Rolling Stones / Surrey Rehearsals 1968 / 1CD

Rolling Stones / Surrey Rehearsals 1968 / 1CD / Non Label
R.G. Jones Studios, Morden, Surrey, UK 21st February – 14th March 1968 2019 UPGRADE VERSION

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Stones has been excavating rare sources ranging from live to studio sessions, but it seems that the oldest recording that recorded rehearsal before album recording was from February to March of 1968 in Surrey Rehearsal sound source at RG Jones Studios in Morden. This is not a regular recording in the studio, but a rough private recording that captures the rehearsal pattern. However, the “Pop Band Age” from the album “AFTERMATH” to “THEIR SATANIC MAJESTIES REQUEST” has ended, and Stones has finally ended until Andrew Oldham, who was the manager since his debut, produced recording. It is also a very valuable sound source that captures the appearance of an excessive period trying to literally return to the origin by encountering a producer, Jimmy Miller.
It was the LP called “1968 SURREY REHEARSALS” that saw the sun for the first time. Although it was certainly recording precious sound sources, basically the pitch was low, and as a bonus it had a big problem that it went down steadily. Because of that, it became difficult to listen to the content centered on the instrument, and what was fatal was the draft instrumental of “ Jumping Jack Flash ” which is the main feature of this sound source was divided in the B side That means. In fan club magazines at the time, it was described as “the prototype of“ JJF ”but inexplicable”. After all it was only an item for core enthusiasts.

The version that VGP label released under the same title about 20 years ago was a courageous CD that rehearsal sound source that could be called mania’s stepping picture in a sense. Unlike LP, this was an epoch-making release with normal pitch and much more music, but only made the same editing mistake as LP that had dub recorded “Rock Me Baby” I was regretted by the point. Aside from this problem, some manias were crazy about rehearsals that were incomparably easier to hear than LP.
However, in recent years, a further upgraded version of this rehearsal has appeared on the net. Compared with the LP and VGP versions, the sound quality that is easier to hear at a stretch is an upper feeling that will surprise the enthusiast who has listened to the previous item. His noise has been reduced a lot, and it has become a mild sound quality. Of course, it is still a rough recording.
In addition, LPs and interviews by British rock journalist Keith Olsam, which was recorded at the end of past items, were recorded longer than the VGP version. It is a part that is not related to music, so it may be a documentary upgrade, but at least in the VGP version you can hear the talk that was cut off while Mick talks about Jimmy Miller without breaking That is the point.
In this interview, Keith explains that “Brian is in Paris because he celebrates his birthday”, which is a rehearsal in late February or early March (his birthday is February 28) ) By the way, it is also clear from the sound quality and balance that the interview scene was recorded from the outfield (member’s conversation is dumpling), and this is probably the possibility that Keith Olssum recorded it.
From Keith’s testimony in this interview, it is speculated that the rehearsal was performed without Brian (and also Bill Wyman). For example, in “Slow Blues Jam” and “Phone Ringing Jam”, slide guitars were used. From what I was asked, there was a possibility that Brian was playing there, and sometimes there were two guitars in other performances. These aren’t Mick’s phrases and time, but are still Brian. Therefore, it is speculated that not all are recorded on the same day.

Although it is such a special sound source, there is no doubt that it is a very interesting content in the rehearsal sound source excavated in some Stones. Although it is a performance in the name of “Stray Cat Blues” that appears twice in the early stage, the atmosphere is rather close to “Citadel” of the previous year. The tone that Keith actually played was in the “THEIR SATANIC MAJESTIES REQUEST” period itself, and the lead guitar phrase he played in Take 2 was the play itself that was heard at the ending of “We Love You”. This is where the sound source is interesting.
In other words, Keith who met Jimmy Miller and tried to return to the origin tried playing R & B phrases such as “ Hold On, I’m Comin ” ‘and “ River Deep, Mountain High’ ‘, but it was still a The atmosphere is drifting. Under such circumstances, the fourth track “Unknown Song” is where Mick is hiding in the performance, but is listening to a great shout, and you can see a glimpse of returning to the blues and R & B sound lines that changed from the previous year. . If you think so, the point is that Brian played a slide guitar after a long time as before.

And this is the instrumental version of “Jumping Jack Flash”, the biggest feature of this sound source, but that riff and chord progression has already been completed, and it is too precious to get a glimpse of the draft stage of this historical masterpiece. In addition, it should be noted that in the rehearsal, you can hear a heated performance that is exceptional. Keith and Mick must have felt that this is the next route!
At the time of this limited press CD release, the sound quality itself has improved compared to previous releases, and the pitch has been finely adjusted. Although it was a maniac sound source that had some problems until now, it finally became possible to enjoy the whole volume in a stable state. A precious sound source that captures groping Stones before the golden age. This is the best version mania has been waiting for!

ストーンズはライブからスタジオセッションまで多岐に渡るレア音源が発掘されてきましたが、アルバム・レコーディング前のリハーサルを収録した最古の録音と思われるのが1968年の2月から3月にかけてサリー州のモーデンにあるRG・ジョーンズ・スタジオでのリハーサル音源。これは性質上スタジオでの正規のレコーディングではなく、あくまでリハーサルの模様を捉えたラフなプライベート録音でした。しかしアルバム「AFTERMATH」から「THEIR SATANIC MAJESTIES REQUEST」にかけての“ポップバンド時代”が終結し、さらにはデビュー時からのマネージャーだったアンドリュー・オールダムがレコーディングをプロデュースされる時代まで終焉を迎えたストーンズが新たなプロデューサー、ジミー・ミラーとの出会いをきっかけとして文字通りの原点回帰を図ろうとする過度期の姿を捉えた非常に貴重な音源でもあるのです。
それが初めて日の目を見たのが「1968 SURREY REHEARSALS」というLP。確かに貴重な音源を収録してはいたものの基本的にピッチが低め、おまけにそれがどんどん下がっていくという大きな問題を抱えていたのです。そのせいでインスト中心の内容が余計に聞き辛くなってしまい、致命的だったのが本音源の目玉である「Jumping Jack Flash」の草稿的なインストがB面の中で分断されてしまっていたということ。当時のファンクラブ誌などにおいても「”JJF”の原型らしいが、不可解」と評されていたものです。結局はコア・マニア向けのアイテムでしかなかった。

ある意味でマニアの踏み絵とも呼べるリハーサル音源を勇敢にもCD化してくれたのが約20年前にVGPレーベルが同名タイトルにてリリースしたバージョン。こちらはLPと違ってピッチが正常ではるかに音楽として聞き込める画期的なリリースだったのですが、唯一「Rock Me Baby」をダブって収録してしまっているというLPと同じ編集ミスを犯していた点が惜しまれました。この問題を除けば、LPとは比べ物にならないほど聞きやすくなったリハーサルに狂喜したマニアもいたのです。
このインタビューにおけるキースの証言から、リハーサルはブライアン不在(さらにはビル・ワイマンも)で行われたのだと推測されるのですが、例えば「Slow Blues Jam」や「Phone Ringing Jam」においてスライドギターが聞かれることから、そこではブライアンが演奏している可能性があり、なおかつ他の演奏でもギターが二本入っている場合がありました。これらはフレーズや時期的に考えてミックではなく、やはりブライアンだと思われます。よってすべてが同じ日の録音ではないとも推測されます。

そんな特殊な音源ではありますが、ストーンズのいくつか発掘されたリハーサル音源の中ではずば抜けて興味深い内容であることは疑いの余地がない。序盤で二回登場する「Stray Cat Blues」名義の演奏ですが、雰囲気はむしろ前年の「Citadel」に近い。実際にキースが鳴らした音色などは「THEIR SATANIC MAJESTIES REQUEST」期そのものですし、テイク2で彼が弾いたリードギターのフレーズに至っては「We Love You」のエンディングで聞けたプレイそのもの。ここに本音源の面白さがあるのです。
つまりジミー・ミラーと出会い、原点回帰を試みたキースが「Hold On, I’m Comin’」や「River Deep, Mountain High」といったR&Bのフレーズを弾いてはみたものの、まだノリ的には前年の雰囲気が漂っているということ。そんな中で4トラックめの「Unknown Song」ではミックが演奏に隠れがちながらも凄いシャウトを聞かせており、前年までと打って変わったブルースやR&Bのサウンド路線へと回帰する様子が垣間見られるのです。そう考えれば先のようにブライアンが久々にスライドギターを弾いたのも合点がいく。

そして本音源における最大の目玉である「Jumping Jack Flash」のインスト・バージョンですが、既にあのリフとコード進行は完成しており、この歴史的名曲の草稿の段階を垣間見られるのはあまりに貴重。おまけにリハーサルの中では群を抜いて白熱した演奏を聞かせる点も特筆すべきでしょう。キースやミックも「次の路線はこれだ!」という手応えを感じたに違いありません。


01. Stray Cat Blues (Instrumental)
02. Jam #1
03. Stray Cat Blues (Riff & Guitar)
04. Unknown Song (with Off-Mic Vocals)
05. Jumping Jack Flash (Early Instrumental Take)
06. Jam # 2
07. Short Jam
08. Hold On I’m Coming (with Off-Mic Vocals)
09. Rock Me Baby (with Off-Mic Vocals)
10. My Home Is A Prison (with Off-Mic Vocals)
11. Slow Blues Jam
12. Phone Ringing Jam
13. River Deep Mountain High (with Off-Mic Vocals)
14. Interview conducted by NME journalist Keith Altham with Mick Jagger, Keith Richards, Charlie Watts & Jimmy Miller

Mick Jagger – Vocals & Guitar
Keith Richards – Guitar
Charlie Watts – Drums

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