The ROLLING STONES – ” Get Your Ya Ya’s Out ” Classic Live Albums

Posted: September 3, 2015 in Classic Albums, MUSIC
Tags: , , , , ,


Recorded during their American tour in late 1969, and centered around live versions of material from the Beggars Banquet-Let It Bleed era. Often acclaimed as one of the top live rock albums of all time, its appeal has dimmed a little today… it’s certainly the Stones’ best official live recording.
Released 4th September 1970. Recorded 26th November 1969, at Baltimore,Maryland, United States and 27th–28th November 1969, New York City, New York, United States. 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. 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”.

“Charlie’s good tonight, in’int he?” observes Mick Jagger just before the Stones kick into “Honky Tonk Woman” like a mighty locomotive hauling the country-blues tradition into the future that was rapidly unfolding in November of 1969, when they recorded (most all of) this live album at Madison Square Garden. Hell yeah he’s good. As were Mick, Keith, Bill and the newly installed other Mick (Taylor) plus original Stone turned minder/musical conscience Ian Stewart on keys here, there and about.

Sailing on the peak of their powers as a recording act in the potent wake of “Beggars Banquet” and with “Let It Bleed” in the chute to arrive the next month, onstage the Stones played it down ‘n’ dirty, a tad raw and a wee bit loose-limbed and slushy, but to effect that sounds in some ways today even more compelling than when this smoker of a disc first came out. It was the signal that they were indeed The World’s Greatest Rock ‘n’ Roll Band on any given night they played in this era and well into the next decade, nailing down with casually assured aplomb what the notion means. And on “Get Yer Ya-Ya’s Out”, in the pre-professional era of rock concerts, sans any stage set (much less giant inflatable penises), they were there not to simply perform but really play.

Like a genuine band they’re locked in with one another – the Richards/Taylor six-string dynamo trading rhythm and lead like ambidextrous Siamese twins – and roaming together like a pack within the grooves, tunes and spirits of the songs. The moments with the most snap for me (most of the time) may be the two Chuck Berry numbers (“Carol” and “Little Queenie”) and “Live With Me” that deeply plough the eternally irresistible uptempo rock ‘n’ roll groove (in addition to all their other thrills and charms, such as Stewart’s Johnnie Johnson-style boogie-woogie piano counterpoints on “Queenie,” to cite one of many).

January–February 1970 Many, The Rolling Stones, consider this 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. The performances captured for this release were recorded on 27th –28th November 1969 at New York City’s Madison Square Garden, while “Love in Vain” was recorded in Baltimore, Maryland on 26th 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.

Since its September 4th, 1970 release followed “Let It Bleed” (from which four Ya-Ya’s songs came) and the “Through The Past Darkly” hits collection (with hit singles “Jumpin’ Jack Flash” and “Honky Tonk Women”), some at the time would A/B compare the live and studio versions, which kind of misses the point. And even doing so now, I remain more fond of “Midnight Rambler” and “Love In Vain” here (respectively, the former’s tempo and groove and the latter’s crackle feeling closer to the spirit of its writer Robert Johnson). The studio majesty of “Jumpin’ Jack Flash”  and its stripped-down live verve on this set is to me simply the flip-side of the same precious coin. But again, this was before many concerts tried to deliver replications of studio recordings; the Stones were instead about ass-kicking those songs live as a kick-ass band.

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 (9th November 1969) performance on the same tour, a recording which was even reviewed in Rolling Stone magazine.

Ya-Ya’s never fails to not just satisfy but renew my love for real rock ‘n’ roll. And I still continue to hear it almost anew and finally key into yet another of the disc’s abundance of way cool moments and touches of a live rock band at their very best and realest. Decades later, it remains my all-time most-beloved concert album, and none of the live Stones albums to follow even comes close.
“Live’r Than You’ll Ever Be”.
The bootleg Stones album, made up of performances from the second show at the Oakland Coliseum.

00:00 Intro
00:51 Jumping Jack Flash
04:48 Carol
08:30 Sympathy For The Devil
14:53 Stray Cat Blues
19:10 Prodigal Son
23:03 You Gotta Move
26:13 Love In Vain
31:37 I’m Free
37:01 Under My Thumb
40:24 Midnight Rambler
48:05 Live With Me
51:22 Gimme Shelter
55:59 Little Queenie
1:00:12 Satisfaction
1:06:13 Honky Tonk Women
1:10:11 Street Fighting Man

rolling stones live 1969

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