Parks and Recreation
Parks and Recreation is an American political satire television sitcom created by Greg Daniels and Michael Schur. The series aired on NBC from April 9, 2009 to February 24, 2015, for 125 episodes, over seven seasons; the series stars Amy Poehler as Leslie Knope, a perky, mid-level bureaucrat in the Parks Department of Pawnee, a fictional town in Indiana. The ensemble and supporting cast features Rashida Jones as Ann Perkins, Paul Schneider as Mark Brendanawicz, Aziz Ansari as Tom Haverford, Nick Offerman as Ron Swanson, Aubrey Plaza as April Ludgate, Chris Pratt as Andy Dwyer, Adam Scott as Ben Wyatt, Rob Lowe as Chris Traeger, Jim O'Heir as Jerry Gergich, Retta as Donna Meagle, Billy Eichner as Craig Middlebrooks; the writers researched local California politics for the series, consulted with urban planners and elected officials. Poehler's character, Leslie Knope, underwent major changes after the first season, in response to audience feedback that she seemed unintelligent and "ditzy"; the writing staff incorporated current events into the episodes, such as a government shutdown in Pawnee inspired by the real-life global financial crisis of 2007–2008.
Several guest stars, such as Jason Mantzoukas, Kathryn Hahn, Sam Elliott, Bill Murray, Megan Mullally, Louis C. K. Paul Rudd, Henry Winkler, Kristen Bell, Christie Brinkley, Jon Hamm, have been featured in the series, their characters appear in multiple episodes. In addition, real-life politicians have cameos in episodes such as former U. S. Secretary of State Madeleine Albright, US Senators Olympia Snowe, Barbara Boxer, Kirsten Gillibrand, Cory Booker, Orrin Hatch, John McCain, then-Vice President Joe Biden, then-First Lady Michelle Obama. Parks and Recreation was part of NBC's "Comedy Night Done Right" programming during its Thursday night prime-time block; the series received mixed reviews during its first season, after a re-approach to its tone and format, the second and subsequent seasons were acclaimed. Throughout its run and Recreation received several awards and nominations, including fourteen Primetime Emmy Award nominations, a Golden Globe Award win for Poehler's performance, a nomination for the Golden Globe Award for Best Television Series – Musical or Comedy.
In TIME's 2012 year-end lists issue and Recreation was named the number one television series of that year. In 2013, after receiving four consecutive nominations in the category and Recreation won the Television Critics Association Award for Outstanding Achievement in Comedy; the first season focuses on Leslie Knope, the deputy director of the Parks and Recreation Department in the fictional town of Pawnee, Indiana. Local nurse Ann Perkins demands that the construction pit beside her house created by an abandoned condo development be filled in after her boyfriend, Andy Dwyer, fell in and broke his legs. Leslie promises to turn the pit into a park, despite resistance from the parks director Ron Swanson, an anti-government libertarian. City planner Mark Brendanawicz – for whom Leslie harbors romantic feelings – pragmatically insists the project is unrealistic due to government red tape, but secretly convinces Ron to approve the project. Leslie and her staff, including her assistant Tom Haverford and intern April Ludgate, try encouraging community interest in the pit project, but meet resistance.
In the second season, the pit is filled in because Andy threatened to sue the city of Pawnee unless the pit was filled. Mark leaves his city hall career for a private sector job. Meanwhile, a crippling budget deficit leads state auditors Chris Traeger and Ben Wyatt to shut down the Pawnee government temporarily; the third season opens with the Pawnee Government reopened. Leslie decides to bring back the defunct Pawnee harvest festival, the success or failure of which will determine the financial future of the department. After weeks of planning, the festival becomes a tremendous success through Leslie's efforts. Chris returns from Indianapolis to become Pawnee's acting city manager, whilst Ben takes a job in Pawnee. April and Andy start dating and, only a few weeks marry in a surprise ceremony. Tom quits his city hall job to form an entertainment company with Jean-Ralphio; the fourth season deals with Leslie's campaign to run for city council. Tom and Jean-Ralphio's company, Entertainment 720 goes out of business and Tom returns to his old job.
Ben and Leslie begin a relationship, Ben sacrifices his job to save Leslie from losing hers, due to Chris' policy against romantic relationships in the workplace. The Parks Department volunteer to become her campaign staff, with Ben as Leslie's campaign manager. Leslie's campaign faces myriad setbacks against her main opponent, Bobby Newport, his famous campaign manager Jennifer Barkley. In the fifth season, Leslie begins working as a City Councillor but finds opposition in angry locals and her fellow councilmen. Ben is at his new job on a congressional campaign in Washington DC, alongside April whom he brought along as an intern. Ron begins a romantic relationship with a woman named Diane. Ben returns to Pawnee, proposes to Leslie, who accepts. Tom starts a successful business renting high end clothing to teenagers. Leslie and Ben plan a fundraising event for the park, now called the Pawnee Commons, decide to have an impromptu wedding that night in City Hall; the sixth season begins with the absorption of Eagleton by Pawnee after the former town declares bankruptcy.
As the governments merge, Leslie loses the recall vote and returns to the Parks Department full-time, whilst Ben is voted in as the next City Manager. Tom sells Rent-A-Swag to Dr. Saperstein in a cash settlement. Ann and Chris, now in a relationship and expecting a baby
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Rolling Stones Records
Rolling Stones Records was the record label formed by the Rolling Stones members Mick Jagger, Keith Richards, Mick Taylor, Charlie Watts and Bill Wyman in 1970, after their recording contract with Decca Records expired. The label was headed by Marshall Chess, the son of Chess Records founder Leonard Chess, it was first distributed in the United States by Atlantic Records subsidiary Atco Records. On April 1st 1971, the band signed a distribution deal for five albums with Ahmet Ertegun, acting on behalf of Atlantic Records. In the US, the albums were distributed by Atlantic until 1984. In the UK, Rolling Stones Records was distributed by WEA Records from 1971 to 1977 and by EMI from 1978 to 1984. In 1986 Columbia Records started distributing it in the United States and CBS for the rest of the world until 1991, it was discontinued in 1992 when the band signed to Virgin Records, but the tongue-and-lips logo remains on all post-1970 Rolling Stones releases. In its original concept, the label was formed to ensure the Rolling Stones would retain the rights over their own music, while giving each bandmember the option to release solo albums.
The first album to be released was Brian Jones Presents the Pipes of Pan at Joujouka in 1971, credited with being the first world music LP. In 1972 the label released Jamming with Edward!, a collection of tracks recorded by Jagger and Watts with Nicky Hopkins and Ry Cooder in 1969. Bill Wyman released his albums Monkey Grip in 1974 and Stone Alone in 1976. Wyman found out that he couldn't get proper attention from the promotion and sales people, as the Rolling Stones had albums due out shortly after both releases, the label concentrated on the band's albums. Wyman ended up going to A&M Records for further solo efforts; the label released a solo single by Keith Richards in December 1978: a rendition of Chuck Berry's "Run Rudolph Run" backed by a version of Jimmy Cliff's "The Harder They Come". Unlike Apple Records, Grunt Records, Purple Records or Swan Song Records, Rolling Stones Records never made much of an effort to sign outside artists. Kracker, a Cuban rock group produced by Rolling Stones' producer, Jimmy Miller, was the first outside act to be signed to Rolling Stones Records in 1973.
Kracker, along with Billy Preston, opened the show for the Stones during their 1973 European Tour. John Phillips was signed to Rolling Stones Records in 1976. In 1978 Rolling Stones Records signed Peter Tosh, a former member of Bob Marley's band the Wailers, to a contract, his first album for the label, Bush Doctor, which featured Jagger on the track "Don't Look Back", was moderately successful. Despite further moderate success, Tosh left the label in 1981, citing lack of promotion and a personal feud with the Rolling Stones. Jagger released his first solo albums, She's the Boss and Primitive Cool, in 1985 and 1987 through a newly conceived partnership between Rolling Stones Records and CBS Records, thus the trademark Rolling Stones logo was affixed to each record and the label "Rolling Stones Records" was printed on each new release, which angered Keith Richards. In fact, through the 1980s and early 1990s, "Rolling Stones Records" continued to be printed on the labels of all new releases up through Flashpoint.
However, as the back catalogue has been shifted to Virgin/EMI, these markers are the last vapour trails of Rolling Stones Records. In 2008, the group switched distribution of Rolling Stones Records back catalogue material as well as new material to Polydor Records in the UK, Interscope Records in the US. List of record labels Rolling Stones 1970 in music
James Luther Dickinson was an American record producer and singer who fronted, among others, the band Mud Boy and the Neutrons, based in Memphis, Tennessee. Dickinson was born in Little Rock and raised in Chicago and Memphis, he attended Baylor University as a drama major before graduating from Memphis State University, where he became acquainted with the pioneering music journalist Stanley Booth. After receiving his degree, he played on recording sessions for Bill Justis and recorded at Chips Moman's American Studios. Dickinson recorded what has been described as the last great single released by Sun Records—"Cadillac Man" backed with "My Babe", by The Jesters —playing piano and singing lead on both sides, although he was not a member of the group. By 1966, Dickinson began working as a record producer for the famous Ardent Studios, in Memphis, founded by John Fry in 1959; the young and eager Dickinson produced and oversaw a series of blistering sessions involving bands like the Bitter Ind, the Wallabies.
Members of the Wallabies—Alex Major, Bobby Maxwell, Alan Palmore, Glen Wilson —recorded Major's song "Up and Down Children", a marriage of garage rock and a twisted Merseybeat sound. In 2008 the first series of songs were released by Big Beat Records on a compilation album entitled Thank You Friends: The Ardent Records Story and in 2012 on the compilation album The Psychedelic Sound of Memphis. In the late 1960s, Dickinson joined with fellow Memphis musicians Charlie Freeman, Michael Utley, Tommy McClure and Sammy Creason. In 1970, the group began to back Atlantic Records' venerable stable of soul acts at the behest of the producer Jerry Wexler following the acrimonious dissolution of his relationship with the Muscle Shoals Rhythm Section. Based at Criteria Studios in Miami, they recorded Aretha Franklin's 1970 hit "Spirit in the Dark". Unable to acclimate to life in Miami and the variegated production styles of Wexler, Tom Dowd, Arif Mardin, Dickinson heeded the advice of Duane Allman and left the group to pursue a solo career in 1971.
The remaining Flyers backed Kris Kristofferson and Rita Coolidge for several years before disbanding in the mid-1970s. Dickinson's first solo album, Dixie Fried, was released by Atlantic in 1972. In addition to the Carl Perkins-penned title song, it featured songs by Furry Lewis. In the 1970s, he became known as a producer, recording Big Star's Third in 1974, serving as co-producer with Alex Chilton of Chilton's 1979 album, Like Flies on Sherbert, he produced recordings for performers as diverse as Willy DeVille, Green on Red, Mojo Nixon, the Replacements, Tav Falco's Panther Burns and the Maytals and Screamin' Jay Hawkins. He appeared in Beale Street Saturday Night, a 1977 aural documentary of Memphis's Beale Street, which featured performances by Sid Selvidge, Furry Lewis and Dickinson's band, Mud Boy and the Neutrons; as a session musician, he played piano with the Rolling Stones for their recording of "Wild Horses" at Muscle Shoals Sound Studio in December 1969. In 1997, Dickinson produced Ya Gotta Let Me Do My Thing by the Australian band Kim Salmon & the Surrealists.
In 1998, he produced Mudhoney's Tomorrow Hit Today. In May 1999, Dickinson participated in a one-time collaboration with Jules Shear, Harvey Brooks, Paul Q. Kolderie, Chuck Prophet, Sean Slade, Winston Watson to record the album Raisins in the Sun, released by Rounder Records in 2001, his sons and Cody, who played on his 2002 solo album Free Beer Tomorrow and the 2006 album Jungle Jim and the Voodoo Tiger, have achieved success on their own as the North Mississippi Allstars. Dickinson made a recording with Pete Kember of Spacemen 3. "Indian Giver" was released in 2008 by Birdman Records under the name of Spectrum Meets Captain Memphis, with Captain Memphis referring to Dickinson. In 2003, Dickinson appeared in The Road to Memphis, part of Martin Scorsese's television production The Blues. In 2007 Dickinson played with the Memphis-based rock band Snake Eyes; the band, formed by the Memphis musician Greg Roberson included Jeremy Scott, Adam Woodard, John Paul Keith. The group disbanded in October 2008.
Dickinson and Roberson went on to form another Memphis group, Ten High & the Trashed Romeos, with Jake and Toby Vest and Adam Hill. The band recorded two albums, the first consisting of original compositions by Dickinson and the band, the second consisting of cover versions of songs recorded by Memphis garage rock bands in the 1960s. Dickinson died August 15, 2009, at Methodist Extended Care Hospital in Memphis, following triple-bypass heart surgery. Dixie Fried A T
Bridges to Babylon Tour '97–98
Bridges to Babylon Tour'97–98 by The Rolling Stones is a concert DVD released in December 1998. It was filmed in the TWA Dome in St. Louis, Missouri on 12 December 1997 during the Bridges to Babylon Tour 1997–1998. Featuring performances by Dave Matthews and Joshua Redman; the concert was broadcast as a pay-per-view special. Of the 23 songs played, 4 songs were left off the DVD. "Anybody Seen My Baby?", "Corinna" with Taj Mahal, "All About You" and "The Last Time" were played. "Waiting On A Friend", "Corinna" and "The Last Time" from this concert were released on the live album No Security. Opening " Satisfaction" "Let's Spend the Night Together" "Flip The Switch" "Gimme Shelter" "Wild Horses" "Saint of Me" "Out of Control" "Waiting on A Friend" "Miss You" "I Wanna Hold You" Across the bridge "It's Only Rock'n Roll" "Like A Rolling Stone" "Sympathy for the Devil" "Tumbling Dice" "Honky Tonk Women" "Start Me Up" "Jumpin' Jack Flash" "You Can't Always Get What You Want" "Brown Sugar" Bows and End credits The Rolling StonesMick Jagger – lead vocals, harmonica Keith Richards – guitars and vocals Charlie Watts – drums Ronnie Wood – electric guitar, backing vocalsAdditional musiciansDarryl Jones – bass guitar Chuck Leavell – keyboards, backing vocals Bernard Fowler – backing vocals, percussion Lisa Fischer – backing vocals Blondie Chaplin – backing vocals, percussion Bobby Keys – saxophone Kent Smith – trumpet Andy Snitzer – saxophone, organ Michael Davis – tromboneSpecial guests Dave Matthews – vocals on "Wild Horses" Joshua Redman – saxophone on "Waiting on a Friend"