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One of the most famous live albums ever recorded! 1st US Press.
A live document of the Brian Jones-era Rolling Stones sounds enticing, but the actual product is a letdown, owing to a mixture of factors, some beyond the producers' control and other very much their doing. The sound on the original LP was lousy -- which was par for the course on most mid-'60s live rock albums -- and the remasterings have only improved it marginally, and for that matter not all of it's live; a couple of old studio R&B covers were augmented by screaming fans that had obviously been overdubbed. Still, the album has its virtues as a historical document, with some extremely important caveats for anyone not old enough to recognize the inherent limitations in a live album of this vintage. The first concerns the history of this release -- the Got Live if You Want It! album (not to be confused with the superior sounding but much shorter, U.K.-only extended-play single, issued in England in mid-1965) was a U.S.-only release late 1966, intended to feed a seemingly insatiable American market. As a best-of album had been issued in March 1966 and Aftermath in June of the same year, and the Stones had just come off of a major U.S. tour (which proved to be their last for over three years), another album was needed, to bridge the gap in America between the those earlier LPs, the two most recent singles -- "Paint It, Black" and "Have You Seen Your Mother, Baby, Standing in the Shadow?" -- and the Between the Buttons album, which was not going to make it out in time for the Christmas season.
The one element that does come through consistently is the excitement and sheer kinetic energy generated by the band. The older songs come off the best -- though one is glad that they do "Lady Jane," the dulcimer-dominated piece comes off in this setting a lot like "Yesterday" did when the Beatles did that in concert; audiences shriek and scream over a quiet, reflective song that really doesn't merit that response, and the result as a live performance is off-kilter; the group's rendition of their then-current single, "Have You Seen Your Mother, Baby, Standing in the Shadow?" is a bit chaotic, although it does give the band a chance to show what Keith Richards' critique of the studio version's burying of the rhythm section was all about -- he and Brian Jones do their best to compensate for the lack of overdubbed brass stabs. The only real disappointment is the finale, "Satisfaction," which comes off as quick, ragged, and chaotic -- it was impossible to interlock the guitars the way the group's sound needed, and it has no real ending, which is why it's faded down. The album is a lot more uneven than the much shorter EP of the same name (available on Singles 1963-1965), but it is now at least a fairly honest document of what rock & roll concerts in the mid-'60s were like.
|A1||Under My Thumb||2:45|
|A2||Get Off Of My Cloud||2:40|
|A4||Not Fade Away||1:55|
|A5||I've Been Loving You Too Long||2:50|
|B1||The Last Time||3:00|
|B2||19th Nervous Breakdown||3:18|
|B3||Time Is On My Side||2:40|
|B5||Have You Seen Mother, Baby, Standing In The Shadow?||2:50|
|B6||(I Can't Get No) Satisfaction||3:45|
Original Release Year: 1966
Label: London Records
Catalog #: PS-493
Format: 12" Vinyl LP
Vinyl Color: Black
Condition: Used: Cover in overall good condition, moderate ring and edge wear. Vinyl looks like new. Includes original factory inner sleeve which has splits on all sides. Image shown above is the actual item you will receive.