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This day-by-day chronicle of every live concert by the Rolling Stones from 1962 through 1982 traces their development from a band playing small clubs around London to the global phenomenon we know today. Comprehensive coverage of the shows includes set lists, venues, concert reviews, anecdotes and notable events in the lives of the band members. A list of the Stones' radio recordings--some of which were performed before live audiences--and television performances is included, along with never-before-published posters, programs, tickets, handbills and photographs.
In this breathtaking cultural history filled with exclusive, never-before-revealed details, celebrated rock journalist Joel Selvin tells the definitive story of the Rolling Stones’ infamous Altamont concert, the disastrous historic event that marked the end of the idealistic 1960s. In the annals of rock history, the Altamont Speedway Free Festival on December 6, 1969, has long been seen as the distorted twin of Woodstock—the day that shattered the Sixties’ promise of peace and love when a concertgoer was killed by a member of the Hells Angels, the notorious biker club acting as security. While most people know of the events from the film Gimme Shelter, the whole story has remained buried in varied accounts, rumor, and myth—until now. Altamont explores rock’s darkest day, a fiasco that began well before the climactic death of Meredith Hunter and continued beyond that infamous December night. Joel Selvin probes every aspect of the show—from the Stones’ hastily planned tour preceding the concert to the bad acid that swept through the audience to other deaths that also occurred that evening—to capture the full scope of the tragedy and its aftermath. He also provides an in-depth look at the Grateful Dead’s role in the events leading to Altamont, examining the band’s behind-the-scenes presence in both arranging the show and hiring the Hells Angels as security. The product of twenty years of exhaustive research and dozens of interviews with many key players, including medical staff, Hells Angels members, the stage crew, and the musicians who were there, and featuring sixteen pages of color photos, Altamont is the ultimate account of the final event in rock’s formative and most turbulent decade.
“The most blisteringly impassioned music book of the season.” —New York Times Book Review A thrilling account of the Altamont Festival—and the dark side of the ‘60s. If Woodstock tied the ideals of the '60s together, Altamont unraveled them. In Just a Shot Away, writer and critic Saul Austerlitz tells the story of “Woodstock West,” where the Rolling Stones hoped to end their 1969 American tour triumphantly with the help of the Grateful Dead, the Jefferson Airplane, and 300,000 fans. Instead the concert featured a harrowing series of disasters, starting with the concert’s haphazard planning. The bad acid kicked in early. The Hells Angels, hired to handle security, began to prey on the concertgoers. And not long after the Rolling Stones went on, an 18-year-old African-American named Meredith Hunter was stabbed by the Angels in front of the stage. The show, and the Woodstock high, were over. Austerlitz shows how Hunter’s death came to symbolize the end of an era while the trial of his accused murderer epitomized the racial tensions that still underlie America. He also finds a silver lining in the concert in how Rolling Stone’s coverage of it helped create a new form of music journalism, while the making of the movie about Altamont, Gimme Shelter, birthed new forms of documentary. Using scores of new interviews with Paul Kantner, Jann Wenner, journalist John Burks, filmmaker Joan Churchill, and many members of the Rolling Stones' inner circle, as well as Meredith Hunter's family, Austerlitz shows that you can’t understand the ‘60s or rock and roll if you don’t come to grips with Altamont.
Gathers photographs of the popular British rock group in concert, on television, and offstage, taken from 1963 to 1971
The first collection of academic essays focused entirely on the musical, historical, cultural and media impact of the Rolling Stones.
By the time Jimi Hendrix died in 1970, the idea of a black man playing lead guitar in a rock band seemed exotic. Yet a mere ten years earlier, Chuck Berry and Bo Diddley had stood among the most influential rock and roll performers. Why did rock and roll become “white”? Just around Midnight reveals the interplay of popular music and racial thought that was responsible for this shift within the music industry and in the minds of fans. Rooted in rhythm-and-blues pioneered by black musicians, 1950s rock and roll was racially inclusive and attracted listeners and performers across the color line. In the 1960s, however, rock and roll gave way to rock: a new musical ideal regarded as more serious, more artistic—and the province of white musicians. Decoding the racial discourses that have distorted standard histories of rock music, Jack Hamilton underscores how ideas of “authenticity” have blinded us to rock’s inextricably interracial artistic enterprise. According to the standard storyline, the authentic white musician was guided by an individual creative vision, whereas black musicians were deemed authentic only when they stayed true to black tradition. Serious rock became white because only white musicians could be original without being accused of betraying their race. Juxtaposing Sam Cooke and Bob Dylan, Aretha Franklin and Janis Joplin, Jimi Hendrix and the Rolling Stones, and many others, Hamilton challenges the racial categories that oversimplified the sixties revolution and provides a deeper appreciation of the twists and turns that kept the music alive.
This title is a collection of memoirs, memorabillia and photographs presented by Rolling Stones fans. It features over 80 stories from 20 countries detailing some of the most important events in the history of rock 'n' roll.
In 1969 Michael Lydon, a founding editor of Rolling Stone and a leading member of rock writing's first generation, got a dream assignment: to cover the Rolling Stones' hopscotch tour across America that ended at Altamont. His long, intimate piece on the tour, The Rolling Stones Discover America, captures the highs and lows of the grueling tour and has become a classic of rock 'n' roll journalism--one that the Maysles brothers studied to guide the editing of their film, Gimme Shelter.Nobody used the term "embedded reporter" in those days, but that's how Lydon lived on the tour, staying in the Stones' HQ house above LA's Sunset Strip and in suites at New York's Plaza Hotel, flying in private jets to Dallas, Chicago, Philadelphia, and Boston, gambling in Las Vegas, hanging out backstage at the LA Forum and Manhattan's Madison Square Garden, smoking pot with "The Boys" in late-night bull sessions, and night after night digging the overpowering, sensuous, and beautiful music. "This was the peak of my rock 'n' roll reporting career," Lydon has said. "I knew I was where every hippie in America wanted to be, and I jumped into the tour with my eyes and ears wide open, a big grin on my mug."The peaceful miracle of Woodstock's three day "Peace and Music" festival had just happened, and the 60s revolution in electric music, psychedelic drugs, long hair, and free love was spreading across the country. Millions of kids, scared of Vietnam and bored in school, were searching for new ideas and directions in the music of the Beatles, Dylan, and the Stones; the rock stars, kids themselves, were searching for ideas and directions from their peers. "Every Stones' concert on that tour became a mutual celebration of a new generation," Lydon remembers, "Mick and Keith feeding off the energy blossoming up from the darkness in the huge halls and arenas and hurling that energy back at the kids in savage, demonic music."The Stones' concert at the Altamont Raceway, planned as their free gift to San Francisco, turned to disaster, as a bad mix of youthful naiveté, vicious Hell's Angels, drugs, and the mind-bending pressure to top Woodstock engendered first fear and confusion and finally murder in front of the stage as the Stones played "Sympathy for the Devil."In The Rolling Stones Discover America, Lydon also describes his own nervousness living so close to stardom. "The Stones were good guys and hard-working musicians," he says, "but they were the sun kings of the tour universe. The rest of us were minor planets spinning about them in fixed and distant orbits. It's a miracle I managed to keep my feet on the ground, keep taking notes, and get the story down on paper--but I'm glad I did."Praise for Michael Lydon's writing:"It is with the greatest sensitivity and care that Lydon explores the connections between the scene, the men, and the music." Ben Gerson, Fusion."Far and away [Rock Folk is] the best book on pop music I've ever read." George Frazier, Boston Globe.Rock Folk is one of the best books on American music I've ever run across." Dennis McNally, Grateful Dead historian.
The Rolling Stones Volume 1 concert and tour posters from 1962 to 1999
Rich Cohen enters the Stones epic as a young journalist on the road with the band and quickly falls under their sway - privy to the jokes, the camaraderie, the bitchiness, the hard living. Inspired by a lifelong appreciation of the music that borders on obsession, Cohen's chronicle of the band is informed by the rigorous views of a kid who grew up on the music and for whom the Stones will always be the greatest rock 'n' roll band of all time. This is a non-fiction book that reads like a novel filled with the greatest musicians, agents and artists of the most indelible age in pop culture. It's a book only Rich, with his unique access, experience and love of the band could write.