20 Nov 97
I know. It's only
rock 'n' roll but I likes it. close enough to believe he was gesturing
directly at us, close enough to see his monkey-testifyin' from
below - strange shadows on the creases in his taut leather facial skin.
She didn't think she'd like it, or was afraid
she would, an ironic form of virginity, never having seen the Stones in all
these years, afraid that my teenage years were a parody of hers. and she
always the last hold-out, unwilling to the last to give in. i held the trump
cards 6th row tickets, amost too close - too in fact to see much
of charlie watts below his dashing grey head.
The intime miniset midstadium was for
everyone else. we all turned around, still hearing the loudspeakers behind us,
as if literally backstage, watching ron wood clown off the edge of stage right,
then all reach out thirst for a slap on the hand from retreating royalty at the
end as they promenade back to the main stage. they avoid direct eye contact
knowing it for the flash it is, too risky in such a highly scripted show.
But it was in that miniset,
first song, little queenay, a chuck berry tune she heard the maestro himself
play the time she ducked into s.f. from her parents' home in palo alto to see chuck
be good at the fillmore. suzy b. badde.
Just as for me the satisfaction opener echoed the
encore of my first dead show i ever saw and the let's spend the night together
recalled the last (real) garcia band show i saw. at my only other stones show,
the only comparable head moment was the not fade away, recalled this time in
one of the lines from gimme shelter, i think it's "i might fade awye." after that
came the songs that appeared in my adolescence (miss you, "woo-hoo whoo-hoo
whoo-hoo-oo" and start me up, whose sale to microsoft i suspect inspired the
single "flip my switch," as the stones possibly troll for the windows 98 contract
- rumors of a cut that didn't make the album, "double-click me icon, babay" are
highly overrated), which got me dancing as fluidly as b had been since the chuck
I finally wore out the heel
on my old green sock
at this show, which reminds me that chupoo alafonte, the host of computer access
who interviewed me in the studio at kpfa complimented me on my pink sock. the
following are the jottings i managed last night:
in order to be really popular
you have to appeal to people who don't pay
attention. "i wasn't even paying attention!"
[to pearl jam] brags the drunk stones fan
even as i write this!
original word for ta-da comes from a real
word in some other language? did i dream that? toda?
don't forget to mention the earliest "tastes
like chicken" citation ever found (1492, columbus)
he knew to pause as his voice
s p r e a d
perl jam one hour it was pretty good evenflow
"please don't stand on the sign that says 'please
don't stand on the seat'" (actual alert from wise usher overseer). the
signs actually say "your seat" notes b.
roadies tuning endless guitars
"ripping a riff, he was looking at me while ripping a riff!"
the drunk fanatic guy goes on later, needling, about eddie bedwedder.
9:20 been 50 minute
keef comes out in shadows, the dark lord, flash pan!
let's spend the night together
close up monkey dance
run and sing! no milli vanill
we've been a 'weally gweat woom'
flip the switch
"ah thankyew" we mock his regal bow.
he sticks out his tongue, lolls it, puts it to the roof of his mouth, impish grin
he hand dances seemingly gesturing over at us, sneers
saint of me
rock and a hard place
skanky guitar but budabip horns (4)
zip-up of many colors
interpretive dance (lizard division)
out of control (new?)
web site (so they'll play none of the losers?)
waiting on a friend ...with....
tourette's! actually got to change his hold, go with it
(as de niro learned to in awakenings), every tic.
lot's of michael jackson stylee in his dance moves, too.
... vedder seemingly spontaneous - alphonse/gaston at the mic - cameo
ron wood solo front and center touches off loosest jam
all night i dance the travolta.
intros, all spelling and hearing errors mine
bernard fallow - singer
moloki chaplin (from south africa)
miss lisa fisher (shy really)
chuck laval on keys
michael dunks trombone
ted smith trumpet
andy smit sax
lonnie key tenor
guitar ronnie wood
bass darrel jones
drums charlie watts
keef bows down to him
vocal & guitar keith richards
who then takes front and center and sings
all about you (?) sings jazz can't really put it across
next tune is reggae,
don't have to read it?
maybe from the bridges to babylon album?
k sings plaintive dylan
doo wop reggae
"there's always a first night for everything"
he says or probably first time but that's how i wrote it
"that's all" and leaves the stage.
after a short wait, a bridge extrudes to the middle of the field.
they prance across behind us now.
you've got me rockin'
slap hands on the runway, start sympathy riff, bouncy, almost "i believe in miracles (you sexy thing)"-like.
sympathy for the devil->
near the end: hoo-hoo-us interruptus, one call-and-response
chorus with the audience and then
a brownie smell
dancer in new black foundation dress. doin'
hootchy-kootchy mama moves.
keef barges in on keybist solo, finishes with foot.
start me up
jumpin' jack flash -pot smoke
you can't always get what you want
four survivors bow