ROLLING STONES Got Live If You Want It NM- 1966 London PS 493 DIGITAL REMASTER

$

28

Vinyl:  NM- Play Graded. Plays Like New!   London Labels are Clean and Bright.  This is the DIGITALLY REMASTERED Reissue of the 1966 London PS 493 Release!  This is the audiophile acclaimed pressing, digitally remastered from the original Master recordings and pressed on 100% Virgin Vinyl! If you're familiar with this record then you know how sketchy the original pressings were.  Of the number of records from the Stones' catalog that received this treatment, it's this one that received the most benefit from the Remastering.  It no longer sounds like a poorly recorded bootleg!  It's still rough and this is the middle of the British Invasion (read:  screaming fans), and the recording equipment and amplifiers were not yet sophisticated), but there's actual silkiness to the highs, a noticeably fatter bottom end and there's a more realistic stereo separation. 

Has some of the Stones' most acclaimed songs from their first groundbreaking British Invasion (Badboy version!) phase: Under My Thumb, Lady Jane.  This is founding member Brian Jones' final LIVE testimony:  listen to Fortune Teller for his outrageous harmonica rave up and I'm Alright for his slide guitar work.  He put the Menace in the Stones' Sound!  Rave On!!!

See Review Below!
In The Dead Wax:  Matrices, etched.  Also, both sides Emw.  Complete Dead Wax information cheerfully given upon request.

Cover: EX (see photos)  High gloss on cover.  Front and back of cover artwork and text are rich, clear and bright, with minimal shelf wear.   Seams, corners and spine are solid and clean.  No splits.  No writing.  No stickers.  Spine print is crystal clear.

Goldmine Standards.   I play grade every record that I sell on eBay as I have found you can't rate a record accurately by just visually inspecting it.  I wipe the dust off of every cover with clean, unscented baby wipes.  I professionally clean the vinyl.  (I also operate a Vinyl Record Cleaning business for your dusty/dirty records--if interested, send me a message).
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All records are packaged securely with the vinyl outside the jacket (to avoid seam split in transit). The vinyl and jacket are sandwiched between two cardboard stiffeners and shipped in a custom cardboard record mailer box. 
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Got Live If You Want It! Review

by Richie Unterberger

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.