The Rolling Stones Beggars Banquet on Limited Edition Japanese Import SHM-SACD
As the '60s drained into the '70s, the Rolling Stones went on a creative run that rivals any in popular music. Beggars Banquet (1968), Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main Street (1972) routinely turn up on lists of the greatest albums of all time, and deservedly so. All done with American producer Jimmy Miller – “an incredible rhythm man,” in Keith Richards’ terse description – those records shake like the culture itself was shaking.
From the manner Beggars Banquet was recorded at Olympic Studios in Barnes, London, to the track selection, a mixture of rockers (“Street Fighting Man”), blues numbers (“Prodigal Son,” “No Expectations”) and ballads (“Salt Of The Earth”), the band truly came into their own as both authentic artists and unprecedented songwriters. While 1967′s Their Satanic Majesties was recorded after Mick and Keith’s traumatic and unjust, drug busts, it was almost too soon to be reflected in their songwriting. Whereas “Sympathy For The Devil,” and much of Beggars Banquet hint at a defiance at what they’d been through, and a strength from the experience.
The album also marks a change in musical direction for the band, with the debut of Jimmy Miller as producer. Miller had also produced Traffic and Spooky Tooth, and co-wrote “I’m A Man” with Steve Winwood. Other musicians who appeared on the album are Nicky Hopkins on piano, Dave Mason on guitar and mandolin and a gospel choir from Los Angeles. The only non Jagger/Richards song on the album, “Prodigal Son” is a cover of Robert Wilkins’ “That Ain’t No Way To Get Along,” which he first recorded in 1929. A year earlier Wilkins recorded the first known song to be entitled, “Rolling Stone.”
SHM-SACD (Super High Material SACD) is the ultimate Super Audio CD that utilizes the materials and technologies that were developed for the SHM-CD to further enhance the audio-resolution. These discs are made with polycarbonate developed for the screen of the liquid crystal display. As it has a higher transparency, players can read the signal more faithfully. Also, it excels in fluidity, which enables you to cast a more accurate pit. What works wonders for a low resolution format such as CD should offer even greater sonic improvements in a real high resolution format such as SACD.
• 2-channel Single Layer SACD
• Two-channel SACD layer only, to secure enough reflectance and not to compress DSD file
• Label of the disc is printed with a special green ink called 'Onsho Shiyou,' which minimizes diffuse reflection
• Carefully selected master audio is used, from existing DSD files to newly converted from analog tapes
• This disc will ONLY work on a Super Audio Disc Player