Abkco

16 LPs Encompassing All 1963-1969 Mono Recordings from "The World's Greatest Rock and Roll Band" Available In Coloured Vinyl Set For First Time Ever.<br/> <br/>ABKCO Records is set to release The Rolling Stones in Mono (Limited Colour Edition) vinyl box set in early 2023. Originally issued on black vinyl, CD and digital in 2016, the updated version contains the entirety of the Rolling Stones' 1960s recorded output (186 tracks spread across 16 180-gram LPs), now presented in a plethora of vinyl colours - 14 total - chosen to match the original cover art of classic albums such as Aftermath and Beggars Banquet. <br/> <br/>Spanning the era between 1963 and 1969, The Rolling Stones in Mono (Limited Colour Edition) covers the formative years of the legendary London-based quintet, who were dubbed and acknowledged as "the world's greatest rock and roll band," as they were churning out era-defining hits such as "(I Can't Get No) Satisfaction," "Paint It, Black," "Ruby Tuesday" and "Honky Tonk Women." Packaged as 15 separate albums, The Rolling Stones In Mono contains key releases from the band's U.S. and U.K. discographies, organized to include every track from the era while minimizing catalog redundancies. Stray Cats, a 2-LP compilation exclusive within the vinyl box set, ties up all loose ends, incorporating every 1960s Rolling Stones track that isn't found on the other 14 albums, for a total of 24 tracks. It includes two versions of the aforementioned "Poison Ivy," Barrett Strong's 1959 hit "Money," as well as "Fortune Teller." Other rarities include "Con Le Mie Lacrime," a version of "As Tears Go By" sung in Italian, "Stoned" (the instrumental b-side of "I Wanna Be Your Man"), and the 1965 outtake of Otis Redding's "I've Been Loving You Too Long," now freed of the fake applause to disguise its studio origin when the track appeared on the 1966 LP Got Live If You Want It. <br/> <br/>During this period, most rock and pop recordings were mixed in mono, with the stereo version often an afterthought, and only dealt with following the completion of the original (mono) version of a given track. In short, mono reigned and this was, indeed, the case for the Rolling Stones at that time. While typical playback systems of the '60s were less than sophisticated, the original mono recordings, especially as heard through quality components, were of the highest audio quality and had a powerful and very direct impact. "You felt you were in the room . . . listening to exactly what went down in the studio, no frills, no nothing," Keith Richards wrote in his autobiography, Life. "Rock was a completely new musical form," Mick Jagger explained in a 1995 Rolling Stone interview. "It hadn't been around for ten years when we started doing it . . . You felt like one of the chosen few, one of the only ones in the world who would get to play with this new toy. We had evangelical fervor." Late recording engineer Dave Hassinger explained how he mixed his '64-'66 works for the Stones in mono. "They always played together at the same time. They would run the parts down, work out the changes here and there, nail it down, then start recording."<br/> <br/>Rolling Stone senior editor David Fricke, in his 5,000-word essay that accompanies the set, writes, "The Rolling Stones in Mono is the full studio account of that first decade of history and mayhem, newly remastered with unprecedented fidelity and revelatory detail." His commentaries are included with the box set as part of a 4-colour deluxe 48-page lie-flat book that features numerous rare photos by renowned photographer Terry O'Neill. The 16 LPs are housed in the original full colour album jackets that fit along with the book into a one piece specially crafted box.<br/> <br/>The Rolling Stones in Mono (Limited Colour Edition) was mastered by GRAMMY® award-winning engineer Bob Ludwig at Gateway Mastering. For the project he utilized Direct Stream Digital (DSD) transfers from the original master recordings, with a sampling rate of 2,822,400. Lacquer cutting for vinyl was performed at Abbey Road Studios by Sean Magee. The Rolling Stones in Mono (Limited Colour Edition) project has been overseen by Teri Landi, ABKCO's GRAMMY® award-winning Chief Audio Engineer.<br/><br/>1) The Rolling Stones (UK, 1964) - Cobalt Blue vinyl<br/>2) 12 X 5 (1964) - Yellow vinyl<br/>3) The Rolling Stones No. 2 (UK, 1965) - Steel Blue vinyl<br/>4) The Rolling Stones Now! (1965) - Gold vinyl<br/>5) Out of Our Heads (US, 1965) - Sky Blue vinyl<br/>6) Out of Our Heads (UK, 1965) - Green vinyl<br/>7) December's Children (And Everybody's) (1965) - Silver vinyl<br/>8) Aftermath (UK, 1966) - Purple vinyl<br/>9) Aftermath (US, 1966) - Grey vinyl<br/>10) Between the Buttons (UK, 1967) - Azure Blue vinyl<br/>11) Flowers (1967) - Pink vinyl<br/>12) Their Satanic Majesties Request (1967) - White vinyl<br/>13) Beggars Banquet (1968) - Maroon vinyl<br/>14) Let It Bleed (1969) - Red vinyl<br/>15) Stray Cats (2-LP collection of single A & B sides plus E.P. tracks) - White vinyl

Rolling Stones: Beggars Banquet [Vinyl LP]

Rolling Stones: Hot rocks 1964-71 [2 Vinyl LP]

Rolling Stones: England's newest hitmakers [Vinyl LP]

Under två avspända dagar i en TV-studio i norra London i december 1968 samlade Rolling Stones ihop några av sina musikaliska vänner, däribland John Lennon och The Who, för en show som gick ut över det mesta: en sprudlande rockcirkus, som även hade jonglörer, clowner och eldslukare på programmet. "The Rolling Stones Rock and Roll Circus" regisserades av Michael Lindsay-Hogg och spelades in för BBC men visades aldrig och förblev en helig gral för rockdiggare. För 20 år sedan gavs dock delar av föreställningen ut på CD. <br/><br/>Nu kommer remastrad version ut och har dessutom försetts med rejält med extramaterial, bland annat mer musik med John Lennons hobbyband The Dirty Mac, där även Keith Richards var med.<br/><br/>180 gram vinyl

Many, including The Rolling Stones, consider this to be their first official full-length live release, despite the appearance of the US-only Got Live If You Want It! in 1966 as a contractual obligation product. One reason for releasing a live album was to counter the release of the Live'r Than You'll Ever Be bootleg recording of an Oakland performance on the same tour, a recording which was even reviewed in Rolling Stone magazine.<br/><br/>Having not toured since April 1967, The Rolling Stones were eager to hit the road by 1969. With their two most recent albums, Beggars Banquet and Through the Past, Darkly (Big Hits Vol. 2) being highly praised, audiences were anticipating their live return. Their 1969 American Tour's trek during November into December, with Terry Reid, B.B. King (replaced on some dates by Chuck Berry) and Ike and Tina Turner as supporting acts, played to packed houses. The tour was the first for Mick Taylor with the Stones, having replaced Brian Jones shortly before Jones' death in July; the performances prominently showcased the guitar interplay of Taylor with Keith Richards.<br/><br/>The performances captured for this release were recorded on 27-28 November 1969 at New York City's Madison Square Garden, while "Love in Vain" was recorded in Baltimore, Maryland on 26 November 1969. Overdubbing was undertaken during January and February 1970 in London's Olympic Studios. No instruments were overdubbed, although on bootlegs, examples are known of Richards trying out different guitar parts (e.g. a guitar solo on "Jumpin' Jack Flash"). The finished product featured new lead vocals on half the tracks, and added backing vocals by Richards on several others.<br/><br/>Some of the performances, as well as the photography session for the album cover featuring Charlie Watts and a donkey, are depicted in the documentary film Gimme Shelter, and shows Jagger and Watts on a road in Birmingham, UK in early December 1969 posing with the donkey. The actual cover photo however was taken in early February 1970 in London, and does not originate from the 1969 session. The photo, featuring Watts with guitars and bass drums hanging from the neck of a donkey, was inspired by the lyrics to Bob Dylan's "Visions of Johanna" (although these lyrics refer to a mule).<br/><br/>In the Rolling Stone review of the album, critic Lester Bangs said, "I have no doubt that it's the best rock concert ever put on record."<br/><br/>`Get Yer Ya-Ya's Out!´: The Rolling Stones in Concert was released in September 1970, well into the sessions for their next studio album, Sticky Fingers, and was very well-received critically and commercially, reaching #1 in the UK and #6 in the US where it went platinum. Except for compilations, it was the last Rolling Stones album released through Decca Records in the UK and London Records in the US before launching their own Rolling Stones Records label.<br/><br/>The title of the album was adapted from the song "Get Yer Yas Yas Out" by Blind Boy Fuller. The phrase used in Fuller's song was "get your yas yas out the door".

Rolling Stones: The Rolling Stones No 2 [Vinyl LP]