St. Louis

Sunday, July 9 (2 shows)


    A tapeless Kiel Auditorium performance has long been acknowledged and mourned by STP fans, but now we must double our sorrow and yearning, for St. Louis actually received a previously unregistered second (afternoon) show that worsens the present-day boot gap.  And like the eerily similar “missing matinee” in Denver, the St. Louis instance need not have lurked unchronicled for so long; once again, ready clues in the national press should have tipped our Stones “authorities” to dig a little deeper than STP and the Pashe-Monck tour ad for the complete 1972 concert itinerary.


    The four publications assembled here offer ironclad written and photographic evidence that the Stones played two shows (2 p.m. and 8 p.m.) in St. Louis, and I will not bother to recite all the clear, corroborating references in the clippings now; the scans speak loudly enough as they are.  Beyond these local outlets, even Rolling Stone itself (August 3, 1972) contains a contemporaneous reference to the Kiel double-header:


    Ten days later on a hot Sunday in St. Louis, Mick Jagger is resting between

  shows in his hotel room with the TV set turned on and the sound turned off,

  and news reports about the Democratic Convention flicker across the screen.


Note that Jagger is not resting “before the show” or “after the show” (singular) but “between shows” (plural).  Another national publication, the trade magazine Amusement Business, also recapped the true Denver and St. Louis gig histories in a story (July 29, 1972) about tour promoter Barry Fey:


    Fey’s Denver-based, Feyline Productions staged one concert at the Univ. of

  New Mexico in Albuquerque, two at the Denver Coliseum, one at the Kansas City

  (Mo.) Municipal Aud, a pair at Tarrant County (Texas) Convention Center, two

  at Hofheinz Pavilion in Houston and two at St. Louis’ Kiel Auditorium.


More recently, a Stones retrospective in the St. Louis Post-Dispatch (December 7, 1997) had this to say about the 1972 visit:


    The Stones are at the height of their creative powers, touring in support

  of Exile on Main Street. Six years after the group’s first visit here, the

  days of half-empty halls are over. The band quickly sells out one show at Kiel

  and a matinee performance is added.


    With references like these, one wonders, why did the second shows in Denver and St. Louis remain unlisted in our published concert chronologies for so many years?  Setting aside any comments on the quality and quantity of original “research” that actually underpinned these concert registries, part of the answer may lie in the fact that some shows were added to the tour after tickets first went on sale.  Remember the exultant Stones insider in Hollywood who bragged, “Every night is a sellout.  We’ve even added matinees.”?  Well, he was speaking the truth, as Peter Rudge confirmed in a post-tour wrap-up for the media that was duly summarized in various print outlets.  (Amusement Business put it this way: “Four shows were added after the original tour had been set.”)  Some of these extra afternoon gigs occurred in large cities and were thus too easy to miss, but the bonus performances in out-of-the-way Denver and St. Louis just slipped under the radar and vanished for decades.  (Actually, it does not appear that the Denver matinee was a late addition like the one in St. Louis; tickets for both Denver shows went on sale at the same time.  Still, it went uncredited all the same.  The other three tacked-on matinees may have been in Los Angeles, Philadelphia, and New York.)


    In addition to establishing St. Louis as a two-gig venue, the local reviews offer a sort of negative revelation, too, casting serious doubt upon the long-held notion that the Stones and Stevie Wonder debuted the Uptight/Satisfaction medley encore here.  Karnbach himself, who failed to catch the Kiel matinee, may be mistaken yet again when he asserts that July 9 “was the first night Stevie Wonder joined the Stones onstage for the encore jam medley of Uptight and Satisfaction that became a regular feature at the end of the tour.”  This statement appears to derive from a lone reference in STP:


    In St. Louis, on the eighth day of July, the Stones try to make their ghetto

  move for ribs and barbecue only to have a limousine driver tell them, “You crazy?

  No one goes to East St. Louis. People don’t even walk there. They got snipers

  just sittin in the windows, waitin.” The band gets together with Stevie Wonder

  and together they rehearse an encore number consisting of Uptight and Satisfaction

  played by both bands, two drummers, horns-a-plenty and bongos, which is certain to

  kill ‘em in New York.


Keeping in mind that Greenfield was not in St. Louis to witness any of these events, the crucial word in this paragraph is “rehearse.”  In other words, the special encore was practiced privately but not performed publicly, an explanation that is fully consistent with the local press evidence.  Tellingly, none of the reviews here say a word about any surprise encore extravaganza involving Wonder, Uptight, and Satisfaction, so it is highly unlikely that the medley actually got its tour debut in St. Louis.  As we will see, the true (and well-reported) premiere happened in Detroit, although you would miss that fact by reading Karnbach’s treatment of the matter; incredibly, his book fails to report the very obvious Motor City playing of Uptight/Satisfaction at all.


    Beyond revealing one extra show and demolishing one fictive encore, the locals also manage to fill in most of the matinee set and nearly half of the songs from the stronger nightcap.  Both concerts apparently got the blueprint fifteen (“the same songs in the same order”) and nothing more, although some doubt lingers because two reviews cite Jumping Jack Flash as the final afternoon song.  (Was Jagger’s self-described “afternoony” pacing an acknowledgement of a truncated set?)


    Speaking of the early show, just what is that odd pullover-like thing shown on Jagger in the Globe-Democrat photo?  Was it worn on any other STP stage?


    Finally, did the tough “no cameras” policy here also thwart all would-be tapers?  Sadly, perhaps it did, since we have yet to hear an audience recording from either show.



1st show


St. Louis Globe-Democrat


River City Review

Brown Sugar

Brown Sugar



Rocks Off






Tumbling Dice


Love In Vain


Sweet Virginia




All Down The Line


Midnight Rambler

Midnight Rambler










Jagger: “spangled tank-top shirt”


Jagger: “rhinestone-studded black T-shirt and glittering forehead”


“set of roughly 15 songs”


Opening: Stevie Wonder


Jagger: “wearing jester pants, with an extra long yellow sash, a body shirt and white tennis shoes”




“no encore”


Opening: Stevie Wonder



St. Louis Post-Dispatch: “The Stones and 37 friends and helpers arrived secretly Saturday at a private airstrip. The black limousines that chauffeured them everywhere were waiting to whisk the musicians, crew members, production personnel, accountant, doctor, publicity man and other hangers-on to a posh restaurant for a late dinner.”


St. Louis Globe-Democrat: “Sunday afternoon’s audience was predictably young and unpredictably placid – almost bovine. They were the second wave: The zealots were the ones who waited in line for the initially announced evening concert, and these were in evidence by the time the first concert let out.”


Outlaw: “Mandy, eighteen with a lot of cervical miles: ‘No one jumped on stage to try to go on Mick in the afternoon show. The whole crowd was really a bummer.’”


St. Louis Globe-Democrat: “But Jagger himself – over vodka and 7-Up in the Tudor Room of the Sheraton-Jefferson  - termed his performance, ‘afternoony.’ ‘Well, you see, you’ve got to pace yourself,’ he explained, his hair still wet from the afternoon workout and less than four hours before he’d repeat the whole bit. He was dressed in a print shirt and tight pink pants, and wore bells which tinkled as he walked.”




2nd show


St. Louis Post-Dispatch









Gimme Shelter







Love In Vain







Midnight Rambler

Midnight Rambler




Rip This Joint






Jagger: “a purple, velveteen, rhinestone-studded jump suit opened to his waist”




Outlaw: “Consensus says that the second show was much better than the first, also that the audience was more responsive. Both shows followed a pattern, the same songs in the same order.”


St. Louis Globe-Democrat: “Policemen on duty around Kiel entrances asked several persons to leave cameras and other items with the officers, and pick them up at Central Police Headquarters several blocks away. Some of the camera carriers said they were newsmen, but could not furnish identification.”


St. Louis Post-Dispatch: “Police officers stationed on the fifth floor of the Sheraton-Jefferson Hotel for their three-day stay were amused at the many groupies who were paraded into the rooms of various tour members.”


St. Louis Globe-Democrat: “The Stones are close friends – but on free days – such as Monday in St. Louis will be – they fan out to pursue individual interests: Soul food restaurants, museums, regular sightseeing, and photography.”




Selected Press Clippings


Outlaw1 * 2 * 3


River City Review1 * 2 * 3 * 4 * 5


St. Louis Globe-Democrat1 * 2 * 3


St. Louis Post-Dispatch1 * 2