Posts Tagged ‘Charlie Watts’

The Rolling Stones Between The Buttons album cover 820

1967 was a highly successful year for The Rolling Stones. It started with the release of “Between The Buttons” and ended with the stylistic about-turn of “Their Satanic Majesties Request”. Released on Decca RecordsBetween The Buttons came out first in the UK, on 20th January 1967, with a revised US edition following on 11th February.

Between The Buttons’ title came about by chance, following an off-the-cuff remark made by producer Andrew Loog Oldham to drummer Charlie Watts, who was doing some sketches for the artwork. Watts asked what they were going to call the album and Oldham used a euphemism for “undecided”. “Andrew told me to do the drawings for the LP and he told me the title was ‘between the buttons’,” Watts told Melody Maker “I thought he meant the title was Between The Buttons, so it stayed with it.”

Some of the album was recorded in August 1966 with Dave Hassinger at RCA Studios in Hollywood – the last session to be recorded in what had been the band’s “hit factory” – before being completed in London at the newly-opened Olympic Sound Studios in November that year. Some of the tracks were started in America and finished in England’s capitol. The Stones were fresher by the time they were recording back home, having taken a break from touring. “Between The Buttons” was the first time we took a breath and distanced ourselves a little from the madness of touring and all,” recalled guitarist Keith Richards. “So in a way, to us it felt like a bit of a new beginning… plus, everyone was stoned out of their brains.”

“Between the Buttons” was The Rolling Stones’ first album since April 1966’s Aftermath and it became their fifth UK studio album. It remains one of the Stones’ less well-known records, however, which is a pity as it contains some strong songs.

Besides the five band members – Mick Jagger, who took lead vocals on all tracks and also played the tambourine and harmonica, was joined by RichardsBrian Jones, Bill Wyman and Watts – there were several guest musicians. Ian Stewart plays piano and organ, and Nicky Hopkins plays piano, as does Jack Nitzsche. The track ‘Connection’ was performed live at the London Palladium the week after the album came out and was featured in the Martin Scorsese documentary Shine A Light, in 2008.

By late 1966, recording technology was allowing for greater experimentation, and though every track on Between The Buttons is credited to Jagger and Richards, there are certainly very different styles of music and song writing to be heard on the album. ‘Yesterday’s Papers’ has the distinction of being the first song to be written solely by Jagger and features Nitzsche on harpsichord. On ‘Something Happened to Me Yesterday’, the multi-talented Jones plays saxophone, trombone and clarinet.

Two tracks were exclusive to the UK album version. The first was the gentle waltz ‘Back Street Girl’, written by Richards and Jagger. In an interview with Jagger in Rolling Stone magazine, in 1968, the singer said it was his favourite song on the album. Jones showed some of his jazz leanings on this track: the musician, who was such an admirer of the jazz saxophonist Julian “Cannonball” Adderley that he named his son after him, demonstrated that he had imbued some of the influences of Milt Jackson in his vibraphone playing. The accordion playing was by Nick De Caro.

The second UK-only song on the album was ‘Please Go Home’, which was based on a Bo Diddley-style beat. It was later released in America on the compilation album Flowers.

“Trouble In Mind (Brian Jones)” A fun outtake from the “Between the Buttons” sessions (November 8th – 26th 1966: London, Olympic Sound Studios.). Great piano work from Ian Stewart and a multi-instrument player Brian Jones playing the kazoo’s.

The US version of “Between The Buttons” was the band’s seventh studio release stateside, and it stamped its own individuality with the choice of a new opening song. The album started with ‘Let’s Spend the Night Together’, a song co-written by Jagger and Richards, and which became a favourite of David Bowie’s. It had been released as a double-A-side single in the UK in January 1967, paired with ‘Ruby Tuesday’, which was also added to the US track list.

The UK and US versions of “Between The Buttons” shared the songs ‘Yesterday’s Papers’, ‘Connection’, ‘She Smiled Sweetly’, ‘Cool, Calm And Collected’, ‘My Obsession’, ‘All Sold Out’, ‘Who’s Been Sleeping Here’, ‘Complicated’, ‘Miss Amanda Jones’ and ‘Something Happened To Me Yesterday’.

Billboard reviewed the US album favourably in February 1967. “Every LP by the Stones has been a hot chart item, and this latest collection will be no exception,” they wrote. “Their hard-driving beat is evident throughout, and their singles hits ‘Ruby Tuesday’ and ‘Let’s Spend the Night Together’ are included adding immediate sales appeal. ‘Miss Amanda Jones’ and ‘Cool, Calm And Collected’ are outstanding in this winning package.” Between The Buttons reached No.2 in the album charts in the US, one place higher than in the UK.

The album artwork features cartoons and drawings by Charlie Watts, and the cover features a photograph taken by Gered Mankowitz in mid-November 1966, following an all-night recording session at Olympic Sound Studios. The band went to Primrose Hill park, in north London, just after dawn, arriving in a Rolls Royce. Mankowitz said the photograph, which he made deliberately bleary by spreading Vaseline on his lens, captured “the ethereal, druggy feel of the time”, adding, “There was this well-known London character called Maxie – a sort of prototype hippie – just standing on his own playing the flute. Mick walked up to him and offered him a joint and his only response was, ‘Ah, breakfast!’”

Buy Online The Rolling Stones - NME Poll Winners 1965 EP

In 1965 The Rolling Stones picked up NME awards for Best New Group, Best British R’n’B Group and Best New Disc Or TV Singer. They celebrated with a gig at the Wembley Empire Pool where their live prowess could clearly be heard, despite the screams of 10,000 highly-energized fans. “Everybody Needs Somebody To Love” was performed at a slower pace than usual and formed a medley with “Pain In My Heart. Around and Around” featured a pair of densely interwoven guitars whilst “The Last Time” benefited from distinctive Keith Richards  on backing vocals.

Tracklisting:
SIDE ONE
1 Everybody Needs Somebody To Love
2 Pain In My Heart
SIDE TWO
1 Around And Around
2 The Last Time

 

The Rolling Stones have unveiled plans to drop a previously unreleased concert film, “Steel Wheels Live”. The film documents the band’s 1989 show in Atlantic City, New Jersey.

Having not hit the road for most of the 80s, The Steel Wheels Tour was an astounding return for the Rolling Stones, not least as it was the longest tour they had by that point undertaken. It was also to be their last with Bill Wyman. “Steel Wheels Live” was recorded towards the end of the band’s 60-date run through the stadiums of North America, in the second half of 1989.

The Steel Wheels Tour (later rebranded the Urban Jungle Tour) kicked off in August 1989 was in support of the band’s 19th studio album (in the UK) which was released the same month. It lasted a whole year and the North American leg finished at the Convention Centre in Atlantic City, New Jersey in December 1989.

The gate-busting ticket sales were one thing, but the stage and lighting design of The Steel Wheels Tour set the pace for superstar tours as we know them today. Special guest appearances from Axl Rose, Izzy Stradlin, Eric Clapton and John Lee Hooker on this Atlantic City date make this an even more extraordinary document of the band’s return to touring. Guns N’ Roses’ Axl Rose and Izzy Stradlin, who joined the stalwart rockers on stage for a performance of ‘Salt Of the Earth’. Eric Clapton popped up for a performance of ‘Little Red Roster’, who was then joined by blues icon John Lee Hooker on ‘Boogie Chillen’.

This evening bore witness to The Rolling Stones infamous backstage run-in with president Donald Trump. So it goes, The Stones’ tour producer Michael Cohl found a way to earn the band more money by staging the concert as a pay-per-view event, like UFC but with riffs.

In order to pull the feat off, Cohl needed to find a promoter who was willing to front the cost for the band to play. That promoter ended up being no other than Donald Trump.

The band were initially reluctant to be involved with Trump in any capacity. To help sweeten the deal, Cohl wrote up a contract that barred Trump from promoting the concert in one of his press conferences, and attending the concert.

The Stones had such power in those days that the 6:40 p.m. slot on the national evening news was going to be an interview with the Stones to talk about and promote the pay-per-view,” Cohl explained in an interview . “At about 5:50 p.m. I get word that I have to come to the press room in the next building. I run to the press room in the next building and what do you think is happening? There’s Donald Trump giving a press conference, in our room!. “I give him the [come here gesture]. ‘Come on, Donald, what are you doing? A) You promised us you wouldn’t even be here and, B) you promised you would never do this.’ He says, ‘But they begged me to go up, Michael! They begged me to go up!’ I say, ‘Stop it. Stop it. This could be crazy. Do what you said you would. Don’t make a liar of yourself.’”

Unfortunately for Trump, Cohl had left his walkie-talkie in the dressing room, and The Rolling Stones overheard the altercation between the two. Keith Richards, in his infinite, unhinged glory, simply had enough, and subsequently pulled a knife on Trump.

“They call me back [into the dressing room],” Cohl explained. “At which point Keith pulls out his knife and slams it on the table and says, ‘What the hell do I have you for? Do I have to go over there and fire him myself? One of us is leaving the building – either him, or us.’ I said, ‘No. I’ll go do it. Don’t you worry.’”

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Last week, the Rolling Stones announced plans for a super-deluxe edition of their 1973 LP Goats Head Soup. It features a remastered version of the original album along with alternate mixes, rarities, instrumental tracks, a complete 1973 show taped in Brussels, and three previously unreleased songs from the era.

The original Goats Head Soup tour was confined entirely to Europe and lasted just seven weeks. Four songs from the album (“Coming Down Again,” “Hide Your Love,” ‘Winter,” and “Can You Hear the Music”) were never played at any point, while “100 Years Ago” and “Silver Train” were dropped after just one week into the run. By the time the tour wrapped, the only Goats Head Soup songs still in rotation were “Angie,” “Star Star,” ‘Dancing With Mr. D,” and “Doo Doo Doo Doo Doo (Heartbreaker).”

As the years went on, only “Angie,” “Star Star,” and “Doo Doo Doo Doo Doo” stayed in their live repertoire. It wasn’t until 2014 that they decided to resurrect some of the lesser-known tunes. Here’s video of “Silver Train” from a November 18th, 2014, show at the Brisbane Entertainment Centre in Brisbane, Australia. They’re joined by Mick Taylor, who plays on the original. As you can hear, the song is about a man’s encounter with a prostitute. “And I did not know her name,” Jagger sings. “But I sure love the way/That she laughed and took my money.” They haven’t done the song since that night, but in 2017 they brought back “Dancing With Mr. D” and played it at five shows. We’re still waiting to hear “Coming Down Again,” “Hide Your Love,” ‘Winter,” and “Can You Hear the Music.

Another prized jewel gets a special release in the Rolling Stones‘ unmatched catalogue, restored to its full glory and more, multi-format release of their 1973 classic Goats Head Soup”. The album will be available in multiple configurations, including four-disc cd and vinyl box set editions, with a treasure trove of unreleased studio and live material. The reissue follows the huge success and acclaim for the Stones latest track “Living In a Ghost Town” single and their universally-admired recent lockdown performance of “You Can’t Always Get What You Want” in a global citizen’s april special One World: Together at Home.

The box set and deluxe cd and vinyl editions of “Goats Head Soup” will all feature ten bonus tracks, which include alternate versions, outtakes and no fewer than three previously unheard tracks. the first of these to be unveiled, “Criss Cross”, Stones devotees worldwide will be thrilled by the inclusion, on the box set and deluxe editions, of the previously unheard “Scarlet”, featuring guitar by Jimmy Page, and a third newly unveiled song, “All The Rage”. The layered guitar textures of “scarlet” make for a track that’s as infectious and raunchy as anything the band cut in this hallowed era. as well as jimmy Page guesting alongside Mick & Keith on the track it also features on bass Rick Grech of Blind Faith fame.

“all the rage” has a wild, post – “brown sugar” strut and the percussive “criss cross” rocks and swaggers as only the stones can. the bonus disc of unreleased material also sheds new light on tracks such as “100 years ago” and “hide your love”, with further unissued mixes by stones insider and acclaimed producer glyn johns.

Box set editions of Goats Head Soup will also include the infamous Brussels Affair, the 15-track live album recorded in a memorable show in Belgium, on the autumn 1973 tour that followed the album’s late august release. this much-sought-after disc, mixed by Bob Clearmountain, was previously available only in the Rolling Stones’ “Official Bootleg” series of live recordings in 2012.

The Brussels show features the already-classic “Tumbling Dice”, “Midnight Rambler”, “Jumping Jack Flash” and many others, and includes a sequence of tracks from the then-new album. “Star Star” is followed by “Dancing With Mr. D”, “Doo doo doo doo doo (Heartbreaker)” and “Angie”. Additionally, the cd and vinyl box sets offer the original ten-track album in 5.1 surround sound, dolby atmos and hi-res mixes, along with the videos for “Dancing with Mr. D”, “Silver Train” and “Angie”. an exclusive 100-page book will feature a remarkable array of photographs, essays by writers Ian Mccann, Nick Kent and Daryl Easlea and faithful reproductions of three tour posters from 1973.

As Mccann writes: “Goats Head Soup” was released with plenty of fanfare. despite what you may read today, the kids weren’t entirely absorbed by glam rock, metal, prog and philly soul back in 1973, and they bought the album in their thousands, sending it to no. 1 in the USA and in the Uk, their fifth consecutive british chart-topper.”

It was The Rolling Stones 11th studio album, recorded in Jamaica, Los Angeles and London as their last collaboration with producer Jimmy Miller, Goats Head Soup came in the wake of the Stones’ landmark 1972 double album Exile On Main St. the new set was introduced by the single that became one of their most exalted ballads, the endlessly elegant single “Angie”, completed by Mick Jagger and Keith Richards during a song-writing sojourn in Switzerland. The timeless love song, showcasing Jagger’s yearning lead vocal and Nicky Hopkins‘ beautiful piano motif, topped the charts in the us, where it was certified platinum, and went to no. 1 across europe, australia and beyond. “we decided to do something different, and it worked,” said Richards of “Angie”. “maybe a lot of people bought it that would never buy a Stones album.” interestingly in a recent interview with the New York Times, Bob Dylan chose “Angie” as one of three Rolling Stones songs he wished he had written.

Goats Head Soup, with its famous photographer David Bailey shot sleeve, featured the Rolling Stones’ vintage 1969-1974 line-up of Jagger, Richards, Mick Taylor, Bill Wyman and Charlie Watts, with the addition of some essential collaborators. on an album on which their trademark rocking sound was often augmented by more low-key, reflective material, there were no fewer than four featured keyboard players: Hopkins, Billy Preston, Ian ‘Stu’ Stewart and Jagger himself.

“Angie” was the only single to be released from the lp in the uk, where it spent two weeks at no. 5 in September. in the us, the exhilaratingly funky, horn-filled “Doo doo doo doo doo (Heartbreaker)”, featuring Mick Taylor’s wah-wah lead guitar, followed it into the top 20 in february 1974.

Many other highlights of the album included the majestically brooding opener “Dancing with Mr. D”, the lithely strutting “100 Years Ago” and “Star Star” and the graceful “Winter”. Richards’ rueful lead vocal on “Coming Down Again” featured another Stones stalwart, saxophonist Bobby Keys. “Silver Train”, the b-side of “Angie”, would be revived after a gap of some 40 years, during the Rolling Stones’ 14 On Fire tour of 2014, when Mick Taylor reprised his original guitar part in shows in Tokyo and Brisbane.

When the album was first released, reviewers lined up to sing its praises. “this is music which could only come from good musicians who know each other really well,” ruled the late and esteemed writer-broadcaster Charlie Gillett in let it rock. “the Stones succeed because they rarely forget their purpose — the creation of rock & roll drama,” said Bud Scoppa in Rolling Stone magazine. “it’s deepening and unfolding over the coming months will no doubt rate as one of the year’s richest musical experiences.”

The 4 Lp Set Deluxe clothbound expected release: 4th September 2020

Live At The Oakland Coliseum 1969 (2020 reissue)

This LP contains soundboard recordings of the Rolling Stones’ live performance at the Oakland Colisuem in Oakland, California at the start of their ground breaking November 1969 trek across North America.

Subsequently broadcast on Radio KSAN at the behest of Bill Graham, these nine tracks demonstrate why on this tour the Stones were introduced as “the greatest rock’n’roll band in the world.” Four of these songs – Prodigal Son, You Gotta Move, Gimme Shelter and Satisfaction – were not included on the Get Yer Ya-Ya’s Out! LP, recorded later on the tour in New York and Baltimore.

These LP is made by the person who operated the label which later calls the TMOQ. Ken and Dub are two people who have felt quite recognized among maniacs in the 2010s. It was that they released Bob Dylan’s “GREAT WHITE WONDER” famous for their first bootleg in the history of rock. This sound source boasts a different quality as the audience of 1969. Dub succeeded in capturing the performance on by using the shotgun microphone instead of the surrounding sound.

It is well known that it became the opportunity to release anecdotes about the album and official release ‘Get Yer Ya – Ya’s Out’. What is surprising than anything is that the value of the item and the sound source did not fade at all even after the appearance of the official. On the contrary, the sound source that Dub recorded, even in recent years, has been released in various forms. It is a testimony of how excellent it was that recording. This recording is referred to as Dub recording below.

What makes these parts mix SBD and succeeded in raising the balance of Mick’s vocal which was a distant subject in various audience recordings because of quiet performance. That surprisingly natural finish is another masterpiece. He showed outstanding sense, such as diverting SBD even in “Live With Me”. A masterpiece of audience recording comes out this week from the 1969 American tour, which pairs well with the soundboard masterpiece “GET YER YA – YA’S OUT! COMPLETE EDITION”!

 

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The Rolling Stones have released a new song. It’s titled “Living in a Ghost Town” and it marks the first single from the band since the release of the covers record Blue & Lonesome way back in 2016. In a press release, Mick Jagger said the band began working on the single before the coronavirus spread rapidly across the globe. “We thought would resonate through the times that we’re living in right now,” he said. Have a listen to this classic Stones track “Living in a Ghost Town,” which was completed in isolation.

The mid-tempo number written by Mick Jagger and Keith Richards finds the veteran rock band grappling with an isolation that hits all too close to home amid the ongoing global coronavirus pandemic. “I’m a ghost, livin’ in a ghost town/ You can look for me, but I can’t be found/ You can search for me, I had to go underground/ Life was so beautiful, then we all got locked down/ Feel like a ghost, livin’ in a ghost town,” Jagger sneers over a steady drumbeat and electric guitar line and the haunting harmonica sound.

“So the Stones were in the studio recording some new material before the lockdown and there was one song we thought would resonate through the times that we’re living in right now,” the frontman said in a statement about the song’s prescient timing. “We’ve worked on it in isolation. And here it is — it’s called ‘Living in Ghost Town.’” the surprise track marks The Rolling Stones’ first proper studio single since their 2016 cover album, which featured takes on blues classics such as Buddy Johnson and His Orchestra’s 1953 hit “Just Your Fool,” Little Walter’s “Hate to See You Go,” Bukka White’s “Shake ‘Em On Down” and more.

Prior to the coronavirus outbreak, the Stones were scheduled to tour North America this summer. They recently gave a remote performance of “You Can’t Always Get What You Want” during the One World: Together at Home broadcast.

The official video for Living In A Ghost Town by The Rolling Stones

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This earliest known footage of The Rolling Stones as they perform their landmark hit, ‘(I Can’t Get no) Satisfaction’ for a riotous crowd back in 1965. Mick Jagger, Keith Richards, Brian Jones, Charlie Watts and Bill Wyman give an electric performance of their iconic song. What’s more, unlike other footage from this time, you can actually hear them too.

Far too often on the vintage video of our favourite acts from the sixties scene, it can be awfully hard to actually hear the band, such is the ferocity of screams emanating from the girls in the audience. The high-pitched wail of teenage fandom is a permanent fixture on much of The Rolling Stones’ early footage.

In the clip below, provided by Reelin’ In The Years, we are treated to a real vintage performance. In ’65, audiences were expected to sit quietly when artists performed on stage and in the clip you can see a few people bouncing up and down in excitement. Somehow though, unlike most of their audiences at this time, the crowd stick to the rules. Only a few years later and all gigs were encouraged to have standing tickets when presenting rock and roll acts. While it may make for odd viewing in 2020, it does allow us a more accurate feeling of the Stones’ performing power. Lest we forget, unlike The Beatles who largely gave up touring because of fears for their safety, the Stones have always taken a fiery live set on the road. In 1965, they were honing their talent.

Yet they still possess all the power and commanding energy that would see them sit at the top of the pile of live acts for decades. Jagger is a potent force on stage, with a gigantic retro mic, the singer prowls the stage connecting with his audience and garnering screams and faux-fainting whichever corner he visited.

This clip is from one of the earliest known filmed live concert performances of the Stones. This is unique from the standpoint that there aren’t the typical throngs of screaming girls in the audience and so you can actually hear what they’re playing. The best bit about the video is the clear image of the future that lay before them. On reflection, the song is so far ahead of its time. It may hark back to the Delta blues that permeated all the Stones’ record collections, but the track is pure seventies glamour, wrapped up in a revolutionary guise. It’s bolshy and unabashed. It’s everything the Stones were about to become.

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The Rolling Stones’ groundbreaking multi-platinum selling album “Let It Bleed” was released in late 1969, charting at No#1 in the UK and No#3 in the US. The Rolling Stones, at this point already a critically and commercially dominant force, composed and recorded their eighth long player (tenth for the U.S.) amidst both geopolitical and personal turmoil. The second of four Rolling Stones albums made with producer Jimmy Miller (Traffic, Blind Faith), “Let It Bleed” perfectly captures the ominous spirit of the times with “Gimme Shelter,” the opening track. The 2019 remaster has been engineered by eleven-time Grammy®-winning mastering engineer Bob Ludwig.

Let It Bleed (50th Anniversary Limited Deluxe Edition) includes the remastered album in Stereo and Mono on both vinyl and Hybrid SACD, and a reproduction of the 1969 7” mono single of “Honky Tonk Women”/ ”You Can’t Always Get What You Want,” in a picture sleeve. The box set also comes with three 12” x 12” hand-numbered replica-signed lithographs printed on embossed archival paper, a full-color 23” x 23” poster with restored art from the original 1969 Decca Records package, and an 80 page hardcover book with never-before-seen photos by the band’s tour photographer Ethan Russell and an essay by journalist David Fricke.

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“Bridges To Buenos Aires” is the latest concert film release from The Rolling Stones’ archive. The full-length show from their five night sell-out residency at the River Plate Stadium in Argentina’s capital city has been restored in full, and features a very special guest appearance from Bob Dylan.

Filmed on April 5th 1998, by this point, the band had played to over two million people on the first two legs of the tour in North America and Japan. Amongst many highlights in this show, special guest Bob Dylan joins the band onstage at River Plate for a unique performance of his classic ‘Like A Rolling Stone’. The band only played a further two dates in South America on the triumphant, year long Bridges To Babylon tour, before they headed back to North America, and Europe.

Filmed on April 5th 1998, by this point, the band had played to over two million people on the first two legs of the tour in North America and Japan. Amongst many highlights in this show, special guest Bob Dylan joins the band onstage at River Plate for a unique performance of his classic ‘Like A Rolling Stone’. The band only played a further two dates in South America on the triumphant, year long Bridges To Babylon tour, before they headed back to North America, and Europe.

A new trailer for Bridges to Buenos Aires features a few snippets of Dylan’s appearance, while it also teases renditions of “Jumpin’ Jack Flash,” “Flip the Switch” and “You Can’t Always Get What You Want.”

Bridges to Buenos Aires is to be released as a two CD set with either a DVD or Blu-ray. It will also be issued on digital video, digital audio and a limited edition translucent blue, 180 gram triple vinyl LP. The concert film was restored from the original master tapes, while the audio was remixed and remastered from the live multitrack recordings.

The band only played a further two dates in South America on the triumphant, year long Bridges To Babylon tour, before they headed back to North America, and Europe.

Watch: The Rolling Stones Perform “Mercy, Mercy” for First Time in 50 Years

The Rolling Stones kicked off their rescheduled North American No Filter tour dates last Wednesday evening at FedEx Field in Landover, MD, outside Washington, DC, and the legendary UK rockers reached back in their extensive catalog to unearth a cover they hadn’t played live in just under 50 years.

In a set that featured classics and staples like opener “Jumpin’ Jack Flash,” “Tumbling Dice,” “You Can’t Always Get What You Want,” “Sympathy for the Devil,” “Paint It Black,” “Start Me Up” and “Brown Sugar,” the Stones threw it back to their early days by offering their rendition of “Mercy, Mercy,” a tune originally by Don Covay that was included on the Stones’ 1965 album Out of Our Heads. Last night was the first appearance of the song in a Stones set since they played it at London’s Hyde Park on July 5th, 1969. Before playing the cover, frontman Mick Jagger dedicated the performance to former Stones guitarist Brian Jones, who passed away 50 years ago to the day on July 3rd, 1969.

Below, watch fan-shot video of last night’s “Mercy, Mercy”

The song “Mercy Mercy” (1st time live since 1969) & Rocks Off (Fan Voting Choice) & You Cant Always Get What You Want, Rolling Stones, FedEx Field, Washington DC 7/3/19; No Filter North American Tour, Night 4 of the tour