Posts Tagged ‘Madison Square Gardens’

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Bruce Springsteen was laying relatively low in 1979 following the protracted sessions and career-defining tour that marked the preceding year’s “Darkness on the Edge of Town”. These benefit performances from Madison Square Garden feature an electric set of old favourites (“Born to Run”), covers (“Quarter to Three”) and new songs (“The River”) from Springsteen and the E Street Band’s peak live period. A Blu-ray provides the sights to the great sound on the two CDs.

The Legendary 1979 “No Nukes Concert” from Bruce Springsteen and the E Street Band were recorded at the September 1979 MUSE (Musicians United for Safe Energy) benefit concerts at Madison Square Garden in New York City. The performances have been newly remixed and remastered for pristine sound and HD resolution. During the early days of the E Street Band, Springsteen resisted nearly every opportunity to capture the magic of their live show on film. “I had some voodoo thing about that,” he says. “Film and television were relatively cool mediums, and we were a hot band. I said, ‘If you want to feel that heat, you need to be at that show.’”

He made a rare exception to that rule in September 1979, when he agreed to perform at two “No Nukes” benefit concerts at Madison Square Garden alongside Jackson Browne, Tom Petty & The Heartbreakers, Crosby, Stills & Nash, Bonnie Raitt, The Doobie Brothers, and Carly Simon. “They were filming it,” Springsteen says. “They said, ‘You’ll have a choice of whether you’re in the movie or not.’ That meant I didn’t have to think about the cameras since I knew I could throw it away if I wanted to.” He ultimately let the event organizers use his performances of “The River,” “Thunder Road,” and “Quarter to Three” as the climax of the 1980 concert movie “No Nukes”, but the vast majority of the three hours of E Street music that was filmed over two nights ended up stuffed into a vault and not seen by the public for the next four decades. Springsteen’s new movie, That will change on November 16th, when The Legendary 1979 No Nukes Concerts, is released for purchase on all digital film outlets.

Featuring the best moments from both of Springsteen’s No Nukes performances, including explosive renditions of “Born to Run,” “Rosalita (Come Out Tonight),” “Badlands,” “Prove It All Night,” and “The Detroit Medley.” Without question, it is the best representation of a Seventies Springsteen concert ever captured on film.

“The energy of the band that comes across in this film is just incredible,” says Zimny. “You can read about it or hear sonic recordings, but when you see this footage it’s as exciting as seeing the Clash in this same time. This is a band that was exploding onscreen.”

At the time of the shows, Springsteen had been off the road for nine months and was hard at work on “The River”, whose release was still a year away. He’d attached to his name to virtually no political causes at this point, but Jackson Browne, Graham Nash, Bonnie Raitt, John Hall, and activist Harvey Wasserman came together as MUSE (Musicians United for Safe Energy) in the wake of the Three Mile Island nuclear accident, and they asked Springsteen to help guarantee that Madison Square Garden would be packed for the final two shows of the five-night stand.

“That was a critical moment,” says Springsteen. “My friend Jackson Browne was very involved. He’s an activist and I was sort of a hired gun. But I was curious to see where else I could take my music, and where it would be helpful. We had enough success where I felt like I should be doing something with it, and that was where I was at that moment.”

Springsteen says he paid almost no attention to the camera operators assembled all around Madison Square Garden at both shows, but they were an ace crew led by cinematographer Haskell Wexler, best known for his work on In The Heat of the Night, The Thomas Crown Affair, and American Graffiti. “These guys were filmmakers and cinematographers at the top of their game, and they were in sync with the band,” says Zimny. “The cameramen are at the foot of the stage, and they’re literally side-by-side with audience members. This is not a language of MTV and this is not a language of multi-cam cranes and swooping angles and quick cuts. It’s pure documentary.”

Sony Music Entertainment present a new film and concert album by Bruce Springsteen & The E Street Band at the end of 2021: “The Legendary 1979 No Nukes Concerts” is a compilation of two performances recorded during the Musicians United for Safe Energy concerts, a series of benefit concerts popularly known as “No Nukes” concerts at New York’s Madison Square Garden in 1979. The MUSE gigs were founded by a group of musicians as a protest against nuclear power. In addition to Springsteen, stars such as Tom Petty, Crosby, Stills & Nash and James Taylor also performed.

The new film gives fans an interesting look at the early career of the band, who were inducted into the Rock and Roll Hall of Fame in 2014. With little footage of Bruce Springsteen & The E Street Band from this period, “The Legendary 1979 No Nukes Concerts” offers a rare opportunity to see the band perform explosively just seven years after their formation. “The Legendary 1979 No Nukes Concerts” is available as either a double LP or a double CD including a DVD, or a double CD with a Blu-ray disc.

On the first night, Springsteen debuted his new song “The River,” which wouldn’t see release until the following fall. It was inspired by the struggles of his sister Virginia, who’d had a baby at 17 with her husband, Mickey Shave.

“That song was a real turn in my songwriting,” says Springsteen. “I felt like I had broken through to a narrative type of song writing that I previously hadn’t quite [figured out],” he says. “That turned into Nebraska and The Ghost of Tom Joad, Devils and Dust, and so many other things. That one song birthed so many other incarnations and so much other music. It was a really critical song in my development and I knew it when I wrote it.”

Virginia Springsteen was in the audience of Madison Square Garden when he first played it, having no idea he’d written her story into a song. “She inspired it with my brother in-law, so it was nice to play it for them out of the box,” Springsteen says. “She came backstage and all she said was, ‘That was my life.’”

In 2012, Virginia Springsteen told biographer Peter Ames Carlin that she was initially uncomfortable with “The River.” “It was wonderful that he wrote that and all, but every bit of it was true,” she said. “And here I am [in the audience], completely exposed. I didn’t like it at first — though now it’s my favourite song.”

Near the end of both sets, Springsteen welcomed Jackson Browne and backup singer Rosemary Butler onto the stage for “Stay.” Tom Petty joined them on the second night, marking one of the few occasions in his entire career that he performed with Springsteen. “Rosemary Butler is phenomenal there,” says Springsteen manager Jon Landau.  “She doesn’t get enough screen time, because I don’t think the [camera] coverage was there, but musically, she’s in there, really helping to make that great version of that song.”

“Stay” goes directly into “The Detroit Medley,” a mashup of “Devil With the Blue Dress,” “Good Golly Miss Molly,” “C.C. Rider,” and “Jenny Jenny” that had been a staple of Springsteen shows since the “Born to Run” tour in 1975. It’s featured on the No Nukes soundtrack, but the complete footage has never been seen until now.

“At one hour and seven minutes, which is the start of ‘The Detroit Medley,’ this thing goes to an energy level that has rarely been seen,” says Landau.”Bruce transports himself to a space where the endorphins have been completely released. He’s floating on pure energy. He’s absolutely floating. It’s spectacular.”

The film ends with a nine-minute version of the 1961 Gary U.S. Bonds classic “Quarter to Three,” complete with false stops and Bruce collapsing on the stage James Brown-style and getting revived by Clarence Clemons and a towel-waving Steve Van Zandt. What’s not seen is an infamous moment during the performance where Springsteen noticed photographer Lynn Goldsmith, who happened to be his ex-girlfriend, snapping photos from the floor. He pulled her onto the stage. “Ladies and gentlemen!” he roared to the crowd. “This is my ex-girlfriend!” He then escorted her to the side of the stage and demanded she be removed from the house.

This moment was edited out of “Quarter to Three” in the original No Nukes movie, and it doesn’t appear here. “I had no interest in exploring that,” says Zimny. “It’s not a musical moment. Even if you wanted it, it’s not really even documented since it was such a chaotic moment and the cameramen didn’t know what was happening.” (Springsteen and Goldsmith made peace decades ago, and she told Carlin they laughed about the incident when they bumped into each other at the Sunset Marquis in 1980.)

The Lynn Goldsmith incident and all the other No Nukes footage were tucked away in a film vault and half-forgotten until Zimny started going through those archives while assembling the 2020 movie Bruce Springsteen’s Letter To You. “Bruce noticed this wonderful shot we used to show Danny [Federici] and Clarence,” says Zimny. “In that was a composition and a beauty and a clarity of the E Street Band in that era that we had never really seen before. It was something that immediately struck us as the next project to explore, and also Bruce was real into the idea of remixing the soundtrack of that concert and finding a way to piece together everything we had from those shows.”

The multi-track recordings of the show were given to Bob Clearmountain, a recording engineer, mixer, and producer who has been working with Springsteen since the Born in the USA days. “Bob Clearmountain is a giant,” says Landau. “We’ve worked with a variety of terrific mixers, but we always come back to Bob. He’s so creative and always takes the work to some unexpected sonic level. It’s a fact that, when it comes to mixing, Bob is a genius, pure and simple.

pringsteen didn’t see the film until it was practically finished, and it hit him on a deep emotional level. “It’s very intense to see the young Clarence and Danny,” he says. “But Clarence particularly, since he was in front and so athletic and so youthful, and he just looked so damn great. It’s a wonderful moment in Clarence’s performing experience, and mine with him.”

It also made him realize once again that he erred in not allowing the band to be filmed on many other occasions back then. “I wish we had filmed all the time,” he says. “It was a mistake. It was just a young, youthful, insecure, mistake at the time. I wish we’d filmed at least every tour we’d done once. That would have been really nice. There was a pretty decent bootleg from [Houston] 1978 that ended up on our [Darkness] box set. We have 1975 from the Odeon [in London]. We have a little taste of 1973 from the Ahmanson Theatre [in Los Angeles]. What’s funny thing is the one thing I don’t know we do have is anything from Born in the USA. There was a lot of video shot, but no film.”

“I’m just glad [No Nukes] is there,” he continues. “Looking back, I had my reasons. They worked for me well psychologically at that time and kept me stable. I just didn’t have the flexibility as a young man to sort of delve into that side of my work life. Looking back, of course I wish I had.”

Looking ahead, Springsteen hopes he can return to the road next year to finally support 2020’s “Letter To You” with a tour. “I’m hoping,” he says. “Like a lot of people. Everyone’s hoping. We’re just trying to figure out how to do that, like everyone else. If we can, if it’s possible, we will be [touring]. If it’s just not safe or not practical, we’ll be waiting it out like everyone else. We’re waiting and doing our best to see.”

Jon Landau feels the same way. “The only thing I can say about this is that we approach things very cautiously,” he says. “The safety of everyone, the audience, the artist, the band, the crew, and the people who work at the various facilities…We need to feel that everyone is as safe as possible in order to move ahead with what we hope will eventually be a great tour.”

The vinyl version features 13 songs performed over two nights, remixed and remastered for the release. Packaged in a gatefold cover, the double LP is complemented by a 24-page book with rare photos and memorabilia, an essay and a poster (33″ x 19″).The double-CD and DVD/Blu-ray sets include the 13 songs plus a concert film re-edited from the original 16mm film, restored and mixed in HD by Thom Zimny, a longtime Springsteen collaborator.

In addition, a 24-page book of rare photos and memorabilia, an essay, a vintage ticket cover, a ticket reproduction and a sticker also await.

Tracklist: CD1 Prove It All Night, Badlands, The Promised Land, The River, Sherry Darling, Thunder Road. Jungleland

Tracklist: CD 2 Rosalita (Come Out Tonight). Born To Run , Stay. Detroit Medley. Quarter To Three, Rave On

DVD / Blu-ray tracklisting Prove It All Night. Badlands. The Promised Land, The River, Sherry Darling, Thunder Road, Jungleland, Rosalita (Come Out Tonight)Born To Run, Stay, Detroit Medley, Quarter To Three, Rave On.

Available on November 19th as a 2LP, 2CD/DVD or 2CD/Blu-ray set and available globally in HD for digital download on November 16 and digital rental on November 23

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Three years ago, hundreds of friends and thousands of fans converged on Madison Square Garden for LCD Soundsystem’s farewell performance. All the while, the cameras were rolling, resulting in Shut Up And Play the Hits, a documentary that follows James Murphy and the band in the days leading up to, during and after the tumultuous four-hour farewell. Directors Will Lovelace and Dylan Southern use a staggering number of cameras and crosscut liberally to provide an experience that’s arguably even better than seeing the band live (okay, maybe not quite that good but…). And the scenes outside the concert footage are equally compelling.

On April 2nd 2011, LCD Soundsystem played its final show at Madison Square Garden. LCD Soundsystem frontman James Murphy had made the conscious decision to disband one of the most celebrated and influential bands of its generation at the peak of its popularity, ensuring that the band would go out on top with the biggest and most ambitious concert of its career. The instantly sold out, near four-hour extravaganza did just that, moving the thousands in attendance to tears of joy and grief, with NEW YORK magazine calling the event “a marvel of pure craft” and TIME magazine lamenting “we may never dance again.”  SHUT UP AND PLAY THE HITS is both a narrative film documenting this once in a life time performance and an intimate portrait of James Murphy as he navigates the lead-up to the show, the day after, and the personal and professional ramifications of his decision. Watch the official trailer here

The official trailer for SHUT AND PLAY THE HITS, the music documentary on LCD Soundsystem’s last ever gig at Madison Square Gardens.

The legendary finale of the Reunion tour released in full for the first time from a new mix by Jon Altschiller. An emotional closing night at MSG beautifully blends the 1999-2000 tour core setlist with special songs for the occasion, including a solo piano “The Promise,” the tour debut of “Lost in the Flood,” “E Street Shuffle” and a poignant, show-closing “Blood Brothers” performed with a fitting new final verse.  The live Jul 2000 performance of “Blood Brothers” at Madison Square Garden in New York City, NY, during The Reunion Tour. The song was the show closer on this tour finale, and featured a rewritten last verse. As the music settled after the “houses of the dead” verse, Springsteen paused and motioned for everyone not behind a drum kit or keyboard to come to the front of the stage, where they joined hands to form a line, facing the crowd. He sang an entirely new closing verse that surprised everyone and many were moved to tears. The music built back up and the band soared, led by Springsteen’s harmonica and Clarence Clemons’ saxophone, before gently ending the song, the show, the stand, and the tour in an absolutely perfect way. 

  • Bruce Springsteen – Lead vocal, electric and acoustic guitars, harmonica; Roy Bittan – Piano, electric keyboards; Clarence Clemons – Tenor and Baritone saxophones, percussion, pennywhistle, backing vocals; Danny Federici: keyboards and organ; Nils Lofgren – Electric and acoustic guitar, pedal steel, vocal, harmonica; Garry Tallent – Bass; Stevie Van Zandt – Electric guitars, mandolin, vocal; Max Weinberg – Drums; Patti Scialfa – Acoustic guitar, backing vocal
Setlist;
CODE OF SILENCE
MY LOVE WILL NOT LET YOU DOWN
PROVE IT ALL NIGHT
TWO HEARTS
ATLANTIC CITY
MANSION ON THE HILL
THE RIVER
AMERICAN SKIN (41 SHOTS)
THE PROMISED LAND
YOUNGSTOWN
MURDER INCORPORATED
BADLANDS
OUT IN THE STREET
TENTH AVENUE FREEZE-OUT
THE E STREET SHUFFLE
LOST IN THE FLOOD
BORN IN THE U.S.A.
BACKSTREETS
LIGHT OF DAY
THE PROMISE
RAMROD
BOBBY JEAN
BORN TO RUN
FURTHER ON (UP THE ROAD)
THUNDER ROAD
IF I SHOULD FALL BEHIND
THE LAND OF HOPE AND DREAMS
BLOOD BROTHERS

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Friday night, Hall and Oates gave a spectacular comeback show to a sold-out Madison Square Garden that NYC will never forget!

Opening act Mayer Hawthorne opened the show while Sharon Jones & the Dap Kings tore down the stage performing jam after jam including her hit ‘100 Days 100 Nights’. She set the tone for an awesome night with an emphatically energetic performance and braced us for the ultimate headliners.

Daryl Hall and John Oates wowed the crowd breezing through countless hits without missing a single horn, snare or beat. Soul music and live instruments were on the menu as fans sang in unison to arguably one of the greatest groups ever. As one of the best-selling duos of all time, Hall and Oates bridged the gap between music fans of all generations. The crowd stayed on their feet as the duo and their extraordinary band played through their impressive setlist including fan favorites ‘Sara Smile’, ‘Maneater’, ‘Rich Girl’ and their smash hit 80’s single from the album Private Eyes, ‘I Can’t Go for That (No Can Do)’

The entire night proved to be one long jam session but personal enough that the audience felt like they were upstate at Hall’s infamous, ‘Live From Daryl’s House with Daryl Hall’. A must see concert we’ve been waiting for, Sharon Jones & the Dap Kings will be joining Hall & Oates on tour this summer.  Hopefully they will come to the UK . You don’t want to miss this!

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There are so many triumphant moments built into Bruce Springsteen’s performance of “The River” that Wednesday night at Madison Square Garden. Before this tour, Springsteen and the E Street Band had only played all of “The River” once before, at The Garden in 2009 during a run of album-themed concerts.

Doing it now — all 20 songs — is a testament to how well it was made in 1980 and how well it has held up over the years. On January 27th at Madison Square Garden, Bruce Springsteen prefaced the E Street Band’s performance of his 1980 album, The River, by saying, “I wanted the record to contain fun, dancing, laughter, jokes, good comradeship, love, sex, faith, lonely nights, and teardrops.” Over the course of the next three hours, Springsteen and the band would provide all of the above, and then some.
It’s also a testament to how great the E Street Band was then and how great it is now. Van Zandt was thrilling throughout the night, offering call-and-response vocals or well-worn harmonies, while also offering metaphorical support. When Van Zandt pounds on Springsteen’s chest with his free hand during “Two Hearts,” it’s like best- man back-up for the love song, but also confirmation that “two hearts are better than one.”

As the sounds of “Big Boss Man” by the Pretty Things resounded from the loudspeakers a little after 8 p.m., the band took the stage in pairs, followed by the Boss himself, guitar aloft, greeting the crowd. House lights still on, E Street kicked into “Meet Me in the City,” an outtake from the 1980 River sessions included on the recent box set (The Ties That Bind: The River Collection).

“Hello, snowbound New York!” Bruce greeted the audience at the song’s conclusion, as the house lights came down. “Did you survive the blizzard?” he asked. “This is kind of a special night: The River was a record where I was trying to figure out where I fit in,” Springsteen continued, offering a brief introduction about the album before counting off its first track, “The Ties That Bind.” As advertised on the ticket, this tour’s main event is “Full The River Plus!,” or the performance of the entire River album from end to end with a selection of greatest hits rounding out the evening.

That was proven even when Springsteen blew the opening of “I Wanna Marry You” twice, forgetting that he and Van Zandt had worked out a gorgeous extended opening. “Sometimes the tightest band in the world ,” said Springsteen, later adding, “Didn’t want to leave that out.”

The push and pull between party anthems like the Stones-drenched “Crush on You” and the wrenching ballads like “Stolen Car” and “Independence Day” has only grown stronger over the years.

It was as if the crowd was transported back to 1980, when Springsteen was fierier and more straightforward in his writing and delivery. The crowd sang the opening verse of “Hungry Heart” effortlessly without prompting, a reminder of how potent Springsteen’s first Top 5 single still is. That nostalgic feeling was amplified by Jake Clemons’ saxophone solo, which replaced the organ solo of the original.

The only nod to the present during the first half of the show was his reference to the blizzard that led to his Sunday concert being postponed to March 28th.

“Point Blank,” the thirteenth song in the set, an intense tale of lost love and bad decisions, but that wasn’t due to the performance onstage. While audience chatter during the quieter numbers was at Saturday-night-bar level, Springsteen and the E Street Band still executed magnificent versions of their most difficult and challenging material: “Stolen Car,” an utterly bleak tale of hopelessness, was delivered with tremendous pathos and depth; “Fade Away,” a slight, country-flavored number, was presented with perfect, delicate timing that made you want to hold your breath; and the grand, rolling rendition of “The Price You Pay” saw Roy Bittan commanding the performance behind the grand piano.

In the final part of the three-hour show, Springsteen showed how his writing had grown deeper and more layered since “The River,” especially on the stirring “Wrecking Ball,” which he sped up and extended, leading the crowd in a lengthy loop of “Hard times come and hard times go.” That was followed by another recent anthem of shaking off setbacks, “The Rising.”

Springsteen then shifted in party mode, rolling from “Thunder Road” to “Born to Run” to “Dancing in the Dark.” By then the house lights were up and the crowd at the sold-out Garden could see everyone else was as giddy as they were, shouting along and pumping their fists with teenage abandon.

Springsteen didn’t stop there, bringing out his good-time anthem “Rosalita” and pairing it with a raucous version of The Isley Brothers’ “Shout” that brought the house down.

But an undeniable highlight of the evening was the breathtaking, heartrending “Drive All Night,” where Springsteen swore, “I’ll drive all night/just to buy you some shoes/and to taste your tender charms.” In that moment, every woman in the Garden wanted to be the recipient of that ardor, and the men wanted to be brave enough to say that to someone. As your heart grew three sizes larger, Jake Clemons stepped into the center spotlight to play the sax solo with a warmth and majesty that the crowd cheered with glee, and that would have made his uncle, the late E Street Band saxophonist Clarence Clemons, proud.

The crowd’s response seemed surprisingly uneven during the album set. At moments like “Sherry Darling,” “Hungry Heart,” or “The River,” the Garden echoed like the world’s largest Springsteen karaoke night. But at others — even fun numbers like “Crush on You” or “I’m a Rocker” — Springsteen had to work extra-hard, heading out into the crowd a second time (after his first sortie to crowdsurf during “Hungry Heart”) to get any reaction during the latter. He would also have to exhort the crowd, “Shake your booty!” at the beginning of “Ramrod,” a song that is, literally, about shaking one’s booty. (Bruce himself would bust some moves that looked suspiciously like the Robot during the song.)

At the end of the album performance, Springsteen would acknowledge the band, and the moment, before noting that he was going to keep playing, diving straight into “She’s the One” from 1975’s Born to Run. The crowd’s reaction was akin to a rocket being launched, loud and raucous and immediate, the complete opposite of what it had been during the album set. This energy level would only increase through the rest of the show, which in Springsteen-land translates into “another 11 songs.”

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Bruce is no slouch at reading an audience, and he proceeded to give them exactly what they wanted, with another two “Darkness”-era numbers (“Candy’s Room” and “Because the Night”), before continuing with crowd-pleasing hit after crowd-pleasing hit. “Thunder Road” felt like it was being played for the first time ever, and just when you were missing Clarence something awful, Jake came to the front of the stage for the solo, pausing to point upward in acknowledgement, and things got a little misty.

The house lights came back on for “Born to Run,” which felt like a party with your 18,000 closest friends. “Dancing in the Dark” had two dancers — one gentleman requesting a dance with Mrs. Springsteen, while a woman with a sign reading “52 days clean and sober and ready to dance” got the honors with Bruce. “Rosalita (Come Out Tonight)” caused a small riot, before the crowd got the place literally bouncing up and down by the time Springsteen brought the night to a close with his cover of the Isley Brothers’ “Shout.” Eighteen thousand concertgoers poured out of the Garden delighted and exhausted, thinking about fun, dancing, laughter, good comradeship, and more, just like the Boss had hoped for.

Setlist
01/27/16: New York, NY
Soundcheck: Radio Nowhere, Meeting Across The River, Jungleland
  1. Meet Me In The City
  2. The Ties That Bind
  3. Sherry Darling
  4. Jackson Cage
  5. Two Hearts
  6. Independence Day
  7. Hungry Heart
  8. Out In The Street
  9. Crush On You
  10. You Can Look (But You Better Not Touch)
  11. I Wanna Marry You
  12. The River
  13. Point Blank
  14. Cadillac Ranch
  15. I’m A Rocker
  16. Fade Away
  17. Stolen Car
  18. Ramrod
  19. The Price You Pay
  20. Drive All Night
  21. Wreck On The Highway
  22. She’s The One
  23. Candy’s Room
  24. Because The Night
  25. Brilliant Disguise
  26. Wrecking Ball
  27. The Rising
  28. Thunder Road
  29. Born To Run
  30. Dancing In The Dark
  31. Rosalita
  32. Shout

Bruce Springsteen and The E Street Band have officially extended their current US tour and will extend the tour over to Europe! These have been recently talked about and highly rumored, now we finally have confirmation. We have also heard that the band may be coming back to the United States for a round of stadium shows after their European leg so be on the lookout for more info on that. Below are the official tour dates just released by The Boss himself along with their on sale dates and times. We also have added to the list the make-up date for the recently cancelled Madison Square Garden show which will be March 28.

The Rolling Stones performing “Midnight Rambler”, live at Madison Square Garden, January 2003. The song first appeared 0n the 1969 The RollingStones‬ album ‘Let It Bleed’.

The song is a loose biography of Albert DeSalvo, who confessed to being the Boston Strangler. Keith Richards has called the number “a blues opera” and the quintessential Jagger-Richards song, stating in the 2012 documentary Crossfire Hurricane that “nobody else could have written that song. Watch The Rolling Stones perform the track live, from the 1969 album Let It Bleed. It was first performed live in Hyde Park in July 1969.

This version features Mick Jagger on vocals, Keith Richards on guitar, Charlie Watts on drums, Ronnie Wood on guitar, Darryl Jones on bass, Chuck Leavell on piano, Lisa Fischer and Bernard Fowler on backing vocals, Blondie Chaplin on backing vocals and percussion, Bobby Keys and Tim Ries on saxophone, Michael Davis and Kent Smith on horns.

“Midnight Rambler”- Live

Fleetwood Mac

Fleetwood Mac’s classic lineup brought their tour to Madison Square Garden,  their first of four NYC-area shows on this tour. From the opening harmonies of show starter “The Chain,” it was clear that having Christine McVie  is back in the fold making a huge difference. With the three voices together as such a vital part of Fleetwood Mac. Having Christine back  meant that the few classic songs the band could’nt play before live were now included in the set like “You Make Loving Fun,” “Everywhere,” “Say You Love,” “Over My Head,” “Little Lies,” and her show-closing, solo grand piano performance of “Songbird.”

They played almost all of the legendary “Rumours” and otherwise stuck to the other four ’70s and ’80s albums this lineup made together. As a band still playing arenas 40 years after their first album together can do, they peppered their set (and ended it) with a few stories from the band members.  Stevie introduced “Gypsy” with a story of being in San Francisco clothing store The Velvet Underground not to be confused with the band, who were named after the  book where all the rock and roll women bought their clothes” in the late ’60s. It was in that store, over the painted floor where Janis Joplin stood before her that she had a premonition of something big which she realized years later was, of course, Fleetwood Mac. This many years later, Stevie Nicks is still the kind of rock and roll woman her premonition told her she’d be: decked out in signature flowy layers, waving scarves with her tambourine, and doing hippie dances in a gold shawl during “Gold Dust Woman.” Without a doubt, she’s the most entrancing member of the band, and the one the crowd really freaks out over.

Lindsey Buckingham is the band’s rock star and lifeforce, running around the stage like he’s half his actual age and shredding away at his truly awesome guitar solos. As Mick noted towards the end of the show, he basically never left the stage. The extended solo at the end of “I’m So Afraid” was particularly epic — so much so that it seemed like the finale of the pre-encore set, but of course that would be “Go Your Own Way.” That one had the whole crowd on their feet, ready for the band to come back for more, and not one but two encores followed. Christine ended the night perfectly, at her piano with Lindsey by her side, but what may have been the night’s most powerful moment came during the first encore. It’s no secret that she does this at (probably all of) their shows, but at the end of “Silver Springs” when Stevie turns to make eye contact with Lindsey — who the song is obviously about — howling “I’ll follow you down ’til the sound of my voice will haunt you / you’ll never get away from the sound of the woman that loves you,” it never fails to fill the room with that kind of tension that fueled the song 38 years ago. Maybe it’s just performance at this point, but damn if it doesn’t feel real.

Christine, who the band acknowledged being back multiple times throughout the night, was the last to sing, but not the last to talk. Despite the older age of the sometimes-yawning crowd, MSG was still packed with people on their feet as Fleetwood Mac ended their final song after 11pm “The Mac is back!” They definitely did not give the impression that this would be their “last act”.

Opening the garden with a bang. Live from Madison Square Garden, New York City. January 22, 2015. Fleetwood Mac.

Rock legends Fleetwood Mac, who performed two sold-out shows at NYC’s Madison Square Garden earlier this week, have confirmed they will be adding at least 28 more dates to their already scheduled 40-city “ON WITH THE SHOW” tour. The announcement was made during the band’s live performance on NBC’s TODAY Show where The Mac performed for thousands of adoring fans. Fleetwood Mac is currently performing with their five star lineup including the returning songbird Christine McVie who rejoined the band following a 16 year absence.
The principal emotion during the nearly 2 1/2-hour performance was the joy of having keyboardist McVie back in this group… She brought high harmonies and several songs, including ‘Little Lies,’ ‘You Make Loving Fun’ and the closing ‘Songbird,’ back into the repertoire.Stevie Nicks hasn’t sounded this good since the early ‘90’s. What a rhythm machine and what an articulate emotional guitarist Lindsay Buckingham is live.
“It’s still magical. Between Buckingham’s epic guitar solos, Mick Fleetwood’s massive drumming, John McVie’s strong bass work, Nicks’ patented spins to punctuate the lovely ‘Gypsy’ and Christine McVie’s lush vocals, Fleetwood Mac looked ready to take on what Buckingham has called ‘the next chapter.
With Christine’s songs back in the set, her calm, angular presence back on the stage, there was an undeniable feeling of rejuvenation. Mick Fleetwood and John McVie on bass reminded concert-goers why the band is named for them… They still put a layer of muscle behind everything the band did… Buckingham was ferocious and tireless as lead guitar. This man is a vital musical presence – the soul of the band. Ditto for the vitality of Nicks, its cauldron-stirring spirit… Her showcase songs, ‘Landslide,’ ‘Gold Dust Woman’ and, especially ‘Silver Springs,’ were the night’s highlights.

rollingstonesgetyour ya yas

On September 4th The Rolling Stones released the live album “Get Yer Ya-Ya’s Out” said to be one of the greatest live albums, The album was recorded in Baltimore Maryland on 26th November 1969 and 27th-28th November 1969 at Madison Square Gardens in New York City,support for the gigs was BB King and English rocker Terry Reid, Just before the release of the “Let It Bleed” studio album and the first live album to become a Number 1 selling album in the UK. With the last Stones Tour in 1967, The band felt ready and eager to be on the road again,1969 was the first tour for new guitar player Mick Taylor having replaced Brian Jones after his death. Famous Rolling Stone critic Lester Bangs was quoted as saying “there is little doubt this is the best Rock Concert ever put on record” released 44 years ago today it still stands as an awesome live album it was just pure rock and roll with no theatrics including outstanding versions of “Midnight Rambler” and “Sympathy For The Devil” and the song “Live With Me”