Anyone else let down by the Rolling Stones' Get Yer Ya-Ya's Out?

We have crossed this bridge before, I believe. Dylan in 66 and the Stones in 69 were the high points of the entire rock'n'roll era (except maybe for UK A Hard Day's Night).

When Guitars Kissing finally came out, I thought I'd gone to heaven.

The one thing I would most like (aside from world peace and recaptured youth) would be a soundboard recording of the Detroit 69 Stones show (mixed with a bit of the audience "atmosphere"). Best single performance of all time by the Stones. PM me for more on Detroit.

 

But it did turn up eventually . . . .

 

Conversely, you CAN hear the SVT's on the Altamont tape..particularly when the recorder protects his mike under his jacket, and all you hear is the distinctive punchy SVT bass coming through. Every possible recording flaw exists in spades on that audience tape, yet in headphones it's IMO the most compelling audience audio documentary in all of rock. You hear fear, arrogance, singing along, ...and the clicking of the Angels' pool cues! Whew!

....So when remastered..I wanna hear that SVT crunch!!

(BTW; Sam Cutler moved here awhile back to be near his grandkids and he hosted a Gimme Shelter movie night awhile back with 69/Stones Q&A. His favourite memory of the tour?:"The lady that spread honey over us and licked it off". He asked retorically "What kind of person brings a gun to a concert?" and was bemused when I answered "Americans" in my California drawl. He's writing a book on concert logistics in it's infancy with the Stones & G Dead. I brought along a cd-r of Altamont just in case he'd need one for research (..it was either gonna be a real stupid idea or a really good one!), and he thanked me profusely for it.)

 

I learned about that somewhere. Very cool! Visions of Johanna indeed!

 

CLear -Dan Armstrong, they used Les Pauls as well as an SG (Cover of Ya yas) but certainly no Fenders at that point!

 

Nor was anyone else!

 

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Yeah that is the spot where Jagger incorporates "I think we got a problem " into the lyrics of LWM - I guess to let the roadies know the amps blew!

Also loved the FACES ballsy sound also produced by the legendary AMPEG SVTs - My brother and I had one in highshool - One time I put a glass of Vodka & Orange Juice (Hey my mother wasn't home from her job teaching yet!) on top of the cabinet, turned around, hit a chord and there was nothing but a wet spot where the "Screwdriver" used to be!

 

I know it - 4 short years and they changed (& grew that much more musically sophisticated) Ditto for the Beatles - Listening to the 2nd side of Abbey Road this week and it blew me away thinking that this was recorded only 4-5 years after I want to Hold Your Hand - Amazing when you think about it!

 

Regarding Ampeg's-

Does anyone know if Wood (or Richards) was using a fuzz pedal to get that main rhythm sound or was that just the natural sound of the tube breakup.To me it is a bit "scuzzier" than a typical tube amp breakup if that is the case. I love that sound!

 

For many years i didn't really get the vibe of that album, too. It all depends on what kind of Blues-Rock Fan you are - if you are a fan of Yes, King Crimson and Genesis you might think that album is weak but once you are deeper into what makes The Stones The Greatest Rock Band On Earth you'll absolutely be thrilled to find them at their peak. I always hear people talking about Exile or Beggar's Banquet - to me the perfect most touching album is LET IT BLEED. Once you start to love Monkey Man, Gimme The Silver or Salt Of The Earth just as deeply as You Can't Always Get What You Want or Gimme Shelter you're there and then this LP really rocks.....
Maybe Sticky Fingers is even better as far as the whole impact goes, hardly any filler trax, killer guitar solo by Mick Taylor on the long Blues on Side 2 - but the mightiest anthems any album has to offer is LIB, that takes the prize home ...

Heard a Bootleg from a Show in Leeds and although that's great too - it is not better, nor do i hear any sensational guitar works i haven't heard before on Ya Ya's.
Did i mention Charlie was good that night ?

On another note - anyone else checked that one riff going terrible wrong in one of Keef + Ronnie's magic guitar weaving on the latest Live DOCD ?

Ridiculous - i was lost into the solos and the volume was over 100 db when suddenly that wrong riff appeared ... must check the recordings to see on which track that was.

 

I felt that way for many years, but I like it a lot more now.

I have to say, though, for live Rolling Stones 1972-1973 was the high point for me.

Dale

 

Well...I've got the DVD here. Two things. First, the credits:

Second, in the bonus footage, there are shots of them mixing Little Queenie. The first scene is with Glyn Johns (not sure what studio), and while there's an 8-track in the corner, it isn't being used. The desk has 8 meters up top, but they seem to be using more than 8 tracks on the desk, and they are clearly holding a 2" tape box. The next scene they are at a different studio with a different engineer (don't know who), and you can clearly see 2" tape rolling.

So I guess either the NYC remote was 16-track after all, or they dubbed up to 16-track to add overdubs.

 

On the 69 tour they had a promotional sponsorship arrangement with Ampeg according to Stanley Booth's book about the tour

 

I'm not going to read the whole thread because I'm sure they raked you over the coals, but since I bought the "Gimmie Shelter" DVD in 2000, I've felt no need to own "Get Yer Ya Yas Out", so I don't. The multichannel DTS mix is all I need.

 

The DVD is great, but there's a lot more on the album...

 

I'm trying to remember what the Gimme Shelter DVD has in terms of complete Madison Square Gardens performances, although as has been noted, some of these are apparently splices of different performances.

I think it at least has these:
Jumping Jack Flash
Honky Tonk Woman
Satisfaction
Love in Vain

Isn't there also a version of Prodigal Son with Keith's guitar somewhat out of tune?

 

That's a bonus on the DVD, along with Carol and Little Queenie. He tunes it a bit halfway through.

 

Right. I'd forgotten Carol was there. IIRC, Street fighting Man at MSG is in the film but is interrupted with other footage.

 

With all this Gimme Shelter talk...

Does anyone know who says "There's no way to do the concert but in that location. And as it stands right now, you're gonna have at least 100,000 kids there by Saturday morning." In Mel Belli's office. That isn't Klein, is it? I think the only picture I've seen of him is in Stone Alone.

 

Not Klein, thats the guy(forgot his name) who owned the land around the raceway where he was worried (quite rightly if you see the overhead shots later from chopper) about parking situation.

 

I just played the record tonight. For 1969, I think it was phenomenal and the band sounds very on to me. Not very fast tempos, but the sound of the guitars and the tightness of the rhythm section makes it work.

 

Dick Carter.

He owned the speedway, and wanted to be sure that publicity from the Stones referred to it as "Dick Carter's Altamont Speedway"...

 

I'll bet he didn't want that reference after the performance.

 

I wasn't talking about Dick Carter. This guy was a bit chubby in the face and had big mutton chops.

 

Honky Tonk, Satisfaction, Love in Vain all had verses cut. Love in Vain was recorded in Baltimore and not NYC.