Rolling Stones In Mono (Box)

Product Information

Matrix / Runout (Side AC (8 in # 2098-1 covers a 7)): 7120981-A-1 SELECTION # 2098-1 245546E1 1266765 00018771209812-A Like the original box, the new Rolling Stones in Mono presents the original mono albums released on both sides of the Atlantic between 1964 and 1969. The set offers the Stones' self-titled U.K. debut from 1964 (retitled and slightly tweaked for U.S. release as England's Newest Hit Makers); their second American album, 12 X 5, from the same year; and their second and third LPs from England ( No. 2) and America ( The Rolling Stones, Now!) in 1965. From there, the box features both U.K. and U.S. versions of Out of Our Heads (1965) and Aftermath (1966), the 1966 U.S. album December's Children (and Everybody's); British ( Between the Buttons) and American ( Flowers) albums from 1967; and finally, their first three internationally uniform albums, Their Satanic Majesties Request (1967), Beggars Banquet (1968) and Let It Bleed (1969), the mono versions of which had long been out-of-print. Matrix / Runout (Side AD (8 in # 2098-1 covers a 7)): 7120981-B-1 SELECTION # 2098-1 245546E2 1367662 00018871209812-B Finally there is the double Stray Cats, which has early and alternative tunes plus singles versions of “Street Fighting Man” and “You Can’t Always Get What You Want” plus the Italian version of “As Tears Go By”, “I Wanna Be Your Man” written by The Beatles for The Stones, “Not Fade Away” (left off the UK first album) and other items of interest for Stones completists.

Offiziellecharts.de – The Rolling Stones – The Rolling Stones in Mono" (in German). GfK Entertainment Charts. Retrieved 27 January 2023. For CDs with printed/picture label (EOMS, Dirty Work, Steel Wheels, Voodoo Lounge, Bridges to Babylon, A Bigger Bang) there is an extra ‘silver’ ring on the label side around the hub. Photography By – David Bailey (5), Gered Mankowitz, Guy Webster, Jerrold Schatzberg*, Michael Cooper (8), Nicholas Wright (2) And when we get to 1965’s December’s Children (and everybody’s), the singing and arranging are getting even more creative and sophisticated. Listen to arranger Mike Leander’s gorgeous string ritornello in “As Tears Go By” (Jagger/Richards). He was good enough to arrange for The Beatles when George Martin was unavailable. Weird font for mould ifpi code (no code reported but the ifpi style on low quality images pointed to ‘Chinese ifpi B404’ type).To begin, I installed the 0.7mil Zero and concentrated upon those mid-80s pressings compared to the new box set. That is one of the reasons original mono pressings of The Beatles, The Rolling Stones and other groups have increased in value. That said, bass had to be seriously attenuated (“rolled off) and dynamics compressed on those early records so they wouldn’t skip on “kiddie phonographs” of the day. The visualization would essentially be below. The illustration represents 2 cables merging into 1 RCA, then 1 RCA splitting to 2 again to the preamp.

Unlike The Beatles’ relationship with EMI, UK Decca Records did not “own” The Rolling Stones. Instead, Andrew Loog Oldham, having learned the independent game from his mentor Phil Spector, licensed to Decca the Rolling Stones’ recordings, while maintaining control over the content, the production and probably the cover artwork as well (though I don’t claim to know the precise relationship between Decca UK and it’s London American subsidiary). In the case of this box there was one addition step of course, digitization using a particular DSD A/D converter. Different shape of the CD. Originals from USA are ‘clear plastic’ hub CDs. Chinese fakes came with relatively broad ‘clear’ ring, but part of the hub is covered with ‘silver’ foil. I've Been Loving You Too Long (from Got Live If You Want It! - London Records LL 3493 (U.S.), 1966)

Versions

The entirety of the band’s studio output in the 1960s, pressed in a different colour for each title. The production chain here started with Restoration Producer Teri Landi, who supervised the sound restoration by The Magic Shop’s (RIP) Steve Rosenthal and Ted Young. You can be sure that these old tapes probably had some issues in need of correction. Fortunately, after listening through the entire set, it doesn’t sound to me as if “sound revision” was on their menu. Keith Richards – acoustic and electric guitar, slide guitar, bass, fuzz bass, double bass, piano, vocals Poison Ivy had two different versions,” said Landi. “One was on a Saturday Club compilation and another that ended up on the EP.” Once the files had been mastered they were sent (probably over the Internet) to Abbey Road Studios where Sean Magee and Alex Wharton cut lacquers from the DSD files. As best as I can determine, at no time were the DSD files converted to PCM or in any way decimated.

This would really need to be done after the phono stage amplifier (The signal before the phono stage from the turntable is too weak to put anything in the way).Both the mono releases contained 'fold-downs' of the stereo mixes with the exception of "Sympathy For The Devil" which was a true mono mix. In terms of test software, I used original mono pressings of The Rolling Stones (1964) and No.2 (1965), Out of Our Heads (1965) and Aftermath (1966). For further comparative purposes, I also used relatively modern, mid-80s, pressings of The Rolling Stones and No.2. These last two are two fantastic albums with diverse, brilliant material. Some suggest the original stereo mix folded down to mono is not good. I think it sounds great and even adds a little bloom to the previous close mic recordings. Beggars Banquet was the debut of the band’s new producer, Jimmy Miller. The produce these “new” records, Capitol had to take the tapes they were sent—already copies at least one, perhaps two generations down from the masters—and then copy again to create the cutting masters, while at the same time adding the echo and whatever else they chose to do to make the sound more acceptable (they thought) to the “kiddies”.