The Rolling Stones: Terrifying - The Legendary Atlantic City Concert (2014)



Video: NTSC, MPEG-2 at 5 438 Kbps, 720 x 480 at 29.970 fps | Audio: AC-3 2 channels at 448 Kbps, 48.0 KHz
Genre: Rock | Label: Woodstock | Copy: Untouched | Release Date: 7 April 2014 | Runtime: 164 min. | 7,12 GB (DVD9)

The Complete Show from December 19, 1989 Convention Center Atlantic City, New Jersey.
By the time the Rolling Stones began calling themselves the World's
Greatest Rock & Roll Band in the late '60s, they had already staked
out an impressive claim on the title. As the self-consciously dangerous
alternative to the bouncy Merseybeat of the Beatles in the British
Invasion, the Stones had pioneered the gritty, hard-driving blues-based
rock & roll that came to define hard rock. With his preening
machismo and latent maliciousness, Mick Jagger became the prototypical
rock frontman, tempering his macho showmanship with a detached, campy
irony while Keith Richards and Brian Jones wrote the blueprint for
sinewy, interlocking rhythm guitars. Backed by the strong yet subtly
swinging rhythm section of bassist Bill Wyman and drummer Charlie Watts,
the Stones became the breakout band of the British blues scene,
eclipsing such contemporaries as the Animals and Them. Over the course
of their career, the Stones never really abandoned blues, but as soon as
they reached popularity in the U.K., they began experimenting
musically, incorporating the British pop of contemporaries like the
Beatles, Kinks, and Who into their sound. After a brief dalliance with
psychedelia, the Stones re-emerged in the late '60s as a jaded,
blues-soaked hard rock quintet. The Stones always flirted with the seedy
side of rock & roll, but as the hippie dream began to break apart,
they exposed and reveled in the new rock culture. It wasn't without
difficulty, of course. Shortly after he was fired from the group, Jones
was found dead in a swimming pool, while at a 1969 free concert at
Altamont, a concertgoer was brutally killed during the Stones' show. But
the Stones never stopped going. For the next 30 years, they continued
to record and perform, and while their records weren't always
blockbusters, they were never less than the most visible band of their
era certainly, none of their British peers continued to be as popular or
productive as the Stones. And no band since has proven to have such a
broad fan base or far-reaching popularity, and it is impossible to hear
any of the groups that followed them without detecting some sort of
influence, whether it was musical or aesthetic. Throughout their career,
Mick Jagger (vocals) and Keith Richards (guitar, vocals) remained at
the core of the Rolling Stones. The pair initially met as children at
Dartford Maypole County Primary School. They drifted apart over the next
ten years, eventually making each other's acquaintance again in 1960,
when they met through a mutual friend, Dick Taylor, who was attending
Sidcup Art School with Richards. At the time, Jagger was studying at the
London School of Economics and playing with Taylor in the blues band
Little Boy Blue and the Blue Boys. Shortly afterward, Richards joined
the band. Within a year, they had met Brian Jones (guitar, vocals), a
Cheltenham native who had dropped out of school to play saxophone and
clarinet. By the time he became a fixture on the British blues scene,
Jones had already had a wild life. He ran away to Scandinavia when he
was 16; by that time, he had already fathered two illegitimate children.
He returned to Cheltenham after a few months, where he began playing
with the Ramrods. Shortly afterward, he moved to London, where he played
in Alexis Korner's group, Blues Inc. Jones quickly decided he wanted to
form his own group and advertised for members; among those he recruited
was the heavyset blues pianist Ian Stewart.
As he played with his group, Jones also moonlighted under the name Elmo
Jones at the Ealing Blues Club. At the pub, he became reacquainted with
Blues, Inc., which now featured drummer Charlie Watts, and, on occasion,
cameos by Jagger and Richards. Jones became friends with Jagger and
Richards, and they soon began playing together with Taylor and Stewart;
during this time, Mick was elevated to the status of Blues, Inc.'s lead
singer. With the assistance of drummer Tony Chapman, the fledgling band
recorded a demo tape. After the tape was rejected by EMI, Taylor left
the band to attend the Royal College of Art; he would later form the
Pretty Things. Before Taylor's departure, the group named itself the
Rolling Stones, borrowing the moniker from a Muddy Waters song.
The Rolling Stones gave their first performance at the Marquee Club in
London on July 12, 1962. At the time, the group consisted of Jagger,
Richards, Jones, pianist Ian Stewart, drummer Mick Avory, and Dick
Taylor, who had briefly returned to the fold. Weeks after the concert,
Taylor left again and was replaced by Bill Wyman, formerly of the
Cliftons. Avory also left the group he would later join the Kinks and
the Stones hired Tony Chapman, who proved to be unsatisfactory. After a
few months of persuasion, the band recruited Charlie Watts, who had quit
Blues, Inc. to work at an advertising agency once the group's schedule
became too hectic. By 1963, the band's lineup had been set, and the
Stones began an eight-month residency at the Crawdaddy Club, which
proved to substantially increase their fan base. It also attracted the
attention of Andrew Loog Oldham, who became the Stones' manager, signing
them from underneath the Crawdaddy Club's Giorgio Gomelsky. Although
Oldham didn't know much about music, he was gifted at promotion, and he
latched upon the idea of fashioning the Stones as the bad-boy opposition
to the clean-cut Beatles. At his insistence, the large yet meek Stewart
was forced out of the group, since his appearance contrasted with the
rest of the group. Stewart didn't disappear from the Stones; he became
one of their key roadies and played on their albums and tours until his
death in 1985.
With Oldham's help, the Rolling Stones signed with Decca Records, and
that June, they released their debut single, a cover of Chuck Berry's
"Come On." The single became a minor hit, reaching number 21, and the
group supported it with appearances on festivals and package tours. At
the end of the year, they released a version of Lennon-McCartney's "I
Wanna Be Your Man" that soared into the Top 15. Early in 1964, they
released a cover of Buddy Holly's "Not Fade Away," which shot to number
three. "Not Fade Away" became their first American hit, reaching number
48 that spring. By that time, the Stones were notorious in their
homeland. Considerably rougher and sexier than the Beatles, the Stones
were the subject of numerous sensationalistic articles in the British
press, culminating in a story about the band urinating in public. All of
these stories cemented the Stones as a dangerous, rebellious band in
the minds of the public, and had the effect of beginning a manufactured
rivalry between them and the Beatles, which helped the group rocket to
popularity in the U.S. In the spring of 1964, the Stones released their
eponymous debut album, which was followed by "It's All Over Now," their
first U.K. number one.
That summer, they toured America to riotous crowds, recording the Five
by Five EP at Chess Records in Chicago in the midst of the tour. By the
time it was over, they had another number one U.K. single with Howlin'
Wolf's "Little Red Rooster." Although the Stones had achieved massive
popularity, Oldham decided to push Jagger and Richards into composing
their own songs, since they and his publishing company would receive
more money that away. In June of 1964, the group released their first
original single, "Tell Me (You're Coming Back)," which became their
first American Top 40 hit. Shortly afterward, a version of Irma Thomas'
"Time Is on My Side" became their first U.S. Top Ten. It was followed by
"The Last Time" in early 1965, a number one U.K. and Top Ten U.S. hit
that began a virtually uninterrupted string of Jagger-Richards hit
singles. Still, it wasn't until the group released "(I Can't Get No)
Satisfaction" in the summer of 1965 that they were elevated to
superstars. Driven by a fuzz-guitar riff designed to replicate the sound
of a horn section, "Satisfaction" signaled that Jagger and Richards had
come into their own as songwriters, breaking away from their blues
roots and developing a signature style of big, bluesy riffs and wry,
sardonic lyrics. It stayed at number one for four weeks and began a
string of Top Ten singles that ran for the next two years, including
such classics as "Get Off My Cloud," "19th Nervous Breakdown," "As Tears
Go By," and "Have You Seen Your Mother, Baby, Standing in the Shadow?"
By 1966, the Stones had decided to respond to the Beatles' increasingly
complex albums with their first album of all-original material,
Aftermath. Due to Brian Jones' increasingly exotic musical tastes, the
record boasted a wide range of influences, from the sitar-drenched
"Paint It, Black" to the Eastern drones of "I'm Going Home." These
eclectic influences continued to blossom on Between the Buttons (1967),
the most pop-oriented album the group ever made. Ironically, the album's
release was bookended by two of the most notorious incidents in the
band's history. Before the record was released, the Stones performed the
suggestive "Let's Spend the Night Together," the B-side to the medieval
ballad "Ruby Tuesday," on The Ed Sullivan Show, which forced Jagger to
alter the song's title to an incomprehensible mumble, or else face being
banned.
In February of 1967, Jagger and Richards were arrested for drug
possession, and within three months, Jones was arrested on the same
charge. All three were given suspended jail sentences, and the group
backed away from the spotlight as the summer of love kicked into gear in
1967. Jagger, along with his then-girlfriend Marianne Faithfull, went
with the Beatles to meet the Maharishi Mahesh Yogi; they were also
prominent in the international broadcast of the Beatles' "All You Need
Is Love." Appropriately, the Stones' next single, "Dandelion"/"We Love
You," was a psychedelic pop effort, and it was followed by their
response to Sgt. Pepper, Their Satanic Majesties Request, which was
greeted with lukewarm reviews.
The Stones' infatuation with psychedelia was brief. By early 1968, they
had fired Andrew Loog Oldham and hired Allen Klein as their manager. The
move coincided with their return to driving rock & roll, which
happened to coincide with Richards' discovery of open tunings, a move
that gave the Stones their distinctively fat, powerful sound. The
revitalized Stones were showcased on the malevolent single "Jumpin' Jack
Flash," which climbed to number three in May 1968. Their next album,
Beggar's Banquet, was finally released in the fall, after being delayed
for five months due its controversial cover art of a dirty,
graffiti-laden restroom. An edgy record filled with detours into
straight blues and campy country, Beggar's Banquet was hailed as a
masterpiece among the fledgling rock press. Although it was seen as a
return to form, few realized that while it opened a new chapter of the
Stones' history, it also was the closing of their time with Brian Jones.
Throughout the recording of Beggar's Banquet, Jones was on the
sidelines due to his deepening drug addiction and his resentment of the
dominance of Jagger and Richards. Jones left the band on June 9, 1969,
claiming to be suffering from artistic differences between himself and
the rest of the band. On July 3, 1969 less than a month after his
departure Jones was found dead in his swimming pool. The coroner ruled
that it was "death by misadventure," yet his passing was the subject of
countless rumors over the next two years.
By the time of his death, the Stones had already replaced Brian Jones
with Mick Taylor, a former guitarist for John Mayall's Bluesbreakers. He
wasn't featured on "Honky Tonk Women," a number one single released
days after Jones' funeral, and he contributed only a handful of leads on
their next album, Let It Bleed. Released in the fall of 1969, Let It
Bleed was comprised of sessions with Jones and Taylor, yet it continued
the direction of Beggar's Banquet, signaling that a new era in the
Stones' career had begun, one marked by ragged music and an increasingly
wasted sensibility. Following Jagger's filming of Ned Kelly in
Australia during the first part of 1969, the group launched its first
American tour in three years. Throughout the tour the first where they
were billed as the World's Greatest Rock & Roll Band the group broke
attendance records, but it was given a sour note when the group staged a
free concert at Altamont Speedway. On the advice of the Grateful Dead,
the Stones hired Hell's Angels as security, but that plan backfired
tragically. The entire show was unorganized and in shambles, yet it
turned tragic when the Angels killed a young black man, Meredith Hunter,
during the Stones' performance. In the wake of the public outcry, the
Stones again retreated from the spotlight and dropped "Sympathy for the
Devil," which some critics ignorantly claimed incited the violence, from
their set. As the group entered a hiatus, they released the live Get
Yer Ya-Ya's Out! in the fall of 1970. It was their last album for
Decca/London, and they formed Rolling Stones Records, which became a
subsidiary of Atlantic Records.
During 1970, Jagger starred in Nicolas Roeg's cult film Performance and
married Nicaraguan model Bianca Perez Morena de Macias, and the couple
quickly entered high society. As Jagger was jet-setting, Richards was
slumming, hanging out with country-rock pioneer Gram Parsons. Keith
wound up having more musical influence on 1971's Sticky Fingers, the
first album the Stones released though their new label. Following its
release, the band retreated to France on tax exile, where they shared a
house and recorded a double album, Exile on Main St. Upon its May 1972
release, Exile on Main St. was widely panned, but over time it came to
be considered one of the group's defining moments.
Following Exile, the Stones began to splinter in two, as Jagger
concentrated on being a celebrity and Richards sank into drug addiction.
The band remained popular throughout the '70s, but their critical
support waned. Goats Head Soup, released in 1973, reached number one, as
did 1974's It's Only Rock 'n' Roll, but neither record was particularly
well received. Taylor left the band after It's Only Rock 'n' Roll, and
the group recorded their next album as they auditioned new lead
guitarists, including Jeff Beck. They finally settled on Ron Wood,
former lead guitarist for the Faces and Rod Stewart, in 1976, the same
year they released Black n' Blue, which only featured Wood on a handful
of cuts. During the mid- and late '70s, all the Stones pursued side
projects, with both Wyman and Wood releasing solo albums with
regularity. Richards was arrested in Canada in 1977 with his common-law
wife Anita Pallenberg for heroin possession. After his arrest, he
cleaned up and was given a suspended sentence the following year. The
band reconvened in 1978 to record Some Girls, an energetic response to
punk, new wave, and disco. The record and its first single, the thumping
disco-rocker "Miss You," both reached number one, and the album
restored the group's image. However, the group squandered that goodwill
with the follow-up, Emotional Rescue, a number one record that
nevertheless received lukewarm reviews upon its 1980 release. Tattoo
You, released the following year, fared better both critically and
commercially, as the singles "Start Me Up" and "Waiting on a Friend"
helped the album spend nine weeks at number one. The Stones supported
Tattoo You with an extensive stadium tour captured in Hal Ashby's movie
Let's Spend the Night Together and the 1982 live album Still Life.
Tattoo You proved to be the last time the Stones completely dominated
the charts and the stadiums. Although the group continued to sell out
concerts in the '80s and '90s, their records didn't sell as well as
previous efforts, partially because the albums suffered due to Jagger
and Richards' notorious mid-'80s feud. Starting with 1983's Undercover,
the duo conflicted about which way the band should go, with Jagger
wanting the Stones to follow contemporary trends and Richards wanting
them to stay true to their rock roots. As a result, Undercover was a
mean-spirited, unfocused record that received relatively weak sales and
mixed reviews. Released in 1986, Dirty Work suffered a worse fate, since
Jagger was preoccupied with his fledgling solo career. Once Jagger
decided that the Stones would not support Dirty Work with a tour,
Richards decided to make his own solo record with 1988's Talk Is Cheap.
Appearing a year after Jagger's failed second solo album, Talk Is Cheap
received good reviews and went gold, prompting Jagger and Richards to
reunite late in 1988. The following year, the Stones released Steel
Wheels, which was received with good reviews, but the record was
overshadowed by its supporting tour, which grossed over 140 million
dollars and broke many box office records. In 1991, the live album
Flashpoint, which was culled from the Steel Wheels shows, was released.
Following the release of Flashpoint, Bill Wyman left the band; he
published a memoir, Stone Alone, within a few years of leaving. The
Stones didn't immediately replace Wyman, since they were all working on
solo projects; this time, there was none of the animosity surrounding
their mid-'80s projects.
The group reconvened in 1994 with bassist Darryl Jones, who had
previously played with Miles Davis and Sting, to record and release the
Don Was-produced Voodoo Lounge. The album received the band's strongest
reviews in years, and its accompanying tour was even more successful
than the Steel Wheels tour. On top of being more successful than its
predecessor, Voodoo Lounge also won the Stones their first Grammy for
Best Rock Album. Upon the completion of the Voodoo Lounge tour, the
Stones released the live, "unplugged" album Stripped in the fall of
1995. Similarly, after wrapping up their tour in support of 1997's
Bridges to Babylon, the group issued yet another live set, No Security,
the following year. A high-profile greatest-hits tour in 2002 was
launched despite the lack of a studio album to support, and its album
document, Live Licks, appeared in 2004. A year later, the group issued A
Bigger Bang, their third effort with producer Don Was. In 2006, Martin
Scorsese filmed two of the group's performances at New York City's
Beacon Theatre. The resulting Shine a Light, which included guest
appearances from Buddy Guy, Jack White, and Christina Aguilera, was
released in theaters in 2008. The accompanying soundtrack reached the
number two spot on the U.K. charts. Following Shine a Light, the Stones
turned their attention toward their legacy. For Keith Richards, this
meant delving into writing his autobiography Life -- the memoir was
published to acclaim in the fall of 2010; it generated some controversy
due to comments Keith made about Mick -- but the Stones in general spent
time mining their archives, something they previously avoided. In 2010,
they released a super deluxe edition of Exile on Main St. that
contained a bonus disc of rarities and outtakes, including a few newly
finished songs like "Plundered My Soul." This was followed in 2011 by a
super deluxe edition of Some Girls that also contained unheard songs and
outtakes. That same year, the Stones opened up their Rolling Stones
Archive, which offered official digital releases of classic live
bootlegs like 1973's The Brussels Affair. All this was a prelude to
their 50th anniversary in 2012, which the group celebrated with a
hardcover book, a new documentary called Crossfire Hurricane and a new
compilation called GRRR!. The Stones also played a handful of
star-studded concerts at the end of the year and in the first half of
2013, several of which featured guest spots from the long-departed Mick
Taylor . These live shows culminated with a headlining spot at
Glastonbury and two July 2013 concerts at Hyde Park; highlights from the
Hyde Park shows were released as a digital download on iTunes that July
and, later in the year, there was a home video/CD release of the
concert called Sweet Summer Sun: Live In Hyde Park.

Artists:
- Mick Jagger: Vocals
- Keith Richards: Guitar & Vocals
- Ron Wood: Guitar
- Bill Wyman: Bass
- Charlie Watts: Drums
- Matt Clifford: Keyboards
- Chuck Leavell: Keyboards
- Bobby Keys: Saxophones
- Lisa Fisher: Backing Vocals
- Cindy Mizelle: Backing Vocals
- Bernhard Fowler: Backing Vocals
The Uptown Horns:
- Arno Hecht: Saxophones
- Crispin Cioe: Saxophones
- Paul Litteral: Trumpet
- Robert Funk: Trombone
Special guests:
- John Lee Hooker
- Eric Clapton
- Axl Rose
- Izzy Stradlin

Tracklist:
01. Start me up
02. Bitch
03. Sad sad sad
04. Undercover
05. Harlem shuffle
06. Tumbling dice
07. Miss you
08. Terrifying
09. Ruby Tuesday
10. Salt of de earth Axl Rose & Izzy Stradlin
11. Rock and hard place
12. Mixed emotions
13. Honky tonk woman
14. Midnight Rambler
15. You can't always get what you want
16. Little red rooster Eric Clapton
17. Boogie chillen Eric Clapton & John Lee Hooker
18. Can't bee seen
19. Happy
20. Paint it black
21. 2000 light years from home
22. Sympathy for the Devil
23. Gimmie shelter
24. Introduction
25. It's only rock 'n roll
26. Brown sugar
27. Satisfaction
28. Jumping jack flash

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