Like Springsteen, the Stones have begun legitimizing public-domain bootlegs. This taping for 150-200 in London thus shelves next to previous promo stunt The Rolling Stones’ Rock & Roll Circus. Launching Sticky Fingers three years later, Mick Jagger resembles Ava Gardner while Keith Richards looks criminal, but the Glimmer Twins’ harmonies on C&W stingray “Dead Flowers” and Mick Taylor’s lightning leads transcend. Eight songs, four alternate takes, and a Top of the Pops throwaway tally 65 minutes: Bobby Keys is on, Richards fumbles Chuck Berry’s “Let It Rock” (gasp), and “Bitch” burns – thrice! CD included.

****

This article appears in August 7 • 2015.

A note to readers: Bold and uncensored, The Austin Chronicle has been Austin’s independent news source for over 40 years, expressing the community’s political and environmental concerns and supporting its active cultural scene. Now more than ever, we need your support to continue supplying Austin with independent, free press. If real news is important to you, please consider making a donation of $5, $10 or whatever you can afford, to help keep our journalism on stands.

SUPPORT US

San Francisco native Raoul Hernandez crossed the border into Texas on July 2, 1992, and began writing about music for the Chronicle that fall, debuting with an album review of Keith Richards’ Main Offender. By virtue of local show previews – first “Recommendeds,” now calendar picks – his writing’s appeared in almost every issue since 1993.