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Gazza
well both acts recorded several shows for a live album in 1966.
Its just that you could actually hear Dylan's performances.
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24FPSQuote
Gazza
well both acts recorded several shows for a live album in 1966.
Its just that you could actually hear Dylan's performances.
I don't consider Got Live If You Want It to be a serious effort. Or it was an incompetent one. Decca, or maybe it was English labels at the time, didn't have a clue as to how to record a live concert. (Although Five Live Yardbirds was acceptable).
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24FPS
I got a 36 CD box set from my local library called Bob Dylan the 1966 Live Recordings. Each CD is a different gig from the European and American tour. Some are horrendous audience recordings that sound like they're from the very last row of the balcony. But some, like 8 of the CDs (I haven't gone through all of them) are soundboard recordings Columbia made in anticipation of a live LP.
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DandelionPowderman
The Got Live If You Want It EP and Live In England '65 (Charlie Is My Darling) both sound good to me.
Children's music? That's ridiculous
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Big AlQuote
DandelionPowderman
The Got Live If You Want It EP and Live In England '65 (Charlie Is My Darling) both sound good to me.
Children's music? That's ridiculous
Spot-on! Both are terrific live documents! It’d be an absolute dream if they could somehow cobble together the complete shows’ recorded during those 1965 U.K. tours.
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Kingbeebuzz
The 1965 Got Live If You Want It EP was recorded by hanging microphones over the edge of the balconies !!
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Kingbeebuzz
The 1965 Got Live If You Want It EP was recorded by hanging microphones over the edge of the balconies !!
That's a myth!
Quote from Wikipedia:
"Renowned for its raw-sounding quality, Got Live If You Want It! has endured as a live artifact, more for its historical than musical appeal. Reportedly engineer Glyn Johns had hung microphones over the balcony for the recording; however, this is called into question as "I'm Alright" on the Got Live If You Want It! LP (recorded and released a year later) contains the same backing track but with different vocals. This would have been impossible if the recordings were made as described. Additionally, "I'm Moving On" features (at the very least) a harmonica overdub as the instrument can be heard underneath Jagger's vocal during the first verse while Brian Jones (the group's other harmonica player) is playing slide guitar. These two tracks may even be studio recordings re-tooled to give the impression of being live. The lack of studio documentation relating to The Stones' Decca recordings makes this difficult to confirm, but this approach was used the following year on the US Got Live If You Want It! LP"
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Elmo
'Doubt it had much to do with the record label or the engineers and more the fact that the band were dealing with shitty PA systems ill equipped to overcome the noise of 3,000 screaming teenage fans. Anyone who went to see the Beatles at the same time will say much the same - ie, you couldnt hear a bloody thing.
Live albums werent really a thing in the mid 60's. When they became more popular in the 70s and 80s they were more a contract filler or an excuse to keep the market alive between studio albums. In the mid 60s many of the top acts were expected to put out two studio albums a year with singles in between. They wouldnt have needed to release live albums.'
He's right. I saw the Stones in UK on the 64 and 65 tours and there would have been little point in trying to record a performance because of the wall of noise caused by the girls screaming. My mate in the next seat had to shout in my ear to make himself understood! Not a dry seat in the house. It was only when the teenybopper appeal ended and Brian left that the band changed it's approach and this coincided with better recording techniques. 'Got Live' was rubbish but a product of it's time and designed to give a flavour of a Stones concert and sell tickets and also to fill time between studio releases.
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Kingbeebuzz
The 1965 Got Live If You Want It EP was recorded by hanging microphones over the edge of the balconies !! That's an example of how crude the techniques were in 1965.....they were making it up as they went along, experimenting.
Also, the title of this Topic is, itself, misleading because up to 1968/69 there were literally no soundboards mixing music from the stage.
When the Stones were on stage in say 1966, they had their amplifiers and that was it. No stage monitors, not even for the vocals which used the venues own built in PA system.
When I saw the Stones in 1971 that was the first time I saw a band with all their own equipment. They had monitors, own PA and primitive lighting rig....and a soundboard mixing desk.
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24FPSQuote
Kingbeebuzz
The 1965 Got Live If You Want It EP was recorded by hanging microphones over the edge of the balconies !! That's an example of how crude the techniques were in 1965.....they were making it up as they went along, experimenting.
Also, the title of this Topic is, itself, misleading because up to 1968/69 there were literally no soundboards mixing music from the stage.
When the Stones were on stage in say 1966, they had their amplifiers and that was it. No stage monitors, not even for the vocals which used the venues own built in PA system.
When I saw the Stones in 1971 that was the first time I saw a band with all their own equipment. They had monitors, own PA and primitive lighting rig....and a soundboard mixing desk.
It's misleading to say there were no soundboards, or great sound systems. Unfortunately it was the Grateful Dead who had it, directed by the legendary Augustus Owsley Stanley the Third. Some one mentioned the Stones were only playing children's music during this period. Really? Ruby Tuesday, Lady Jane, Paint It Black? The great thing about the On The Air recordings are that you can hear Brian Jones do his famous guitar parts in a different way from what we're used to. (The Little Red Rooster cut is harrowing.)
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DandelionPowderman
The Got Live If You Want It EP and Live In England '65 (Charlie Is My Darling) both sound good to me.
Children's music? That's ridiculous
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jbwelda
>Unfortunately it was the Grateful Dead who had it, directed by the legendary Augustus Owsley Stanley the Third.
you are mixing your eras. During the time of GLIYWI, the Grateful Dead were barely in existance, in that form, and further were lucky to be playing through Macintosh 240 amplifiers, great amps, wish I still had a couple, but hardly anything worth bragging about nowadays, and recording was done with, at best, a two track reel to reel. It was only later the Dead excelled in both sound reproduction and recording techniques, and Bear was indeed either the genius or the idiot who steered that whole side of things.
The Rolling Stones' Oakland show in 1969 was basically saved by the GD, who were guests in the audience, and who had their equipment shipped over from SF to Oakland to replace the Stones' junk that had failed right out of the gate.
They had some other little interactions with our heros the next month as well but thats a different story. But they were playing through GD equipment there as well and Bear was recording as well.
jb
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Elmo
'Doubt it had much to do with the record label or the engineers and more the fact that the band were dealing with shitty PA systems ill equipped to overcome the noise of 3,000 screaming teenage fans. Anyone who went to see the Beatles at the same time will say much the same - ie, you couldnt hear a bloody thing.
Live albums werent really a thing in the mid 60's. When they became more popular in the 70s and 80s they were more a contract filler or an excuse to keep the market alive between studio albums. In the mid 60s many of the top acts were expected to put out two studio albums a year with singles in between. They wouldnt have needed to release live albums.'
He's right. I saw the Stones in UK on the 64 and 65 tours and there would have been little point in trying to record a performance because of the wall of noise caused by the girls screaming. My mate in the next seat had to shout in my ear to make himself understood! Not a dry seat in the house. It was only when the teenybopper appeal ended and Brian left that the band changed it's approach and this coincided with better recording techniques. 'Got Live' was rubbish but a product of it's time and designed to give a flavour of a Stones concert and sell tickets and also to fill time between studio releases.
I would not call it "rubbish" - it's more like punk 10 years before punk ever happened and it's no coincidence why this album, along with lots of their early studio output is held in high regard by some very famous punk musicians I personally know. What it lacks in musical finesse is more than made up by the sheer raw energy that comes through, and that's what the live Stones were all about in the mid-60's.
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DandelionPowderman
The Got Live If You Want It EP and Live In England '65 (Charlie Is My Darling) both sound good to me.
Children's music? That's ridiculous
right, children's music compared to what Dylan did in 1966. Dylan took rock music to a whole other level during his UK tour. The Stones didn't catch up with that until '68 or even later
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Elmo
'Doubt it had much to do with the record label or the engineers and more the fact that the band were dealing with shitty PA systems ill equipped to overcome the noise of 3,000 screaming teenage fans. Anyone who went to see the Beatles at the same time will say much the same - ie, you couldnt hear a bloody thing.
Live albums werent really a thing in the mid 60's. When they became more popular in the 70s and 80s they were more a contract filler or an excuse to keep the market alive between studio albums. In the mid 60s many of the top acts were expected to put out two studio albums a year with singles in between. They wouldnt have needed to release live albums.'
He's right. I saw the Stones in UK on the 64 and 65 tours and there would have been little point in trying to record a performance because of the wall of noise caused by the girls screaming. My mate in the next seat had to shout in my ear to make himself understood! Not a dry seat in the house. It was only when the teenybopper appeal ended and Brian left that the band changed it's approach and this coincided with better recording techniques. 'Got Live' was rubbish but a product of it's time and designed to give a flavour of a Stones concert and sell tickets and also to fill time between studio releases.
I would not call it "rubbish" - it's more like punk 10 years before punk ever happened and it's no coincidence why this album, along with lots of their early studio output is held in high regard by some very famous punk musicians I personally know. What it lacks in musical finesse is more than made up by the sheer raw energy that comes through, and that's what the live Stones were all about in the mid-60's.
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DandelionPowderman
The Got Live If You Want It EP and Live In England '65 (Charlie Is My Darling) both sound good to me.
Children's music? That's ridiculous
right, children's music compared to what Dylan did in 1966. Dylan took rock music to a whole other level during his UK tour. The Stones didn't catch up with that until '68 or even later