Oil Well Bootlegs - RSC CD: The Rolling Stones – Uptight! Oil Well

The Rolling Stones – Uptight!
Oil Well – RSC 076

1 You Can't Always Get What You Want 7:59
2 All Down The Line 4:05
3 Midnight Rambler 11:09
4 Bye Bye Johnny 3:10
5 Rip This Joint 2:14
6 Jumpin' Jack Flash 3:19
7 Street Fighting Man 4:13
8 Uptight/ I Can't Get Not Satisfaction 5:46
9 Don't Lie To Me 2:26

Note:
All songs by Jagger/ Richards unless noted
~~Live in Philadelphia, PA - July 20/21, 1972 - Vol.2~~

Tracks 1,5,6,7: 1972-06-24: Tarrant County Convention Center (1st show), Fort Worth, TX
Track 2: 1972-07-21: Spectrum Sports Arena (1st show), Philadelphia, PA, Live Concert
Tracks 3,9: 1972-06-24: Tarrant County Convention Center (2nd show), Fort Worth, TX
Tracks 4,8: 1972-07-21: Spectrum Sports Arena (2nd show), Philadelphia, PA

Lineup:
Mick Jagger — vocal, harmonica
Keith Richards — guitar, vocal
Mick Taylor — guitar
Bill Wyman — bass
Charlie Watts — drums

Nicky Hopkins — piano
Bobby Keys — saxophone
Jim Price — trumpet, trombone
Ian Stewart — piano on "Bye Bye Johnny"
Stevie Wonder - vocals on " Uptight/ I Can't Get Not Satisfaction "
Wonderlove - vocals on " Uptight/ I Can't Get Not Satisfaction "

This album is a digital clone of "Philadelphia Special" - CD2 - The Swingin' Pig [TSP-CD-050] a bootleg released in 1990 and one of the first from 1972 tour.
This Oil Well version has a fine cover, fine quality. Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.
Excellent soundboard recording. On the front cover Mick Jagger performing during a 1970 show.
Please note that this bootleg is one of the rarest from this italian bootleg label!

Audio quality:

Quality content:

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Philadelphia Special: 1972 bootleg
This album covers the East Coast 21st of July Philadelpia stop and legendary Ft.Worth (24th of June, 1972 shows. A live album was planned with one disc devoted to ‘support act’ Stevie Wonder and the other one by the Stones. It was assembled and somehow leaked to a Philadelphia radio station that did broadcast it on the air, but thanks to Allen Klein's veto on songs he had copyrights on, the legit LP never came out. Thanks to bootleggers we can listen to it anyway, Philadelphia Special first came out on TSP (The Swingin' Pig) label as a double LP, and then CDs replaced vinyl albums and this title was released and re-released many times.

The latest in this series is this new SODD version, a remastered effort that offers all the glowing sparks of the 72 live Stones, coupled with legendary Jagger song introductions like: “Good morning everyone who got up so early (or late) including the band, I can only sing Lady Jane now" before "Tumbling Dice" (it was 4 am), or “Pass the joint around and give your neighbour a kiss” before launching into a fantastic version of "You Can’t Always Get What You Want".

Those days guitar technicians weren't around much on tour and Keith had to retune his guitar before starting "Midnight Rambler". That is probably the reason for a prolonged harp solo by Jagger waiting for the song’s riff to start. On this song, as on "Jumpin’Jack Flash" and "Street Fighting Man" due to the soundboard clarity of this recording, it is very audible that Nicky Hopkins lead piano is driving the songs home with his boogie style.

Stones and 1972 on tour
To longtime fans and followers, those four numerals add up to far more than merely one year in Rolling Stones lore. They mean magic. And amazingly, the aura of myth surrounding the storied ‘72 tour has grown rather than diminished with time and distance. The golden glory of the Stones in their prime is practically dipped in the glitter of that fabled, press-and publicity-saturated junket across the United States that, for all intents and purposes, changed the way international rock stars toured the world (private jets, public displays of debauchery, groupies indexed and leisure-pursuit connections itemized). But it wasn’t myth. It was as real as the shit on your shoes; a tour and a moment in time that, while technically a mere two-month blip dotting their 50-year history, has loomed over everything the Stones have done since. It was the culmination and apex of everything we know (and I love) about the Rolling Stones: Mick’s moves, Keith’s muse, booze and blues, tribalism and decadence, and no less an album than “Exile On Main St.” to tour behind.
It is for those reasons and more that for some of us, it’s hard to be critically objective, or even rational, about hearing and reviewing a precious live document – or a piece of it, anyway – from the ‘72 tour. I can’t think of a single other rock band whose creative high water era has gone so woefully undocumented on official (read: non-bootleg) audio.

Sure, the 1974 concert film, “Ladies & Gentlemen,” has made the occasional, midnight movie art-house rounds (but its holy grail renown has far more to do with the collectors’ market, which has encouraged and sustained countless VHS and DVD bootlegs over the decades).
The truly maddening aspect of the debacle surrounding a dearth of official ’72 tour audio artifacts is that Mick Jagger had fully intended to release a live album from the tour, which is in large measure why several shows were professionally recorded in the first place (Mick even talked about the possibility of issuing a double LP composed of a half-and-half split between live recordings and new material).

Alas, thorny legal issues arose involving song publishing ownership with thorn-in-Stones-side
Allen Klein, and the idea never came to fruition. Instead, fans have ironically been subjected to a half-dozen or so inferior ”live” albums such as the unintentional though accurately titled “Still Life” that have never come close to touching the ‘72-‘73 era for spirit, musicianship, and Stones quintessence. Consequently, for those of us too young to have actually witnessed and heard the band back then in the flesh when it descended upon Madison Square Garden or the Spectrum or the Fabulous Forum (see? Right now, I bet your mind’s eye and ear is already hearing the legendary bootlegs that captured those shows), getting our ear near a ’72 recording is akin to aurally touching the hem of an exquisite, elusive garment. (That garment being a white or purple velveteen jumpsuit bejeweled with diamond rhinestones and crimson scarves).

The Rolling Stones American Tour 1972
The Stones hadn’t toured America for three years prior to their summer jaunt (in the opening interview Jagger has to be promptly reminded that their previous American tour, in 1969, ended with a fan being stabbed to death at Altamont), but they had just released Exile on Main Street, a definitive double rock & roll set. The record had a wealthy, nihilistic bent – it was all about big black cars: limousines and hearses – and the group’s downfall loomed, but on good nights, which the four gigs compiled here appear to be, they could still flay an audience.

This tour was The Rolling Stones’ fifth American tour, to be precise, and their first such excursion in three years: a summertime itinerary of rock ‘n’ roll, exhibitionism and excess, with a top ticket price of $6.50 and a new album by the band, Exile On Main Street, in tow.
At the time of the ’72 tour, it seemed all parties were working on one film, a work where Frank’s candid backstage footage and the live shows caught by Gebhardt would seamlessly join. What in fact happened was a parting of the ways: Frank and Seymour keeping the faith with their version of events (thus starting the still-rumbling saga of their beautiful, freewheeling documentary Cocksucker Blues).

That the Stones were interested in having Stevie Wonder join their caravan was no surprise. In their early years, they were under the thumb of American blues and R&B. Like the Beatles, they tackled Motown songs, “Can I Get A Witness” and “Hitch Hike” among them.
On June 3, 1972, Stevie Wonder joined the Rolling Stones’ roadshow, opening at the Pacific Coliseum in Vancouver. On July 26, he played his final date with the Britons at New York’s Madison Square Garden. In between, the 22-year-old from Saginaw, Michigan, was seen and heard across North America by more than half a million people. Nothing for him would ever be the same again.
Stevie and Mick Jagger made music on the road, sharing the microphone for renditions of “Uptight (Everything’s Alright)” and “(I Can’t Get No) Satisfaction.” In fact, these were to be a highlight of the “live” album of the tour, according to trade press reports of the time. Many of the performances were recorded; the Stones’ own label was due to release a double LP in November. It never materialized.