THE ROLLING STONES In Concert VG+ RARE Oakland 11/9/1969 Berkeley 1st Pressing

$

28

Vinyl:  VG+ Play Tested. Sounds Great!  This record would grade EX+ except that side 2 song 1 has multiple skip jumps and song 2 has one jump.  Labels are Clean except side one has a "I" written on it.   This is the Original Berkeley 1st Pressing!  The Infamous Late Show at The Oakland Coliseum, November 9, 1969!  This Live record was such a Revelation when it came out that it Revolutionized how Live recordings were made and how the music was made of, by and for The People!  Crucial!  Check out online the interesting story of how the Grateful Dead coincidentally contributed to Rock History here when they helped the Stones out of a jam by lending them their Ace equipment for the night (Thanx Owsley!!! :)
Cover:  VG+  (see photos)  No Barcode!  3 sides have been very nicely taped with sturdy, quality tape.  Hard to tell it's there because of the black background of the handsome album cover.  
Goldmine Standards.   See Review Below!

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In Concert was recorded by "Dub" Taylor from Trademark of Quality using a Sennheiser shotgun microphone and a Uher "Report 4000" reel-to-reel tape recorder.[2] It was the first audience-recorded rock ***** to be mastered and distributed;[3] some sources consider it the first live ******.[4] Though the sound is not nearly as clear as the official release of Get Yer Ya-Ya's Out!, the recording is considered to be very strong for an audience recording, especially one of that era.[2] The Rolling Stones performed two sets that night and it is the second concert that was more heavily ****** and has sharper sound. ******* had collaborated to record Stones shows across the United States, recording them on two-track Sony recorders for months prior to the release of the album.[5] At least one source claims that the recordings initially came from rock promoter Bill Graham's staff, who used the tapes for broadcast on KSAN and released their edit on Lurch Records in early 1970.[6]

The recording was made available about one month after the concert, and it became popular enough to spur speculation that the Stones released Ya-Ya's as a response to the ******[7] and the quality was high enough that it was rumoured that the band had even released the ***** themselves.[8] The recording has been released through several labels, including the original release by Lurch and shortly thereafter Trademark of Quality (catalogue number 71002), Swingin' Pig, and Sister Morphine, usually documenting only the second set.[7] The Swingin' Pig release even replace performances of "Jumpin' Jack Flash" and "Under My Thumb" with different recordings from the band's 10 November performance in San Diego and their two-night stint in New York City[9] and attempted to enhance the sound quality by using de-clicking technology—both changes have drawn criticism in comparison to the original Lurch Records release.[10]

 The recording was favourably reviewed by Greil Marcus in the 7 February 1970 issue of Rolling Stone. He praised its sound and speculated that it may have been recorded from the stage;[11] footage from this concert was recorded by ABKCO Records for the film Gimme Shelter. The album also received praise as a more authentic example of the Stones on stage[12] because Get Yer Ya-Ya's Out! was heavily overdubbed[8] in many places. Richie Unterberger has noted that the recording is inferior to the sound quality of Ya-Ya's, but displays a spontaneity that the official recording lacks and this helps to explain its long-lasting appeal to fans.[13] Reviewing the album in 1970, Wim Wenders called it "the best Rolling Stones record."[14]

"John Peel reviewed this in Rolling Stone magazine," remarked photographer Ross Halfin, "and said that it was the greatest live album ever, and a great lost live album."[15]

The album eventually sold enough to qualify for a gold record RIAA certification,[8] with TMOQ sources claiming that it had sold 250,000 copies by November 1970; 150,000 of which were produced by other *******.[5] Although the album did not chart on the Billboard 200, the magazine included it in a list of best-selling ****** in 1971, noting that hard sales figures were impossible to confirm, but six-figure numbers had been routinely discussed.[16] The sleeve's generic design was copied by The Who's 1970 album Live at Leeds.[17]