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Rock, Rock'n Roll, Rolling Stones, Video

New official Rolling Stones bootleg: Live at Tokyo Dome 1990!

In their excellent series of official bootlegs the Rolling Stones has released an album of tracks from their run at the Tokyo Dome in february in 1990 (10 concerts!).

Japanese authorities wouldn’t allow the Rolling Stones into the country until 1990’s Steel Wheels tour, so by the time Tokyo fans got to see them the danger of the ’60s, the decadence of the ’70s, and the acrimony of the ’80s were all well behind the band. On their first tour in seven years (and their last with original bassist Bill Wyman), the Stones were in what Keith Richards describes as a “joyous” mood.

About the release:

That sense of glee is palpable on the many new numbers (“Sad, Sad, Sad” features some particularly fiery riffing from Keith), but it also infuses many of the old hits, as you can hear on the track “Miss You.” The massive stage and global tour set the template for the next two decades of live Stones.

Miss You, Tokyo Dome 1990:

From The Rolling Stones Archive:

Denied permission to play in Japan in 1973, the band were finally welcomed with open arms in 1990, when they played a ten night residency at the 55,000 capacity Tokyo Dome. This album was recorded at the show on 26th February, and features Mick Jagger, Keith Richards, Charlie Watts, Ronnie Wood and Bill Wyman, who in August of that year, would play his last ever show with the Rolling Stones. The touring band included Bobby Keys, Chuck Leavell, Lisa Fischer, Cindy Mizelle, Bernard Fowler, Matt Clifford and the Uptown Horns. The Steel Wheels/ Urban Jungle tour became the highest grossing tour of all time. But it’s not just the figures that set this show apart from others, the Rolling Stones revisited songs from their psychedelic period such as “2000 Light Years From Home” and “Ruby Tuesday”, with cosmic results. In 2012 Bob Clearmountain applied the mix.

 

Happy, Tokyo Dome 1990:

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Jazz, Rock, Singer Songwriter, Soul, Sound, The Best Songs, Tom Waits

Great songs: Tom Taubert’s Blues – Tom Waits

Wikipedia:
“Tom Traubert’s Blues” opens the album Small Change. Jay S. Jacobs has described the song as a “stunning opener [which] sets the tone for what follows.” The refrain is based almost word by word on the 1890 Australian song, “Waltzing Matilda” by A.B. “Banjo” Paterson, although the tune is slightly different.

Old Grey Whistle Test, 1977:

The origin of the song is somewhat ambiguous. The sub-title of the track “Four Sheets to the Wind in Copenhagen” seems to indicate that it is about a time that Waits spent in Copenhagen in 1976 while on a tour. There, he apparently met Danish singer Mathilde Bondo. Indeed, in a 1998 radio interview, she confirmed that she met Waits and that they spent a night on the town together.

Waits himself described the song’s subject during a concert in Sydney Australia in March 1979: “Uh, well I met this girl named Matilda. And uh, I had a little too much to drink that night. This is about throwing up in a foreign country.” In an interview on NPR’s World Cafe, aired December 15, 2006, Waits stated that Tom Traubert was a “friend of a friend” who died in prison.

Bones Howe, the album’s producer, recalls when Waits first came to him with the song:

He said the most wonderful thing about writing that song. He went down and hung around on skid row in L.A. because he wanted to get stimulated for writing this material. He called me up and said, “I went down to skid row … I bought a pint of rye. In a brown paper bag.” I said, “Oh really?.” “Yeah – hunkered down, drank the pint of rye, went home, threw up, and wrote ‘Tom Traubert’s Blues’ […] Every guy down there … everyone I spoke to, a woman put him there.”

Allmusic Review:

by Thomas Ward
“Tom Traubert’s Blues” is one of Tom Waits’ most popular songs, although this is due in the most part by Rod Stewart’s vastly inferiors cover version. Waits’ original is heartbreakingly beautiful, containing some of the artist’s finest lyrics, especially in the croaking opening “Wasted and wounded/’Taint what the moon did/Got what I paid for now”. The story, essentially a drunken tale, fits the gorgeous, elegiac melody perfectly, and indeed the song is so evocative it’s almost impossible for the listener not to be swept up in the story. Although the arrangement and the use of strings doesn’t take any real risks, it embellishes the melody beautifully. Without doubt, one of Tom Waits’ finest recordings.

Here introduced as Waltzing Matilda at Rockpalast in 1977:

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