This release presents Cpt Acid’s work on the Love You Live extra tracks with Spectral Recovery on all tracks as well as level correction and new equalization; such tracks appeared first on Love You Live Mixes (IMP N-026), this being the story of how they surfaced from the inner notes:

“These recording come from Alpha Rec. Studios in Philadelphia which were found by Jagger & Richards in the summer of 1977 when they were looking for a pro studio where they could do some vocal overdubs to Love You Live 2-inch 16 track master tapes in secret. Jagger overdubbed 5 songs vocally and a safety master was made from the original 16 track master which was left behind in Alpha’s tape vault in case something happened to the originals. This safety master was never retrieved by anyone in the Stones organization; so they were remixed by this 23 years old engineer according to his expertise and feelings; he said he had to work on Watts snare drums and Wyman’s bass which had not been microphoned directly while Billy Preston organ was a mono track. Jagger’s original vocals were pretty sloppy, garbled and mumbled, so they have been retained as vocal guide while new overdubs have been split on each channel in order to blend in better with the other vocals. In 2002 they were converted from reel to reel into cdr, mini disc and DAT which has recently been converted to MP3 at 320 and placed online in March of 2016. These are in fact Love You Live outtakes that present some non-album songs like Angie and Hey Negrita, while You Gotta Move comes from June 14, 1975 Cleveland with Hey Negrita that actually comes from London. In excellent official class both for sound quality and content, these five songs, even taking into account the total short duration which is less than 23 minutes, represent a piece of music that fans absolute must listen to.  Particularly interesting is the You Gotta Move mix with Keith’s slide delay on the right channel in respect to the left one at the beginning, something that adds a particular dimension to this track in comparison with what we are used to. A note on Angie, where Jagger invents a new phrase (Ain’t it time we disappear?) which I don’t remember having been sung that often. Charlie Watts drums were well recorded to just four tracks, while Bill Wyman’s bass guitar was microphoned but not direct, there had been some trouble getting much balls to the bass sound. The guitars were well recorded but Billy Preston’s Hammond organ was a mono track and had to use an old trick of tape delay to create a stereo effect. Jagger’s original concert vocals were pretty sloppy, garbled and mumbled, however much more compelling than the sterile studio overdubs. The whole was mixed to 1/4 inch reel to reel tape with no noise reduction, converted to a Philips CDR, a Sony Mini Disc recorder and to Sony DAT recently converted to mp3 at 320.”