Another question .

I suddenly stuck over Lost Millard Masters on VGP and July 11th sounds to me like a soundboard reocridng, not Millard audience.

There's also a significant change of audio (diff tape used?) at the end of Honky Tonk Women up to middle of All Down The Line.

Anyone noticed that?



Edited 2 time(s). Last edit at 2016-06-01 15:53 by happystoned.

Quote
happystoned
Another question .

I suddenly stuck over Lost Millard Masters on VGP and July 11th sounds to me like a soundboard reocridng, not Millard audience.

There's also a significant change of audio (diff tape used?) at the end of Honky Tonk Women up to middle of All Down The Line.

Anyone noticed that?

I just listened to VGP-340 and I doubt that it is a SB. (IMHO!!!!!!)
But you're right about the change of audio at the end of "Honky Tonk Women" up to middle of "All Down The Line" (which could be another argument to say it's not a SB ).

Chris from Belgium

Who cares now that two of the three shows are available officially in much better sound?

Quote
Monsoon Ragoon
Who cares now that two of the three shows are available officially in much better sound?

I think you're missing the point; are these the Millard tapes or not.

Chris from Belgium

Quote
coowouters

Quote
Monsoon Ragoon
Who cares now that two of the three shows are available officially in much better sound?

I think you're missing the point; are these the Millard tapes or not.

I don't know. But it is evident that on this release are not only Milliard tapes. CD 3/4 come from two totally different sources.

Exactly. The first hour or so from the June 12th seems tp be Millard but from Happy is's turned out to be another tape recorder (poorly positioned and overloaded a lot).

Quote
happystoned
Exactly. The first hour or so from the June 12th seems tp be Millard but from Happy is's turned out to be another tape recorder (poorly positioned and overloaded a lot).

Mike's recorder had major malfunction during "Happy".
I have copies of Mike's L.A. tapes and the show stops in the middle of Keith's tune.

Here you have some litterature about these L.A. shows. But there is confusion between the 11th and 12th. What is written about the 11th is in fact the 12th and vice versa.
I already posted this many years ago but always a funny reading...


Subject: ³Whores, Cocaine, And A Bottle Of Jack box set


³On that tour, I really didn¹t like the costume that much. I wasn¹t really
happy with the way I looked. I would have liked to have worn denims onstage,
but you can¹t really dance in them. It¹s really easier to dance in other
materials, which is a drag because I would like to dance in jeans. I never
could find any street clothes that I wanted for that tour.² ..... Mick
Jagger

Actually when I saw the 1975 Rolling Stones Tour of America in
Greensboro, N.C. that summer, Mick Jagger did in fact wear blue jeans
onstage. Maybe he felt like he didn¹t have to dance very hard for
Greensboro.... after all it¹s hardly New York or Los Angeles in terms of
stature. The quote above was lifted from the hardback book ³The Rolling
Stones: A Life On The Road² and also appears on the inside gatefold of a
digi-pak within Empress Valley¹s ³Whores, Cocaine, And A Bottle Of Jack²
box set. I¹m wagering that the costumes were not the only thing that
disappointed Jagger about that tour. In addition to his striking resemblance
to a cheap hooker onstage, he had adopted a new reggae-influenced vocal
style that ended up sounding much more irritating than hip. (he thankfully
abandoned all this for the 1978 ³Some Girls² tour of America three years
later) Additionally, the band had lost their head-turning lead guitarist
Mick Taylor at the last minute and were trying out a new hired gun in Ron
Wood. At times he struggled onstage, and understandably so. Quite frankly, I
was disappointed with this tour from the opening night when I saw them down
in Baton Rouge on 6-1-75, and in subsequent years it¹s value to me has
mostly been just a tug of nostalgia. I suppose at the time I simply refused
to recognize a Rolling Stones without Mick Taylor. Keith and Charlie still
gave the band credibility, but now even the percussion section had changed
with the addition of Ollie Brown. Gone was the signature sound of the lone
Charlie Watts backbeat that I¹d grown to love.... enter now the ³samba
Stones². Surely even the ³brain-beared janger² himself is not proud of the
way the Rolling Stones looked and sounded on the boards in the summer of
1975, even when graded on the curve of the general weirdness going down
during the mid-70s. Rock is theatre however, and Jagger has always
understood this better than his fans. Large headlines, outrageous costumes
and grandiose spectacle were often successful distractions from any musical
shortcomings the band may have endured during those long hot months on the
roads of America in 1975.
The beauty of bootlegs is that they have a way of cutting to the chase.
It¹s all about the music and the vibe, no glitter, flash, or clever editing
to divert our attention away from the bottom line. As Keith Richards himself
has said, ³The eyes are the whores of the senses². The first real audio
document most of us got of the 1975 Stones tour was the 3 LP trilogy
recorded from July 10th & 13th at the LA Forum, which I recollect having
first heard in the spring of 1976. The albums were entitled, ³Who Went To
Church This Sunday², ³Charlie Watts And His Fabulous Rolling Stones² and
³L.A. Friday Night². None of this material was actually lifted from Friday
night, the 11th of July. That title was used no doubt due to the fact that
Jann Wenner had written a piece in Rolling Stone magazine about the show
he¹d seen from the 11th, calling it the ³best Rolling Stones concert EVER²
. giving it some kind of instant legendary status. I personally always
suspected that maybe the drugs in Wenner¹s section at the Forum were just a
little better on that particular night. Most of us familiar with these
recordings overwhelmingly agree that the Sunday the 13th show was the topper
(aka VGP¹s L.A. Friday) , with the Thursday show (the 10th) running a very
close second. In any case, the songs picked for this 3 LP set back in late
1975 were in hindsight a stroke of genius, as even today they remain the
strongest versions of those particular tunes from the five night L.A. Forum
stand and possibly the entire tour. As for my pals and me back on campus in
1976, we were frantically wearing the grooves out on those records, trying
to make some sense out of what we¹d seen and heard from the Rolling Stones
onstage the previous summer. The consensus was, ³Ok, it¹s not Mick Taylor;
it¹s certainly not Europe Œ73 .... but it really does kind of kick ass in
it¹s own way.² Despite our previous skepticism, it became apparent that
these L.A. shows were surely something ³special².
Whores, Cocaine And A Bottle Of Jack² on the Empress Valley label is
touted as ³the complete L.A. Forum tapes². This 8-Cd (I had heard 250
limited edition, yet the number on mine is #292) box set sells for a
whopping $500, and does not even come close to completeness. These shows are
sourced directly from the audience tapes made by the late great Mike
Mallard. (God bless him.) Missing altogether from this pricey collection is
the show from the 10th, and based upon the tunes that we¹ve heard from this
performance in the past it was a VERY strong show. Additionally we only get
the front half of the show from the 11th. Even worse is the serious flaw I
discovered while listening to the second half of the show from the 12th ...
now get this .... from ³Angie² clear through to the end of the show on disc
two they actually splice in the (unremastered) second half of the show from
the 13th!! Then we get those same songs again (albeit remastered) on discs 7
& 8! So where¹s the second half of the show from the 12th?? Inquiring minds
would love to know. Listen to Jagger with his familiar ³A sad, sad,
song....² introduction into ³Wild Horses² on part 2 of the show from the
³12th² to see what I mean. I¹ve now heard that the producer of this box was
unaware of this flaw until it was already produced, and at that point the
manufacturer would not help him to correct it. This however does little to
comfort those fans who have already come off the hip with $500 plus for this
8 disc under-achieving box set.
Breaking down this package by the shows, disc one and two feature the
entire show from July 9th, in excellent wide stereo sound. It seems to be
pretty much the same great quality as Totonka¹s ³LA First Night² set. This
is extremely satisfying to have, since for years most of us had only the
muddy ³L.A. Fog² LP to chronicle this opening night show. The performance
here is a very good one, but not as strong again as the 10th & 13th. It
should also be noted that the enthusiasm of the opening night crowd is quite
contagious on this set.
Discs three and four deal with (half of) the show from the 12th. The
sound quality of the material from the 12th is almost as good as the show
from the 9th; the difference is negligible. Both mind you, are about the
same as VGP¹s ³L.A. Friday² which rates as excellent audience. Again, only
the material through the first song on disc four (Fingerprint File) appears
to actually be from the 12th, while ³Angie² through ³Sympathy² offers the
redundancy from the 13th show. To confuse matters even more, a misprint on
this sleeve identifies this cd as from July 9th, 1975! The performance (
what they actually allow us to hear of it ) is good but nothing stands out
the way ³If You Can¹t Rock Me² from the 13th shines.
Disc five is an audience recording (of the first half only) from the
11th, and sounds completely different than all the other Mike Mallard
recorded shows. If he indeed taped this one, he did it from a completely
different vantage point. The liner notes state that only half the show was
captured due to a ³severe recorder malfunction².This recording while not
necessarily a bad one is ALL KEITH. The vocals definitely take a back seat
to the meat-grinder rhythm guitar on this show, but the other instruments
are still well within the mix. The sound is somewhat ³fuller² than the other
nights but just a bit more distorted. This show from the 11th of course is
where the video soundboard recordings originated; my personal favorite still
being Big Music¹s ³Rockin¹ At The Forum². While I do find the ³Keith mix² of
disc five interesting, the availability of the complete video soundboards
from the 11th render it practically obsolete. As far as the show itself,
this is probably my least favorite performance of the five night stand.
³Wild Horses² from the ³Rockin¹² soundboard is exceptional however, despite
the crackling distortion interspersed throughout.
Discs six, seven and eight offer up a new mix of the complete show from
Sunday July 13th, or ³LA Friday² as VGP (and others) have called it. This
remastering job is most impressive, I must concede. Empress Valley did an
excellent job of enhancing the sound here .... I¹m talking downright
stunning, ladies and gentlemen. The difference is truly day and night ...
the way this show was always meant to be heard! They also slowed down the
speed of this recording slightly (possibly to justify spreading it out over
three discs instead of two?) which is probably more correct than what we¹re
used to hearing from the traditional 7-13-75 performance. The original LPs
as well as VGP¹s ³LA Friday² always sounded a bit fast relative to other
recordings of Œ75 shows, which is possibly why we all thought that this
performance had such tremendous verve. Compare these audience recordings to
the tempo of the ³Rockin¹ At The Forum² soundboard for example and you¹ll
hear a noticeable difference. Definitely put the ³upgrade of the 13th² in
the plus column for this box set.
Empress Valley also includes a 75 minute DVD Rom with this package, which
features S8 home movie footage shot from the front row on multiple nights
presumably at the L.A. Forum. This visual collage shows by my count four
different outfits worn by Jagger ... ergo four different nights. While I¹ve
heard that it will not play on some home DVD components, it plays fine on
mine, but it is a recent Panasonic model. Though there is no original sound,
the busy little elves at Empress Valley went in and randomly dubbed audio
from the 13th over the footage. The abrupt starts and stops of the WAY
out-of-sync audio track render this soundtrack simply annoying. If they were
not going to take the time to attempt to sync it up, they should have left
it soundless! Even though the footage is cleaner than you might imagine,
they leave large white letters across the screen throughout which reads
³July 1975 Los Angeles². I suppose this is to ³mark their territory² but
again it is a huge distraction. Lots of interesting scenes here to digest
however, including Mick on his rope swing and the legions of extras dancing
across the stage during ³Sympathy For The Devil². The addition of the DVD-R
is a wash in my opinion, in that it is ultimately as frustrating as it is
entertaining.
³Whores² should get high marks for packaging. This is a very visually
pleasing box set to own, and the authors went all out to make it such. The
discs are contained within a handsome glossy-white cardboard box which is
hinged on one side. Printed on the exterior of the box is a small color
rendition of the Œ75 tour eagle, and reads, ³The Rolling Stones 1975 Tour
. 25th Anniversary Edition. In short letters across the bottom appears,
³Whores, Cocaine And A Bottle Of Jack .. The Complete 1975 LA Forum Tapes.²
Inside are two red and purple 4-cd foldout cardboard envelopes, with color
and b&w photos printed on the insides. The lion¹s share of these photos (and
all the quotes) were taken from the ³A Life On The Road² book. The cds are
contained within plain cream-colored sleeves. The discs themselves are
nondescript with a very strange numbering sequence printed on them. The
DVD-Rom has its own cardboard sleeve with a common 1976 European photo of
Jagger&Wood on the front. The actual disc sports a 1975 color photo of
Jagger-Richards-Wood-Preston-Brown singing ³You Gotta Move² at the mike. A
couple of nice bonuses include a gorgeous miniature (2² high) reproduction
of the 1975 Tour Of The Americas program, (someone went to a lot of work to
generate this slick souvenir!) a sticker of a backstage pass from Buffalo
Œ75 and a slip of paper featuring photos, liner notes on the origins of the
tapes, a special nod to SFM¹s John Carr for ³Keeping The Stone Rolling² as
well as your limited edition number.
And what is to be gained by acquiring this big ticket item? Aside from a
bruised wallet, here¹s the bottom line:

€The complete show from the 9th, also available on ³L.A. First Night².

€The first half of the show from the 11th; unreleased recording .... in very
good audience recording quality. Complete show already available from
soundboard source.

€The first half of the show from the 12th; unreleased recording .... in
excellent audience recording quality.

€Newly remastered and speed corrected version of the complete show from the
13th.

€ DVD Rom of soundless super 8 mm clips from LA Œ75.

€ Very cool packaging.

For the budget minded, a more prudent choice would be to buy ³LA First
Night² on Totonka, and wait until the complete show from the 12th is
released. (if it even exists) No doubt the remastered show from the 13th
will also eventually be re-booted as an individual set as well. Dandelion¹s
recently issued 4 cd box set ³The Complete LA Friday Tapes² boasts the
complete show from the 13th as well as several tracks from the legendary
10th show. These cuts from 7-10-75 are free of clicks, and feature the
monster rave-up versions that appeared on the original LP trilogy. These
are: Star Star, Doo Doo Doo (Heartbreaker) featuring an impromptu jam before
the intro, Angie, Fingerprint File, Brown Sugar and You Can¹t Always Get
What You Want, the latter of which exposes some of the best and most
inspired playing Ronnie Wood ever attempted as a Rolling Stone! One wonders
if the complete show from July 10th will ever see the light of day, or if it
was ever recorded in complete form to begin with.
I¹m still convinced that the Stones¹ Los Angeles Forum shows from July
of 1975 are the best of the entire tour, with the San Francisco Cow Palace
performances running a close second. I base this on the numerous tapes I¹ve
heard over the years. As with many new releases, ³Whores, Cocaine And A
Bottle Of Jack² raises as many new questions as it answers about these
shows. Not only is it incomplete, but now it leaves us wondering how much of
these missing tapes even exist at all! While miserably failing the ³truth in
advertising test² and badly bungling the production of this release, it does
provide a nice souvenir from the 1975 Tour Of The Americas and in fact does
offer some unreleased material. Give them points as well for gaining access
to the original Mallard tapes and enhancing at least some of them. In light
of the fact that Vigatone¹s 17 CD release of the Beatles Let It Be sessions
(featuring much unreleased material) costs $100 less, one would be hard
pressed to call ³Whores² a bargain. Even if it did contain the unreleased,
truly complete show from 7-12-75, it would be difficult to cough up $500 for
this package. The naked truth is that ³Whores, Cocaine And A Bottle Of Jack²
in its present form is about $300 overpriced to this consumer, but as
always, value is in the eye of the beholder.

Disc One
7-9-75
1. Fanfare For The Common Man
2. Honky Tonk Women
3. All Down The Line
4. If You Can¹t Rock Me/Get Off My Cloud
5. Star Star
6. Gimme Shelter
7. Ain¹t Too Proud To Beg
8. You Gotta Move
9. You Can¹t Always Get What You Want
10. Happy
11. Tumbling Dice
12. It¹s Only Rock n Roll
13. Band Introductions
14. Doo Doo Doo Doo (Heartbreaker)

Disc Two
7-9-75

1. Fingerprint File
2. Angie
3. Wild Horses
4. That¹s Life
5. Outta Space
6. Brown Sugar
7. Midnight Rambler
8. Rip This Joint
9. Street Fighting Man
10. Jumping Jack Flash
11. Sympathy For The Devil

Disc Three
7-12-75

1. Fanfare For The Common Man
2. Honky Tonk Women
3. All Down The Line
4. If You Can¹t Rock Me/Get Off My Cloud
5. Star Star
6. Gimme Shelter
7. Ain¹t Too Proud To Beg
8. You Gotta Move
9. You Can¹t Always Get What You Want
10. Happy
11. Tumbling Dice
12. It¹s Only Rock n Roll
13. Band Introductions
14. Doo Doo Doo Doo (Heartbreaker)

Disc Four
7-12-75

1. Fingerprint File
2. Angie*
3. Wild Horses*
4. That¹s Life*
5. Outta Space*
6. Brown Sugar*
7. Midnight Rambler*
8. Rip This Joint*
9. Street Fighting Man*
10. Jumping Jack Flash*
11. Sympathy For The Devil*

*Actually from 7-13-75

Disc Five
7-11-75

1. Fanfare For The Common Man
2. Honky Tonk Women
3. All Down The Line
4. If You Can¹t Rock Me/Get Off My Cloud
5. Star Star
6. Gimme Shelter
7. Ain¹t Too Proud To Beg
8. You Gotta Move
9. You Can¹t Always Get What You Want
10. Happy

Disc Six
7-13-75

1. Fanfare For The Common Man
2. Honky Tonk Women
3. All Down The Line
4. If You Can¹t Rock Me/Get Off My Cloud
5. Star Star
6. Gimme Shelter
7. Ain¹t Too Proud To Beg
8. You Gotta Move
9. You Can¹t Always Get What You Want


Disc Seven
7-13-75

1. Happy
2. Tumbling Dice
3. It¹s Only Rock n Roll
4. Band Introductions
5. Doo Doo Doo Doo (Heartbreaker)
6. Fingerprint File
7. Angie
8. Wild Horses

Disc Eight
7-13-75

1. That¹s Life
2. Outta Space
3. Brown Sugar
4. Midnight Rambler
5. Rip This Joint
6. Street Fighting Man
7. Jumping Jack Flash
8. Sympathy For The Devil



Subject: Re: SFJ 917


Hi John,
Can you please forward this to the Journal? I do not know how to reach them
directly, and with that Whores thing in the recent one I'd like to throw in
my 2 cents. Thanks. Mike (Oh-please obviously do not print my name or email
address with it)

Whore Cocaine LA 75 Box

Well after reading the long item on the Whores Cocaine & A Bottle Of Jack in
the last SFJ I just had to respond. I am Mr. Delicious, the guy who put the
thing together and did the remastering etc. Here is what I did that was sent
to Empress Valley:
1) Take all Mike Mallard tapes that were given to me for remastering and put
together an 8 cd master.
2) Come up with the idea of the Program to be included and then find via a
2nd party, somebody with a mint copy.
3) Convince the person with the tapes to also let the video be included.
Here is what happened:
I received various labelled tapes from the different nights. All had Mike
Mallard's handwriting on them etc. In each case the tapes were, in part,
starting to deteriorate. You could notice this if you ran the tapes straight
without any work in that one channel would have flutter and alot of drop
outs and just generally make the stereo image very unbalanced and disturbing
to the ear. I spent about 3-4 weeks doing everything I could to make these
tapes sound as perfect as humanly possible with the means available to me.
Now on the imcomplete night there WAS a goddawful tape recorder malfunction.
It was a loud horrid howling. From what I was told the tape machine was
somehow (don't ask-I can't explain it but if you heard it then this makes
sense) feeding back into itself. You were dealing with a half second of
music and then 5 minutes of howling feedback and another second or two of
music intersperesed with silences of varying lengths. Obviously I was not
going to include a good hour of this (that sort of thing I'll leave up to
Vinyl Gang). Then on the next night during the first two songs you again
have this problem throughout the second half of the first song and the first
half of the second song. In THIS case I left the howling and flaws in: I
wanted people to for a 4 minute + period be able to hear EXACTLY what the
reason was why I chose to not include the flawed portion of the one night.
It is almost totally impossible to sit through for 4 minutes, much less 60+
minutes. The best way to describe it is try listening to a lives Stones LP
during an earthquake with 2 babies screaming and crying continuously for 60+
minutes RIGHT next to both of your ears while you are listening to it.

I must digress here and admit: I have yet to listen to the finished box. I
lived with these tapes for a good month and have yet to want to devote a day
or two to listening to it all again. I also have tons of things I have NOT
heard yet that have taken priority in my life and from what I am hearing I
might just wind up having a brain aneurysm if I ever DO listen to the
finished box ! I am of course assuming that what everyone is saying is true
however and basing my rebuttals on what I am hearing via the Journal etc.

I made it VERY clear to Empress Valley that what I gave them was not to be
altered in ANY way. The unlistenable 4 minutes were to be left in untouched
for people to hear along with my disclaimer in the liner notes as to WHY
these 4 minutes were left intact. Along with the recorder problems and the
deteriorating tapes the other main problem was that some of the tapes would
not always, when flipped over, contain the rest of what was on the other
side of the tape. In some cases Fingerprint File would fade, and when I
turned the tape over to continue it I would notice it was a different
version from a different night on the other side. So nights had to be
matched up based on overall sound quality etc, timbre, logic (depending on
how the first half of the song was being played etc). This was not as easy
as it sounds but it was very interesting to do as it forced me to listen to
the music in a very different and analytical way.
The one night that sounds different, by the way, was recorded from seats on
the side of the stage (you can clearly see this on the DVDRom-see below for
further explanation). On the master I sent to Empress Valley you had ALL the
Mike Mallard recordings (barring the unlistenable half of one show) in the
best sound possible and with all nights in proper order with all songs
within each night in proper order. On MY final masters Disc 8 was only about
20 minutes long-this was unavoidable.

As far as the DVDR goes: the ONLY way the person who owned this was willing
to allow it's inclusion WAS with the huge writing on it-he added this before
he gave me the video to send to Empress valley and it was not a negotiatable
issue. It was a "my way or the highway" situation on his part. Now know
this: ALL the video was shot by one of Mallard's friends from the seat right
next to wherever Mallard sat on a given night. If you want to know from
where each recording was made, watch the DVDR-the footage on the DVDR is in
the correct order (Night 1, Night 2 etc). The footage however was silent
Super 8 footage. We did NOT sync anything up or even attempt to. We threw on
one of the shows and synced it up with the first images on the film ONLY
(the opening notes of the show) and just let the music run underneath the
movie unedited and uninterrupted. OF COURSE it has no bearing on what you
are watching once the visuals and audio quickly go out of sync. That was a
judgement call on MY part. I had 3 choices: either the DVDR is silent, or we
ATTEMPT to do some half assed sync job which would be annoying beyond belief
for any sane person to want to listen to (and inevitably doomed to failure
to even attempt with the means and equiptment at my disposal !), or we just
throw on one of the nights uninterrupted and let the viewer decide if they
want the sound on or off. In my opinion that was better than just throwing
it on there as a 75 minute silent movie. Sorry, but in my opinion to
complain about THAT is just plain nitpicking and petty.

So anyways, everything was sent to Japan and they then spent the better part
of the year dicking around with getting it out. Eventually the 300 numbered
copies did obviously come out (and yes-it IS 300 numbered copies, NOT 250).
Then I started hearing about things that sounded impossible (like disc 8 was
now a full length disc, that nobody heard the flawed 4 minutes on the one
show that I DEMANDED not be removed and upon which Empress Valley being
GIVEN the tapes for release in the first place was contingent: "You will NOT
change ANYTHING on my masters whatsoever").

I emailed them immediately when I started hearing of problems. I was told
(basically):
"Oh-we already HAD some of the shows and we just need 1 show of yours and
half of a different show so we made our own masters as we liked what we had
better." THEN they emailed me with "Oh-the mistake on the one show being
edited in and the other being missing-that was YOUR mistake on YOUR masters,
however we have caught the problem and will very soon be issuing a
replacement disc which we will send to you and anybody who got a Box with
this problem you can give this replacement disc to. So sorry."

First off: Bullshit ! I did not give them incomplete and bizarrely edited
out of sequence shows. What I gave them was honest and definitive. And for
whatever reasons they decided to @#$%& with what I gave them and do whatever
the hell they pleased with it. At least so it seems. In my opinion alone the
removal of the flawed 4 minutes is dishonest and inexcusable because those 4
minutes alone explain very clearly why one night had to remain incomplete.
Also the full title of the cd as I gave it to them (I wrote ALL lines,
titled it etc) was:
"Whores, Cocaine & A Bottle Of Jack (The Complete Mike Mallard 1975 LA Forum
Tapes)"
The cover was supposed to make very truthfully clear exactly what was
contained therein.

And of course the replacement discs never arrived. Now meanwhile Empress
Valley has of course release one of the flawed night as a new and seperate
release. Have they sent me one? Of course not. But here's the kicker: From
what I hear this NEW AND IMPROVED release uses MY ORIGINAL master that I
sent them for the Whores box !!!!! Which is doubly insulting because
according to them I had supposedly screwed up the master that they used on
the Whores and OBVIOUSLY they chose not to use my master and now are saving
face by issuing MY master and claiming it as THEIR "new and improved"
version ! Hey-thanks for sending me a copy guys !

Let us not forget: Empress Valley used to be Tarantura, known for their
endless reissuing of Zep titles and often screwing those up as
well.............

I just want to set the record straight that whatever went wrong with the
Whores box (and like I said: I have yet to listen to it because I know I
will just get even more angry about the whole thing): the blame lies FIRMLY
with Empress Valley, NOT the people who put the thing together in the first
place. My intent with this box was to honour the "Greatest Rock & Roll Band
On Earth" with the "Greatest Rolling Stones Live Bootleg On Earth". And what
they were given to issue would have been just that, in my opinion. An honest
and definitive issue of the 1975 LA Forum Mike Mallard recordings. Nothing
More Nothing Less.

Mr. Delicious

Thx!

PM'ed.

 



Edited 2 time(s). Last edit at 2016-11-05 20:11 by blueswithafeeling.

Quote
blueswithafeeling

Quote
fortilix

But there is confusion between the 11th and 12th. What is written about the 11th is in fact the 12th and vice versa.

Although this is common belief I do not think that it is true.

Couldn't this be true as the official release says 12th?

The 11th is almost complete recording except for a bic cut from middle of HTW up to middle of ADTL and at near the end of FF. There are few more cuts in between the songs too and none of them affect the music content.

The 12th is ca. one-hour fragment only and within Happy, a multiple mic malfunctations are going to happen.

The 13th is almost complete recording also.

The EV is one of a mess and amount of EQ is very notable. The Lost Millard Masters set is much better in terms of quality and mastering job.

 



Edited 3 time(s). Last edit at 2016-11-05 20:11 by blueswithafeeling.