The Altamont Free Concert was held in 1969 at the Altamont Speedway in Northern California. The festival included many famous rock acts with the Rolling Stones performing as headliners. The Hell’s Angels were hired as security, and throughout the day, the biker gang became increasingly violent with fans. During the Rolling Stones’ set, a member of the Hell’s Angels killed a fan who they thought was brandishing a gun. The concert, along with the accompanying violence and killing, were shown in the Rolling Stones documentary Gimme Shelter.

It may have happened again as recently as 2004:  the release of a perfect track, “Miracle Drug” by A. C. Newman.[1]  (I am trying to make this sound like “The last perfect game was pitched by Mark Buehrle in July 2009.”)

Do you know what I mean by perfect?  Don’t you agree that, even though “Gimme Shelter” is greater than “Honky Tonk Women,” “Honky Tonk Women” is perfect?  Am I right that even though “Strawberry Fields Forever” is greater than “I Want To Hold Your Hand,” it’s “I Want To Hold Your Hand” that’s perfect?  What would be on your perfect list?  (It should be a fairly short list.)  “Feel a Whole Lot Better”?  “Pinball Wizard”?  “Middle of the Road”?

Whatever the songs may be, what I want to know is what makes the bell ring, the aura shine, the definitive judgment of “perfect” clunk into place.  Criteria might include:

1) Strong hooks working together, reinforcing each other.  (Best of all, slightly surprisingly:  the Rolling Stones that country?  The Pretenders that retro?)

2) Clarity, tact, efficiency:  nary a false move.

3) Strong physiognomy:  whether in verse or chorus or instrumental break, it always sounds a lot like itself.

4) Exemplifies one of the strongest underlying forms of the rock single. Is paradigmatic without being predictable.  We recognize the paradigm, are intimate with the song in a more perceptive way than merely by following the beat, the words, or the guitar licks.  It becomes a Platonic experience.

I think the four criteria are each necessary, and jointly sufficient:  no track satisfying them all would not seem perfect.  (But have I left something out?) “Miracle Drug” has all these attributes in spades, especially #3.  There is a kind of spasmodic vigor in the delivery of the verse that is not forgotten in the relatively more constant chorus.  Then you hear the kinetic signature of the song more intensely than ever in the guitar solo.

As for #4, the experience of a paradigm, “Miracle Drug” clearly marks off the major parts of a pop song—it’s like looking at a giant model of an ant, with head, thorax, and abdomen superdistinct.  I particularly enjoy the elegant drum part that takes me over the boundary between the end of the verse and the beginning of the chorus.

The trouble with deciding that a song is perfect is that then you start listening for flaws.  Right now I’m a little concerned about “Miracle Drug’s” ending:   is it wonderfully to the point, or is it almost perfunctory?  But I shouldn’t have said that!

________________________________________________________

[1] Newman was involved in an earlier perfect track as well, “Mass Romantic” by The New Pornographers.  This is a distinguished track record.

Un mash-up de Mark Vidler.

(The Rolling Stones ‘Street Fighting Man’ / ‘Gimme Shelter’ / drums from ‘Slave’)
(The Temptations ‘Ball Of Confusion’)

Encontrado en la web oficial de Mark Vidler: [aquí]

Em 2009 lembramos do 40º aniversário do festival de Woodstock , “três dias de música, paz e amor”. E de outro festival americano que terminou com violência e é considerado “o fim do sonho” hippie. Altamont. A Warner (re)colocou nas lojas em DVD o filme Gimme Shelter (classificação: 16 anos), que registra a turnê americana dos Rolling Stones em 1969, até o concerto gratuito de 6/12, que reuniu 300 mil pessoas no autódromo de Altamont, com segurança a cargo dos Hells Angels californianos – ou seja, um barril de pólvora. Clique para ler mais, ver a lista de músicas de Gimme Shelter e a filmografia dos Stones.

Gimme Shelter, o filme, dirigido por David e Albert Maysles e Charlotte Zwerin, intercala apresentações dos Stones na turnê e em Altamont (e ainda  Ike & Tina Turner, Flying Burrito Brothers e Jefferson Airplane, 1 música cada) com cenas de bastidores que ajudam a entender porque deu tanta coisa errada. As câmeras dos documentaristas acompanham as negociações para o local do show, em que os Stones queriam tocar de graça - 0 festival vai mudando de local em local, até o autódromo, escolhido às pressas. Também mostram os Stones acompanhando montagem e mixagem do filme. Charlie Watts com cara de tédio. Mick Jagger p… com o violento fim da festa em Altamont. Entre outros “feitos”, os Hells Angels improvisados como seguranças esfaquearam até a morte um homem visto com uma arma  perto do palco. De acordo com a montagem do doc, a violência começa durante “Sympathy for the Devil”. E o assassinato rola duramte “Under My Thumb”. Macabro.

Boa música, muita porra-louquice e violência. Tensão no ar. Gente muito doida. Gente chorando, ao lado de gente rindo. Parte da história do rock. Parte da história do homem.

Quer saber o set list dos Stones no filme?

- Jumpin´Jack Flash

- Satisfaction

- You Gotta Move

- Wild Horses

- Brown Sugar

- Love in Vain

- Honky Tonk Women

- Street Fighting Man

- Sympathy for the Devil

- Under My Thumb

- Gimme Shelter (cenas finais)

Nos extras, Little Queenie, Oh Carol, Prodigal Son.

FILMOGRAFIA DOS STONES

- Rock and Roll Circus, 1º/1/1968.

- Stones in the Park, 7/7/1968.

- Sympathy for the Devil ou One Plus One, 1968. De Jean Luc Godard.

- Gimme Shelter, 1º/1/1970.

(Cocksucker Blues, filmado em 72, foi engavetado pela banda)

- Ladies and Gentleman, The Rolling Stones. 1º/1/1974.

- Let´s Spend the Night Together, 1º/1/1981.

- Live at the Max, 1º/1/1990. Feito para cinemas I-Max.

- Shine a Light, 4/4/2008 (leia post anterior).

Mexican architecture firm, Rojkind Arquitectos was chosen to build the Gimme Shelter for the Ordos 100 project. Gimme Shelter is a private multifunctional residence, to be built on a total area of 1,000m².

Gimme Shelter drew inspiration from the Mongolian nomads. The building design is based on ancient cave habitats known as Yaodong, a structure that withstand the tundra climate and harsh summers of Inner Mongolia.

See and read more at travelwithfrankgehry.blogspot.com.

The return of the Cooper! Jon Cooper comes back to the podcast to have a chat about Adventureland. Tom and Sam have a think about (500) Days of Summer and the gents all think about the YouTube rental model. They go on to reminisce about Hackers, praise Fish Tank to the hills and have a good ol’ natter about Supernatural. The conclusion sees Tom depart and Producer John step in to talk about music in movies.

Download The Movie Overdose Episode 34

Show notes coming in later post.

It was a seemingly simple task: furnish a Boston apartment living room for about $1,000.  We wanted a (on the cheap side) couch, coffee table and TV stand.  We started looking in July before we moved in and went to roughly a dozen furniture stores.  NADA.  About three weeks ago we went to Jordan’s and found a couch that we really liked.  It had an attached chaise at the end – which we really liked.  It was $1,050 – before taxes & delivery.  Over budget?  Yes, but after thinking about it for a few weeks & not finding anything else, we came to terms with it.  We went back to Jordan’s yesterday to purchase. Finally – a comfortable couch!!   We rented T$’s car (thanks, T$!) and went to Reading.

Once we got there, we decided to first look at the factory outlet section to see if we could find a coffee table or TV stand.  While looking, we saw a couch for $300.  THREE HUNDRED DOLLARS.  Buying the $1,050 couch in the other part of the store now seemed silly, to say the least.  The couch doesn’t have the chaise attachment, but it’s still a really nice couch.  We looked around the factory outlet section & found a coffee table & two end tables.  We also found a new TV stand.  Total price?  Less than we were going to spend on the initial couch.

Gimme Shelter, the Maysles Brothers documentary about the Rolling Stones and their free Altamont concert, is not your typical concert film, and I really got that having now seen it a second time last night (my first time seeing it on the big screen). It’s 1969 (the year after Woodstock), and the Stones want to put on a free concert in San Francisco, a Woodstock West. After several attempts to find a workable venue, the concert finally happens with disastrous results.

Marking the beginning of the end of the innocence and idealism of the Flower Power generation, Altamont would be seen as the antithesis of Woodstock. Bad drug trips, a general sense of unease and belligerence (someone hits Mick Jagger in the face as soon as he disembarks from the helicopter), and the Hell’s Angels acting as “crowd control” (not a good match for the audience demographic), you experience the downward spiral as it happens and know the conclusion is inevitable, that that one instance will set off a powder keg. As the chorus to the song “Gimme Shelter” says, “Rape, Murder, it’s just a shot away.”

“Gimme Shelter” becomes more than just a concert film (e.g., The Last Waltz, Stop Making Sense, etc.) not only in its tone but in the different timelines at play, which on first viewing can seem confusing. We go between a Stones concert at Madison Square Garden (to contrast with the lunacy of the Altamont experience), the preparations for and the actual happenings at Altamont, and the Stones watching the footage post-mortem. This timeline seems to be indicative of the documentary genre that the Maysles are most known for: cinema verite. With cinema verite, the camera simply rolls and catches moments as that happen with no talking heads or commentary needed. Moments that stayed with me included Grace Slick of Jefferson Airplane unsuccessfully calming the audience (“Easy… easy…”) after her band mate has been knocked unconscious by a Hell’s Angel; another Hell’s Angel staring down an unaware Mick Jagger during the Stones’ set; and the stabbing, which is actually caught on film.

Last night’s audience for “Gimme Shelter” didn’t applaud at the end of the film. Their silence spoke for itself.

Live Nude Books: You’ve written several personal narratives for a number of publications; have you always had a desire to write a memoir?  What made you choose to write about this subject—the experience of purchasing a home?

Mary Elizabeth Williams: I’ve always written first person — I would go on field trips as a kid and come home and compose an essay about what I did and how I felt. 

The challenge for any writer is to get out of your own navel and figure out how your own experience will resonate on a more universal level. That’s why I chose to do a book about home — it wasn’t something unique to me, it’s something anyone who’s ever had a roof over his or her head has context for. And what happened during the housing bubble was particularly dramatic — I wanted people to know wherever they were and whatever they went through, they weren’t alone.

LNB: In the book, you develop and explore several themes: familial bonds, friendship, security, and how place contributes to a person’s identity.  When you began working on the memoir, did you have an idea for the types of themes you wanted to touch on?  Did those themes emerge naturally through the writing process?

MEW: The book went through some changes — originally a lot more took place in my childhood. But as I refined the narrative, I was more involved in the story of a family in a particular place and time in history, so that began to take more of the center stage. As I got more confident as a first time author, I realized you don’t need to know my whole life to get why buying a home was so important. I also wanted to emphasize that this notion of the “ownership society” wasn’t just something that hit me because of my specific circumstances — it was something that was very aggressively peddled to the American people in general. That’s why I brought in the stories of my friends and family and their homebuying experiences.

LNB: During the three-year process of becoming a homeowner, you were raising two kids and working.  How were you able to find time to write this book?  Do you have a writing routine?

MEW: Well, sleep is the first to go. I got in the habit very early on of firing up the laptop right after putting the kids to bed, and making myself do at least a solid hour every night. I could carve out longer blocks on the weekends. No checking email. No surfing. Just me and a word document. 

The key is to just bang away and keep banging. I cut a lot of parts and I rewrote even more, but if you’re in the routine of writing, you become very Pavlovian about it.

LNB: What are you currently working on?

MEW: I’m writing regularly for Salon.com and continuing to contribute to PRI’s morning show, and I have two messy, much too unformed book ideas. Summer has kicked my routine to bits, so the plan is to start developing the next book more fully in the fall. I’m basically going to put both ideas in the steel cage, write every night, and see which one emerges victorious.

LNB: What have you recently read that you’re recommending to friends and other readers?

MEW: Lily Burana’s, I Love a Man in Uniform, is great — it’s the story of an unlikely military wife that’s incredibly funny and moving and taught me so much about this world that’s so alien to me. And I’m just finishing Richard Kadrey’s Sandman Slim. You could call it a supernatural noir novel — imagine Sam Spade if he’d gone to hell and you start to get the idea. It’s fantastic.

Homeownership constitutes a good portion of the American Dream.  It represents a transitional stage in people’s lives, moving from the temporary lifestyle of renting to the permanence of buying.  It’s an investment—both financially and in terms of family security.  Mary Elizabeth Williams includes all of these as reasons for why she wants to own a home in her debut memoir, Gimme Shelter.  But what’s made just as clear during this three-year period is the desire for her and her family to find a place to call home that represents their personality.

Originally from New Jersey, Williams had visions of living in New York City.  Before the dot-com boom of the mid-nineties relocated her to San Francisco, she lived across the river from NYC and described its distance from her as being “light years” away.  When the dot-com bubble burst, she and her husband moved to Brooklyn to start a family.  They knew that New York was where they wanted to establish themselves and figured the money they were pumping into rent would be better served going toward a more permanent investment. However, home values in the neighborhood where they lived and wanted to stay began rising steadily.  They were being priced out of the area they had called home since 1999.

The decision to leave the area, or move completely out of the city, seems logical.  If you can’t afford to live where you want, look elsewhere.  But that’s not how Williams sees it.  When pondering the idea of returning to New Jersey, she writes, “In my mind, if I move back to exactly where I clawed my way out of, I haven’t gone anywhere in my life at all.”  She knows for sure that she must stay in the city, but where-to becomes a large obstacle.  As Williams explains, “In New York, if you live off your friends’ nearest subway line, or anywhere that involves crossing a park, body of water, or from east to west, you will never ever see them.”  People are a big part of what makes a location.

It’s easy to empathize with the frustrations she experiences—the lack of adequate homes for sale in the area, financial woes, a pregnancy, and the various hoops one has to jump through when trying to obtain a mortgage—all of which contribute to delaying her and her family from reaching their goal.  The entire process envelops her, creating emotional strain and causing her to doubt whether or not to continue house hunting. Anytime a setback or thoughts about leaving New York occur, Williams weaves in a friend’s story that applies to the situation.

These anecdotes seem to help reaffirm her desire to live in New York and provide a certain level of comfort to her.  Knowing that she’s experiencing stress and anxiety about this transition similar to what others have felt helps her maintain a level of sanity that might otherwise vanish.  She also contrasts the friends’ situations—involving divorce, expanding families, 9/11, and even hurricane Katrina—to hers.  In light of her friends’ circumstances, Williams realizes that her family’s situation is different.  They are as much a part of New York as it is of them.

You can make the best of what’s inside four walls, but what characterizes your place in the world is what greets you when you step outside.  It’s like the old guy I overheard in the deli once.  “Leave?” he’d said.  “I need my track.  I need my bookies.”  For Mike and Deb and their sons, it’s the lawn and this swing set and this hammock.  For us it’s the throb of humanity, viewed from a stoop.

Williams does a wonderful job of pinpointing the locations of neighborhoods in the city, describing them in detail, and providing enough background information on them to give the reader a sense of their cultural and economic importance to the narrative.  And more importantly, she gains the readers trust.  Her responses to adversity feel genuine, likely because the insight she offers isn’t predictable.  She candidly shares a wide range of emotion throughout the book, which made me root for her every step of the way.

Can you believe that this music was recorded half a century ago? Time’s passing by quickly. The 60s are dead, nothing more than a moment in history now.

The Rolling Stones’ iconic “Gimme Shelter”

Here’s a first hand description of what the whole decade meant, what the hippie zeitgeist was really about. From Fear and Loathing in Las Vegas…

Strange memories on this nervous night in Las Vegas. Five years later? Six? It seems like a lifetime, or at least a Main Era — the kind of peak that never comes again. San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something. Maybe not, in the long run . . . but no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time and the world. Whatever it meant. . . .

History is hard to know, because of all the hired bullshit, but even without being sure of “history” it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time — and which never explain, in retrospect, what actually happened.

My central memory of that time seems to hang on one or five or maybe forty nights — or very early mornings — when I left the Fillmore half-crazy and, instead of going home, aimed the big 650 Lightning across the Bay Bridge at a hundred miles an hour wearing L. L. Bean shorts and a Butte sheepherder’s jacket . . . booming through the Treasure Island tunnel at the lights of Oakland and Berkeley and Richmond, not quite sure which turn-off to take when I got to the other end (always stalling at the toll-gate, too twisted to find neutral while I fumbled for change) . . . but being absolutely certain that no matter which way I went I would come to a place where people were just as high and wild as I was: No doubt at all about that. . . .

There was madness in any direction, at any hour. If not across the Bay, then up the Golden Gate or down 101 to Los Altos or La Honda. . . . You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning. . . .

And that, I think, was the handle—that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn’t need that. Our energy would simply prevail. There was no point in fighting — on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave. . . .

So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark — that place where the wave finally broke and rolled back.

- Hunter S. Thompson

Can you believe that this music was recorded half a century ago? Time’s passing by quickly. The 60s are dead, nothing more than a moment in history now.

The Rolling Stones’ iconic “Gimme Shelter”

Here’s a first hand description of what the whole decade meant, what the hippie zeitgeist was really about. From Fear and Loathing in Las Vegas…

Strange memories on this nervous night in Las Vegas. Five years later? Six? It seems like a lifetime, or at least a Main Era — the kind of peak that never comes again. San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something. Maybe not, in the long run . . . but no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time and the world. Whatever it meant. . . .

History is hard to know, because of all the hired bullshit, but even without being sure of “history” it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time — and which never explain, in retrospect, what actually happened.

My central memory of that time seems to hang on one or five or maybe forty nights — or very early mornings — when I left the Fillmore half-crazy and, instead of going home, aimed the big 650 Lightning across the Bay Bridge at a hundred miles an hour wearing L. L. Bean shorts and a Butte sheepherder’s jacket . . . booming through the Treasure Island tunnel at the lights of Oakland and Berkeley and Richmond, not quite sure which turn-off to take when I got to the other end (always stalling at the toll-gate, too twisted to find neutral while I fumbled for change) . . . but being absolutely certain that no matter which way I went I would come to a place where people were just as high and wild as I was: No doubt at all about that. . . .

There was madness in any direction, at any hour. If not across the Bay, then up the Golden Gate or down 101 to Los Altos or La Honda. . . . You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning. . . .

And that, I think, was the handle—that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn’t need that. Our energy would simply prevail. There was no point in fighting — on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave. . . .

So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark — that place where the wave finally broke and rolled back.

- Hunter S. Thompson

Mary Elizabeth Williams is the author of Gimme Shelter, a memoir chronicling her journey toward becoming a homeowner.  She has contributed to the following books, as well: Not Quite What I was Planning: Six Word Memoirs by Writers Famous and Obscure; The Imperfect Mom: Candid Confessions of Mothers Living in the Real World; The Complete Idiots Guide to Movies, Flicks & Films; and The Salon.com Reader’s Guide to Contemporary Authors.

Bio from the Gimme Shelter book jacket:

Mary Elizabeth Williams is the cultural critic for Public Radio International’s morning news show, THE TAKEWAWAY, and a regular contributor to Salon.com.  She has written for many publications including THE NEW YORK TIMES, THE NEW YORK OBSERVER, and PARENTS.  She has appeared on Court TV and has lectured on journalism and community at New York University and Columbia University.  She lives in New York City.

To read a sample of Williams’s work, click here.

To see the book trailer for Gimme Shelter, click here.

Directed by the Maysles Brothers

“There is one compelling reason to check out Gimme Shelter aside from wanting to wallow in nostalgic Flower Power martyrdom. It’s probably the best full-scale look at Mick Jagger that exists in the movies.”- NY Magazine

Mescolando cinefilia, rock’n'roll e contenuti, ecco a voi il primo spot dell’NSE!!!

No RK 15 a idéia é dar uma pincelada na história de uma banda que vendeu meio bilhão de discos: ROLLING STONES.

Bloco 01:

Bloco 02:

Tudo começou lá em 1960 com o reencontro de dois amigos de infância na estação de trem de Dartford, na Inglaterra. Papo vai, papo vem, eles descobriram o interesse em comum pelo rock and roll e pelo blues, e a convite do guitarrista Brian Jones, em 62, decidiram fundar uma banda. Esses caras eram Mick Jagger e Keith Richards e a banda se chamaria Rolling Stones em homenagem a música Rollin’Stone, de Muddy Watters.

Juntaram-se a eles Bill Wyman no baixo (Bill possuía mais que um amplificador, e isso foi fundamental para sua entrada na banda!) e, em janeiro de 63 Charlie Watts na bateria. O público aprova a performance ao vivo da banda, e com a ajuda do empresário, descolam um contrato com a Decca Records, que havia recusado os Beatles tempos antes.

Foi responsabilidade dos Rolling Stones a introdução da rebeldia como parte importante da imagem das bandas de rock, meio que uma antítese dos bons moços de Liverpool. O “sloggan” promovido pelo empresário na época era, inclusive: “Você deixaria sua filha se casar com um Rolling Stone?”

Os dois primeiros discos continham apenas uma ou outra música composta pela banda. Foi mesmo a partir do “Out of Our Heads”, de 65, que as composições da dupla Jagger/Richards se tornaram peça principal do repertório dos caras. A prova disso é o maior clássico da banda, que todo mundo conhece e que é desse disco: (I Can`t Get No) Satisfaction.

A partir do “Aftermath”, de 66, a sonoridade da banda enriquece (embora eles nunca tenha sido reconhecidos pela mídia como excelentes músicos) e novas experiências são agregadas. Vide  o disco de 67, o “Their Satanic Majesties Request”, que seguia uma onda psicodélica, que tava em alta naquele momento.

É desse disco o tema do nosso quadro MUITO BOM, MUITO FODA, TOCOU DEMAIS, que vai para a música 2,000 Man, mas não na versão dos Stones, que é até considerada obscura, mas sim na versão regravada pela banda KISS em 1979, que se tornaria a primeira canção tocada ao vivo pelos quatro integrantes originais após 16 anos separados durante o MTV Unplugged.

No ano seguinte eles voltam um pouco mais as origens e lançam o maravilhoso “The Beggars’ Banquet”, que no Brasil saiu com uma capa diferente, branca, que abria com o clássico Sympathy for de Devil, que uns dizem que foi inspirado numa visita de Mick a um centro de candomblé na Bahia e outros dizem que foi uma tentativa de fazer um samba, já que alguns membros da banda haviam passado um carnaval no interior de São Paulo e ficados maravilhados com aquele rítimo, querendo fazer algo semelhante. A única verdade é que tem influência brasileira!

Em 69, Brian Jones, um dos membros mais importantes deixa a banda e é substituído por Mick Taylor (ex-John Mayall’s Bluesbreakers). Dias depois Jones é encontrado morto, afogado na piscina de sua casa em circunstâncias misteriosas, e, um show, já previamente marcado pela banda no Hyde Park em Londres acaba se tornando uma grande homenagem ao ex-parceiro de banda.

Mas mais uma tragédia na tragetória dos caras estava por vir ainda em 69, durante um show em Altamont, na Califórnia para uma platéia de 500 mil pessoas. Um jovem negro foi assassinado com uma punhalada pelas costas por um segurança do show que fazia parte de uma gangue de motoqueiros  nada racionais chamada Hell’s Angels. Reza a lenda que o jovem ia sacar um revólver e atirar no Mick… dentre mortos e feridos, o incidente acabou sendo retratado no filme Gimme Shelter, de 70. Ainda em 69 eles lançam o ótimo “Let It Bleed”.

Anos 70, talvez a melhor fase da banda, nova gravadora e novo disco: “Sticky Fingers”, com aquela capa do zipper que abria e aparecia uma cueca. Foi o primeiro disco a mostrar o famoso logotipo da língua, marca registrada dos caras.

Em 72, após problemas com o fisco e um sério programa de desintoxicação em Keith (rola aquela velha lenda que ele foi submetido a uma transfusão total de sangue em função de seu vício em heroína), a banda grava em L.A. o disco mais elogiado da carreira, o dulplo “Exile on Main Street”, que só tinha música boa. Na sequência lançaram o “Goats Head Soup”, com o clássico Angie, composta para uma namorada de Mick (e de David Bowie também!)

Após as gravações de “It`s Only Rock and Roll” em 74, Mick Taylor deixa a banda para seguir carreira solo. É chamado então para completar as guitarras Ronnie Wood, ex parceiro de Rod Stewart no The Faces. (As gravações do disco tinham rolado no estúdio do Ronnie).

Depois de lançar “Black and Blue”, em 76, o disco “Some Girls” veio com uma pegada mais forte e pesada, com influências da era punk que estava surgindo. Mas o som que ficou conhecido mesmo nesse álbum foi o hit das pistas Miss You, que destoava um pouco do resto do disco, mas que é muito bom. Lançam ainda em 80, o “Emotional Rescue”.

Anos 80, mais uma nova fase, mais uma gravadora. O trampo na EMI começa bem, com o elogiadíssimo “Tatoo You”. Essa turnê marca a banda por ser uma das pioneiras a fazer shows imensos, com grandes aparatos e de longa duração. São desse disco os clássicos Start Me Up e Waiting on a Friend, que tinha sido composta 8 anos antes.

Durante os anos 80 os integrantes dos Rolling Stones se aventuram em seus projetos solos e os rumores de que a banda estaria prestes do fim aumentam, principalmente por não saírem em turnê nos discos “Undercover” e “Dirty Work” e pelo relacionamento nada amigável de Richards e Jagger. Entretanto, em 89 sai o bom “Steel Wheels”. Foi o último disco com o Bill Wyman, que deixou a banda após a turnê.

Após 5 anos, sai “Vodoo Lounge”, e com ele uma tour que renderia milhões de dólares. Foram dessa turnê os primeiros shows da banda no Brasil. Na sequência lançaram o “Stripped”, com regravações de clássicos em formato acústico. Destaque para a regavação de Like a Rolling Stone do Bob Dylan. Em 97, com o lançamento de “Bridges do Babylon”, eles viriam ao Brasil pela segunda vez. (Bob Dylan veio junto e abriu os shows!).

Após turnês mega-rentáveis e algumas coletâneas, o último disco de inéditas lançado pelos caras foi o”A Bigger Bang”, elogiadíssimo por fazer um som cru e com a cara dos primórdios da banda. Foi com a turnê desse disco que os caras voltaram pela terceira vez ao Brasil, dessa vez para tocar para 1,5 milhão de pessoas em plena praia de Copacabana (com direito a ponte direto do Copacabana Palace para o palco).

No próximo programa uma merecida homenagem ao Rei do Pop, Michael Jackson, que nos deixou dias atrás.