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z

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DandelionPowderman

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deardoctor

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DandelionPowderman

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deardoctor
Cracking up: I guess to hear a third guitar (keith comes later), mainly in the begining. Played by Jagger or is it an overdub?

Same Ronnie overdub as on LYL.

Thank you.
Interesting: different mix and edits but same overdubs...

Mannish Boy is a different edit, though. At least there is no harp while Mick is singing here

Of course there is.

On LYL, yes. Have you found a spot on El Mocambo, too

Sure, Bård. A little lower in the mix, but it's there all the way.

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rollmops
That take of Fool to Cry is excellent. Billy Preston had a great influence on Mick and the Stones' music for a while. Beside the keyboards, Preston used his voice pretty efficiently, falsetto, high pitched harmonies, responses to Mick ad libs and funny vocal tricks. Those two were doing vocal weaving while Keithandronnie used their guitars to rock-crochet a l'ancienne!
Rockandroll,
Mops

Yes, absolutely. Billy Preston is the so far largely unsung hero here in this thread. Great musicianship all around. A truly valuable sideman!

Bought the album...Best Stones release since the original Tattoo You IMO..Wonderful stuff!...(brickwalled sound?..er..definately NOT).

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retired_dog
Billy Preston is the so far largely unsung hero ... Great musicianship all around. A truly valuable sideman!

Also the unsung hero in The Beatles' Get Back

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legin
Bought the album...Best Stones release since the original Tattoo You IMO..Wonderful stuff!...(brickwalled sound?..er..definately NOT).

Technically, it is more compressed than old CBS CD or 2011 flat transfer that was issued in Japan on SHM-SACD and SHM-CD. Those have DR=12-14 for El Mocambo side. This release only DR=8. But generally speaking, the overall sound is less squashed and way better mixed comparing to the recent Archive releases.

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ironbelly

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legin
Bought the album...Best Stones release since the original Tattoo You IMO..Wonderful stuff!...(brickwalled sound?..er..definately NOT).

Technically, it is more compressed than old CBS CD or 2011 flat transfer that was issued in Japan on SHM-SACD and SHM-CD. Those have DR=12-14 for El Mocambo side. This release only DR=8. But generally speaking, the overall sound is less squashed and way better mixed comparing to the recent Archive releases.

Double boring.....

What ever the conclusions regarding this album, for some reason I’m actually crying for Charlie. Perhaps knowing I won’t see him at Hyde park, perhaps I’m getting soft.

I am loving this, especially Melody, Luxury and Worried About You right now, It all sounds great though!

Wow I never knew they already played Worried About You back then

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jackflash27
I read some posts here, and on the Steve Hoffman forum about the 'arena' sound on the recordings. People mention the big echo on it opposed to the 'clubby' experience it should have. I don't understand and hear this at all. On my equipment (which is probably a bit above average quality) it just sounds as a club recording, the way it supposed to. So where does this come from. Is it the difference between cd / vinyl (I have the coloured vinyl), is it the equipment people are using? It does not make sense in my opinion.

I think it may depend on your speakers. With the digital version, I noticed it sounds way better on my Bose speaker and with my headphones compared to my car, where it sounds very similar to LA Friday.



Edited 1 time(s). Last edit at 2022-05-17 22:48 by ryanpow.

Is the 2-show complete or did they play fingerprint file and happy as well, as I read somewhere? Anyone knows?

Just received my four néon LP, what a sound, stunning !!
Thanks to the Rolling Stones, it makes my years to Come.
Whaooo i really enjoy !!!

Billy Preston also had those popular songs like Will it Go Round in Circles Outta Space,and Nothing from Nothing. . His live album features great guitar from Mick Taylor

nothing received so far from the official site, luckily I was able to download it. Next time I won't buy anything.

Are we sure there is no song by Keith on both nights ?

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JMARCOU
nothing received so far from the official site, luckily I was able to download it. Next time I won't buy anything.

Same here, but got a message tonight sayin' it should be in my box this week so after 45 years, I can wait a bit more

HMN



Edited 1 time(s). Last edit at 2022-05-17 23:57 by Honestman.

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jackflash27
I read some posts here, and on the Steve Hoffman forum about the 'arena' sound on the recordings. People mention the big echo on it opposed to the 'clubby' experience it should have. I don't understand and hear this at all. On my equipment (which is probably a bit above average quality) it just sounds as a club recording, the way it supposed to. So where does this come from. Is it the difference between cd / vinyl (I have the coloured vinyl), is it the equipment people are using? It does not make sense in my opinion.

I stream it from Apple Music in my car, and it also sounds just like in a club. No big echo at all.

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deardoctor
Is the 2-show complete or did they play fingerprint file and happy as well, as I read somewhere? Anyone knows?

Fingerprint File was only ever played in 1975. 'Happy' was not played at the 5/3/77 show (nor was any other song with Keith on lead vocal). There's no confirmation if he did so the first night but it's omission as a bonus track on this release would suggest that he didn't.

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JMARCOU
Are we sure there is no song by Keith on both nights ?

see my post on page 56. Definitely not on the 2nd night.



Edited 1 time(s). Last edit at 2022-05-18 01:02 by Gazza.

I love this release!

But, why are there four records (seven sides of music), when you can fit it onto three records (six sides)?

mm..so they can charge you extra?

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NashvilleBlues

But, why are there four records (seven sides of music), when you can fit it onto three records (six sides)?

Less tracks per side = more space for the grooves = higher audio quality + avoiding distortion from the grooves being near the center / label.



Edited 1 time(s). Last edit at 2022-05-18 02:30 by Irix.

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Gazza
mm..so they can charge you extra?

Still don´t receive the 4lp edition, is not the recording longer than cd?

i expected listen more Mick´s quotes between songs and Band introductions...

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Irix

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NashvilleBlues

But, why are there four records (seven sides of music), when you can fit it onto three records (six sides)?

Less tracks per side = more space for the grooves = higher audio quality.

I thought sound quality was not significantly impacted until around 22 or 23 minutes per side. If the first five sides have four songs and the last side has three songs, no side reaches 21 minutes (if my math is correct). So, I don’t believe that is a factor, in this case.



Edited 1 time(s). Last edit at 2022-05-18 02:36 by NashvilleBlues.

Is the version of Crazy Mama from the bootleg the same as the official release? I was just able to hear the LSTNT from the bootleg is different than the official version making it from the March 4th show.

[exclaim.ca]

A heads up that you're going to read a fair amount about Charlie Watts over the course of this review of what is the most monumental Canadian Rolling Stones moment in the band's history.

The late Watts was, as Mick Jagger jokes at one point during this live record, "a jazz drummer who's only doing it for the money; he's really a jazz drummer." Despite the attention paid to Jagger and Keith Richards, Watts was the quiet force behind the Stones' driving swing and power as a band.

And so, with his recent passing, some of us can't help but listen here for him first, as the late-1970s Stones respond to the rise of punk and disco by treating some 600 lucky fans to two nights stocked with covers of blues artists, to whom they've long owed their lunch. Watts, in turn, drove the bus as steady as this scenic route would allow, and now we have this complete, official document of what must've been an overwhelming trip for every passenger on board (including R&B legend and would-be fifth Beatle Billy Preston, who played with the band at these shows).

The magical aspects of how the Rolling Stones came to put on two secret shows at Toronto's El Mocambo on March 4 and 5, 1977 is, by now, folklore. In a back-to-basics ploy to revisit their origins, as an unknown R&B cover band in southwest London's Crawdaddy Club in the early 1960s, it seems the band just wanted to play some intimate shows and the ElMo was selected as a good venue option, as the band had a fondness for Toronto. Canadian stars April Wine were billed as headliners (and, later that year, released their own Live at the El Mocambo record derived from these same sessions) with unknown openers "the Cockroaches" on the bill; 300 tickets a night were doled out to radio contest winners (or, almost 300; some, like Toronto musicologist Rob Bowman, may have gotten in without a pass at all).

Abandoning the original cover band plan to some extent, the Stones met the shocked excitement in the room with the tension-building opening of "Honky Tonk Women," with Richards setting the pace and Watts meeting him, characteristically, just behind the beat. Jagger is at peak power, coming in dark and loud with a hint of friendly menace, revving up the Stones' motor for "All Down the Line." As they do later on the always-majestic "Tumbling Dice" and the proto-punk of "Rip This Joint," the Stones and Jagger in Toronto make Exile on Main Street tunes sound slicker but also occasionally more ragged than the frozen versions.

Seedier '70s Stones fare like "Fool to Cry," "Dance Little Sister," and "Star Star" seem custom built for a stage of the time, when a band had to fight to retain audiences who might be swayed by either mosh pits or Saturday night fever (and also AC/DC — young, hungry and ravaging the world, forcing the old rock 'n' roll guard to overdrive their amps more).

The Stones always seemed to know what was happening; even in their faithful tributes to Muddy Waters, Chuck Berry, Big Maceo Merriweather, and Howlin' Wolf, the ear-to-the-ground Stones were wise enough to bolster the ska flavour of Bo Diddley's "Crackin' Up" with more pronounced reggae flare, with Watts, Richards and bassist Bill Wyman locking in for every kind of groove the set list threw at them, including iconic originals "Jumpin' Jack Flash" and "Brown Sugar."

Even in 1977, the Stones armed themselves as survivors, winking at fads rather than looking them in the eye, and fiddling with trends but never straying so far from their core that they lost their way (until Jagger got a bit bored in the 1980s). Aside from some indulgent nostalgia and the debut of "Worried About You" well before its release on 1981's Tattoo You, it sounds like the goal of these Toronto nights was pure entertainment.

It's rather stunning to finally have such a pristine and mighty record of this happening, which truly comes to life on Live at the El Mocambo. From Jagger's playful banter ("Everything alright in the critics' section?" he asks sardonically) to the band playing quite tightly around Charlie Watts, as he messes beautifully with time and space so that the Stones can transcend them both, the band innocently gave Toronto and the world something incredible to talk about for four decades and counting.

Time will tell if EL MOCAMBO is their best ever live release.

That aside, holy crap. Wow.

Amazing that it took this long to come out. Even more so that they didn't release it in 1977.

Here the complete setlists from both nights:

[www.setlist.fm]


[www.setlist.fm]

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JordyLicks96
Is the version of Crazy Mama from the bootleg the same as the official release? I was just able to hear the LSTNT from the bootleg is different than the official version making it from the March 4th show.

The Bootleg versions of Crazy Mama & LSTNT are
from march 4th.