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MathijsQuote
ZindyQuote
Mathijs
...The backing track of this new 2021 release of SMU is available in tape traders circles...
Stop pretending you don't have it. When have you ever shared anything here, you can do it now. Or tell your friend Remco to share it.
Remco hasn't taken any orders from me in 25 years.
Mathijs
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GasLightStreet
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Here.
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Sure, if you do not mind slight compression, bass and treble boost and gently shaved peaks due to clipping .Quote
glimmertwin1Quote
doitywoik
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Listening to the 1994 Virgin CD right afterwards was a real relief: what a clear, well-balanced plastic (in the sense of plasticity) mix! I guess that for the time being, this will have been not only the first but also the last listening of the 2021 mix (other than for analytical purposes, maybe). Unfortunately I can't compare with the original LP from back in 1981 because my turntable's not working. (Also, the LP got quite some spins over the years/decades, so possibly suffered a bit from that, too.)
I can't compare to the CBS or Japan SHM versions because I don't have them. Otherwiser, the Stones CDs t
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You're absolutely right. If you have the Virgin CD you don' t need the CBS-CD or the fancy japanese stuff.
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ZindyQuote
MathijsQuote
ZindyQuote
Mathijs
...The backing track of this new 2021 release of SMU is available in tape traders circles...
Stop pretending you don't have it. When have you ever shared anything here, you can do it now. Or tell your friend Remco to share it.
Remco hasn't taken any orders from me in 25 years.
MathijsQuote
GasLightStreet
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Here.
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GasLightStreet, not that well-known one. Two more reggae versions exist, one of them turned into the 2021 Early Version. Mathijs elegantly avoided the subject (he has both versions). Maybe you can ask Mathijs if he would like to share, obviously I didn't succeed.
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DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowderman
According to Kimsey this version is from the BAB-sessions.
That's not about the deluxe version, though, it simply says 'first reggae version' or whatever as in that's when they started working on it. This is an earlier take than the LP take from 1977.
Have you read the book that came with the superdeluxe-set? Kimsey is saying that this version, on LP2, is indeed from the BAB-sessions. I'll see if I can dig up a pic of the quote later.
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DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowderman
According to Kimsey this version is from the BAB-sessions.
That's not about the deluxe version, though, it simply says 'first reggae version' or whatever as in that's when they started working on it. This is an earlier take than the LP take from 1977.
Have you read the book that came with the superdeluxe-set? Kimsey is saying that this version, on LP2, is indeed from the BAB-sessions. I'll see if I can dig up a pic of the quote later.
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Four Stone WallsQuote
DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowderman
According to Kimsey this version is from the BAB-sessions.
That's not about the deluxe version, though, it simply says 'first reggae version' or whatever as in that's when they started working on it. This is an earlier take than the LP take from 1977.
Have you read the book that came with the superdeluxe-set? Kimsey is saying that this version, on LP2, is indeed from the BAB-sessions. I'll see if I can dig up a pic of the quote later.
Kinsey says it's from 1975 sessions. Mathis says no such version now exists and all(?) versions we have are from '78. ( Why not '77 Mathis?)
So who is right? I think Kinsey.
I noticed from the Trouble's a Coming thread that Mathis is certain it is from 1978 ( again, why not '77?) because of Keith's guitar and amp set-up. Sounds knowledgeable and plausible. Mathis knows his equipment stuff.
But Kinsey says it's from '79 Bahamas sessions.
To me TAC does not have the same vibe or sound as other ER tracks so. I have, until now at least been inclined to believe Mathis.
Who is right?
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bitusa2012
The more I listen, and I am listening often, the more and more I reckon the Lost and Found disc would have made a great mid 80’s Stones album in its full without the alternate Start me Up. It’s fantastic.
The best disc of outtakes The Stones have released on any of their Deluxe issues. No real dud.
The ONLY issue, has it been released as an album after the Start me Up / Tattoo You juggernaut, would have been the lack of a big hit single on it.
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treaclefingersQuote
bitusa2012
The more I listen, and I am listening often, the more and more I reckon the Lost and Found disc would have made a great mid 80’s Stones album in its full without the alternate Start me Up. It’s fantastic.
The best disc of outtakes The Stones have released on any of their Deluxe issues. No real dud.
The ONLY issue, has it been released as an album after the Start me Up / Tattoo You juggernaut, would have been the lack of a big hit single on it.
That didn't curtail any of their other subsequent releases!
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bitusa2012Quote
treaclefingersQuote
bitusa2012
The more I listen, and I am listening often, the more and more I reckon the Lost and Found disc would have made a great mid 80’s Stones album in its full without the alternate Start me Up. It’s fantastic.
The best disc of outtakes The Stones have released on any of their Deluxe issues. No real dud.
The ONLY issue, has it been released as an album after the Start me Up / Tattoo You juggernaut, would have been the lack of a big hit single on it.
That didn't curtail any of their other subsequent releases!
True but I think they may have thought that She Was Hot and/or Undercover itself would be big. Especially the former which has a similar sonic sound to it as Start me Up. To my ears anyway.
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JordyLicks96Quote
Four Stone WallsQuote
DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowderman
According to Kimsey this version is from the BAB-sessions.
That's not about the deluxe version, though, it simply says 'first reggae version' or whatever as in that's when they started working on it. This is an earlier take than the LP take from 1977.
Have you read the book that came with the superdeluxe-set? Kimsey is saying that this version, on LP2, is indeed from the BAB-sessions. I'll see if I can dig up a pic of the quote later.
Kinsey says it's from 1975 sessions. Mathis says no such version now exists and all(?) versions we have are from '78. ( Why not '77 Mathis?)
So who is right? I think Kinsey.
I noticed from the Trouble's a Coming thread that Mathis is certain it is from 1978 ( again, why not '77?) because of Keith's guitar and amp set-up. Sounds knowledgeable and plausible. Mathis knows his equipment stuff.
But Kinsey says it's from '79 Bahamas sessions.
To me TAC does not have the same vibe or sound as other ER tracks so. I have, until now at least been inclined to believe Mathis.
Who is right?
It's very plausible Troubles A' Comin is from the Some Girls sessions. Assistant Engineer Barry Sage is credited on the song. He only worked with the Stones for two albums, Some Girls and Tattoo You. I don't believe he was there for Emotional Rescue but I'd have to check the credits on the album. It's A Lie credits him as well, so that also may very well be from the Some Girls sessions and not Emotional Rescue.
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DandelionPowderman
Totally agree. It's great to have now (and I really like it!), but a 9 song-album with three cover songs and a reworked SMU wouldn't have been a good follow-up to TY.
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DoxaQuote
DandelionPowderman
Totally agree. It's great to have now (and I really like it!), but a 9 song-album with three cover songs and a reworked SMU wouldn't have been a good follow-up to TY.
Yeah, but if they would really have considered another TATTOO YOU type album back then, they could have used all the material they have now released in bonus albums (and forget a re-take of "Start Me Up"). There we would have "Scarlet", "Plundered My Soul" etc. If I would make a sort of 'best of all bonus albums' that would easily - and by a huge mile - win in quality any post-TATTOO YOU album (who knows, even some pre-TATTOO YOU as well). Actually I was thinking that sort of 'best of' album in the other night, and most likely I would put all LOST&FOUND tracks there.
But in retrospect it is so easy to talk. I mean, listening to FULLY FINISHED BLAH BLAH bootleg, there are tracks from DIRTY WORK sessions that makes one to ask why didn't they relaese this cool number instead of that lousy number that made the album, etc. But still, if I'd be really honest, I don't think there is any "Blind Willie McTell" to be found in Stones vaults, if you know what I mean (well, "Start Me Up" kinda were that sort of true gem originally, as probably some other TATTOO YOU tracks). Not the history had been much different or, say, DIRTY WORK hailed as a masterpiece now if back then some song selections would have been different. The differences would have been in nuances mostly.
- Doxa
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DandelionPowderman
You mean like Rocks Off, All Down The Line, Tumbling Dice and Brown Sugar?
It's what they do with those chords that matter. Personally, I think there are exciting things going on in Living In The Heart Of Love and Come To The Ball as well.
And standard r&b, rockabilly and rock'n'roll chord patterns never get old for my ears, when executed brilliantly - like on some of the songs here (It's A Lie, Fiji Jim).
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RobertJohnsonQuote
DandelionPowderman
You mean like Rocks Off, All Down The Line, Tumbling Dice and Brown Sugar?
It's what they do with those chords that matter. Personally, I think there are exciting things going on in Living In The Heart Of Love and Come To The Ball as well.
And standard r&b, rockabilly and rock'n'roll chord patterns never get old for my ears, when executed brilliantly - like on some of the songs here (It's A Lie, Fiji Jim).
These songs have an architecture held together by melody, rhythm and an inner necessity.
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RobertJohnsonQuote
DandelionPowderman
You mean like Rocks Off, All Down The Line, Tumbling Dice and Brown Sugar?
It's what they do with those chords that matter. Personally, I think there are exciting things going on in Living In The Heart Of Love and Come To The Ball as well.
And standard r&b, rockabilly and rock'n'roll chord patterns never get old for my ears, when executed brilliantly - like on some of the songs here (It's A Lie, Fiji Jim).
These songs have an architecture held together by melody, rhythm and an inner necessity.
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Four Stone WallsQuote
DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowderman
According to Kimsey this version is from the BAB-sessions.
That's not about the deluxe version, though, it simply says 'first reggae version' or whatever as in that's when they started working on it. This is an earlier take than the LP take from 1977.
Have you read the book that came with the superdeluxe-set? Kimsey is saying that this version, on LP2, is indeed from the BAB-sessions. I'll see if I can dig up a pic of the quote later.
Kinsey says it's from 1975 sessions. Mathis says no such version now exists and all(?) versions we have are from '78. ( Why not '77 Mathis?)
So who is right? I think Kinsey.
I noticed from the Trouble's a Coming thread that Mathis is certain it is from 1978 ( again, why not '77?) because of Keith's guitar and amp set-up. Sounds knowledgeable and plausible. Mathis knows his equipment stuff.
But Kinsey says it's from '79 Bahamas sessions.
To me TAC does not have the same vibe or sound as other ER tracks so. I have, until now at least been inclined to believe Mathis.
Who is right?
Mine already went back for replacement. The outer box was damaged upon arrival. Very poor packaging by amazon and, apparently, reckless delivery by post office. Not to mention a bit stupid construction of the box itself.Quote
TheGreek
I just got mine yesterday in the mail , and on the shelf it goes along with the previous Bigger Bang Box set . Unopened , some day maybe ?
Digital version and CD came with 03-Slave (6:32), i.e. so called long version.Quote
martinw
Vinyl version has the original four and a half minute or so edit of Slave - do digital versions have the longer six and a half minute version that was released on CD in the 1990s? Also crappy edit (sounds like a jump at around 2.50 point) on Fiji Jim - is this on digital versions as well?