Side A: 1. Sympathy For The Devil, 2. Stray Cat Blues, 3. Ruby Tuesday, 4. Midnight Rambler, 5. Wild Horses, 6. Country Honk.

Side B: 1. Sister Morphine, 2. Let It Bleed, 3. Love In Vain, 4. You Got The Silver, 5. Gimme Shelter.

Side C: 1. Brown Sugar, 2. Wild Horses, 3. Honky Tonk Women, 4. Gimme Shelter.

Side D: 1. You Can t Always Get What You Want.

This album presents the studio outtakes suddenly released by Abkco on its ad hoc YT channel for the first time on vinyl; inside the advertised gatefold album there was a track by track review allegedly taken from a Japan online website, complete with its peculiar set of grammar mistakes and weird expressions. Although the release that came out has instead a foldout cover with a paper insert like 70s bootlegs, we decided anyway to propose such opinions, amended by mistakes, in order to provide a different point of view on these songs, which can be accepted or not, but should be taken into consideration.

 SIDE A

1. Sympathy For The Devil: This is also a recording from the Rock And Roll Circus rehearsals, but is a different take with a rather rough atmosphere. The performance that starts with Mick s counting sounds more like another take in the studio heard in the movie One Plus One. In addition to that, it is impressive that Keith keeps putting obrigado chords throughout the whole of it. However, it is undeniable that this performance lacks unity, which is probably why it was left out. 2. Stray Cat Blues: A session source of the only album Beggars Banquet take  its early stage of recording and a different backing track. The performances was organized with Keith, Charlie, Bill and Nicky Hopkins; the song is still played with a rough tone, but the bold atmosphere is still impressive. 3. Ruby Tuesday: The first surprise is the re-recorded version of this song; even the fact that such a source existed had a considerable impact, but Mick s song and Charlie s drumming were those typical of the late 60s. Although the printed version is perfect, there is no Brian recorder here. 4. Midnight Rambler: Another backing track starting with the call 19 from Glyn Johns, but the performance ends in less than a minute. Keith may have realized that a bit more crispness was needed especially when the song was to performed live. 5. Wild Horses: This is another surprising mix. Here the strings were overdubbed throughout. The atmosphere reminds As Tears Go By and it is really surprising that it has no country taste like the released version. On the other hand, it is surprising the fact that while overdubbing the strings (of course, such recording cost was expensive) it was scrapped for release even 50 years later. As the performance progressed further, it pops up an harmonica (Glass Harmonica) and the mood escalates to an idyllic atmosphere. However the original track is still considered a masterpiece, but this dramatic version is also wonderful. This is another mix that provides both impression and shock. 6. Country Honk: Although a different mix that did not present the intro horn and not the fiddle played by Byron Berline had been discovered before, this is a completely different backing track. The tempo is faster than the released version and the presence of Ian Stewart s crisp piano and building bass is remarkable. This take has a strong Honky Tonk feel rather than a country one.

SIDE B

1. Sister Morphine: This is an early take of the song with Keith playing chords with a dobro instead of an acoustic guitar, which became known after having been released on Time Trip Vol.4. Charlie playing comes up and fades away, but for the first time this performance is complete and the result is a long version that lasts nearly seven minutes. 2. Let It Bleed: This is another complete backing track. Like the other take of Country Honk, the tempo is faster here as well; the sound of the album version was so fresh to the ears with regards to what we were used to. Mick sings a bit in the middle, the track is almost instrumental. 3. Love In Vain: Now, this surprising source comes out here. This is the first version of Love In Vain recorded in May 23, 1968, while the later version that was released on Let It Bleed was recorded in March 1969, so this is an outtake from the Beggars Banquet sessions. The arrangement of this performance is totally different. It s more like Robert Johnson s version, and it is interesting that Charlie plays his rhythms on a washboard. It is presumed that it was put away because of its simplicity, but this is a wonderful different take. 4. Gimme Shelter, 5. You Got The Silver: These are familiar outtakes from old days, Keith sung version and Mick sung version respectively. Gimme Shelter Keith version has two kinds of mixes, but what you hear here is the one first released on Time Trip Vol.4.

SIDE C

1. Brown Sugar, 2. Wild Horses: b oth are familiar versions to fans and collectors, the so-called Shelley mixes from the US version of the Hot Rocks compilation. Both tracks have been included in many bootlegs many times because they are rare different mixes, but both have been equalized here in order to cover up their roughness. As a result, they sound more sharply. On the other hand, the point here is that what is heard has a rather warm sound quality this time. 3. Honky Tonk Women: Another mix discovered from Yellow Dog s Black Box. Keith shouts: Ah in the intro, so it s that famous version, and Mick s vocals show this is a different take. It is noticeable that the sound is slightly shuffled, but there is no noise from the acetate that was conspicuous on Black Box and the separation between the piano and the horn section has also been improved. 4. Gimme Shelter: This is another mix first heard on the Black Box bootleg. Compared to the album version, it is different from the basic intro. However, Mick s vocals are completely different and most of the chorus sings come on, children instead of rape, murder. Still, Jagger s vocals are double-tracked and reworked, showing a high degree of perfection. At first this could possibly have been considered to be released. So vocals and bass were replaced and this track could be said reborn and the sound quality is dramatically improved compared to Black Box. Stereo.

SIDE D

1. You Can t Always Get What You Want: This startling version ends the album with a session for adding Choir parts, which opened the released version impressively. One of the scenes was captured on 8mm video and can be spotted even on Crossfire Hurricane documentary, but   this time the whole source has finally appeared. In this 20-minute session we can hear that Mick practices the chorus, this takes place in a very peaceful atmosphere, with occasional remarks from Glyn Johns advising Mick. The ladies of the chorus often laugh and they even seem to provide an atmosphere like:  Oh, we are working with Mick Jagger. At the end appears a director and the chorus is quickly completed; t his take is really interesting. The track is not complete though ending at 22.15.