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mickboy
YouTube account and channel has been pulled by universal!
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mickboy
YouTube account and channel has been pulled by universal!
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mickboy
YouTube account and channel has been pulled by universal!
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NilsHolgerssonQuote
mickboy
YouTube account and channel has been pulled by universal!
Yeah mine too! Not even a warning! Sad..
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deardoctorQuote
NilsHolgerssonQuote
mickboy
YouTube account and channel has been pulled by universal!
Yeah mine too! Not even a warning! Sad..
Well, you uploaded music you don't owe any copyrights..
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NilsHolgerssonQuote
mickboy
YouTube account and channel has been pulled by universal!
Yeah mine too! Not even a warning! Sad..
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deardoctor
Well, you uploaded music you don't owe any copyrights..
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jahisnotdeadQuote
deardoctor
Well, you uploaded music you don't owe any copyrights..
The basic question as I see it is: Is this stuff planned for release or not? If so, when? It's been sitting in the vault for decades. Either it's stuff left on the cutting room floor and no different than garbage for them, or it's valuable property that they intend to sell someday. Apparently they decided the latter, which is their right. It's their stuff.
But it is so incredibly frustrating and contradictory. I hate living in this middle ground. It does not make any sense. This material is so valuable to them that they are shutting down YouTube channels, yet it's NOT so valuable to them as to be worthy of an official release at any time in the last twenty years? What exactly are they waiting for? This wasn't deemed worthy enough for release at the time it was created, nor for the 40th or 50th anniversaries, nor for bonus additions to the deluxe album re-issues. So what ARE they waiting for? The 100th anniversary? 200th?
It's clear now that over the past few decades the Stones could have easily cobbled together two or even three more really good albums out of the material here. But they didn't.
Either they couldn't finish the songs, or they didn't like the final recordings of the songs they were able to finish. But they also don't want to release the unfinished versions. And they don't want anyone to bootleg the unfinished versions, or the finished versions that had already been rejected multiple times, because... they're valuable to them and they might want to release them someday?
Again, it's their stuff and it's their right to decide what to do with it as they please. I get that. But, if these tracks are valuable, they should release them officially. What's the holdup? Fans of classic rock acts aren't exactly part of a growth industry. The contemporary fans to whom the Stones mean the most are growing old and wouldn't mind hearing a little more Rolling Stones music before they die. But apparently the Stones and UMG think that there are going to be a lot more Stones fans in 2022? Or in 2032? Or are they saving all this stuff for the really big anniversary in 2062? Why not save it all for the 2162 anniversary then? There's sure to be tons of Stones fans ready to buy all these unfinished, thrice rejected tracks.
In my opinion they should either officially release it if they think it has worth, or let people listen to it if they've deemed it to be cutting-room floor garbage. All of this stuff - make no mistake - has been rejected multiple times for official release. So who could blame any fan for thinking that the Stones and UMG consider these tracks trash? If it's treasure for them, let us buy it. Again, my question for the record company and the band: what is the hold up?
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deardoctorQuote
HairballQuote
deardoctorQuote
HairballQuote
deardoctor
Scarlet:
The guitar-solo is missing!
I thought that would have been Jimmy Page.
So what was his contribution to this song?
Anyone knows?
According to Jimmy, it was indeed him playing the solo - not sure why it's missing in this version, though have to admit I've paid very little attention to this one.
From official Rolling Stones youtube channel > The story of Scarlet featuring Jimmy Page
Thank you hairball. I know this clip. But I see only two possibilities: 1. No Jimmy Page in Scarlet. Solo is modern overdub, maybe Ronnie, definitly not Keith.
2. Page did the overdub recently, then the legend story which they told in that clip is a fake. Or am I wrong?
Here's this from a series of tweets Jimmy posted on July 20. 2020, saying he added the solo the second night of the sessions: Jimmy Page on Twitter
- On this day in 2020, Scarlet by @RollingStones, featuring me, is released.
I was invited to Ronnie Woods’ house in Richmond to do a session in October 1974. It was said that Keith Richards and Ian Stuart (Stu) would be there.
It sounded a good opportunity to catch up with old friends.?There was Keith Richards on electric guitar, myself on electric guitar,
Rick Grech on bass and a drummer and engineer I had not met before. Keith kicked it off and I began to mould a riff around his guitar part to augment the arrangement.
It began to lock-in pretty soon with the musicians and we all got a successful take that evening. I’d had a good time working with Keith. ?
It was said they were continuing the following night at Island Number 2 Studios in London. I said I’d go and play some guitar soloing on it.
I arrived early on that evening and got to do it straight away within a few takes. It sounded good to me and I left them to it.?
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Could be this newly unearthed version is from the first night before the solo was recorded, but even some of the rhythm guitar and the time/chord changes sound like Jimmy.
Definitely not his best by a longshot, but rather some throwaway jam session ideas as is the entire song that was officially released last July 20th.
Yes, Dandelion Powderman has the same opinion in the next post. This is a possibility, if the voice is "young Jagger". This point we discussed last summer. I think the main vox is mostly an overdub post 1989. Why should Jagger work with the tape from the first night or mute the solo in the mix? Makes no sense for me. Maybe it remains a secret...
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Taylor1
I think people are really overating the quality of the stuff here.
But none of these songs as they are would have been good enough for Voodoo Lounge or Bridges to Babylon
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dcbaQuote
Taylor1
I think people are really overating the quality of the stuff here.
But none of these songs as they are would have been good enough for Voodoo Lounge or Bridges to Babylon
I think that's the very definition of a bootleg : listening to extra stuff, not necessarily great mind-blowing stuff. And if the bootlegged stuff would be better than the official one that would mean one (terrible) thing : that the band has lost their artistic compass and they can't choose B-material from A-material.
Of course the official versions of the B2B songs are better than what's one the FFSO set.
Imo what one should look for in outtakes boots is a fuller, bigger, deeper picture of an album, not material that would be better than what was officially released.
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HairballQuote
deardoctorQuote
HairballQuote
deardoctorQuote
HairballQuote
deardoctor
Scarlet:
The guitar-solo is missing!
I thought that would have been Jimmy Page.
So what was his contribution to this song?
Anyone knows?
According to Jimmy, it was indeed him playing the solo - not sure why it's missing in this version, though have to admit I've paid very little attention to this one.
From official Rolling Stones youtube channel > The story of Scarlet featuring Jimmy Page
Thank you hairball. I know this clip. But I see only two possibilities: 1. No Jimmy Page in Scarlet. Solo is modern overdub, maybe Ronnie, definitly not Keith.
2. Page did the overdub recently, then the legend story which they told in that clip is a fake. Or am I wrong?
Here's this from a series of tweets Jimmy posted on July 20. 2020, saying he added the solo the second night of the sessions: Jimmy Page on Twitter
- On this day in 2020, Scarlet by @RollingStones, featuring me, is released.
I was invited to Ronnie Woods’ house in Richmond to do a session in October 1974. It was said that Keith Richards and Ian Stuart (Stu) would be there.
It sounded a good opportunity to catch up with old friends.?There was Keith Richards on electric guitar, myself on electric guitar,
Rick Grech on bass and a drummer and engineer I had not met before. Keith kicked it off and I began to mould a riff around his guitar part to augment the arrangement.
It began to lock-in pretty soon with the musicians and we all got a successful take that evening. I’d had a good time working with Keith. ?
It was said they were continuing the following night at Island Number 2 Studios in London. I said I’d go and play some guitar soloing on it.
I arrived early on that evening and got to do it straight away within a few takes. It sounded good to me and I left them to it.?
-----------------------------------------
Could be this newly unearthed version is from the first night before the solo was recorded, but even some of the rhythm guitar and the time/chord changes sound like Jimmy.
Definitely not his best by a longshot, but rather some throwaway jam session ideas as is the entire song that was officially released last July 20th.
Yes, Dandelion Powderman has the same opinion in the next post. This is a possibility, if the voice is "young Jagger". This point we discussed last summer. I think the main vox is mostly an overdub post 1989. Why should Jagger work with the tape from the first night or mute the solo in the mix? Makes no sense for me. Maybe it remains a secret...
Yeah, will probably remain a secret, but Mick did say in a video clip at time of release that the only new vocals he added were towards the end of the song and/or just during the chorus, while the majority/main vocals were done back in the day during the original session (s). He seemed adamant and sure of it as a matter of fact, and as not to question him, but could be has a hazy memory and/or he's lying!. But my memory is a bit hazy on that also ha, and that could have been him talking about the embellishments to Criss Cross. Pretty sure though Mick said he was there during the original recording, but admitted Page remembered more details, and differently.
But to keep an open mind, I suppose you could be right about it being a recent Page solo, but they'd all have to be in cahoots in an attempt to pull the wool over everyones eyes. I do remember Keith being clueless about Mick Taylor adding new bits to Plundered, so I suppose it could have been sneaky Jagger and Page in cahoots alone. It's really not the best solo, and doesn't sound much like anything else Page was playing around that time c. '74 (imo), so maybe as you said - it's a modern Ronnie on lead trying to mimic a vintage sounding Page? lol. The truth behind the mystery and conspiracy will probably never be fully unveiled, but maybe others have some input....
Meanwhile, gonna take my mind off all this speculation, and listen to some good old Dog Shit....
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jahisnotdeadQuote
Hairball
Cool video
Thanks very much.
*EDIT* I took down the video, because people were starting to get their channels removed or blocked for using music from this set of boots.
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Taylor1
I think people are really overating the quality of the stuff here.There isn’t one really terrific completed song here.Maybe if they were worked on more.But there is no way they would put this out as a new album without further work.But there is within some of it the genesis of some good songs,so maybe they want to hold onto it for that reason.But none of these songs as they are would have beengood enough for Voodoo Lounge or Bridges to Babylon
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jahisnotdeadQuote
deardoctor
Well, you uploaded music you don't owe any copyrights..
The basic question as I see it is: Is this stuff planned for release or not? If so, when? It's been sitting in the vault for decades. Either it's stuff left on the cutting room floor and no different than garbage for them, or it's valuable property that they intend to sell someday. Apparently they decided the latter, which is their right. It's their stuff.
But it is so incredibly frustrating and contradictory. I hate living in this middle ground. It does not make any sense. This material is so valuable to them that they are shutting down YouTube channels, yet it's NOT so valuable to them as to be worthy of an official release at any time in the last twenty years? What exactly are they waiting for? This wasn't deemed worthy enough for release at the time it was created, nor for the 40th or 50th anniversaries, nor for bonus additions to the deluxe album re-issues. So what ARE they waiting for? The 100th anniversary? 200th?
It's clear now that over the past few decades the Stones could have easily cobbled together two or even three more really good albums out of the material here. But they didn't.
Either they couldn't finish the songs, or they didn't like the final recordings of the songs they were able to finish. But they also don't want to release the unfinished versions. And they don't want anyone to bootleg the unfinished versions, or the finished versions that had already been rejected multiple times, because... they're valuable to them and they might want to release them someday?
Again, it's their stuff and it's their right to decide what to do with it as they please. I get that. But, if these tracks are valuable, they should release them officially. What's the holdup? Fans of classic rock acts aren't exactly part of a growth industry. The contemporary fans to whom the Stones mean the most are growing old and wouldn't mind hearing a little more Rolling Stones music before they die. But apparently the Stones and UMG think that there are going to be a lot more Stones fans in 2022? Or in 2032? Or are they saving all this stuff for the really big anniversary in 2062? Why not save it all for the 2162 anniversary then? There's sure to be tons of Stones fans ready to buy all these unfinished, thrice rejected tracks.
In my opinion they should either officially release it if they think it has worth, or let people listen to it if they've deemed it to be cutting-room floor garbage. All of this stuff - make no mistake - has been rejected multiple times for official release. So who could blame any fan for thinking that the Stones and UMG consider these tracks trash? If it's treasure for them, let us buy it. Again, my question for the record company and the band: what is the hold up?