Rolling Stones/NY,USA 11.27.1969 Soundboard

“69RSTRAX” included not only studio recordings but also many sound sources from the 1969 American tour. Naturally, enthusiasts had high expectations for them, but in Auckland, the traditional audience recordings were used as they were, and they were watermarked. Wow, I thought that the live sound source of “69RSTRAX”, which caused a huge uproar, was not a big deal…but there was a hidden gem that could only be found in the official album. The main recording of the live album “GET YER YA-YA’S OUT”, which was inspired by the masterpiece “Liver” that recorded the previous Oakland album, was three performances at Madison Square Garden. Although the second show on November 27th and 28th is not as good as “Liver”, there is a sufficiently good level of audience recording, and it conveys the splendor of each stage. I see, it was just a recording for a live album. In that case, the existence of sound sources based on multi-track recording has been confirmed for these three stages, and its appearance would have been an unfulfilled dream for enthusiasts around the world. It was also the starting point of the Stones’ legend that “When it comes to recording, I get excited about performing live” or “When I go to a big city, I get excited.” “69RSTRAX” has finally made that dream come true. And all three stages at once! Regarding those live recordings that appeared this time, first of all, regarding the 27th, the state before mixing the multi-track recorded for “GET YER YA-YA’S OUT” (hereinafter referred to as “GYYYO”) to stereo, essentially It appeared in monaural. Since “GYYYO” had few adopted takes from this day, it can be inferred that it appeared in such a state. However, from the sound that cuts in when the recording starts for the first time, it is the same sound that was heard at the opening of “GYYYO”. Therefore, although it is monaural, the details of the performance are not too direct and the balance is much better compared to what is called a sound board that is directly connected to a table with a PA output. Above all, the sense of realism is clearly conveyed. Speaking of the direct-to-table soundboard of the 1969 tour, the “OAKLAND SIXTY-NINE” sound source can be mentioned, but if you compare it with that, the difference is obvious. Rather, I think the flaw was that when it was uploaded to “69RSTRAX”, the sound source was compressed, so Charlie’s cymbal sound became fuzzy. Still, it is still a very good soundboard recording. Although it is a show on the 27th, it was a masterpiece whose outstanding voltage was outstanding even in the audience recording mentioned earlier. When you listen to it again with this sound board experience, it becomes even more vivid. In particular, “Carol” had a tremendous amount of momentum centered around Charlie’s drum performance, and in the next “Sympathy For The Devil”, unlike the first half of the tour, the arrangement was such that Keith and Mick Taylor each shared a guitar solo, but both I get goosebumps when I hear the fire-breathing phrases being played. Besides, “Jumping Jack Flash” which is the opening of “GYYYO” is the take of this day, but here you can hear the original singing before Mick replaces the vocals. It was already proven in the audience recording that his singing style was completely different, but it is still special to be able to hear the original vocals on the sound board. Above all, Keith doesn’t harmonize (lol). “Under My Thumb” was featured on the 40th anniversary edition of “GYYYO” released exactly 10 years ago, but when I listened to it like this, Bill’s bass was getting quite loud in the intro. It’s interesting to know that. This is also unique before mixing is applied. When the same song switched to “I’m Free”, there was a slight cut when it was released on “69RSTRAX”, so we made the 40th anniversary edition and patched it. Speaking of cuts, there is a larger loss between songs before “Midnight Rambler” starts, but it is clear that this is due to replacing the multi-track tape (there was a similar cut on Leeds 71, right?) . Therefore, we have patched the audience recording of the same day to ensure completeness. On the other hand, thanks to the soundboard, it is clear that this “Midnight Rambler” was a slightly disorganized performance compared to the take the next day that was adopted for “GYYYO”. However, the 1969 tour does not mean that the performance is dull. After this, the Stones exploded again with “Live With Me” and “Satisfaction” centered on Charlie. If you listen to it on the sound board like this, you can feel the Stones’ full spirit. After all, the day has finally come when you can listen to the entire stage of MSG’s first day, which was a masterpiece during the 1969 tour, on the sound board. A dream come true for enthusiasts all over the world! Madison Square Garden, New York, NY, USA 27th November 1969 SBD (69:43) 1. Intro. 2. Jumping Jack Flash 3. Carol 4. Sympathy For the Devil 5 . Stray Cat Blues 6. Love In Vain 7. Prodigal Son 8. You Gotta Move 9. Under My Thumb 10. I’m Free ★0:01 – 0:03 is missing, so “Get Yer Ya-Ya’s Out” Equalize Compensation ★2:48 – Until the end Compensation 11. Midnight Rambler★0:00 – 1:27 Compensation 12. Live With Me 13. Little Queenie 14. Satisfaction 15. Honky Tonk Women 16. Street Fighting Man SOUNDBOARD RECORDING