The Rolling Stones - Bridges To Bremen (2019)
The Rolling Stones - Bridges To Bremen (2019)
2CD | EAC Rip | WavPack (Img) + Cue + Log ~ 977 Mb | MP3 CBR320 ~ 337 Mb
Full Scans ~ 392 Mb | 01:08:49 + 01:10:16 | RAR 5% Recovery
Rock | Eagle Rock Entertainment #EVSBD05391
2CD | EAC Rip | WavPack (Img) + Cue + Log ~ 977 Mb | MP3 CBR320 ~ 337 Mb
Full Scans ~ 392 Mb | 01:08:49 + 01:10:16 | RAR 5% Recovery
Rock | Eagle Rock Entertainment #EVSBD05391
Bridges To Bremen is the full-length show performed by The Stones on the fifth and final leg of the Bridges To Babylon Tour. Filmed at the German city’s Weserstadion on September 2, 1998, the band had by then completed four legs in the stadiums and arenas of North America (twice), Asia and South America before finally landing in Europe early that summer. Ever the innovators, Bridges To Babylon was a tour of firsts - thp first time the band went on the road with a permanent В-stage, and also the first time where fans could vote on the band's website for a track they wanted to hear on the setlist - Memory Motel in the case of the Bremen fans.
There are many bridges to cross in a lifetime as the greatest rock'n'roll band in the world. But those that The Rolling Stones traversed on their worldwide tour of the 1997-98 season helped them make the crossing towards a new century and to reach even greater heights as the live entertainers that their peers could only dream of being.
The live phenomenon of the band’s latter 20th century iteration was the sum of all the parts they had played on stage for decades. This was a group breaking its own records for fun. The Bridges To Babylon tour started in September 1997, six days before the release of the album that inspired it, and finished four days short of a year later. By then, it had played nearly 100 shows across four continents and become the second-highest-grossing tour in history to that point. The only one in front of it? Their own Voodoo Lounge extravaganza of 1994-95.
The Bridges To Babylon set was focused on a giant circular central screen, which opened and closed with fireworks and documented Mick’s every move, Keith and Ronnie’s licks and Charlie’s rock steady beat in stunning close-up. But the other premise of this year-long excursion was even more brilliantly and outlandishly ambitious: to take the title of the new album quite literally and create a huge cantilever bridge to stretch 150 feet to a "B” stage in the centre of the stadium field.
The team led by the Stones’ longtime visual overlord Mark Fisher made it reality, in close collaboration with lighting designer Patrick Woodroffe and with Mick Jagger and Charlie Watts. The device allowed the band to make an even closer connection with their fans and, in the bijou setting, to reconnect to their early club days that helped build their legend in the first place. But, as Jagger confessed to this writer some years later, such a massive technical challenge brought its own concerns.
“It was a very large set,” he said, “and this was the first one where we used a ‘B’ stage, where we went into the middle of the stadium by this bridge. It was a really great gimmick, except every night” — Mick was breaking into his trademark grin by now — “I was really worried that it wasn’t going to work. But it was a really good tour, that one.” Woodroffe later reflected: “Mick is really into giving people their money’s worth and putting on a great show. They just have to put their mark down and say ‘We’re still a great band.’”
When the tour arrived at the Weserstadion in Bremen in northwestern Germany on September 2, 1998, the itinerary was just half a dozen dates from its conclusion. The Stones were honed by the road, professional to the nth degree and exhilarating beyond measure. But never, ever, too slick for their own good. This remains a band who almost pride themselves on the thought that, as Keith Richards will say, any stage number could fall apart at any minute.
They never do, of course, and thus the Human Riff himself came exploding out of that screen, in full-length leopard skin coat and shades, with the deathless clarion of ‘(I Can’t Get No) Satisfaction.’ There was Mick in yellow silk scarf, Ronnie Wood in dark glasses and wine red scarf, Charlie dressed classy casual. By the ensuring ‘Let's Spend The Night Together,’ Keith’s coat was off and it was clear that the Stones were there to work, and in doing so, to provide 150 minutes of unmatched entertainment. “Willkommen in Bremen” indeed.
The show, the tour’s tenth in Germany alone, was beamed to a multi-million audience via a TV special across Europe and beyond. As ever, they took it all in their stride. “Like the Eurovision [expletive deleted] Song Contest,” observed Mick, greeting each country in turn.
That gigantic viewership witnessed then-new songs such as ‘Flip The Switch,’ ‘Anybody Seen My Baby?,’ ‘Saint Of Me’ and ‘Out Of Control,’ the latter continuing to emphasise its crowdpleasing credentials all the way into the 2010s and the No Filter tour. In no time, Mick already needed a towel, and “Gimme Shelter’ saw Lisa Fischer brilliantly reinhabiting its glowering vocal motif, her visual chemistry with Jagger growing ever steamier in keeping with the song’s heightening tension.
The team ethic now bonding the extended group was reflected in further stellar cameos by Bernard Fowler, Chuck Leavell and the talismanic Bobby Keys. Another feature ol the show, and the tour, was the video cybercast vote in which ticket-holders made their requests for deeper cuts to adorn the set. Bremen went for ‘Memory Motel,’ featuring some pleasing interplay between the Glimmer Twins.
Keith’s own feature spot, too, mined some lesser-explored territory, with his Bridges track ‘Thief In The Night’, while ‘Wanna Hold You’ came out of the shadows from the Undercover album. Then to the pure science fiction of that vast concertina walkway, extending into the crowd like a mechanical beast in what surely remains one of the great spectacles of any rock concert in history.
Recast on this second stage, the Stones rolled back the years to Richmond in a dream-like transfusion of energy, all four visibly energised by the intimacy of the moment, “The biggest reward is going over the bridge and playing to the people on that very small stage that thought they had really rotten seats,” Ronnie told me at the time. “Suddenly, you’re in there among them. It’s a nice little edge to the show and we get to rock out.”
Indeed they did. Mick played killer harmonica on ‘Like A Rolling Stone’ and Keith cut shapes, and his trademark Chuck Berry nods, on ‘It's Only Rock'n'Roll.’ Amid the glad-handing clamour, it was a wonder they made it black to the main platform at all. They did so for a masterful home run that included a typically magisterial ‘Sympathy For The Devil,’ Keith’s one-handed intro riff on ‘Honky Tonk Women’ and perhaps the hugest stadium anthem of them all, ‘Start Me Up.’
Finally, a crossfire hurricane of smoke bombs and fireworks and, two and a half hours in, the undimmed animal energy of ‘Brown Sugar.’ You should have heard them just before midnight, and now you can.
The live phenomenon of the band’s latter 20th century iteration was the sum of all the parts they had played on stage for decades. This was a group breaking its own records for fun. The Bridges To Babylon tour started in September 1997, six days before the release of the album that inspired it, and finished four days short of a year later. By then, it had played nearly 100 shows across four continents and become the second-highest-grossing tour in history to that point. The only one in front of it? Their own Voodoo Lounge extravaganza of 1994-95.
The Bridges To Babylon set was focused on a giant circular central screen, which opened and closed with fireworks and documented Mick’s every move, Keith and Ronnie’s licks and Charlie’s rock steady beat in stunning close-up. But the other premise of this year-long excursion was even more brilliantly and outlandishly ambitious: to take the title of the new album quite literally and create a huge cantilever bridge to stretch 150 feet to a "B” stage in the centre of the stadium field.
The team led by the Stones’ longtime visual overlord Mark Fisher made it reality, in close collaboration with lighting designer Patrick Woodroffe and with Mick Jagger and Charlie Watts. The device allowed the band to make an even closer connection with their fans and, in the bijou setting, to reconnect to their early club days that helped build their legend in the first place. But, as Jagger confessed to this writer some years later, such a massive technical challenge brought its own concerns.
“It was a very large set,” he said, “and this was the first one where we used a ‘B’ stage, where we went into the middle of the stadium by this bridge. It was a really great gimmick, except every night” — Mick was breaking into his trademark grin by now — “I was really worried that it wasn’t going to work. But it was a really good tour, that one.” Woodroffe later reflected: “Mick is really into giving people their money’s worth and putting on a great show. They just have to put their mark down and say ‘We’re still a great band.’”
When the tour arrived at the Weserstadion in Bremen in northwestern Germany on September 2, 1998, the itinerary was just half a dozen dates from its conclusion. The Stones were honed by the road, professional to the nth degree and exhilarating beyond measure. But never, ever, too slick for their own good. This remains a band who almost pride themselves on the thought that, as Keith Richards will say, any stage number could fall apart at any minute.
They never do, of course, and thus the Human Riff himself came exploding out of that screen, in full-length leopard skin coat and shades, with the deathless clarion of ‘(I Can’t Get No) Satisfaction.’ There was Mick in yellow silk scarf, Ronnie Wood in dark glasses and wine red scarf, Charlie dressed classy casual. By the ensuring ‘Let's Spend The Night Together,’ Keith’s coat was off and it was clear that the Stones were there to work, and in doing so, to provide 150 minutes of unmatched entertainment. “Willkommen in Bremen” indeed.
The show, the tour’s tenth in Germany alone, was beamed to a multi-million audience via a TV special across Europe and beyond. As ever, they took it all in their stride. “Like the Eurovision [expletive deleted] Song Contest,” observed Mick, greeting each country in turn.
That gigantic viewership witnessed then-new songs such as ‘Flip The Switch,’ ‘Anybody Seen My Baby?,’ ‘Saint Of Me’ and ‘Out Of Control,’ the latter continuing to emphasise its crowdpleasing credentials all the way into the 2010s and the No Filter tour. In no time, Mick already needed a towel, and “Gimme Shelter’ saw Lisa Fischer brilliantly reinhabiting its glowering vocal motif, her visual chemistry with Jagger growing ever steamier in keeping with the song’s heightening tension.
The team ethic now bonding the extended group was reflected in further stellar cameos by Bernard Fowler, Chuck Leavell and the talismanic Bobby Keys. Another feature ol the show, and the tour, was the video cybercast vote in which ticket-holders made their requests for deeper cuts to adorn the set. Bremen went for ‘Memory Motel,’ featuring some pleasing interplay between the Glimmer Twins.
Keith’s own feature spot, too, mined some lesser-explored territory, with his Bridges track ‘Thief In The Night’, while ‘Wanna Hold You’ came out of the shadows from the Undercover album. Then to the pure science fiction of that vast concertina walkway, extending into the crowd like a mechanical beast in what surely remains one of the great spectacles of any rock concert in history.
Recast on this second stage, the Stones rolled back the years to Richmond in a dream-like transfusion of energy, all four visibly energised by the intimacy of the moment, “The biggest reward is going over the bridge and playing to the people on that very small stage that thought they had really rotten seats,” Ronnie told me at the time. “Suddenly, you’re in there among them. It’s a nice little edge to the show and we get to rock out.”
Indeed they did. Mick played killer harmonica on ‘Like A Rolling Stone’ and Keith cut shapes, and his trademark Chuck Berry nods, on ‘It's Only Rock'n'Roll.’ Amid the glad-handing clamour, it was a wonder they made it black to the main platform at all. They did so for a masterful home run that included a typically magisterial ‘Sympathy For The Devil,’ Keith’s one-handed intro riff on ‘Honky Tonk Women’ and perhaps the hugest stadium anthem of them all, ‘Start Me Up.’
Finally, a crossfire hurricane of smoke bombs and fireworks and, two and a half hours in, the undimmed animal energy of ‘Brown Sugar.’ You should have heard them just before midnight, and now you can.
~ Paul Sexton
***************
The Rolling Stones - Bridges To Bremen (2019)
Track List CD1:
01. (I Can't Get No) Satisfaction [5:09]
02. Let's Spend the Night Together [4:35]
03. Flip the Switch [4:34]
04. Gimme Shelter [6:43]
05. Anybody Seen My Baby? [5:19]
06. Paint It Black [5:05]
07. Saint of Me [6:55]
08. Out of Control [8:17]
09. Memory Motel [6:20]
10. Miss You [15:53]
Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 19. June 2019, 0:11
The Rolling Stones / Bridges To Bremen (CD1)
Used drive : HL-DT-STBD-RE WH16NS40 Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Wavpack\wavpack.exe
Additional command line options : -hm %source% %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
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3 | 9:44.12 | 4:33.41 | 43812 | 64327
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9 | 46:36.23 | 6:19.43 | 209723 | 238190
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Range quality 100.0 %
Test CRC B1678280
Copy CRC B1678280
Copy OK
No errors occurred
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Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database
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–– CUETools DB Plugin V2.1.6
[CTDB TOCID: LBF7guxKSCgpECYvrzr4Wb2sg_w-] disk not present in database
Submit result: LBF7guxKSCgpECYvrzr4Wb2sg_w- has been uploaded
==== Log checksum 5D80189DCCD8F2801418583C767DD580578B6A2A9F372847C83DD6E37AAC6438 ====
EAC extraction logfile from 19. June 2019, 0:11
The Rolling Stones / Bridges To Bremen (CD1)
Used drive : HL-DT-STBD-RE WH16NS40 Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Wavpack\wavpack.exe
Additional command line options : -hm %source% %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 5:09.30 | 0 | 23204
2 | 5:09.30 | 4:34.57 | 23205 | 43811
3 | 9:44.12 | 4:33.41 | 43812 | 64327
4 | 14:17.53 | 6:43.29 | 64328 | 94581
5 | 21:01.07 | 5:19.02 | 94582 | 118508
6 | 26:20.09 | 5:04.67 | 118509 | 141375
7 | 31:25.01 | 6:54.44 | 141376 | 172469
8 | 38:19.45 | 8:16.53 | 172470 | 209722
9 | 46:36.23 | 6:19.43 | 209723 | 238190
10 | 52:55.66 | 15:53.32 | 238191 | 309697
Range status and errors
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Filename E:\_NL+_\_CD\The Rolling Stones - Bridges To Bremen (CD1).wav
Peak level 98.7 %
Extraction speed 4.0 X
Range quality 100.0 %
Test CRC B1678280
Copy CRC B1678280
Copy OK
No errors occurred
AccurateRip summary
Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database
Track 8 not present in database
Track 9 not present in database
Track 10 not present in database
None of the tracks are present in the AccurateRip database
End of status report
–– CUETools DB Plugin V2.1.6
[CTDB TOCID: LBF7guxKSCgpECYvrzr4Wb2sg_w-] disk not present in database
Submit result: LBF7guxKSCgpECYvrzr4Wb2sg_w- has been uploaded
==== Log checksum 5D80189DCCD8F2801418583C767DD580578B6A2A9F372847C83DD6E37AAC6438 ====
Track List CD2:
01. Thief in the Night [6:58]
02. Wanna Hold You [4:58]
03. It's Only Rock 'n' Roll (But I Like It) [4:38]
04. You Got Me Rocking [3:42]
05. Like a Rolling Stone [5:52]
06. Sympathy for the Devil [8:40]
07. Tumbling Dice [5:30]
08. Honky Tonk Women [4:42]
09. Start Me Up [4:47]
10. Jumpin Jack Flash [7:12]
11. You Can't Always Get What You Want [5:45]
12. Brown Sugar [7:32]
Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 19. June 2019, 6:57
The Rolling Stones / Bridges To Bremen (CD2)
Used drive : HL-DT-STBD-RE WH16NS40 Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Wavpack\wavpack.exe
Additional command line options : -hm %source% %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 6:57.57 | 0 | 31331
2 | 6:57.57 | 4:58.04 | 31332 | 53685
3 | 11:55.61 | 4:37.54 | 53686 | 74514
4 | 16:33.40 | 3:42.36 | 74515 | 91200
5 | 20:16.01 | 5:51.38 | 91201 | 117563
6 | 26:07.39 | 8:39.73 | 117564 | 156561
7 | 34:47.37 | 5:30.22 | 156562 | 181333
8 | 40:17.59 | 4:42.21 | 181334 | 202504
9 | 45:00.05 | 4:47.27 | 202505 | 224056
10 | 49:47.32 | 7:11.41 | 224057 | 256422
11 | 56:58.73 | 5:45.30 | 256423 | 282327
12 | 62:44.28 | 7:31.69 | 282328 | 316221
Range status and errors
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Filename E:\_NL+_\_CD\The Rolling Stones - Bridges To Bremen (CD2).wav
Peak level 96.9 %
Extraction speed 4.2 X
Range quality 100.0 %
Test CRC 200AEDCD
Copy CRC 200AEDCD
Copy OK
No errors occurred
AccurateRip summary
Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database
Track 8 not present in database
Track 9 not present in database
Track 10 not present in database
Track 11 not present in database
Track 12 not present in database
None of the tracks are present in the AccurateRip database
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–– CUETools DB Plugin V2.1.6
[CTDB TOCID: gaq_.koopfqO.J0TrB7bM1mcg2I-] disk not present in database
Submit result: gaq_.koopfqO.J0TrB7bM1mcg2I- has been uploaded
==== Log checksum 20CF3ED1F8B27171A50CE989691576E82C74F7D6FD3FF97592D2ED5B83A8365D ====
EAC extraction logfile from 19. June 2019, 6:57
The Rolling Stones / Bridges To Bremen (CD2)
Used drive : HL-DT-STBD-RE WH16NS40 Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Wavpack\wavpack.exe
Additional command line options : -hm %source% %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 6:57.57 | 0 | 31331
2 | 6:57.57 | 4:58.04 | 31332 | 53685
3 | 11:55.61 | 4:37.54 | 53686 | 74514
4 | 16:33.40 | 3:42.36 | 74515 | 91200
5 | 20:16.01 | 5:51.38 | 91201 | 117563
6 | 26:07.39 | 8:39.73 | 117564 | 156561
7 | 34:47.37 | 5:30.22 | 156562 | 181333
8 | 40:17.59 | 4:42.21 | 181334 | 202504
9 | 45:00.05 | 4:47.27 | 202505 | 224056
10 | 49:47.32 | 7:11.41 | 224057 | 256422
11 | 56:58.73 | 5:45.30 | 256423 | 282327
12 | 62:44.28 | 7:31.69 | 282328 | 316221
Range status and errors
Selected range
Filename E:\_NL+_\_CD\The Rolling Stones - Bridges To Bremen (CD2).wav
Peak level 96.9 %
Extraction speed 4.2 X
Range quality 100.0 %
Test CRC 200AEDCD
Copy CRC 200AEDCD
Copy OK
No errors occurred
AccurateRip summary
Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database
Track 8 not present in database
Track 9 not present in database
Track 10 not present in database
Track 11 not present in database
Track 12 not present in database
None of the tracks are present in the AccurateRip database
End of status report
–– CUETools DB Plugin V2.1.6
[CTDB TOCID: gaq_.koopfqO.J0TrB7bM1mcg2I-] disk not present in database
Submit result: gaq_.koopfqO.J0TrB7bM1mcg2I- has been uploaded
==== Log checksum 20CF3ED1F8B27171A50CE989691576E82C74F7D6FD3FF97592D2ED5B83A8365D ====
Personnel:
Mick Jagger - Vocals, Guitar, Harmonica
Keith Richards - Guitar, Vocals
Charlie Watts - Drums
Ronnie Wood - Guitar
Darryl Jones - Bass Guitar, Backing Vocals
Chuck Leavell - Keyboards, Backing Vocals
Bobby Keys - Saxophone
Andy Snitzer - Saxophone, Keyboards
Michael Davis - Trombone
Kent Smith - Trumpet
Lisa Fischer - Backing Vocals
Bernard Fowler - Backing Vocals
Blondie Chaplin - Backing Vocals, Percussion
Leah Wood - Backing Vocals (Thief In The Night)
The Rolling Stones - Bridges To Bremen (2019)
See also:
The Rolling Stones - Bridges To Bremen (2019) Blu-Ray