Rock acts in the sixties never took themselves too seriously, and this production of the Rolling Stones Rock & Roll Circus is no exception. Sex, drugs, and rock & roll were the order of the day, not high-tech professionalism, and members of "the Establishment," such as television producers, had no choice but to conform. Obviously, this project was an attempt to assemble a handful of British rock acts for a loosely thrown together BBC variety show, modeled on America's zany and popular "Rowen & Martin's Laugh-in." Set under a circus big top, the result is revealing window into what was then coined "The British Invasion" of the classic rock era.

One has to look below the surface of this light-hearted production to appreciate its magic. Tony Iommi, the left-handed guitarist, later to become the driving force behind Black Sabbath seemingly goes unnoticed as Jethro Tull's side man in "Song For Jeffrey." The falsetto harmonies of the Who's quiet bassist John Entwistle, and Keith Moon, barely able to contain himself, highlight Pete Townsend's "A Quick One While He's Away. "Ain't That A Lot of Love" and some extra performances resurrect the nearly forgotten blues group Taj Mahal.

Girlfriends and wives also got in on the act, and contributed performances. Marianne Faithful, then Mick Jagger's main squeeze, delivers a cutesie virbrato rendition of "Something Better." Yoko Ono (with classic violinist Ivry Gitlis) reminds all within memory just how horribly wretched her dying animal, no talent voice passed off as art, can be on "Whole Lotta Yoko."

Dirty Mac, an all-star garage band featuring the late John Lennon, Eric Clapton, Keith Richard on bass, and Jimi Hendrix drummer Mitch Mitchell, resurrect a lost art: the Jam. Lennon's powerful vocals leads the ensemble through a rendition of "Yer Blues," while a youthful Clapton gently caresses a beautiful red Gibson ES-335. Richard, surprisingly competent on bass, provides a solid foundation along with the ever meticulous Mitchell. A lose ending nearly spoils a perfect performance, but hap-hazard endings have always been a Rolling Stones trademark anyway.

Predictably, the Stones highlight the show with six exceedingly rare performances. The late Brian Jones, an original founding member, who would be fired by Jagger & Co., then mysteriously drown shortly thereafter is seen here in this unique footage. The Stones remain true to the studio version of the now classic "Jumping Jack Flash," as the crowd needs no cue to come alive. Richards launches the band into the slow blues "Parachute Woman." Mick's harmonica and the honky-tonk piano of the late Nicky Hopkins fill the gaps nicely. Jone's hauntingly beautiful slide guitar, Richards' acoustic rhythm, Hopkins' pounding fills, and Jagger's intoxicating vocals nail "No Expectations." The Stones increase the tempo with yet another classic, "You Can't Always Get What You Want," then launch into the sinister "Sympathy For The Devil." Charlie Watts' rim work coupled with guest conga man, Rocky Dijon lend a raw authenticity, later lost in stadium venues. Ever the front-man, Jagger's voodoo screams are climaxed by him kneeling submissively, peeling off his shirt, like a slave about to be whipped, only to reveal some devilish, if temporary body tattoos. An audience participation finale of "Salt of the Earth" highlight Jagger and Richards vocal harmonies quite nicely.

Despite the few legitimate circus acts interlaced with humorous, if sometimes ridiculous witticisms by Jagger, Lennon, and others, this nicely arranged package is a must for any die-hard Stones fan, or afictionado of classic rock history.

The Rolling Stones Rock And Roll Circus was released Oct 15, 1996. It is the long suppressed made-for-TV special recorded 28 years earlier on Dec 11-12, 1968 with The Who, John Lennon, Taj Mahal, Jethro Tull, Marianne Faithful, and Eric Clapton. The packaging is beautiful with a great 42 page glossy color booklet that has all the rare behind the scenes photos and a full account of things leading up to the event. The Who were red hot at the time and easily upstaged the Stones who were still struggling through their first major crisis after the removal of Brian (and his subsequent death) and attempting to figure out how to hold on to their status as the premier band. The Stones refused to release the recordings because their performances were not spectacular. Most reviewers agreed when they finally got to see the film themselves. However, what the film lacks in production (which was obviously amateurish) it makes up for in history. The Stones lackluster set of Jumpin' Jack Flash, Parachute Woman, No Expectations, You Can't Always Get What You Want, Sympathy For the Devil, and Salt Of The Earth are easily compensated by The Who's mini opera A Quick One While He's Away and Lennon and Clapton's Yer Blues. There are also dated period piece interviews with Mick and John and very amateurish introductions by the individual Stones, which when combined with the extremely amateurish set, acting, and cinematography amply demonstrate why this is one for Stones and rock history collectors. The Stones were right, it didn't work for them, and it is good that the release was delayed until it appealed to collectors and would not reflect on the reputation of the band.

Most people know the music, so in my reviews I try to give you data on the sessions and interesting facts connected with the songs and the album. Here we go:

Interesting notes include:
.....this CD and the companion DVD and VHS releases were the last time Brian Jones performed with the Stones
.....Brigitte Bardot was Mick's original choice for the ringmaster, when she declined, he did it himself
.....Keith wanted Johnny Cash, but he declined too
.....Mick refused to consider Jimmy Page's new band "The New Yardbirds" without hearing their tapes (which were released on their first album "Led Zeppelin")
.....Ivry Gitlis was a great classical violin virtuoso.....he accepted an invitation to perform because he respected Brian Jones
.....John Lennon's temporary supergroup (Clapton, Mitch Mitchel, and Keith) was named Dirty Mac in response to the hottest band of the day....Peter Green's Fleetwood Mac
.....the taping started around noon on Dec 11 and ran for 18 hours...when the specially chosen fan audience left at 6AM, Mick and Keith shook hands with most of them and thanked them for coming

Other songs from the same show that were recorded for the Circus but which have not yet been released are:
.....Route 66
.....Confessin' The Blues
.....Yonder Wall
.....Walkin' Blues

This information comes from "It's Only Rock And Roll: The Ultimate Guide To The Rolling Stones" by Karnbach and Bernson and from my own collection, with some of the notes from Davis' "Old Gods Almost Dead." Both books are available from Amazon.com.

This would appear to have been the Rolling Stones's answer to the Beatles's "Magical Mystery Tour". (The Beatles: "Yesterday"; the Rolling Stones: "As Tears Go By". The Beatles: sitar in "Norwegian Wood"; the Rolling Stones: sitar in "Paint it Black". The Beatles: Sgt. Pepper; the Rolling Stones: Satanic Majesties. Etc.) It isn't clear from the liner notes whether Mick Jagger suppressed it (originally) or the BBC refused it. (It's just too band the BBC didn't refuse "Magical Mystery Tour".)

The best thing about this is the Dirty Mac version of "Yer Blues" (it isn't a "cover", by the way, boys and girls; cease abusing this term.), which I think is much better that the White album version. I wonder if the title of this ad hoc ensemble, including the Jimi Hendrix Experience's drummer, Cream's guitarist, and the Rolling Stones's Keith Richards on bass, isn't a poke at John Lennon's then band-mate.

I'd prefer Yoko didn't perform on "Whole Lotta Yoko", or anywhere else, but her performance here isn't nearly as bad as some are telling themselves. If it were some kind of musical instrument, rather than a voice, making precisely the same sound on precisely the same pitches I doubt anyone would object. The rock-and-roll violin on this cut, by the way, may be a first. I wish the violin weren't so buried in the mix.

The Who bit is amusing but hardly spectacular.

The Rolling Stones set sounds pretty typical. I prefered the "Sympathy for the Devil" version here over the single version because the bongo drums and Nicky Hopkins's piano come through more clearly here.

Marianne Faithful can't really sing, it would seem. Her song is really a chant. Her accompaniment sounds canned.

It's wild to find Jethro Tull on the same disc with the Rolling Stones, etc. Ian Anderson's vocal is very close to that on the "This Was" version, but not quite the same. He seems to switch from harmonica to flute and back with remarkable rapidity, and I'm dubious about this performance's veracity.

Taj is nothing much here--just okay.

This CD is probably not for those who are new to Jethro Tull, the Stones, or John Lennon. For the rest of us, however, this is one step closer to nirvanah (not the band).

The little between the songs circus music rates 5/5 stars. Not that its special for the music itself, but it adds a great circus feel to the whole event.

The intros by the Stones and Lennon are about 3/5 which isn't bad considering the announcers that were invited said "no" and left the event announcerless. The most interesting of these is track 11, a dialog between John and Mick.

Now for the songs:

"Song For Jeffrey"- Jethro Tull
One of the band's earlier songs before they were hugely popular. Good playing by all four members, with good flute parts from Ian Anderson. Not Tull's best but still (as always) very good. 4/5 stars.

"A Quick One While He's Away"- The Who
The Who's first "opera". Very well preformed. This song is probably one of my favourite Who tracks. Easily 5/5 stars.

"Ain't That A Lot of Love"- Taj Mahal
Not terrible, considering Mahal's presence in England had to be kept a secret.Not the best voice, but not hideous. 3/5 stars.

"Something Better"- Marianne Faithfull
An annoying song thrown in here because Marianne was Mick's girlfriend. Still, like before, not hideous. 2.5/5 stars.

"Yer Blues"- The Dirty Mac
The supergroup who's name was in response to Fleetwood Mac is very good. This song isn't quite as good as the album version, but just watch these four guys jamming together and its awesome no matter what. 5/5 stars. (I'm Sure they

"Whole Lotta Yoko"- The Dirty Mac with Yoko Ono and Ivry Gitlis
Let me just start off by saying I am NOT a fan of Yoko Ono's music. However, I don't understand what people are so upset about her being on here, her contribution is actually decent GIVEN THE SONG. With the wailing violin her voice fits in. On any other song, it wouldn't. 5/5 stars.

"Jumpin' Jack Flash"- The Rolling Stones
Not a very strong start for the Stones. For some reason they sound a little off here. A little boring, considering we've all heard the other version. 3/5 stars.

"Parachute Woman"- The Rolling Stones
A step up from "Jumpin' Jack Flash". The Stones are much more loose here and sound excelent, only lacking a little vocal energey. 4/5 stars.

"No Expectations"- The Rolling Stones
A slower song, well preformed with Brian Jones on slide guitar. Mick sounds better here. 4/5 stars.

"You Can't Always Get What You Want"- The Rolling Stones
EXCELLENT! I prefer this one to the original version. An excellent version of this song minus the opening chior segments. Mick sounds great. 5/5 stars.

"Sympathy For the Devil"- The Rolling Stones
This is awesome! An eight and a half minute version of this classic tune. Was there ever a song more perfect for the person singing it? This is as good as if not better than the studio version! 5/5 stars.

"Salt Of the Earth"- The Rolling Stones
A very fitting closer to the evening. 4/5 stars.

Great show!

I don't feel the Stones are a consistently good live act, although the set they played here, isn't without merit. I have to give them credit, because Mick Jagger is still today what you see in this film. He's got a few lines on his face, and a few traces of grey in his hair now, but time hasn't been his enemy. Keith Richard, on the other hand, doesn't even look like the same person anymore; that's what hard living will do to you.

Their set wasn't bad, though it had that "garage band" feel to it, but that's always been one of their selling points. "Jumpin' Jack Flash," " Parachute Woman," "You Can't Always Get What You Want," and the others all sound up to snuff, although some back-up singers would've helped; they had a piano player, and a percussionist, why not back-up singers?

Taj Mahal's number was OK, but seemed to be a little lifeless, and Marianne Faithful has been correctly described as "lovely," her segment was a good off-set to everything else.

The Who's performance was definitely show-stopping, hard to believe Keith Moon and John Entwistle are gone. They were so "alive." They were just coming into their own when this event was held.

Depending on my mood, often my favorite segment was Jethro Tull's number. Isn't annoying when people call Ian Anderson "Jethro Tull?" Even though Anderson was the only musician with the band at every phase of its existence, "Jethro Tull" was, and is, the band's name. Apart from Anderson, none of the musicians here were with Anderson for that long. Drummer Clive Bunker was replaced by Barriemore Barlow, Bassist Glenn Cornik was replaced with Jeffrey Hammond-Hammond, John Evan was added on piano, and Martin Barre replaced the man playing slide guitar here, Black Sabbath's Tony Iommi.

I thought The Dirty Mac was cool, Mitch Mitchell from the Jimi Hendrix Experience on drums, Keith Richard playing bass, when Bill Wyman could've sufficed. But Richard is, in his own way, as charismatic as Jagger, so I say good choice; it was a "super group" anyway; Eric Clapton on lead guitar ( God he was young back then), and John Lennon as band leader. I thought their rendition of "Yer Blues" was as good as the version Lennon did with The Beatles. That other thing they did was thrown together at the last minute, obviously. Irvey Gitlis played a great solo on violin here, I don't even know who he is, but I can tell he's got a lot of talent. I've never understood Yoko Ono's contributions to these things; giving credit where it's due, she's a very creative woman, and she was the catalyst in Lennon's life for finding and redefining himself. She was good for him. But she has screamed into microphones in front of some of the most talented musicians in the world, and I'm tempted to ask, "why?" Call it a guilty pleasure, but listen to her songs on "Double Fantasy." These are great songs, and she is actually carrying a tune there. I really like it, and that's what's frustrating; she's got an unusual voice, and it is abused and squandered on things like "Whole Lotta Yoko," the number she sang at the R'n'R Circus. Did she have the first idea how much audiences hated her? The only real applause she ever got, as far as I could tell, was when she and John sat in with Zappa and the Mothers at the Fillmore. And that's because Zappa's fans, especially then, were open to almost anything.

In all, this is a good investment, if nothing else, to see what the big names were doing in December of 1968. The music was so much better long ago...