Word: likeness
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Dates: during 1960-1969
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...frenzy in their sound. The frenzy comes from the strong assertion of the quintessential rock and roll instruments-drums and bass guitar. Watts hits the 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...
...mannered, a come-on for male and female alike, a ferocious invitation to a cosmic gang bang where penises and breasts, vaginas and asses will intermingle without valence. His hands are wonderfully expressive, what Attend may have had in mind when he wrote: "These strange games of flying hands, like insects in the green air of evening, communicate a sort of horrible obsession, an inexhaustible mental ratiocination, like a mind ceaselessly taking its bearing in the maze of its unconscious." Of course, Jagger isn't really a great dancer; Tina Turner, who did a set right before the Stones...
After "Carol" the band went into a sloppy "Sympathy for the Devil." Jagger introduced himself as the devil and the audience burst into applause in recognition of its own dreams of what Mick Jagger doing "Sympathy for the Devil" would be like, and sure enough, when I asked people later they could have sworn they heard calypso. Most disappointing about this particular song, and most of Jagger's vocal performance for that matter, was the absence, up until "Satisfaction," of any vocal improvisation. Much of the Stones' dynamic relies on Jagger's talent for splintering and then remaking the vocal...
...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...
From there they went into "Under My Thumb," sounding more like the Who's version than their own, and a new one, "Live With Mc," Richard doing a fine solo instead of the sax. Then another Chuck Berry song, "Queenie," "from when you were about thirteen years old." The Stones oeuvre might be subtitled Anthems of Young America, and they finally cut loose on the song that made rock and roll a movement, "Satisfaction," Richard ripping off huge Chuck Berry chords and adding an cery vibrato, Jagger doing an Otis-like "I can't getta no, no, no, no," that...