THE BEATLES
&
THE ROLLING STONES
AT THE RAREST. 1973. LP
International Joker Production – SM3591
Matrix: SM - 3591 - A , SM - 3591 - B
Vinyl, LP, stereo, 33 1/3, Album, Compilation, Unofficial Release
Страна: Italy
Записан / Выпущен: 1973
Жанр: Rock, Rock i Roll
mp3 320 кбит/сек. 75.2 Mb
Продолжительность: 25:45
TRACKLIST:
THE BEATLES:
01. Boys (live) (Farewells)
02. Do You Want To Know A Secret (Lennon-Mc Cartney)
03. All My Loving (Live) (Lennon-Mc Cartney)
04. Please Please Me (Lennon-Mc Cartney)
05. Misery (Lennon-Mc Cartney)
06. Twist And Shout (Medley-Russell)
07. You Can't do that (Lennon-Mc Cartney)
THE ROLLING STONES:
08. Carol (Barry)
09. I Just Wanna Make Love To You (Dixon)
10. Cry To Me (Russell)
11. Walking The Dog (Thomas - Rufus)
12. You Can Make It If You Try (Jarret)
13. Route 66 (Troup)
This LP is a Bootleg on the Italian Joker label (1973)
with 7 tracks by 'The Beatles' and 6 tracks by 'The Rolling Stones'.
The recordings are primarily derived from BBC appearances by both
bands with a few live songs by the Beatles
at the Hollywood Bowl show in 1964.
The Beatles / The Rolling Stones Connection
By early September 1963, when Lennon & McCartney wrote - or more precisely
finished - 'I Wanna Be Your Man' for the Stones, The Beatles were a huge
source of national pride. Though they were yet to make that sensational
and unprecedented inroad for a post-Elvis pop act into America, the fact
that they had created an indigenous form of rock (a genuinely novel-seeming
amalgam of rock 'n' roll, R&B, Brill Building pop and Everly Brothers/girl
group harmonies) was already remarkable in itself. What was even more
startling is that all of their three singles ('From Me To You' made its
chart debut that very month) and half of their album (there was another due
in November) were composed by band members. This wasn't actually that
unusual for rock acts - Buddy Holly and Chuck Berry had written their
own gear - but it was certainly novel for a band from the UK, a nation
whose inferiority complex about their relationship to big, rich, glamorous
America was deeply ingrained. The idea of a Briton presuming to write
a song in an American form of music was thought to be slightly ridiculous.
Hence, British artists had thus far sung the product of Americans or of
freelance songsmiths. John Lennon and Paul McCartney, however, had recently
proved that home-grown product could have as much artistic and - of sole
interest to the music industry - commercial impact as the previous option
of asking a Tin Pan Alley hack for material, or picking a hit from the
American charts and hoping it made it to the shops before someone else got
the same idea.
Oldham (The Stones Manager) bumped into Lennon and McCartney when the pair
were on their way back from a Variety Club lunch at the Savoy hotel. When
he told them that the Stones were having trouble finding material for their
second single (Leiber & Stoller's 'Poison Ivy' b/w 'Fortune Teller' were
mooted as their second release, good songs but lightweight pop), the pair
mentioned they had something that might be suitable for their gritty style.
"They were real hustlers then," Jagger later observed. Indeed, some insiders
recall McCartney having his eye on the idea of become a Tin Pan Alley
freelance songsmith himself when - as seemed inevitable to everybody at
the time - his own and his colleagues' stardom began to wane.
When the party got to Studio 51 club in Soho, where the Stones were
rehearsing. The Beatles pair explained that the song had a first verse
and a chorus. They went into another room to finish it off. To the Stones'
amazement, they returned about a quarter of an hour later, job done.
The Stones were hardly of the opinion that the song was a masterpiece
(nor The Beatles - it was given to Ringo to sing on their second album)
but that a middle eight and second verse could be completed so quickly
was a revelation to them. It would be wrong to extrapolate from the light
bulbs clicking on over their shaggy heads that they thought they could do
it too, but it was certainly one of the things that would shortly lead to
the band beginning to make their own transition to self-contained recording
artists. Though Brian Jones' girlfriend of the time subsequently recalled
the guitarist staying up, pre-fame, to the small hours to try to write songs,
it was "Jagger/Richard(s)" that would be the credit to be found in parentheses
beneath the song titles on the labels of Rolling Stones records when the
composition did not originate elsewhere. Eventually that credit would be
the sole one to be discerned, as the group became increasingly self-reliant.'
Because of both the quality and the Zeitgeist-capturing nature of the joint
compositions of Jagger & Richards, it was a short step from there to becoming
legends. [extract from The Rough Guide to The Rolling Stones, by Dean Egan.
Publ by Rough Guides, 2006. p25]
This post consists of both MP3 (320kps) ripped from my vinyl Italian bootleg, which I recently picked up at my local flee market (found in amongst a pile of Italian albums) and purchased for a 'song'. My copy has a white album cover, but further research on the web has revealed an alternative cover which is somewhat more appealing to the eye (see above right, and directly left). Full album artwork is included for both releases along with label scans (JOKER).
The recordings are pretty average and I have added some bass enhancement to the files to improve the listening
The recordings are pretty average and I have added some bass enhancement to the files to improve the listening
(P) 1973. INTERNATIONAL JOKER PRODUCTION
MADE IN ITALY
Оцифровка: Ripped from Vinyl by AussieRock at rockonvinyl.blogspot.com
ССЫЛКА:
СКАЧАТЬ ИЛИ ПРОСЛУШАТЬ
Комментариев нет:
Отправить комментарий