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treaclefingers

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GerardHennessy

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LeonidP

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GasLightStreet

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LeonidP

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GasLightStreet

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LeonidP

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gonzalo76
I wish I could get a vinyl rip, because Stephen Marcussen went too far this time with his "remaster". CDs and digital downloads are briclwalled, compressed, with dynamic range of 5 and 8 for Wembley. People are not listening to music anymore, they are listening to noise.

Nah, people aren't listening to music anymore, instead they are viewing it in these audio-analysis tools.

You're lost about that critique. The ears don't lie about brickwalled remasters.

Which the entire point you seem to have missed: LISTENING.

You seem a little ... blind. How many times are we getting screenshots from someone's wave analyzing tool? I've mentioned it many times - when i started listening to the Stones, I had a small single speaker record player, with crackles and pops, and enjoyed it to no end. 100% people can't get past the 'view' on the audio tools and use that to judge music, I see it with EVERY release. Open your eyes.

The music hasn't changed. No one is talking about the music. No one is judging the music.

Not sure why that's a mystery to you.

"No one is judging the music" ... Eggzactly! ... not sure why that's a mystery to you.

I'm definitely in the 'too old to care' category about the finer technical points of recordings. I too grew up listening to The Stones on very very poor audio equipment. On pirate radio stations (awful reception quality), on vinyl albums and singles that skipped and jumped erratically because of the beer and grease accidentally spilled on them, on cheap record players, cassette tape decks, and on reel-to-reel recorders I used to record directly from the radio. The audio quality was truly dreadful, but the magic shone through. And that is what The Stones have always meant to me. Energy, excitement, swagger, impertinence. In many respects much of that is leeched away when recording have been cleaned up, polished, digitally remastered, subjected to all kinds of technical 'improvements' and God knows what else.

However, having said all of this, I have no wish to disrespect or dismiss those good people on this forum who enjoy the very things I don't. Superb audio, top class technical specifications, and such. Absolutely right that they too can look for, and chat about, such things.

As for me, having listened to The Stones for over 50 years on badly damaged vinyl records I am convinced that the second line of Jumpin'Jack Flash does NOT say 'And I howled to my Ma in the drivin' rain' It REALLY says 'And I my Ma ,,,ing rain...' It still seems wrong somehow when, even in concert, Mick insists on inserting all those 'extra' words...

wow...now we know why jack flash was jumping...beer and grease!

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ironbelly
We were moaning about sound quality of this release. We were unhappy about modern overdubs on the bonus tracks.

Now put yourself on the other side of the Moon in the boots of the fan of that other guitar driven beat band from Liverpool (what was the name???).

They got a CD with wrong mixes. I.e. in the SDE for Let It Be the CD4 contains Glyn Jones mixes from 1970, while it was advertised as 1969 mixes. And to make things more funny, Japanese SHM-CD version of SDE contains Track7 from CD4 with alternative vocal, not available for the ROW. So, a completist should shell off some $200 extra to get one different track on Japanese SDE. Not to mention that a few tracks were clearly sourced from Dr. Ebbetts boots.

That is the way to create a proper amount of moaning and headache for fans .

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Maindefender
Come to the Ball is a keeper......

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Whale

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Maindefender
Come to the Ball is a keeper......

Its a fantastic Song. The energy level is Amazing

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walkingthedog
Don't know if this has been mentioned before (can't read all those 53 pages!), but: I just got the double vinyl. Why did they not use the opportunity to add the long (6:34) version of Slave that was on the 1994 remaster ?

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Maindefender

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walkingthedog
Don't know if this has been mentioned before (can't read all those 53 pages!), but: I just got the double vinyl. Why did they not use the opportunity to add the long (6:34) version of Slave that was on the 1994 remaster ?

6:34 is on the CD, fantastic…

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floodonthepage

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treaclefingers

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GerardHennessy

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LeonidP

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GasLightStreet

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LeonidP

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GasLightStreet

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LeonidP

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gonzalo76
I wish I could get a vinyl rip, because Stephen Marcussen went too far this time with his "remaster". CDs and digital downloads are briclwalled, compressed, with dynamic range of 5 and 8 for Wembley. People are not listening to music anymore, they are listening to noise.

Nah, people aren't listening to music anymore, instead they are viewing it in these audio-analysis tools.

You're lost about that critique. The ears don't lie about brickwalled remasters.

Which the entire point you seem to have missed: LISTENING.

You seem a little ... blind. How many times are we getting screenshots from someone's wave analyzing tool? I've mentioned it many times - when i started listening to the Stones, I had a small single speaker record player, with crackles and pops, and enjoyed it to no end. 100% people can't get past the 'view' on the audio tools and use that to judge music, I see it with EVERY release. Open your eyes.

The music hasn't changed. No one is talking about the music. No one is judging the music.

Not sure why that's a mystery to you.

"No one is judging the music" ... Eggzactly! ... not sure why that's a mystery to you.

I'm definitely in the 'too old to care' category about the finer technical points of recordings. I too grew up listening to The Stones on very very poor audio equipment. On pirate radio stations (awful reception quality), on vinyl albums and singles that skipped and jumped erratically because of the beer and grease accidentally spilled on them, on cheap record players, cassette tape decks, and on reel-to-reel recorders I used to record directly from the radio. The audio quality was truly dreadful, but the magic shone through. And that is what The Stones have always meant to me. Energy, excitement, swagger, impertinence. In many respects much of that is leeched away when recording have been cleaned up, polished, digitally remastered, subjected to all kinds of technical 'improvements' and God knows what else.

However, having said all of this, I have no wish to disrespect or dismiss those good people on this forum who enjoy the very things I don't. Superb audio, top class technical specifications, and such. Absolutely right that they too can look for, and chat about, such things.

As for me, having listened to The Stones for over 50 years on badly damaged vinyl records I am convinced that the second line of Jumpin'Jack Flash does NOT say 'And I howled to my Ma in the drivin' rain' It REALLY says 'And I my Ma ,,,ing rain...' It still seems wrong somehow when, even in concert, Mick insists on inserting all those 'extra' words...

wow...now we know why jack flash was jumping...beer and grease!

Not to be confused with "Fear and Grease" (July 5, 1969)

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GerardHennessy
I too grew up listening to The Stones on very very poor audio equipment. On pirate radio stations (awful reception quality), on vinyl albums and singles that skipped and jumped erratically because of the beer and grease accidentally spilled on them, on cheap record players, cassette tape decks, and on reel-to-reel recorders I used to record directly from the radio. The audio quality was truly dreadful, but the magic shone through. And that is what The Stones have always meant to me. Energy, excitement, swagger, impertinence. In many respects much of that is leeched away when recording have been cleaned up, polished, digitally remastered, subjected to all kinds of technical 'improvements' and God knows what else.

However, having said all of this, I have no wish to disrespect or dismiss those good people on this forum who enjoy the very things I don't. Superb audio, top class technical specifications, and such. Absolutely right that they too can look for, and chat about, such things.

As for me, having listened to The Stones for over 50 years on badly damaged vinyl records I am convinced that the second line of Jumpin'Jack Flash does NOT say 'And I howled to my Ma in the drivin' rain' It REALLY says 'And I my Ma ,,,ing rain...' It still seems wrong somehow when, even in concert, Mick insists on inserting all those 'extra' words...

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jackflash27
Listened to the outtakes vinyl now a few times and have to conclude this is a great disc! All very nice tracks which could have be a superb album of its own. I had the same feeling with the Some girls outtakes, which I rate a little bit higher than this one. But this one is also exceeding expectations. Great stuff!

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KRiffhard
I love "Come to the ball"
[youtu.be]

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treaclefingers

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Maindefender

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walkingthedog
Don't know if this has been mentioned before (can't read all those 53 pages!), but: I just got the double vinyl. Why did they not use the opportunity to add the long (6:34) version of Slave that was on the 1994 remaster ?

6:34 is on the CD, fantastic…

Excellent! I've been so busy I haven't even had time to crack the CD yet. Looking forward to it!

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BowieStone
Since when is Neighbours a Jagger/Richards/Wood song?

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Rockman
They shoulda chucked out Start Me Up
from bonus disc as a 7" single.. might had a hit with it again ..

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slewan

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BowieStone
Since when is Neighbours a Jagger/Richards/Wood song?

at least since 'Stripped' – it's credited to J/R/W on one of the singles that were released in 1995

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Nikkei

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KRiffhard
I love "Come to the ball"
[youtu.be]

To me this has some sort of Lynyrd Skynyrd vibe

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Freebird1959

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Nikkei

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KRiffhard
I love "Come to the ball"
[youtu.be]

To me this has some sort of Lynyrd Skynyrd vibe

I played it on YT with 0,75 speed. I reckon if it is played at 0,80 or 0,85speed then you got that right.

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GasLightStreet

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slewan

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BowieStone
Since when is Neighbours a Jagger/Richards/Wood song?

at least since 'Stripped' – it's credited to J/R/W on one of the singles that were released in 1995

That's Black Limousine.