rolling stones 1969 tour setlist

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The Rolling Stones at Hyde Park 1969: Looking back on the band's legendary free gig

Beneath the inescapable weight of it all — sweltering sunshine, frenzied hype and the melancholy-laced joy of performing in front of more than 250,000 people just days after the death of the band’s founding guitarist — things were never going to go as planned.

Even though it ended up with passed-out audience members, swastika-clad Hells Angels and suffocated butterflies, the intention had been fairly straightforward. The Rolling Stones were to play a free concert in Hyde Park — just as Pink Floyd had done a year earlier — to officially introduce their new guitarist, Mick Taylor. A former member of John Mayall’s Bluesbreakers, he was to replace the faltering Brian Jones.

It was Jones’s newspaper ad in 1962 that had initially brought the group together and, later, his work alongside Keith Richards that had pioneered the Stones’ trademark sound. As the decade progressed, however, he was pushed further towards the margins — his temperament was erratic at best and his addictions were driving him to ruin.

Eventually, Jones got the boot and Taylor was in. On June 13, 1969, a small press conference was held on a Hyde Park bandstand to announce the latter’s arrival, before the altered line-up started rehearsing in the Beatles’ basement studio on Savile Row . To stage such a huge gig just weeks after appointing a new member, and more than two years since the Stones had played a public concert, seemed unwise — if not crazy — but the plan proceeded.

The Rolling Stones - In pictures

TOPSHOT-US-ENTERTAINMENT-MUSIC-ROLLING STONES

Then, on July 3, two days before the concert, tragedy struck. Jones was found at the bottom of his swimming pool, with a coroner later reporting “death by misadventure”. What was meant to be celebratory, a show marking a new chapter for the band, suddenly became funereal.

On the night before the concert, fans gathered in the park with candles to pay their respects to Jones, and around 7,000 of them decided to stay the night. The next day, before the concert started, Jagger took to the stage, asked for silence, and read two stanzas from Shelley’s elegy Adonais, originally written for John Keats. Hundreds of white butterflies were then released into the summer air — it was meant to be thousands, but scores of them perished in the airless boxes they were being kept.

By then, close to half a million revellers had settled in the park. They were a glistening portrait of counterculture — colourfully dressed hippies sunbathed and frolicked in the nearby ponds, while the self-styled biker gangs, who had been brought in to police the stage and equipment, surveyed the gathered masses. It was intensely hot and, with little shade to take refuge in, many ailing attendees had to be carried out above the crowd.

Behind the scenes, things were fraught. Jagger was nervous about how many people would turn up, and how they’d take to this new guitarist. It wasn’t helped by his rampant hayfever. The atmosphere was tense, too — some of the other bands backstage were affronted by the Stones’ frostiness, arriving as they did in a limo before cordoning off their own VIP area.

Still, a number of artists took to the stage and put on a fine show. Third Ear Band, Screw, Alexis Kroner’s New Church, Family, Roy Harper and The Battered Ornaments all appeared, with King Crimson delivering a set that threatened to steal the show. Relatively unknown and without a debut album to their name, they were booked on the strength of their recent London gigs and tore through a number of soon-to-be classics — not least a searing rendition of 21st Century Schizoid Man.

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Finally, after all the build-up, the Stones emerged. Truth be told, they didn’t entirely live up to the billing. Guitars were out of tune, possibly down to the excessive heat, and the band played sloppily, no doubt due to ring rust. Perhaps it was simply the gravity of the occasion that hung heavy.

Whatever the problems, they still managed to forge some landmark moments. They opened with I’m Yours and I’m Hers, a cover of the Johnny Winter song that had been a favourite of Jones’s. It was the only time they ever played it live. Elsewhere in the 14-song set, they aired brand new compositions, including Jumpin’ Jack Flash. And to end it all, there was a 18-minute rendition of Sympathy for the Devil, invigorated by some fierce percussion by Ginger Johnson’s African drummers.

Looking back, however, the music was largely underwhelming. By the time they reappeared for their European tour in 1970, they were a much sharper outfit, recovered from the shock of Jones’s death and with Taylor as a fully embedded member. That said, it’s this Hyde Park gig, with all its tragedies and tumults, that remains lodged in the memory.

Rolling Stones "Storm America" - US Tour 1969

The Stones make a claim for the high ground in 1969 with the Beatles broken-up and a new guitarist in the band whose main purpose is to facilitate touring and live performance which would have otherwise been doubtful with founding member Brian Jones whose ability to freely enter the US (drug busts) and play grueling consecutive nights and two shows a day would have been unpredictable at best. The Stones are more or less living together after the Hyde Park free concert on July 5, 1969. They stay at "Oriole House" in LA and are rehearsing at Stephen Stills' basement in Laurel Canyon prior to the tour launch on November 7, 1969. By the time they open in Colorado it's clear that this isn't the nervous unrehearsed line up that debuted in Hyde Park, they are loud and menacing. New guitarist Mick Taylor is blending in and band is coming together as a live force to be reckoned with. This is our journey through America 40 years on with "The Greatest Rock 'n' Roll Band In World"!

Jagger Cruising LA 1969

The Rolling Stones 1969 US Tour

* CD releases of the these shows exist.

"Catch Your Dreams (Before They Slip Away)"

Black Light Records, BL 101

State University, Fort Collins, Colorado, November 7, 1969

Sound Quality: Fair Audience

Jumpin' Jack Flash 4:34/Carol 3:39/Sympathy For The Devil 4:49/Stray Cat Blues 3:39/Midnight Rambler 9:14/Under My Thumb 3:50/Prodigal Son 3:42/Love In Vain 5:13/I'm Free 6:20/Little Queenie 4:45/Gimme Shelter 3:49/(I Can't Get No) Satisfaction 6:15/Honky Tonk Women 3:54/Street Fighting Man 4:06

Comments: A quiet college town 90 minutes drive north of Denver for a warm-up gig prior to West Coast performances. Highlights are the "new" song Midnight Rambler and I'm Free.

"Don't You Wanna Live With Me"

(TTCD-6405 DAC-071-1/2)

Sound Quality: Fair Audience. Kinda boomy.

CD 1: Sam Cutler Introduction 0:56/Jumpin' Jack Flash 3:58/Carol 3:51/Sympathy For The Devil 5:06/Stray Cat Blues 4:25/Midnight Rambler 9:02/Under My Thumb 3:57/Prodigal Son 3:58/Love In Vain 6:09/I'm Free 5:58/Little Queenie 4:57/Gimme Shelter 4:21/(I Can't Get No) Satisfaction 6:37/Honky Tonk Women 4:15/Street Fighting Man 4:37

"Kick Off The US Tour 1969"

One Hundred Club - Idol Mind Production

Introduction: Sam Cutler 0:54/Jumpin' Jack Flash 3:57/Carol 3:49/Sympathy For The Devil 5:05/Stray Cat Blues 4:27/Midnight Rambler 9:02/Under My Thumb 3:57/Prodigal Son 3:57/Love In Vain 6:09/I'm Free 5:55/Little Queenie 5:04/Gimme Shelter 4:18/Satisfaction 6:29/Honky Tonk Women 4:11/Street Fighting Man 4:32

"LA Queenie"

(RISK DISC 002)

LA Forum, California, November 8, 1969 1st Show

Sound Quality: Good Audience

Jumpin' Jack Flash 4:14/Carol 4:01/Sympathy For The Devil 5:19/Stray Cat Blues 4:47/Prodigal Son 4:02/Love In Vain 5:27/I'm Free 6:12/Midnight Rambler 8:13/Live With Me 4:02/Little Queenie 2:33/Satisfaction 6:22/Honky Tonk Women 4:22/Street Fighting Man 4:41

Comment: First release of LA November 8, 1969 (1st Show). Comes with a mini booklet of articles and photos from the '69 tour. Nice cardboard packaging.

"Welcome To The Breakfast Show"

(VGP - 337)

Vinyl Gang Product

LA Forum, November 8, 1969 1st Show

CD 1: Jumpin' Jack Flash 4:05/Carol 3:59/Sympathy For The Devil 5:15/Stray Cat Blues 4:44/Prodigal Son 3:59/Love In Vain 5:22/I'm Free 6:08/Midnight Rambler 8:10/Live With Me 3:58/Little Queenie 2:31/(I Can't Get No) Satisfaction 6:16/Honky Tonk Women 4:21/Street Fighting Man 4:38

"The First L.A. Forum 1969"

Jumpin' Jack Flash 4:06/Carol 3:56/Sympathy For The Devil 5:11/Stray Cat Blues 4:40/Prodigal Son 3:56/Love In Vain 5:18/I'm Free 6:03/Midnight Rambler 8:00/Live With Me 3:54/Little Queenie 2:31/Satisfaction 6:15/Honky Tonk Women 4:19/Street Fighting Man 4:09/Outro Announcer 0:27

Keith & his National Steel Guitar - Live '69

"L.A. 69 - Nov.8, - 2nd show"

(WP-69-1/2)

Outsider Bird Records

LA Forum, California, November 8, 1969 2nd Show

Side 1: Sam Cutler/Jumpin' Jack Flash/Carol/Sympathy For The Devil/Stray Cat Blues/Prodigal Son/You Gotta Move/Love In Vain Side 2: I'm Free/Under My Thumb/Live With Me/Little Queenie/Satisfaction/Honky Tonk Women/Street Fighting Man

Comment: Black & blue vinyl plus 45 rpm on blue wax - Sister Morphine (outtake) b/w Midnight Rambler 5:51

"Special Collector's Series Volume 18"

Comment: Re-issue of "L.A. 69" on black vinyl. Copy 19 of 130 pictured.

"Born In The Crossfire Hurricane"

(IFPI L601)

Jumpin' Jack Flash 4:07/Carol 3:31/Sympathy For The Devil 5:30/Stray Cat Blues 4:50/Prodigal Son 3:40/You Gotta Move 2:56/Love In Vain 5:04/I'm Free 6:01/Under My Thumb 3:11/Midnight Rambler 7:44/Live With Me 2:34/Little Queenie 4:13/(I Can't Get No) Satisfaction 5:51/Honky Tonk Women 3:48/Street Fighting Man 4:02

"Street Hassle In L.A."

Stonehenge 001

Carol 4:18/Sympathy For The Devil 5:32/Stray Cat Blues 4:48/Prodigal Son 3:45/You Got To Move 2:56/Love In Vain 5:20/I'm Free 6:09/Under My Thumb 3:17/Live With Me 3:24/Little Queenie 4:17 /(I Cant't Get No) Satisfaction 5:55/Honky Tonk Women 4:01/Street Fighting Men 4:00

"Lost Satanic Tour '69"

Picaresque Sound

Carol 3:59/Sympathy For The Devil 5:32/Stray Cat Blues 4:53/Prodigal Son 3:42/You Gotta Move 2:53/Love In Vain 5:22/I'm Free 5:35/Under My Thumb 3:04/Live With Me 3:53/Little Queenie 4:12/(I Can't Get No) Satisfaction 5:57/Honky Tonk Women 4:00/Street Fighting Man 4:01

"C0caine On A Dentist Chair"

(VGP-068-1)

CD 1: Intro By Sam Cutler 1:15/Jumpin' Jack Flash 3:45/Carol 3:46/Sympathy For The Devil 5:28/Stray Cat Blues 4:45/Prodigal Son 3:43/You Gotta Move 2:52/Love In Vain 5:16/I'm Free 6:06/Under My Thumb 3:17/Midnight Rambler 7:46/Live With Me 3:20/Little Queenie 4:12/(I Can't Get No) Satisfaction 5:48/Honky Tonk Women 3:55/Street Fighting Man 3:59

"Liver Than They'll Ever Be"

(305 020-1)

Alameda County Coliseum, Oakland, California, November 9, 1969 1st Show

Sound Quality: Very Good Audience

Sam Cutler Explains Being Late - Jumpin' Jack Flash 6:15/Prodigal Son 3:58/You Gotta Move 3:16/Carol 3:28/Sympathy For The Devil 6:49/Stray Cat Blues 4:13/Love In Vain 5:17/I'm Free 5:54/Under My Thumb 3:13/Midnight Rambler 8:07/Live With Me 3:58/Little Queenie 3:53/Satisfaction 6:51/Honky Tonk Women 4:14/Street Fighting Man 4:10

Comments: The amps blow during the Jumpin' Jack Flash opener. Taylor gets as close to the familiar riff as possible in standard tuning until his amp blows too. They switch to the acoustic set while the amps are being replaced. This show was first released about 10-12 years ago by OBR. It's the Trade Mark of Quality tape of the 1st show, so the sound quality is pretty good.

"Bring It Back Aliver"

Gold Standard

Sam Cutler - Jumpin' Jack Flash 5:49/Prodigal Son 4:16/You Gotta Move 3:13/Carol 4:03/Sympathy For The Devil 6:02/Stray Cat Blues 5:10/Love In Vain 5:12/I'm Free 3:58/Under My Thumb 3:37/Midnight Rambler 8:03/Live With Me 4:17/Little Queenie 4:11/(I Can't Get No) Satisfaction 5:32/Honky Tonk Women 5:08/Street Fighting Man 4:36

"Pot Boiler"

Sam Culter Introduction 1:31/Jumpin' Jack Flash 4:51/Prodigal Son 4:02/You Gotta Move 3:19/Carol 3:34/Sympathy For The Devil 6:56/Stray Cat Blues 4:18/Love In Vain 5:49/I'm Free 5:16/Under My Thumb 3:12/Midnight Rambler 8:22/Live With Me 4:01/Little Queenie 3:57/(I Can't Get No) Satisfaction 6:57/Honky Tonk Women 4:18/Street Figthing Man 4:04

"Secret Garden"

Jumpin' Jack Flash 6:24/Prodigal Son 4:02/You Gotta Move 3:19/Carol 3:32/Sympathy For The Devil 6:55/Stray Cat Blues 4:18/Love In Vain 5:19/I'm Free 4:35/Under My Thumb 3:12/Midnight Rambler 8:20/Live With Me 4:00/Little Queenie 3:56/Satisfaction 6:56/Street Fighting Man 4:15/Honky Tonk Woman 4:03

"Stone From The Bay"

(WBRCD 9014)

Wild Bird Records

Alameda County Coliseum, Oakland, California, November 9, 1969 2nd Show

Carol 3:45/Gimme Shelter 3:52/Sympathy For The Devil 6:16/I'm Free 5:22/Live With Me 3:03/Love In Vain 5:19/Midnight Rambler 8:04/Little Queenie 4:55/Honky Tonk Women 4:09/Street Fighting Man 4:04

Comments: Made from a fairly clean "Liver Than You'll Ever Be" LP.

"Have A Beer"

Teddy Bear Records

Comments: A repackaged copy of "Stone From The Bay" right down to the matrix number and running times.

"Vintage But Vigorous"

(WPOCM D052)

World Productions Of Compact Music

Carol 3:49/Gimme Shelter 3:51/Sympathy For The Devil 6:42/I'm Free 5:18/Live With Me 3:30/Love In Vain 5:20/Midnight Rambler 8:03/Little Queenie 5:01/Honky Tonk Women 4:01/Street Fighting Man 3:58

Comments: Made from a fairly clean "Liver Than You'll Ever Be" LP. Both this CD and "Stone From The Bay" have crackles in the same spot during the solo in I'm Free, so one of these may actually be a musical copy of the other.

"Live'r Than You'll Ever Be"

(TSP-CD-043)

The Swingin' Pig

Jumpin' Jack Flash 4:15 (New York, November 28, 1969 2nd)/Carol 3:43/Sympathy For The Devil 6:15/Stray Cat Blues 4:19/Prodigal Son 3:54/You've Gotta Move 3:12/Love In Vain 5:24/I'm Free 5:14/Under My Thumb 3:24 (San Diego, November 10, 1969)/Midnight Rambler 7:43/Live With Me 3:29/Gimme Shelter 4:19/Little Queenie 4:23/(I Can't Get No) Satisfaction 6:04/Honky Tonk Woman 3:59/Street Fighting Man 4:04

Comments: First CD release of this show from the Trade Mark of Quality tape source. Signal level fluctuations in the original recording resulted in the two song substitutions from other show sources as indicated.

"Revolution Sixtinine"

Great Dane Records

Jumpin' Jack Flash 4:13 (New York, November 28, 1969 2nd) /Carol 3:44/Sympathy for the Devil 6:16/Stray Cat Blues 4:19/Prodigal Son 3:51/You Gotta Move 3:14/Love in Vain 5:25/I'm Free 5:15/Under My Thumb 3:24 (San Diego, November 10, 1969) /Midnight Rambler 7:43/Live with Me 3:29/Gimme Shelter 4:19/Little Queenie 4:23/(I Can't Get No) Satisfaction 6:05/Honky Tonk Women 3:59/Street Fighting Man 4:05

Comments: Copy of The Swinging' Pig's "Live'r Than You'll Ever Be" .

"Liver Than You'll Ever Be"

Jumpin' Jack Flash 4:09/Carol 3:43/Sympathy for the Devil 6:27/Stray Cat Blues 4:08/Prodigal Son 3:49/You Gotta Move 3:28/Love in Vain 5:24/I'm Free 5:16/Under my Thumb 3:23/Midnight Rambler 7:42/Live With Me 3:30/Gimme Shelter 4:17/Little Queenie 4:21/(I Can't Get No) Satisfaction 6:01/Honky Tonk Women 4:04/Street Fighting Man 4:04

Comments: Contains original Oakland '69 2nd show versions of Jumpin' Jack Flash with level problems and a spliced Under My Thumb. Note the newer edition of this CD has the "for members only" logo on the disc.

Master Of Sounds

Jumpin' Jack Flash 4:05/Carol 3:43/Sympathy For The Devil 6:27/Stray Cat Blues 4:14/Prodigal Son 4:02/You Gotta Move 3:10/Love In Vain 5:24/I'm Free 5:07/Under My Thumb 2:44/Midnight Rambler 7:42/Live With Me 3:17/Gimme Shelter 4:24/Little Queenie 4:29/(I Can't Get No)Satisfaction 5:59/Honky Tonk Women 4:04/Street Fighting Man 4:03

Comments: All the original Oakland 2nd show songs but also the rawest in terms of the level problems. No attempts made here to smooth out the sound. Cardboard sleeve.

Turd On The Run Records

Jumpin' Jack Flash 4:07/Carol 3:43/Sympathy For The Devil 6:26/Stray Cat Blues 4:14/Prodigal Son 4:00/You Gotta Move 3:12/Love In Vain 5:24/I'm Free 5:07/Under My Thumb 3:24/Midnight Rambler 7:43/Live With Me 3:17/Gimme Shelter 4:25/Little Queenie 4:22/(I Can't Get No) Satisfaction 6:00/Honky Tonk Women 4:04/Street Fighting Man 4:04

Comments: Interestingly enough this CD has the original Jumpin' Jack Flash without the level problems. The thing that is interesting is that it's the TMoQ tape. Audience talking near the taper's microphone is the same as the Trade Mark tape, so this is no new source, maybe just nicely compensated. Best sound of all CD's in my opinion.

"From San Francisco to Paris"

(VGP-276-1)

Jumpin' Jack Flash 4:25/Carol 3:41/Sympathy For The Devil 6:23/Stray Cat Blues 4:15/Prodigal Son 3:52/You Gotta Move 3:14/Love In Vain 5:22/I'm Free 5:06/Under My Thumb 2:45/Midnight Rambler 7:41/Live With Me 3:30/Gimme Shelter 4:16/Little Queenie 4:20/(I Can't Get No) Satisfaction 5:58/Honky Tonk Women 4:02/Street Fighting Man 4:35

Comments: Contains original Oakland '69 2nd show versions of Jumpin' Jack Flash with sound drops and a partial version of Under My Thumb. Cover is a copy of the original Toasted (TMoQ) 2LP.

"The Rolling Stones Vol. 1"

Little Queenie 4:03/Gimme Shelter 3:55/Live With Me 3:05/Sympathy For The Devil 6:12/Carol 3:33

Comments: Five songs included on this compilation CD. Link: Click this Link for LP References of November 9, 1969 2nd Show

"Out Of Joint"

(RSBB-2004/5)

Black n' Blue

CD 1: Jumpin' Jack Flash 6:19/Prodigal Son 3:59/You Gotta Move 3:32/Carol 3:28/Sympathy For The Devil 6:48/Stray Cat Blues 4:17/Love In Vain 5:23/I'm Free 4:24/Under My Thumb 3:07/Midnight Rambler 8:27/Live With Me 3:52/Little Quenie 4:00/Satisfaction 6:54/Honky Tonk Woman 4:20/Street Fighting Man 4:02

CD 2: Jumpin' Jack Flash 4:08/Carol 3:43/Sympathy For The Devil 6:17/Stray Cat Blues 4:21/Prodigal Son 3:55/You Gotta Move 3:09/Love In Vain 5:24/I'm Free 5:09/Under My Thumb 2:44/Midnight Rambler 7:43/Live With Me 3:33/Gimme Shelter 4:19/Little Queenie 4:19/Satisfaction 5:59/Honky Tonk Women 3:54/Street Fighting Man 3:58

Comments: Oakland 2nd show has the original Jumpin' Jack Flash and Under My Thumb with some sound drop-outs.

(TCDRS-1-1/2)

CD 1: Sam Cutler Introduction 1:36/Jumpin' Jack Flash 4:51/Prodigal Son 4:03/You Gotta Move 3:18/Carol 3:33/Sympathy For The Devil 6:55/Stray Cat Blues 4:18/Love In Vain 5:13/I'm Free 5:08/Under My Thumb 3:15/Midnight Rambler 8:17/Live With Me 4:00/Little Queenie 3:56/Satisfaction 6:56/Honky Tonk Women 4:17/Street Fighting Man 4:03

CD 2: Jumpin' Jack Flash 4:04/Carol 3:44/Sympathy For The Devil 6:23/Stray Cat Blues 4:13/Prodigal Son 3:59/You Gotta Move 3:12/Love In Vain 5:24/I'm Free 5:07/Under My Thumb 3:23/Midnight Rambler 7:40/Live With Me 3:33/Gimme Shelter 4:18/Little Queenie 4:13/(I Can't Get No) Satisfaction 6:04/Honky Tonk Women 4:04/Street Fighting Man 4:10

Comments: Released in 2001 with 200 copies made. Oakland 2nd show has the same cleaned-up source for Jumpin' Jack Flash and Under My Thumb as the Turd On The Run Records release.

(SODD-013-R.S-SS)

Singer's Original

CD: Jumpin' Jack Flash 6:24/Prodigal Son 4:02/You Gotta Move 3:20/Carol 3:33/Sympathy For The Devil 6:56/Stray Cat Blues 4:18/Love In Vain 5:49/I'm Free 5:16/Under My Thumb 3:17/Midnight Rambler 8:16/Live With Me 4:03/Little Queenie 3:56/(I Can't Get No) Satisfaction 6:57/Honky Tonk Women 4:18/Street Fighting Man 4:04

CD-R: Jumpin' Jack Flash 4:25/Carol 3:41/Sympathy For The Devil 6:23/Stray Cat Blues 4:13/Prodigal Son 3:58/You Gotta Move 3:11/Love In Vain 5:22/I'm Free 5:04/Under My Thumb 2:45/Midnight Rambler 7:41/Live With Me 3:30/Gimme Shelter 4:22/Little Queenie 4:16/(I Can't Get No) Satisfaction 6:01/Honky Tonk Women 3:57/Street Fighting Man 4:35

Comments: The Oakland '69 2nd show CD-R is a clone copy of VGP-276-1 "From San Francisco to Paris" .

"Hangout"

Sound Quality: Very Good Soundboard (Broadcast). The sound is compressed.

Gimme Shelter 3:37/Sympathy For The Devil 5:53/Stray Cat Blues 3:23/Love In Vain 4:48/Live With Me 2:52/Prodigal Son 3:22/You Gotta Move 2:24/Little Queenie 3:49/Satisfaction 5:07/Honky Tonk Women 3:03/You Can't Always Get What You Want 4:39

Comment: Probably the first CD release of the infamous Oakland '69 soundboard.

"Oakland '69"

Sound Quality: Excellent Soundboard (Broadcast). Upgraded sound compared to "Hangout" .

Sympathy For The Devil 5:58/Stray Cat Blues 3:25/Prodigal Son 3:29/You Gotta Move 2:29/Love In Vain 5:06/Live With Me 2:53/Gimme Shelter 3:46/Little Queenie 3:52/Satisfaction 5:10 Bonus Tracks: Little Queenie 3:11/Whole Lotta Shakin' Going On 3:34 (Keith Richards with Jerry Lee Lewis, US TV July 16, 1983)

Comment: This title incorporates the official 1969 Tour Program artwork into the cover design. Best sound of the Oakland 2nd soundboard sources.

"Oakland Sixty-Nine"

Sound Quality: Very Good Soundboard (Broadcast). Lotsa tape hiss.

CD Run-TIme (36:49): Sympathy For The Devil 6:15/Stray Cat Blues 3:29/Prodigal Son 3:27/You Gotta Move 2:42/Love In Vain 4:49/Live With Me 3:08/Gimme Shelter 3:44/Little Queenie 4:00/(I Can't Get No) Satisfaction 5:20

Comment: Cover artwork is from the classic vinyl release of the same material.

"Oakland Coliseum Arena 1969 FM-SB"

Sound Quality: Very Good Soundboard (Broadcast). Somewhat compressed and bassy.

Sympathy For The Devil 6:04/Stray Cat Blues 3:28/Prodigal Son 3:31/You Gotta Move 2:30/Love In Vain 4:57/Live With Me 2:55/Gimme Shelter 3:48/Little Queenie 3:54/Satisfaction 5:17/Brown Sugar (Hot Rocks Aternate Version) 3:51/Wild Horses (Hot Rocks Aternate Version) 5:45

Keith Richards Live 1969

"Stoneaged"

(RS 545-A/B)

Trade Mark Of Quality

Sports Arena, San Diego, California, November 10, 1969

Side 1: Sam Cutler Introduction/Carol/Sympathy For The DevilProdigal Son/You Gotta Move/Under My Thumb Side 2: Live With Me/Little Queenie/Satisfaction/Honky Tonk Woman/Street Fighting Man

"San Diego '69"

Sound Quality: Very Good to Excellent Audience

Carol 4:04/Sympathy For The Devil 6:32/Prodigal Son 4:00/You Gotta Move 2:45/Under My Thumb 3:09/Live With Me 3:06/Little Queenie 4:00/Satisfaction 6:03/Honky Tonk Woman 4:30/Street Fighting Man 4:02/Leather Jacket 3:21 ("Trident" instrumental outtake)

Comment: This is Rock 'n' Roll baby. By San Diego the "Engine Room" is starting to congeal. This show was taped by the same taper using the same equipment as Oakland, so the same sort of presence and frequency response in this recording. Even though this old CD was made from a very clean LP I like it the best. Raw and gritty. No digital signal processing rework to juice the sound.

"San Diego Sixty-Nine"

TMoQ (Vinyl Gang Product)

Sam Cutler Introduction - Jumpin' Jack Flash 4:13/Carol 3:48/Sympathy For The Devil 5:43/Stray Cat Blues 4:27/Prodigal Son 3:59/You Gotta Move 3:14/Love In Vain 5:28/I'm Free 5:44/Under My Thumb 2:57/Midnight Rambler 6:39/Live With Me 3:05/Little Queenie 4:08/(I Can't Get No) Satisfaction 6:06/Honky Tonk Women 4:30/Street Fighting Man 4:06

Comment: The reason why Jumpin' Jack Flash wasn't on any of the classic Trade Mark of Quality LP releases is because even though the Stones got better by the time they reached San Diego the taper (who shall remain nameless) didn't. He would set the recording levels on the first song thereby rendering it nearly useless. The trick here is to try and get the levels during the warm-up acts, just to get you in the "ball park", then a little careful tweaking when the Stones hit the main PA's. Also note that since this is made from the Trade Mark tape that the complete show is now in circulation.

(TSP CD 214)

Sam Cutler Introduction - Jumpin' Jack Flash 4:19/Carol 3:49/Sympathy For The Devil 5:43/Stray Cat Blues 4:27/Prodigal Son 4:12/You Gotta Move 2:50/Love In Vain 5:33/I'm Free 5:36/Under My Thumb 3:18/Midnight Rambler 7:17/Live With Me 3:05/Little Queenie 4:08/(I Can't Get No) Satisfaction 5:54/Honky Tonk Women 4:30/Street Fighting Man 4:06

Comment: Level problems on Jumpin' Jack Flash spliced and corrected.

"Nasty Habits, Water Rats, & A Woman's Touch"

Sister Morphine

Sam Cutler Introduction 0:42/Jumpin' Jack Flash 3:32/Carol 3:48/Sympathy For The Devil 5:44/Stray Cat Blues 3:44/Prodigal Son 4:42/You Gotta Move 2:43/Love In Vain 5:51/I'm Free 5:20/Under My Thumb 3:20/Midnight Rambler 7:24/Live With Me 3:11/Little Queenie 4:11/(I Can't Get No) Satsifaction 5:26/Honky Tonk Women 4:38/Street Fighting Man 4:24

Comment: Sourced from The Swingin' Pig release.

(RS3-SAN DIEGO)

Jumpin' Jack Flash 4:18/Carol 3:49/Sympathy For The Devil 5:43/Stray Cat Blues 4:27/Prodigal Son 4:12/You Gotta Move 2:50/Love In Vain 5:33/I'm Free 5:36/Under My Thumb 3:18/Midnight Rambler 7:17/Live With Me 3:05/Little Queenie 4:08/Satisfaction 5:54/Honky Tonk Women 4:30/Street Fighting Man 4:06/Jumpin' Jack Flash 3:29 (from the London, Saville Theatre gig on December 14, 1969)

Comment: Same source as The Swingin' Pig. Digipak.

"It's No Hangin Matter"

(VGP-096-1)

CD 1: Jumping Jack Flash 4:14/Carol 3:45/Sympathy For The Devil 5:40/Stray Cat Blues 4:24/Prodigal Son 3:58/You Gotta Move 3:11/Love In Vain 5:27/I'm Free 5:41/Under My Thumb 2:57/Midnight Rambler 6:36/Live With Me 3:03/Little Queenie 4:06/(I Can't Get No) Satisfaction 6:02/Honky Tonk Women 4:28/Street Fighting Man 4:04

"Second Incarnation"

(VGP-369-1)

Sound Quality: Fair to Good Audience

Introduction: Sam Cutler 3:41/Jumpin' Jack Flash 3:34/Carol 3:48/Sympathy For The Devil 5:44/Stray Cat Blues 4:28/Prodigal Son 3:57/You Gotta Move 3:17/Love In Vain 5:30/I'm Free 5:46/Under My Thumb 3:04/Midnight Rambler 7:20/Live With Me 3:09/Little Queenie 4:05/Satisfaction 6:06/Honky Tonk Women 4:31/Street Fighting Man 4:10

Comment: This was made from a different and inferior tape source than the Trade Mark Of Quality release and all other derivatives. It sucks, avoid it like the plague.

Rare "blue omega/Leo" shot of Jagger 1969 Belt on the stage means this was taken during Midnight Rambler...

"Gathering Madness - Phoenix '69"

Phoenix Coliseum, Phoenix, Arizona, November 11, 1969

Sound Quality: Good to Very Good Audience

Jumpin' Jack Flash 4:20/Carol 3:37/Sympathy For The Devil 5:51/Stray Cat Blues 4:01/Prodigal Son 3:41/You Gotta Move 2:29/Love In Vain 5:40/Under My Thumb 3:08/Midnight Rambler 8:02/Live With Me 3:53/Gimme Shelter 4:07/Little Queenie 2:35/Brown Sugar (Altamont 1969) 3:44

Comment: The recording level is pretty saturated, so some distortion overall on the louder numbers. Batteries are loosing their charge by Little Queenie, so the show is also incomplete for this reason.

Mick Jagger Live in '69

"Sky Pilots"

Comment: CD 1 is a reissue of "Gathering Madness"

(VGP-068-2)

(see artwork in LA, November 8th section)

Assembly Hall, University Of Illinois, Champaign, Illinois, November 15, 1969 1st Show

CD 2: Sam Cutler & Mick Jagger Introduction 0:56/Jumpin' Jack Flash 3:49/Carol 3:43/Sympathy For The Devil 5:46/Stray Cat Blues 4:09/Love In Vain 6:01/Prodigal Son 3:39/You Gotta Move 2:27/Under My Thumb 1:28/Midnight Rambler 8:53/Little Queenie 4:24/(I Can't Get No) Satisfaction 6:26/Honky Tonk Women 4:31/Street Fighting Man 3:52

Comment: Jagger is having way too much fun being in the heartland of America. Sound problems at the beginning of Jumpin' Jack Flash are from the digital age. VGP jacking with the noise reduction and EQ on the recorded tape. Really lazy to use this.

"Vintage Champaign"

(TTCD-7682 DAC-081-1/TTCD-7683 DAC-081-2)

Dog n Cat Records

Assembly Hall, University of Illinois, Champaign, November 15, 1969 1st Show

CD 1: Sam Cutler & Mick Jagger Introduction 0:55/Jumpin' Jack Flash 3:46/Carol 3:41/Sympathy For The Devil 5:42/Stray Cat Blues 4:07/Love In Vain 5:59/Prodigal Son 3:37/You Gotta Move 2:25/Under My Thumb 1:18 (Tape Change) /Midnight Rambler 9:00/Little Queenie 4:23/(I Can't Get No) Satisfaction 6:25/Honky Tonk Women 4:33/Street Fighting Man 3:48

Palaido Palazzo Dello Sport, Milan, Italy, October 1, 1970 2nd Show

Sound Quality: Good To Very Good Audience

CD 2: Jumpin' Jack Flash 3:45/Roll Over Beethoven 2:32/Stray Cat Blues 4:11/Prodigal Son 1:31/Dead Flowers 4:04/Midnight Rambler 10:10

Assembly Hall, University of Illinois, Champaign, November 15, 1969 2nd Show (Partial)

Midnight Rambler 8:28 (In Progress)/Little Queenie 4:19/Satisfaction 6:13/Honky Tonk Women 4:15/Street Fighting Man 4:00

Comment: CD 1 also issued as "C0cain On A Dentist Chair" on VGP-068. Sound problems with Jumpin' Jack Flash corrected on this release. First six tracks CD 2 are from the audio track of a 1970 Super 8 video.

"We Didn't Really Get It On Until Detroit"

(Side 1/-4/-2/-3)

Olympia Stadium, Detroit, Michigan, November 24, 1969

Side 1: Jumpin' Jack Flash/Carol/Sympathy For The Devil Stray Cat Blues/Love In Vain/Prodigal Son/You Gotta Move/Under My Thumb Side 3: Midnight Rambler/Live With Me/Little Queenie Side 4: Satisfaction/Honky Tonk Women/Street Fighting Man

Comment: This LP is rare.

"Live From Detroit"

(3-1/2/3/4)

Bash Records

Comment: Copy of 2LP "We Didn't Really Get It On Until Detroit" .

"R.S."

(S-1/S2/S4A/S4-B)

"We Never Really Got It On Till Detroit"

Contra Band Music

Side 1: Jumpin' Jack Flash/Carol/Sympathy For The Devil/Stray Cat Blues/Love In Vain/Prodigal Son/You Gotta Move/Under My Thumb Side 2: Little Queenie / Satisfaction/Honky Tonk Women/Street Fighting Man

Comment: This is a single LP release, so it's a partial show. Midnight Rambler and Live With Me are missing.

"Mick Taylor We Thank You"

Tongue-In-Cheek

Side 2: Sympathy For The Devil/Stray Cat Blues/Little Queenie

Comment: Three sound board tracks from Detroit included on Side 2.

The Space Monkey Records

Comment: Repackage of the above title and LP.

"Live From Detroit 1969"

Minotauro Records

Jumpin' Jack Flash 4:16/Carol 3:56/Sympathy For The Devil 7:07/Stray Cat Blues 3:46/Love In Vain 5:27/Prodigal Son 3:41/You Got To Move 2:23/Under My Thumb 3:31/Midnight Rambler 10:17/Live With Me 3:09/Little Queenie 4:06/Satisfaction 6:28/Honky Tonk Woman 4:08/Street Fighting Man 3:54

"Hawaiian Top"

Weeping Goat

CD 2: Sympathy For The Devil 7:12/Stray Cat Blues 3:46/Little Queenie 4:08

Comment: Three sound board tracks from Detroit included on CD 2.

(VGP-369-2)

(see artwork in San Diego, November 10th section)

Spectrum Sports Arena, Philadelphia, Pennsylvania, November 25, 1969

Sound Quality: Fair Audience. Distant.

Jumpin' Jack Flash 3:53/Carol 4:03/Sympathy For The Devil 7:55/Stray Cat Blues 3:39/Love In Vain 4:54/Prodigal Son 3:19/Under My Thumb 4:02/Midnight Rambler 7:48/Live With Me 3:05/Little Queenie 4:03/Satisfaction 7:18/Honky Tonk Women 3:52/Street Fighting Man 3:41

"Devil's Disciple"

Raring Records

Baltimore Civic Center, Baltimore, Maryland, November 26, 1969

Side 1: Carol/Sympathy For The Devil/Love In Vain/Under My Thumb-I'm Free Side 2: Stray Cat Blues/Midnight Rambler/Live With Me/Satisfaction/Honky Tonk Women

"Baltimore 1969"

Digger Productions

Performance: Excellent

Jumpin' Jack Flash 3:51/Carol 3:49/Sympathy For The Devil 10:52/Stray Cat Blues 4:03/Love In Vain 5:40/You Gotta Move 1:58/Under My Thumb-I'm Free 6:49/Midnight Rambler 8:53/Live With Me 3:54/(I Can't Get No) Satisfaction 6:01/Honky Tonk Women 3:14

Comment: Probably the first release of this show on CD. Note that it is a partial recording of the show. Interestingly enough, Jagger does a "Hey Jude" verse at the outro of Sympathy For The Devil!

"A Shot of Salvation"

(OM90-64-17)

Scorpio Records

Sound Quality: Excellent Soundboard

Love In Vain 5:10

"Live In Washington 1969 & More"

Moonlight Records

Jumpin' Jack Flash 4:34/Carol 3:37/Sympathy For The Devil 10:38/Stray Cat Blues 3:56/Love In Vain 4:54/Jumping Jack Flash 4:31/Satisfaction 5:32/Love In Vain 4:07/Honky Tonk Women 4:17/Sympathy For The Devil 10:55/Under My Thumb 4:27/Gimme Shelter (Gimme Shelter Movie Mix) 2:05

Jumpin' Jack Flash 3:56/Carol 3:39/Sympathy For The Devil 10:40/Stray Cat Blues 4:00/Love In Vain 5:27/You Gotta Move 2:00/Under My Thumb-I'm Free 7:05/Midnight Rambler 8:20/Live With Me 3:32/(I Can't Get No) Satisfaction 5:51/Honky Tonk Women 3:10/Little Queenie 4:09

"Stoned-M.S.G."

(102 - A/B)

Head Records

Madison Square Garden, New York, New York, November 27, 1969

Side 1: Jumpin' Jack Flash/Carol/Sympathy for the Devil/Under My Thumb-I'mFree (medley)

Side 2: Midnight Rambler/Love In Vain/Satisfaction/Honky Tonk Women

Comment; "Stoned-M.S.G." provided the earliest look at the level of overdubbing that took place on "Ya-Ya's". There are at least two variations of the disc; one with a plain white jacket, and the other with a dark (TMoQ) green jacket.

"Play With Fire"

Trade Mark of Quality

Side 2: Under My Thumb-I'm Free(medley)/Satisfaction/Honky Tonk Women

Comment: The TMoQ matrix is scratched out and replaced with (HHCER108-A/B). This matrix is indicative of the TMoQ front label Highway Hi-Fi.

"Who Killed Brian"

(HHCER108-A/B)

Dreamlab Records

Comment: A reissue of "Play With Fire" using a reworked "Reggae 'n' Roll" cover as its artwork. 100 numbered copies were made.

"Stoned-M.S.G. 1969"

Jumpin' Jack Flash 4:28/Carol 3:33/Sympathy for the Devil 7:52/Stray Cat Blues 4:04/Love In Vain 5:02/Prodical Son 2:48/You Gotta Move 2:27/Under My Thumb-I'm Free 6:40/Midnight Rambler 9:29/Live With Me 3:05/Little Queenie 4:12/(I Can't Get No) Satisfaction 6:03/Honky Tonk Women 3:14/Street Fighting Man 4:36

"M.S.G. 69"

(HLRR 5010)

Hot Lips Records

Jumpin' Jack Flash 4:07/Carol 4:02/Sympathy For The Devil 7:57/Stray Cat Blues 3:57/Love In Vain 5:29/Prodigal Son 3:10/You Gotta Move 2:43/Under My Thumb 4:02/I'm Free 2:46/Midnight Rambler 9:30/Live With Me 3:32/Little Queenie 4:27/Satisfaction 5:40/Honky Tonk Women 3:58/Street Fighting Man 7:27

(VGP-096-02)

CD 2: Jumpin' Jack Flash 4:26/Carol 3:32/Sympathy For The Devil 7:50/Stray Cat Blues 4:03/Love In Vain 5:09/Prodigal Son 3:02/You Gotta Move 2:13/Under My Thumb - I'm Free 6:39/Midnight Rambler 9:30/Live With Me 3:10/Little Queenie 4:07/(I Can't Get No) Satisfaction 6:03/Honky Tonk Women 3:20/Street Fighting Man 4:28

"New York City - The Big Apple - 1969"

Concert Introduction_ 0:44/Jumping Jack Flash 3:42/Carol 3:31/Sympathy For The Devil 7:44/Stray Cat Blues 3:38/Love In Vain 5:17/Prodigal Son 3:20/You Gotta Move 2:22/Under My Thumb 3:36-I'm Free 3:05 (Medley)/Midnight Rambler 8:52/Live With Me 3:43/Little Queenie 4:12/(I Can't Get No) Satisfaction 5:40/Honky Tonk Women 3:32/Street Fighting Man 4:35

"Madison Square Garden New York- November 27, 1969"

Penetration Records

Jumpin' Jack Flash 4:30/Carol 3:30/Sympathy For The Devil 7:51/Stray Cat Blues 3:56/Love In Vain 4:43/Prodigal Son/You Gotta Move 5:41/Under My Thumb 3:44/I'm Free 3:26/Midnight Rambler 8:42/Live With Me 3:09/Little Queenie 4:06/(I Can't Get No) Satisfaction 6:02/Honky Tonk Women 3:20/Street Fighting Man 4:01

"Live In New York"

Idol Mind Productions

CD 1: Jumpin' Jack Flash 4:21/Carol 3:26/Sympathy For The Devil 7:41/Stray Cat Blues 3:57/Love In Vain 4:34/Prodigal Son 3:17/You Gotta Move 2:19/Under My Thumb-I'm Free 6:31/Midnight Rambler 8:39/Live With Me 3:43/Little Queenie 4:07/Satisfaction 5:55/Honky Tonk Women 3:10/Street Fighting Man 4:29

Madison Square Garden, New York, New York, November 28, 1969 2nd Show

CD 2: Jumpin' Jack Flash 3:31/Carol 3:26/Sympathy For The Devil 7:45/Stray Cat Blues 3:19/Love In Vain 5:21/Prodigal Son 3:27/You Gotta Move 2:18/Under My Thumb 3:37/Midnight Rambler 9:00/Live With Me 2:52/Little Quennie 4:01/Satisfaction 6:13/Honky Tonk Women 2:56/Street Fighting Man 3:34

Link: Check this web site for complete analysis of the New York "Get Yer Ya-Ya's Out!" & "Gimme Shelter" shows

"That's No Way To Get Along"

Morganfield

Boston Garden, Boston, Massachusetts, November 29, 1969

Jumping Jack Flash 4:01/Carol 3:26/Sympathy For The Devil 7:30/Stray Cat Blues 3:36/Love In Vain 5:12/Prodigal Son 3:29/You Gotta Move 2:05/Under My Thumb 4:02/Midnight Rambler 9:03/Live With Me 4:01/Little Queenie 4:00/(I Can't Get No) Satisfaction 5:51/Honky Tonk Women 3:29/Street Fighting Man 3:32

"Some Satanic Tour"

(DAC-015-1/2)

Civic Center, Baltimore, Maryland, November 26, 1969

CD 1: Sam Cutler Intro - (Audience marker: Girl - "Can you see his t-shirt?; Guy - ...his uncle sam hat") Jumpin' Jack Flash 4:32/Carol 3:34/Sympathy For The Devil 10:34/Stray Cat Blues 3:58/Love In Vain 5:26/You Gotta Move 1:56/Under My Thumb-I'm Free 6:52/Midnight Rambler 8:43/Live With Me 3:32/Satisfaction 5:51/Honky Tonk Women 3:23/Street Fighting Man 4:16 (Audience marker: The girl speaking at the end of the tape is the same voice as the beginning, so no splice on SFM. It's the missing song!)

The Boston Garden, Boston, Massachusetts, November 29, 1969, 2nd show

Sound Quality: Good Audience. You can even hear piano in spots, but the drums are nearly lost in an otherwise balanced audience mix.

CD 2: Sam Cutler Intro-Jumpin' Jack Flash 4:19/Carol 3:33/Sympathy For The Devil 7:54/Stray Cat Blues 3:49/Love In Vain 5:38/Prodigal Son 3:39/You Gotta Move 2:09 (missing opening chords, must be a tape change)/Under My Thumb 3:49/Midnight Rambler 10:26/Live With Me 3:42/Little Queenie 4:16/Satisfaction 6:16/Honky Tonk Women 3:32/Street Fighting Man 3:42

Comments: The cover shot is taken from an early 70's poster. This release uses different tape sources than both "Baltimore 1969" and VGP's "Devil's Disciple" which have tape stops at the end of show (the taper is clearly running out of tape as Street Fighting Man is also missing). This release is from the same (better) tape source as "Live In Washington 1969 & More" except that it includes the last song Street Fighting Man. In addition to the audience "marker" noted above, I checked SFM against the New York audience sources just to be sure, and they are different. This is really the missing SFM. See "Well You Heard About The Boston...Live 1969" on the Exile label for comments on the Boston '69 recording.

"Well You Heard About The Boston...Live 1969"

(EXCD - 038)

Exile Original Masters

(No Sam Cutler Intro) Jumpin' Jack Flash 4:11/Carol 3:28/Sympathy For The Devil 7:42/Stray Cat Blues 3:44/Love In Vain 5:35/Prodigal Son 3:28/You Gotta Move 2:07 (missing opening chords, must be a tape change)/Under My Thumb 3:41/Midnight Rambler 10:11/Live With Me 3:36/Little Queenie 4:09/Satisfaction 6:07/Honky Tonk Women 3:27/Street Fighting Man 3:36

Comment: This is a the same tape source as the release "That's No Way To Get Along" on the Morgonfield label (MG-004) and also by Dog n Cat Records on the release "Some Satanic Tour" (DAC-015). It has been sonically enhanced in a rather remarkable way with a limited amount of added hiss.

"Have You Heard About The Boston..."

(TOURING HI)

Bad Wizard (Touring History Vol. 7)

Boston Garden, Boston, Massachusetts, November 29, 1969, 2nd Show

Jumpin' Jack Flash 4:12/Carol 3:27/Sympathy For The Devil 7:42/Stray Cat Blues 3:44/Love In Vain 5:35/Prodigal Son 3:28/You Gotta Move 2:09/Under My Thumb 4:37/Midnight Rambler 9:13/Live With Me 3:37/Little Queenie 4:10/(I Can't Get No) Satisfaction 6:07/Honky Tonk Women 3:27/Street Fighting Man 3:36

Comment: Also released from the same (Bit-Torrent) source as "Well You Heard About The Boston...Live 1969" on Exile Records, and "Some Satanic Tour" DAC-15. This show originaly released as "That's No Way To Get Along" on Morganfield MG-004 on an inferior source (Fair to Good Audience).

"Palm Beach 1969"

International Raceway, West Palm Beach, Florida, November 30, 1969

Sound Quality: Fair to Very Good Audience. Tape speed problems.

Sam Cutler Diatribe 1:53/Jumpin' Jack Flash 3:42/Carol 3:55/Sympathy For The Devil 7:58/Stray Cat Blues 4:37/Love In Vain 5:13/Under My Thumb 3:33/Midnight Rambler 10:28/Gimme Shelter 5:09/Live With Me 3:27/Little Queenie 4:44/Satisfaction 6:18/Honky Tonk Women 3:19/Street Fighting Man 3:37

Comment: It was billed as "Woodstock South". The Stones arrived late in the night due to airport delays. It was freezing cold. Note that the acoustic set was omitted from this festival performance.

"One Day Before From Altermont!!"

Shaved Disc

Sam Cutler Diatribe 1:20/Jumpin' Jack Flash 4:13/Carol 3:55/Sympathy For The Devil 7:46/Stray Cat Blues 4:32/Love In Vain 5:08/Under My Thumb 4:52/Midnight Rambler 9:01/Gimme Shelter 4:58/Live With Me 3:21/Little Queenie 4:37/Satisfaction 6:17/Honky Tonk Women 3:22/Street Fighting Man 3:43

"Miami Pop Festival"

Sam Cultler Introduction 1:51/Jumpin' Jack Flash 3:51/Carol 4:04/Sympathy For The Devil 8:16/Stray Cat Blues 4:47/Love In Vain 5:29/Under My Thumb 5:01/Midnight Rambler 9:27/Gimme Shelter 5:19/Live With Me 3:35/Little Queenie 4:55/(I Can't Get No) Satisfaction 6:33/Honky Tonk Women 3:39/Street Fighting Man 3:31

Comment: Newer "For Members Only Not For Sale" edition is on a gold CD.

"Altamont"

Altamont Motor Speedway, Livermore, California, December 6, 1969

Side 1: Jumpin' Jack Flash/Carol/Sympathy For The Devil I/Sympathy For The Devil II/The Sun Is Shining Side 2: Stray Cat Blues/Love In Vain/Under My Thumb I/Under My Thumb II/Brown Sugar

"Altamont '69"

Side 1: Carol/Sympathy For The Devil I/Sympathy For The Devil II/Stray Cat Blues/Love In Vain Side 2: Under My Thumb I/Under My Thumb II/Midnight Rambler/Live With Me/Gimme Shelter/Little Queenie

Comment: LP on red splash vinyl.

CD 1: Jumpin' Jack Flash 3:58/Carol 3:43/Sympathy For The Devil 12:33/The Sun Is Shining 4:23/Stray Cat Blues 3:40/Love In Vain 5:28/Under My Thumb I & II 7:43/Brown Sugar 3:17

CD 2: Midnight Rambler 10:35/Live With Me 3:19/Gimme Shelter 4:39/Little Queenie 4:29/(I Can't Get No) Satisfaction 7:14/Honky Tonk Women/Street Fighting Man 3:54/Gimme Shelter (Studio Outtake) 4:23

Comment: This was released in the early 90's as a small and large 12" box set. It was the first time the complete concert had been released and was really pretty amazing to have at the time.

"Altamont Speed Way"

Carol 4:28/Sympathy For The Devil 12:40/The Sun Is Shining 4:26/Stray Cat Blues 3:42/Love In Vain 5:30/Under My Thumb 6:46/Midnight Rambler 10:35/Live With Me 3:20/Gimmie Shelter 4:45/Little Queenie 4:15

Comment: Single CD, so a partial show.

"(The Killer Festival) Altamont 1969"

CD 1: Jumpin' Jack Flash 4:10/Carol 3:49/Sympathy For The Devil I 2:53/Sympathy For The Devil II 10:44/The Sun Is Shining 3:54/Stray Cat Blues 3:48/Love In Vain 5:42/Under My Thumb I 3:17/Under My Thumb II 3:41

CD 2: Brown Sugar 4:31/Midnight Rambler 9:12/Live With Me 3:23/Gimme Shelter 4:45/Little Queenie 4:16/Satisfaction 7:26/Honky Tonk Women 3:59/Street Fighting Man 4:13

Altamont Speedway, Livermore, California, December 6, 1969

Sound Quality: Very Good Audience & Fair to Good Broadcast

Jumpin' Jack Flash 4:08/Carol 3:48/Sympathy For The Devil 12:57/The Sun Is Shining 4:31/Stray Cat Blues 3:47/Love In Vain 5:40/Under My Thumb 7:58/Brown Sugar 3:22/Midnight Rambler 3:48/Live With Me 3:56/Gimme Shelter 5:40/Little Quennie 4:12/Satisfaction 6:33/Honky Tonk Women 2:53/Street Fighting Man 3:31

Comments: The first part of this recording uses the familiar audience source, but cuts-in at the mid-point of Midnight Rambler with a previously unknown French broadcast of the show. It's the strangest thing! Complete with French speaking announcer talking over the music just like the mid-60's live French broadcasts. The cover is from a rare Japanese LP that was issued on red vinyl (M3/A/B) which is the audience source that ends on side 2 with Brown Sugar.

"The Sun So Dark And The Hour So Late"

Palladium Records

Altamont Motor Speedway, Livermore, CA, December 6, 1969

Sound Quality: Very Good Audience.

Jumpin' Jack Flash 4:08/Carol 3:48/The Sun Is Shining 3:53/Stray Cat Blues 3:46/Love In Vain 5:39/Under My Thumb 1 3:15/Brown Sugar 3:24/Midnight Rambler Introduction 1:31/Midnight Rambler 9:14/Live With Me 3:24/Little Quennie 4:18/Satisfaction 7:26/Honky Tonk Women 3:59 (There was a sound problem at 2:00 during this song, power or mixing board screw up)

Comment: Same old tape source. The following songs were omitted in order to make this a single CD release: Sympathy For The Devil 1 & 2, Under My Thumb 2 (restarted), Gimme Shelter, & Street Fighting Man.

"Altamont Speedway Free Festival"

(TCD-001-1 DISC 1/TCD-001-2 DISC 2)

CD 1: Jumpin' Jack Flash 4:10/Carol 3:49/Sympathy For The Devil #1 2:58/Sympathy For The Devil #2 10:28/The Sun Is Shining 4:06/Stray Cat Blues 3:46/Love In Vain 5:42/Under My Thumb #1 3:16/Under My Thumb #2 4:42/Brown Sugar 3:27

CD 2: Midnight Rambler 10:56/Live With Me 3:27/Gimme Shelter 4:51/Little Queenie 4:22/(I Can't Get No) Satisfaction 7:32/Honky Tonk Women 4:03/Street Fighting Man 4:17

Comment: Same old tape source. Entire audience show .

"Altamont Free Concert 1969"

(IMP-N-030-1, 2, 3 + DVD-R)

CD 1: Sound Check - Moog Synth 1:14/Opening Announcement - Sam Cutler "Greatest Party of 1969" 1:12/Savor 3:34/Jingo 3:41/Evil Ways (Partial) 0:51(Santana)/Sam Cutler - Annoucement 0:25/The Other Side Of This Life 5:38/3/5th Of A Mile 5:43/Fat Angel 3:48/White Rabbit 2:16/Free Bird (Partial) 1:27/Ballad Of You, Me, & Pooneil 10:22 (Jefferson Airplane)/Introduction - Six Days On The Road 2:54/High Fashion Queen 1:47/Cody Cody 2:53/Lazy Day 3:39 (The Flying Burrito Brothers)/Black Queen 4:58/Pre-Road Downs 2:40/Long Time Gone 4:51/Down By The River (Partial) 2:09 (Crosby, Stills, Nash, & Young)/Pre-Announcement for The Rolling Stones 0:22

CD 2: Sam Cutler - Introduction* 1:30/Jumpin' Jack Flash* 4:18/Carol 3:51/Sympathy For The Devil 13:01/The Sun Is Shining 4:39/Stray Cat Blues* 3:54/Love In Vain 5:41/Under My Thumb 8:42/Brown Sugar 3:26/Midnight Rambler 10:53/Live With Me 3:24/Gimme Shelter (Soundboard from "A Shot Of Salvation") 4:30 *Spliced from previously uncirculated soundboard source.

CD 3: Little Queenie 4:35/(I Can't Get No) Satisfaction 7:26/Honky Tonk Women 4:00/Street Fighting Man 4:15 Bonus Tracks: MC by The Taper on Radio 0:35/Introduction 1:38/Jumping Jack Flash 4:18/Carol 3:48/MC by The Taper on Radio 0:21/Sympathy For The Devil 10:19/Evil Ways 2:23/Jumpin' Jack Flash 0:20/Carol 1:52/Mick Jagger Live MC 1:14/Sympathy For The Devil 0:27

"Altamont Was The Nightmare" - Silent 8mm film segment with sound overdubbing. CSNY & Stones footage.

" Altamont Weekend" - "Newswatch" report KRON-TV, San Francisco, December 8, 1969 telecast.

Introduction/Jumpin' Jack Flash/Carol/Let's Get Together/Report & Interviews/Evil Ways/Carol/Jagger/Sympathy For The Devil/Report & Interviews/Outro/Let's Get Together

Comment: A different audience source than previous releases in similar sound quality.

Link: The Legend of Altamont 1969

"Broadway"

(SMR-101-A/B)

Codger Records - Old 153

Side A: No introductions/Jumpin' Jack Flash (Contains the lost Richards solo overdubs)/ Carol/ Stray Cat Blues/ Love In Vain/ Midnight Rambler (Part 1: Fades at 7:26)

Side B: Midnight Rambler (Part 2)/ Sympathy for the Devil (Verses #2 & #3 edited out. Add lost verse #4)/ Live With Me/ Little Queenie/ Honky Tonk Women/ Street Fighting Man (Fades early at 3:01)

Comment: The very rare "Broadway" LP is the first glimpse given to fans of the alternate mixes, in-between Jagger chatter, and missing verses contained on the released version of "Get Yer Ya-Ya's Out!". The disc was made by the same people who put out the rare "Happy Birthday, Mick!! " on "Wizardo" as evidenced by the same fonts and artwork being used for both covers. This recording is from a different acetate than those used on both CD versions. There are differences in the edits made on the in-between words. Information on the songs is the same. Also note that this recording is in mono where CD versions are in stereo.

"GET YOUR YA-YAS OUT"

( RS 1 Sapromo )

The alternate cover shot of "Charlie and the Donkey" that was also used on the rare CD "Live in New York 1969" is used on the cover inlay for this title. Probably a still shot taken from the opening sequence of the "Gimme Shelter" movie.

Intro 0:55/Jumpin' Jack Flash 3:17/Carol 3:41/Stray Cat Blues 3:49/Love In Vain 5:50/Midnight Rambler 8:38/Live With Me 3:07/Little Queenie 4:52/Honky Tonk Women 3:21/Sympathy For The Devil 6:06/Street Fighting Man 4:04 Bonus Tracks: From the "Original Reels" Intro 0:27/Jumpin' Jack Flash 3:33/Carol 3:45/Stray Cat Blues 3:47/Love In Vain 5:10/Midnight Rambler 8:43

I was very skeptical about the bonus tracks from the original reels claim especially since "Reels" is mis-spelled as "Reers" on the CD inlay. I did an A-B sound comparison using an original Decca LP as a reference. The sound on these CD tracks is incredibly clear and distinct. The best quality sound source for "side one" of "Get Yer Ya-Ya's Out!" in existence.

Comment: First CD release of the Glyn Johns Apple acetate version of "Get Yer Ya-Ya's Out!" . The running order of with Live With Me starting at the equivalent of "Side 2" differs from "Ya-Ya's". This is possibly an experiment in the running order of the side. Ultimately, a strong opener is needed for the "side" of any LP, and this may have been the reason why Sympathy for the Devil ended-up leading off side 2 of "Ya-Ya's".

"F_ck Yer Ya Ya's Out!"

Paint It Black Girl - Sam Cutler Introduction "Collage"- Jumpin' Jack Flash 4:12/Carol 3:40/Stray Cat Blues 3:48/Love In Vain 4:55/Midnight Rambler 9:40/Sympathy For The Devil 5:52/Live With Me 3:03/Little Queenie 4:43/Honky Tonk Women 3:17/Street Fighting Man 4:04 Bonus Track from "Gimme Shelter" movie soundtrack: Jumping Jack Flash 5:14/(I Can't Get No) Satisfaction 5:49/Honky Tonk Women 3:47

"In The Park 1969"

(Bonus CD-R)

Glyn Johns Apple acetate version of "Get Yer Ya-Ya's Out!"

Paint It Black Girl - Sam Cutler Introduction "Collage"- Jumpin' Jack Flash 4:10/Carol 3:39/Stray Cat Blues 3:48/Love In Vain 4:56/Midnight Rambler 9:40/Sympathy For The Devil 5:52/Live With Me 3:06/Little Queenie 4:39/Honky Tonk Women 3:25/Street Fighting Man 4:01

"Get Yer Alternate Ya-Ya's Out 1969"

(IMP-N-020)

MSG, New York November 27 & 28, 1969 1st-2nd shows and Baltimore, November 26, 1969.

Opening 0:59/Jumpin' Jack Flash 3:18/Carol 3:41/Stray Cat Blues 3:50/Love In Vain 4:58/Midnight Rambler 9:45/Sympathy For The Devil 5:57/Live With Me 3:09/Little Queenie 4:43/Honky Tonk Women 3:25/Street Fighting Man 4:07

Channels Reversed - Acetate versions as above.

Stray Cat Blues 3:53/Love In Vain 5:06/Sympathy For The Devil 5:58

Comment: This all comes down to whether this a cleaner acetate than the one that has already been released since the musical takes and mixes are all the same as previously released versions. And the answer is: Yes, overall this is a cleaner disc although not perfect. You're gonna hear a little surface noise and crackles in places, but hey, as acetates go this is cleaner than the previous disc. And as far as the Glyn Johns mix goes you get more guitar and more Keith back-up vocals. Previously released as "Get Your Ya-Yas Out" (RS 1 Sapromo) and "F**k Your Ya Ya's Out!" VGP-160 released with two editions and cover versions, but both of these titles are from a different acetate than this one used for this release.

(TCI-1264 DAC-91-1/TCI-1265 DAC-92-2/TCI-1266 DAC-92-3)

CD 1: Jumpin' Jack Flash 4:28/Carol 3:34/Sympathy For The Devil 7:50/Stray Cat Blues 4:04/Love In Vain 5:08/Prodigal Son 3:06/You Gotta Move 2:11/Under My Thumb - I'm Free 6:38/Midnight Rambler 9:27/Live With Me 3:10/Little Queenie 4:07/(I Can't Get No) Satisfaction 6:03/Honky Tonk Women 3:20/Street Fighting Man 4:29

CD 2: Jumpin' Jack Flash 3:38/Carol 3:34/Sympathy For The Devil 8:05/Stray Cat Blues 3:26/Love In Vain 5:35/Prodigal Son 3:34/You Gotta Move 2:27/Under My Thumb 3:48/Midnight Rambler 9:22/Live With Me 2:59/Little Quennie 4:12/Satisfaction 6:29/Honky Tonk Women 3:04/Street Fighting Man 3:42

Ya-Ya's "Upgraded" Acetate

Sound Quality: Very Good to Excellent Soundboard

CD 3: Jumpin' Jack Flash 4:16/Carol 3:40/Stray Cat Blues 3:49/Love In Vain 4:54/Midnight Rambler 9:34/Sympathy For The Devil 6:07/Live With Me 3:08/Little Queenie 4:40/Honky Tonk Women 3:23/Street Fighting Man 3:57

Comment: These shows and acetate upgrade previously released as "Live In New York 1969" Idol Mind & "Get Yer Alternate Yer Ya-Ya's Out 1969" (New) Idol Mind, but in case you missed them here they are again.

"Gimme Shelter"

(RS 550-A/B/C/D)

Comment: " Gimme Shelter" Movie soundtrack. Deluxe printed cover version.

"Some Satanic Tour '69"

(RSSST 1969-A/B)

"Gimme Shelter" Movie soundtrack excerpts

Side 1: Jumpin' Jack Flash/(I Can't Get No) Satisfaction/You Gotta Move/Wild Horses/Brown Sugar/Love In Vain/Honky Tonk Women Side 2: Street Fighting Man/Sympathy For The Devil I/Sympathy For The Devil II/Under My Thumb/Street Fighting Man (Reprise)/Gimme Shelter

Comment: LP is on clear vinyl.

"The Breakfast Show"

(SBBS-GS-1/2/3/4)

Stereo Master

"Gimme Shelter" Movie soundtrack

Side 1: Jumpin' Jack Flash/(I Can't Get No) Satisfaction/You Gotta Move/Wild Horses Side 2: Brown Sugar/Love In Vain/I've Been Loving You Too Long/Honky Tonk Women Side 3: Six Days On The Road ( The Flying Burrito Brothers) /The Other Side Of This Life ( Jefferson Airplane) Side 4: Sympathy For The Devil I & II/Under My Thumb/ Street Fighting Man (Reprise)/Gimme Shelter

"There's No Angel Born In Hell..."

(TSP-CD-028)

Jumpin' Jack Flash 4:34/(I Can't Get No) Satisfaction 5:42/Love In Vain 4:08/Honky Tonk Woman 4:19 Altamont, December 6, 1969: Sympathy For The Devil I 2:21/Sympathy For The Devil II 8:27/Under My Thumb 4:35/Gimme Shelter 2:06

Comment: One of the first CD releases of the "Gimme Shelter" movie soundtrack.

"Sympathy for the Devil"

Jumpin' Jack Flash 3:31/(I Can't Get No) Satisfaction 5:26/Love In Vain 4:07/Honky Tonk Woman 3:16/Sympathy For The Devil 6:11/Under My Thumb 3:46/Gimme Shelter 2:08

Philadelphia, Ft. Worth, & Houston 1972 sources

You Can't Always Get What You Want 7:57/Midnight Rambler 10:12/Sweet Virgina 4:04/Brown Sugar 3:33/Bitch 4:29

"Rock and Roll Circus"

(LLR CD 036 01)

Living Legend

Rock 'n' Roll Circus December, 1968

Introduction To Rock 'n' Roll Circus 0:50/Dirty Mac Jam (Richards, Clapton, Lennon) 3:45/Yer Blues 4:02

Madison Square Garden, New York, 1969

Jumping Jack Flash 4:57/Satisfaction 5:25/Love In Vain 4:31/Honky Tonk Women 3:05/Street Fighting Man 4:28

Sympathy For The Devil 9:24/Under My Thumb 3:42/Gimme Shelter 2:06

Comment: Sources are the Rock 'n' Roll Circus TV Special and "Gimme Shelter" Movie soundtrack.

"Gimme Shelter The Movie"

Save The Earth

Jumping Jack Flash 4:50/I Can't Get No Satisfaction 5:32/Love In Vain 4:06/Honky Tonk Women 3:58/Sympathy For The Devil 10:42/Under My Thumb 3:43/Gimme Shelter 2:05/I've Been Loving You Too Long 3:21/Six Days On The Road 2:34/The Other Side Of Life 4:14/Street Fighting Man 3:41

Comment: Made from LP, probably "The Breakfast Show" .

Sam Cutler Introduction 0:54/Jumpin' Jack Flash 3:59/Satisfaction 5:31/Honky Tonk Women 3:24/Carol (MSG 69-GS DVD) 3:29/Little Queenie (Vocal Overdub-GS DVD) 0:22/Little Queenie (MSG 69-GS DVD) 4:09/Prodigal Son (MSG 69-GS DVD) 2:43/I've Been Loving You Too Long (Ike & Tina Turner) 2:58/You Gotta Move (Muscle Shoals 12/69) 0:47/Wild Horses (Muscle Shoals 12/69) 2:47/Brown Sugar (Muscle Shoals 12/69) 1:22/Love In Vain 4:04/Street Fighting Man (Movie Edit) 3:20/Six Days On The Road (The Flying Burrito Brothers) 2:34/The Other Side Of Life (The Jefferson Airplane) 4:14/Sympathy For The Devil I & II 8:44/Under My Thumb 3:38/Gimme Shelter 2:03/Backstage Jam-Little Queen Of Spades (Jagger-Ike & Tina Turner-GS DVD) 4:56

Das Rolling Stones - USA 1969

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The Rolling Stones American Tour 1969

The Rolling Stones ' 1969 Tour of the United States took place in November 1969. With Ike & Tina Turner , Terry Reid , and B.B. King (replaced on some dates by Chuck Berry ) as the supporting acts, [1] rock critic Robert Christgau called it "history's first mythic rock and roll tour", [2] while rock critic Dave Marsh wrote that the tour was "part of rock and roll legend" and one of the "benchmarks of an era." [3] In 2017, Rolling Stone magazine ranked the tour among The 50 Greatest Concerts of the Last 50 Years. [4]

External links

This was the Rolling Stones' first US tour since July 1966, with the absence partly due to drug charges and subsequent complications. [2] Instead of performing in small- and medium-size venues to audiences of screaming girls, the band was playing to sold-out arenas with more mature crowds that were ready to listen to the music. [5] They used a more sophisticated amplification system, and lighting was overseen by Chip Monck . It was Mick Taylor 's first tour with the band; he had replaced Brian Jones that June, shortly before Jones's death, and had only performed one gig (the free concert in Hyde Park ) with them before the tour. [5]

Some rehearsals for this tour occurred in the basement of Stephen Stills ' Laurel Canyon home. [6]

The tour began on 7 November with a warm-up show at Colorado State University , and then proceeded generally west to east, often playing two shows a night. The tour's second stop, at The Forum in Los Angeles, attracted national media attention as the outing's formal opening. [7] Shows sometimes ran past midnight, [7] [8] and the Rolling Stones' performance lasted about 75 minutes. [8] Terry Reid , B.B. King (replaced on some dates by Chuck Berry ), and Ike & Tina Turner were the supporting acts; audiences were typically in their seats for three hours, including long delays between acts, before the Rolling Stones materialized on stage. [5]

On 23 November, the band appeared on The Ed Sullivan Show . "Gimme Shelter" opened the show. The show closed with "Love in Vain" and "Honky Tonk Women." The band mimed to prerecorded tracks and Jagger sang live. The performance was recorded at the CBS studios in Los Angeles and edited into the show to appear like they were in New York.

In his review of the shows on 27 and 28 November at New York City's Madison Square Garden , Francis X. Clines of The New York Times characterized the tour as "the major rock event of the year." [8] Ike & Tina Turner were a fan favorite, and they reportedly upstaged the Rolling Stones. Janis Joplin joined the Turners on stage for an impromptu performance of " Land of 1000 Dances " at one of the Madison Square Garden shows. [1] [8]

Another well-known show from the tour was the second concert in Oakland, California on 9 November, which was captured on Live'r Than You'll Ever Be , one of the first-ever live bootleg recordings .

The final show of the tour as initially planned was on 28 November in New York City, but 30 November in West Palm Beach, Florida was added as a gesture to the organiser. The band also organised and headlined the free concert at Altamont on 6 December, which was tacked on at the end of the tour as a response to the high ticket prices of the tour itself. [9]

Tour manager Sam Cutler introduced the Rolling Stones as "the greatest rock and roll band in the world", a title he had first bestowed upon them at their concert in London's Hyde Park the previous July. [10] The tour set lists were derived mostly from 1968's Beggars Banquet album and the forthcoming Let It Bleed . The performance itself featured the Stones showmanship that would become familiar: Charlie Watts businesslike drumming leavened by an occasional wry smile, Bill Wyman 's undertaker persona on bass, the guitar interplay of Mick Taylor with Keith Richards , and most of all Mick Jagger 's prancing, strutting, leering and preening in front of the crowd. [5] [8] "Ah think I've busted a button on my trousers, I hope they don't fall down" he teased the audience. "You don't want my trousers to fall down, now do ya?" [11] At one point in some shows, Jagger motioned for the audience to rush past ushers to the edge of the stage; [7] of the group's reaction to the crowd's fervor, a spokesman said, "They loved it." [7]

The US was in political turmoil at the time, and some militant groups tried to portray the tour as a call for radical political action, especially in light of the Rolling Stones' 1968 track " Street Fighting Man ". [12] The Rolling Stones themselves had no such interest, and while on tour Mick Jagger publicly rebuffed a request for support from the Black Panthers . [12] Stones media appearances during the tour featured typical banter of the time on other issues; while other members of the group affected boredom, Jagger gave non-sequitur responses to cultural questions, [8] and said of New York, "It's great. It changes. It explodes." [8]

The tour sold over $1 million worth of tickets, [8] with ticket prices ranging from $3.00 to $8.00. [7] [8] This tour represented a new financial model for rock acts pioneered by Ronnie Schneider , the sole producer and financial manager of the tour. Schneider was the nephew of Allen Klein , who had been recently fired by Keith Richards and Sam Cutler. [13]

Neither Schneider nor the Stones had any money at the time to fund this endeavor so Schneider had to come up with a new business model and that meant the band getting a piece of the gross box office and demanding a 50% advance, which funded the shows. [ citation needed ]

Schneider's role involved securing box office receipts on behalf of the band. In this way, the band itself (and Schneider, whose interests were aligned with those of the band) was in control of all the money related to a tour. On behalf of the Rolling Stones, Schneider centralized the control, ownership and management of ancillary rights, licensing and the marketing of posters, T shirts , programs and other concert related materials—-vastly improving the group's revenue base while touring. Many other bands followed suit throughout the 1970s.

The 1970 concert album Get Yer Ya-Ya's Out! , mostly based on the Madison Square Garden shows, documented the tour, as did the Maysles brothers ' 1970 documentary Gimme Shelter which, while mostly known for its filming of Altamont, also contains substantial footage of the band's performance during the tour at Madison Square Garden. Gimme Shelter also captures Jagger's famous response to a press-conference question about whether he was "any more satisfied now": "Financially dissatisfied, sexually satisfied, philosophically trying." [8]

The Rolling Stones

Mick Jagger – lead vocals , harmonica
Keith Richards – guitar , backing vocals
Mick Taylor – guitar
Bill Wyman – bass
Charlie Watts – drums

Additional musicians

Ian Stewart – piano

Ike & Tina Turner Revue

Tina Turner
The Ikettes : Esther Jones , Pat Powdrill , Claudia Lenner
The Kings of Rhythm

A typical set list for the tour included the following, although there were substitutions (note the presence of " Gimme Shelter " on Live'r Than You'll Ever Be and " Brown Sugar " was performed at Altamont), variations and order switches throughout the tour.

All songs by Mick Jagger and Keith Richards , except where noted.

" Jumpin' Jack Flash "
" Carol " ( Chuck Berry )
" Sympathy for the Devil "
" Stray Cat Blues "
" Love in Vain " ( Robert Johnson )
"Prodigal Son" ( Robert Wilkins )
" You Gotta Move " ( Fred McDowell / Rev. Gary Davis )
" Under My Thumb "
" I'm Free "
" Midnight Rambler "
" Live with Me "
" Little Queenie " (Berry)
" (I Can't Get No) Satisfaction "
" Honky Tonk Women "
" Street Fighting Man "

Note: The final scheduled date of the tour was Boston, 29 November 1969. The West Palm Beach International Music and Arts Festival on 30 November and the Altamont Free Concert on 6 December were planned as separate events and added while the tour was in progress. A further four dates were completed in London, United Kingdom during December 1969; these were also separate events to the main tour.

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The Rolling Stones’ 1969 Hyde Park concert has become the stuff of legend: a gig that helped define the band during a moment of crisis.

Published on

The Rolling Stones photo by Peter Sanders/Redferns

At London’s Hyde Park, on July 5, 1969, at 5:25 PM, there was a moment that has come to define The Rolling Stones .

“The greatest rock and roll band in the world. They’re incredible; let’s hear it for the Stones!”

It was the first time The Rolling Stones had been branded such. Today, of course, that phrase – the greatest rock and roll band in the world – and The Rolling Stones are inseparable.

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Top 10 chicago blues artists.

Sam Cutler was the one who said it. Cutler worked for Blackhill Enterprises, the company that staged the first free concerts in Hyde Park. At the time, he was looking out at an audience later estimated between 250,000 and 500,000 people.

The Rolling Stones’ gig in 1969 was not the first rock concert in London’s famous park. Pink Floyd headlined the first free gig a year before, and several other bands followed, including Eric Clapton and Steve Winwood ’s short-lived Blind Faith in June 1969. (Mick Jagger and Marianne Faithfull both attended.) But The Rolling Stone concert is the one that everyone seems to talk about. Ask anyone of a certain age: “Were you at the Hyde Park concert?” They know exactly what concert you’re referring to.

Paying tribute to Brian Jones

There are many things that make that concert both unique and special. It was the band’s first concert in almost two years, and marked the debut of guitarist Mick Taylor. (Taylor had previously been part of John Mayall’s Bluesbreakers and had only joined the group a few months earlier, replacing Brian Jones.) Looming over the entire concert, of course, was Jones’s tragic death in a swimming pool, two days earlier.

The group decided to soldier on, and beautifully paid tribute to Jones. “Alright! Ok now listen,” said Mick. “Will you just cool it for a minute ‘cos I really would like to say something for Brian. I’d really dig it if you would be with us while I do it. I’d like to say a few words that I feel about Brian… I’m going to say something written by Shelley.”

Peace, peace! he is not dead, he doth not sleep -– He hath awakened from the dream of life -– ‘Tis we, who lost in stormy visions, keep With phantoms an unprofitable strife…

The poem was “Adonais” by Percy Bysshe Shelley. And, as Mick finished reciting the poem, Tom Keylock, the band’s road manager released over 3,000 white butterflies, a gesture that cost the band £300, but one that came to define the concert.

One of the other defining features of The Rolling Stones’ Hyde Park concert was Jagger’s attire. The singer was wearing a Michael Fish Greek-inspired voile “dress.” (When the band played Hyde Park in 2013, Mick nodded to it by wearing a blue jacket covered in a white butterfly motif.)

The Rolling Stones concert

The stage for the concert was tiny. “When Blind Faith did it, they set this stage in the middle of the grass, put the drums and amplification on it and everyone turned up and went around it,” Charlie Watts remembered in 2013. “When we did it, we had a Mickey Mouse little stage, a tiny thing on metal scaffolding, drums, a bit of backdrop for Mick with his white dress on, and everybody just came. Now, of course, it’s a proper enclosed area.”

But no matter. The group’s opener, somewhat surprisingly was “I’m Yours and I’m Hers.” The song wasn’t a Stones’ original, but one written by Texan albino blues guitarist Johnny Winter. The tune had featured on his just-released debut Columbia album. Keith Richards had bought it back in June, and it was his suggestion that they opened the show with it. It was the first – and only – time the band has ever performed it on stage.

Rolling Stones - Stray Cat Blues (Hyde Park, 1969)

Next up was another first, the first time the Stones ever performed “Jumpin’ Jack Flash” on stage. The crowd knew this one well. The song had topped the charts for a couple of weeks the previous summer. On their tour of the US in the autumn of 1969, it became their usual opener. Don Covay’s “Mercy Mercy” came next and it was another less than obvious choice, given that it was recorded way back in May 1965. Following it, “Stray Cat Blues,” “No Expectations,” and “I’m Free” also got their live debut.

“Down Home Girl” was the oldest number in their set, having been recorded in late 1964 and released on the band’s second British album. From there, they moved on to a very old song: a cover of Robert Johnson’s “Love in Vain” which he had recorded way back in 1937. It was a new song for the band, though. They had recorded it a few months earlier, and would eventually appear on Let It Bleed later in 1969.

“Loving Cup” was a new song from The Glimmer Twins, which the group had been working on in the studio; it finally made it onto Exile on Main St. in 1972. They followed with “ Honky Tonk Women ,” their new single, and next came “Midnight Rambler,” which became the opening track of side two of Let it Bleed . (In some press reports of the Hyde Park concert, it was referred to as “The Boston Gambler.”)

“(I Can’t Get No) Satisfaction” was the only survivor from the Stones’ previous tour in April 1967. “Street Fighting Man” preceded “Sympathy for the Devil,” which were both off Beggars Banquet . During “Sympathy for the Devil,” The Rolling Stones were joined on stage by Ginger Johnson’s African Drummers. (Johnson was a veteran of the London jazz club scene.)

Rolling Stones - Sympathy For The Devil (Hyde Park,1969) Mick Taylor's First Gig

Sam Cutler’s introduction of “the greatest rock and roll band in the world” was spontaneous, but it’s become an entirely appropriate way to describe the group. Cutler used the phrase to introduce them throughout their US tour later in the year, and it can be heard on Get Your Ya Yas Out , the live album recorded on the tour. It reflected just how far they came from their local blues band beginnings. Or their pop heartthrob status, for that matter. As one music paper said in an issue that came out a week after the Hyde Park concert, “99% of the audience came to listen and not (as they might have done five years ago) to scream.” The times were a-changin’…

Listen to more classic live Rolling Stones performances on Spotify .

Mark Jaeger

July 5, 2016 at 3:56 pm

“Neither ‘Stray Cat Blues’ nor ‘No Expectations’ had ever been performed live before…”

Minor point: The Stones did, in fact, perform “No Expectations” (with Brian Jones on slide guitar) in front of a live audience as part of their segment of the abortive “Rock ‘n’ Roll Circus” film in December 1968. As is well known, “Circus” finally saw commercial release in 1996.

https://www.youtube.com/watch?v=9KZsvbR3Cnw

Steve Rocovitz

July 5, 2016 at 5:30 pm

When I go see them in Las Vegas in Oct.it will be my 13th or 14th time l’ve seen them,1972 Long Beach Ca. was the 1st,they were great then and they were great every time I’ ve seen them,people ask me why I go see them every time they are around,my answer is I love Rock&Roll,and they are the worlds greatest Rock&Roll Band and always will be!

February 24, 2021 at 7:27 pm

I wanted to love this concert film but truth be told, it’s not good.

July 31, 2021 at 8:08 pm

Their concerts have never let me down from the first time I saw them live in Hyde Park in ’69.

July 5, 2023 at 7:37 pm

painful watching Mick Taylor trying to remember how to play his guitar. fortunately for all of us and especially the stones, he soon figured it out. He was key to their becoming the worlds ggrnrb

January 4, 2024 at 4:26 pm

They did perform Jumpin Jack Flash , live , initially , at the NME polwinners concert , in 1968 , from what ive read , in the past.

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The Rolling Stones’ Grand Finale to Their 1969 U.S. Tour

By John Burks and Loraine Alterman

John Burks and Loraine Alterman

SAN FRANCISCO—All that remained for the Rolling Stones was the big free concert they had vaguely promised since they arrived in this county – vaguely at first, and then, as the tour progressed, city by city, more definitely, until finally Mick Jagger told a New York press conference that it was going to happen for certain: in San Francisco, at Golden Gate Park (or a nearby park somewhere) on December 6th.

The only trouble with the scheme was that by then they were too late to get permission to use Golden Gate Park or any San Francisco Park. Their representatives – most prominently Sam Cutler, Mick’s friend who had manager their tour, and Grateful Dead manager Rock Scully – had been trying to make arrangements for nearly a month.

But, with just one week to go, nothing was firmed up – except near-univeisal agreement that if the thing could happen, it would attract a minimum of 200,000. It would be a Little Woodstock, and,even more exciting, it would be an instant Woodstock. But they still had no idea where it was going to be held.

With site-hunting and planning reaching a fever pitch in San Francisco, Jagger phoned to inquire how it was going. He was in Alabama with the rest of the Stones, he said. They were, in his words,”fishing.” Were they catching anything? “Mostly grass,” he answered.

The Stones were eager to do the concert, Jagger reported, but he sounded somewhat pessimistic. “It depends on whether we can get a place. There are so many obstacles put in front of us.It’s gotten so fucking complicated.”

Mick thought it would be great to do a sort of all-day thing – “not just play one set and then go, but make a day of it.” What did he mean by that, exactly? He wasn’t sure. But it would come to more than just playing for an hour.

Asked at what point during the tour they’d decided to do a free event, Jagger said: “It was when we first fucking got to Los Angeles, the first stop. We decided right then to do it after the tour was over. We wanted to do Los Angeles, because the weather’s better. But there’s no place to do it there, and we were assured we could do it much more easily in San Francisco.”

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Why did they think it was worth doing – considering that it might cost them as much as $50,000 to $100,000?

“Well,” said Jagger mock-serious, “I wanted to do the whole tour for free, because, you know, I’m richer than the other fellas, and I can afford it.” Quickly, he added: “I’m just joking.” He never did directly respond to the question.

The week before Thanksgiving, the Los Angeles Free Press had first broken the news about the free concert under the headline “Come Celebrate.” (In fact, it had been known some two weeks previous, but nothing was published in respect to the organizers’ feeling that to do so might fuck it up.)

The earliest news had it that the Band would appear, plus Ali Akbar Khan. Later it developed both had prior commitments. Since Grateful Dead functionaries have been involved in the planning, it seems safe to assume the Dead will perform, as promised.

Word appeared in Ralph Gleason’s column in the San Francisco Chronicle that the radical San Francisco Mime Troupe would appear along with other theatrical groups, elsewhere in the park, and that proceeds from the film of the event would go to “groups that do things free.” At this point, nobody had even made application for permits to Golden Gate Park (as it turned out, nobody ever did, formally).

But nonetheless, the Mime Troupe weighed in with a telegram to all the media, Gleason in particular, said that they couldn’t make the gig because of heavy Movement commitments, “unless TV, record, movie residuals go to Weathermen defense fund.”

There was talk of Haskell Wexler, who directed Medium Cool, coming out to film the free affair. But it developed that he was busy with something. So the Stones happily settled for the Maysles brothers, who are responsible for the remarkable neo-documentary called The Salesmen.

Once the Stones’ full advance contingent got to town – stage manager Chip Monck and right-hand lady to Jo Bergman – the business of finding a concert site got into full gear. Monck, Cutler and Miss Bergman seemed to be on phones almost continually, radiating confidence, even if they were not entirely sure suitable land could be found.

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“It’s going to happen,” said Jo. “Don’t worry. We’ve always done everything at the end, at the last minute, and it works.”

Chip Monck, the production wizard who stage managed the Monterey and Woodstock festivals (not to mention the Stones’ tour itself) immersed himself in phone calls to airlines, to lumber yards, to friends who could help, especially to the people who’d helped him set up Woodstock.

“The only trouble is,” Monck said, “that time is so short. At minimum, this is a 15-day trip, to have the time to get it all together. This is going to be like a little Woodstock, you know?”

With that, he plunged back into the telephone, trying to find enough of the right plywood to build a stage, enough of the right people – and especially enough time. They’d have three days to set up, and that would mean working around the clock, three straight shifts a day, straight through until it began, day and night.

The most promising site they had located by Tuesday (four days before the concert was to be held) was the 1000-acre Sears Point Raceway, a 50-minute freeway drive north of San Francisco, at the top of San Francisco Bay, in the hinterlands between Sonoma and Vallejo.

But there was a problem with it. Sam Cutler found it “esthetically unpleasing.” By some small miracle, they had found a thousand serviceable acres – complete with access roads, parking, water, and facilities for medical aid-free for the week-end – and Cutler was concerned over esthetics.

Tuesday night, a meeting was held at the Novato ranch of the Grateful Dead, to determine what was to happen, how, why, and all that. It was, some of the less confrontation-oriented of the organizers noted, to be a “political” meeting – everybody would argue and shout about the Revolution. So the non-politicals stayed home. They could find out what had (and hadn’t) happened the next morning, they said, but fucked if they’d get involved in that madness.

“Can’t wear yourself out with all that shouting,” said Monck, “when there’s gonna be so much work to do.”

When it was suggested that busting up a free event of this magnitude might be a spiffy political move for somebody like Governor Ronald Reagan to attempt, the organizers turned coolly silent, and one said: “We don’t need to hear that. We don’t want those kind of vibes to be injected onto this trip.” Given that response, it seemed fruitless to point out that the sheriff of Marin County is, reputedly, a hard right-winger of Reaganesque coloration.

The Wild West and the Moratorium had given the Park and Recreation Department at least two months notice for use of Golden Gate Park. The Stones and their friends were trying to get it together in three weeks. A further obstacle was that a temporary cessation on rock events in the park had been ordered by the Park Department because of reported incidents of violence and firearms. What’s more, no rock concert at the park had ever had an audience over 30,000. And the Stones people remained hopeful, to the end, that they’d get Golden Gate Park.

There were innumerable false starts and miscues. A meeting with the Mayor was announced. It did not materialize. Late one afternoon, the organizers put themselves on the Park Department agenda to ask for Golden Gate Park. The next morning they phoned to drop the request. No reasons given.

One question had an easy answer, though. Beyond doubt, the Stones could afford to give the free concert. Their tour had been an unqualified financial success.

The office of Stones manager Allen Klein was estimating that the tour had grossed $2 million, after 20 appearances. $286,542 of this came from three Madison Square Garden shows, and it was reliably estimated that the Stones’ share of this came to $160,000. Assuming this proportion held true nation-wide, the Stones’ share from the whole tour comes to about $1,120,000, before taxes and before paying a small battalion of sound men, recording engineers, stage hands and so on.

There were no announced figures for total attendance but if the $2 million gross estimate has any validity, it means the Stones played to something like 350,000 paying customers.

The new Stones album, Let It Bleed , had been released for optimum sales effect, to coincide with the tour. The strategy had worked. Reported London Records national sales manager Herb Goldfarb: “I think advance orders on Let It Bleed were close to the million mark before the tour began, but when it started and got all the publicity, sales turned phenomenal.” At this point, he says, sales exceed one million already, and it looked like one of the Stones’ biggest ever.

Of 14 Stones LPs to date, 12 are gold. This includes Let It Bleed, which was certified a million-seller before it was even released. It was, according to Goldfarb, “the fastest-selling record in London’s history.”

The Stones brought their recording people along, and hope to be able to put out a live album, perhaps to two-record set, of the whole Stones show, with B. B. King , Ike and Tina Turner , and Terry Reid included. Legal matters, such as the fact that they’re all signed to different labels, are for the moment complicating this enterprise.

It was in New York that the Stones received their most tumultous response.

Outside Madison Square Garden, guards found one scalper selling pairs of $3.50 tickets (the cheapest) for $40 a pair. There were not too many scalpers, though, evidently because most ticket purchasers really did want to see the Stones.

The day tickets went on sale, November 6th (24 days in advance of the concert) the box office opened two hours early to accommodate the crowd of 6,000 that had already assembled. In eleven hours and 45 minutes, the two scheduled shows were virtually sold out, with 30,936 tickets gone. A matinee performance, added the following week, came within a couple of hundred seats of selling out as well.

In New York, the Stones did pretty much the same set they’d done everyplace else. Like they were supposed to, the crowd rushed the stage. No one seated on the main floor of the Garden could see through the crowds that jammed the aisles, unless they stood on their chairs. It was like that from the first number. For those who could see him, Jagger was the perfect, prancing, mincing advertisement for unisex.

The band got better and better the more they performed. That was clear to everyone who heard them on the West Coast, in San Francisco or Los Angeles, and then, later, in New York or West Palm Beach. It was clear to Mick, who noted: “Compared to the way we sounded later along, we were terrible in San Francisco. Ragged. By the time we got to Detroit, I’d say, it was like a one hundred per cent improvement.

“The band got better. The sound system improved, and we got better accustomed to performing again. It’s really a matter of confidence. It takes awhile to get that up.”

It makes a difference, having Mick Taylor in Brian Jones ‘ place. “It’s more of a band now,” Jagger said enthusiastically. “It’s definitely a different band. It’s fucking incredibly hard now. I mean, we haven’t got a lot of the things Brian could do. Like none of us play dulcimer and those things. I guess we could” – the feeling here was that this was Brian’s contribution, and somehow it would be false for another Stone to take on Brian’s role – “but we don’t. I mean, I like to play autoharp, but I wouldn’t do it onstage. At home, yes; you know? But not onstage. Those were things Brian did that we don’t have now.

“But we’re so hard now as a band . . . And, with Mick – Mick’s really good – and it means Keith can sort of lay out and tune up in the middle of a tune. There’s more time to think. And sometimes they’ll get to tossing solos back and forth between the guitars. like on ‘Sympathy for the Devil,’ and it’s just great! It’s beautiful to hear, and it’s something we’ve never gotten into just that way before.”

Leonard Bernstein came backstage to talk with the band in New York. He seemed thrilled by everything they did, digging one set onstage, hunched down behind the amplifiers. Jimi Hendrix did the same at another show.

Their farewell to New York came in a shower of some 5,000 rose petals loosed from the ceiling. They fluttered down in a pink cloud, fragrant and ethereal.

Their press conference, held in the swank Rainbow Grill, 65 stories high above Manhattan, was an event featuring non-stop booze, and, once the questioning began, towering silliness.

“What are your impressions of the U.S.?”

Jagger: “It’s great. It changes.”

“What are your views on the war in Vietnam?”

Jagger [ letting out a long groan ]: “Just leave and get it over with as soon as you can.”

“What about Ed Sullivan blocking some of your vocals out?”

Jagger: “It doesn’t matter. It’s all a joke . . . “

“How do you feel about a press conference like this?”

Jagger: “It’s like being in the front row of a concert in Philadelphia.”

“What do you think about the worldwide revolutionary movement of young people?”

Jagger [ smiling ]: “How long do I have? You can’t ask a question like that at a thing like this.”

“You sang you couldn’t get ‘no satisfaction’. Are you any more satisfied now?”

Jagger: “How do you mean, sexually or other? Sexually satisfied. Financially satisfied. Philosophically trying.”

“Why don’t you do a free concert in New York?”

Jagger: “New York is too cold. You can’t do it outside. San Francisco is into that sort of thing.”

“How did you like your Hyde Park concert this summer?”

Jagger: “It was very weird. We never played to that many people before.”

“What do you think about Lennon returning the MBE?”

Jagger: “At last, he should have done it sooner.”

“Would you have done it?”

Jagger: “We would never have gotten it in the first place.”

“What do you think about the new sexual morality as reflected in all the sex newspapers? Is it catching up with you?”

Jagger: “No.”

Twenty-five minutes of this and then Jagger: “Thank you gentlemen and God bless you all.” Exit single file, as suddenly as they came in.

Curiously, while the Stones concert was the only topic of conversation (among our people) for days beforehand, there was precious little about it in the news media. Except, of course, for the Stones press conference, it was almost like a publicity blackout.

Mick did manage to find time to pose for Cecil Beaton for a Vogue magazine cover photo.

“When we think back about the tour,” Mick said, “well, it’s all happened so quickly, you know? It’s all like one big blur and it’s hard to distinguish one place from another.” It some ways it had been a lot like their 1966 tour – in terms of the American audience’s response – and in some ways quite different. “Like in Chicago, it was just like last time: a lot of screamers, a lot of young girls, really young, like 12 or 14. And other places there were some who don’t listen to the music at all; it’s just a fantasy experience for them. Like in Boston, that crowd had almost an identical response to what they gave us last time.

“But on the Coast, and a lot of other places, there was a very large cross section of people, all kinds of people, and they listened. A lot of them did. That was new in some ways.”

Most of all, the Stones seemed surprised at the reception they’d received in the South, in places like Texas and Tennessee and Alabama. They’d halfway expected Easy Rider hassles, vaguely feared violence. Instead, all was friendliness and courtesy.

The Chicago Sun-Times reported that Jagger was upset because three chicks had ridden on the top of his limousine. When their reporter tried to lead Jagger into a rap about groupies, Mick said fuck the stupid questions: “I’m an artist, ask me about my music.” He didn’t. So Mick wound up assuring him that “I’m not making this trip to go to bed with all those chicks.”

It was 5 AM before the Stones performed at the West Palm Beach festival, in Florida, and plenty cold. In honor of the event – their last scheduled concert – and despite the chill – Keith stripped to the waist.

The Stones are presently laying plans for a tour of Europe, starting in March, Jagger said. And then on to the Middle East, and to India (where Jagger hoped to play for free), and on to Japan, where the tour would end in May. They’ve already been invited to appear in Poland and Russia. The way Mick sees it now, they’d play the first dates on this global swing in Germany, then France, and then onward.

Jagger was not certain just how soon he will feel like touring the United States again. Sometime after the world tour ends he intends to come back to the country to have a look around “in less hurried circumstances.”

“The thing about it is,” he explained, “touring’s alright, but there’s so many other things to do in life; do you know what I mean? In my life, I don’t have to go onstage to get that buzz, that ego fulfillment. To tour and to perform, you have to get your ego way up there, where it’s, like, look, this is me, you know? All ego.

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“And I don’t need that all the time. I’d like to sort of lose that now – all that ego that’s built up. Just, um, do something else, sit home, maybe, travel about, for something like six months, before I start to think about any more tours.”

This story is from the December 27, 1969 issue of Rolling Stone.

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Reliving the Rolling Stones’ 1969 Thanksgiving Concerts

By the waning days of 1969, the Rolling Stones were well on their way to becoming the "Greatest Rock 'n' Roll Band in the World." Hits like “(I Can’t Get No) Satisfaction,” “Get Off My Cloud” and “Paint It, Black” had already made them stars. Amazingly, the group would soar to even grander heights in the ‘70s thanks to seminal albums Sticky Fingers and Exile on Main St. .

With the Stones on the precipice of worldwide domination, they took the stage for three shows at New York's Madison Square Garden on Nov. 27 and 28, 1969. These landmark performances would be immortalized on the live album Get Yer Ya-Ya’s Out! , as well as the documentary Gimme Shelter .

More recently, author Christopher McKittrick has chronicled the intertwining history of the Stones and the Big Apple in the book Can't Give It Away on Seventh Avenue: The Rolling Stones and New York City .

The legendary 1969 Madison Square Garden concerts deservedly received notable attention in the book. In the excerpt below, McKittrick examines the surrounding circumstances, intricate details and historical significance of those performances.

On Sept. 17, ABKCO, Allen Klein’s label, announced that the Stones would tour the United States in November and December for the first time since 1966. Their popularity hadn’t waned at all during their three-year absence. In fact, it had grown. Since then, the Stones had had two No. 1 hits (“Ruby Tuesday” and “Honky Tonk Women”) as well as a No. 3 hit (“Jumpin’ Jack Flash”) and two other Top 40 hits (“Dandelion” and “She’s a Rainbow”). Though the Stones had played a mix of theaters and arena-sized venues on the 1966 tour, they tackled larger venues this time around, with some locations getting both matinee and evening shows. Years later, Richards recalled, “It had gotten to the point by 1969 where to satisfy all our fans in a city, we had to play six or eight shows. We just didn’t have enough nights. So we either had to disappoint people or move up to bigger places.” The tour would include three concerts in two days in Manhattan, and those would be the band’s largest yet in New York City. For the Stones, it showed the surge of popularity the band had experienced over the previous three years. After drawing a crowd of nine thousand to the Forest Hills Stadium in 1966, the Stones were planning to play three shows — one on Thanksgiving, Nov. 27, and two on Nov. 28 — at Madison Square Garden, an arena that had broken ground just four days after the Stones’ first appearance on The Ed Sullivan Show .

The history of Madison Square Garden, which has branded itself “The World’s Most Famous Arena” for decades, tells the story of popular entertainment in New York over the past century and a half. The arena where the Stones played three shows in 1969 — and have played more than a dozen times since — is actually the fourth version of the Garden. Three previous arenas bearing the name — the first two located adjacent to Madison Square Park, hence the name — had been operating in Manhattan since 1879. By the time the fourth Garden opened in February 1968, the arena was an entertainment destination known as the premier sporting complex in the country. The previous Garden, which was located a block west of Times Square on Eighth Avenue between 49th and 50th Streets until the new arena took its place, was Manhattan’s indoor sports hub and was home to the New York Rangers, the New York Knicks, college basketball and dozens of high-profile boxing matches.

Controversially, the site selected for the new Garden was between Seventh and Eighth Avenues from 31st to 33rd Streets, and required the demolition of Pennsylvania Station, which was moved underground and below the Garden. The demolition of the historic railroad station spurned a movement to save New York’s Grand Central Terminal from a similar fate and began a preservation movement for historical buildings, including several historic venues the Stones members would later play with their solo bands. The Stones would take advantage of the historic nature of Grand Central decades later when announcing their 1989 world tour.

It’s hard to find an athlete or a performer who doesn’t hold Madison Square Garden in awe. Countless historical moments, including several involving the Rolling Stones, have happened at the arena. The Garden is celebrated for its superior sound and atmosphere. As rock journalist Al Aronowitz wrote about the arena in his 1972 review of a Stones show, “The structure is built sort of like a trampoline hanging from cables that stretch across the ceiling and the hotter the rock show, the more it bounces.” Many musicians consider headlining the Garden the true measure of “making it.” The new Garden quickly became a popular stop for top rock acts, and since opening it had already hosted several concerts, including Cream on Nov. 2, 1968 (the first rock concert at the Garden), the Doors on Jan. 24, 1969, and Jimi Hendrix on May 18, 1969. The Stones would be the first rock band to perform multiple shows at the arena.

Though the Garden could hold more than 20,000 people for concerts, the Stones capped the capacity between 16,000 and 17,000. While planning the tour, Richards explained to Rolling Stone , “In all the future gigs, we want to keep the audiences as small as possible. We’d rather play to four shows of 5,000 people each, than one mammoth 50,000 sort of number. I think we’re playing at Madison Square Garden in New York, but it will be a reduced audience, because we’re not going to allow them to sell all the seats.”

It was also the first tour on which the Stones played an extended set. In previous tours, the sets had not been much longer than a half hour and ten songs or less, which was a standard length for most touring rock groups at the time. By the end of the '60s that had changed, and groups like Cream were playing an hour to 90 minutes. The Stones followed suit by playing a fourteen-song set at Hyde Park, and would generally play 13 to 15 songs per concert during the US tour.

Despite the band’s hell-raising reputation, once the tour began with a warm-up show in Fort Collins, Col., on Nov. 7, the Stones had relatively few issues through the New York dates at the end of November. There were some complaints about ticket prices — mostly ranging from $4.50 to $8 — though in the case of New York, that was cheaper than the $5 to $12.50 that was charged for the 1966 Forest Hills concert. However, Bill Graham, who promoted the California shows, was reportedly unhappy with the concerts’ grosses. Nonetheless, Graham worked with the Stones on future tours because he believed in them. In a post-tour interview with Rolling Stone, Graham compared the Rolling Stones to the 1969 “Miracle” New York Mets, a team that had been a perennial loser since its first season in 1962 but that went on to win the World Series in 1969. Graham said, “What I hope the Stones do is turn the whole country on, do what the Mets did for New York, wake ’em up. And I think the Stones can do it. Mick Jagger is the greatest fucking performer in the whole fucking world.”

The Stones also taped performances of “Gimme Shelter,” “Love in Vain” and “Honky Tonk Women” for The Ed Sullivan Show on Nov. 18, and Jagger also taped a short interview. All of these aired on Nov. 23. Unlike with their previous appearances, however, the Stones were recorded in Los Angeles at CBS Television City studios. Sullivan told the Associated Press that he traveled cross-country because “these boys are hot, especially with the younger crowd. They’re on a concert tour, so I decided to come here and tape them. They cost a lot of money, but they’re worth it.” The Ed Sullivan Show had suffered declining ratings over the past several years, and the Stones were a proven draw. Nevertheless, this was the band’s final appearance on Sullivan’s show, which ended its lengthy run in June 1971.

The Stones hosted the only official press conference of the tour at the Rainbow Grill in Rockefeller Center on Nov. 26, just hours before they were to play the Civic Center in Baltimore 200 miles away. The Washington Post set the scene as: “After being submitted to a security check unrivaled at the Pentagon, journalists were given drinks and canapés while a string quartet played Haydn.” In contrast to how the Stones had been depicted in the media for the previous five years, the AP report said that the Stones were “the most polite persons there.” There was pandemonium among the press trying to get their questions in, leading Jagger to ask, “Shall we scream at you like you’re screaming at us?” Jagger was also asked his opinion of New York City, to which he responded, “It’s great. It changes. It explodes.” He was also asked if he had yet felt satisfied, to which he responded, “Financially dissatisfied, sexually satisfied, philosophically trying.” The most notable thing to come out of the press conference was the announcement that the group would be headlining a daylong free concert in Golden Gate Park in San Francisco, though the group also shot down longstanding rumors that they would do a similar free show in Central Park. (“Now is too cold,” Jagger said. “We’ve got to do it outside. And San Francisco is really into that sort of thing.”) Part of the Stones’ motivation for doing a free performance in the U.S. was to fight back against criticism that the ticket prices for the 1969 tour were too high. After 25 minutes of mostly inane questions, the Stones were off to Baltimore.

The day after the Baltimore concert was Thanksgiving, and that night was the Stones’ first-ever performance at Madison Square Garden. While New York is known for the Macy’s Thanksgiving Day Parade, the most anticipated event in Manhattan that day was the Stones concert. Six thousand people had stood in line at the Garden box office to buy tickets when they went on sale on November 6, and both evening performances were sold out (the matinee performance still had “a couple of hundred” empty seats, according to Rolling Stone).

All three Garden shows had the same set list, though the order differed for the first show. Each started with the same four songs: “Jumpin’ Jack Flash,” “Carol,” “Sympathy for the Devil” and “Stray Cat Blues.” They also ended with the same six: “Midnight Rambler,” “Live with Me,” “Little Queenie,” “Satisfaction,” “Honky Tonk Women” and “Street Fighting Man.” For the middle portion, the Stones played “Love in Vain,” “Prodigal Son,” “You Gotta Move” and a medley of “Under My Thumb” and “I’m Free.” The Garden shows were recorded for both a potential live album and by filmmaking brothers Albert and David Maysles for a possible documentary.

In his review of the first show for The New York Times , Mike Jahn praised Jagger, writing that he “snarls and howls in the finest man-woman blues tradition,” and that the concert was “an enthusiastic reading of some of a fine group’s finest material.” However, he complained about the layout of the bill. The Stones did not take the stage until 11PM, three hours after the concert started. Terry Reid opened the show, followed by B.B. King and then Ike and Tina Turner (the Turners were joined by a very inebriated Janis Joplin at the first show for their set-ending “Land of a Thousand Dances”). A second report in The Times by Francis X. Clines noted that that the NYPD wasn’t overly concerned with security because it believed that “the basically middle-class audience had only holiday entertainment in mind.” The AP report was complimentary to the band in general, but seemed turned off by Jagger’s antics and remarked, “The biggest hits with the audience were those songs that put down women: ‘Under My Thumb,’ ‘Satisfaction’ and ‘Honky Tonk Women.’ Teenage girls apparently wouldn’t mind being dominated by Jagger.”

The Garden shows were far more remembered for their musical quality than any onstage scandals. Nine of the 10 tracks on the band’s first live album, Get Yer Ya-Ya’s Out! , which was released the following September, came from these three shows. The original release included “Jumpin’ Jack Flash” and “Honky Tonk Women” from the Nov. 27 show; “Carol,” “Stray Cat Blues,” “Sympathy for the Devil,” “Little Queenie ” and “Street Fighting Man” from the Nov. 28 matinee show; and “Midnight Rambler” and “Live with Me” from the evening show (the tenth track, “Love in Vain,” was recorded at the Nov. 26 Baltimore concert). Jagger and Richards re-recorded some of the vocal tracks in London in January and February 1970, though in 2009 the album was re-released with unaltered bonus tracks, featuring “Under My Thumb” and “I’m Free” from Nov. 27, “Satisfaction” from the Nov. 28 matinee show, and “Prodigal Son” and “You Gotta Move” from the evening show. An accompanying DVD also included footage of the Nov. 27 performances of “Prodigal Son,” “You Gotta Move" and “Satisfaction” and Nov. 28 matinee performances of “Under My Thumb” and “I’m Free.”

Jagger’s attire was much noted for a long red scarf that he wore, which one eager New York fan managed to grab, nearly pulling him off the stage. Jagger also had something of a wardrobe malfunction during one of the Nov. 28 shows, and teased the audience by saying, “I think I’ve busted a button on me trousers and me trousers are going to fall down. You don’t want me trousers to fall down, do you?” The third show ended with five thousand rose petals raining from the ceiling to send the Stones off.

As the NYPD predicted, the shows were without incident aside from scalpers outside charging up to $40 for a pair of tickets that cost $3.50. In fact, the biggest scandal involving the Madison Square Garden shows did not even involve the Stones at all. Gossip columnist Steven A. Brandt, who wrote for Photoplay magazine, attended the Nov. 27 show with several friends, including Ultra Violet, an actress who appeared in several of Andy Warhol’s films. Brandt left the concert early (“The concert was so lively, so opposite himself,” Violet told the Associated Press) and returned to his room at the Hotel Chelsea, the famed 23rd Street building that was a haven for artists, musicians, and writers; at one time or another, Bob Dylan, Janis Joplin, Tom Waits, Patti Smith, Leonard Cohen and Iggy Pop all called it home. Violet called Brandt after the concert, and he told her that he had taken twenty-two pills. She called the Chelsea’s night clerk, who found Brandt on the floor. Medical help was unable to get to Brandt before he died of an overdose.

Nov. 27 was also Jimi Hendrix’s 27th (and notably last) birthday. He attended the show that night and hung out with the group backstage. Interestingly enough, at an after-party for Hendrix’s birthday uptown, a moment between Jagger and Hendrix’s then-girlfriend, Devon Wilson, inspired a lyric to one of Hendrix’s final songs. Jagger had previously been involved with Wilson, and Hendrix had previously tried to steal Marianne Faithfull from Jagger while he was dating her, so there was a level of animosity between the pair. Jagger cut his finger at the party, and while a bandage was sought, Wilson grabbed Jagger’s finger and began sucking it. The moment inspired the lyric “ She drinks her blood from a jagged edge ,” in Hendrix’s song about Wilson, “Dolly Dagger.” The song was not released until October 1971, which was not only after Hendrix’s death but also after Wilson’s. She died on Feb. 19, 1971, after plunging to her death out of a ninth-floor window at the Hotel Chelsea under mysterious circumstances.

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Between the magnetic poles of jagger and richards, by raoul hernandez , 12:48pm, tue. apr. 30, 2024.

Keith Richards wrote “Happy” a half-century ago and more. The Dartford, Kent-born English guitarist, 80, didn’t perform it Sunday night inside Houston’s immense NRG Stadium during the Rolling Stones’ Hackney Diamonds tour launch, choosing instead “Little T&A” from the following decade. Nevertheless, the bandleader’s 1,000-watt grin matched the unbounded joy with which the ground-zero UK big bang act played, for exactly two hours of still-delirious thrills.

In point of fact, Mick Jagger, also 80, now runs the ship, maybe, as demonstrated by his extraordinary event producer mojo throughout the 18-song set. Shouldering bassist Darryl Jones during his bass solo in “Miss You,” throwing a towel at 35-year auxiliary MVP and “You Can’t Always Get What You Want” French horn intro Matt Clifford, then finally bowling over the closing show bow by Richards, Ronnie Wood, and himself, Jagger boosted the spirits of his band as thoroughly as he worked an audience filling up most of the 72,000 seater. According to the frontman’s stagefront poll, they swarmed in from across the state – to feed a flame that cannot under the laws of nature burn eternally.

Of course, the Rolling Stones spin between the magnetic poles of Jagger and Richards. Witnessing Paul McCartney whine to John Lennon in Peter Jackson’s dizzying Get Back doc that the bespeckled Beatle always headed the Beatles, even as his songwriting partner acquiesces to Macca’s showrunning acumen, captures the literal star magnitude of music-changing alchemy. When Richards riffed some stardust onto fan vote-in “Beast of Burden,” a song Stones legend once mythologized as his thanks, mate to Jagger for manning the ship during his long heroin addiction, he shot the singer a plaintive look.

A feisty setlist sorely missed McCartney’s Hackney Diamonds bass blowout “Bite My Head Off,” but new classic fare integrated seamlessly. Future chronology essential “Angry” summoned Some Girls as Jagger strapped on an axe and Richard chopped out the solo. Fellow single “Mess It Up” demonstrated the Stones trademark rhythmic signature, a slight lag in the drums following the guitar rather than the traditional reverse, which forever injected swing into their blues.

“My goodness, I felt that,” remarked Jagger afterward. “It felt good!”

Three-carat Hackney Diamond and first encore “Sweet Sounds of Heaven” missed the LP’s Lady Gaga not at all as Chanel Haynes unleashed feral gospel at Jagger that out-flamed even her earlier showcase on a hair-raising “Gimme Shelter.”

Meanwhile, 1966 recovery “Out of Time,” never played in America, chimed Sixties crucible pop. First bandleader Brian Jones’ marimba part twinkled from somewhere deep inside the keyboard stack of veteran Stones sideman Chuck Leavell, called out by Jagger as the evening’s birthday celerant. The latter’s ancient accent, plus the lyric and cadence, joins the Aftermath track to UK album mate “Under My Thumb.”

“I don’t think you knew it, but you get to know it as it goes along,” acknowledged rock’s most underrated wordsmith, who himself required a teleprompter consult during the sing-along.

The entire second half of any Stones convergence since their groundbreaking 1969 North American tour cascades like a meteor shower: all fireworks. Not every grain of gunpowder ignited, naturally, with “Rocks Off” wobbling early and “Tumbling Dice” rolling slightly less slick than its previous 1,000 iterations. Cartilage between bones shrinks with age.

“This is the first show of our tour,” protested Jagger afterward. “You can’t expect it all to go like clockwork.”

Cue audience choir “You Can’t Always Get What You Want.”

Or ignite, for that matter, Steve Jordan’s feral war drums on a bangin’ “Jumpin’ Jack Flash,” while also alighting the conflagration video behind the band on a possessed “Sympathy for the Devil.” Last song “Satisfaction” punched out every “I can’t get NO ” with ferocity.

Name-dropping a tour of the NASA Space Center, plus Buc-ee’s beaver nuggets and Houston eatery Ninfa’s “tranquilitas,” a cannabis-infused but alcohol-free margarita, the Rolling Stones mouthpiece also alluded to the band’s second ever U.S. date – in San Antonio.

“Nineteen sixty-four was my first rodeo,” noted Jagger toward the last. “We always have a good time in Texas.”

Rolling Stones Setlist NRG Stadium, Houston, April 28, 2024

“Start Me Up”
“Get Off of My Cloud”
“Out of Time”
“Beast of Burden”
“Mess It Up”
“Tumbling Dice”
“You Can’t Always Get What You Want”
“Little T&A”
“Sympathy for the Devil”
“Gimme Shelter”
“Honky Tonk Women”
“Paint It Black”
“Jumpin’ Jack Flash”
“Sweet Sounds of Heaven”
“(I Can’t Get No) Satisfaction”

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Street Fighting Man

Through The Past, Darkly (Big Hits Vol. 2)

All Down The Line

Exile On Main Street (Deluxe Version)

Tumbling Dice

Best 70's Hits

Exile On Main Street (2010 Re-Mastered)

Out Of Time

Aftermath (UK Version)

Fool To Cry (Remastered 2009)

Black And Blue (Remastered 2009)

You Can't Always Get What You Want

Let It Bleed

Living In A Ghost Town

Honky Tonk Women

Forty Licks

You Got The Silver

Miss You (Remastered)

Rock Love Ballads 2023

Midnight Rambler

Blues Legends

Paint It, Black

The Best Summer Songs 2023

Start Me Up (Remastered 2009)

Tattoo You (2009 Re-Mastered)

Gimme Shelter

Jumpin' Jack Flash

Jumpin' Jack Flash / Child Of The Moon (EP)

Sympathy For The Devil

Beggars Banquet

(I Can't Get No) Satisfaction (Mono Version)

Out Of Our Heads

No one rocks like The Rolling Stones: Mick Jagger, band thrill on Hackney Diamonds Tour

HOUSTON − It’s not only stunning, but it's somewhat miraculous that more than 60 years after their first tour, the Rolling Stones are still filling stadiums.

It’s even more head-spinning to realize that along with their treasured hits, the Rolling Stones are enhancing their set list with a trio of songs from last year’s well-received “Hackney Diamonds” – their first album of original material in 18 years and the impetus for this 16-city tour.

We’d call it a victory lap, but frontman Mick Jagger is better suited for marathons.

At the kickoff Sunday at NRG Stadium in Houston, the core triumvirate of Jagger, Keith Richards and Ronnie Wood – along with their supporting cast of exceptional musicians and singers – hit the massive stage to the sounds of Richards’ slashing out the riff of, fittingly, “Start Me Up.”

Jagger, the nimble CEO of Stones Inc., peacocked in a silver shimmering jacket, his elastic legs a mere pedestal for his rotating torso.

Richards, still owning his disheveled pirate look with a knit cap and multicolored scarf dangling from his hip, and Wood, grinning continuously and occasionally scampering down the lengthy catwalk, retained their roles as faithful consiglieres.

There isn’t a patch of smooth facial skin among them (Jagger and Richards are 80 and Wood is 76). But with the energy to plow through an 18-song, two-hour set – yes, shorter than previous Stones shows, but still fulfilling – no one is looking to crown them pageant winners.

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While the band needed a couple of songs to fully find their groove – the striding cadence of a reworked “Get Off Of My Cloud” and a ramshackle “Rocks Off” felt curious rather than robust – Jagger compensated with his riveting presence and still-supple vocals.

Along with the “Hackney Diamonds” songs plucked for their major live debuts (the band played a few of the new tracks at an intimate New York club gig in October ), including the feisty “ Angry ” and encore of gospelized “ Sweet Sounds of Heaven ,” the 1966 tune “ Out of Time ” also received its U.S. debut. The band revived it last year during some performances for the overseas Sixty tour.

“I don’t think you really knew it, but you got to know it,” Jagger said with a smile after leading the nearly full stadium through the arm-waving chorus.

As typical for a Rolling Stones production, the stage ran the width of the stadium, blanketed with screens beaming images of the band with magnificent clarity. Close-ups of drummer Steve Jordan, who assumed rhythm duties after the death of original drummer Charlie Watts in 2021, joyfully thundering through the gem “ Paint It, Black ” and birthday boy Chuck Leavell ripping out a fleet-fingered solo on his Yamaha keyboard on “Honky Tonk Women” offered fans a peek at the magic happening a few feet behind Jagger and Co.

During the always-visceral “ Sympathy for the Devil ,” as serpents and fire crawled across the screens, Jagger prowled through the sinister groove, augmented by percussion provided by background vocalist Bernard Fowler and chunky bass lines from Darryl Jones.

Keyboardist Matt Clifford added French horn to “ You Can’t Always Get What You Want ” as Jagger, playing an acoustic guitar, strolled through the message of acquiescence that escalated into a gospel throwdown.

The horn duo of Karl Denson and Tim Ries coated many familiar anthems – “Jumpin’ Jack Flash” and “Miss You” among them – with their rich brass sounds. But, as fans have realized over the decades, the ominous “Gimme Shelter” remains a centerpiece of any Rolling Stones concert, and Jagger has a new onstage playmate in powerhouse background vocalist Chanel Haynes.

The woman who starred as Tina Turner in the West End musical of Turner’s life and officially became part of the band last year steamrolled through “Gimme Shelter” with a voice blaring attitude and vigor. As she and Jagger strolled the catwalk, sharing vocals and chemistry, Jagger wisely backed off a couple of times, allowing Haynes to unleash her theatrical verve.

But this is still Jagger’s circus, and whether he’s bobbing like a jittery prizefighter or wiggling his shoulders like the world’s most slender Chippendales dancer, he is an octogenarian who captivates.

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The band has enlisted various openers throughout the tour. In Houston, blues-rock guitar ace – and Texas native – Gary Clark Jr. landed the opening-night slot and for 45 minutes enchanted the mostly full stadium.

With a large band – five musicians, three background vocalists – behind him, Clark was the epitome of cool in dark shades and a bandanna as he took the stage with “Maktub” from his recently released fourth album, “JPEG Raw.”

Clark is a big name for an opener (then again, it is the Rolling Stones) and he used his time well with massive licks on the crunch rockers “Bright Lights” and “This is Who We Are,” with singer Naala joining him.

The soul-inflected “Feed the Babies” seared as a set highlight as the singer/guitarist displayed sizzling playing and a breezy vibe for the crowd.

The Rolling Stones setlist: Here are all the songs on their Hackney Diamonds Tour

It doesn’t matter that both Mick Jagger and Keith Richards are 80.

As long as they’re sharing a stage, the Rolling Stones will continue to defy age and energy.

The band’s 16-city stadium sprint – sponsored, appropriately, by AARP – kicked off April 28 at NRG Stadium in Houston and will play through July 17 in Santa Clara, California. In between, the Rolling Stones will visit cities including Las Vegas, Atlanta, Philadelphia, Cleveland and Chicago.

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In October, the band released “Hackney Diamonds,” their first new album since 2005. For this complementary tour, Jagger, Richards and Ronnie Wood – along with durable supporting players Chuck Leavell, Darryl Jones, Matt Clifford, Karl Denson, Tim Ries, Steve Jordan (who assumed rhythm duties after the 2021 death of original drummer Charlie Watts ) and background vocalists Bernard Fowler and Chanel Haynes – shined on stage for two hours.

The 18-song set was stuffed with iconic rock anthems including “Jumpin’ Jack Flash,” “Start Me Up,” and “Miss You”, along with a smattering of new songs from “Hackney,” including the Grammy-nominated “ Angry .”

Stadiums, which the band has played for nearly 50 years, still suit their blues-splattered rock and indefatigable frontman Jagger, who still slithers effortlessly, remains an undisputed legend.

More: Rolling Stones and Lady Gaga give stunning performance at intimate album release show

The Rolling Stones’ Hackney Diamonds Tour set list

"Start Me Up"
"Get Off My Cloud"
"Rocks Off"
"Out of Time"
"Beast of Burden"
"Mess It Up"
"Tumbling Dice"
"You Can't Always Get What You Want"
"Little T&A" (Keith Richards on lead vocals)
"Sympathy for the Devil"
"Gimme Shelter"
"Honky Tonk Women"
"Paint It, Black"
"Jumpin' Jack Flash"
"Sweet Sounds of Heaven"
"(I Can't Get No) Satisfaction"

This article originally appeared on USA TODAY: The Rolling Stones setlist: Here are all the songs on their Hackney Diamonds Tour

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Rolling Stones Set List Revealed for 2024 Hackney Diamonds Tour After First Show

The Rolling Stones are back on the road after a two-year break from touring and the setlist has been revealed for their Hackney Diamonds Tour .

The tour is celebrating the band’s 2023 album of the same name, which was their first album of original material in nearly 18 years.

You can expect the band to perform a bunch of their greatest hits and some of the new songs too. If you haven’t listened to the new album yet, don’t worry as the band is only performing three new songs and the rest are classics!

Head inside to check out the set list…

Keep scrolling to check out the full set list… **This set list is representative of previous shows on the tour and might not be completely accurate for every show.

1. Start Me Up 2. Get Off of My Cloud 3. Rocks Off 4. Out of Time 5. Angry 6. Beast of Burden 7. Mess It Up 8. Tumbling Dice 9. You Can’t Always Get What You Want 10. Little T&A 11. Sympathy for the Devil 12. Gimme Shelter 13. Honky Tonk Women 14. Miss You 15. Paint it Black 16. Jumpin’ Jack Flash 17. ENCORE: Sweet Sounds of Heaven 18. ENCORE: (I Can’t Get No) Satisfaction

Get your tickets now on Ticketmaster or resale seats on Stubhub .

Check out the set lists for more artists on tour right now!

Disclaimer: Some products on this site use affiliate links and we may earn commission for any purchase made through the links.

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The Rolling Stones show no signs of slowing down as they begin their latest tour with Texas show

Mick Jagger of The Rolling Stones performs during the first night of the U.S. leg of their “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

Mick Jagger, left, and Keith Richards of The Rolling Stones perform during the first night of the U.S. leg of their “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

Keith Richards of The Rolling Stones performs during the first night of the U.S. leg of their “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

Ronnie Wood of The Rolling Stones performs during the first night of the U.S. leg of their “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

Mick Jagger of the Rolling Stones performs during the first night of the U.S. leg of their “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

Keith Richards, left, Darryl Jones, and Ronnie Wood of The Rolling Stones perform during the first night of the U.S. leg of their “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

Gary Clark Jr. performs during the first night of the U.S. leg of The Rolling Stones “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

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HOUSTON (AP) — Time marches on and all good things must come to an end. But don’t tell that to The Rolling Stones .

What many believe to be the greatest rock ’n’ roll band in the world showed no signs of slowing down anytime soon as they kicked off their latest tour Sunday night at Houston’s NRG Stadium.

The Stones have been touring for more than 60 years. Frontman Mick Jagger and lead guitarist Keith Richards are both 80, with guitarist Ronnie Wood not far behind at 76. Their tour is being sponsored in part by AARP.

But during a vibrant two-hour show, the Stones played with the energy of band that was on tour for the first time.

“It’s great to be back in the Lone Star State,” Jagger told the packed stadium, filled with longtime fans, many wearing faded concert shirts from previous tours.

Jagger often strutted up and down the stage with seemingly boundless energy while Richards and Wood played many familiar guitar riffs beloved by fans. Jagger often led the audience in sing-alongs.

“The energy level is up and it’s always up with them. The age doesn’t show,” Dale Skjerseth, the Stones’ production director, said Friday before the concert.

FILE - Jon Bon Jovi poses for a portrait in New York on Sept. 23, 2020 to promote his new album "2020". Hulu is streaming a four-part docuseries "Thank You, Good Night: The Bon Jovi Story," premiering April 26. (Photo by Drew Gurian/Invision/AP, File)

The Stones have hit the road to support the release of their latest album, “Hackney Diamonds,” the band’s first record of original music since 2005.

Houston was the first stop on the band’s 16-city tour across the U.S. and Canada. Other cities on the tour include New Orleans, Philadelphia and Vancouver, British Columbia. The tour ends on July 17 in Santa Clara, California.

During Sunday’s 18-song concert set list, the Stones played several tracks off the new record, including lead single “Angry.” They also played classics including “Sympathy for the Devil,” “Gimme Shelter,” Honky Tonk Women” and “Start Me Up.”

After playing “Beast of Burden,” Jagger said that concertgoers in Houston had voted to include it on the set list.

“You can’t go wrong with that,” one man in the audience could be heard screaming.

The Stones also played some unexpected choices, including “Rocks Off,” from their 1972 double album “Exile on Main St.” and “Out of Time,” a 1966 song that Jagger said during the concert had not ever been played by the band in the U.S.

With the 2021 death of drummer Charlie Watts , the Stones are now comprised of the core trio of Jagger, Richards and Wood. On Sunday, they were backed by various musicians including two keyboardists, a new drummer, backup singers and a brass section.

While the stage was surrounded by a large collection of video screens projecting images throughout the show, the main focus of the concert was the band and their songs

Before Sunday’s concert, Jagger spent time on Friday touring NASA’s Johnson Space Center in suburban Houston, posting photos on his Instagram account of him with astronauts inside Mission Control.

“I had an amazing trip to the space center,” Jagger said.

When asked if the band might be thinking about retiring, Skjerseth said he doubts that will happen.

“This is not the end. They’re very enthused,” he said.

This story has been updated to correct a song title to “Gimme Shelter,” not “Gimmer Shelter.”

Follow Juan A. Lozano on X , formerly Twitter.

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The Rolling Stones American Tour 1969
The Rolling Stones' 1969 Tour of the United States took place in November 1969. With Ike & Tina Turner, Terry Reid, and B.B. King (replaced on some dates by Chuck Berry) as the supporting acts, rock critic Robert Christgau called it "history's first mythic rock and roll tour", while rock critic Dave Marsh wrote that the tour was "part of rock and roll legend" and one of the "benchmarks of an era."
The Rolling Stones Setlist at Altamont Speedway Free Festival 1969
Get the The Rolling Stones Setlist of the concert at Altamont Speedway, Tracy, CA, USA on December 6, 1969 from the Let It Bleed Tour and other The Rolling Stones Setlists for free on setlist.fm!
The Rolling Stones Average Setlists of year: 1969
1. Jumpin' Jack Flash. Play Video stats. 27. 2. I'm Yours and I'm Hers ( Johnny Winter cover) Play Video stats. 1.
The Rolling Stones Setlist at NRG Stadium, Houston
Get the The Rolling Stones Setlist of the concert at NRG Stadium, Houston, TX, USA on April 28, 2024 from the Hackney Diamonds Tour and other The Rolling Stones Setlists for free on setlist.fm!
The Rolling Stones Setlist at Madison Square Garden, New York
Get the The Rolling Stones Setlist of the concert at Madison Square Garden, New York, NY, USA on November 28, 1969 from the Let It Bleed Tour and other The Rolling Stones Setlists for free on setlist.fm!
The Rolling Stones Concert Setlist at The Stones in the Park on July 5
Get the The Rolling Stones Setlist of the concert at Hyde Park, London, England on July 5, 1969 and other The Rolling Stones Setlists for free on setlist.fm!
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The Rolling Stones's 1969 Concert History
The Rolling Stones made multiple appearances on the The Ed Sullivan Show in the 1960s:. On October 25, 1964, the band performed on The Ed Sullivan Show for the first time to promote 12 X 5, which had been released eight days earlier.; On May 2, 1965, The Rolling Stones performed "The Last Time," "Little Rooster," and "Someone to Love," despite Ed Sullivan's reservations about ...
The Rolling Stones Setlist at Boston Garden, Boston
Use this setlist for your event review and get all updates automatically! Get the The Rolling Stones Setlist of the concert at Boston Garden, Boston, MA, USA on November 29, 1969 from the Let It Bleed Tour and other The Rolling Stones Setlists for free on setlist.fm!
Altamont Free Concert
During the Rolling Stones' 1969 U.S. tour, many (including journalists) felt that the ticket prices were far too high. In answer to this criticism, the Rolling Stones decided to end their tour with a free concert in San Francisco. ... Set list. This section does not cite any sources. Please help improve this section by adding citations to ...
The Rolling Stones at Hyde Park 1969: Looking back on the band's
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Rolling Stones US Tour 1969
Rolling Stones "Storm America" - US Tour 1969. The Stones make a claim for the high ground in 1969 with the Beatles broken-up and a new guitarist in the band whose main purpose is to facilitate touring and live performance which would have otherwise been doubtful with founding member Brian Jones whose ability to freely enter the US (drug busts) and play grueling consecutive nights and two ...
The Rolling Stones / Ike and Tina Turner Revue / Terry Reid
The Rolling Stones, Ike and Tina Turner Revue, & Terry Reid info along with concert photos, videos, setlists, and more. Search; Browse Concert Archives . Users; Concerts; Bands; Venues; Locations; Photos ... Nov 28, 1969 (54 years ago) Madison Square Garden New York, New York, United States. Scroll to:
The Rolling Stones Concert Map by year: 1969
1. United States. 25. 2. United Kingdom. 7. View the concert map Statistics of The Rolling Stones in 1969!
The Rolling Stones American Tour 1969
The Rolling Stones ' 1969 Tour of the United States took place in November 1969. With Ike & Tina Turner, Terry Reid, and B.B. King (replaced on some dates by Chuck Berry) as the supporting acts, [1] rock critic Robert Christgau called it "history's first mythic rock and roll tour", [2] while rock critic Dave Marsh wrote that the tour was "part ...
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December 27, 1969. Mick Jagger on the cover of Rolling Stone Baron Wolman. SAN FRANCISCO—All that remained for the Rolling Stones was the big free concert they had vaguely promised since they ...
The Stones in the Park
American Tour 1969. The Stones in the Park was a free outdoor festival held in Hyde Park on 5 July 1969, headlined by the Rolling Stones and featuring Third Ear Band, King Crimson, Screw, Alexis Korner 's New Church, Family and the Battered Ornaments, [1] in front of an estimated audience between 250,000 and 500,000 spectators.
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00:00 Midnight Rambler09:15 Satisfaction15:15 Im Free25:33 Brian Jones TRIBUTE28:00 Mariposas 30:35 Jumpin Jack Flash34:14 Country Honk37:30 Love In Vain42:1...
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The 18-song set was stuffed with iconic rock anthems including "Jumpin' Jack Flash," "Start Me Up," and "Miss You", along with a smattering of new songs from "Hackney," including ...
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The Rolling Stones' Hackney Diamonds tour began on Sunday, April 28, in Houston, Texas. The AARP-sponsored tour is in support of their album of the same name, which was released last October as ...
Rolling Stones show no signs of slowing during latest tour in Texas
Updated 12:46 PM PDT, April 29, 2024. HOUSTON (AP) — Time marches on and all good things must come to an end. But don't tell that to The Rolling Stones. What many believe to be the greatest rock 'n' roll band in the world showed no signs of slowing down anytime soon as they kicked off their latest tour Sunday night at Houston's NRG ...