THE ROLLING STONES at Staples Center, October 31, and at Edison Field, November 2
Beyond the finale's unintentional homage to the White Stripes (a conflation of blood-red confetti and pulsing white smoke) and this tour's loose lick-up-the-past theme - a set list emphasizing the post-'60s era(s) and Exile on Main Street in particular - the Staples Center concert was largely
about the redemption of Ron Wood. Given the thankless task of replacing the far more fluid, dazzling soloist Mick Taylor in 1975, Wood's usually credited more for being a visual icon, for looking the part of a Stone, than for his sympathetic chunk-and-response conversation with Keith Richards. At Staples, Wood was especially impressive on the slide, carving up "Love in Vain" with oily, spiky precision. Other highlights: Chuck Leavell's gumball piano rattling around the corners of "Street Fighting Man" and the icy intro flickering of "Monkey Man." Mick Jagger, sporting black suspenders and a white shirt, warned, "This is really too fast," before a properly rambunctious (and fast) "Rip This Joint." Contrary to critical consensus, the one new tune, "Don't Stop," was memorable and kinda poignant, a deceptively laid-back statement of purpose. Biggest surprise: a goofy but exuberant version of the O'Jays' "Love Train."
Ron Wood wasn't quite as sharp at Edison Field, and Charlie Watts sounded a little tired on a leaden "Honky Tonk Women," but the band played longer, and mixed in a dozen tunes they hadn't performed at Staples. Everything was bigger and louder in Anaheim, especially the row of black gas tanks mounted perilously high above the massive stage, belching humongous fireballs choreographed to the ominous rhythm of "Sympathy for the Devil." The emotions were bigger, too, with "Gimme Shelter" taking on a timely resonance ("war, it's just a shot away"), as violet searchlights probed the audience reproachfully. Deep feelings turned to indulgent sentimentality on a gloriously mawkish "Angie"; couples throughout the stands began making out.
For the acoustic-driven "Sweet Virginia," the crowd erupted in spontaneous "woooh!"s when Jagger drawled, "Thank you for your wine, California," perhaps overlooking his forked-tongue following line: "and your sweet and bitter fruit."
The higher reaches of the ballpark's ironically named "View Level" were literally rocking by the time the group thundered impressively through "Midnight Rambler." It was only rock & roll, but, as Keith Richards rasped, "It's good to be here. It's good to be anywhere."
-Falling James
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DFA Records: Holiday Mix 2005
Fluke - Progressive History XXX - 3...
