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February 7, 2019

The Rolling Stones Circus Returns

rolling stones circus

Rolling Stones announce spring 2019 U.S. Tour; Rolling Stones Live DVDs out; Rolling Stones Beggars Banquet (50th anniversary edition) available on super audio CD; expanded edition of The Rolling Stones Rock and Roll Circus due in spring 2019.

THE ROLLING STONES HAVE JUST ANNOUNCED THAT THEY WILL bring their hugely successful No Filter tour to stadiums in 13 cities across America in 2019.

The tour follows No Filter dates this past year that have taken Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood back out on the road amassing rave reviews as they played to sold out stadiums throughout the UK and Europe.

For the first time in over a decade, the U.S. tour will have The Stones returning to Houston, Phoenix, Seattle, Denver, and Miami where the tour will kick off at the Hard Rock Stadium on April 20, 2019. Also after nearly 30 years, the iconic band will be back in Jacksonville at TIAA Bank Field on April 24, 2019.

The No Filter tour will also make stops in Los Angeles, the Bay Area, Washington, D.C., Philadelphia, Boston, and New York before wrapping at Chicago’s Soldier Field on June 21, 2019.

The Stones’ L.A. area date will be May 11th at the Rose Bowl in Pasadena, California.

“It’s a thrill when we play stadiums in the States — the energy is always amazing!” – Mick Jagger. “I’ve always loved playing the states. It’s a great crowd.” – Keith Richards.

For ticketing information please visit rollingstones.com.

AEG Presents’ Concerts West is the promoter of The Rolling Stones No Filter US Tour.

The Rolling Stones No Filter set list has the legendary band treating generations of fans to classic Stones hits such as “Sympathy For The Devil,” “Paint It, Black,” “Brown Sugar,” “Miss You,” as well as special gems from their celebrated catalog.

Keith Richards in a 1997 interview we conducted suggested “In a way, maybe when you write songs without even knowing it you’re kinda saying, ‘Can I do this live?’ And so, in a way you add that in. You don’t know if it’s gonna work, but I guess you keep in the back of your mind is ‘We’re making a record here. What happens if they all like it and we gotta play it live?’ So, in a way, that maybe in the back of the mind it sets up the song to be playable on stage.”

In 2018 The Rolling Stones via Eagle Vision released an archive concert film, Voodoo Lounge Uncut. Filmed in Miami on the world tour supporting the Voodoo Lounge album, this restored, remixed and remastered film contains ten previously unreleased performances. Featuring guest appearances from Sheryl Crow, Robert Cray and Bo Diddley, this new version also includes five bonus performances on all visual formats.

Eagle Rock Entertainment in 2018 also issued From The Vault: No Security-San Jose 1999undeniable on-stage camaraderie — a tight-as-hell band delivering the ultimate rock show to their adoring fans.

This past November 2018, the same company made available Havana Moon by The Rolling Stones on DVD+٢CD, Blu-ray+٢CD, DVD+٣LP plus a special Deluxe Edition. During September 2017, Eagle Rock Entertainment unveiled The Rolling Stones’ From The Vault: Sticky Fingers: Live At The Fonda Theatre 2015 on DVD+CD, Blu-ray+CD, DVD+٣LP, and all digital formats.

In addition, during Sept-ember of 2017, Eagle Rock Entertainment unveiled The Rolling Stones’ From The Vault: Sticky Fingers: Live At The Fonda Theatre 2015 on DVD+CD, Blu-ray+CD, DVD+٣LP, and digital formats. The show celebrated the reissue of the Sticky Fingers album and was the opening night of The Rolling Stones’ North American Zip Code Tour that would run over the next two months.

Rolling-Stones-No-Security-DVD-cover-(hr)ABKCO FILMS IN OCTOBER 2018 released a 4K restoration of Sympathy for the Devil on DVD, Blu-Ray and through digital services in celebration of its initial release fifty years ago. One of the landmark new wave films of the late ’٦٠s, directed by the celebrated Jean-Luc Godard, Sympathy for the Devil alternates between reflections on contemporary politics and social issues of the late ١٩٦٠s as well as giving the audience an unprecedented view of the Rolling Stones creative process in the recording studio working on what would become one of the band’s defining tracks.

The new edition of Godard’s Sympathy for the Devil is a ٤K restoration of the film from the original ٣٥mm camera negative that was initially released in ١٩٦٩. The color grading has been supervised by the original cinematographer, Tony Richmond BSC, ASC. Richmond holds dozens of credits as cinematographer including Let it Be, and Nicolas Roeg’s Don’t Look Now for which he won BAFTA’s Best Cinematography award in ١٩٧٣.

The expanded rerelease of the film includes numerous extras including the entirety of One Plus One (Godard’s director’s cut) as well as Voices, a 1968 documentary on the making of Sympathy For The Devil, along with a 2018 documentary featuring interviews with Tony Richmond and Mim Scala, one of the film’s producers.

IN LATE DECEMBER 2018, ABKCO Records celebrated The Rolling Stones Beggars Banquet (50th Anniversary Edition) on limited edition hybrid Super Audio CD. In comes on the heels of the November 16 domestic release of Beggars Banquet (50th Anniversary Edition) on limited-edition vinyl, CD and digital formats.

Recorded between March and July of 1968 at Olympic Sound Studios in London, mixed at Sunset Sound in Hollywood, Beggars Banquet was the first Stones album produced by Jimmy Miller, and marks the start of what is considered their most prolific album era. Beggars Banquet has a special place in the history of the band, as it is the final album completed with the original lineup of Mick Jagger, Keith Richards, Brian Jones, Bill Wyman and Charlie Watts.

Engineer Gene Shiveley was based at Sunset Sound in Hollywood during 1968 and was very involved in the mixing, overdubbing and initial mastering of Beggar’s Banquet.

He collaborated closely with producer Jimmy Miller and Mick Jagger on tracks recorded earlier in England at Olympic studio with chief engineers Glyn Johns and Eddie Kramer, assisted by tape operator, Phill Brown.

On the 1968 Beggar’s Banquet package, Gene Shiveley and Sunset Sound were never listed, only Olympic in England, and the album credits engineers, “Glyn Johns, Eddie and Gene.”

“Jimmy Miller and the Stones had done some rough mixes in England at Olympic when the Brian Jones thing was coming down,” stressed Shiveley in a 2018 interview we did.

“He had gotten busted and could not come into the United States. Jimmy wanted to mix it here to get a fresh sound. Because Beggar’s Banquet would be a turn for the Stones, it was really a rhythm & blues album.

“They sent everything to Sunset. Jimmy and I probably spent two weeks going over the batch of tapes that were on all kinds of formats. “Some of the things weren’t finished. So we started to organize all the various pieces. There were some things recorded on cassette! Tape speed differences. Before we really got going we put everything on four-track. Then, Sunset Sound got an eight-track machine. ‘Mick and Jimmy, would you like to try this 8-track machine out?’ Mick was like ‘wow!’ His eyes lit up.

“I went up to the house Mick was renting up above Sunset Strip. One Saturday morning he called me and asked me to come up and wanted to listen to some things. Mixes and other things that he had. We had a lot of other pieces of material that didn’t make Beggar’s Banquet. So, we were sifting and making a production that was just all coming together.

“When we were transferring and bouncing from one track to another, we would take the highs and boost them wide open and going over so they were printed with an extreme amount of high end. And then when you played it back you rolled it off and there wasn’t any tape noise.

‘“Street Fighting Man’ came off a cassette. Jimmy had already transferred it and built a lot of it. But we overdubbed a lot of percussion on the entire thing at Sunset and Jimmy did most of it.

“Jimmy Miller and I grew a lot off from each other in this process. As a producer, you know, he sort of worked with me in what he was thinking in terms of sounds and where he was thinking of going. This was nothing like the old Stones. Jimmy is thinking rhythm and blues. Charlie Watts on tape blew my mind. Absolutely. He came from jazz.

“Jimmy was the right producer for the Rolling Stones because he understood the ear for making a hit record. He understood feel. He understood what it takes to get the kick drum at the right place. He understood all of those things and how to build a record,” explained Shiveley.

One of the most striking aspects of Beggar’s Banquet was the sonic high-end sound Shiveley, Miller and Jagger achieved.

“There was a guy named Mike Durough,” remembered Shiveley. “They now make Durough VU meters. Mike worked at KHJ on Melrose Ave. in Hollywood. It was the leading AM rock and pop radio station in Los Angeles. Mike built the transmitter for the tower to make the station louder than anything. He was totally in control.

“My little thing I did with mixing on Beggar’s Banquet was that I had Mike build me a little transmitter that would transmit to my car and we’d set it up on top of the console, plug it in and I mixed like I would hear it on a car radio.

“I would then send and broadcast them into my car and we would listen. Mick and I would go to the Volkswagen. Our goal was to get more punch and more definition than anything out there.

“I would go to my little Volkswagen car and listen and make the adjustments. So that’s why a lot of the things sound a little maybe out of proportion but they sounded right on AM radio at that time. And it was done at the time when albums were not being made in mono anymore. It was all about stereo mixes. No mono copy. And people like Tutti had the first true stereo that came out. Beggar’s Banquet was one of the very first true stereo albums.”

IN CONJUNCTION WITH ITS 50th anniversary, ABKCO in spring 2019 has planned an expanded edition of The Rolling Stones Rock and Roll Circus.

Performances by The Who, Taj Mahal, Marianne Faithfull, Jethro Tull and, of course, the original line-up of The Rolling Stones (Mick Jagger/Keith Richards/Charlie Watts/Brian Jones/Bill Wyman) were filmed before an audience comprised of The Rolling Stones fan club members, New Musical Express contest winners and a few American Hells Angels.

Michael Lindsay-Hogg, the acclaimed music video director who guided the landmark Ready, Steady, Go! music and dance television series during 1963-1966, filmed The Rolling Stones and their guests in Britain at a big top venue in Wembley. The shoot happened in 1968 on the 11th and 12th of December.

Envisioned as a BBC special, the project was shelved, but in the intervening 28 years it was regarded as “The Holy Grail” of rock films until the film finally saw the light of release in 1996 through ABKCO Films.

Critic/historian David Dalton reflected on the event in a 1996 article in The Independent: “The Rock and Roll Circus captures the delirious optimism of an era. Depending on your point of view, it was either the high point in the history of the cosmos, or a period of mass hallucination, or both. But call it what you will, for a brief moment it seemed that rock ‘n’ roll would inherit the earth.”

It will be the first concert film to be presented in both Dolby Vision and Dolby Atmos sound. The film’s 4K restoration was sourced from the 35mm internegative and, for the first time, presented in wide screen format (16:9 for home and 1:85 for theatrical showings supervised by original cinematographer Tony Richmond).

Richmond is the veteran cinematographer whose feature film credits include The Kids Are Alright featuring The Who, The Man Who Fell To Earth starring David Bowie, and Jean-Luc Godard’s Sympathy For The Devil, a restored version ABKCO Films release.

 The 50th Anniversary edition of Rock and Roll Circus was produced by ABKCO’s Robin Klein and Mick Gochanour, the GRAMMY® award winning team behind Sam Cooke: Legend and (The Rolling Stones) Charlie Is My Darling — Ireland 1965.Gochanour noted, “Watching it in widescreen is like seeing a whole new film at times with amazing intimacy and detail.”

SYMPATHY_4K-WEBGreg Penny, a celebrated immersive audio consultant reiterated “Dolby Atmos provides the listener with the most comprehensive experience that exists today. The objective was to give the listener the most realistic, immersive Rock and Roll Circus to date. It’s as if you were in that tent with The Rolling Stones, The Who, Taj Mahal, John Lennon, Jethro Tull and Marianne Faithfull, and you were part of the audience there fifty years ago.”

It can be said that what Dolby Atmos does for sound, Dolby Vision does for visuals. Dolby Vision is an advanced HDR technology that delivers enhanced contrast, detail and dimensionality to the screen by empowering every pixel with a much broader range of color and brightness. Both of these technologies have never before been applied to a concert film simultaneously, making The Rolling Stones Rock and Roll Circus a first of its kind.

Before capturing The Rock and Roll Circus on celluloid, director Michael Lindsay-Hogg had helmed many of The Rolling Stones’ promotional video clips: “She’s a Rainbow,” “2000 Light Years From Home,” “Child of the Moon,” and “Jumpin’ Jack Flash,” as well as The Beatles’ “Paperback Writer,” “Rain,” “Hey Jude” and “Revolution.”

During the course of his career, Lindsay-Hogg has directed specials for Simon and Garfunkel, Neil Young, Paul Simon and The Who.

Michael Lindsay-Hogg is the author of the 2011 autobiography Luck and Circumstance: A Coming of Age in Hollywood, New York and Points Beyond.

“Michael Lindsay-Hogg . . . is a very creative guy,” added Mick Jagger. “We came up with this idea and the whole idea, obviously, is to make it a mixture of different music acts and circus acts, taking it out of the normal and making it slightly surreal … mixing the two up. And also we wanted as many different kinds of music as possible. So that’s why we thought about who would be the best kind of supporting acts.”

Like visionary director/producer Jack Good before him, both studied at Oxford, Lindsay-Hogg viewed and lensed rock ‘n’ roll as a dramatic subject. Michael’s first job, at age 16, was serving as an apprentice for John Houseman’s repertory theatre company in Stratford, Connecticut.

“I started out as a child actor and fell in love with the theater,” Michael told me in a 2019 interview. “The first jobs I had were in Shakespeare on stage. And that’s how it started and I tried very much to bring some of those elements to Ready, Steady Go!

This landmark British music program was broadcast every Friday night debuting August 9, 1963 and a final taping December 23, 1966.

RSG! was conceived by Elkan Allan, then head of Rediffusion TV. Vicki Wickham assembled the talent and dancers and served as one of the producers. After 1964 the live show was aired nationally on network. The program was recorded at the RSG! studio in Rediffusion’s headquarters in Kingsway, London.

RSG! gave a platform to some of the most successful recording artists of the sixties: The Who, Otis Redding, The Animals, Gene Pitney, The Zombies, Sandie Shaw, The Beatles, Burt Bacharach, The Stones, The Temptations, Donovan, The Kinks, James Brown, The Fortunes and The Walker Brothers.

Initially, the musical guests on RSG! mimed to their pre-recorded tracks, by late 1964 some artists performed live and eventually all acts to all-live performances in April 1965. The hosts/presenters were Keith Fordyce and Cathy McGowan. Early shows were introduced by singer Dusty Springfield.

“It was a black and white program,” reinforced Michael. “A lot of the great comedies and dramas from the forties and fifties were in black and white. In England we had no color.

“I had no worries from the people above me. Elkan Allen was the creator and always encouraged me to go further. Very helpful.

“And I think people were stunned by the comparative substance of the rock ‘n’ roll that was on television,” underscored Lindsay-Hogg.

“1963 was a revolution. It was the kids who had been children in World War 2. The world was opening up for them. They could have long hair if they wanted too. And it was the discovery of the pill for pregnancy. And so a whole nation was open for young people and freedom. There was long hair, the pill and music. The paper was ready to be lit and the match came,” ventured Michael.

“There were new managers in rock ‘n’ roll and around Ready, Steady Go! Andrew Loog Oldham, Don Arden, and Kit Lambert and Chris Stamp, had been assistant stage managers or in acting. Andrew had some ideas about lighting and shots. One evening at the Ad Lib club I met up with Andrew and we agreed to debut a couple of new songs he was hyped about, including ‘Satisfaction.’”

“In 1963 I was working. RSG! represented the time when we were in the business we wanted to be in and RSG! on a Friday night the Green Room was the meeting place of all those similarly blessed,” Andrew Oldham recalled to me in my 2004 book, Hollywood Shack Job: Rock Music In Film and on Your Screen.

Vicki Wickham booked the show from late 1963 to December 1967. Michael Lindsay-Hogg directed it, and tried new techniques like stop action and freeze frame while the band was on camera.

“Save to say I still communicate with both of them so that tells you the lot. You were dealing with nice people. None of the people had an agenda. On the show, the visuals propelled the music.”

“When The Stones did ‘Paint, It Black,’ we put camera effects on Mick’s face and made it darker and darker,” emphasized Lindsay-Hogg. “We were broadcasting live and it felt dangerous and primitive.

EVB335549_RS_HvMn_BD+2CDdgpk_US.indd“The cameraman, Bruce Gowers, later did the great video of Queen’s ‘Bohemian Rhapsody,’ which was a very calculated video.

“With RSG! it was about as much about the technique as the performer. In the early RSG! stages I was always thinking about the performer and somehow marrying the technique to them. If the performer was Mick Jagger and John Lennon you don’t want to get in the way too much.

“Mick is a very bright person and he always has been,” observed Jagger’s longtime friend Lindsay-Hogg. “And Mick, when was a younger man was as keen to know what was going on in the world. He read a lot. Or at least he said he did. And was into movies, and Andrew was very much interested in movies and presentation.

“He had been trying to figure out how to make a movie with The Rolling Stones, which Mick and Keith were interested in. Because in those days, even though rock ‘n’ roll was coming to mean what it came to mean, movies were still sort of the art form going back to comedies. So Andrew was always trying to find a book or a script. And Mick went on to act in Performance and Ned Kelly.

RSG! went off the air in 1966 when the video was music promotion for the record to be out. 1967 was a difficult year for the Rolling Stones. The set-up drug arrest in Redlands. Touring was becoming a headache.

“In 1966 I had done earlier videos of the Beatles’ ‘Rain,’ and ‘Paperback Writer.’ And Mick knew that. And it always was between The Beatles and The Rolling Stones,” admitted Lindsay-Hogg.

“The music video had been around. There were earlier attempts. Scopitone. [A jukebox 16 mm film]. The first Scopitone ones were made in French. Lip-sync to a pre-recorded track. Used to be seen in bars or in diners with French acts [Serge Gainsbourg, Johnny Hallyday] miming to rock ‘n’ roll videos.

“There was Dick Clark‘s American Bandstand. I used to watch it in the fifties, Jack Good, the wonderful producer and director of Shindig! and Hullabaloo.

“Mick was always thinking of the next step. ‘Because we can.’ That is to say ‘we’re strong enough and powerful enough like The Beatles are. And this is the way to get our song out to most of the plug shows who were gonna play it. Because they want the Rolling Stones.’ What do we do? How can we do it?’ And I asked what song they had. ‘Jumpin’ Jack Flash.’ ‘OK. Let’s hear it.’

“And we went out on a Saturday and we did it and then another version of it. And Brian Jones went over to the makeup table and started messing around with makeup and I said to Keith ‘Go over there.’ And, after a while they got into it.

“Makeup made a difference. It had a different quality to the first one. In fact, we went with the second one. They liked it a lot, and that helped to my ongoing life with the Rolling Stones.

“I don’t know what Mick was like as a student, and I know he got into LSE but he’s smart and he never wanted to be not able to keep up with the conversation about the arts, politics
or anything.

“And so, did we know what was gonna happen to rock ‘n’ roll in the sense that we know that it was ultimately going to blast through the roof? We thought it would.

“And he thought ‘let’s see what can happen with visual presentation of rock and roll.’ Which as you know ended up on MTV and generation 2. But when we were doing ‘Child of the Moon,’ Mick and I talked about it,” acknowledged Michael.

“Mick was open to anything that would take it a step further for them. And then we got there. He was miming. And I said, ‘Let’s try this and not mime. Let’s just create a little scenario.

“As for The Rock and Roll Circus, I had this idea that I really didn’t want to do a regular performance clip, because we had done that thing before. And I thought it would be interesting if we could put The Rolling Stones in a location which was not a rock ‘n’ roll location. And maybe add a couple of ingredients. Like three others characters. It was to be done in an unconventional carnival circus-like setting. I drew up a circle on a piece of paper.”

One of the highlights of The Rolling Stones Rock and Roll Circus is Marianne Faithfull singing “Something Better,” a Barry Mann and Gerry Goffin tune, arranged by Jack Nitzsche and produced by Mick Jagger. Charlie Watts introduces Faithfull on screen.

I asked Lindsay-Hogg about Marianne’s sequence in the film and his sweeping directorial pan displayed.

“It goes back to the song,” he stated. “It goes back to Marianne and the years when she and Mick were going out together. She was a beautiful girl with a lovely figure. And she was the only girl except for Yoko Ono.

Rolling-Stones-Sticky-Fingers-Fonda-DVD+CD-cover-(hr)“Marianne appeared and I thought ‘this has to be about her and the camera work.’ A one of a kind beauty. And the way Tony Richmond lit her with her hair on her face. She was a beautiful young woman. It was partly celebrating her. And, then there is that long musical break where the camera circles around and ‘what would we cut away too?’ And so I thought ‘let’s do the unusual thing of just holding on her when she is not singing. Just move the camera around.

“I also wanted contrast with her because there were a lot of men on the show. Everyone on the show, except for Yoko, were guys. At the time there weren’t a lot of women in the rock ‘n’ roll world yet. There was wonderful Dusty Springfield, but mainly guys.”

In a July 28, 2014 interview with Robert Ayers in Rural Intelligence, Michael Lindsay-Hogg reflected about The Rock and Roll Circus.

“I still have a very soft spot
for it.

“It has a poignancy to it. When you’re 28 you can’t imagine you’ll ever be 70, not can you imagine that some of the participants in the movie will soon be dead-in Brian Jones’ case in only five months, in Keith Moon’s in less than ten years, and in John Lennon’s in twelve years-because everybody seemed so incredibly alive, and so in the moment. There wasn’t any future, there was just now.”

I asked Michael Lindsay-Hogg about the DVD format, the inclusion of bonus tracks and/or implementation of director commentary added to the initial retail configurations and products we coveted and collected the last half century.

Did he ever feel an audio dialogue track dilutes and lessens the mystique of his innovative work?

“That’s a real good question. As for DVD, bonus tracks, and interview sessions as long the questions are intelligent. And if the person has one a little research. I do it mainly because it was at the beginning when certain ideas and techniques which completely taken hold of the culture where it was a formative kind of birth period. There really hadn’t been done before except for Scopitone and some studios in America, but not very well done.

“When I worked with The Beatles and The Rolling Stones they were really the first videos which tried to take the form a little further. Like The Beatles playing out in the fields. Following me was a long line of very interesting visual attempts with music.”

The BMG Company is preparing a comprehensive book on Ready, Steady Go! that is being written by Andy Neil, a respected music journalist. Michael has done an interview for it.

And in the last quarter of 2019, expect via Apple Corps, a 50th anniversary edition of The Beatles’ Let It Be, a movie Michael Lindsay-Hogg directed in 1969.

Harvey Kubernik is the author of 15 books, including heralded titles on Leonard Cohen and Neil Young. Other titles include, 1967 A Complete Rock History of the Summer of Love,Inside Cave Hollywood: The Harvey Kubernik Music InnerViews and InterViews Collection, Vol. 1, The Doors Summer’s Gone, The Story of The Band From Pig Pink to The Last Waltz, written with brother Kenneth Kubernik. The two are collaborating on a 1963-1973 music and recording study book on The Rolling Stones.

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One Comment


  1. Juan Guillermo Samus

    There is an enormous amount of misinformation in this article, regarding the recording of “Beggars Banquet”. Are you guys sure that you interviewed the actual engineer, and not some random troll? Just about all of his claims/memories about the sessions are flat out not true, even based on common knowledge.



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