69RSTRX-ABKCO COPYRIGHT PRESERVATION
|RS69TRX-The Holy Grail
|Side A, Track 1,3: Olympic St., London 8 Dec.68, Track 2: Olympic Sound St. London 17 March-3 April 68, Track 4: Olympic Sound St. London 9 or 10 Febr. 69, Track 5: Newbury, Stargroves 17-31 Oct.70, Track 6: Olympic St. London 17 Apr.-3 July 69. Side B, Track 1: Olympic Sound St. London 28-30 March 69, Track 2: Olympic Sound St. London 9 March 69, Track 3: Olympic Sound St. London 23 March 68, Track 4: Olympic Sound St. London 9 Feb.-31 March 69, Track 5: Olympic St. London 15 March 69; Side C, Tracks 1,2: Olympic St., London 9-18 December 69, Track 3: Olympic St. London 9-31 March 69, Track 4: Olympic St. London 23-25 Feb. 69; Side D, Track 1: Olympic St. London 15 March 69.
|2 coloured LP
|Side A, Tracks 3,5, Side B Tracks 1,3-5, Side C: Soundboard stereo, the rest: Soundboard mono
|Foldout cover with paper insert (advertised as Gatefold cover, 110 copies blue marble/55 numbered copies on red marble/35 copies Test pressing black wax, red labels)
SOUND 10 / PACKAGING 7
/ PERFORMANCE 10
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.
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.
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.
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.
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.
1. Brown Sugar, 2. Wild
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.
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.
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Jun 7, 2020 - 12:30:32 PM