rolling stones tour steel wheels

Steel Wheels/Urban Jungle Tour

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The Rolling Stones' Steel Wheels Tour was a concert tour which was launched in North America in August 1989 to promote the band's album "Steel Wheels"; it continued to Japan in February 1990, with ten shows at the Tokyo Dome.

The European leg of the tour (which featured a different stage and logo) was called the "Urban Jungle Tour"; it ran from May to August 1990.

These would be the last live concerts for the band with original member Bill Wyman on bass guitar. This tour would also be the longest the band had ever done up to that point, playing over twice as many shows as their standard tour length from the 1960s and 1970s.

The tour was an enormous financial success, cementing The Rolling Stones' return to full commercial power after a seven-year hiatus in touring marked by well-publicized acrimony among band members.

• 1 Tour Background
• 2 Set Lists
• 3 Tour Dates
• 4 Personnel

Tour Background [ ]

A Steel Wheels pre-tour 'surprise show' took place on August 12, 1989 at Toad's Place in New Haven, Connecticut with a local act, Sons of Bob, opening the show for an audience of only 700 people who had purchased tickets for $3.01 apiece.

The official Steel Wheels Tour kicked off later that month at the now-demolished Veterans Stadium in Philadelphia, Pennsylvania. During the opening show in Philadelphia, the power went out during "Shattered" and caused a slight delay in the show. Jagger came out and spoke to the crowd during the delay.

The Stones returned to Vancouver, British Columbia, Canada and played two sold out concerts at B.C. Place Stadium.

Fan reaction for tickets was unprecedented. One local radio station 99.3 The Fox even had a man (Andrew Korn) sit in front of the station in a bath tub filled with brown sugar and water for free tickets to the concert. Total attendance was 6.2 million.[citation needed]

The stage was designed by Mark Fisher with participation of Charlie Watts and Mick Jagger. Lighting design was by Patrick Woodroffe.

Canadian promoter Michael Cohl made his name buying the concert, sponsorship, merchandising, radio, TV and film rights to the Steel Wheels Tour. It became the most financially successful rock tour in history up to that time.

Rival promoter Bill Graham, who also bid on the tour, later wrote that " Losing the Stones was like watching my favourite lover become a whore ."

Performances from the tour were documented on the album "Flashpoint" and the video, "Live at the Max" both released in 1991.

The opening acts for the tour included Living Colour, Dan Reed Network, Guns N' Roses and Gun.

In August of 1990, an extra concert in Prague, Czechoslovakia, was added. Czechoslovakia had overthrown the Communist regime nine months earlier and The Rolling Stones' concert was perceived as a symbolic end of the revolution.

Czechoslovakia's new president Václav Havel, who was lifelong fan of the band, helped to arrange the event, and met the band at the Prague Castle before the show. The expenses were partially covered by Havel and by the Czechoslovak Ministry of industry.

The attendance was over 100,000. The band chose to donate all the revenues from this gig (over 4 million Czechoslovak korunas) to the Committee of Good Will, a charity run by Havel's wife, Olga Havlová.

Set Lists [ ]

For the opening night of the "Steel Wheels Tour," the setlist was as follows (all songs composed by Jagger/Richards unless otherwise noted):

• "Start Me Up"
• "Shattered"
• "Sad Sad Sad"
• "Undercover of the Night"
• "Harlem Shuffle" (Relf/Nelson)
• "Tumbling Dice"
• "Ruby Tuesday"
• "Play With Fire" (Nanker Phelge)
• "Dead Flowers"
• "One Hit (to the Body)" (Jagger/Richards/Wood)
• "Mixed Emotions"
• "Honky Tonk Women"
• "Rock and a Hard Place"
• "Midnight Rambler"
• "You Can't Always Get What You Want"
• "Little Red Rooster" (Dixon)
• "Before They Make Me Run"
• "Paint It Black"
• "2000 Light Years from Home"
• "Sympathy for the Devil"
• "Gimme Shelter"
• "It's Only Rock 'n Roll (But I Like It)"
• "Brown Sugar"
• "(I Can't Get No) Satisfaction"
• "Jumpin' Jack Flash" (encore)

For the final night of the "Urban Jungle Tour" (the last Rolling Stones concert with Bill Wyman) the band played:

• "Harlem Shuffle"
• "Street Fighting Man"
• "Jumpin' Jack Flash"
• "(I Can't Get No) Satisfaction" (encore)

Other songs played on the tour:

• "Almost Hear You Sigh" (Jagger/Richards/Jordan)
• "Blinded By Love"
• "Boogie Chillen" (Hooker)
• "Can't Be Seen"
• "Factory Girl"
• "I Just Want to Make Love to You" (Dixon)
• "Salt of the Earth"
• "Terrifying"
• "Indian Girl"

Tour Dates [ ]

Personnel [ ].

The Rolling Stones

• Mick Jagger – lead vocals, guitar, harmonica, percussion
• Keith Richards – guitar, vocals
• Ronnie Wood – guitar
• Bill Wyman – bass guitar
• Charlie Watts – drums

Additional musicians

• Matt Clifford – keyboards, backing vocals, percussion, French horn
• Bobby Keys – saxophone
• Chuck Leavell – keyboards, backing vocals and musical director
• Bernard Fowler – backing vocals, percussion
• Lisa Fischer – backing vocals on the North American & Japanese tours only
• Cindy Mizelle – backing vocals on the North American & Japanese tours only
• Lorelei McBroom – backing vocals on the European tour only
• Sophia Jones – backing vocals on the European tour only

The Uptown Horns

• Arno Hecht – saxophone
• Bob Funk – trombone
• Crispin Cioe – saxophone
• Paul Litteral – trumpet
• 1 Lollapalooza 1991

Rolling Stones’ Steel Wheels Tour Stutters, Then Rolls

By Anthony DeCurtis

Anthony DeCurtis

T he Rolling Stones’ ‘ Steel Wheels ‘ tour got off to a somewhat shaky start on August 31st in Philadelphia when, during “Shattered,” the third song of the evening, the entire sound system at Veterans Stadium went dead. Given all the hoopla that had preceded the tour’s kickoff, it was an oddly disconcerting moment.

The Stones and their support musicians milled around confusedly for a time and then left the stage while the crowd — 54,500 strong — which had been whipped up to a froth by the double-barreled shot of “Start Me Up” and “Bitch” that opened the show, remained good-natured, if a tad mystified, by suddenly being left quietly unentertained in the dark. For about five minutes the huge, industrial gray, black and orange stage set — a hulking structure that, in its assemblage of steam pipes, nets, catwalks, stairways and scaffolding, resembled a refinery — loomed forlorn and empty.

Finally, the problem — apparently a blown generator — was resolved. A visibly displeased Jagger offered a terse apology, and the band lit into “Sad Sad Sad,” from Steel Wheels. From that point on, the Stones were in complete control, demonstrating a command of rock essentials that made it clear that this tour, far from being merely a nostalgia-fest or a money grab, would stand proudly on its own contemporary terms. In a move that seemed almost superstitious, however, the Stones dropped “Shattered” from the set the following night in Philadelphia and from subsequent shows in Toronto and Pittsburgh.

That deletion was the only musical change in a set that, through the tour’s first five dates, ranged with idiosyncratic ease through just about every phase of the Stones’ twenty-six-year career. On opening night, following an explosive and well-received fifty-minute set by Living Colour, the Stones took the stage as the sound system blasted out the whirling Moroccan strains of “Continental Drift,” from Steel Wheels, which features the Master Musicians of Joujouka. Fireworks exploded, turrets on the massive stage set shot out flames, an intent Keith Richards cranked out the opening chords to “Start Me Up,” and for the first time in eight years, the Rolling Stones were on the road again.

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It was clear very early on that Mick Jagger was prepared, even determined, to carry the weight of the Stones’ stage show — and to give the lie to the perception that as a live performer, he had sunk irretrievably into self-parody. Decked out in a white shirt, green tails and skintight black pants, Jagger was in superb voice and danced with grace and a flawless sense of the right move for the moment. His arsenal of steps and gestures seemed to be as much derived from ballet, mime and the clubs as from the repertoire that he himself has created as one of the most incendiary showmen in the history of rock. And apart from the half dozen songs on which he played guitar and the time he spent offstage as Richards led the band through “Before They Make Me Run” and “Happy,” the forty-six-year-old Jagger was continually in motion.

Although there seemed to be remarkably little interaction between the two men, Richards seemed to feel that he had Jagger right where he wanted him — that is, fronting the Rolling Stones and doing it with zeal. Consequently, Richards himself was content during the Philadelphia shows to anchor the band, crouching down low and locking in a solid groove with drummer Charlie Watts , sauntering over to bond with his buddy Ron Wood and lending encouragement to this tour’s three auxiliary Stones: saxophonist Bobby Keys and keyboardist Chuck Leavell — both veterans of past Stones tours — and additional keyboardist Matt Clifford.

As usual, Bill Wyman , who is a stately fifty-two, stood stock-still and let his bass generate a fire down below. Three background singers — Lisa Fischer, Bernard Fowler and Cindy Mizelle — are also on board for the Steel Wheels extravaganza. The four-piece Uptown Horns, who played with the band in Philadelphia, will join the party on other selected dates.

The show, which consisted of twenty-eight songs (twenty-seven, of course, on the second night, when “Shattered” was omitted) and ran over two and a half hours, was not short of surprises. A fervent “Undercover of the Night,” with Jagger howling the choruses, a savage “One Hit (to the Body)” and a wonderfully sinuous “Harlem Shuffle” seemed designed to claim credibility for Undercover and Dirty Work , two largely discredited Stones albums of the Eighties. “Sad Sad Sad,” “Mixed Emotions” and “Rock and a Hard Place,” which was accompanied by a rather aimless video, were the only tunes from Steel Wheels that the Stones played, though more songs from the record may be added as the tour continues.

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The band dusted off and streamlined “Midnight Rambler,” the long set piece from Let It Bleed , and rocked it out with surprising conviction. Happily, Jagger refrained from removing his thick leather belt and whipping the stage with it — a staple of Stones shows for too many years — during the song’s ominous midsection.

The evening’s least predictable inclusion — “2,000 Light Years From Home,” a psychedelic souvenir from the Stones’ 1967 album Their Satanic Majesties Request — hit home with unsettling contemporary force. Jagger’s dramatic rendering of the song’s themes of alienation and loneliness seemed to have more to do with modern-day urban living than with the song’s dated lost-in-space scenario.

A brooding version of “Play With Fire,” a ballad from the 1965 album Out of Our Heads, featured evocative folk-style guitar playing by Richards. The eerie barnyard blues of Willie Dixon’s “Little Red Rooster” seemed strangely out of place in a 1989 stadium show, but the lazy slur of Jagger’s vocal, Leavell’s apt, soulful piano and Wood’s screaming slide guitar made for a riveting performance.

A nd then there were the hits. “Ruby Tuesday,” one of Jagger’s less convincing moments in concert, and a soaring, gorgeously lyrical “You Can’t Always Get What You Want” both inspired stadium-wide sing-alongs. An improvisatory falsetto burst from Jagger while he vamped with the two female background singers ignited “Miss You,” and Charlie Watts propelled “Paint It Black” with relentlessly churning rhythms. “Honky Tonk Women” — during which two enormous blowup dolls of bar floozies provided the show’s hokiest, most distracting element — and “Tumbling Dice” both were delivered with a raucous, appealing looseness.

As usual, the Stones saved the best for last. Jagger emerged at the top of the scaffolding, shrouded in smoke, as the Stones tore into the percussive introduction to “Sympathy for the Devil.” Lit from behind and standing more than a hundred feet above the stage, Jagger cast a dark shadow across the entire stadium, providing a gripping visual corollary to the song’s exploration of how evil infects the world. Once back on the stage, Jagger danced into a Bacchic frenzy, and Richards unleashed a mean, winding, angular lead that constituted his strongest playing of the night.

In what seemed to be an edgy reference to the Stones’ tragic 1969 show at Altamont Speedway, in California, at which a young black man was killed, a taut, sinewy version of “Gimme Shelter” — on which background singer Lisa Fischer turned in a torrid duet with Jagger — followed “Sympathy for the Devil.” After that, the mood lightened as the band leaned into “It’s Only Rock’n Roll” while on the video screens appeared footage of the pantheon of rock greats, including Little Richard , Chuck Berry , Jerry Lee Lewis , Elvis Presley , Jimi Hendrix and, in a funny aside, the young Rolling Stones.

Richards then lit the fuse on the opening chords of “Brown Sugar,” during which Jagger climbed down into the photographers’ pit and slapped fives with ecstatic fans and Bobby Keys blew his patented sax solo. As soon as “Brown Sugar” wrapped, Jagger, who seemed to be adrenaline incarnate at this point, said, “Okay, here we go,” and Richards launched the band into “(I Can’t Get No) Satisfaction.” Jagger spiced up “Satisfaction,” the last song of the set proper, with a host of R&B flourishes, largely borrowed from Otis Redding ‘s cover of the song. A one-song encore — a fierce, no-frills reading of “Jumpin’ Jack Flash” — ended the show.

The concluding segment of the show — running from “Sympathy for the Devil” to “Jumpin’ Jack Flash” — was particularly notable because it did not pitch into accelerated, deafening chaos, as Stones shows sometimes have done in the past. For the most part, the Stones worked closely from the recorded arrangements of the songs and recognized that a touch of restraint would only heighten the impact of their fervor. The result was a hard-hitting close that capped, but never overwhelmed, all that had preceded it. Then, after the Stones and their fellow musicians took their bows and left the stage, a fireworks display lit the sky as “Toreador Song,” from Bizet’s Carmen, played over the sound system.

From Philadelphia — where Richards’ former girlfriend Anita Pallenberg made a stylish appearance at the second night’s show — it was on to Toronto for two dates. In 1977, Mick Jagger and Ron Wood’s high jinks with Margaret Trudeau, then the wife of Pierre Trudeau, who was the Canadian prime minister at the time, and Keith Richards ‘ arrest for heroin possession electrified Toronto and made headlines around the world.

This time the Stones lay relatively low, though Jagger slyly alluded to the previous decade’s scandal when he quipped onstage the first night, “I was a little bit worried when I saw Mrs. Mulroney [the wife of Canadian prime minister Brian Mulroney] backstage, but everything’s cool.” Meanwhile, Toronto Star columnist Rita Zekas reported that a woman who identified herself as Margaret Trudeau drove up to the El Mocambo club, the scene of the Stones’ 1977 revels, and left in a huff when told that the Stones were not on the premises.

In Toronto — where the Stones have added two more shows, on December 3rd and 4th (they’ve also added two Detroit shows on December 9th and 10th) — Jagger turned up at a party at the Squeeze Club, tossed by one of the club’s owners, Marcus O’Hara, the brother of comic actress Catherine O’Hara. Producer Lorne Michaels, who is filming a documentary of the Stones’ tour, and singer-songwriter Mary Margaret O’Hara — another O’Hara sibling — also were on hand. Dan Aykroyd and his wife, Donna Dixon, who attended both Stones shows at the 60,000-seat Exhibition Stadium, had dropped by the Squeeze Club the previous night, along with Richards and Watts. A few days later, on the night before the September 6th show at the 62,000-seat Three Rivers Stadium, in Pittsburgh, Mick Jagger and Jerry Hall slipped out to a movie theater in Squirrel Hill, a suburb of the city, to catch sex, lies, and videotape.

As for the Stones’ own impressions of the tour, Richards could not be happier with how the shows have been proceeding. “They’re going well, man, so far,” he said, before going onstage at Alpine Valley, in East Troy, Wisconsin, on September 11th. “We’re keeping our fingers crossed, and I’ll hit the wood here, but, yeah, they’re getting better every day. The band’s really winding up now.” Given the success of the tour and the initial response to Steel Wheels, Richards said, “this has been a dream year for the Stones as a band.”

A nd according to Richards, the dream year might extend into 1990 — and take the Stones around the world — even though the last date currently announced for the Steel Wheels tour is December 14th in Montreal. “There’s this inevitable thing when you wind something like this up — you’ve got the whole organization ready to go — it’s kind of dumb not to take it into next year and see where you can get in around the rest of the world,” Richards said. “The whispers are getting audible now. That’s really all I can say about it right now, but it looks like the boys are going to continue for a bit.”

Even with the prospect of a world tour in the offing, perhaps the most impressive aspect of the Stones’ early shows is the degree to which — despite the money and the spectacle, the commerciality and the media assault — they are still playing like a band. The core of the group — Richards, Wood, Wyman and Watts — are as gritty and rhythmically raw as ever, and Jagger is the very definition of a frontman. More than a quarter of a century down the line, the Stones are not anachronisms. They are still able, at will, to tap the unruly, anarchic essence of what their music has always been about.

The greatest rock & roll band in the world? Even the Rolling Stones themselves are sheepish about making that claim at this point. But with the power they’re displaying this soon on the tour, you won’t get me to say they’re not.

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Additional reporting by Mitch Potter and Karen Morrison, in Toronto, and John Young, in Pittsburgh.

This is a story from the October 19, 1989 issue of Rolling Stone.

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The Rolling Stones deliver like legends as the Steel Wheels Tour hits Vancouver

ORIGINALLY PUBLISHED ON NOV. 10, 1989

By steve newton.

In what was surely the biggest Vancouver concert event of the ’80s, the Rolling Stones hit Vancouver for two nights last week amid a flurry of hype and much groveling for tickets. Now that Jagger and the boys have gathered up their money-bags (they play the Cotton Bowl in Dallas this weekend), one can take the time to analyze their local shows and come to a decision.

Was it all bloody worth it?

Let’s weigh the pros and cons. First off, on the downside, there’s the venue itself. If any group can make the dome sound decent, it should be the world’s greatest rock and roll band, but the sound was still weak–it’s been much better for bands like U2 and Supertramp . And though lacklustre sound might be forgiven in a venue built for football, what’s not so easy to ignore was the incredible deadness of the crowd.

After hearing all about the riot that occurred the last time the Stones played here, I was expecting the crowd to be bristling with wild enthusiasm and on its feet from beginning to end. But on Wednesday it was just a one-way street. The Stones rolled down it and the crowd of 53,000 politely watched from the sidewalk.

Now for the good stuff, the thumbs-up material. When it comes to songs, you can’t beat the Stones’ repertoire, and their choice of 25 tunes left little to complain about (although my older sister did beef about the exclusion of “Angie”). From their best-known tunes like “Brown Sugar” and “Satisfaction” (which finally got the crowd mildly riled up), to more obscure numbers like “2,000 Light Years from Home” and new ones from the band’s 29th album, Steel Wheels , the Stones’ set-list was a winner. It showed the band’s great emotional and musical range, from the opening stomp of “Start Me Up” to the show’s biggest lyrical highlight, “You Can’t Always Get What You Want”.

Next to the super songs, the stage itself was a big–and I mean BIG–part of the Stones’ show. With some 800,000 pounds of black and orange scaffolding, two huge silver smoke-chutes, and silver netting draped over mountains of amps, the stage resembled the interior of a high-tech steel mill.

The 250-foot wide, 130-foot high structure was augmented by a colossal lighting set-up that included 80 spinning Varilites (computerized spotlights), 100 animated color changers, and 22 man-operated followspots. According to the Stones’ fact sheet, a half-million watts of power are consumed by the system each show.

Also quite amazing were the show’s two main effects–a pair of 55-foot, inflatable tarts that came out of nowhere to bob up and down at either side of the stage on “Honky Tonk Women”. A massive fan filled the giant dolls with air in roughly half a minute; it took about twice that time to deflate them.

But perhaps the most impressive part of the Stones’ show was the performance of the band itself–and in particular that of Jagger. All the fancy effects and classy tunes in the world could have been for naught if those songs weren’t performed with the verve and style that the Stones are famous for. Jagger strutted and pranced through every song, displaying a rippling stomach that men half his age would envy.

Guitarists Keith Richards and Ron Wood were happy to hang out in front of Charlie Watts’ vintage drum-kit, smoking ciggies and stumbling around while casually chopping away at their axes. Bassist Bill Wyman, the oldest Stone at 53, kept to himself at stage left, expressionless and still.

All in all, just being able to see this craggy-faced crew of legendary rockers do their thing was an enormous experience. And, on reflection, things like muddy sound and a dull crowd weren’t enough to spoil that satisfaction. The sheer fascination so many people have for the Stones was mirrored in the starry orbs of Vancouver’s own Colin James, who just before the show had been backstage rocking out with Richards and Wood. “I’m buying,” he announced, all bright-eyed as he swaggered up to the media bar. “I’ve just been jamming with Ron and Keith!”

And while I was happy for the upcoming young blues-rocker, the only sad part was, I’d just finished buying my own beer.

I’ve never managed to interview a Rolling Stone, but to hear the full audio of my 1995 interview with Colin James subscribe to my Patreon page, where you can eavesdrop on roughly 400 of my uncut, one-on-one conversations with:

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2 thoughts on “ the rolling stones deliver like legends as the steel wheels tour hits vancouver ”.

One hopes the acoustically improved B.C. Place allows the ‘lads’ to present their best sound ever in a Vancouver venue this May. I missed the 1989 Steel Wheels show. But it must have been better than the 1972 Coliseum show. In her Province Review, the late Jeani Read accurately described the Stones sound that night as akin to audio spaghetti—splitting into muddy tendrils of notes, rhythms and voices.

That was indeed a great show with excellent repertoire. I was using a pair of binoculars at one point when Jagger came prancing up the side ramp so he was close enough to spit on. This chick sitting beside me yanked them out of my hands, saying, “gimme those phukkrs!” It was all major fun.

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How the Rolling Stones Finally Regrouped for ‘Steel Wheels’

By the '80s, Rolling Stones fans had grown accustomed to the turbulence surrounding the band as a way of life. But the fallout from the group's 1986 album, Dirty Work , was so toxic that for a brief period, it seemed like they might never find their way back.

Between 1986 and 1988, the Stones were effectively on hiatus while the band's creative nucleus – Mick Jagger and Keith Richards – released solo records and traded barbs in the press. But while it took some mediating, their differences were ultimately overcome by the power of their long partnership. On Aug. 29, 1989, the proof arrived in the form of their 21st U.S. LP, Steel Wheels .

"We've been stuffed together for years and one of the consequences of the break was making us realize we were stuck together whether we liked it or not," Richards laughed later. "I like him playing harp, man. And I like to see his bum in front of me when I'm playing guitar, doing his shit. I like about him all the things he probably hates about himself." Jagger agreed , "Because we've been doing it for so long, we don't really have to discuss it. When we come up with a lick or a riff or a chorus, we already know if it's right or if it's wrong."

Jagger and Richards tested the waters in Barbados, meeting up to try and write in early 1988. As they quickly discovered, the time off hadn't watered down their creative chemistry. In short order, they'd churned out dozens of new songs.

"We just started in. And within two days, we realized we had five or six songs happening," Richards later recalled . "I did have to take Mick to a few discos – which are not my favorite places in the world – because Mick likes to go out and dance at night. So I did that. That was my sacrifice. I humored him. And that's when I knew we could work together."

Even after Steel Wheels was finished, Jagger continued to maintain that the various members' solo careers were essential to the Rolling Stones' survival, but by all appearances, he needed that outlet more than anyone.

Watch the Rolling Stones Perform 'Rock and a Hard Place'

"If Keith had sold like Michael Jackson figures, he would have still been back in the Stones. He would have dropped everything to come back," insisted guitarist Ron Wood , whose efforts as a go-between for the squabbling songwriters were credited with helping heal the breach. "What surprised me was that Mick didn't do those figures. That probably surprised him, too, and maybe it did make him realize the strength of the band. But once he and Keith spent some time together in Barbados, they just realized the friendship was longer and stronger than any paper or any magazine."

After dabbling with producer Steve Lillywhite for the occasionally glossy Dirty Work , the band reunited with longtime associate Chris Kimsey to co-produce Steel Wheels . Having served as an engineer on Sticky Fingers and Some Girls , Kimsey was well-acquainted with the group's strengths, and helped steer them into what amounted to a roots-oriented record – cleanly recorded and boasting some modern touches, but distinctly the work of a band .

"What most people are concerned with nowadays is not rhythm itself but the sound of the thing that's creating the beat. They got these new toys, things that'll go  crash and woo-wooo-woooo , and what is actually lacking is rhythm," Richards complained  after Steel Wheels was released, explaining his approach to making music in the late '80s. "All this shit don't seduce me. It's like a department store at the moment and nobody can get out of the toy department."

Though quite a bit of Steel Wheels found the band plying its trade in relatively back-to-basics fashion, the album wasn't without its share of adventure, particularly on the song "Continental Drift," which featured the Moroccan ensemble the Master Musicians of Joujouka – a deliberate nod to deceased Stones co-founder Brian Jones , who'd recorded the Master Musicians in 1968 for the album Brian Jones Presents the Pipes of Pan at Joujouka .

"We became a hard-rock band, and we became very content with it. The ballads got left a little behind as well. The hard-rock thing just took over, and we lost a little bit of sensitivity and adventure," argued Jagger. "It's boring just doing hard rock all the time. You gotta bounce it around a little."

Watch the Rolling Stones Perform 'Mixed Emotions'

For the record's first single, however, they played things safe: "Mixed Emotions" was a pure Stones rave-up that surged on the strength of the group's classic sound and a soaring chorus whose refrain ("You're not the only one with mixed emotions / You're not the only ship adrift on the ocean") seemed to speak to the dark spell its co-writers' relationship had recently weathered.

It was hard not to hear "Mixed Emotions" as a comment on Jagger and Richards' public feuding ("I realized what we'd laid down there had all the ingredients of an interesting autobiography," Richards told Rolling Stone ), and in fact, even as the Glimmer Twins renewed their partnership, they remained somewhat testy about the way things fell apart after Dirty Work – particularly Jagger's refusal to tour in support of that record.

"The album wasn't that good," Jagger said in a 1989 interview with Rolling Stone . "It was okay . It certainly wasn't a great Rolling Stones album. The feeling inside the band was very bad too. The relationships were terrible. The health was diabolical. I wasn't in particularly good shape. The rest of the band, they couldn't walk across the Champs Elysées, much less go on the road. So we had this long bad experience of making that record, and the last thing I wanted to do was spend another year with the same people. I just wanted to be out."

Richard shrugged, "I was really pissed that he wasn't really into the album. I wanted to go on the road after we finished it. And I didn't get a clear answer until the record was finished. Which was basically 'Screw off.'"

Listen to the Rolling Stones Perform 'Almost Hear You Sigh'

Steel Wheels was a Top 5 hit on both sides of the Atlantic, setting up a major worldwide tour brokered behind a record-setting deal that padded that band's bottom line significantly. Even in an era of corporate sponsorship, the Stones came under fire for cashing in so successfully, but Jagger was unequivocal in batting back accusations that they'd sold out.

"Of course, we're doing it for the money, as well ," he pointed out . "We've always done it for the money. People get highly paid in rock and roll. That's why it's so attractive. It's like boxing. People don't do boxing for nothing. They start off doing it because they hope to get to the top, because when they get to the top, they'll make lots of money. I mean, that's America."

As would increasingly be the case with Stones records, Steel Wheels was compared favorably to their recent efforts, leading to critics' cries of "their best since (insert classic Stones LP here)" along with questions about just how long the band could keep going. Jagger, as ever, remained noncommittal. "Keith should be encouraged to do whatever he wants to do," he told Rolling Stone . "And I should be encouraged to do what I'd rather do. What it is, I don't know. But I should be encouraged to push it further. I don't want to stay only with this ."

Richards, meanwhile, was perfectly content to just keep rocking. "The funny thing about those riffs, those songs, is that if I'm playing them, it's because I still get the same kick out of it, y'know?" he said with a laugh in a 1990 interview with Time Out . "There're riffs like 'Tumbling Dice' where you go [he kisses both hands and blows on them] 'Jesus Christ, it's a sweet riff. This is the feeling I been looking for forever. Jesus Christ! Is this ME!? HEY, THAT'S ME, BABY, AND I SOUND LIKE THIS!'"

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These legendary musicians performed at Legion Field in Alabama: Were you there?

B irmingham will have a new downtown amphitheater in 2025, according to organizers at the BJCC and Live Nation, and a ceremonial groundbreaking on Monday trumpeted that the project is officially underway. This got us thinking about outdoor concert venues in the Magic City, especially “The Old Gray Lady” known as Legion Field .

The stadium at 400 Graymont Ave. West opened in 1927 and originally was designed for football games. But Legion Field has been the site of some jaw-dropping concerts over the years, featuring legendary artists in rock and pop music and even a country superstar or two.

Here are six shows at Legion Field that fans will never forget, all landmarks in Birmingham’s concert history.

WVOK Shower of Stars

When: May 7, 1965.

Lineup: Beach Boys, Rolling Stones, The Righteous Brothers, Sonny James, Marty Robbins, Skeeter Davis, Cannibal & The Headhunters, Del Reeves, Archie “Rindercella” Campbell.

What we know: Radio station WVOK-AM and its prime mover, Dan Brennan , produced an immensely popular, multi-act concert series in Birmingham during the 1950s, ‘60s and early ‘70s, calling it the Shower of Stars. The shows focused on rock ‘n’ roll, Top 40 pop and country, and typically were held on Saturdays at Boutwell Auditorium. WVOK expanded the concept with this mega-show at Legion Field, billing it as a music battle between the England and the United States.

What they played: Although we don’t have specific setlists from the concert, The Beach Boys were fresh-faced headliners that night, riding high on the success of hits such as “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A,” “Help Me, Rhonda” and “California Girls.” The Rolling Stones were closing the gap quickly, though, with a tougher, bluesier songbook that included “The Last Time,” “Play With Fire” and “Time Is On My Side.” At this point, Mick Jagger and his pals were poised to release “(I Can’t Get No) Satisfaction,” their first international smash.

What Dan Brennan said: Competition was evident as the Beach Boys returned for their splashiest date at the Shower of Stars, and the Stones made their Birmingham debut on their first U.S. tour. WVOK used Legion Field as a test case that spring, to see if the Shower of Stars could work at Birmingham’s largest venue. (In 1965, Legion Field could seat more than 68,000 people.) As Brennan recalled in a 2017 interview with AL.com , the Beach Boys were paid $7,500 for their performance, and the Rolling Stones received $5,000. Fees for the other acts were in the $300-$400 range, he said. Tickets cost $3 apiece.

Audience size: Brennan estimated that 16,000-17,000 people came to Legion Field for the show, fulfilling the radio station’s mission but falling short of blockbuster status. The concert later gained a secure foothold in Alabama music history — fans here still ooh and aah about it — but it wasn’t a money-making proposition. “It cost enough that we were lucky to come out with just enough and break even with it,” Brennan said. “It was a promotional thing for us. We didn’t make any money.”

READ: The Beatles, Rolling Stones and Elvis: For Alabama radio pioneer Dan Brennan, life was a Shower of Stars

When: Oct. 7, 1992 , with Big Audio Dynamite II and Public Enemy.

What we know: This concert was part of U2′s “Zoo TV Tour,” designed as a multimedia extravaganza influenced by mass media and TV programming. The famed Irish rock band was making its debut in Birmingham, and excitement ran extremely high before the show.

What they played: Twenty-four songs were on the agenda, according to setlist.fm , including “One,” “Sunday Bloody Sunday,” “With or Without You,” “New Year’s Day,” “Zoo Station,” “Even Better Than the Real Thing,” “Desire,” “Mysterious Ways,” “Tryin’ to Throw Your Arms Around the World,” “Where the Streets Have No Name” and “I Still Haven’t Found What I’m Looking For.” U2 offered a few covers, as well, such as Ben E. King’s “Stand By Me” and Elvis Presley’s “Can’t Help Falling in Love.”

Quotable: “The production for U2′s ‘Zoo TV Tour’ was sensory overload in the best way,” Matt Wake recalled in a 2017 story for AL.com . “Towering video screens gushing with post-modern imagery. Automobiles repurposed as stage lighting, swooping around on cranes. Supersonic sound. And perhaps the biggest stage prop: U2 frontman Bono’s confidence. At the time, the Irish rockers were touring on their ‘Achtung Baby’ album, which saw this previously overly self-serious band actually having fun and their then-new music reflected that, on such splashy tracks as ‘Mysterious Ways.’ Our seats for the Legion Field show were close enough I could tell Bono is roughly the same height as an Ewok. Still, Bono’s powerful voice and magnetic charisma were clear highlights of the show. Other highlights included the band performing stripped-down and soulful versions of ‘Angel of Harlem’ and a handful of other tunes on a smaller stage out into the audience and a cover of Lou Reed’s ‘Satellite of Love,’ the latter duetted with Reed via video footage. It was reported around 15,000 tickets went unsold for U2′s Legion Field concert. But the 35,000 who were in attendance that night got a show they’ll likely never forget.”

READ: 16 epic stadium concerts in Alabama over the years

When: May 1, 1994, on “The Division Bell” tour.

What we know: The English rock band was making its debut in Birmingham, and fans came out in force. One prime mover for Pink Floyd, Roger Waters, was no longer in the band, but longtime guitarist and singer David Gilmour was definitely on hand, along with two founding members of the band, drummer Nick Mason and keyboard player Richard Wright.

What they played: More than 20 songs were on the agenda, according to setlist.fm , including “Money,” “Wish You Were Here,” “Us and Them,” “Time,” “Breathe (In the Air),” “The Great Gig in the Sky,” “Comfortably Numb,” “Another Brick in the Wall, Part 2,” ‘High Hopes,” “Coming Back to Life” and “Shine On You Crazy Diamond (Parts I-V).”

Fan review: “It was their first performance in the state of Alabama, and the more than 55,000 fans that packed Legion Field were treated to a once in a lifetime show,” Tony Butler wrote on the Brain Damage website. “The evening was surprisingly chilly, but the band was typically hot! The moment we had all been waiting for started at 8:15. After 20 minutes of sound effects amplified through the world’s only stadium-sized quadraphonic sound system, the group started into ‘Astronomy Domine,’ followed by ‘Learning To Fly.’ At times it seemed as though the lights were actually dancing to the music without the need for mechanical control. You could definitely say the music and light spectacle were together as one. The remainder of the first set was filled with songs from ‘Momentary Lapse of Reason’ and ‘The Division Bell,’ except for the climactic first half end of ‘One of These Days,’ highlighted by the appearance of two Volkswagen-sized pigs. The band then informed us they would be back in fifteen minutes after a well-deserved break. Meanwhile, I had to catch my breath after experiencing one half of a phenomenal show!

“The stadium lights went out and the second set began as the ‘flying screen’ was raised atop the dwarfed band members. They stroked through ‘Shine on You Crazy Diamond ‘and other hits from ‘Dark Side of the Moon,’ ‘Wish You Were Here’ and ‘The Wall.’ ‘High Hopes’ followed ‘Breathe (reprise’) as a huge bell rang in tempo. The song talks of better times, and I even believe it suggests the band’s sentiment towards the detached Roger Waters.

“During ‘Comfortably Numb,’ Gilmour’s extraordinary solo enhanced the sensation of the mirror ball. It seemed as if we were all taking a ride inside Legion Field. ... Meanwhile, I’ll bet people in Cullman (approximately 30 miles away) could hear Gilmour wailing away during this solo! All together it was simply stunning. The crowd roared with approval and rallied the cheers into the encore of ‘Hey You’ and the finale of ‘Run Like Hell.’ A complete list of all special effects were run by our senses for one final look of amazement. Then a complete fireworks display filled the air and brought to the end one truly amazing spectacle. Pink Floyd sets the industry standard for excellence with their astounding shows. It was definitely the best I’ve ever seen in my life.”

The Rolling Stones

When: Oct. 5, 1989, on the “Steel Wheels” tour with Living Colour; Aug. 6, 1994, “Voodoo Lounge” tour with Counting Crows.

What we know: After making their Birmingham debut in the WVOK Shower of Stars concert in 1965, the iconic rock band returned to Legion Field for two more shows. More than 60,000 people reportedly attended the “Steel Wheels” date in 1989, but from what we can tell, attendance was lower for “Voodoo Lounge.” Mick Jagger, Keith Richards, Ronnie Wood, Bill Wyman and Charlie Watts were on stage for “Steel Wheels.” Wyman was not there for “Voodoo Lounge,” the band’s first tour without its original bassist. (Darryl Jones took over bass duties in 1993-’94 and has been recording and touring with the Stones ever since.)

What they played: The “Steel Wheels” agenda in 1989 included signature songs such as “Start Me Up,” “Tumbling Dice,” “Ruby Tuesday,” “Honky Tonk Women,” “Brown Sugar,” “Paint it Black,” “Sympathy for the Devil,” “You Can’t Always Get What You Want,” “It’s Only Rock ‘n’ Roll (But I Like It),” “Jumpin’ Jack Flash” and “(I Can’t Get No) Satisfaction,” according to setlist.fm . For 1994′s “Voodoo Lounge,” the band offered a set that was less heavy on vintage hits, according to setlist.fm . However, the show included “Shattered,” “Beast of Burden,” “Miss You,” “Street Fighting Man,” “You Got Me Rocking,” “Memory Motel” and “Rocks Off.” The Stones also played “Not Fade Away” by Buddy Holly & the Crickets and “I Can’t Get Next to You” by the Temptations.

Band perspective, 1989: Chuck Leavell, a Tuscaloosa native and keyboard player for the Stones, recalled the “Steel Wheel” tour stop at Legion Field in a 2016 interview with Matt Wake of AL.com . “It was sort of like the Tide winning a national championship and being part of the team,” Leavell said. “ Coming home to my backyard to play Legion Field with the Stones? A dream come true is about the only way I can put it. And yes, I did send a limo for my mom and her friend and have a great picture of all of us together just before we went on stage.”

Fan perspective, 1994: “A Stones show’s a Stone’s show. They’re going to give you the part of the catalog that the majority of the people are there, but (hardcore fans) live for ‘Before They Make Me Run’ with Keith singing,” concertgoer Joe Corona said, recalling the “Voodoo Lounge” date for AL.com . “And you live for ‘Monkey Man.’ The hardest thing about being a Stones fan is there’s 14 or 16 songs you’re going to hear and you really don’t want to hear five of them. ... It caught me off guard that they would open with something they covered (’Not Fade Away’). I can tell you that at the time I was little upset they went so heavy on songs from ‘Voodoo Lounge.’ I remember thinking, ‘I would have played two and gotten the hell on and give me something really deep.’ To me, if you’re going to play those 14, 16 standards don’t run me six of that new album that was ... OK . ... We parked real close to the stadium and we tailgated and we partied. I don’t know why, but that whole day had a tailgate, ballgame kind of feel and then the Stones just took it over the top. You don’t get that atmosphere at an arena show.”

READ: Stoned in Alabama: Stories from Rolling Stones concerts in the state, from ‘60s to ‘90s

George Strait

When: April 5, 1998.

What we know: The veteran country star performed at Legion Field on an 18-city tour known as the George Strait Country Music Festival. Along with Strait, the lineup included Tim McGraw , John Michael Montgomery, Faith Hill, Lee Ann Womack, Lila McCann and Asleep at the Wheel. More than 50,000 people attended the concert.

What Strait played: “The calm, smiling headliner roped ‘em in easily with his rock-solid show, which lasted about 90 minutes and included Strait classics such as ‘Easy Come, Easy Go,’ ‘Lovebug,’ ‘When Did You Stop Loving Me,’ ‘Heartland,’ ‘The Chair,’ Adalida’ and ‘I Can Still Make Cheyenne,’ The Birmingham News said in its review. “Ticketholders whistled, cheered, danced and sang along for the entire length of Strait’s set, which also featured a few tunes from his new album, ‘One Step at a Time.’”

Crowd pleaser: “With a knife-sharp crease in his jeans, a jewel-green shirt and a black cowboy hat clamped firmly on his head, George Strait cut a natty figure Sunday night at Birmingham’s Legion Field,” The Birmingham News said “But the hurricane of applause that greeted Strait as he strode on stage at 8:55 p.m. wasn’t directed at his outfit; it was a happy, noisy tribute from more than 50,000 fans who revere Strait’s legendary craftsmanship in country music. ...The atmosphere at the all-day event transformed from a freewheeling concert/party into an intense love affair when the sun went down and Strait showed up. Strait was ably supported by his tight, nine-member Ace in the Hole Band. The team operates as a smoothly functioning unit, probably because these men know each other well and have been running through selections from Strait’s extensive catalog for a long time. Big George comes from the traditional school of country music, which means he straps on a guitar, stands and sings. He doesn’t move around much, except to wave at fans or point for emphasis. He doesn’t chat with the audience much either, preferring to let his tunes do the talking. In that respect, however, Strait’s concert was highly eloquent.”

RELATED: Classic bands that rocked Rickwood Field in Birmingham: Did you see them?

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Rolling Stones TKO Atlanta crowd at Mercedes-Benz Stadium

The songs are so familiar that it’s easy to glaze over when reading a Rolling Stones setlist, wondering how much longer the band will keep playing those same tunes.

But experiencing a Rolling Stones set is something else altogether — more like a punch to the face.

And so the Stones snarled, kicked and punched their way through a two-hour, 18-song set to a packed house Friday night at Mercedes-Benz Stadium. From the first, familiar chord change of the go-to opener “Start Me Up,” it was clear this show wasn’t going to sound like your granddaddy’s Rolling Stones record.

The guitars screamed with teeth bared, chunky, distorted and blaring. All the while still retaining the famous melodic churn that Keith Richards and Ronnie Wood have been playing off one another for nearly 50 years, since Wood joined the band in 1975. Not too tight; just sloppy enough.

And that’s not to say the set didn’t hold surprises.

The fan vote song was “Sweet Virginia,” the beautiful 16-bar country blues tune off Exile On Main Street. Mick Jagger, strapping on an acoustic guitar for the first time of the night and introducing it as the fan’s choice, didn’t miss a chance to riff on some recent Georgia history before launching in.

“We wanted to play `Wild Horses,’” Jagger said. “All we needed was 11,000 more votes. There’s a more important vote coming up in November. Don’t forget to vote in that one.”

Credit: Ryan Fleisher

From there, the next few songs took on the quality of an excellent mixed-tape — played loudly.

The band rolled right into another country favorite — “Dead Flowers,” from Sticky Fingers. Then seamlessly into the driving groove of “Tumbling Dice” and an amped-up “You Can’t Always Get What You Want,” during which Wood’s Les Paul again bared its teeth on an excellent, extended solo.

“Maybe put your phones down for one number,” Jagger teased the crowd.

Friday’s show marked the fifth time the Stones have come to Atlanta this century, including an appearance at Mercedes-Benz in November 2021 that served as a tribute to late drummer Charlie Watts.

Steve Jordan, who played for Richards in the X-Pensive Winos, continued to fill in flawlessly for the late, great drummer. On “It’s Only Rock ‘n Roll,” the second song of the night, Jordan even flashed Watts’ signature move of holding his right stick straight up and off the high-hat while hitting the snare on the down beat.

Band introductions were particularly memorable Friday. The crowd roared when Twiggs County resident and former Allman Brothers member Chuck Leavell was introduced. Leavell has been a Stones touring member for many years, also serving as its musical director. He particularly shined on the barroom piano solo in “Honky Tonk Women.”

The last band member introduced was Richards, his cue to grab the spotlight behind a microphone. For the first time this tour, Richards sang three songs instead of the standard two. The mini-set started with “Tell Me Straight,” off the new Hackney Diamonds album. He then went into “Little T&A,” a song from a different era that, if released today, might cause a lot more trouble than it did in 1981.

“Due to intense pressure from the band, I’m forced to sing `Happy,’” Richards then said, referring to his hit off the Exile On Main Street album. “Blame the guys.”

It was the first time the band played that song on this tour. Wood again did the heavy lifting here, playing all the rocked-up slid parts with a pedal steel guitar.

The back half of the set was also familiar, but in unfamiliar ways. And it featured a handful of the Stones darkest songs.

“Sympathy For The Devil” (I rode a tank, held a general’s rank/when the Blitzkrieg raged and the bodies stank); “Midnight Rambler” (He’ll stick his knife right down your throat); “Gimme Shelter” (Oh, a storm is threatening/my very life today); “Paint It Black” (I look inside myself/and I see my heart is black).

The string was broken only by a rousing, previously mentioned Honky Tonk Woman. That, and Wood’s sitar playing on “Paint It Back” also provided some light during the stretch.

The night ended with a single encore, the shout-along “(I Can’t Get No) Satisfaction,” with almost no one in a nearly sold-out stadium sitting down.

A consequence of the band including “Happy” in the set is that the excellent new ballad “Sweet Sounds Of Heaven” was left off. That song, which could seamlessly find a home on Exile or Sticky Fingers, has been the first encore played at nearly every show on this tour. Until Friday.

Oh, well. Maybe next time.

Start Me Up

It’s Only Rock ‘n Roll (But I Like It)

Let’s Spend The Night Together

Sweet Virginia

Dead Flowers

Tumbling Dice

You Can’t Always Get What You Want

Tell Me Straight

Little T&A

Sympathy For The Devil

Honky Tonk Women

Midnight Rambler

Gimme Shelter

Paint It Black

Jumpin’ Jack Flash

(I Can’t Get No) Satisfaction (encore)

About the Author

Dan Klepal is editor of the local government team, supervising nine reporters covering county and municipal governments and metro Atlanta. Klepal came to the AJC in 2012, after a long career covering city halls in Cincinnati and Louisville, Ky. He has covered Gwinnett and Cobb counties before spending three years on the investigative team.

Credit: Special

Credit: Tyson Horne

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