Rolling Stones/Studio Outtakes 164-1973

The original Scorpio label released the masterpiece album “Mad Shadows” as “Old Masters 3” in 1993, and it has been remastered and renewed after nearly 25 years since its release! Originally, “Mad Shadows” was the title of a Mott the Hoople album, but this Stones version is an edited album mainly collecting studio outtakes from 1964 to 1973. It was so popular that it was reissued many times by the original Scorpio label and a complete copy was released by the Russian copy label SRS Records, as it included many songs that appeared for the first time and many improved sound quality takes at the time of its release. It is thought that the popularity of this album is also due to the fact that it contains a large number of songs rooted in their R&B orientation, such as the Chess recording from 1964, and that it is a high-quality recording of the time when Brine was enrolled in Decca, when there were few unreleased tracks with good sound quality in the early days of Decca. For this CD release, we spent a lot of time and energy on improving the content of the “Mad Shadows” section on disc 1 to a satisfactory level, without cutting corners on any of the troublesome remastering such as pitch correction and level adjustment for each song from the upgraded sound source we had on hand. In terms of the content, all 1964 Chess recordings 1 to 5 are stereo sound sources. There is less hiss than the Yellow Dog version and the high frequencies are clearer. “Don’t Lie to Me” is a wide mix with good left and right separation, different from the one recorded on Metamorphosis, and there is no fade-out at the ending. 7 is the version recorded on Metamorphosis, which was missing the credits on the master recording. 8 is an outtake from the Aftermath period, in real stereo. 9 is an early version at RCA Studios with a countdown. 10 is an outtake from the famous Between the Buttons period, and has the best sound quality to date. 11 is an early version of the famous Street Fighting Man. This one has also been upgraded wonderfully with a much wider left and right separation. 12 is the promo video version of “Yeah, Yeah”. 13 is a stereo mix of an acetate version with different vocals. 14 is a rough mix version made in the ’70s that was released officially but with a different mix. This is the take that maniacs listened to over and over again. 15 is an acoustic version that was never made official. 16 is also an 11-minute jam that is said to be the first session between the Stones and Taylor, and it is rare to hear it at the correct speed. 17 is a rehearsal recording from the ’72 tour. It is a famous pre-war blues number by Robert Johnson, and is the source material for 8, but 8 was shelved because it was too blatant a rip-off. (lol) 18-20 are outtakes of “Goats Head Soup”. In the past, it was short or recorded too fast, so it had not been released in a decent state until now, but this time it has been properly remastered and is finally included here in the best condition ever. However, since the original was a cassette source, the sound quality is slightly inferior to the other tracks on this album. 16 tracks are recorded in stereo, excluding tracks 6, 9, 10, and 12. Disc 2 also contains a mountain of valuable outtakes from the UK Decca period released under the name of Scorpio label (BAD WIZARD). The content of this disc is almost the same as that released by BAD WIZARD in 2007 as “TIME TRIP VOL.5”. It was released at the same time as DAC released the 4-disc set “TIME TRIP VOL.1-4”, a compilation of early to mid-period studio sessions. The content of this “TIME TRIP VOL.5” was very excellent, but it had a lot of problems, such as the beginning being cut off due to Scorpio’s rough editing, and the incorrect tape speed due to problems with the original sound source. Interestingly, after a certain amount of time has passed since the release of a rare Scorpio recording, an upgraded version of the same recording appears out of nowhere and is available to a high-ranking trader. In fact, not long after the release of “TIME TRIP VOL.5”, a title with the same content, “KEY TO THE HIGHWAY”, was released by the Rattlesnake label. As you can see from the fact that the Rattle version is specifically labeled “MASTER TAPE VERSION” on the sleeve, it is not a copy or edited version of the BAD WIZARD version, but is made from a newly acquired upgraded recording, as you can tell at a glance. I suspect that there are quite a few collectors who have traded in the BAD WIZARD version for the Rattlesnake version and own the latter. Of course, this version is not a copy of the previous version, but is mainly composed of upgraded material, just like the Rattlesnake version. The mastering of “TIME TRIP VOL.5” was not very good, and some songs had noticeable hiss noise and the aforementioned problem of the beginning being cut off. On the other hand, the Rattle record “KEY TO THE HIGHWAY” has a dramatically improved sound quality as a whole CD by using a new master, but I don’t know if it’s a problem with the source material obtained or a mistake during mastering, but there are about two or three digital noises and errors in each song. Therefore, this album was planned with the ambitious intention of using the original tape source to solve the various problems such as the poor quality of the original BAD WIZARD master’s gene, the cutting off of the beginning, Rattle’s digital noise, and the pitch deviation common to both labels, and to record these rare takes in the best condition at once. The nine songs from 1 to 9 are from a tape-to-tape dubbing session in a studio to make a copy of the Italian version of AS TEARS GO BY, and it is a parade of rare takes from a variety of locations, including Chess in Chicago and Regent in London. This is a rare and highly coveted recording that was discovered and released underground, not at auction, but through financial transactions. Despite being copied at half the tape speed of 7.5ips instead of the usual 15ips, the sound quality and condition of the tape are near perfect. The seven tracks 1-4 and 6-8, which are probably no longer in the Decca UK warehouse, are treasures for fans. Track 1 is a cover of Arthur Alexander, track 5 has a countdown, tracks 4, 7, and 8 are demo recordings for other artists. Track 6 is a rejected song composed by Bill Wyman. Track 9 is one step away from the final version, and does not include the harpsichord overdubs that can be heard on the official version. Tracks 2 and 3 were recorded at Chess and were a rare recording that caused a big stir when released. Track 2 is an early version recorded in 1964. It has a much more subdued feel than the released version. In “TIME TRIP VOL.5”, the beginning is slightly cut off, and in “GENUINE BLACK BOX” released later by the same label, the cut off is fixed, but there is a big digital noise on the first note of the guitar in the intro. The sound quality of Rattle’s “KEY TO THE HIGHWAY” has improved dramatically, but the pitch is fast and the digital noise is still there. 3 is a rare take that is rumored to be played by Muddy Waters, and it was shocking that it was recorded at this time. “TIME TRIP VOL.5” and “GENUINE BLACK BOX” have slightly poor generativity, but there is no cut off at the beginning. “KEY TO THE HIGHWAY” has improved sound quality, but there is a missing guitar intro that is not present in the above two. This is the first recording of the above songs with the best sound quality and accurate tape speed without damage. 10, 11, and 12 are backing tracks for the CBS Ed Sullivan Show in 1966. Track 10 is a shortened version that was shortened to 2 minutes and 20 seconds due to the program’s schedule. The guitar at the end of track 12 is a different take and phrase from the released version. Brian lip-syncs on screen. Tracks 13 to 18 are real stereo versions of early singles that first appeared on Scorpio’s “DARTFORD RENEGADES.” It seems to be a mixing session that took place at RCA Studios in the US around 1966, and is recorded on two reels at a speed of 15ips. Although not included here, stereo versions of three tracks, SATISFACTION, GET OFF OF MY CLOUD, and GOIN’ HOME, were also created. (This is a different sound source from the stereo mix recorded on the UK CD HOT ROCKS 1) Track 13 was Keith’s idea to create a chaotic atmosphere, and has a deep echo and a thick, unclear sound quality. Just before the ending, you can hear a playful brass phrase in the right channel that is mixed out in the regular mix. 14 is an alternate stereo mix in which Brian’s sitar “dang” sound, which should be heard in the right channel after Charlie’s drum beat in the intro, is mixed out. This is a problem because it is not counted in either the Zentgraf materials or the Hofffmann list. 15 is a stereo version with alternate vocals. 16 and 17 are stereo versions of the regular take and the same vocal take. Stereo mixes of 18 are not uncommon these days, but this is an extended mix that fades out 6 seconds later than the regular stereo mix and has a longer playing time. 19 is an unreleased mono mix in which you can hear the intro being redone before the OK take. 20 and 21 are new takes that have not been included in previous releases and are being released on CD for the first time. 20 has the same backing as the regular version, but Keith sings the intro part “What a drag it is getting old ~♪” and Mick’s vocals are all alternate takes and unreleased versions. Disc 21 is a rare take that adds an additional guitar overdub by Keith that was never heard before to the mono mix of the alternate vocal version of disc 15, but it was eventually scrapped and remained unreleased. The sound quality of disc 2 in particular is in such good condition that it could be officially released as is, being a mono/stereo recording. DISC-1 1 HI-HEEL SNEAKERS (CHESS STUDIOS, CHICAGO, JUNE 11, 1964, STEREO) 2 STEWED AND KEEFED (CHESS STUDIOS, CHICAGO, JUNE 10, 1964, STEREO) 3 TELL ME BABY (CHESS S TUDIOS, CHICAGO, JUNE 11, 1964, STEREO) 4 DOWN IN THE BOTTOM (CHESS STUDIOS, CHICAGO, JUNE 11, 1964, STEREO) 5 DON’T LIE TO ME?(CHESS STUDIOS, CHICAGO, JUNE 10, 1964, STEREO) 6 SPECTOR AND PITNEY CAME TOO(REGENT SOUND STUDIOS, LONDON, FEBRUARY 4, 1964) 7 HEART OF STONE?(REGENT SOUND STUDIOS, LONDON, JULY 21 – 23, 1964) 8 LOOKI NG TIRED(RCA STUDIOS, LOS ANGELES, SEPTEMBER 6, 1965, STEREO) 9 HAVE YOU SEEN YOUR MOTHER, BABY, STANDING IN THE SHADOW? ? (RCA STUDIOS, LOS ANGELES, AUGUST3 – 11, 1966) 10 GET YOURSELF TOGETHER ? (OLYMPIC SOUND STUDIOS, LONDON, NOVEMBER 8 – 26, 1966) 11 PAY YOUR DUES (OLYMPIC SOUND STUDIOS, LOND) ON, MARCH 17 – APRIL 3, 1968) 12 JUMPING JACK FLASH ?(PROMO FILM, LONDON, APRIL 28, 1968) 13 HONKY TONK WOMEN ?(OLYMPIC SOUND STUDIOS, LONDON, FEBRUARY 9 – MARCH 31, 1969) 14 GOOD TIME WOMEN(OLMPIC SOUND STUDIOS, LONDON, MARCH – MAY, 1970) 15 ALL DOWN THE LINE?(SUNSET SOUND STUDIOS/ELEKTRA STUDIOS, LOS ANGELES, OCTOBER – NOVEMBER 1969) 16 H ILLSIDE BLUES(SUNSET SOUND STUDIOS/ELEKTRA STUDIOS, LOS ANGELES, OCTOBER – NOVEMBER 1969) 17 32-20 BLUES(SUMET-BURNET RECORDING STUDIO, DALLAS, TEXAS, JUNE 23, 1972) 18 DANCING WITH MR. D. ?(ISLAND RECORDING STUDIOS, LONDON, MAY 1973) 19 CRISS CROSS ?(ISLAND RECORDING STUDIOS, LONDON, MAY 1973) 20 SILVER TRAIN ?(ISLAND RECORDING STUDIOS, LONDON, MAY 1973) DISC-2 1 G O HOME GIRL(DE LANE LEA) STUDIOS, LONDON, NOVEMBER 14, 1964) 2 MERCY MERCY ?(CHESS STUDIOS, CHICAGO, NOVEMBER 8, 1964) 3 KEY TO THE HIGHWAY (CHESS STUDIOS, CHICAGO, NOVEMBER 8, 1964) 4 LEAVE ME ALONE(REGENT SOUND STUDIOS, LONDON, NOVEMBER 20 – 21, 1963) 5 SUSIE Q?(REGENT SOUND STUDIOS, LONDON, SEPTEMBER 28, 1964, w/countdown) 6 GOOD BYE GIRL(CHESS STUDIOS, CHICAGO, NOVEMBER 8, 1964) 7 IT SHOULD BE YOU(REGENT SOUND STUDIOS, LONDON, NOVEMBER 20 – 21, 1963) 8 THAT GIRL BELONGS TO YESTERDAY(REGENT SOUND STUDIOS, LONDON, NOVEMBER) 20 – 21, 1963) 9 CON LE MIE LACRIME ?(IBC STUDIOS, LONDON, MARCH 1, 1966) 10 PAINT IT BLACK ?(RCA STUDIOS, LOS ANGELES, MARCH 6 – 9, 1966, PREPARED BACKING TRACK FOR THE ED S ULLIVAN SHOW ) １１ ＬＡＤＹ ＪＡＮＥ ?(RCA STUDIOS, LOS ANGELES, MARCH 6 – 9, 1966, PREPARED BACKING TRACK FOR THE ED SULLIVAN SHOW) １２ ＨＡＶＥ ＹＯＵ ＳＥＥＮ ＹＯＵＲ ＭＯＴＨＥＲ， ＢＡＢＹ， ＳＴＡＮＤＩＮＧ ＩＮ ＴＨＥ ＳＨＡＤＯＷ？ (IBC STUDIOS, LONDON, AUGUST 31 – SEPTEMBER 2, 1966, PREPARED BACKING TRACK FOR THE ED SULLIVAN SHOW) 13 HAVE YOU SEEN YOUR MOTHER, BABY, STANDING IN THE SHADOW? ? (IBC STUDIOS, LONDON, AUGUST 31 – SEPTEMBER 2, 1966, STEREO) 14 PAINT IT BLACK ? (RCA STUDIOS, LOS ANGELES, MARCH 6 – 9, 1966, DIFFERENT STEREO MIX) 15 19TH NERVOUS BREAKDOW N?(RCA STUDIOS, LOS (RCA STUDIOS, LOS ANGELES, DECEMBER 3 – 10, 1965, STEREO) 17 THE LAST TIME ?(RCA STUDIOS, LOS ANGELES, JANUARY 17 – 18 / FEBRUARY 17, 1965, STEREO) 18 HEART OF STONE ?(RCA STUDIOS, LOS ANGELES, NOVEMBER 2, 1964, STEREO, LONGER FADE OUT) 19 GOIN’ HOME ?／ ?(RCA STUDIOS, LOS ANGELES, DECEMBER 3 – 10, 1965, MONO) 20 MOTHER’S LITTLE HELPER ?(RCA STUDIOS, LOS ANGELES, DECEMBER 3 – 10, 1965, MONO, EARLY VOCALS) 21 19TH NERVOUS BREAKDOWN?(RCA STUDIOS, LOS ANGELES, DECEMBER 3 – 10, 1965, MONO, EARLY VOCALS AND MORE GUITAR)