GimmeMT . . . Mick Taylor
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Mick Taylor as a Rolling Stone (1969-74) by GimmeMTguy

69-74 Rolling Stones stones

Part 1: A Big Task: Reviewing Every Rolling Stones Show of the Mick Taylor Era

Overview

It is daunting to take on the task of listening to every available performance of Mick Taylor while he was a member of the Rolling Stones.

Of course it will be enjoyable, but it is also weighty because of the embedded history of having listened to so much of this music over now so many decades.

In trying to come to my listening with fresh ears, I also want to be able to use what has transpired since to provide some meaningful context. Separating my own reactions now from what they have been over the past 50+ years, and conveying the difference between today's reactions and yesterday's will be hard.

It is really important for me to note that I would probably prefer listening to the worst of 1000 Mick Taylor live performances than almost anything else out there. That being said, no one wants to read overly effusive, uncritical, un-nuanced reviews of show after show.

We may want to promote the musicians we love, but it does no favors to only spout positive generalities, even about musical geniuses.

The most important thing as an advocate is to earn credibility. Earning credibility with the reader requires being honest and balanced.

My reviews are written on the basis that average means the average of the group being judged. The average Rolling Stones performance with Mick Taylor is extremely high.

Thus, an average performance may be pretty great, but it still is in the middle of the pack of the relevant group of performances. And yes, half of the performances will, by definition, be below average!

Since I am not trying to write a lot of negative things about something so wonderful, an absence of commentary might indicate there wasn't anything especially outstanding about a performance of a song to render it above average compared to the rest of them.

Thoughts at the Outset

A lot has been written by professional journalists as well as music fans over the years about the Rolling Stones' 1969 tour and thereafter.

Yet I have not come across a comprehensive show-by-show discussion of any of the tours.

The few attempts I have seen usually just discuss a couple of the famous, officially-released or highly bootlegged shows, and address the rest of the tour with pictures of the band or bootleg covers.

My focus obviously is on Mick Taylor's contribution to these famous shows, and his era, not the entire band's performances.

But it needs to be said up-front: I love everything Charlie Watts plays (played -- to borrow a phrase, "Charlie Watts we miss you!")

My foot always subconsciously taps to his beat even when listening to Indian Girl or some other misbegotten song in the band's incredibly long and productive career.

I love everything Bill Wyman played on the bass. His melodic, very British style wrote the book on harmony and melody as the third guitar in a two-guitar band. The Rolling Stones do not sound as good since he left in 1993.

Keith Richards is my original guitar hero and nothing any of the other Rolling Stones could have played would be as good, or even noticed, perhaps, if Keith had not been playing on them (or at least associated with them, as there were some great Stones songs he did not actually play on or co-write).

Mick Jagger takes a lot of guff from many fans, as well as band members themselves. He's the decider in chief, and without his "uncool" leadership skills and brain for business there would have not been a Rolling Stones in the 1970s or later.

As much as Keith is cooler for guys to emulate, we all secretly love Mick Jagger's voice, persona and songwriting. Without him, we have The X-pensive Winos. As much as I love the Winos, they are not a cultural influence like the Rolling Stones have been.

I remember as a young boy, my Top-40 radio stations in the late 60s and early 70s called them "Mick Jagger and The Rolling Stones." And that's what they truly are.

But they are 100 times better together, Mick Jagger and Keith Richards, and they learned that the hard way in the mid-late 80s.

So my focus on Mick Taylor is not because I lack respect or appreciation for the other four Rolling Stones while Mick Taylor was a member (or for Brian Jones who left and died while I was a wee lad or Ronnie Wood who succeeded Mick Taylor).

It is because his musical contribution was a distinctive part of a crucial era of the Rolling Stones, and one which continues to be seen as such decades later (and will be well into the future).

And because it moves me personally at a different level.

And because his joining the already established for 7 years, rich, internationally famous and culturally significant band when he was just age 20 is alone a fascinating story.

Review Process

My review process for the live recordings of the Stones of the Mick Taylor era is to proceed chronologically, show-by-show, song-by-song.

For the early shows in a tour, I will try to explain things about the songs' arrangements. As we progress, I will try not to be too repetitive, skipping writing much if anything about songs where Mick Taylor does not play (Prodigal Son), or where he is simply playing his style of rhythm throughout an entire song.

We all know and cannot erase what we already know happened by the end of each tour -- the incredible tightness of the band and a virtuoso lead guitar player having honed his improvisations into near human perfection.

So I will try to acknowledge progress toward certain touchstones as they occur over time.

I also will not be trying to review how entire shows stand-up again entire tours -- this is not a "what's the best show of the 1969 tour" type of review. Although it will be hard not to say so when we hit those shows!

In short, my reviews are written first for my own use and reference in the future.

Second, they are written to be something fans with my particular taste will someday stumble upon and say "OMG, this is exactly what I would have written myself!"

Hopefully some readers will become curious and listen along to shows while they read. I would love to be able to read someone else's song-by-song descriptions while I listen. Maybe someday.

Finally, this IS an open site for comments, and I hope some small number of folks will be moved to disagree with my opinions and descriptions, add and expand upon what I am writing by writing and posting themselves.

It would especially great to have the insights of an actual musician. I am not one, although I many years ago I did pick up a guitar and try for a few months. My musical vocabulary is limited and maybe even erroneous at times.

Having been involved heavily in the online Stones world for 30 years, I know that for every person who writes something, there are at least a thousand who will read it, so there is a large drop-off from reading to writing.

But that's OK, anyone who writes wants people to read it. So we need "lurkers" in this ecosystem and I certainly am a lurker myself in many areas of interest outside of the Rolling Stones and Mick Taylor universes.

We do, though, want to encourage others to express their opinions, as our views are simply our own and not the whole story by any means.

55 years later

Mick Taylor as a Rolling Stone (1969-74) by GimmeMTguy

69-74 Rolling Stones stones

Part 2: The 1969 Tour: London to USA to London

1969

I have been such a fan of 1972-73 that I now realize decades later that I have dramatically under-listened to 1969.

The sound quality of the recordings takes some getting used to, but there are some shows where soundboards and clear audience tapes have emerged or been cleaned up enough to be enjoyable.

Keith Richards was 25 and Mick Taylor was 20 and brand new to the Stones. These young guys engaged in cooperative teamwork, with Keith the obvious and proper leader, to achieve greatness on the fly.

They really did trade roles, sometimes in the middle of songs. This was not the case in 1972 and 1973. It really was hard to figure out sometimes who was playing what in the many mono recordings.

There are parts that I always thought were Mick Taylor that were Keith, and vice-versa.

The rhythm section was unfortunately not heard well in most of these recordings, which really changes how you perceive the music.

Mick Jagger had not yet fully developed into his later self -- when you only listen he gives off a vulnerability and insecurity, but that largely disappears when you watch the same piece on video, his visual performance is that arresting, powerful and distracting.

His bond with Keith is tight onstage, and he gives Keith his deference when referring to him with the audience.

It's kind of shocking to realize the obvious fact that Keith did not sing any songs then. But the acoustic numbers were played with just Mick and Keith, which gave Keith a showcase and acknowledgement of his centrality to the Rolling Stones. This even though Mick Taylor surely could have contributed to Prodigal Son and You Gotta Move at a high level (he played You Gotta Move quite often in his solo shows in the years to come).

This band simply improved with each show. The setlist stayed quite static, which is different from today when setlist variation is in high demand from audiences who travel to see show after show.

These shows were played to local crowds, the cities were not picked to maximize revenue but to provide the Stones with a logical travel flow and to expose them to the American South which was a point of fascination for them.

Moving the band and the equipment was a huge ad hoc undertaking, almost all of the shows started late, sometimes ridiculously so. Sam Cutler took the stage before most shows to stall and make excuses and bemoan the circumstances blamed for the delays.

No one had ever really toured this way before, playing in basketball arenas, on college campuses and big cities, as such a prominent act and with high ticket prices for the times.

The U.S. had just experienced several traumatic political assassinations in 1968, the Vietnam protests were everywhere and the local police uniformly were hostile to the Stones and their fans.

Today, the police jockey to get autographs and work with the band's private security force to move them elegantly from hotel to venue and back again.

Altamont was one of the best performances musically despite the interruptions and deadly chaos. The band played Gimme Shelter brilliantly but only sparingly.

There was an innocence in band and crowd that enjoyed the 1950s Chuck Berry covers as much as the Stones' own hits.

Mick Taylor's prominence grew with each show, probably without prior discussion, as he became more trusted to know where the invisible lines were to not cross.

There were never any "guitar battles" between Keith and Mick Taylor, they avoided the rock showbiz archetype. No one-upmanship occurred, at least intentionally.

Going into 1969, Keith was not considered by many to be a guitar god, but he responded to Mick Taylor's incredible gift by upping his game within his own unique paradigm of rhythm and simple but perfect phrasing.

There's a lot of Keith playing that amazes here, which we have not heard live from him in a long time since. There's just a certain dexterity, creativity and occasional surprising gentleness that slowly disappeared during the 70s.

Keith emerged from this tour as a guitar god of his own unique design, but it seems that gravity would slowly push each player to do more of what they do best and less of what the other guy does best, even if they were good enough themselves.

The mystery of the incredible Ya-Ya's performances of Midnight Rambler and Sympathy for the Devil may go on forever. To my ears, the post-MSG shows sound even more like the Ya-Ya's versions than the available MSG versions do. Accordingly, I would not be surprised if overdubs were made at the end of the U.S. tour after the return to England, perhaps even after listening to some of the tapes and first plotting out -- then playing -- more perfect and polished versions of what had recently been played live.

It just seems improbable that the legendary versions popped out in the middle of these otherwise good but human versions played before and after them.

Like John Mayall's album Diary of a Band (with Mick Taylor), the 1969 Tour in its entirety is the diary of a band, a working band that eats, sleeps, plays, travels, writes and records together.

This would end at some point, due largely to economic success, but also due to aging into deeper personal lives, domestic relationships and having children.

The post-1969 reduction of Keith Richards' playing of lead guitar solos changed the sound of the Stones, and it really wasn't necessary on some of the songs, which are not really built for soaring solos anyway.

I better understand those who seem to blame Mick Taylor's virtuosity for this, but I think it just got harder for Keith to do more than just play his signature trademark lines over time, and having the Taylor solos as a direct comparison had to add unwelcome pressure for a guy who was self-medicating to deal with the spotlight already.

Satisfaction is a good example. Mick Taylor plays a relatively long solo in the middle, but Keith always ends the song with his short classic riff ringing out.

From the stage presentation, I get the sense that, for an already established superstar band, Mick Taylor was truly and generously granted an immediate equal role. That is, equal to Charlie and Bill (Mick and Keith being first among equals).

That sounds snide, but it's no small thing. I think part of it was due to the egalitarian vibe of the 60s and what it meant to be in a band, part of it was due to what Mick Jagger felt the band needed to compete commercially with other bands with blazing Blues guitar soloists and part of it was due to the new kid's obvious generational gifts as a player, which commanded respect.

Surely the early Mick Taylor tryout session that produced Honky Tonk Women had to impress the band. Taylor added parts that provided an added dimension to the music, but which sounded entirely like the Rolling Stones.

It was a better version of the Rolling Stones, but not so noticeably due to their having added a new guitarist.

For the egos involved, this was a win-win solution. And for the fans as well.

Mick Taylor as a Rolling Stone (1969-74) by GimmeMTguy

69-74 Rolling Stones stones

Part 3: The 1970 Fall Tour: 25 shows in Europe over 6 weeks

1970

The 1969 tour was and has been heralded in the public mind, for so many reasons.

There was the debut of Mick Taylor as a replacement for Brian Jones, whose subsequent death brought even more attention to the personnel change. An enormous free Hyde Park concert in London marked the start of the reconstituted Rolling Stones. A U.S. arena tour would commence the corporate rock era, with top acts playing in the largest available indoor venues. A festival show was held in Florida, and the notorious Altamont free concert in the San Francisco Bay Area became notorious for the death of a fan, further publicized by the documentary movie Gimme Shelter. To top it off was the release of a live album of the tour (Get Yer Ya-Yas Out) designed to counter the early bootlegging of top artists' live shows.

1969 was big. It was also the calendar end to the 1960s, and momentous for its political and cultural strife and change.

1970 is the forgotten sibling.

Yet, a close listen to the recordings reveals that playing-wise, the band was probably sharper overall. There were also some setlist changes that added some variety and tasty musical juices when compared to the 1969 setlist.

Roll Over Beethoven was faster and had more cultural/historical relevance in 1970 than the other Berry tune Carol. Dead Flowers is upbeat in musical tenor and would be even if only played with Keith's guitar. The addition of Mick Taylor's joyous melodies throughout makes it a real palette cleanser. The appearances of Let it Rock and Brown Sugar also add some more straight rock and roll into the mix.

1969 was "heavy" but 1970 dared to lighten up just a little bit, perhaps foreshadowing the Stones' future philosophy that "it's only rock and roll."

There are plenty of audience disturbances in the 1969 shows, likely due to police action in the halls. Mick Jagger seemed to feel a need to pontificate somewhat vaguely about the Vietnam war in America. Europe 1970 felt a bit more like pure entertainment.

As for Mick Taylor, in 1969 he was new, 20 years old and joining a super-popular "longtime" successful major rock band after several years playing almost nightly in a hardcore Blues band.

He was feeling his way into a role in a band not known for actually talking amongst themselves about who should play what.

In 1970 he is not at all shy musically, and his interactivity with Mick Jagger's vocals is different from how Jagger interacts musically with Keith Richards. One can imagine an almost equal power and role for the two guitarists when listening to these shows, each playing to their strengths.

The band feels like a working band, living and playing together as a unit, respecting, listening, and reacting to each other's contributions onstage. This feeling would diminish in certain ways in the future.

All in all, the 1970 tour is a pleasant surprise and deeply underappreciated and underrated. If you like 1969, you might like 1970 even more. If 1969 is not your favorite, you may find 1970 to be more like 1972-73 than you expect.

Core setlist (with verified times played):

  • Jumpin' Jack Flash (18)
  • Roll Over Beethoven (20)
  • Sympathy for the Devil (20)
  • Stray Cat Blues (20)
  • Love in Vain (20)
  • Dead Flowers (20)
  • Midnight Rambler (20)
  • Live with Me (19)
  • Let it Rock (17)
  • Little Queenie (19)
  • Brown Sugar (19)
  • Honky Tonk Women (17)
  • Street Fighting Man (16)
  • Gimme Shelter (1)

Songs likely played, but missing from existing recordings:

  • Helsinki (September 2)
    Likely missing Live with Me, Let it Rock, Little Queenie, Honky Tonk Women, Street Fighting Man

  • Stockholm (September 4)
    Likely missing Jumpin' Jack Flash, Let it Rock, Little Queenie, Brown Sugar, Honky Tonk Women, Street Fighting Man

  • Frankfurt (October 6)
    Likely missing Jumpin' Jack Flash, Brown Sugar, Honky Tonk Women, Street Fighting Man

  • Rome (September 29)
    Likely missing Honky Tonk Women, Street Fighting Man

7 months later

Mick Taylor as a Rolling Stone (1969-74) by GimmeMTguy

69-74 Rolling Stones stones

Part 4: The 1971 Farewell to England Tour: 17 shows in the UK over 3 weeks

1971

We only have five shows with circulating recordings by which to judge this "farewell to England" tour.

Presumably, it was hastily organized once the band's accountants and lawyers convinced them that they needed to avoid taxation in their homeland by residing elsewhere.

The relocation to France was more than just an album cover contrivance. After getting screwed over financially by Allen Klein, the band owed unpaid taxes that they could literally never earn enough to repay if they were taxed in England, with its then-confiscatory rates on high earners.

It all sounds romantic and literary, but it had to be emotionally wrenching for them all, still in their 20s and establishing new "homes" in France. It must have been especially odd for the younger Mick Taylor, a mere 22 years old, even though he had already spent his years 18-20 playing 421 shows around the world with John Mayall's Bluesbreakers.

There's a rough and ready quality to the Coventry show, the arrangements still hewing a bit closer to the studio versions than in 1970 (except for Satisfaction) and there being gaps and transitional flubs, alongside brilliant moments.

A week later in Leeds they have fully found their feet, with a muscular Jumpin' Jack Flash and a stellar Midnight Rambler. The band's powers are in full flourish, the show is not yet a polished diamond, but they are capable of casually creating brilliance.

The two guitarists are perhaps at the closest point to being equals in their respective abilities to contribute their in their respective musical vernaculars. Taylor is no longer the new guy, gently finding his spots. He plays what he wants, when he wants.

Keith may be the central musical identity of the Rolling Stones, but in 1971 he is seemingly accepting the challenge of playing alongside a virtuoso and deploys his simpler but no less ingenious toolbox to match Mick Taylor's contributions. It's a balanced two-guitar band that is actively creating onstage.

The London Roundhouse and Marquee club performances -- shows at the Roundhouse, a made-for-TV performance at the Marquee in front of friends and beautiful people -- are pinnacles of the last moments of the Rolling Stones as a fully-functioning, living, breathing and creating rock band.

What, you may exclaim, the best is yet to come in 1972 and 1973.

Well yes, it is.

But my thorough review of 1969, 1970 and 1971 in sequence has provided me grist for a surprising reevaluation of my multi-decade thoughts about the Stones.

Although I have not sought to replay any 72-73 shows while reviewing the earlier Taylor years for this project, they are burned into my memory on a note-by-note, instrument-by-instrument basis.

My sense is that the Marquee taping, with the subsequent stories of Keith having to be "revived" or "awakened" to play it and finish it, represents that last time Keith was not meaningfully hobbled in his playing during the Taylor era.

There is a flexibility and spontaneity to his playing that simply disappears in 1972. That's not to say from 1972-on that he is not still an incredibly powerful rhythm machine, but it is a simpler and less reactive kind of playing. He is a numbed bulldozer dutifully being followed by the others.

We can revisit this thesis when we work through the upcoming tours.

But if you have not specifically enjoyed the 1970 and 1971 tours recently, go back and hear the OTHER Mick and Keith pairing working with each other as relative equals in a way that was not possible on Taylor's first tour in 1969.

And marvel at how amazing Keith was before the addiction took its toll.

Core setlist (with verified times played):

  • Jumpin' Jack Flash (3); Coventry, Leeds, London (Roundhouse)
  • Live With Me (5); Coventry, Leeds, London (Roundhouse, both shows), London (Marquee)
  • Dead Flowers (4); Coventry, Leeds, London (Roundhouse), London (Marquee)
  • Stray Cat Blues (4); Coventry, Leeds, London (Roundhouse, both shows)
  • Love In Vain (3); Coventry, Leeds, London (Roundhouse)
  • Midnight Rambler (4); Coventry, Leeds, London (Roundhouse), London (Marquee)
  • Bitch (5); Coventry, Leeds, London (Roundhouse), London (Marquee) (played twice)
  • Honky Tonk Women (3); Coventry, Leeds, London (Roundhouse)
  • Satisfaction (4); Coventry, Leeds, London (Roundhouse), London (Marquee)
  • Little Queenie (2); Coventry, Leeds
  • Brown Sugar (3); Coventry, Leeds, London (Marquee)
  • Street Fighting Man (2); Coventry, Leeds
  • Let It Rock (2); Leeds, London (Marquee)
  • Prodigal Son (1); London (Roundhouse)
  • I Got The Blues (1); London (Marquee) (played twice in one show)
a year later

Mick Taylor as a Rolling Stone (1969-74) by GimmeMTguy

69-74 Rolling Stones stones

Part 5: The 1972 "Stones Touring Party" American Tour: 51 shows in the US and Canada over 7 weeks

1972

Some Pre-Reviewing Thoughts

The Rolling Stones are considered the greatest live rock band of all time, and their 1972 U.S. Tour is almost universally considered to be the "best" of their tours. Of course, what is "best" is relative -- and there are many factors that go into making something the best.

The 1972 Tour had outstanding music, cultural cache in being the first rock tour that made the everyday news in cities where it played (not just aimed at teenagers), the emergence of Mick Jagger as a new type of front-man and singer, and the creation of a business model for bands to play large arenas, night after night, for months, with a largely fixed set list to be replicated night after night.

There is no controversy as to when the Stones played in 1972, but there is confusion on the internet (including Wikipedia) as of March 2025 as to how many shows were played. By my count, 51 shows over 53 days. (This corresponds to the result from both Zentgraf

and dbboots.com Icon dbboots
dbboots.com Icon dbboots.com
dbboots.com - The Rolling Stones Bootlegs database -
www.dbboots.com - The Rolling Stones bootlegs database with thousands of titles reference. Periodically updated with latest Bootlegs titles.
dbboots.com
).

Here is a breakdown of single-show dates and double-show dates:

Single Shows Played (27 dates)

June 3: Vancouver - Pacific Coliseum
June 9: Los Angeles - Hollywood Palladium
June 10: Long Beach - Long Beach Arena
June 13: San Diego - International Sports Arena
June 14: Tucson - Tucson Convention Center
June 15: Albuquerque - University Arena
June 18: Bloomington - Metropolitan Sports Center
June 19: Chicago - International Amphitheatre
June 22: Kansas City - Municipal Auditorium
June 27: Mobile - Mobile Civic Center
June 28: Tuscaloosa - Memorial Coliseum
June 29: Nashville - Municipal Auditorium
July 4: Washington, D.C. - Robert F. Kennedy Memorial Stadium
July 5: Norfolk - Norfolk Scope
July 6: Charlotte - Charlotte Coliseum
July 7: Knoxville - Civic Arena
July 11: Akron - Rubber Bowl
July 12: Indianapolis - Indiana Convention-Exposition Center
July 13: Detroit - Cobo Hall
July 14: Detroit - Cobo Hall
July 17: Montreal - Montreal Forum
July 18: Boston - Boston Garden
July 19: Boston - Boston Garden
July 20: Philadelphia - The Spectrum
July 22: Pittsburgh - Civic Arena
July 24: New York City - Madison Square Garden
July 26: New York City - Madison Square Garden

Two Shows Played (12 dates, 24 shows)

June 4: Seattle - Seattle Center Coliseum
June 6: San Francisco - Winterland Ballroom
June 8: San Francisco - Winterland Ballroom
June 11: Inglewood - The Forum
June 16: Denver - Denver Coliseum
June 20: Chicago - International Amphitheatre
June 24: Fort Worth - Tarrant County Convention Center
June 25: Houston - Hofheinz Pavilion
July 9: St. Louis - Kiel Convention Hall
July 15: Toronto - Maple Leaf Gardens
July 21: Philadelphia - The Spectrum
July 25: New York City - Madison Square Garden

The tour was a grueling trek across a broad swath of the United States, including the deep South. The Stones wanted to spend time seeing and experiencing America, expanding upon the experience of 1969. They also wanted to make some money.

As a precursor to reviewing these shows in the order they were performed, it is important to realize that their goal was to replicate a great experience for the fans, city after city, polishing their performance along the way.

Because they intended to release a live album of the tour, as well as two movies about it, they actually rehearsed at times during the tour to prepare for being captured live.

As a result, there was little set list variation. The primary differences in the audio recordings is the content of Mick Taylor's improvised guitar solos, Mick Jagger's between song banter and vocal vamping and how "on" Keith Richards' rhythm playing was.

With 12 shows not yet circulated in recordings, we presently have 39 to review. I anticipate that it will be hard to find and write about meaningful differences between two versions of Rip this Joint, let alone 39. It would be even harder to find anyone willing to read about whatever differences in them I can find.

Being quite familiar with a good number of these recordings already, I anticipate that the reviews will focus on the songs based on the degree of musical variations they permit:

High focus:

Gimme Shelter
Tumbling Dice
Love in Vain
You Can't Always Get What You Want

Average focus:

Brown Sugar
Happy
All Down the Line
Midnight Rambler
Street Fighting Man

Less focus:

Bitch
Rocks Off
Sweet Virginia
Bye Bye Johnny
Rip this Joint
Jumpin' Jack Flash

This doesn't mean the lower variation songs are not good -- it just means there won't be much to say about them once they fall into place arrangement-wise on the tour.

My own listening habits reflect my biases/favorites -- I immediately listen to Gimme Shelter, Tumbling Dice, Brown Sugar, All Down the Line and You Can't Always Get What You Want when I obtain a new 1972 recording.

For me, a show without a notable Gimme Shelter or Tumbling Dice as an anchor to remember it by is simply not going to be listened to very much compared to shows that have them. There's too much great music and not enough time to listen to it all already.

Centerpiece anthems like Midnight Rambler and You Can't Always Get What You Want don't get as much attention as they deserve, in my universe, simply due to their length. I will try to make up for that in these forthcoming listenings and reviews.

Based on recording sound quality, certain shows have gotten most of the attention over the past 53 years as the best -- the Texas shows (Fort Worth and Houston), Philadelphia, and New York. These shows occurred later in the tour and the band knew it was being recorded or filmed.

Ultimately, I think those shows will still find themselves at the top of the heap. But I hope to surface and highlight some other song performances that deserve equal attention, if not also some entire shows, as being worthy of more fanfare.

1972, continued

Important information for guitar players. Here are the keys of the core setlist songs played on the 1972 Tour, posted by @flipdaboid8007 on YouTube (in the comments).

Using five different shows as the guideline I arrived at the list of keys for each song:

  1. Brown Sugar – C Major
  2. Bitch – A minor
  3. Rocks Off - E Major
  4. Gimme Shelter – C# Major
  5. Happy – B Major
  6. Tumbling Dice – B Major
  7. Love In Vain – G Major
  8. Sweet Virginia – A Major
  9. You Can’t Always Get What You Want – C Major
  10. All Down The Line – G Major
  11. Midnight Rambler – B Major
  12. Rip This Joint – B Major
  13. Jumpin’ Jack Flash – B Major
  14. Street Fighting Man – B Major

Dead Flowers – D major
Bye Bye Johnny – B Major

youtu.be/fF0rjVJOr9A

1972, continued

What's in the Rolling Stones 1972 Tour setlists for circulated shows:

11 of the 51 shows do not have complete or partial circulated recordings.

Core setlist (with verified times played):

  • Brown Sugar (37)
  • Bitch (37)
  • Rocks Off (37)
  • Gimme Shelter (37)
  • Happy (39)
  • Tumbling Dice (38)
  • Love in Vain (36)
  • Sweet Virginia (38)
  • You Can't Always Get What You Want (38)
  • All Down the Line (39)
  • Midnight Rambler (39)
  • Bye Bye Johnny (34)
  • Rip this Joint (33)
  • Jumpin' Jack Flash (38)
  • Street Fighting Man (37)

Occasionally played (with verified times played):

  • Honky Tonk Women (6)
  • Uptight-Satisfaction (5)
  • Loving Cup (4)

Rarely played, non-encore songs:

  • Loving Cup -- Vancouver (June 3), Seattle (June 4, 1st show), Seattle (June 4, 2nd show), San Francisco (June 8, 2nd show)
  • Torn and Frayed -- Vancouver (June 3)
  • Ventilator Blues -- Vancouver (June 3)
  • Honky Tonk Women -- Inglewood (June 11, 1st show)
  • Let it Rock -- San Francisco (June 6, 2nd show) (unverified)
  • Dead Flowers -- Fort Worth (June 24, 1st show)
  • Sweet Black Angel -- Fort Worth (June 24, 1st show)
  • Don't Lie to Me -- Fort Worth (June 24, 2nd show)

Rare encores:

  • Honky Tonk Women (San Francisco (June 8, 2nd show))
  • Honky Tonk Women (Inglewood (June 11, 1st show))
  • Honky Tonk Women (Inglewood (June 11, 2nd show))
  • Honky Tonk Women (San Diego (June 13 (unverified))
  • Honky Tonk Women (Boston (July 18))
  • Uptight-Satisfaction (with Stevie Wonder) (Philadelphia (July 21, 1st show))
  • Uptight-Satisfaction (with Stevie Wonder) (Philadelphia (July 21, 2nd show))
  • Uptight-Satisfaction (with Stevie Wonder) (New York (July 24))
  • Uptight-Satisfaction (with Stevie Wonder) (New York (July 25, 2nd show))
  • Uptight-Satisfaction (with Stevie Wonder) (New York (July 26))

Filmed for the Ladies & Gentlemen movie:

  • Fort Worth (June 24, 1st show)
  • Fort Worth (June 24, 2nd show)
  • Houston (June 25, 1st show)
  • Houston (June 25, 2nd show)

1972, continued

What's missing from the Rolling Stones 1972 Tour recordings:

11 of the 51 shows do not have complete or partial circulated recordings.

Shows with no fan-circulated recordings:

  • San Francisco (June 6, 2nd show)
  • San Diego (June 13)
  • Denver (June 16, 1st show)
  • Denver (June 16, 2nd show)
  • Bloomington (June 18)
  • Chicago (June 20, 1st show)
  • Nashville (June 29)
  • St. Louis (July 9, 1st show)
  • St. Louis (July 9, 2nd show)
  • Detroit (July 13)
  • Detroit (July 14)

Songs likely played, but missing from existing recordings:

  • San Francisco (June 6, 1st show)
    Likely missing Bye Bye Johnny, Rip This Joint, Jumpin' Jack Flash, Street Fighting Man

  • San Francisco (June 8, 1st show)
    Likely missing Brown Sugar, Bitch, Rocks Off, Gimme Shelter, Happy, Tumbling Dice, Love in Vain, Sweet Virginia, You Can't Always Get What You Want, All Down the Line, Midnight Rambler, Bye Bye Johnny, Rip This Joint

  • Los Angeles (June 9)
    Likely missing Love in Vain, Bye Bye Johnny, Rip This Joint, Street Fighting Man

  • Houston (June 25, 1st show)
    Likely missing Brown Sugar, Bitch, Rocks Off, Gimme Shelter, Sweet Virginia, Rip This Joint, Street Fighting Man

  • Houston (June 25, 2nd show)
    Likely missing Bitch, Rocks Off, Gimme Shelter, Happy, Tumbling Dice, Love in Vain, Sweet Virginia, You Can't Always Get What You Want, Bye Bye Johnny, Rip This Joint, Jumpin' Jack Flash

  • Charlotte (July 6)
    Likely missing Brown Sugar

Core setlist songs that were skipped by the band (or possibly not fan-circulated):

  • Vancouver (June 3) -- Love in Vain
  • Fort Worth (June 24, 1st show) -- Love in Vain, Bye Bye Johnny
  • Montreal (July 17) -- Rip This Joint
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