Rolling Stones in Mono - 2016 - Content Discussion Only (Mixes, Tracks, etc.)*

Tell Me when it's over.

 

To me, it sounds like someone switched the tape off.

I think it's bad nomenclature. It's an alternate take, and the sound of it suggests it's from the same sessions. but it IS a different recording.

 

Sounds like the story of any kind of bureaucracy to me. (And I'm serious. Seen it exactly as you break it down too many times in my own professional life.)

 

There's no question that foreign releases have had a fade-out from the beginning, including in the US. But I specifically stated "Most UK LPs have the cold ending", and you claimed I was wrong. Yet, I have not seen, nor have you presented, any evidence that a UK LP released prior to the CD era contained a fade-out (other than the original issue with the alternate version, of course). Cold ending from 1964 up through the mid-'80s. You claimed the cold ending on the UK LP was "rectified", but again, there's no evidence of that.

No question it's an entirely different recording from the normal version (in any of its forms).

 

This.

 

I guess is paid my dues. It's over. Promise.

 

The early Tell Me has probably been classed as a demo because it was included on the acetates that came from the December 1963 demo session and wasn't initially intended as a Rolling Stones song. Aeppli has a recording date of 28 January 1964 for the acetate version and quotes a lyric change for the "official" version (“I need your love again” in line 2 compared to “I want your love again”). The later recording is from the 24/25 February 1964 session, with the long, faded and edited releases from the same performance.

Zengraf has all versions from the February session, with just Not Fade Away from the January date.

Elliot dates the early version from the November/December 1963 demo sessions, perhaps influenced by its pairing on an acetate with Give Me Your Hand from that time.

The lyric change and piano/no piano versions would confirm there are two performances, with the likelihood that they were recorded at different sessions.

 

Isn't that something like the title of an early version of "Street Fighting Man"?

 

That's an interesting one. I was involved in a lot of this, including the infamous demonstration in London after the USSR had invaded what was then Czechoslovakia. Even then I couldn't bring myself to throw a stone at a policeman. They defended the Russian embassy with their fists, nothing else, and I did not only surrender, I was mightily impressed.

I also remember the Stones playing Europe in 1973, kicking off with Street Fighting Man, and MJ first throwing roses from a bucket at the audience, and the next bucket, and the following ones, were filled with water, and he threw them at us too. The last one he emptied on his head. I have very fond memories of this.

Can anyone remember when the Stones last played Tell Me? It seems to be such am essential track.

 

..please..what are the differences between the 2 versions of "the under assistant west coast...." in the cd box...?

 

Out of Our Heads (US and UK) have the edited version. Stray Cats has the unedited version from the US single. Unfortunately, it runs slow.

 

Who, if anyone, thinks that there are things missing from this Box that should have also been included on Stray Cats?

 

Ah, yeah! Cocks&*ker Blues is missing, of course and WHY?

 

I'd argue that while it is missing, it is missing from Sticky Fingers

 

[Some of the] Omissions of officially issued ’63 - ’69 mono mixes [and where to find them]:
The 1963 IBC demos, released as a bonus CD EP in Grrrr! Super Deluxe: Diddley Daddy; Road Runner; Bright Lights, Big City; Honey What´s Wrong; I Want To Be Loved.
Both of the Saturday Club LP tracks - Fortune Teller and Poison Ivy unique to the ’87 ABKCO More Hot Rocks CD [different overdubs and edits] The Rolling Stones - More Hot Rocks (Big Hits & Fazed Cookies) ». Stray Cats has the original Saturday Club versions of both as well as the later EP version of Poison Ivy.
Tell Me Version I - 3:02 - Alternative take, never issued officially on CD. Only found on the first pressing of the UK debut LP.
Version II - 4.05, no fade - German CD London 820 047-2 Early pressings from 1984-1986 (CDs with matrix 820 047-2 01#) and very rare CD with matrix 820 047-2 01# MADE IN W. GERMANY BY PDO (1988). Also on Japanese London-Polydor KK P33L-25014 (1985), P25L-25031 (1989) and POCD-1911 (1995). Replaced Version 1 on most pressings of the UK debut LP.
Version III - 3.44 is Version II faded out. On US Englands New Hitmakers CD 375 (1986) and all US reissues of this title. Also on late pressings of German London CD 820 047-2 (post 1988 editions with matrices 820 047-2 02# MADE IN W. GERMANY BY PDO, 820 047-2 03# MADE IN W. GERMANY BY PDO, 820 047-2 03# MADE IN GERMANY, 820 047-2 03# MADE IN GERMANY BY PMDC, all CDs with 'clear plastic' hub) and all French, Brazil and Australian London CDs 820 047-2, Spanish London 844 055-2. Later - on European CD Englands New Hitmakers 844 460-2 (1995) and Japanese POCD-1936 (1995). All pre-2002 'More Hot Rocks' no matter what country or pressing. The fade starts earlier and the line 'Come home, come home, come home' is barely audible.
Version IV - 2.41 edit. The same take as Version II with instrumental part edited out. On The Singles Collection - The London Years 1989 and 1995 editions (820 900-2 and 844 481-2 for Europe, 1218-2 and 1231-2 for the US), Japanese POCD-1938/40. This version first appeared on a US 45. After the line 'I hear the telephone that hasn't rung' there are 8 repetitions of 'You've got to tell me you're coming back to me’.
Version V 4.05- late fade out but not cold ended. The same take as Version II. Compromise between Version II and Version III. - On 2002 SACD-DSD remaster of England's Newest Hitmakers. The fade begins a bit later - after 'Come home, come home, come home'. This adds a couple of seconds.
[Version VI 3.49 - edit of Version V with fade out. It fades earlier, than Version V, but a bit later than Version III. On 2002 SACD-DSD remasters of The Singles Collection - The London Years, More Hot Rocks and Rolled Gold + and this mono box [so not omitted but listed for clarity].
Version VII 2.39 - edit of the same take as Version II without instrumental part (like Version IV) but fades even earlier. The same SACD-DSD mastering. On 2004 Singles 1963-1965 box set. After the line 'I hear the telephone that hasn't rung' there are 6 repetitions of 'You've got to tell me you're coming back to me’.
Version VIII - 2.20 rehearsal, on soundtrack of Charlie is My Darling.
2120 South Michigan Avenue 2:08 original EP earlier fadeout [folded stereo] remains unreleased on CD.
Got Live If You Want It! EP is in the Singles 1963-1965 box. The Got Live If You Want It! LP 2002 SACD is mono.
The Under Assistant West Coast Promotion Man (uncensored, alt. mix - louder harmonica & vocals, longer/faded later) on the Singles Collection ’89.
Paint It Black 3:46 extended fade is in the Singles 1963-1965 box.

A great deal of the above I have collated from several posts by lukpac and I make no claims that it is 100% complete. Feel free to add / delete / amend / correct.

 

Omissions of vinyl-only mixes / edits:
Tell Me Baby [How Many Times?] 1:54 on German The Rest Of The Best compilation LP
It’s All Over Now 2:48 edit on US 45
We Love You 3:10; She’s A Rainbow 2:48; 2,000 Light Years From Home 2:52 and Jumping Jack Flash 2:52 all promotional US 45 edits

 

Omissions from my Omissions list

Heart Of Stone original mono mix on some of the later US Hot Rocks CDs [?]
19th Nervous Breakdown original mono mix has still to be issued on CD

 

Guys, calm down with those omissions, wrong tapes and strange mastering. With Stones you can't always get what you want

 

Ok so a friend of mine picked this up ( vinyl version) and he brought over a handful of lps so I finally had a chance to do some listening last night. I also picked up a near mint (mono made in England ffrr London pressing for the US market ) of Out Of Our Heads and a standard early pressing mono US Aftermath so good points of comparasin.
The mono box US aftermath handily beat my version in all counts. Separation of instruments clarity presence while still being warm.

The Out of Our Heads comparasin was much much closer with my version slightly getting the overall nod. There were also some subtle differences in how the instruments played against each other but unfortunately I did not take notes and the wine was flowing way to freely. But definitely very very close.
Overall I was extremely impressed with what had been done

I have no idea what some of you were complaining about with the cover art as what they slightly lacked in clarity in the photos was more than made up for with the colour and depth of them. I actually laughed out loud because I was expecting them to be terrible

One last thought : we did not listen to an entire side of 12 x 5 or aftermath. My question to you is :
Given that I find these stereo records which have songs with both stereo and mono and given the amazing quality of the mono box sound do any of you prefer the mono box versions as a more cohesive and thus overall better listening experience.

Apologies if this has been asked before or if this is considered a treasonous breach of going too far off topic

 

US mono Aftermath is a fold down. Mono box version is dedicated mono.

 

Thanks Lukpac that would account for it.
What's your take on the made in England for US export pressings on the London label that I referred to above in general.

 

I can't say I have much experience with them, sorry.

 

No worries
S

 

We didn't, doesnt mean we shouldn't. We can't, because they didn't. Is it possible? If it is, then we should have.

 

Has anyone compared the new mono "Beggar's Banquet" vinyl with an original UK Decca?