The Rolling Stones - Get Yer Ya Ya's Out! Live in Concert (Vinyl)

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'Get Yer Ya-Ya's Out!': The Rolling Stones in Concert is the second live album by the Rolling Stones, released on 4 September 1970 on Decca Records in the UK and on London Records in the US. It was recorded in New York City, New York and Baltimore, Maryland in November 1969, just before the release of Let It Bleed. 

The Stones 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's death in July; this was also the first album where he appeared fully and prominently, having only featured on two songs on Let It Bleed. It was also the last tour to feature just the Stones – the band proper, along with co-founder and pianist Ian Stewart – without additional backing musicians.

The performances captured for this release were recorded on 27 November 1969 (one show) and 28 November 1969 (two shows) at New York City's Madison Square Garden, except for "Love in Vain", recorded in Baltimore, Maryland on 26 November 1969. Overdubbing sessions were undertaken during January 1970 in London's Olympic Studios. The finished product featured an overdubbed lead vocal on all tracks except for "Love In Vain" and "Midnight Rambler," added back-up vocals on three tracks, and overdubbed guitar on two songs ("Little Queenie" and "Stray Cat Blues").[citation needed] However, this album is widely recognized as one of few actual 'live' albums during this era.

In the Rolling Stone review of the album, critic Lester Bangs (played by Philip Seymour Hoffman in 'Almost Famous') said, "I have no doubt that it's the best rock concert ever put on record."


Who said, The Rolling Stones are the greatest rock n’ roll band in the world? The Rolling Stones of course, but just because they say it doesn’t necessarily make it true ... after all, KISS tried saying the very same thing, and we certainly know that that’s not true. So here I sit, I have no idea why this dynamic collection of music is in front of me, other than the fact that it floated into my hands on the wings of angels.

Have I lost my way? I don’t think so. Have I become jaded? I don’t think that’s true either. So what happened between me and The Rolling Stones, the greatest rock n’ roll band in the world? I loved The Stones up until Exile, but you can read my review on that ... what I think happened was a combination of several things. I’m not a prude, but I could never get behind the filthy restroom cover, nor could I get behind many of the images that seemed to paint the boys as some sort of ghetto-mud-wresters, who live with rats, and cockroaches the size of matchbooks. And their conduct at Altamont was unconscionable. The "image" of The Rolling Stones has always been about style and grace, and while “Keif” may certainly be a rebel, the rest of the band has always been filled with top flight musicians, with multi talents. And Mick? Well, for all his bad-boy posing, he’s wanted nothing more in his entire life than to be part of the establishment. And then there’s the aspect that these guys are almost 70, at least one of them is, and while other artists continue to make great music and break new ground, The Rolling Stones seemed to be locked into 1971 ... when in reality they [Mick] is nothing more than an old man shaking his butt, with his senior citizen boobies bouncing around. Some may find that attractive, I don’t, I like my men to age well, with grace and refinement, rather than pretending to be some sort of “Out Of Time” misfit “Street Fighting Man” railing against the system, of which they are more than a major corporate entity.

To be honest with you, I don’t want to watch or listen to these songs again. “Get Yer Ya-Ya’s Out!” came out a very long time ago in my life, and even then I didn’t think it was that good. Though I will say that as far as live Stone’s recordings go, this is probably hands down the very best. If you’re a fan, all you could ever hope for is found within the housing of this marvelous edition. There are unheard of versions of may of the songs, and guest appearances that make this more than historical ... but I guarantee you, no matter how good [and I will have to give this package 5 Stars], this is not something I will ever be playing. I’m not even sure it’s a good investment ... it just is what it is. Don’t expect to be enlightened, or to hear the essence of The Rolling Stones, and by no means think that you’ve found the Holy Grail, because you haven’t. What you have found is a slick, well packaged and produced edition that will sparkle in your hands for a short while, and will have made each member of The Rolling Stones that much richer.

AHHHHHH ... but you gotta’ love those “$treet Fighting Men,” still fighting hard for your dollars.

The Fun Facts: It is documented and was understood at the time that the cover art was inspired by 'Visions of Johanna' by Bob Dylan. The line in the song which is illustrated in the photograph is "Jewels and binoculars hang from the head of the mule." The jewels and binoculars are shown together with musical instruments and a camera hanging from the mule or donkey. Charlie Watts is in mid jump and he has only white socks on his feet with no shoes. He is also wearing the tee shirt he wore for that concert tour and also the hat that was worn by Mick Jagger. The album cover states that the photographers were taken by David Bailey for the front cover and by Ethan Russell for the concert photographs on the back. I have also researched and found that Marianne Faithfull recorded "Visions of Johanna" in 1971, just three verses though.

By: Streetmouse

A1 Jumpin' Jack Flash
A2 Carol
Written-By – Berry*
A3 Stray Cat Blues
A4 Love In Vain
Written-By – Johnson*
A5 Midnight Rambler
B1 Sympathy For The Devil
B2 Live With Me
B3 Little Queenie
Written-By – Berry*
B4 Honky Tonk Women
B5 Street Fighting Man

Art Direction [Repackage] – Alisa Coleman-Ritz, Iris W. Keitel
Artwork [Art Production Assistant] – Nicole Monea, Patricia Sheppard
Concept By [Conception] – Lenne Allik
Design [Original] – John Kosh, Steve Thomas Associates
Design [Repackage] – Zane Peterson
Engineer [DSD] – Gus Skinas
Engineer [Recording & Mixing] – Glyn Johns
Mastered By – Bob Ludwig
Mastered By [DMM] – Don Grossinger
Photography By [Front Cover] – David Bailey (5)
Photography By [Liner Photographs] – Ethan Russell
Piano – Ian Stewart
Producer – Glyn Johns, The Rolling Stones
Reissue Producer [Restoration] – Jody H. Klein
Research [Additional Tape Archive Research] – Jane Byrne, Mick McKenna
Restoration [Sound Restoration], Coordinator [Archive] – Steve Rosenthal
Technician [Production Assistant] – Laura Walton, Maria Papazahariou
Transferred By [Additional Analog To Digital Transfer] – Jon Astley, Pascal Byrne*
Transferred By [Analog To Digital Transfers], Research [Tape Archive] – Teri Landi
Written-By – Jagger; Richards* (tracks: A1, A3, A5 to B2, B4, B5)