ROLLING STONES GOT LIVE IF YOU WANT IT RARE ORIG '66 LONDON MONO LP VERY NICE

$

45

WE CURRENTLY HAVE  MORE THAN 400  LISTED ITEMS

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·       ROLLING STONES - GOT LIVE IF YOU WANT IT – ORIGINAL 1966 LONDON RECORDS MONO LP LL-3493

·       ORIGINAL U.S. PRESSING

·       ORIGINAL MAROON (DARK-RED) LONDON MONO LABEL WITH “BOXED” (FRAMED) LONDON LOGO AND SILVER PRINT

·       RARE MONO PRESSING, MANY TIMES RARER THAN STEREO

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       THICK CARDBOARD COVER, AMERICAN STYLE.

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1K/-1K'.  ON SOME LABELS,  SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL PRESSING)

(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)

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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, 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 Still, the album has its virtues as a historical document, with some extremely important caveats for anyone not old enough to recognize the inherent limitations in a live album of this vintage.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 in 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 result was Got Live If You Want It!, which was intended to be recorded at a concert at Royal Albert Hall on September 23, 1966, the Stones' first live appearance in England in over a year. The problem was, as was memorably stated by a writer in Rolling Stone magazine a few years later, the Stones in those days didn't play concerts -- they played riots, and that was precisely what happened at Royal Albert Hall, as several hundred fans charged the stage, overwhelming the band before they'd gotten through the opening number "Paint It, Black." The scene was captured in the footage later used in the promotional film for "Have You Seen Your Mother, Baby, Standing in the Shadow?" What was left of the show, once order was restored, was taped, along with at least two other shows on that tour over the next week or so; and it should also be remembered that in those days the group seldom played for more than 30 to 40 minutes, and sometimes less than that, much like the Beatles in concert. And the audience noise, much as it was with the Beatles, was overwhelming in the days before stacks of Marshall amps became routine in a band's equipment; indeed, at some shows, at certain moments, only the tempo of Charlie Watts' drumming could tell you which song the group was playing, and the bandmembers couldn't hear much more than the crowd -- matters such as tuning instruments and precise playing, even down to the most routine changes, became exercises in futility. Add to that the limitations of live recording, and the inevitable sound leakages and other problems, and one can see how this album was easier to conceive than to actually bring off successfully. When all of the tapes were assembled, the producers were left with about 28 minutes of material that was usable to varying degrees, and even that was somewhat wishful thinking by the standards of the day. (Apart from the Kinks' Live at Kelvin Hall [aka The Live Kinks], few groups or record labels in 1967 had the courage to release a concert album that sounded like the real article.) And here, someone -- the Stones' producer, London Records, whoever -- started fiddling around, twirling knobs, changing balances, and making the stuff supposedly sound "better," and bringing in a couple of studio tracks, "I've Been Loving You Too Long" and "Fortune Teller," and laying on some crowd noise to bring the show up to an acceptable length for an LP.

 (EXCERPT FROM AN ONLINE REVIEW BY RICHIE UNTERBERGER, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

For additional historical information on this album, including track listing ►CLICK HERE

TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR ARTIST ►  CLICK HERE

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·                               CONDITION:

·                               THE RECORD

(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS STRONG VERY GOOD+(+) . CAUTION: The vinyl is NOT MINT or NEAR MINT, but is nevertheless in a very nice and clean condition. There are some surface marks and abrasions, mostly light and superficial, although some may be longer than 1.1/4 inches (1 inch = 2.5 centimeters)

(b)          The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(c)           Mono pressing of this title is much rarer, and by far more  preferable to its stereo counterpart. We think that the mix is more natural, humane, "organic" and that the mixes are somewhat different than on the stereo version. We estimate that stereo copies of this album outnumber mono pressings by a ratio of at least 5:1.

(d)          Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·                               THE COVER

THE COVER IS NICE --- ABOUT VERY GOOD++ (VG++).

The following flaws or imperfections are noted on the cover:

-        Cover has some light ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the severity of ring wear as 3

-        Cover shows JUST A HINT of yellowing on back side, apparently from aging.

-        Cover has a few tiny wrinkles along the spine and the opening side (nothing significant)

-        Minor shelf wear noted on the seams (nothing significant)

-        Cover has two corners slightly worn / dinged  / bent.

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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POSTAGE & SHIPPING:

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