[Dixielandjazz] Super Bowl Music Review

[Steve barbone]

Maybe not OKOM, but then most of us in the USA probably watched and heard it
so here's a review of the Super Bowl Music.

Interesting that it was 1960's music and perhaps a good look at how old
folks like Mick Jagger and the Rolling Stones excite a mostly YOUNG audience
with a music genre that is also supposed to be dead.

"I Can't Get No Satisfaction"? Heck, it could be done in a New Orleans Jazz
rendition to great effect also. :-) VBG.

Interesting also were the other performers of 60's music in an era when
hip-hop and gangstra rap are supposed to rule.

Cheers,
Steve


ABC Avoids a Lyric Malfunction but Allows Mick's Midriff

The band played "Start Me Up," "Rough Justice" and "(I Can't Get No)
Satisfaction" on a stage shaped like the famous lips-and-tongue logo.

NY TIMES - JON PARELES - February 6, 2006

The Rolling Stones sang three songs for the Super Bowl XL halftime show last
night and were censored in two of them ‹ not a bad average for a band of
sexagenarians who still ride a reputation as provocateurs.

As the band played, the vocal suddenly went silent for one word each in
"Start Me Up" and "Rough Justice," a song from the latest Stones album. Each
unheard word was a sexual reference. But then again, so was most of the
Stones' miniset, from the stage shaped like the band's lascivious
lips-and-tongue logo to Mick Jagger's hip-swiveling, elbow-pumping,
gleefully leering presence. His cropped-top shirt showed his navel, and, of
course, he sang "(I Can't Get No) Satisfaction."

"Here's one we could have done at Super Bowl I," he said, introducing that
1965 hit. "But everything comes to he who waits."

The Stones have been rocking stadium-sized audiences since the 1960's, and
they do their job with rowdy ease.

There was no question that the songs were being performed live, as Keith
Richards and Ron Wood played tandem guitar parts that constantly jostled
each other and as Jagger toyed with the timing of his leathery vocals. That
perennial looseness, the constant playful reworking of the few basic chords
after 40 years of performing the same song, is one of the band's claims to
greatness. 

Suiting a sports event, the performance was also a show of athletic prowess
as Jagger, who is 62, ran up mileage while he swaggered and skipped across
the stage and around a tongue-shaped runway where he could high-five eager
fans.

The television cameras could barely keep up; much of the set was shot from
behind Jagger's back. He was as limber as anyone on the field.

The Super Bowl, under protest, had been forced to lift its initial age limit
of 45 for the standing-room fans who wanted to get close to the Stones. For
its musical segments, this Super Bowl belonged to icons of the baby-boom
generation: not just the Stones at halftime, but a soul-music showcase
before the game.

"The Star-Spangled Banner" was shared by Aretha Franklin, from Detroit, and
Aaron Neville, from New Orleans, with another New Orleans patriarch, Dr.
John, on piano.

But no one upstages Franklin. After Neville sang a sweetly tremulous verse,
Franklin took over and turned the anthem into one creamy, sustained,
swooping phrase after another, bringing it the ecstatic devotion of gospel
music. 

To baby boomers, Detroit is Motown, and before the game, Stevie Wonder was
at the center of a Motown medley that also featured younger performers: John
Legend, India.Arie and Joss Stone, all seizing their moments in songs like
"I Heard It Through the Grapevine," "Dancing in the Street" and "Signed,
Sealed, Delivered I'm Yours."

But Wonder also seized his chance to reach the Super Bowl's broadcast
audience with a message. Singing "So What the Fuss" and "A Time to Love,"
the title song from his most recent album, he insisted, "We all agree that
peace is the way." He added: "It's not about the religion, it's about the
relationship. Let us come together before we're annihilated."

Amid the hard sell and testosterone frenzy of the Super Bowl broadcast, it
was a true touch of 1960's idealism.