Rolling Stones – Voodoo Lounge

Rolling Stones – Voodoo Lounge

  • DVD, rockin roll, vintage

The world’s greatest rock and roll band continues to reach new heights–1994’s phenomenally successful “Voodoo Lounge” tour was the highest grossing of all time. This groundbreaking concert, featuring guest appearances by Bo Diddley and Robert Cray, is a must-have for every fan’s collection. Songs: Not Fade Away, Tumbling Dice, You Got Me Rocking, (I Can’t Get No) Satisfaction, Angie, Sweet Virginia, It’s All Over Now, Stop Breaking Down, Who Do You Love, Miss You, Honky Tonk Women, The Worst, Sympathy for the Devil, Start Me Up, It’s Only Rock ‘n’ Roll, Brown Sugar, Jumpin’ Jack Flash.When the Rolling Stones decided to broadcast one of their stops on 1994’s Voodoo Lounge Tour to the entire world, they probably hoped to give home viewers the authentic feeling of being at the stadium. Well, it worked. For over 90 minutes, you feel like you’re sitting right in the middle of Miami’s cavernous Joe Robbie Stadium. The sound cuts in and out, you can’t understand a word Mick says, the fans’ screams are louder than Keith, Ronnie, and Charlie’s playing, and the only real pleasure is watching close-ups of the aging band’s still-energized antics on a screen. The boys look like they’re having a blast, especially when guest guitarists Robert Cray and Bo Diddley join them for such classics as Robert Johnson’s “Stop Breaking Down,” and “Who Do You Love.” But the audio transfer here continually frustrates and baffles. It best resembles an audience bootleg tape. The Stones may have been too concerned with the show’s visual production value because the real reason to watch the thing, the music, pales in comparison. They’ve got giant snakes breathing fire, screens flashing computer animation, ramps, ledges, suggestive backup singers, and enough costume changes that “Las Vegas Lounge” would have been a more apt tour moniker. If you like the Stones potent, dangerous, and truly inspired, you’ll have to wait for better film representations, such as Gimme Shelter, Cocksucker Blues, and Rock and Roll Circus. If you’re a die-hard, the set list reads like this: “Not Fade Away,” “Tumbling Dice,” “You Got Me Rocking,” “Satisfaction,” “Angie,” “Sweet Virginia,” “It’s All Over Now,” “Stop Breaking Down,” “Who Do You Love,” “Miss You,” “Honky Tonk Women,” “The Worst,” “Sympathy for the Devil,” “Start Me Up,” “It’s Only Rock ‘n Roll,” “Brown Sugar,” and “Jumpin’ Jack Flash.” –-Dave McCoy

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Muddy Waters & The Rolling Stones Live At The Checkerboard Lounge, Chicago 1981 DVD/CD

Muddy Waters & The Rolling Stones Live At The Checkerboard Lounge, Chicago 1981 DVD/CD

  • Brand Name: Ingram Entertainment Mfg#: 801213055296
  • Shipping Weight: 0.17 lbs
  • Manufacturer:
  • Genre: MUSIC VIDEO/PERFORMANCE
  • All music products are properly licensed and guaranteed authentic.

On November 22nd, 1981, in the middle of their mammoth American tour, the Rolling Stones arrived in Chicago prior to playing 3 nights at the Rosemont Horizon. Long influenced by the Chicago blues, the band paid a visit to Muddy Waters club the Checkerboard Lounge to see the legendary bluesman perform. It didn t take long before Mick Jagger, Keith Richards, Ronnie Wood and Ian Stewart were joining in on stage and later Buddy Guy and Lefty Dizz also played their part. It was a unique occasion that was fortunately captured on camera. Now, restored from the original footage and with sound mixed and mastered by Bob Clearmountain, this amazing blues night is being made available in an official release for the first time. / Performers: Muddy Waters (vocals, guitar); Mick Jagger (vocals); Keith Richards (guitar); Ronnie Wood (guitar); Ian Stewart (piano); Buddy Guy (vocals, guitar); Lefty Dizz (vocals, guitar); Junior Wells (harmonica, vocals); George Mojo Buford (harmonica); Lovie Lee (piano); Earnest Johnson (bass); Ray Allison (drums); John Primer (guitar); Rick Kreher (guitar); Nick Charles (bass) / Track Listing:
1) Sweet Little Angel 2) Flip Flop And Fly 3) Muddy Waters Introduction 4) You Don t Have To Go 5) Country Boy 6) Baby Please Don’t Go 7) Hoochie Coochie Man 8) Long Distance Call 9) Mannish Boy 10) Got My Mojo Working 11) Next Time You See Me 12) One Eyed Woman 13) Baby Please Don’t Go (Instrumental) 14) Blow Wind Blow 15) Champagne & Reefer

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Nude Rolling Down an Escalator: Studies for Disklavier

Nude Rolling Down an Escalator: Studies for Disklavier

“Some of the rhythms developed through the present acoustical investigation could not be played by any living performer; but these highly engrossing rhythmical complexes could easily be cut on a player-piano roll. This would give a real reason for writing music specially for player-piano . . .” —Henry Cowell Like many composers of subsequent generations, Kyle Gann (born 1955) was captivated by Cowell’s theories and Nancarrow’s music. His book, The Music of Conlon Nancarrow, is the essential source for any serious study of Nancarrow’s work. Knowing so much about Nancarrow’s music, it’s hardly surprising that it would occur to Gann to consider the question of how he might make the mechanical piano his own. His answer is the music on this recording. The instrument isn’t exactly the same. Nancarrow employed the old-fashioned player piano, driven by paper rolls with holes punched in them. Gann uses the more recent Disklavier, which is controlled by a computer via MIDI data. However, like Nancarrow, Gann employs the mechanical piano for both musical and practical reasons. The musical attraction, of course, is the one Cowell observed: The instrument allows the composer to compose with tempo relationships and rhythmic velocities not readily playable by human performers. The practical appeal is that Gann felt that not enough people were playing his music. So in the do-it-yourself spirit of Nancarrow, Lou Harrison, Harry Partch and so many other American composers, he decided to take matters into his own virtual hands. But although Gann’s reasons for working with the mechanical piano are similar to Nancarrow’s, the musical results are quite different. Gann picks up where Nancarrow left off, developing his own personal methods of working with multiple tempo layers, and weaving elements of popular and classical music into his vivid and distinctive musical tapestries. Gann’s music embraces a wide range of influences but sounds like no other. His fascination with complex tempo structures and microtonal tunings places him in the experimentalist tradition from Cowell to La Monte Young. Yet the directness and accessibility of his music reveal his affinity with American populists such as Roy Harris and Virgil Thomson. In this highly personal blend of experimentalism and populism, Gann’s closest musical forebears are Partch and Charles Ives. In the spirit of Ives, Gann’s music invokes ragtime, jazz, folk music and Native American music on equal footing with classical music and purely abstract sonic speculations.

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