July 17, 1972: Rolling Stones at Maple Leaf Gardens review

 

One of the best concerts I ever witnessed. Perhaps that’s because I was particularly attuned to the charms of their newest album, “Exile on Main Street.”

Hot Rolling Stones Get It Off,

Steam Up the Crowd in Fine Show

 TORONTO, July 17 – “I been waitin’ seven years for this.”

It was that kind of determination that thwarted Toronto Metro Police at the second Rolling Stones concert in Maple Leaf Gardens Saturday night every time they tried to clear the aisles.

But most of it was good-natured. The police could even nod hello after the concert.

The place was a veritable steam room. By the time the Stones got to their grand finale in “Midnight Rambler,” spray was flying from Mick Jagger’s dripping hair and from his hands.

Jagger is one of the world’s ultimate showmen, as carefully in control as Elvis Presley, but far nearer the edge of Frenzy. And while Presley’s appeal is mainly to women, Jagger makes more of an impact on guys.

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MAYBE IT’S because they see in him everything they could be but don’t dare – vicarious thrills – Jagger getting it off for 18,000 would-be adventurers.

And he does get it off. Prowling like a cat around stage, like a spring ready to uncoil, arms flickering out, a quick dance ending with pumps of his pelvis, gestures at the crowd, face tense, mouth open, lips pushed out as if holding back incredible pain, a red jewel in his forehead, blue makeup around his eyes.

He shed the satiny cap he wore when he came out, also the denim jacket and the red scarf around his neck, leaving just that yellow jumpsuit when the little holes in it, modestly unlacing it only halfway down his chest.

CHUM-FM said the sound was the best they’d heard in the echoey Gardens. The lighting – floodlights from behind stage bounced off a mirror above the audience – was the best I’ve seen at a rock show. And the Stones were in top form.

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THE STAGE was rushed on the opening note of the first song, “Brown Sugar.” “Bitch” was next, coming on like a steamroller with an extra kick from horn players Jim Price and Bobby Keys and pianist Nicky Hopkins.

        “Gimme Shelter” had a cool Mick Taylor guitar solo.

Keith Richards (kind of a lesser version of Jagger) came up to do “Happy,” with Jagger sharing the mike on choruses. “Tumbling Dice” was oddly slow and stately.

Jagger’s voice took on its most exaggerated sensuality for “Love in Vain” and the opening words were cheered. Then an acoustic song, “Sweet Virginia,” rocked easy. And a long, satisfying “You Can’t Always Get What You Want” followed.

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SOME GUY kept yelling for “Satisfaction,” but there was nothing older than the “Let It Bleed” album. They did “Goodbye Johnny B. Goode” (the obligatory Chuck Berry number) and followed it with “Down the Line,” a good rocker off the new album.

Everything broke loose in the long, episodic finale, “Midnight Rambler.” At one point, Jagger fell to his knees, stuck the mike between his legs and crouched over to sing into it.

As the song ended, he threw rose petals about the stage, into the crowd and onto stoic drummer Charlie Watts. Then he flung a bowl of water into the front seats and someone onstage bombarded him with ice cubes.

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THE CROWD hollered for more, but Chip Monck ended it by saying: “Ladies and gentlemen, the Rolling Stones and Stevie Wonder wish you a good evening.”

The talented Wonder and his 11-member group Wonderlove did a 40-minute leadoff set, stringing together old material and songs from the new album into a medley that was energetic, but less exciting than one might expect.

Working with a heavy Santana-like rhythm overlaid with Sly Stone special effects, Wonder soloed on synthesizer and drums and generally showed how much of everything he can do, which is a lot. But after a while, it lacked drama.