *abiggerbang* tee commemorating the
triumphant return of TheStones* to "TheHollywoodBowl' for my
Love. We trenched out way with and through the masses of Freaks
and Straights, all the In-betweens, and Pretentious L.A. Trash
that makes the City of Angels so crass and superficial, toward our
"abiggerbangbenches" to await the arrival of "Ladies and Gentlemen,
The Rolling Stones."
Track Three~ *The Greatest Rock and Roll Band in The World*
Aft' an opening act of disappointing merit, a wait of an hour and one
half raised the anticipation to a degree I've not experienced in many a
year until, without warning, the lights went out and explosions and
fireworks blew off dramatically, lighting the skies and hillsides of
Hollywood with the unmistakable announcement that, at 8:32 pm,
*abiggerbang* and the return of therollingstones* to the Bowl
was upon us……NOW!!!!!!!
Much to my pleasure, and that of my Wife, the bombastic opening
riff of "Jumin' Jack Flash" pushed out of Keith's blonde Telecaster
and two white Ampeg amps....
just as my Wife had predicted....!!
Thus, therollingstones* began a two hour tour'de'force that had more
power and emotion behind it than anything they have ever done in my
experience, even during the hey-day of the Mick Taylor years.
Nothing I have ever witnessed personally, nor anything on video/DVD,
tape or CD/CDR has ever compared with the pure power of this 2 hour
performance by therollingstones*.
The slighty slower, punchy arrangement of JJFlash combined with
the raw power behind Keith's riff, supported by the incomparable
Charlie Watts who may have been the Star of the night, was purely
invigorating.
In front of a spectacular screen showing the current performance interswoven
with nostalgic old video footage, the boys rocked the house with a rousing
rendition of "It's Only Rock and Roll," a song originally inspired by Ronnie
back before he was a "Stone." Much to my liking, Keith ripped through the
Chuck Berry influenced licks of this one with his walnut finish ES 345 with
the Bigsby Vibrato.
This screen, with incredible crystal clarity, would bring the audience closer
to, and more personal with, the band than any screen projection I have
seen before. It really enhanced the show for those of us who sat far enough
back to enjoy it.
First surprise, the too cool tale of "Live With Me!" I'd have never believed
we'd see this one, even if it had made appearances earlier on the tour.
Such a classic, bass driven rocker (originally by Keith on bass, Daryl Jones
pushed this one along full tilt) from '69's "Let It Bleed." Nasty Habits indeed!
I had only hoped only for a song tonight that came from this same stage
39 years ago, though I needn't have worried.
Track Four~ *Rollin’ and Tumblin’ Dice*
Keith switches to the Tele and the wonderfully familiar intro to "Tumblin' Dice"
fills the air, much to the crowds pleasure. Leaden with a heavy groove, as all
things were to be this show, the veins of "Exile" permeate the atmosphere of
the Hollywood Hills and the vibe increases significantly as "eau de weed"
breezes by the rows upon rows of standing fans rockin' to the tunes.
A new one is pulled out of the hat, and "Oh No Not You Again" is powered
by Keith's ES 345. One of the most rockin' numbers off the new CD, it
goes over perfectly with the audience. Seemed to me like a perfect track
for the L.A. crowd with its cynical story of a "used to be" coming back to
haunt someone....."On no not you again, *@#!%in' up my life!"
Here we get introduced to "Blind Melon Jagger, Delta Bluesman!" With
his patented and perfected Muddy Waters blues stylings, learned at the
feet of the Master himself during the early 60s and later in the 70's
while sharing the stage together, Mick showed us how much himework
he's been doing on bottleneck guitar. Quite competent now, he opened
"Back Of My Hand" solo, then as the band filled in he switched to some harp,
bluesin' his way 'round the stage until he and Ronnie started playing
slide, with and against each other, beautifully, to the end of the song.
Absolutely great!
Unbelievable! Now...out of the basement rooms of their past comes
the countrified and silk upholstered "Dead Flowers." Keith switches
back to the blonde Tele for the country licks and fills. Mick strums
along on acoustic with his country-western swagger and sway.
You've got to love the way therollingstones* take it upon themselves to
put everyting they've got into what they do, be it folk dabbling’s, da blooze,
or country-western. I was quite happy with this offering and knew this
meant, again, that some other surprises awaited.
Have I mentioned that Keith was a powerhouse of guitar playing this night?
Did I mention that Keith dominated the stage, as if to say, "Hollywood,
I'm back, and listen to this!" Ronnie was wonderful, but, to be honest,
guitar-wise, this night belonged to Keith!
Track Five~ * Dante’s Inferno*
Keith's " Gibson TV Yellow Les Paul Special" in hand, the crunching chords
of "Midnight Rambler" pierced the night air, with Mick's harp tempting the
crowd, teasing us with tales of the madness and mayhem that awaits those
who make a wrong turn on a dark city street in the wee hours of night.
This is the song that pushed this show into being one for the ages, a one of
a kind performance that makes this night shine a light above all others.
Mick was like a possessed soul, commanding the stage in response to Keith
Ronnie’s guitar assault. No peace was to be had here on this stage, not
tonight!
Charlie power-housed this song from the start to what appeared as if he
refused to let it end. His drumming was stellar, driven, locomotive in
its momentum.
As charismatic and charming, yet dangerous as hell as Mick the Midnight
Rambler can be, along with his posse of guitar slingers standing in the
shadows, it was Charlie Watts who stole this show. A man recently
recovering from cancer therapy cannot be expected to perform at this
level, a level I'd never witnessed before....but he did!
The crowd went $*#@ing crazy!
Just when you think things cannot gain any further speed, a diesel comes
drummin' down the line with Ronnie givin' Mick Taylor a run for his money
during a fantastic "All Down The Line." This song was so charged up.
Keith comped those phat chords on the Tobacco Tele, pushing Ronnie
to slam those slide licks thicker, harder, and phatter than ever!
Ecstatic...the crowd roared with appreciation. Where can they go from
here? What can they pull out of the proverbial magician's hat after
all these feats?
Well, Lisa and Sir Mick has some cards up their sleeves and tipped their
hats to Brother Ray Charles and wowed the house with an incredible
version of Ray's "Night Time Is The Right Time." Keith causally sat upon
Charlie's drum riser, playin' that beautiful ES 345 again before standing
and groovin' this RnB classic along.
Lisa raised the bar midway through the song, leaving Mick no choice
but to raise to the occasion, bumpin' and grindin' together, where
Mick took the torch, and rolled up his RnB sleves and let it wail. Never
have I heard this man hit notes so high. Have I mentioned that Mick
was on fire? Challenging therollingstones* behind hm to gather no
moss, he pushed them to highs and lows, dynamics galore.
therollingstones* can righteously play RnB...but we knew that, no?
The traditional band introductions appeared at this time. Although
all were warmly received, it was blatantly apparent that Keith was
the recipient of the most applause and hootin' 'n' hollerin'. We
had the usual suspects including Lisa, Bernard, Blondie Chaplin
(a one time Beach Boy) and the Legendary Bobby Keys, along
with Chucj Levall and other horn players.
They may have not played "As Tears Go By" until Tuesday night,
but tears were brough to these eyes by the wonderful, simply
moving version of Keith's "Slippin' Away" from Steel Wheels.
Framed like a Renaissance Painting in the screen behind the stage,
Keith sang better than have heard before on record or live. Simply
stuning performance, accented by the charming way he drapes his
wrist around the mic and timidly whispers his vocals so sweetly.
Though I'd hoped for a showing of "Happy," I was thrilled by this
moment in time..weeping at the preciousness of the moment we
all shared with my first Guitar Hero. The Blonde Tele in hand, a
shy Keith bowed before 18,000 adoring fans who, for the most
part, had no idea how important a moment they had just been
witness to.
Infamy was next...the closer from the newest LP and another
Keith song. A slightly different and more potent version than
the one on the record, it was wonderfully received and
appreciated by a crowd who obviously loved this outlaw and
rebel who hides behind a guitar and amp. I was really happy to
see Keith playing the Gibson's so much this night. For this one
he chose the ES 345 again.
Out with the Blonde Tele and on with "You Got Me Rockin."
No much to say about this one, a crowd pleaser, lots of
sing-alongs in the choruses.
Unlike the larger venues, the expanding stage could not be used
do to limitations with TheHollywoodBowl layout and small size,
so a roughly 30x30 foot stage that Mick, Keith and Ronnie had
been working was now used for the whole band in a "Stripped"
down capacity. Charlie's drum riser pushed forward, the intimacy
highly increased, especially for the $1800 seats & mandatory L.A.
showbiz & other celebs, as Keith strapped on an acoustic and
the telltale opening strum of "Wild Horses" was met with
resounding applause.
This was, though I was unaware, the one song my Lady had
hoped for above all others. A little quirky, maybe by design,
this slightly different groove nonetheless worked perfectly.
Watching Keith and Mick sing tohether in this intimate
setting was worth the price of admission itself.
Now came the moment I had waited for, a song I heard them
play 39 years ago when they shared this ssame stage with
TheStandells and BuffaloSpringfield.
Strapping back on the walnut Gibson ES 345, the opening
riff to "Get Off Of My Cloud" rang loud in the air and the
crould went full tilt bozo! Tearswelling up in my eyes and
images of the past floating in my head of Brian on this same
stage smiling and happy were so bittersweet.
Ronnie, as he did on 9 July 1975 at theForum in Inglewood CA,
took a spill onstage. This time he fell backwards onto his bum,
ending upo sitting on Charlie's drum riser. This drew quite a
response and laughter from my Wife. As is Ronnie's style, like
a cat, he's up on his feet in the blink of an eye as if nothing
ever happened, back to business.
Mick bids "I'm outta here" to the crowd as he walks past Charlie
and out of sight toward the rear of the Bowl and deep into the
dark as the drum riser is pushed backwards and the lights go
down leaving the stage completely dark, black as night, black
as coal.
Flames burn out of the towers to the right and left of the stage,
50 feet high they are with 30 foot spouts of fire, everything is
now black and red....the stage is set for Lucifer's Rising!
Chuck Levall’s piano starts to pound out the introduction that
Lucifer had sent us, the atmosphere is thick with anticipation.
Shakers and drums in unison clamber for attention as His
Satanic Majesty makes his way to the celebration.
Suddenly he's there, in black hat, coat & tails. He tells us of
his conquests, boasting, taunting and teasing. Lucifer dares
us to embrace him.....
Keith responds with Gibson fueled licks, shotgun notes that
pierce the night quiet like war on the fields of regret and
shame. Be not fooled, Keith is gonna take this moment and
make it his own, strutting the stage showing that when the
whip coomes down it will be fired from His guitar!
Lucifer returns to claim the ravaged battlegrounds for his
pride...it's a battle of TheDarkPrince and ThePauper. Keith
tugs back at what is now out of control while Lucifer chants
and lures the crowd into his web of decadence and deceit.
The tension breaks, then builds as Ronnie shoots some bullets
from his sunburst Stratocaster, taking sides with Keith, battling
for power...but, alas, Lucifer wins again and strolls across the
wreckage of his battlefront, counting his winnings and taunting
his foes again, and again, and again............
Track Six~ *Leather ‘n’ Lace*
The Show's not over, not by a long shot. Tobacco Tele in tow,
the signature drone of Keith's anthem to the Ladies of the Night
chimes through the thick, smokey residue left by Lucifer and his
band of Devils.
"Honky Tonk Women" could only be an ode to the Women of
L.A. ... slinky ladies, clad in leather and lace. Vampires, all.
They could make a dead man cum......
....so we flow into "Start Me Up" late into the set rather than the
customary opener. We're runnin' though the pre-requisite hits now.
Fully charged, this machine called therollingstones* contols the
crowd with the familiar...as has been the whole show, all are on
their feet as that demon life has got them in its sway.
As if the charged up, open G chunk of "Start Me Up" wasn't enough,
Keith punches out some sweets with the crunching chords of
"Brown Sugar" as Mick sings his ode to the slave ship refugees of
the Southern cottonfields, and the midnight delights of those
coffee-brown, whipped women.
Bobby Keys honks his horn as only he can do, spilling the sauce
and drippin' brown sugar over the stage......I say yeah, Yeah,
YEAH, Woooooooooooooo!
Flames and Fireworks blast forth, lighting, again, the skies and hills
of the age old, decadent residential peace of Hollywood as the stage
goes dark and therollingstones* disappear into the smoke filled
abyss at 10:18 pm.
The Hidden Track~ *Satisfaction*
After only 30 seconds of darkness the sound of the charming chords
to "You Can't Always Get What you Want" ooze forth from Keith as
he appears centre stage in the spotlight. Tobacco Tele still in hand,
he comps the chord progression over and over until Mick begins
his narrative of obsession, drugs, death and corruption, only to
reinforce our faith and hope in the chorus of "You Can't Always Get
What you Want...But If You Try Sometime, You might Find, You'll
Get What You Need.'
Lisa took over the outro that dominates the song’s end with her pitch
perfect, full bodied voice that is strong enough to make one not notice
that there is no choir onstage singing.
Lights out...fear that it's over permeates the crowd, and....CRUNCH!
Keith fires off the overdriven, most famous riff of all time from his
Gibby ES 345 and begins "Satisfaction" ...the second song of the
night that was played here 39 years ago {also as the closing tune}!
The place goes fucking crazy as Ronnie, Charlie and Daryl power
the song along as Mick tells us his tale of frustration with women,
television telling him how his shirts could be whiter, and what
cigarette to smoke.
Keith takes the spotlight as he commands the stage riffing the
most famous and powerful riff of all time from that Gibson,
taking the audience in hand, maueuvering them with his
nuances of picking and bending that Monster Riff!
And then it was over, bow after bow until the four Stones,
arm in arm stood centre stage alone, soaking in the just
desserts of their labours to standing ovations, adoration,
and smiling faces edged with tears.
The stage goes dark as if someone had decided to paint it black,
when the fireworks and flames blew forth for five minutes calling
and end to the night's Performance!
I knew then, that this night would live forever, in the hearts
and minds of more than just myself and my newly recruited
Lady, who at one point in the show broke into tears as I kissed
her passionately. Yes, she smiled sweetly, she smiled sweetly,
she smiled sweetly, and said "don't worry, oh no, no, no!"
http://theopinionatedbastard.blogspot.com/
Thanks to the opinionated bastard for the long enthralling retelling Rolling Stone concert, I've liked it much, welcome to Weirdland and you're invited to share more stories when you want!
ReplyDeleteSimon, I was very happy when Patti Smith presented the admission to the Rock'n'Roll Hall of Fame to Lou Reed. it was about time, because The Velvet Underground had stayed unfairly in an understimated dark position before. It was an historic moment, although Sterling Morrison couldn't receive the award because he had passed away the year before.
i must be the only one who's glad that jake is hanging around with lance, but i am..he seems like a fun person to be with.
ReplyDelete