The Rolling Stones - "12 X 5" Vinyl, LP, Album, Mono, 1964 (London Records)

The second "American" Rolling Stones album.    One of the secret pleasures of this album is that the recording of "Time Is On My Side" is the organ-heavy version, rather than the guitar orientated track. Most of the album was recorded in Chicago, which at the time, was ground zero for the Stones' interest in the blues.  The key cuts for me are "Time Is On My Side," and their great version of Bobby and Shirley Womack's "It's All Over Now."   Also, the songwriting talents of Jagger and Richards was slowly put to use on their "Good Times, Bad Times."  In a sense, it was a look back as they moved forward in time. 

"12 X 5" should and must remain as a Mono recording.  I would argue that the Stones entire work with Andrew Loog Oldham should stay in mono.   The earthiness of these recordings is made for transistor radios and one giant speaker.   Stereo would open up the process, but this is music made in a specific area of sound, and it should remain murky, dark, and wonderfully mysterious. 

Gene Pitney - "That Girl Belongs To Yesterday" b/w "Who Needs It" 45 rpm Vinyl Single, 1964 (Musicor)

Gene Pitney is an interesting figure in the pop world.  A hit maker who sang other people's songs, but also wrote: "He's A Rebel" for The Crystals and Phil Spector.   One evening he finds himself, which I imagine was the RCA recording studio on Sunset, at a Rolling Stones session.  It's an interesting combination of the Stones world of R n B and Pitney's hardcore sensibility in the realm of Pop.  He and Spector are actually on an early Stones session.   The dynamic duo, Jagger and Richards, wrote Pitney a single "That Girl Belongs To Yesterday."  Co-produced by Pitney and Andrew Loog Oldham. 

Mick and Keith were fantastic in writing on or putting down the female race.  "Under My Thumb," "Stupid Girl," and this oddity of a song "That Girl Belongs To Yesterday."   I love the title so much that I actually want to have a bad relationship with a woman, just to say the title to her.  It's a beautiful under a three-minute piece of noise that clearly is influenced by the Phil Spector aesthetic but even goes beyond those type of recordings.  Spector has a sense of control and drama, but on this song and recording, Pitney pulls no stops in throwing his energy and emotion within the wax.  I'm curious to know who plays on this session.  Are Mick and the Stones on the recording?  Spector must have made an appearance, even a brief one.  It's an amazing record.   The B-Side is fantastic as well.  Wall of Sound coming out of my speakers. 

The Beach Boys - "Don't Worry Baby" b/w "I Get Around" 45 rpm vinyl single, 1964 (Capital Records)

"Don't Worry Baby" is a great and kind of a sad song as well.  In fact, everything Brian Wilson wrote has that touch of sadness or tainted with failure.  Even the classic Beach Boys rocking tunes has a sense of regret or loss of innocence.  Roger Christian wrote the lyrics to this song, and in its narrative, it's a guy who is going to race his car, but there is a hint of either an accident or even death that may take place.  His girl tells him "Don't Worry Baby, Everything will turn out alright."  Yet, is that true? 

Kenneth Anger had the genius to capture the death aspect of hot rod culture.  A mixture of eros and death are partners in crime with respect to the teenage drag race pop song.   Brian & company were experts or the poets of that genre.   The song works as a beautiful statement regarding faith and believing in love.  Yet there is the flip of the coin where disaster can enter the narrative.  The listener can choose their own narration to "Don't Worry Baby."  Popular music works best when there is that cloud of mystery or the story being not totally clear.  We're invited to put our two-cents into the mix, and that is how the song sticks to the listener. 

"I Get Around" is a gang song.  A hot-rod or car culture gang.  One of the best songs about boredom and moving on.  It has that Mike Love swagger, and he's very much an underrated lyricist. He conveys a world /landscape where one has to conquer the others to keep his stance as number one.   It's interesting that he makes the distinction that they are the good guys and not the bad kids in town. Interesting piece of work.  My love for this song is the organ that gets a tad louder toward the end.  It's the little things that give me the greatest pleasure. 

The Honeycombs "I Can't Stop" b/w "I'll Cry Tomorrow 45 rpm vinyl single, 1964 (Interphon Records)

The Honeycombs, if truth to be known, is my favorite band.  Over the years I collect their recordings, which is not a lot.  They only did three albums, and that includes a live album made and recorded in Tokyo.  The brilliance of The Honeycombs is the combination of great songs with brilliant production by Joe Meek.  "I Can't Stop" should have been a mega-hit around the world, but alas, it never reached the heights "Have I The Right."   Nevertheless, it's a masterful song with a driving beat and chorus.  The b-side for me is the super treat.  A song by Meek, "I'll Cry Tomorrow" is superb drama and I get goosebumps hearing Honey's (the female drummer) backup vocals during the chorus.  

Darlene Love - "Stumble and Fall" / (He's A) Quiet Guy" 7" 45 rpm vinyl single, 1964 (Philles Records)

I just purchased this 45 rpm single at Rockaway Records.  Produced by Phil Spector and both the A and B side is arranged by the fantastic and great Jack Nitzsche.   There is the Wall of Sound, and then there is 'this' Wall of Sound.  Both songs, "Stumble and Fall" and "(He's a) Quiet Guy" is the iconic sound of Spector working with Nitzsche.  So much sound!  So many instruments!  Honestly, it's a fantastic record.  If the credit label is correct (and the songs are reversed, which makes this single a real collector's item) the songs are written by Phil Spector/V. Poncia/P. Andreoli.  According to Discogs, this single was pulled out of the market at the very last moment and replaced by The Ronettes "Walking in the Rain."  Using the same catalog number 123.   Not a bad find for $2.99.  But the music here is priceless.  

The Dave Clark Five ‎– "Glad All Over / Bits And Pieces" (Hollywood Records) 45 rpm Single

I found a used copy of the 45 rpm single of The Dave Clark Five's "Glad All Over" and the back side "Bits and Pieces."  This is argumentative, but I feel that these two songs pretty much represent the Five sound at its best.  I have read that Joe Meek was convinced that Dave Clark was stealing his trademark sound, in fact, he suspected that his home studio was bugged.   This may or may not be true, but nevertheless this 45 rpm is magnificent.  It's the rhythm more than anything else.  The powerhouse drumming, the sax guitar bass - just basically the same noise.  And then Michael Smith's vocals which are John Lennon like in its intensity.   Strangely enough, the mighty five are not on Spotify or Apple Music, in fact, it's hard to find their work online.  Dave Clark owns the masters to his recordings, and for reasons unknown, he maintains the records wrapped up in his safe.   On the other hand, pretty much any decent music vinyl store will have used copies of The Dave Clark Five albums in stock.  Mono recordings of course are the best sound format for the Dave Clark Five sound. It's a sonic wave coming towards you, and once you're in the wave, there is no way of getting out.   Overall I'm not a fan of their albums - they tend to be one dimension.   But this single, oh my, fantastic. 

Magali Noel - "Magali Noel chante Boris Vian" CD Album Reissue

Magali Noel - Magali Noel Chante Boris Vian

CD, Album, Reissue, 2002 (originally recorded 1964), France

Jacques Canetti

Both films “La Dolce Vita” and “Rififi” benefited from the presence of Magall Noel, and like a shadow  following another presence, Boris Vian had a wonderful singer to represent the pop side of his music.  Jazz like, but more of a pop leaning, Noel tears into the Vian songbook for the second time.  Her first album was “Rock n’ Roll” which was supervised by Vian as well as being all songs co-written by the master.   This album was recorded in 1964, five years after Vian’s death.  It is both a tribute to the man, but also the distance of years between his passing and the recording allows Noel to convey a fresh light to the magnificent Vian wit.  

Finger-snapping rhythm, most of these songs are up-tempo and it does have a sense of energy due to Noel’s voice and presence in these recordings.