Fantastic live album!
I like 'Love in vain' from this LP.

Quote
alimente

Quote
HMS
They won´t do that. To much time has passed, no overdubs can be done anymore. YaYa´s is loaded with overdubs, so it seems they didn´t like the original material. And that is why they probably won´t release anything from that period in the future.

Such an absolute rubbish conclusion!

I'm sure the Stones were very proud of their performances at the time. The main thing they chose to fix was Mick's vocals which were sometimes a bit flat and monotone-ish in that era. Also, Keith didn't always step up and do his backing vocals live, so those were added.

"Gonna find my way to heaven ..."

Quote
alimente

Quote
HMS
They won´t do that. To much time has passed, no overdubs can be done anymore. YaYa´s is loaded with overdubs, so it seems they didn´t like the original material. And that is why they probably won´t release anything from that period in the future.

Such an absolute rubbish conclusion!

And based on a totally false premise (to be expected) ... there were very minimal overdubs, as others have also pointed out.

Of course they liked what they recorded for GYYYO! since they took the time to fix some recording issues. Only a kook thinks otherwise.

I wish they would've left the vocals alone for Jumpin' Jack Flash - the way he sang it on that tour was great, doing the short all right instead of the long drawn out studio version way that somehow ended up on the album.

When I first saw GIMME SHELTER I figured out they did some studio recording on it but of course didn't know about the rest of it, like the outstanding Chuck Berry covers.

The Rolling Stones: Get Yer Ya-Ya's Out
By Lester Bangs
September 4, 1970

As much as the recorded product, the rock and roll concert scene seems mighty unhealthy these days. I hardly ever go to see name bands anymore myself, because most of them are so incredibly boring. Standards of performance are very low, and those few artists with enough talent or interest to put on a credible show often end up turning in performances so professionally, predictably competent that you walk out with the palest satisfaction and few memories. In the past year I have watched Ten Years After stumble through a set equal parts plodding monotone and splintered noise, Crosby, Stills, Nash & Young invoke Woodstock to compensate for boring everyone to tears, and the Band and Creedence Clearwater recite their albums to such perfection that I fidgeted. I had to draw the line of most resistance when Led Zeppelin hit town last month for a 2-1/2 hour tour-de-force. But I asked a friend with more fortitude how it was, and he raved: "Oh, shit. I took eight reds and just sat there thinkin' the Zep was gonna play forever — man, I felt so good!"

Into this depressing scene ripped the Rolling Stones barnstorming their way across America last fall for a tour which left most audiences satisfied and well-nigh spent, but got reviews mixed and ultimately perplexed because few of us were sure what to expect or, once the hysteria of the actual performance had drained away, how to react. In 1965, caught up in a hurricane of bopper shrieks, we accepted the whole thing as sort of a supernatural visitation, a cataclysmic experience of Wagnerian power that transcended music. In 1969 they were expected to prove themselves as a stage act, but the force of their personalities and the tides of hype and our expectations cancelled all our cynical reservations the moment Mick strode out and drawled hello to each home town. There they were in the flesh, the Rolling Stones, ultimate personification of all our notions and fantasies and hopes for rock and roll, and we were enthralled, but the nagging question that remained was whether the show we had seen was really that brilliant, or if we had not been to some degree set up, pavlov'd by years of absence and rock scribes and 45 minute delays into a kind of injection delirium in which a show which was perfectly ordinary in terms of what the Stones might have been capable of would seem like some ultimate rock apocalypse. Sure, the Stones put on what was almost undoubtedly the best show of the year, but did that say more about their own involvement or about the almost uniform lameness of the competition? Some folks never did decide.

Liver Than You'll Ever Be, appearing last spring, provided a partial answer. It was a good album, as live rock albums go — "Carol" and "Midnight Rambler" especially shone. Some people were enthralled by it, but I found the musical interest of most of the songs mighty ephemeral, and in general preferred the clattering thunder of Got Live If You Want It, which in terms of looseness, energy and general right-on shagginess could make a fair bid for being the rock concert album of all time. There are more important things than playing on-beat and on-key, and that fine line between slam-bang exorcism and unedifying noise is what would seem to make a great live LP.

All of which is why Get Your Ya-Ya's Out is such an unfettered delight. This album, at last, proves the fears of those who cared to fear groundless. More than just the soundtrack for a Rolling Stones concert, it's a truly inspired session, as intimate an experience as sitting in while the Stones jam for sheer joy in the basement. It proves once and for all that this band does not merely play the audience, it plays music whose essential crudeness is so highly refined that it becomes a kind of absolute distillation of raunch, that element which seems to be seeping out of Seventies rock at a disturbing rate. Where most live efforts seem almost embarrassing in their posturings and excesses, and even The Who Live at Leeds held tinges of the Art Statement, Ya-Ya's at its best just rocks and socks you right out of your chair. You can not only love it for what it is, you can like it for what it isn't.

The set opens with a brief collage of MC introductions from all their tour stops, and then rolls right into a solid, methodical "Jumpin' Jack Flash." Neither it nor the next three songs on side one quite match the energy level reached in "Midnight Rambler" and sustained through all of side two, but subsequent playings reveal the live "Jack Flash" to have a certain fierce precision which the studio single lacked and which makes the latter sound almost plodding by comparison. Here the bottom is full and brooding and the group as a whole has a bite as sharp as a pair of wire cutters.

Next comes Mick, teasing the little chickies: "Uh oh, I think I bust a button on mah trous-ahs ... you do' want mah trousahs to fall down, now do ya?" I had a friend once who nearly provoked me to fisticuffs when he remarked that Mick's appeal was "perverted." Now, the thing that strikes me here is how essentially positive and even wholesome, in terms of what's in the wind in 1970, Mick's onstage stud-strut is. Jim Morrison makes like The Flasher and screams "Love your brother!," Iggy practically turns the mike into a dildo, but Mick just flaps his lips, grinds his hips and chortles: "This is me, honeys — yearn!"

"Carol" is fine but definitely weaker than the version of Liver, and for me "Strange Stray Cat" and "Love in Vain" provide the low points of the album, the former by a certain clutter and the latter by not being that inspiring a vehicle in the first place.

But all traces of disinterest or disappointment skedaddle with the first swaggering chords of "Midnight Rambler." Mick can hardly wait to get started, flinging out rippling harp riffs and muttering lyrics before the others even begin, and certainly this great song made to be done live, has never been rendered with more purging viciousness. Every riff in it is so pristinely simple, yet so directly and deliberately placed that its locomotive rushes and icy invective take on more power the closer you come to learning them by heart. Let It Bleed's version seemed sinuous, somehow cool and detached in its violence, like one of Norman Mailer's Fifties hipsters. Here the song's celebratory rage comes bursting with a juggernaut wallop, Mick wrenching inchoate nonverbal vocalisms from his throat in the stop-time middle section, the audience roaring back (one crazed cat hollering "God damn!" in between), and the final frosting some wiry, lunging new riffs from Keith that build magnifiicently to the crashing climax.

The second side opens with another great audience riff — an insistent chick yells "'Paint It Black,' you devils!" and the Stones answer with an airborne "Sympathy For the Devil" that beats the rather cut-and-dried rendition on Beggar's Banquet all hollow, and spotlights a ringing Richard solo that's undoubtedly one of his best on record.

From there on out the energy level of the proceedings seems to soar straight up. "Live With Me" is just great ribald jive, but "Little Queenie" as done here is alltime classic Stones. Just strutting along, leering and shuffling, the song has all the loose, lipsmacking glee its lyrics ever implied. This kind of gutty, almost offhand, seemingly effortless funk is where the Stones have traditionally left all competitors in the dust, and here they outdo themselves. I even think that this is one of those rare instances (most of the others are on their first album) where they cut Chuck Berry with one of his own songs.

"Honky Tonk Women" is just a joy, after Liver's half-realized run-through and Joe Cocker's hack job, gutbucket rock and roll flowing out fine and raucous as a river of beer, but "Street Fightin' Man" takes the show out on a level of stratospheric intensity that simply rises above the rest of the album and sums it all up. Keith's work here is a special delight, great surging riffs reminiscent of some of the best lines on the first Moby Grape album, or the golden lead in Stevie Wonder's "I Was Made to Love Her." I don't think there's a song on Ya-Ya's where the Stones didn't cut their original studio jobs, and this one leaps perhaps farthest ahead of all.

The Seventies may not have started with bright prospects for the future of rock, and so many hacks are reciting the litany of doom that it's beginning to annoy like an inane survey hit. The form may be in trouble, and we listeners may ourselves be in trouble, so jaded it gets harder each month to even hear what we're listening to. But the Rolling Stones are most assuredly not in trouble, and are looking like an even greater force in the years ahead than they have been. It's still too soon to tell, but I'm beginning to think Ya-Ya's just might be the best album they ever made. I have no doubt that it's the best rock concert ever put on record. The Stones, alone among their generation of groups, are not about to fall by the wayside. And as long as they continue to thrive this way, the era of true rock and roll music will remain alive and kicking with them.

Lester Bangs (RIP)

[www.rollingstone.com]
________________________________________



Edited 1 time(s). Last edit at 2017-07-31 06:11 by hopkins.

Quote
hopkins
The Rolling Stones: Get Yer Ya-Ya's Out
By Lester Bangs
September 4, 1970

As much as the recorded product, the rock and roll concert scene seems mighty unhealthy these days. I hardly ever go to see name bands anymore myself, because most of them are so incredibly boring. Standards of performance are very low, and those few artists with enough talent or interest to put on a credible show often end up turning in performances so professionally, predictably competent that you walk out with the palest satisfaction and few memories. In the past year I have watched Ten Years After stumble through a set equal parts plodding monotone and splintered noise, Crosby, Stills, Nash & Young invoke Woodstock to compensate for boring everyone to tears, and the Band and Creedence Clearwater recite their albums to such perfection that I fidgeted. I had to draw the line of most resistance when Led Zeppelin hit town last month for a 2-1/2 hour tour-de-force. But I asked a friend with more fortitude how it was, and he raved: "Oh, shit. I took eight reds and just sat there thinkin' the Zep was gonna play forever — man, I felt so good!"

Into this depressing scene ripped the Rolling Stones barnstorming their way across America last fall for a tour which left most audiences satisfied and well-nigh spent, but got reviews mixed and ultimately perplexed because few of us were sure what to expect or, once the hysteria of the actual performance had drained away, how to react. In 1965, caught up in a hurricane of bopper shrieks, we accepted the whole thing as sort of a supernatural visitation, a cataclysmic experience of Wagnerian power that transcended music. In 1969 they were expected to prove themselves as a stage act, but the force of their personalities and the tides of hype and our expectations cancelled all our cynical reservations the moment Mick strode out and drawled hello to each home town. There they were in the flesh, the Rolling Stones, ultimate personification of all our notions and fantasies and hopes for rock and roll, and we were enthralled, but the nagging question that remained was whether the show we had seen was really that brilliant, or if we had not been to some degree set up, pavlov'd by years of absence and rock scribes and 45 minute delays into a kind of injection delirium in which a show which was perfectly ordinary in terms of what the Stones might have been capable of would seem like some ultimate rock apocalypse. Sure, the Stones put on what was almost undoubtedly the best show of the year, but did that say more about their own involvement or about the almost uniform lameness of the competition? Some folks never did decide.

Liver Than You'll Ever Be, appearing last spring, provided a partial answer. It was a good album, as live rock albums go — "Carol" and "Midnight Rambler" especially shone. Some people were enthralled by it, but I found the musical interest of most of the songs mighty ephemeral, and in general preferred the clattering thunder of Got Live If You Want It, which in terms of looseness, energy and general right-on shagginess could make a fair bid for being the rock concert album of all time. There are more important things than playing on-beat and on-key, and that fine line between slam-bang exorcism and unedifying noise is what would seem to make a great live LP.

All of which is why Get Your Ya-Ya's Out is such an unfettered delight. This album, at last, proves the fears of those who cared to fear groundless. More than just the soundtrack for a Rolling Stones concert, it's a truly inspired session, as intimate an experience as sitting in while the Stones jam for sheer joy in the basement. It proves once and for all that this band does not merely play the audience, it plays music whose essential crudeness is so highly refined that it becomes a kind of absolute distillation of raunch, that element which seems to be seeping out of Seventies rock at a disturbing rate. Where most live efforts seem almost embarrassing in their posturings and excesses, and even The Who Live at Leeds held tinges of the Art Statement, Ya-Ya's at its best just rocks and socks you right out of your chair. You can not only love it for what it is, you can like it for what it isn't.

The set opens with a brief collage of MC introductions from all their tour stops, and then rolls right into a solid, methodical "Jumpin' Jack Flash." Neither it nor the next three songs on side one quite match the energy level reached in "Midnight Rambler" and sustained through all of side two, but subsequent playings reveal the live "Jack Flash" to have a certain fierce precision which the studio single lacked and which makes the latter sound almost plodding by comparison. Here the bottom is full and brooding and the group as a whole has a bite as sharp as a pair of wire cutters.

Next comes Mick, teasing the little chickies: "Uh oh, I think I bust a button on mah trous-ahs ... you do' want mah trousahs to fall down, now do ya?" I had a friend once who nearly provoked me to fisticuffs when he remarked that Mick's appeal was "perverted." Now, the thing that strikes me here is how essentially positive and even wholesome, in terms of what's in the wind in 1970, Mick's onstage stud-strut is. Jim Morrison makes like The Flasher and screams "Love your brother!," Iggy practically turns the mike into a dildo, but Mick just flaps his lips, grinds his hips and chortles: "This is me, honeys — yearn!"

"Carol" is fine but definitely weaker than the version of Liver, and for me "Strange Stray Cat" and "Love in Vain" provide the low points of the album, the former by a certain clutter and the latter by not being that inspiring a vehicle in the first place.

But all traces of disinterest or disappointment skedaddle with the first swaggering chords of "Midnight Rambler." Mick can hardly wait to get started, flinging out rippling harp riffs and muttering lyrics before the others even begin, and certainly this great song made to be done live, has never been rendered with more purging viciousness. Every riff in it is so pristinely simple, yet so directly and deliberately placed that its locomotive rushes and icy invective take on more power the closer you come to learning them by heart. Let It Bleed's version seemed sinuous, somehow cool and detached in its violence, like one of Norman Mailer's Fifties hipsters. Here the song's celebratory rage comes bursting with a juggernaut wallop, Mick wrenching inchoate nonverbal vocalisms from his throat in the stop-time middle section, the audience roaring back (one crazed cat hollering "God damn!" in between), and the final frosting some wiry, lunging new riffs from Keith that build magnifiicently to the crashing climax.

The second side opens with another great audience riff — an insistent chick yells "'Paint It Black,' you devils!" and the Stones answer with an airborne "Sympathy For the Devil" that beats the rather cut-and-dried rendition on Beggar's Banquet all hollow, and spotlights a ringing Richard solo that's undoubtedly one of his best on record.

From there on out the energy level of the proceedings seems to soar straight up. "Live With Me" is just great ribald jive, but "Little Queenie" as done here is alltime classic Stones. Just strutting along, leering and shuffling, the song has all the loose, lipsmacking glee its lyrics ever implied. This kind of gutty, almost offhand, seemingly effortless funk is where the Stones have traditionally left all competitors in the dust, and here they outdo themselves. I even think that this is one of those rare instances (most of the others are on their first album) where they cut Chuck Berry with one of his own songs.

"Honky Tonk Women" is just a joy, after Liver's half-realized run-through and Joe Cocker's hack job, gutbucket rock and roll flowing out fine and raucous as a river of beer, but "Street Fightin' Man" takes the show out on a level of stratospheric intensity that simply rises above the rest of the album and sums it all up. Keith's work here is a special delight, great surging riffs reminiscent of some of the best lines on the first Moby Grape album, or the golden lead in Stevie Wonder's "I Was Made to Love Her." I don't think there's a song on Ya-Ya's where the Stones didn't cut their original studio jobs, and this one leaps perhaps farthest ahead of all.

The Seventies may not have started with bright prospects for the future of rock, and so many hacks are reciting the litany of doom that it's beginning to annoy like an inane survey hit. The form may be in trouble, and we listeners may ourselves be in trouble, so jaded it gets harder each month to even hear what we're listening to. But the Rolling Stones are most assuredly not in trouble, and are looking like an even greater force in the years ahead than they have been. It's still too soon to tell, but I'm beginning to think Ya-Ya's just might be the best album they ever made. I have no doubt that it's the best rock concert ever put on record. The Stones, alone among their generation of groups, are not about to fall by the wayside. And as long as they continue to thrive this way, the era of true rock and roll music will remain alive and kicking with them.

Lester Bangs (RIP)

[www.rollingstone.com]
________________________________________

It is always so ironic reading the actual reviews from the day. Because reviewers and public were so spoiled by the riches available to them all. Almost every note and breath from an authentic Stones show in '69 is revered nowadays. "Oh classic; hall of fame; those Taylor solos on Love in Vain.."

Untill i got the brussells bootleg (NOT the orrid 'modern' sounding 'new' official boot), after LIB this was my fav stones album for many many years

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Captainchaos
Untill i got the brussells bootleg (NOT the orrid 'modern' sounding 'new' official boot), after LIB this was my fav stones album for many many years

I don't know. The bass is more present on the 'modern' release, though 'Dancing With Mr. D' is better on the boot.

Quote
24FPS

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Captainchaos
Untill i got the brussells bootleg (NOT the orrid 'modern' sounding 'new' official boot), after LIB this was my fav stones album for many many years

I don't know. The bass is more present on the 'modern' release, though 'Dancing With Mr. D' is better on the boot.

Dancing With Mr. D is not on the bootleg. Only BS and MR are. Mr. D and the rest is from a different show.



Edited 1 time(s). Last edit at 2017-07-31 23:09 by DandelionPowderman.

Quote
Sighunt
You want to know something that truly irritates this Rolling Stones fan? Check this out, per what is described on Amazon-on 11/11/16 there will be released a 36 (count 'em) box set of Bob Dylan's 1966 live recordings. In looking at the song list for all the shows- with some exceptions here and there, the set-list is pretty standard across all 36 discs!

[www.amazon.com]

Sooooo, why can't Abkco/the Stones get it together and release three mere shows from 11/69 at Madison Square Garden (that were recorded for Ya Yas) housed in a nicely box set? Boyz, if you are out there somewhere and reading this-this is not that difficult a project to get together.

Random thoughts:

The Dylan '66 stuff has circulated in collector circles for some time and it's absolutely wonderful. Robertson said they listened to the tapes after the shows and wondered what all the booing was about. He thought they sounded pretty good. Well, these are the tapes they listened to. The overkill in the number of discs is justified given the historical nature of the artist and the tour. The Manchester show gives me chills. Someone fittingly described it as "confrontational rock."

People complain about set lists these days, but back then it did not matter. Pre-information age, to most in the audience the set lists were a revelation. And what were those lyrics? How many times did I listen to Monkey Man? What did he say?

According to NZ, five '69 shows were recorded. Yeah, I would like to hear as much of that as possible in soundboard quality. Perhaps ABKCO thinks releasing those shows would dilute its "Ya-Ya's" product. Today the "rawness" of the recording (feedback) and the performances would be acceptable to those interested.

It is too bad the '69 tour was not similarly recorded. What started in Colorado was not what was heard in Baltimore, NYC and Boston. The evolution of the band in those short weeks is thrilling to hear.

Setlists dont matter when a band is at its peak!

Quote
Eleanor Rigby
Setlists dont matter when a band is at its peak!

Indeed - and for that reason I'd be willing to trade in 10 or 15 Stones shows I've attended from the last 30+ years for the opportunity to see just one show from 1969.
And if on a desert island, I'd take Midnight Rambler from YaYa's all by itself over everything from Love You Live, Still Life, Live Licks, and Shine a Light combined.
Some might think I'm craaaazy, and maybe I am, but I'd rather have high quality over mass quantity any day.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Quote
Hairball

Quote
Eleanor Rigby
Setlists dont matter when a band is at its peak!

Indeed - and for that reason I'd be willing to trade in 10 or 15 Stones shows I've attended from the last 30+ years for the opportunity to see just one show from 1969.
And if on a desert island, I'd take Midnight Rambler from YaYa's all by itself over everything from Love You Live, Still Life, Live Licks, and Shine a Light combined.
Some might think I'm craaaazy, and maybe I am, but I'd rather have high quality over mass quantity any day.

You left out FLASHPOINT and NO SECURITY! There's nothing on SHINE A LIGHT that's worthy. But yeah, Midnight Rambler is better than all post GYYYO! live albums combined.

Quote
TheBlockbuster
It's an overrated album in my book, HTW, SFT and LWM on this album are among the worst officially released versions of those songs.

Love You Live has more aggression and energy, compare the version of HTW on both albums and it's night and day.

yeah, I hate SFT too.....wait, WHAT song IS this????

Rod

Quote
GasLightStreet

Quote
Hairball

Quote
Eleanor Rigby
Setlists dont matter when a band is at its peak!

Indeed - and for that reason I'd be willing to trade in 10 or 15 Stones shows I've attended from the last 30+ years for the opportunity to see just one show from 1969.
And if on a desert island, I'd take Midnight Rambler from YaYa's all by itself over everything from Love You Live, Still Life, Live Licks, and Shine a Light combined.
Some might think I'm craaaazy, and maybe I am, but I'd rather have high quality over mass quantity any day.

You left out FLASHPOINT and NO SECURITY! There's nothing on SHINE A LIGHT that's worthy. But yeah, Midnight Rambler is better than all post GYYYO! live albums combined.

It's also better than the rest of Ya-Ya's

Many prefer the officially released Brussels-version, though...

Quote
DandelionPowderman

Quote
GasLightStreet

Quote
Hairball

Quote
Eleanor Rigby
Setlists dont matter when a band is at its peak!

Indeed - and for that reason I'd be willing to trade in 10 or 15 Stones shows I've attended from the last 30+ years for the opportunity to see just one show from 1969.
And if on a desert island, I'd take Midnight Rambler from YaYa's all by itself over everything from Love You Live, Still Life, Live Licks, and Shine a Light combined.
Some might think I'm craaaazy, and maybe I am, but I'd rather have high quality over mass quantity any day.

You left out FLASHPOINT and NO SECURITY! There's nothing on SHINE A LIGHT that's worthy. But yeah, Midnight Rambler is better than all post GYYYO! live albums combined.

It's also better than the rest of Ya-Ya's

Many prefer the officially released Brussels-version, though...

What makes it hard to compare the two versions of Rambler is that the Ya-Yas version is just mastered so well. The lower end of the EQ is very strong. That is one thing that has never been resolved on the Brussels album.

Quote
Palace Revolution 2000

Quote
DandelionPowderman

It's also better than the rest of Ya-Ya's

Many prefer the officially released Brussels-version, though...

What makes it hard to compare the two versions of Rambler is that the Ya-Yas version is just mastered so well. The lower end of the EQ is very strong. That is one thing that has never been resolved on the Brussels album.

I agree about the Brussels version being one of the best, but the sound does it injustice compared to the "one and only" from '69. Also some of Keef's soloing in '73 is a bit too much IMO. That said, I would add that the call and answer part between Richards and Taylor is priceless on Brussels

Quote
Palace Revolution 2000

Quote
DandelionPowderman

Quote
GasLightStreet

Quote
Hairball

Quote
Eleanor Rigby
Setlists dont matter when a band is at its peak!

Indeed - and for that reason I'd be willing to trade in 10 or 15 Stones shows I've attended from the last 30+ years for the opportunity to see just one show from 1969.
And if on a desert island, I'd take Midnight Rambler from YaYa's all by itself over everything from Love You Live, Still Life, Live Licks, and Shine a Light combined.
Some might think I'm craaaazy, and maybe I am, but I'd rather have high quality over mass quantity any day.

You left out FLASHPOINT and NO SECURITY! There's nothing on SHINE A LIGHT that's worthy. But yeah, Midnight Rambler is better than all post GYYYO! live albums combined.

It's also better than the rest of Ya-Ya's

Many prefer the officially released Brussels-version, though...

What makes it hard to compare the two versions of Rambler is that the Ya-Yas version is just mastered so well. The lower end of the EQ is very strong. That is one thing that has never been resolved on the Brussels album.

I'd say that the official vinyl release of Brussels sounds just as good, also when it comes to bottom (drums/bass).

I prefer the Ya Yas version myself because of the tempo, though.



Edited 1 time(s). Last edit at 2017-08-02 13:03 by DandelionPowderman.

Quote
DandelionPowderman

Quote
Palace Revolution 2000

Quote
DandelionPowderman

Quote
GasLightStreet

Quote
Hairball

Quote
Eleanor Rigby
Setlists dont matter when a band is at its peak!

Indeed - and for that reason I'd be willing to trade in 10 or 15 Stones shows I've attended from the last 30+ years for the opportunity to see just one show from 1969.
And if on a desert island, I'd take Midnight Rambler from YaYa's all by itself over everything from Love You Live, Still Life, Live Licks, and Shine a Light combined.
Some might think I'm craaaazy, and maybe I am, but I'd rather have high quality over mass quantity any day.

You left out FLASHPOINT and NO SECURITY! There's nothing on SHINE A LIGHT that's worthy. But yeah, Midnight Rambler is better than all post GYYYO! live albums combined.

It's also better than the rest of Ya-Ya's

Many prefer the officially released Brussels-version, though...

What makes it hard to compare the two versions of Rambler is that the Ya-Yas version is just mastered so well. The lower end of the EQ is very strong. That is one thing that has never been resolved on the Brussels album.

I'd say that the official vinyl release of Brussels sounds just as good, also when it comes to bottom (drums/bass).

I prefer the Ya Yas version myself because of the tempo, though.

Yes both versions have the strengths. Like STP says the call/response part is cool, but still...there is so much to be said about the Stones doing this one on stage for the first time on tour. And by the time they hit NYC that thing is just chugging along. It is the tempo of course like you say Dandy. That is one of the reasons the bottom is fatter - Bill has time to let a note simmer. In Brussles he is flying. But, while the bottom has been boosted, IMO there is quite a difference. Because I think Yayas was just recorded better from the get-go; so the original signal was always nice and solid. Brussels is boosted and tweaked, but probably from a compromised original signal.

Yeah, I know what you're saying, Palace. I don't disagree with that.

The bottom in Charlie's drums, however, has been fattened up big time on Brussels

Quote
DandelionPowderman
Yeah, I know what you're saying, Palace. I don't disagree with that.

The bottom in Charlie's drums, however, has been fattened up big time on Brussels

Good point.

Speaking of - I was just listening to the last Dead Weather album. And Jack White gets an incredible sound on his kick drum. It is recording tech. but also his performance. His foot brings back memories of Bonham.
It actually pisses me off - is there anything that motherf*cker can not do?

Sam Cutler's introduction of The Rolling Stones on Get Yer Ya-Ya's Out!

Sam Cutler tells the story behind his famous introduction of The Rolling Stones at the beginning of their 1969 tour of the USA.

Bill Brown

[www.abc.net.au]

Interview with Sam about his life on the road with the Stones here: [www.abc.net.au]

Live With Me from GYYYO! is excellent. It's too bad they stopped playing it like that.

Quote
Cristiano Radtke
Sam Cutler's introduction of The Rolling Stones on Get Yer Ya-Ya's Out!

Sam Cutler tells the story behind his famous introduction of The Rolling Stones at the beginning of their 1969 tour of the USA.

Bill Brown

[www.abc.net.au]

Interview with Sam about his life on the road with the Stones here: [www.abc.net.au]

There's the bit before he says the infamous line always cracked me up. Based on this, he didn't say TGRNRBITW for every show.


Lines with common symbols (+,-,*) are doubled and tripled, that is at some point all sets of lines are being said at once. The show sources for the lines have been identified where possible.

Left Channel:

+ Se..seems...se..seems to be ready are you ready?: (November 28, 1969 1st)

+ Everybody ready

For the next band...

- Well the biggest band to visit New York

- We'll they've done the West Coast and they've done all sorts of other places in America and now they're in New York: (November 27, 1969)

- The greatest rock 'n roll band in the world: (November 28, 1969 1st show)

* For the first time in three years: (November 27, 1969 or November 28, 1969 1st show)

* Welcome the Rolling Stones

The Rolling Stones...The Rolling Stones: (November 27, 1969, and every show I know of on the 1969 tour, he always said this twice.)

Right Channel:

Se..seems...se..seems to be ready are you ready?: (November 28, 1969 1st)

We're sorry for the delay

+ Is everybody ready... for the next band

+ We'll they've done the West Coast and they've done all sorts of other places in America and now they're in New York: (November 27, 1969)

+ For the next band..stand-up and sound as if you are ready con(?)..Let's really hear it for the next band

- For the first time in three years..The Rolling Stones..The Rolling Stones: (November 27, 1969)

- Sit tall and have a fantastic time

The greatest rock 'n roll band in the world: (November 28, 1969 1st show)

The Rolling Stones..The Rolling Stones

The opening lines from MSG, November 27, 1969

Cutler:

"They've done the West Coast and they've done all sorts of other places in America, and now they're in New York. For the first time in three years The Rolling Stones...The Rolling Stones"

[www.rollingstonesnet.com]

[www.youtube.com] best soundin version on youtube IMO
This version - the ORIGINAL Boot is how live music sounds when the stars align. The Official sounds like a computer, mixed for people who know nothing except how loud it is. sure you hear the kick and bottom end abit better but this one feels like a comfy jumper covered in bolder burns - everything fits and takes me to a place i know well. the new sounds like a 'new' retro top that has none of the originals nuances, theyv ironed out the creases. i like creases

Quote
Captainchaos
[www.youtube.com] best soundin version on youtube IMO
This version - the ORIGINAL Boot is how live music sounds when the stars align. The Official sounds like a computer, mixed for people who know nothing except how loud it is. sure you hear the kick and bottom end abit better but this one feels like a comfy jumper covered in bolder burns - everything fits and takes me to a place i know well. the new sounds like a 'new' retro top that has none of the originals nuances, theyv ironed out the creases. i like creases

Er, wrong thread?

Try here: [iorr.org]



Edited 2 time(s). Last edit at 2018-02-07 23:54 by DandelionPowderman.

Best live album of all time!

It's too bad they didn't play Gimme Shelter for the recorded shows.



Edited 1 time(s). Last edit at 2018-02-08 14:10 by boogaloojef.

Quote
boogaloojef
It's too bad they didn't play Gimme Shelter for the recorded shows.

The glaring omission is Satisfaction.
Regardless of whether it appeared on an earlier live album, that song was huge during the 69 Tour..and sounded unbelievable at MSG.
I guess time restriction on the LP was prob why it was omitted.

Personally I mostly listen to live music and I am a bit of a purist in that I generally avoid official live albums as they usually have overdubs and other fixes done in the studio. This is why I prefer bootlegs warts and all.

For this reason I avoided listening GYYYO and only started warming up to it in recent years. I think the expanded Anniversary release was when I really started getting into it and while I still dislike Mick's redone vocals and the overdubs they didn't mess with the instrumentation too much so I still get that live feel from the MSG shows.

Sadly I am not sure they will ever release a pure complete show, or box set from MSG shows or the 1969 tour so we will have to be satisfied with what we have and the bootlegs from the tour.

Personally I have been listening to a No Label bootleg where someone took the official releases and put the songs in the correct setlist order and also filled in the cuts in SFTD and MR with snippets from a really clean Acetate that had the complete songs. Brilliant effort and it is now my go to disc for GYYO.