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When the Rolling Stones Became a Quartet on ‘Voodoo Lounge’

The early '90s were a transformative time for the Rolling Stones . Not long after the release of their 1991 live album Flashpoint , original bassist Bill Wyman exited the band, permanently trimming the Stones lineup down to a quartet. But rather than wallowing in Wyman's departure, the shake-up helped them turn in their strongest studio effort in more than a decade, Voodoo Lounge , which was released on July 3, 1994.

The record was the first Stones album with new bassist Darryl Jones, who had been hired that March after an extensive search. A protege of Miles Davis who also played on Sting 's The Dream of the Blue Turtles album, it was Jones' jazz background that reportedly  appealed to vocalist Mick Jagger and drummer Charlie Watts .

Jones had laid down some tracks during the initial sessions in Ireland in the fall of 1993, but it wasn't until he was called into help put some finishing touches in Los Angeles a few months later that he learned he had the job.

"One night I went down to the studio, and met Keith [Richards] , who asked if I’d seen Charlie," he said. "I said no, then he says, ‘Charlie asked me if we were going to play with you? We’ve auditioned all those guys, chose you to play on the record – I don’t think we’re now gonna go choose someone else’. Charlie said, ‘Maybe someone should tell him!’ So I’m telling you, you’re gonna go with us’, and that was the first I heard of it!"

To help assemble their first studio record since 1989's Steel Wheels , the group enlisted Don Was, the former Was (Not Was) bassist who had recently helmed successful albums by Bonnie Raitt , Bob Seger and Jackson Browne .

Watch the Rolling Stones' 'Love Is Strong' Video

Was told Rolling Stone magazine that he was invited to discuss the possibility producing the album, only to be given a lecture from Richards on why the group really didn't need a producer. He conceded that he wouldn't be producing the Stones but thought to himself: "At least I've got something to tell my grandchildren."

Of course, Was did eventually come on board for the making of Voodoo Lounge . Was told Sound on Sound that he felt his role was to help identify what would help make for the strongest songs, as opposed to trying to force his concept of what a Rolling Stones record should be.

"I never felt that my job was to impose creative concepts on them, but just to help distill the wealth of ideas that they had," Was said. "I would point things out if I didn't think something was going to work, but I didn't think it was my position to say, 'Here, Keith, give me your guitar for a minute. I'll show you what to play'. That would be like grabbing the sax from Charlie Parker! Keith's got so many ideas and they're all so original that I couldn't come up with them in a 100 years. That's the amazing thing – the simplicity of what he does is so deceptive. There's so much happening within a few notes."

The Rolling Stones had certainly endured their share of internal band strife in the decade prior to Voodoo Lounge . The band was in total disarray during the making of Dirty Work , providing the Stones with what was perhaps their lowest of moments.

Richards acknowledged that they had come through those rough waters, and felt that Voodoo Lounge was the first Stones record in a significant amount of time where the band was operating as a cohesive unit. "To not just sound like the Stones but be them," he told Rolling Stone . "Like I told Mick, 'You gotta play a lot of harp.' Because with the Stones, that was one of the original instruments. And his phrasing is so uncanny on the harp. If that can roll over onto the vocals. After all, it's just pushing air out of your mouth."

Voodoo Lounge was the Rolling Stones' opportunity to prove that, despite being elder statesmen, they could indeed still rock. The album's first single (and its accompanying eye-catching video), "Love Is Strong" featured some great bluesy harmonica while another of the album's tracks, "You Got Me Rocking," became a staple of the Stones dynamic live show. Even the HBO television show The Sopranos acknowledged the coolness of Voodoo Lounge , featuring "Thru and Thru" in the Season Two finale of the show in 2000.

Watch the Rolling Stones Perform 'Out of Tears'

As much as Voodoo Lounge had the band working together better than they had in years, more than a year after its release, Jagger nonetheless had mixed feelings about the record – and in particular Was' decisions – in an in-depth interview  with Rolling Stone publisher Jann Wenner.

"I think it’s a good frame of reference of what the Rolling Stones were about during that quite limited time in Ireland in that year," he said. "It’s very much a kind of time-and-place album. In that way, I was quite pleased with the results. But there were a lot of things that we wrote for Voodoo Lounge that Don [Was] steered us away from: Groove songs, African influences and things like that. And he steered us very clear of all that. And I think it was a mistake."

In his defense, Was said he was "certainly not anti-groove, just anti-groove without substance in the context of this album. They had a number of great grooves. But it was like, 'Okay, what goes on top of it? Where does it go?' I just felt that it's not what people were looking for from the Stones. I was looking for a sign that they can get real serious about this, still play better than anybody and write better than anybody."

Despite Jagger's issues with Was at the time, they appear to be water under the bridge now. Was continued as a steady presence with the Rolling Stones after Voodoo Lounge . And while it might not have completely met Jagger's expectations, the album became the band's first No. 1 record in their native Britain since 1980's Emotional Rescue . The international tour in support of Voodoo Lounge grossed hundreds of millions of dollars over 117 dates performed on six continents.

The record also garnered the band a Grammy award for Best Rock Album, while the video for "Love Is Strong" also won for Best Short Form Music Video. Amazingly, it was the first Grammys the Rolling Stones ever claimed, even though they were awarded a Lifetime Achievement Grammy in 1986.

Rolling Stones Solo Albums Ranked

See Keith Richards Through the Years

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Rolling Stones Bring ‘Voodoo Lounge’ Tour to an End

By Eric Boehlert

Eric Boehlert

T he Voodoo Lounge is officially closed. After playing 117 dates on six continents and grossing hundreds of millions of dollars, the Rolling Stones have shut down their world tour. Talk persisted that the band would return to South America this spring and then to Southeast Asia as part of the tour’s final leg but those plans fell apart in January when the South American promoter was unable to finalize plans.

While phenomenally successful, the Voodoo Lounge tour was also incredibly expensive, requiring a small army of up to 450 employees a show. Without revenues from the lucrative South American dates, the costly Asian stint was ruled out. The band’s spokeswoman said no contracts were signed for the canceled shows and no tickets were sold. “We hope to play to fans in those markets in the future,” read a statement from the band and its promoter.

Album Review: Voodoo Lounge

The Voodoo Lounge tour stands as the most successful in North American history. Thanks in part to ticket prices of $50-plus, the tour’s 60 dates in 1994 brought in $121 million, according to Pollstar magazine. (The band’s 1989 Steel Wheels tour, which grossed $98 million, held the industry’s previous high mark.) In ’95, the Voodoo Lounge tour expanded beyond the States to include the Far East and Europe. By the time of the tour’s final date, in the Netherlands, more than 6 million fans had seen the show. When sales of tickets, T-shirts and television rights were added up, the tour had taken in $300 million.

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The Voodoo Lounge tour was in support of the band’s 1994 release of the same name. Instead of the full-fledged concert record that normally follows Rolling Stones tours, the band opted for 1995’s live acoustic album Stripped . Keith Richards is one Stone who isn’t taking a well-deserved break; he’s recording in Jamaica, and a reggae-flavored solo release may be out by year’s end.

This is a story from the February 22, 1996 issue of Rolling Stone.

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20 years ago: the Rolling Stones play Vancouver on the Voodoo Lounge tour

Twenty years ago last Wednesday--on December 17, 1994--the Rolling Stones played in front of 50,000 fans at B.C. Place Stadium.

The British rock legends were touring behind their 20th album, Voodoo Lounge , which wasn't as good as their previous one, Steel Wheels .

In case you missed it, here's my review.

There was one nagging question on my mind after the Rolling Stones’ show last Saturday (December 17) at B.C. Place, and it kept elbowing for space in there with about a thousand Chuck Berry guitar riffs. I couldn’t stop wondering just how in hell the Spin Doctors, of all bands, managed to scoop the opening spot on the extremely high-profile  Voodoo Lounge  tour. Could it be that when the Stones deserted Sony for Virgin Records, a contractual obligation meant they had to help a worn-out Sony act revive its plummeting career? At any rate, the Spin Doctors’ 40-minute “warm-up” set was a tiresome exercise in lame pseudofunk that no Stones freak (or rock fan in general) should have had to sit through. It did help make the headliners sound even more impressive, though, which could have been the idea all along. As if to drive home the fact that it has been around for more than three decades, the world’s greatest rock ’n’ roll band (next to The Who) kicked things off with a tune from 1964, the Bo Diddley–inspired “Not Fade Away”. Mick Jagger looked sharp in a two-tone, grey  Sgt. Pepper –style coat, but Keith Richards had him beat in the footwear department, sporting bright-yellow runners. The flashy leather shoes seemed to incite Richards to shimmy and shake to the next half-dozen tunes, which were mostly fast-paced rockers from the past (“Shattered”) and present (“You Got Me Rocking”). One new boogie tune, “Sparks Will Fly”, was accompanied on a giant screen by bizarre computer graphics of a spiky, flailing tongue, not to mention some of the rudest Jagger lyrics ever. I know it’s only rock ’n’ roll, but there’s still something mildly disconcerting about a 51-year-old bellowing “I wanna fuck your sweet ass!” Although he may be in dire need of a good soapy mouthwash, Jagger is certainly looking healthy these days. By the time the band had ripped into “(I Can’t Get No) Satisfaction”, he had peeled off the grey coat, a purple vest, and a blue silk shirt, and was down to a tight black tee. When he scampered along the stage-left ramp above where we were located on the floor, it was clear the sinewy rock god has been taking care of himself. Richards, on the other hand… Well, he had Jagger beat in the footwear department. “Any requests?” asked Mick after tinkling the keyboards on “Far Away Eyes”, one of the set’s rare mellow tunes. A partially zonked-out guy behind me screamed “Brand New Car!”, but Jagger must not have heard him, because he sang “Heartbreaker” instead—which was all right by me. “We’re gonna do a really ancient one for ya,” he announced before returning to ’64 for another cover, Bobby Womack’s “It’s All Over Now”, which the band played while televised live in black-and-white for that archival feel. It wasn’t quite the same seeing the Stones minus Bill Wyman’s standoffish demeanour, but new bassist Darryl Jones handled himself admirably, knowing better than to get too involved in the onstage antics of Jagger, Richards, and Ron Wood. The Stones got plenty of strong backup from vocalists Lisa Fisher and Bernard Fowler, and a killer brass section also earned its keep. Longtime Stones saxophonist Bobby Keyes was a particular crowd-pleaser, putting his jugular vein to the test during a frantic solo on “Miss You”. The high point of the show came when Richards banged out the opening chords to “Honky Tonk Women”, the slinky classic that most typifies what the Stones are all about. During that number, film clips of such femmes fatales as Greta Garbo, Brigitte Bardot, Marilyn Monroe, Betty Boop, and Queen Elizabeth II (!) were flashed on the huge screen—along with live shots of various local honky-tonkers shuffling in the crowd. The most elaborate visual effect was saved for “Sympathy for the Devil”, when an array of giant inflatables—including a guitar-strumming Elvis, a nun, a goat’s head, and a punk baby—came to distended life across the top of the stage. While the Stones cranked out “Street Fighting Man”, various stagehands tugged on the backs of the balloons to get them bobbing along, then in a matter of seconds all were deflated, yanked away, and tucked out of sight. Tidy folk, those British. Two hours after it started, the Stones’ set rumbled to a close, but the crowd of 50,000 brought the band back for an encore of (what else?) “Jumpin’ Jack Flash”. Somebody in wardrobe must have had a Phyllis Diller flashback, though, because Mick returned wearing a knee-length black skirt over his pants and Keith had on a pink plush jacket. Are those guys wacky or what?

Dec 21, 2014 at 11:04pm

1994. Hmmm? I remember the Pink Floyd shows in the place that year. But I always sorta liked the Stones. Betty Rubble was a dish.

Dec 22, 2014 at 3:09am

This was my first and only Stones concert. Never been a fan but the light show during Sympathy For The Devil was spellbinding. No drugs required.

Dec 22, 2014 at 3:15pm

Good article as usual Steve. I went to both shows in 94, the second night being Keith's birthday so 50000 people sang happy birthday to him. I was row 2 the first night and row 17 the second night. I remember the heat from the flames coming out of the cobra at the beginning. I wasn't a fan of the Spin Doctors and they seemed so out of place on the massive stage. In 98 Johnny Lang opened and he was good! If it's disconcerting hearing a 51 year old Mick singing lyrics like on Sparks Will Fly in 94, imagine a 71 year old Mick singing lyrics like that today! Oh well, I guess it's only rock'n'roll!

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Voodoo Lounge

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Rolling Stones: Voodoo Lounge

Voodoo Lounge Uncut presents for the first time the full, unedited show filmed on November 25th 1994 at Miami's Joe Robbie Stadium. With its ahead-of-its-time cyberworld staging, guest appea... Read all Voodoo Lounge Uncut presents for the first time the full, unedited show filmed on November 25th 1994 at Miami's Joe Robbie Stadium. With its ahead-of-its-time cyberworld staging, guest appearances from Sheryl Crow and Bo Diddley, and a setlist combining classic tracks with (then)... Read all Voodoo Lounge Uncut presents for the first time the full, unedited show filmed on November 25th 1994 at Miami's Joe Robbie Stadium. With its ahead-of-its-time cyberworld staging, guest appearances from Sheryl Crow and Bo Diddley, and a setlist combining classic tracks with (then) new material from the Voodoo Lounge album, this phenomenal show can now be enjoyed as ori... Read all

• David Mallet
• Mick Jagger
• Keith Richards
• Ronnie Wood
• 2 User reviews
• 1 Critic review

• (as The Rolling Stones)

• Self (New West Horns)

• Self (Vocals)

• Self - Hostess

• Self (Bass)

• Self (Saxophone)
• Self (Keyboards)

• (as Kent Smith)
• (as Andy Snitzer)
• All cast & crew
• Production, box office & more at IMDbPro

Did you know

• Connections Spin-off Rolling Stones: Voodoo Lounge (1995)
• Soundtracks Not Fade Away Written by Norman Petty and Buddy Holly (as Charles Hardin)

User reviews 2

• ccthemovieman-1
• Dec 24, 2006
• December 5, 1995 (United States)
• United States
• Joe Robbie Stadium - 2269 NW 199th Street, Miami, Florida, USA
• Palomar Pictures (II)
• Promotour Productions
• The BCL Group
• See more company credits at IMDbPro

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• Runtime 1 hour 34 minutes

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Rolling Stones Concert Tours

Over the past three decades, McLaren Engineering Group has made its mark on music history with work on six Rolling Stones concert tours! Our team has provided entertainment engineering for epic concerts beginning with the Voodoo Lounge Tour (the highest grossing tour at the time), Bridges to Babylon Tour, 40 Licks Tour, A Bigger Bang Tour (featuring the Stones’ largest concert), 14 On Fire Tour, and most recently, the No Filter Tour . The shows have included the largest sets ever envisioned, the tallest LED screens ever used for an outdoor concert and other illustrious features.

Concert Tours

No filter tour (2017-2019).

This European/North American tour utilized some of the tallest ever LED screens for outdoor concert use to create a towering and sleek visual display. McLaren was contracted by TDF Productions Inc. to perform a structural analysis of the four LED screens designed by Set Designer Ray Winkler of Stufish and Creative Director & Lighting Designer, Patrick Woodroffe. McLaren worked closely with Solotech and WI Creations, who provided the LED screen modules and framing system, to develop wind bracing back to the stage roof structure, which was supplied by StageCo. McLaren collaborated with these suppliers to develop a High Wind Action Plan (HWAP) for the screens and evaluated the custom frames that housed large moving lights.

14 ON FIRE (2014)

When the Rolling Stones decided to repurpose previous show set designs for their “14 and Fire” tour, McLaren reviewed several large and complicated show elements and made recommendations to promote structural safety and adequacy. This included extra bracing, guidance for the head rigger, recommendations to protect the building and rigging, and chain hoist operation tips, to name a few. McLaren also developed structural engineering calculations of life-safety related in-scope elements furnished by scenic vendors, and for the equipment not properly rated, calculations reports were developed.

McLaren provided a HWAP that was an integral part into the Operations and Maintenance Plan. The HWAP included wind speed thresholds at which the fabric must be removed from the Stadium Portal, and when all Stadium Portal elements must be lowered to the ground and stowed. Due to the transient nature of the show set, each structural component was evaluated to determine its ability to be dismantled in the event that high winds occur or are forecast to occur at the venue.

A BIGGER BANG TOUR (2005-2007)

This international tour featured a massive stadium stage structure, supported pyrotechnic effects, huge speaker clusters, hundreds of lights and thousands of square feet of high- and low-resolution video screens. McLaren engineers provided structural engineering, reviews, and certification for the 85-foot-tall, 200-foot wide stage structure and components. In addition to all this touring equipment, this enormous structure also supported two pairs of balconies, one 30 feet and the other 55 feet above the ground. Each of the four balconies supported 65 lucky fans that viewed these rock-and-roll legends from the stage structure itself. McLaren engineers reviewed and confirmed the safety and code compliance of each of stages unique access features, two large stair towers located in the rear of the stage structure and an ADA lift. McLaren engineers continued to assist the Rolling Stones throughout the touring process by working with local permitting agencies to explain safety features and to provide advice regarding protection of venue grounds and features. This tour also featured the Stones’ biggest concert of all time, with over 1.5 million attendees in Rio de Janeiro, Brazil. McLaren engineers provided on-site inspection and consultation during the state erection process for many of the venues.

40 LICKS TOUR (2002-2003)

“40 Licks” played theatres, arenas and stadiums worldwide, featuring one of the largest sets ever envisioned at the time. The rear wall configuration alone, rose to over 80 feet. McLaren provided structural and mechanical engineering services as part of the staging and scenic elements for the tour. This included a 46 feet high by 52 feet wide moving screen as well as its associated driving mechanism and rigging, two sets of moving fabric panels, and a collection of belt driven elevators to support articulated lights. McLaren engineers provided structural development and analysis, performed finite elements and dynamic modeling of the structures and elements, and reviewed all systems for possible single point failure locations. McLaren also provided mechanical designs, assistance with the development and selection of mechanical components, on-site observations of this initial set-up, and periodic inspections of the set at various venues.

BRIDGES TO BABYLON TOUR (1997-1998)

This worldwide concert tour celebrated the Rolling Stones’ Bridges to Babylon album and was designed as an eclectic representation of the seven deadly sins. Grossing over $274 million, it became the second-highest-grossing tour at that time (behind their Voodoo Lounge Tour). McLaren reviewed the calculations and drawings prepared by Atelier One for the band canopy, back wall, curtains, inflatables, bridge, bridge structure, side fill PA, jumbotron and fascia, column capitals, stage primary frame and fixed cladding, delay towers and mix position. The design drawings, provided by Tait Towers, were examined for performance and AISC and the Aluminum Association requirements. As a result of the examination, McLaren required additional safety supports to be added so the stage could monitor and withstand wind loads.

This was also the first tour where a B-stage was featured. A 160-foot-long telescoping bridge was designed to connect the two stages. The mechanical action was modeled on a ladder truck and deployed from the main stage, over the audience to the B-stage. McLaren provided structural development and analysis, performed finite elements and dynamic modeling of the structures and elements, and reviewed all systems for possible single point failure locations for this special structure. McLaren worked with multiple stakeholders to ensure this highly sensitive piece of machinery worked for this high grossing tour. Safeguards such as automatic cutouts were installed and periodic inspections were scheduled every 4th to 6th tour stop in the United States to maintain the integrity of both the equipment and the certification. The detailed site inspection checklist, and reporting cause of concern were integral to the bridge’s success.

VOODOO LOUNGE TOUR (1994-1995)

The Rolling Stones Voodoo Lounge concert toured 40 venues across the United States and Canada. It featured a unique stage that was designed by Architect, Mark Fisher and Atelier One, and built to support the performers, sound equipment and a large screen during each of the performances. Complexities of the design included an irregularly shaped stage floor, consisting of several tiers, and two 60-foot high towers supporting an 18-ton public address system and rear wall trusses. McLaren provided engineering consultation to the team, and assisted with the conceptual design, design details and schematic drawings. McLaren examined codes at each tour location for suitability of design loads and material limitations.

Image Credit for Images 1 and 2: Manfred Vogel; Images 3, 4, 5, 13 and 14 Photograph Reproduced Courtesy of Stufish

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Voodoo Lounge

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