ROLLING STONES "WELCOME TO NEW YORK" TMOQ LP LIVE JULY 26, 1972 NYC GREAT

$

32

ROLLING STONES "WELCOME TO NEW YORK" TMOQ LIVE JULY 26, 1972 NYC
THE ROLLING STONES "WELCOME TO NEW YORK" RECORDED LIVE JULY 26, 1972 ~ MADISON SQUARE GARDEN NYC RECORDED ON MICK JAGGER'S 29th BIRTHDAY LABEL:  TMOQ (TRADE MARK  OF QUALITY)  RS-546 RE I    RELEASED: SUMMER 1973 ALBUM COVER ART: WILLIAM STOUT ALBUM "CUSTOMIZED" BY 'GLORIA' MATRIX (SIDE A): (Etched) RS-546 A REI MATRIX (SIDE B): (Etched) RS-546 B REI
CONDITION: VINYL: VG+  JACKET: VG+
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I've been going thru my large vinyl record collection over the past few months and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 45 years and it's time to pass some of them on to the next generation of collectors.
After all, we are just temporary 'caretakers' of these musical gems until the next owner and next collection takes them in. ~~
This week on Ebay, we are offering up this rare, fantastic, 'collector' record featuring the Rolling Stones recorded live at Madison Square Gardens on July 26, 1972, Mick's 29th birthday, during their iconic 1972 American Tour.
A fantastic album, released on the iconic TMOQ record label, and long considered one of the very best live Rolling Stones 'collector' records. ~~~~~~~~~~~
This is my personal, original, early TMOQ pressing copy that I purchased in the shops along St Marks Place in Greenwich Village, my usual vinyl hunting grounds during my New York days, back in the 70's. It has remained in my record collection ever since and I've taken great care of this record for 45 years now. It's been poly-line sleeved, inside and out, since I purchased it, stored properly in my collection. It's still in excellent condition. ~~~~~~~~~~~~~~~~~
This classic Stones live 'collector' record 'Welcome to New York' offers both excellent performances and excellent sound.
It captures the final show of the tour, July 26th 1972, at Madison Square Garden in New York City. It was a celebration not only for wrapping up the tour, but it was also Mick Jagger s 29th birthday.
This is an original early 70's Stereo pressing of 'Welcome to New York' on the Trade Mark of Quality label with the early style "Farm Pig" logo and pressed from the original first pressing plates with the "RS 546 RE-I"  matrix numbers.
The very first pressings of this record were in Mono with the RS 546 Matrix markings. The full wide Stereo version took a little longer to master and perfect, so the album was then quickly re-issued with the revision one, "RE 1" matrix markings added.
Pressings with the 'RE-1' are full stereo and the best sounding versions available. The sound is amazing. These original 1970's "RS 546 RE-I" TMOQ pressings of 'Welcome to New York' offer excellent songs, outstanding performances, and amazing stereo soundboard sound.
The cover art for this album is a fantastic early William Stout drawing showing the band dressed as New York City gang members.
Essential and highly recommended for Stones’ enthusiasts. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The fantastic songs on this album include:
All Down The Line You Can't Always Get What You Want Midnight Rambler Bye Bye Johnny Rip This Joint Love In Vain Sweet Virginia Jumpin' Jack Flash
The song selection on this album is outstanding; from Stones’ classics like 'Jumpin’ Jack Flash' and 'Midnight Rambler', to Exile’s 'Sweet Virginia' and 'Rip This Joint', to a perfect covers of Robert Johnson‘s 'Love in Vain' and Chuck Berry’s 'Bye Bye Johnny', and a ripping version of 'All Down the Line', there isn’t a 'bad' song or dull moment on this entire album.
All excellent and impressive performances. A smokin' show. All killer, no filler.
Plus, it's all captured perfectly on this soundboard recording. ~~~~~~~~~~~~~~~~~~~~~
This album kicks off with the band launching into a blistering, fast and furious version of 'All Down the Line'. Mick Taylor and Keith attack the song with fury, cranking out their signature riffing and lead guitar lines.
Mick Taylor lays down some sinewy, fluid, blues lines on his Cherry Red 1961 Gibson Les Paul SG.
The band then go into one of my favorite soulful renditions of 'You Can't Always Get What You Want'. The band play it flawlessly and deliberately, with swagger and confident energy, while Mick Jagger sings it perfectly, with a playful, drunken, attitude and delivery. 
The straightforward boogie-rock rhythms chug along as Keith plays his unrelenting rhythms and lead lines with intensity, relying on 'fresh' chemicals and 'old' muscle memory, as he slowly builds the song to its powerful peak. Mick Taylor accents the classic tune, adding some amazing lead guitar.
The band then do a long intense driving performance of 'Midnight Rambler' that goes straight for the jugular, with Keith and Mick Taylor giving the song an 'edge', trading-off licks, and just blazing away. Jagger is ferocious, both vocally and on the harmonica. 
The intense interlocking guitars of Richards and Taylor make this a great live version. Keith adds some quintessential blues-rock guitar riffs, but Mick Taylor steals the song with some great solos and generally cutting loose. 
Side two of the album starts off with a blistering version of Chuck Berry's 'Bye Bye Johnny' followed by an equally ferocious version of 'Rip This Joint'.
On the '72 tour, the band took a break mid-way thru the show, where Mick and Keith sat down on stools centerstage to perform some acoustic traditional blues numbers.
This album has 'Love in Vain' and 'Sweet Virginia' from that excellent, bluesy acoustic set. These songs are fantastic examples of the raw 'power' of the Stones' music, even in an acoustic setting.
On 'Love in Vain', Mick Jagger's vocals are raw and impassioned.
Keith plays an old 1930s National Steel guitar and a Martin D12-20, a dreadnought-sized 12-string.  Mick Taylor plays excellent slide guitar work on his 1958 Les Paul ’Burst, each note perfectly articulated, expressing the loss and anguish of the song's lyrics. 
On this tour Mick Taylor's stellar virtuosity on slide guitar gave the Stones an authentic blues sound that they hadn't had since the very early Brian Jones era.
The album ends with 'Jumpin' Jack Flash', which has a blistering, driving, irresistible 'chug' thanks to Jagger's strong vocals, Charlie's rock-solid backbeat, and the band's driving rhythm and crunchy boogie goodness. A solid performance and a real treat to hear.
This album is full of raw grit and swagger. A killer album full of pure rock ‘n’ roll firepower, with the Stones doing what they did best; delivering pure, dirty, electrifying rock ‘n’ roll that sounded both dangerous and thrilling. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
This recording perfectly captures and immerses you into the band and their sound. It's raw, primal, and unpolished, but you can clearly hear every lick from Mick and Keith's guitars, the crack & snap of Charlie's drums, the thunder of Bill's bass, and every word and nuance from Mick Jagger's lips.
It has great sound, for a 'collector' record, wide soundboard stereo, sheer presence and fantastic immersive sound.
This recording is taken from an excellent soundboard recording of the show. Stones legend has it that the master soundboard tape was stolen from the mixing board during all the excitement and distractions at the end of the show.
The mastering of this Stereo soundboard is incredible.
The soundstage is incredible, featuring Keith’s guitar and Nicky Hopkins' keyboards on the left, Mick Taylor’s guitar on the right, Charlie’s drums, Bill's bass, and Mick’s vocals right down the middle, and the horns split, bouncing between the two channels.
Of all the many Stones 'collector' records out there, 'Welcome to New York' is one of the best, as far as performance and sound quality, and one of the few that is absolutely essential.
For many years, in the 70's and 80's, this original TMOQ pressing of the album was highly sought after and one of the 'holy grails' for Rolling Stones collectors. ~~~~~~~~~~~~
Mick Jagger’s trademark mix of swagger and abandon made him rock's definitive frontman. His voice is amazing; powerful and emotional. He never sounded richer or fuller, and never sang better, than what he did on this tour.
His vocals are perfect; sneering yet charismatic, menacing yet mellow, hip, flowing, and spot-on.  All throughout this show, Jagger's fired up and gives a lot of audience banter between songs.
Keith Richards is also in top form on this live recording. His overall sound and biting riff-work is amazing; fresh and crisp, vibrant and dynamic, with lots of punch. 
Keith was reportedly at his most 'elegantly wasted' during this 1972 tour, but somehow he still holds it together, and plays some amazing riffs.
Mick Jagger and Keith are great, as always, but Mick Taylor is easily the standout of this concert. Mick Taylor is in top form on this live album with his beautiful, tasteful, inventive and jaw-dropping guitar work. Mick Taylor truly demonstrates why he is a legend in rock'n'roll.
Many Rolling Stones fans and collectors feel that the Mick Taylor-era Stones was the band's pinnacle of creativity and live performance, and this terrific album confirms that. In 1972, with Taylor a full member of the band, they were rawer, rougher, exciting, and rocking. More intense, more musical, more flexible, yet also way more tighter, than on the previous 1969 tour.
Bill Wyman, often overlooked, also really stands out on this live album. He's not credited enough for driving the power behind the Stones. His powerful bass just throbs along in that perfect pocket that's not exactly with Charlie, and not exactly with Keith, yet supports both. Bill Wyman's playing is rock solid and gives these songs an amazing pulse of their own.
Charlie's drumming is great, as it always is. Tight, crisp, driving, and powerful. ~~~~~~~~~~~~~~~~~~~~~~~~
When you look at this album, what jumps out immediately is the 'customization' and artwork drawn all over the back cover, and the 'colorization' of William Stout's amazing artwork on the insert. Here's the story on how that happened.
Back in the late 70's, I lived in a big old 1800's Farm House, a communal party house and hippie crash-pad, near the campus of the University of Iowa, where I was a student. The house was full of musicians, hippies and art students and my girlfriend at the time, 'Gloria', was all three, but mostly an aspiring artist.
Back then, I collected records, but one of my 'specialties', other than rock, jazz and Rolling Stones records, was collecting 'customized' copies of the Beatles White album.
The plain white front and back jacket of that album was like a canvas, and invited many listeners to create their own artwork. I was fascinated by how many copies of that album turned up with beautiful, amazing, hand-done artwork on them, and I actively collected them. I had 30 or 40 different ones and they were a running joke at the farmhouse.
At some of our house parties, we would often have 'clean' used copies of the White album, a bin of colored pencils, pens and markers, and invited people to 'decorate' them, adding them to the house collection.
One night, after a wild party, my girlfriend Gloria saw my copy of 'Welcome to New York' that I was playing and left sitting out. She  noticed it's inviting plain white back cover, and decided to 'decorate' it. 
At first, she colored in William Stout's front cover illustration, added the artwork to the labels, and drew the tongue logo in the upper right corner of the back cover. That's how it remained for several months.
A few months later, after another wild party, she rediscovered the album in my collection, played it, was inspired, and decided to 'augment' it, adding new artwork over her previous work. She added the track listing, the drawing of a joint, the detailed right edge artwork, some drawn 'holes', and other odd artwork.
As part of the theme of William Stout's front cover slick, she added the 'Lord's Rule' slogan and put her name and phone number at the bottom in lipstick red. It took her all night, well into the next morning, and she was quite proud of it.
I was a little 'startled', but thought it was cool at the time, and stashed it away in my collection.
Although my hazy Iowa days and my girlfriend 'Gloria' are all in the distant past, and I have many other copies of 'Welcome to New York' in my collection, I kept this 'customized' version for many years now, but it's time to pass it on to someone else who thinks it's cool and different.
Although I realize that many collectors feel that 'defacing' an album cover destroys it's value, I think that my friend Gloria's colorful 'customization' of Stout's illustration and the album jacket elevates it to an amazing piece of artwork.
Despite the artwork, the underlying album is fantastic, in great condition, sounds amazing, and is an excellent rare album. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THE ROLLING STONES 1972 TOUR
The Rolling Stones 1972 Tour was a highly anticipated, highly publicized and hyped up event, one of the most electrifying tours in rock history.
The tour was relatively short, only 48 shows, in Canada and the United States, and ran from the beginning of June to the end of July 1972.
The tour was in support of their great 'Exile on Main Street' album that was just released in mid May. It was the first time that the Stones were back touring in the USA since the mess that happened at the Altamont Free Concert in December 1969.
Despite excellent shows and fantastic set lists, the Stones purposely did not play 'Sympathy for the Devil', the song blamed for the murder and mayhem that happened at Altamont.
Also, on this tour, the Stones did not play any songs from before 1968, except for rare encores of 'Satisfaction'. At the time, Allen Klein owned the entire Stones catalog of songs up to 1971 and the Stones were still fighting with Klein, so they weren't going to play any earlier songs that they didn't own.
That forced the band to play excellent, blistering sets of 'newer' classic songs from 'Sticky Fingers' and 'Exile.' Their set lists were 'All killer, no filler' and every show was full of one swaggering, rebellious and raunchy classic after another. Songs like 'Brown Sugar', 'Bitch', 'All Down the Line', 'Rocks Off', 'Rip This Joint', 'Tumbling Dice' and, of course, Keith singing 'Happy'.
The tour kicked off in Vancouver on June 3rd and wrapped up with 4 shows at New York City's Madison Square Garden, with the final show on July 26th, being Mick's Birthday Party celebration. This album is from that final show.
Stevie Wonder, who had some current hits and some fantastic albums out at the time, was the opening act for the tour. 
Unlike other tours of the States, there was no live album from this tour released at the time, making 'Collector' records, like this one, an essential part of any Stones collection.
Some shows were taped for a potential live record, but that idea was scrapped by the band. 
Two films of the tour were made; the concert film 'Ladies and Gentlemen: The Rolling Stones!' which was released to theaters in 1974, but not available to consumers until 2010, and Robert Frank's 'Cocksucker Blues' a tour documentary. That film was X-rated, revealing sex, drug use, and backstage debauchery, and it was blocked from release by court order. So, despite some great film footage of the tour, most of that material remains hard to come by.
The Rolling Stones, in July 1972, were "The Greatest Rock and Roll Band in the World" and proving it night after night. Their shows personified sex, drugs and rock'n'roll.
The official name of the tour was 'American Tour 1972', but was also known as the "Stones Touring Party" (STP), and by band 'insiders' as the "Cocaine and Tequila Sunrise tour."
Drug and alcohol use within the band at this time was notorious and legendary. Keith was fresh out of a failed Detox stint in Sweden and was still in the midst of a crippling heroin addiction. Cocaine was everywhere and flowed freely. Every shape and color of pill that you could imagine were available backstage.
Keith famously stated that "The only way to do a tour like that is to be as high as you can be and not think about anything else"
In retrospect, despite the drug use, one could argue that they were at their creative peak in the summer of 1972, having released, in order, "Beggars Banquet," "Let It Bleed," "Get Yer Ya-Yas Out," "Sticky Fingers" and then, a month before the tour, the amazing double album "Exile on Main Street"
By late July, when the band rolled into New York City for these final shows of the tour, the band was playing at their peak. Both of the band's guitarists, Keith Richards and Mick Taylor were on fire, Mick Jagger's voice was great, and he joyfully danced and pranced around the stage brilliantly. Nicky Hopkins kept the melodies tight and flowing on the keyboards. The rhythm section of Charlie Watts and Bill Wyman had punch, drive and power, and the 2 horn players, Bobby and Jimmy, added just the right amount of soul, accent and attitude. ~~~~~~~~~~~
This album, recorded on Mick's 29th Birthday, July 26, 1972, at Madison Square Garden in New York City, captures highlights of the very last show of one of the Stones' all-time debaucherous rock'n'roll tours. 
An amazing, inspired, passionate performance. The Stones are in top form throughout this show, obviously enjoying themselves and having fun, proving that they were one of the best live rock n roll bands in their day. 
It's one of the key, important, live performances of the tour and the Mick Taylor-era Rolling Stones. An intimate, excellent sounding, soundboard recording, capturing the band at their raunchiest and bluesiest.
Following this final performance, a birthday party was thrown by Ahmet Ertegun at the St. Regis New York. Guests included Bob Dylan, Woody Allen, Andy Warhol, Truman Capote and many other Manhattan musical stars and socialites. The Count Basie Band provided live musical entertainment. 
This classic Rolling Stones record, 'Welcome to New York' is often cited by Stones collectors as one of the Stones' best live 'collector' records from the '72 tour. 
It's considered one of the essential, most incredible, live Stones recordings, capturing the Stones at their rough and rocking peak, and revealing all their power, rawness, and bluesy swagger. The band are operating at a very high level, very 'loose but tight', energetic and inspired throughout.
The sound is fantastic, the band is absolutely on fire, the energy is positively crackling, the set list is excellent, and the performances are outstanding.
This is a clean, classic, early TMOQ pressing, an amazing and fantastic sounding soundboard recording, much better than what's usually heard on these types of records.
For years, the Stones had been called the World's Greatest Rock'n'Roll Band, but if that designation ever applied, it was here on 'Welcome to New York'.
Quintessential stuff, and absolutely essential for all Stones fans.
An excellent recording that belongs in every classic rock or Rolling Stones vinyl collection. ~~~~~~~~~~~~~~~~~~~~~
CONDITION: I tried to show good hi-resolution photos of the jacket, labels, and vinyl in my pictures.
This is my original early copy of ''Welcome to New York' that I purchased 'gently used' nearly 45 years ago, back when I lived in Manhattan, and have tried to great care of it since. This record has been sleeved and stored properly for years, and is still quite nice.
VINYL: The vinyl still looks excellent. Clean and bright. This album is pressed on nice, heavy, high quality vinyl and has a fantastic sound to match. A very nice pressing, which was rare for 'collector' records in the late 70's. TMOQ pressings were generally known for their high quality and terrific sound.
No significant scuffs, scratches, or dings worth mentioning, but it does have some evidence of play and has a few pops and clicks, but No 'skips' or anything that interferes with the great music. I'm sure you'll be very happy with it.
I'll call it a conservative VG+, to keep everyone happy, but you can see from my photos how nice it looks, other than being a little 'dusty'. 
I haven't messed with this disc or cleaned it, other than my trusty 'DiscWasher' brush, in over 40 years, so it would likely benefit from a good deep cleaning to make it even better looking and better sounding than it already is. I'll leave that up to the winning bidder.
LABELS: This TMOQ pressing originally had the plain white, deep groove, labels used in the early 70's. These labels had no printing, no mention of the band or song titles. The spindle holes are clean and sharp, suggesting infrequent playing and my careful handling over the years.
The original labels were clean, bright and white, but my old girlfriend Gloria 'customized' them with artwork, adding the name of the band, the location, and some 'tongue' artwork.
JACKET: As you can see from my pictures, this still looks very nice for a 45 year old copy, but is heavily 'customized' with artwork by my friend Gloria.
The original plain white jacket was clean, square and bright with relatively sharp corners, straight spine, no ringwear and no seam splits. A beautiful vintage jacket.
This TMOQ pressing originally came with a loose, golden-yellow, Xeroxed, paper, slip-sheet insert over, featuring fantastic artwork by William Stout.
Note that the insert is anchored down into place with clear cellophane tape. The tape is along the left side only, is done neatly, but should be pointed out.
There is also a 'notch' missing from the insert in the bottom left corner. That's how I purchased it 45 years ago.
My girlfriend Gloria hand 'colored' William Stout's excellent artwork with colored felt pen, which makes the illustration 'pop' and take on a more vibrant look. It looks very cool.
 As you can see this still looks great. An amazing rare survivor. I tried to show details in my photos.
Very nice, all original, and a real gem. I'm sure you'll be very happy to add it to your collection. It would make a great addition to any Classic Rock or Stones vinyl record collection.  ~~~~~~~~~~~~~~~~~~~
** NOTE: I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's rare, and as described, and I'm sure you'll be very happy with it. A great copy of the iconic 'Welcome to New York' and a great sounding copy. ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★
I’m recently retired and downsizing and letting go some gems and rarities from nearly 50 years of vinyl record collecting. 
Keep an eye on my Ebay page, 'jjrbyrne' for more of these great rare 'collectible' albums, live albums, LP's and 45 singles. 
All records have been carefully evaluated and graded by me. I visually inspect all records under bright light, personally gently clean them with a soft cloth and then, if unsure, play them on a modern high-end turntable and system to get a true picture of condition. 
Please look at all the high-resolution pictures I added. They are all my own and are of the actual record being sold. The pictures are part of the description and can show small details, label variations, and condition better than I can put into words. 
My grading is fair and honest. I have had over 3,600 happy and satisfied EBay customers over the years, with 100% positive feedback, and I have been buying/selling on EBay for nearly 30 years, so please bid with confidence!
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As you well know, packing and shipping rare records requires special care and attention, therefore, shipping cost within the lower 48 states is $5.00 on this item. If you would like insurance, or anything faster than Media/Economy Mail, please let me know and I can arrange it for you. I’ll work with you to make sure you’re happy!
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THANK YOU for looking and reading if you got this far. I know I rambled on a bit, but can't help it. I have a passion for records, especially 'Collector' records and the Rolling Stones.
I hope this listing was entertaining and informative.   -- JOHN