RAW & ALIVE 1969 ORIG R0LLING ST0NES LIVE R THAN YOU'LL EVER BE "HOT" TMOQ

$

101

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   RARE AND CLEAN...LEGENDARY 1969 FIRST PRINTING

                                    RAW & ALIVE!!!

                     The R0lling St0nes

     LIVE R Than You'll Ever Be                 

                        LURCH  RECORDS  X14327/X-14328

RARE in CLEAN condition = Original 1969 first pressing with the blue block print cover stamp and red Lurch label ... the legendary 1969 gig has been copied many times over the year, but this pressing is the 'real deal' as first released....the pressing pre-dates the TRADE MARK OF QUALITY label...in otherwords this pressing is from the good folks at TMOQ before the label changed over to Trade Mark....

"LIVEr Than You'll Ever Be" continues today to be a relevant landmark recording documenting the triumphant return of the Rolling Stones to live performances that unfortunately were no longer possible with founding instrumentalist Brian Jones. It is a significant time capsule that captures with excellent sound quality the return of Greatest Rock 'n Roll Band in world with a line up of musicians that would eventually produce the most significant live and studio performances of the Millennium!

The recording and distribution of "LIVEr Than You'll Ever Be" is a landmark historical achievement for many reasons. The recording itself is a high quality audience source. The equipment and method used to produce this piece of Rock 'n Roll history is well documented... "What I used was a Senheiser 805 'shotgun' microphone and a Uher 4000 reel-to-reel tape recorder, which was real small, 7 1/2 inch per second 5" reels"

This LP was released in December 1969 just over a month after its November 9th, 1969 recording. Although original issues were put out on the Lurch label the recording was actually produced and manufactured by Trade Mark of Quality (TMoQ). TMoQ was the pioneer record label in the rock 'n roll underground business. They put out many LP's from artists ranging from Joni Mitchell to Jethro Tull. They were also responsible for the first underground rock album "Great White Wonder" which consisted of the Dylan "basement tapes" among other things.

"LIVEr Than You'll Ever Be" is not only significant because of its place in rock history, but also because of the mood and feel that it captured as the R0lling St0nes returned to live performances for the first time in over three years with new guitarist Mick Taylor. Jimi Hendrix, The Doors, and The Cream had all happened since the last tour through the States. Guitar heroes and songs with great solos were the talk of the day. There was a stark difference between the screaming crowds that marked the close of their last US tour in Hawaii July 28, 1966, and the audiences they were now facing who were sitting down during the shows and listening to the music. The Oakland performances were early in the tour and the band was still getting acquainted with itself in a live setting with sound systems that could be heard in the far reaches of the stadiums they were playing in. The recording is primal in it's musical depth compared to the well known "Get Yer Ya-Ya's Out!" commercial release from the 1969 tour. There are no vocal or instrumental overdubs on LIVEr which enables the listener to compare the band early in the tour to the slicker overdubbed recording that would represent a band that had musically evolved very quickly during the course of the tour. It has been written that "Get Your Ya-Ya's Out!" was released to counter sales of this record. There is a tremendous amount of folklore around LIVEr, most of which was promoted by the press that reviewed and wrote about the recording at the time of its release. The following excerpt from a "Rolling Stone" magazine review by Greil Marcus dated February 7, 1970:

"How it was recorded is more interesting, because the sound quality is superb, full of presence, picking up drums, bass, both guitars and the vocals beautifully. The LP is in stereo; while it doesn't seem to be mixed, the balance is excellent. A member of the underground label says the recording was done on an eight-track machine... So these may in fact be tapes that were made on the stage by someone involved in setting up the St0nes' own sound system"

Reviews like this were amusing for the guys at TMoQ....

An album overview of sorts below [not necessarily in the same tracking order as the Lp]

Carol - This version has a very "smoky" guitar sound and rumbles like a freight train coming down the tracks. The LP starts with the second song of the set as later releases would reveal a level drop-out problems on the original source tape with Jumpin' Jack Flash and Under My Thumb.

Jagger: "Oh. All Right! (splice) You got an echo on now? He's got echo. Let's do it with echo then..."

Gimme Shelter - This song wasn't a regular set list item in 1969 and although not as musically intense as the Altamont excerpt heard in the "Gimme Shelter" movie it certainly fits the bill as a haunting rendition of the song.

Jagger: "Oh yeah. Gimme some shelter. Gimme some shelter" (splice).

Sympathy for the Devil - The R0lling St0nes were improvising live performances of their studio releases in 1969. Keith and Mick Taylor each play solos with Richards in the middle section of the song and Taylor at the end. The samba beat is diminished by a simple three chord rhythm and the lack of backing who...who's.

Jagger: "Whoow

Ohhhhhwooo

Aaw well all right (splice)

Waiting on you

Wheehoo wheehoohoo

All right here we go, slowly rocking on... "

I'm Free - Taylor lays an incredible tapestry of guitar solos in melodic free form across the rhythm of the song. Not played often on the 1969 tour. It didn't seem to be a big crowd pleaser in the eyes of the Stones. One of those songs where people sat down and listened.

Oooohhooo (splice)

Rock 'n Roll, now here we go....

Live With Me - The release of LIVEr allowed fans to hear the studio version and live version as simultaneous releases. Let It Bleed had not even been released at the time of the Oakland show, with the song being completely new to those who heard it that evening.

Whooo, oh, thank you, thank you that was called Live With Me, your welcome....

Side Two:

Jagger: "As you may have imagined

This is blues time...

And we gonna do one more blues yet, yet awhile

This is a new one we do man, and it's called aahh, Love In Vain "

Love In Vain - The brilliant Rolling Stones arrangement of the Robert Johnson classic originally recorded in 1936. Former Mayall Bluesbreaker Mick Taylor burns up a silky slide. Like Johnson, Taylor's slide is played with extreme cleanness and clarity. Jagger's vocal after the first solo break is lifted by the virtuosity of the passage.

Jagger: "Oh, I got right carried away with it

We're gonna do...

We're gonna do one a new one

What ever you do...

Do I get a microphone for this anymore (harmonica)

Or it doesn't happen?

OK. I'll try it with this one"

Midnight Rambler - A Chuck Berry riff perversely distorted into a graveyard chug about none other than the Boston Strangler. The live version played in November 1969 flows much more smoothly than the studio version that would be released a month later. Jagger asks the crowd to shake their asses. Perhaps insecure about the somewhat unanimated reception of the Oakland/San Francisco audience.

Jagger: "Oh, All Right!

We're gonna see you

I think you really...

You've really dressed up tonight

And I think

We haven't really dressed up that much

But we'd like to we how you look

Can we see how they look?

Let's have a look, how they look, c'mon

Oh we just wanted to see how they look

Ahhhooo ,we couldn't see you

We couldn't see you

We're gonna do one

From a long long while ago

When we was

A all a falling out of our cradles"

Little Queenie - The crowd claps along with Charlie's dead on drum beat. Another Chuck Berry classic featured for the first time in the 1969 tour set. Keith bends the double stops for a rockin' solo.

C'mon San Francisco

Let's see how you can shake your asses

Come on, let's get it on

Whooo

We're gonna have a good time

All Right

Come on let's have a good time

Come on, shake it on

All right

We want you to help us sing on this one

We really need ya

Because a we're a little hoarse

And there's a very high note

That the chicks can all get into, right?

We'd really dig it if you could

Ahh it pretty high, all right

Honky Tonk Women - Confidence is definitely building as the band plays on, and by the time they reach this one they're in full flight. This seals the success of the show for sure with people clearly enjoying themselves and the revitalized R0lling St0nes.

Whooo

All Right, All Right, All Right, All Right, All Right, All Right

AllWhoo Right

Street Fighting Man - Raw and gritty the show builds to a crescendo with what would ultimately become a powerful closer for R0lling St0nes shows for some years to come. This one jams with a strong rhythm guitar outro by Keith with Charlie hammering away in a frenzy. This is Rock 'Roll baby.

CONDITION: The cover: the famous blue block print lettering on thick carboard cover is collection ready M- and looks great....hard to find THIS clean, again, it's 43 years old...has no split seams, no bends, no writing.... 

The vinyl: glossy smooth over over sides; play tested clean as these pressings go, visual: "EX" (excellent) has a (not audible) soft angel hair scuff or two, otherwise smooth and clean... both labels are very clean ... really considering, this is about as nice a copy that you could hope for...

keeper!

A GREAT ADDITION TO ANYONE'S COLLECTION !

SEE: SELLERS OTher items for similar cool sounds for "head" people...

EFFICIENT/CAREFUL GRADING

All imperfections are noted both cover & record