Word: concertizer
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Dates: during 1960-1969
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...snare drum obsessively with a force whose pure violence is unequalled by any other drummer. His elementary patterns are cretinous because the Stones like it that way, not, as detractors would have it, because he can't play any other way, (A high-point of the New York concert was he and Jagger in a between-songs duet; Jagger would yell, "Alright !" and Charlie would respond with masterful drum riffs.) Laid over the percussion are Wyman's restrained bass lines, and this combination provides the thrust and visceral power of the Stones' music. With the drum/bass as floor...
Jagger's body is the real excitement of the Stones today, the sole vehicle for their celebration, so the burden of arousing the crowd, of embracing and proving all our dreams of the Stones-violent, sensual, perverse, etc.-rests on him: we must remake the concert with his image. And it's hard to maintain the tempo of abuse that we demand of him, even with all our fantasies riding on his every move. After all, someone in the MC5 took a shit on stage in Seattle; Morrison whipped his cock out in Florida. What else can a poor...
...concert proceeded, Jagger wearing outrageousness on his sleeve, a symbol that we could all react to. Through "Stray Cat Blues." much slower than the record, Watts occasionally losing the beat, the lyres changed from fifteen to thirteen year-old girl (outrage, like any fashion, ages quickly). They do some slow numbers, a "Prodigal Son." Richard's steel guitar funkier and less evocative than the Rev. Robert Wilkins, and "Love in Vain," a Robert Johnson song, which Jagger, sketching out the Stones' new image, and rushed to keep ahead of mere satyriasis and the universal dope-taker, dedicates to "the minority...
THEN on to another Let it Bleed cut, "Midnight Rambler," a harpsy Chicago blues thing with a long instrumental break, the real knockout of the concert. Jagger gets down on his knees and thousands of heads crane to see what lewd nasty he's doing, so he takes off his belt, swinging his arms back and smashing it to the stage at the end of each line...
...lady should have to compete with a bullhorn, even if she has the vocal equipment to drown out a dozen of them. Policemen in a Tampa, Fla. concert hall were trying hard to restrain a surging, frenzied audience reacting typically to Janis Joplin's Try a Little Harder. The cops resorted to a bullhorn, and that annoyed Janis. "Listen," she shouted, "I know there won't be any trouble if you'll just leave!" The officers refused and sounded the horn again. That did it. Janis, as a fan reported, "simply went nuts," blistering the air with...