Disc One: 1. Introduction, 2. Let It Rock, 3. Honky Tonk Women, 4. Starfucker, 5. Lies, 6. Miss You, 7. Just My Imagination, 8. Beast Of Burden, 9. Shattered, 10. Respectable, 11. Member Introduction, 12. Love In Vain, 13. Tumbling Dice, 14. Happy, 15. Hound Dog, 16. Sweet Little Sixteen, 17. Brown Sugar 18. Jumping Jack Flash.

Disc Two: 1. Introduction, 2. Let It Rock, 3. All Down The Line, 4. When The Whip Comes Down, 5. Lies, 6. Miss You, 7. Just My Imagination, 8. Beast Of Burden, 9. Member Introduction, 10. Shattered, 11. Respectable, 12. Faraway Eyes, 13. Member Introduction, 14. Tumbling Dice, 15. Happy, 16. Sweet Little Sixteen, 17. Brown Sugar, 18. Jumping Jack Flash.

This is the best compilation of the US 1978 Stones tour; as usual just few things have been fixed to make it a bit better, namely phase & level correction and a new equalization. Here the original boot liner notes re-edited:

“The Stones 1978 American Tour has had many radio recordings instead of an official live album; in the same situation of the well-known boot named Nasty Music that was created from the radio broadcast of the European tour in 1973, so the boot Lacerated was created from the tour in 1978. This was a typical example of the benefits of radio broadcasting, great so not only due to the outstanding sound quality of the original music, but also to the black-and-white design with the unmistakable jacket cover which turned to be a big attraction.

Actually, this album and Nasty Music were both LPs released by the same person (Ken Douglas), but the label used was called The Impossible Recordworks when Lacerated was released. The feature is that all the items made are black and white design jackets. The main feature though was the soundboard recording. There have been exceptions such as Pink Floyd’s Knobs, but basically the items based on soundboard recordings were excellent. One of The Impossible Recordworks’ biggest masterpieces is Lacerated.

This title and design was inherited even in the cd era, and it is well known that VGP released a stunning cd version of it. However, as for the radio sound source of the 1978 tour, it was in 1997 that the prestigious TSP of the Pig Mark (because TSP was said to draw the flow of TMOQ, but the latter was Ken Ken American, here it was operated by German Dieter Schubert and had no direct connection) and the historic masterpiece Handsome Girls was released in the last half opened a big breakthrough.

All items up to that time were based on radio broadcasts or radio broadcast discs, and all broadcast banned terms that Mick issued during his performance in 1978 which were covered by a buzz. However, Handsome Girls was a surprise to maniacs all over the world because it recorded the stage sound source before such processing was performed.

Furthermore, a long version of this source that was recorded for radio broadcasting on the current Concert Vault site was released 10 years ago; currently, these two are the two main pillars of the 1978 tour radio source.

Although it was a tour extremely blessed with stereo soundboard recordings, it is surprising that there was no culmination of all these together. Because Handsome Girls was the core title, The Lost Handsome Girls is another well-known recording that organized various other radio sources. It became a bestseller as two versions were released, both of which were sold out in no time. Of course, there is no end to the demand for re-releases. So, this time, we planned the third item that summarizes the soundboard recordings of the US tour that began in 1978.

Like the previous best-selling boot, the title is Complete Lacerated. This title alone fires up the imagination of many collectors, but this time were also recorded the main parts of the radio broadcast heard in Handsome Girls and also summarized the sound source heard in The Lost Handsome Girls, turning out to be a complete and definitive content.

However, anyone can do it as long as they gather stuff together, and there have been such titles in the past. So, this time we overhauled all parts and sound sources for each song. Among them, Tumbling Dice from Sam Houston Coliseum, which is still only heard on analogue boots (because of the previous circumstances, this is the only buzz that has been prohibited from being broadcasted). Jumping Jack Flash from Kentucky, where the base of the guitar removed the sound, is not simply re-used from The Lost Handsome Girls, but re-equalized again. On the other hand, as a result of a thorough adjustment of the sound quality to make all songs have a sense of unity, it can be heard naturally so that it seems that several sources were combined throughout.

Anyway, the overall sound quality is just warm. Even maniacs of the various 78-year radio sound sources released in the past, will be amazed by such exceptional ease of listening, not to mention pitch adjustment.

Furthermore, there is one groundbreaking attempt for this release. It is Tumbling Dice in Detroit where Mick’s vocals were turned off halfway. However, if you are a maniac, you know that that part was heard normally in the audience recorded on the same day. The sound source heard in the analogue LP Abandoned In Detroit was mixed with a radio sound source from here, and the part where the voice of Mick was not heard was improved. However, the audience recording is not as close to the soundboard, and it is like a normal audience, so Mick was not turned on all at once. However, it has been redone and the radio sound source of 1978 had just two stages of performance songs, but Let It Rock was only from Detroit. Therefore, the same song was taken from Fort Worth and a complete dub-less recording appeared on two discs. Of course, Fort Worth is not a radio sound source, but it is not from the current official finish, but by using the Handsome Girls mix, it created a unit that feels uncomfortable with other parts. Yes, of course, the overall sound quality, as well as the precise editing of the two discs in one stage was the focus this time, something that had never been seen before.

Therefore, not only the sound quality but also the ease of listening as a total live album is outstanding. The third instalment of the soundboard compilation following the US tour in 1969 and 1972 is the highest unity and quality of this recording. This is definitely Satisfaction Guaranteed from beginners to enthusiasts!”