More of the Music of The Rolling Stones
- Insanely good sound throughout for this Virgin import pressing with all four sides earning Shootout Winning Triple Plus (A+++) sound or very close to it
- One of the best records from The Rolling Stones in the last 25 years!
- Compiled from live performances at The Paradisco Club, Amsterdman, Holland; The Olympia Theatre, Paris, France; and rehearsals in Tokyo, Japan, Lisbon and Portugal
- “Patched together from an embroidery of tour rehearsals and live club dates in Paris and Amsterdam, the project was an extension of acoustic sets the group introduced on the North American leg of the Voodoo Lounge tour. The concept offered an invigorating opportunity to dust off some rough gems from the past that no longer felt at home on sloping stadium stages.”
This vintage Virgin import pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What The Best Sides Of Stripped Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1995
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We’re Listening For On Stripped
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Side One
- Street Fighting Man
- Like A Rolling Stone
- Not Fade Away
- Shine A Light
Side Two
- The Spider And The Fly
- I’m Free
- Wild Horses
Side Three
- Let It Bleed
- Dead Flowers
- Slipping Away
- Angie
Side Four
- Love In Vain
- Sweet Virginia
- Little Baby
AMG Review
Despite the odds, the Rolling Stones’ Stripped held out great promise. Voodoo Lounge was an energized return to studio form for the Borg of rock & roll road shows. From that platform, the idea of taking it back to small clubs — live, lean, and pared-down without succumbing to the worn “unplugged” treadmill — seemed an inspired move. Patched together from an embroidery of tour rehearsals and live club dates in Paris and Amsterdam, the project was an extension of acoustic sets the group introduced on the North American leg of the Voodoo Lounge tour.
The concept offered an invigorating opportunity to dust off some rough gems from the past that no longer felt at home on sloping stadium stages. Unfortunately, the cover photo depicting a lean, determined, leather-clad combo in Spartan black and white proves to be misleading advertising. Within the brave packaging lies a listless, lethargic Dorian Gray bluff. Spongy keyboards gunk many of the tracks. The much-touted cover of Dylan’s “Like a Rolling Stone” remains pointlessly devoted to the original. There are lazy, somnambulant versions of “I’m Free” and “Let It Bleed”; Keith Richards’ “Slipping Away” is painfully intoned; and there are dozens of lost songs that any fan would choose to have renovated before “Angie.”