The Rolling Stones - "Between the Buttons" Vinyl, LP, Album, Germany, Reissue, 1967/1982 (Decca)

"Between the Buttons" is the height of The Rolling Stones as songwriters as well as making one of their perfect albums, such as their previous "Aftermath."  I have two versions of "Between the Buttons," the American mono release as well as this German stereo reissue that came out in 1982.  I'll let the audio freaks argue what is better, but for me, the Stones always sounded great in mono.  Still, I love all of their European editions than the U.S. releases due to the slight order or addition of songs.  

There is a Dylan "Blonde on Blonde" influence that comes through, especially on "She Smiled Sweetly" and "Who's Been Sleeping Here."  Then again, what wasn't influenced by Dylan in the mid to late 1960s?    The songwriting craft comes to focus for the Stones, where their voices become a distance from their R n B roots into a more pop format.  Perhaps under the influence of Andrew Loog Oldham, or whatever was being pumped in the air during those heady times.  Still, a remarkable presence at the time, where one would buy a Beatles record, then a Stones, a Dylan - in a way it became a dialogue between these artists, and us listeners were invited to overhear their musical chat. 

"Aftermath" wowed me, but "Between the Buttons" gently whispered into my ears, and it became one of favorite Rolling Stones albums.  I have always loved the music hall touch in The Beatles, as well as in The Kinks, and The Stones embracing that world in the songs "Cool, Calm, and Collected" and "Something Happened to Me Yesterday" is a total delight.  Those two have a Dylan feel but mixed in with British culture, which makes them unique and a lovely aural/sensual cocktail.  

The rockers "All Sold Out," "Connection," "Miss Amanda Jones" (a Dylan type title of a song), and "My Obsession" are remarkable works.   The Jagger/Richard songwriting is at their most wonderful peak.  It's a reflective album, then a diary or journalistic approach to the world around them.  For that reason, as well as the quality of the songs, "Between the Buttons" is an important album to me, and I hope to other listeners.  

The Aranbee Pop Symphony Orchestra - "Todays Pop Symphony" LP, Album, Vinyl, Remastered, 1999/1966 (Immediate/Sequel Records)

Not for one minute do I think that even Keith Richards made an appearance in the recording studio for this all-instrumental album of Rolling Stones, Beatles, 4 Seasons, Wilson Pickett, Otis Redding, and of course, Sonny & Cher songs.  "Under the direction of Keith Richard," I think took place when he was in another room or even in another city.  Nevertheless, I suspect that this album was pulled together by the great and brilliant Andrew Loog Oldham.  

On one level this is or was a knock-off album to probably cash in the song publishing dough, but beyond that hustle, this is a great album.  As one can gather I'm a huge fan of the Andrew Loog Oldham Orchestra, which is Oldham's version of doing Phil Spector, but in turn, and due to the temperament of Oldham, it becomes an original piece of work.  "Todays Pop Symphony" is the classical baroque version of the Oldham orchestra.  Stings galore as well as huge brass arrangements at that time (and always) classics.  The beauty of this album, although it's based on the melodies of the classic Stones and soul, through the arrangement it sounds very different.  This is a classic album of doing arrangements right and should be used in a classroom for further study.  I'm going to take a wild guess that John Paul Jones had a hand in the arrangements, but there is no clear credit, except for Keith Richard, which again, I greatly doubt he had much to do with this album.  

As Noel Coward once noted there is beauty in 'cheap music,' and The Aranbee Pop Symphony is a total delight from track one to the last track eleven.  

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. 

The Rolling Stones - "Flowers" LP, Vinyl, Compilation, Mono, Terre Haute Pressing, 1967 (London)

"Flowers" is an album that I never owned till very recently.  For the sole reason that I want every mono edition of their work in the 1960s.  For me, there's the Stones in the Oldham/Brian Jones years and then... there was another band that I'm not that much into.  "Flowers" is a compilation of their recordings roughly from 1966 to 1967.  I suspect to fix the odd song that didn't make it into their American editions at the time.  Or songs that were only released as a single. In a sense, this album is like the perfect mix-tape of that period in the Stones' world and activity in the studio.  

"Flowers" has all the odd Brian Jones touches on one disc.  Accordions, various keyboards and string instruments, it's Brian's playground of aural delights.  Andrew Loog Oldham, I feel added his textures as well.  His Phil Spector/pop music loving identity served the Stones well in this era.  Mick and Keith were writing (although it has been noted that Brian may have written the melody to "Ruby Tuesday") one great tune after another.  

The rhythm section of Charlie Watts and Bill Wyman were fantastic, in the same light as the classic Motown recordings around the same time.  They grooved hard, and Bill's bass playing is very aggressive and robust.  A musician that is muchly under appreciated.  The songwriting also had a strong Motown influence as well.   The Stones cover The Temptations' "My Girl, " and it fits well with their original songs. 

Often people of my generation like to compare The Beatles with The Stones, and the truth is, there is no comparison in sound whatsoever. The Stones may have been influenced by The Fab Four in bringing exotic instruments into the big picture, but I found The Stones more factory-made and focused on obtaining the hits, and I think Oldham's influence was a powerful presence in their songwriting at this time.  Once he left, the band as songwriters, became focused on other genres such as Country and classic soul.  This is here or there.  I prefer the older Stones than the band in the 1970s and onward. Still, "Flowers" is a lot of fun.  A great compilation album. 

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. 

Nico -"The Last Mile/I'm Not Sayin'" 7" 45 rpm single, vinyl, 1965 (Immediate)

Nico before The Velvet Underground is very much Nico.   The voice.  There is only one woman with a voice like that, and she with her "it" looks is pretty wonderful.   The A-Side is a song by Gordon Lightfoot, with production by the great Andrew Loog Oldham, with arrangement by David Whittaker.  Nico, on this record, and at that time, must have been a darker version of Marianne Faithful.   Or maybe that was in the thoughts of Oldham?  The b-side is much more of an interesting piece of recording.  Jimmy Page produced and co-wrote (with Oldham) "The Last Mile."  Just Page which sounds like a 12-string acoustic guitar and Nico's voice.   This would not be out of place in a future Nico album.  The beauty of Nico is whoever writes the songs, they lose that identity to Nico because her presence and voice are so prominent.    This is not the greatest Nico single/songs but for the completist a must-have.  Now, if I can get the Gainsbourg "Striptease" single by Nico - that will be something. 

THE ROLLING STONES -"Necrophilia" Bootleg

The Rolling Stones

"Necrophilia" 

For me, due to the inner-world I live in, this is the Stones album for me.  And oddly enough, it's a bootleg.   "Necrophilia" is sort of the bastard version of their collection "Metamorphosis" but of course, much better.  I don't really know the history of this particular bootleg, except I think at one time this was going to be released as a rarity album of goodies - why it didn't happen, I don't know.  Still, it's my favorite Stones album.   

Some of the material on this album sounds more like the Andrew Loog Oldham Orchestra with Jagger on vocals - or perhaps session musicians (Big John Sullivan & Jimmy Page?) but clearly some of the recordings here were meant to sell the songwriting of Jagger and Richards to other artists.  "Neocrophilia" captures the band between being a R&B band and popster songwriting duo.   Even the 'hits' that we know are different on this album.  "Have You Seen Your Mother Baby" is either an early mix, or more stripped-down version. It has always been one of my favorite Stones cut.   It is like hearing a blending machine mixing your favorite ingredients for a drink.   Pure cocktail of sound.  Trumpet? Blaring in the background, echoy vocals fighting out with the background vocals, and it is simply wonderful.  

This album is sort of the negative version of "Aftermath," in that I'm sure it was recorded around the same time, or in a sense the "Aftermath" notebook.  Notes for an unfinished album.  The nature of recordings that are bootlegs is to see the wizard behind the thick velvet curtain at work.   It is like we are in the studio but invisible. "Hear It," is the mystery cut.  The beauty of this particular song is that it sounds like a soundtrack to a film, but discarded.  Lot of guitar pickings, and then this beautiful string section takes over, but it goes back and forth with the guitars.  Somehow I don't feel this is a Keith Richards guitar.  Brian Jones related production?   Or maybe Jimmy Page?  A beautifully arranged piece. 

"Some Things Just Stick In Your Head" is a throw-away song, but that is also its charm.  It is a country arrangement with the full pop Jack Nietzsche arrangement.   The song is not that hot, but the production and arrangement are amazing.  "Aftermath" is a jam session, and I'm sure I can hear Phil Spector's voice in the background.  So this maybe the Spector/Gene Pitney gets together with the Stones

"I'd Much Rather Be With The Boys" is the classic Mick and Keith song.  This is where they show their true worth and sensibility.  I often felt that the best love songs by Mick and Keith were really about them.  The sexual energy in that band is not going outward, but very much inward.  It is more of a yearning to be within one's gang then out with another 'girl.  "Andrew's Blues" song is about sucking. And I believe this is also Phil/Gene and I want to point out the Motown influence in the early Stones - especially during this period.

An early period of "Street Fighting Man" but here with different lyrics and called "Pay Your Dues."   The height of the Brian Jones sitar, strong bass playing by Wyman, and the great Nicky Hopkins.  It's magic really.   Now comes my favorite of the favorites, "Each & Every Day of the Year."  The slow built-up is almost Roy Orbison intensity, with his sort of lyrical world and melody.  It's a beautiful song. Majestic.  It is so good, I suspect that it isn't the Stones, but Mick with session players. "The Sleepy City" is another fave of mine.  It appeals to the Situationist instinct in me.  To walk in an urban area in the early morning - perhaps after a long night out, or just waking up to this beauty of a landscape.  I often walk around the town here, with this melody in my head. 

The version I have is a vinyl picture disc.   I wish that there was more concrete information about these recordings, like who plays what and so forth.  On the other hand, the mystery is extremely appealing.  Sometimes the information that is in my head is totally wrong, but yet, enjoyable.  Nevertheless a superb collection of songs that are lost in the Stones world. 

Andrew Oldham Orchestra and Friends - "Play the Rolling Stones Songbook Volume 2"

The Andrew Oldham Orchestra and Friends - Play the Rolling Stones Songbook Volume 2

Download from I-Tunes, 2013

Gold Lake Records

A very surprise release is the volume 2 of the Rolling Stones songbook by Andrew Loog Oldham and pals.  At times I feel like I’m the only fan of the ALO Orchestra, and often I think his music making is more interesting than his discovery the Rolling Stones.  40 something years later we get volume 2, and not odd at all the music is mostly from the Oldham years with the Stones.  Oh, and I love this album. 

There is nothing really new here, but the taste factor is high.  It is like going to five star restaurant and expecting and then having that great meal.  So no surprise factor, except the (perhaps) cheeky version of “Bitter Sweet Symphony.”   But I think it’s better than the original version, which of course that record was based on “The Last Time” which in turn there was a lawsuit…. Nevertheless money was spread around, and I think everyone is happy for it.   

And again to taste, my favorite Stones songs are covered on this album.  “She Smiled Sweetly,” and “I Am Waiting” are here, and lovely versions as well.   “She Smiled”..  has that classic ALO production sound, which quietly builds up into a wow that started off as a whisper.  The High Dials, a band I don’t know of, does an incredible version of that song.  And the bass-fuzz sound of “Under My Thumb” gives me goose bumps.  I haven’t heard such an ugly garage rock sound in a long time. 

I don’t have the full picture of this album, due to the fact that I downloaded it from I-Tunes, and it sucks one doesn’t get info like who plays what or when or why or any of the mighty w’s one comes up in one’s mind while listening to an album.  Nevertheless if you’re a Stones fan, especially circa. 1966 or so, this is the album for you.  Oldham I am convinced is a genius. 

The Andrew Loog Oldham Orchestra - "East Meets West" CD remastered album

The Andrew Oldham Orchestra - East Meets West

CD, Album, Reissue, Remastered, Japan, 2013 (originally released in 1965)

Decca

This is a super interesting album due that Andrew Loog Oldham has a fascination with American pop, and here he puts his focus on his love for both The Four Seasons and The Beach Boys.  For me, this is what made the Rolling Stones so noteworthy during the Oldham/Brian Jones years -the mix of R n’ B with the love of contemporary pop.   Keith Richards spoke of the love of the blues, but with the Stones, in this time period, it was the crazy mixture of their original passion and the hit parade of that time.

Oldham was probably one of the first pop people to worship the brain of Brian Wilson, and the whole orchestra idea of his comes from a mixture of Wilson and the classic Phil Spector era, which were happening at the time of these recordings.   Now we get homages to artists or a sound many years after the original recording, but Oldham and company paid their respects almost instantly when these hits were on the pop charts.

The Four Seasons was masterminded by member Bob Gaudio and the Season’s record producer Bob Crewe.  Both of these men crafted, wrote and produced the New Jersey aesthetic as it happened.   Oldham’s appreciation sort of goes behind the Wizard’s curtain to look at how they work.  The Andrew Loog Oldham Orchestra is a great deal a tribute to the men behind the sound booth with the engineer.

The music here touches on the greatness of the Beach Boys and The Four Seasons, but the purpose could be meant for various reasons.  Since both artists were popular at the time, it could be seen as a cash-in to what was happening in the charts at the time, but I think a lot of it has to do with Oldham’s love for the medium of pop stardom, pop record making, and the vision of the guy in the studio who conducts and makes the music.   It is also about image, so there is a visual aspect to this narrative as well.

This Japanese issued CD has both mono and stereo mixes, and there are differences between them with respect to sound and even mood.  Again, the best $28 I have spent on a recording.

The Andrew Oldham Orchestra - Plays Lionel Bart’s Maggie May

The Andrew Oldham Orchestra - Plays Lionel Bart’s Maggie May

CD, Album, Reissue, Remastered, Japan, 2013

Decca

I didn’t even know that Plays Lionel Bart’s Maggie May existed, when some years back I walked into a small Shinjuku record shop, and there it was!  It was close to $50, and way too much for me to buy at the time.  Of course, I thought of that record whenever I closed my eyes at beddy-time.  So there was at least five years of regrets about passing up on this album, and very few people knew of it.  The most famous Andrew Loog Oldham Orchestra album was their first one, which was Rolling Stones’ covers.  The Lionel Bart album was a weird one for me, because it was devoted to one songwriter, Lionel Bart, and one of his shows, who for most Americans, would be king obscure.   Which makes this album fascinating on a lot of levels.  Oldham was a friend and someone who looked up to Bart as both a music businessman as well as a music hustler of sorts.  He played the game, but I think the game won in the end.  Nevertheless he was a key figure in British rock before The Beatles broke big.  He wrote songs for Cliff Richard and most famously the musical “Oliver.”  

Here Oldham, John Paul Jones, and others, turns on their magic to the tunes from “Maggie May.” I don’t think there is an official OST of this musical or if it is, disappeared into vinyl heaven.  So this is what we take into existence, and thank god for the Japanese, they re-leased it with not only mono mixes, but stereo as well.  Plus 11 bonus cuts.  

The mono version of this album is the one to hear over and over again.  It’s classic Oldham vibe.  For instance, “It’s Yourself” has a killer lead bass sound, very Jet Harris.  But the stereo version, the bass is practically gone!  Nevertheless it’s a cool album, and this CD collection is incredible, mostly for the bonus cuts, which to be honest, are the highlights of this set.   

The rest of the album is recordings from around this time (1964) from the Andrew Oldham and Immediate Records world.  Totally essential songs like “Each and Every Day of the Year” (Jagger & Richards) and “All I Want Is My Baby” (Oldham & Richards) sung by Bobby Jameson and simply incredible recordings.   Not sure if the purpose was for the publishing end of the music business, but Jagger and Keith came up with wonderful tunes.  The other stand out by them is “(Walking Thru’ the) Sleepy City”, performed by The Mighty Avengers, but gawd, what a fantastic song.  The best $28 spent on a CD in my lifetime!

The Andrew Loog Oldham Orchestra & Chorus - 16 Hip Hits (cd reissue, Japan)

The Andrew Loog Oldham Orchestra & Chorus - 16 Hip Hits

CD, Album, Reissue, Remastered, Japan, 2013

Decca

To step into a fantastic record store like Pet Sounds in Tokyo and seeing the entire Andrew Loog Oldham catalog reissued as CD, was something that almost forced me to cry, but I held my tears back and purchased all of them.  They were $28 a piece and for sure worth every yen and cent.  The first one I played was “16 Hip Hits.”  To be honest I have a lot of these songs in a collection that was put together in the 90s, but for me, to hear it in its natural order - plus the additional 16 bonus cuts, well it was like being put in a time machine in 1966.  Except I was in Tokyo not London.

Paul John Jones did a lot of the arrangements for this album, and the selection is mostly from the obsessive taste of Oldham.  It was songs that were hits at the time, and Oldham at that time, didn’t look back or reflect on his past.  This was music made to be carried out at that point and time.  So one got a snapshot view of his world at the time, and the beauty of him is that he’s an artist, but I suspect that he was thinking about himself as more as a hustler than anything else.  Music was another part of the hustle, and this is what makes this album such a sweet listening experience. 

The arrangements appear to be slower, then the original recording hits, and there is a looseness of the arrangements that almost feel like it would fall apart any moment.  So that adds a certain amount of tension in the work.  For me, it gives a sense of charm, and with the additional good taste from Oldham makes these recordings essential for anyone who is interested in 60’s British pop.  Most of the songs, if not all, are American orientated.   They hanker back to almost an imaginary state of mind of the original recordings - but re-imagined by Oldham and perhaps Jones.  But I suspect that Jones was just following Oldham’s lead, and Andrew it is all about image, and that image, is really beautiful.

Brett Smiley - "Breathlessly Brett"

Brett Smiley - Breathlessly Brett

CD Reissue Compilation, UK, 2003

RPM Records (I-Tune purchase)

In my quest to locate everything or anything that deals with the magic that is Andrew Loog Oldham I cam across a YouTube of Andrew being interviewed on British TV about his new discovery Brett Smiley.   I became an instant fan within the ten minute interview.  Basically due to one song “Space Ace.”   The perfect throw-away glam masterpiece.   A fey Bowie rip-off that somehow becomes even greater with that comparison or placing.  The production went for broke in relaying this alienation that is partly “Space Oddity” meets the New York Dolls.  The sad thing is that this was recorded when Bowie himself was removing himself from the hardcore glam sound, so the timing was off.  Nevertheless it is one of the great songs from that era, which is perfectly great in my opinion.

Brett, if not having the hits, is at the very least an iconic figure of the lost glam years.  A very good book came out of it by Nina Antonia, The Prettiest Star: Whatever Happened to Brett Smiley, who focuses on the memory of,  and who Brett Smiley is.  The whole album is actually pretty good.  It is interesting to hear Oldham’s take of that era through his production, who still had Phil Spector on his mind.  Some of it sort of reminds me of Spector’s work on the first George Harrison solo album.  The fact that it was unreleased till 2003 is surely a crime of sorts.  But nevertheless one can find it on Spotify or I-Tunes.   

Billy Nicholls - "Would You Believe" CD Album, Reissue

Billy Nicholls – Would You Believe

CD Album, Reissue, Stereo, Mono, UK, 1999 (Originally 1968)

Immediate (Sequel Records)

For me this album came out of nowhere, and I couldn't believe (no pun intended with respect to the title...) no one heard this or why it hasn't become an instant 1960's classic. In a way it reminds me of the great Jackie Lomax album Is This What You Want?in that it got support from the heavy hitters of its era or year and yet, crashed down the charts.

Billy Nicholls was (and still is) an associate of The Who, and on Would You Believe he is backed by the mighty Small Faces as well as Nicky Hopkins, John Paul Jones, and Big Jim Sullivan, with production by the great Andrew Loog Oldham and issued on his Mod-tastic Immediate Records. Why didn't it sell? Well, never mind that, because this album is great.

With respect to my memory, 1968 was the year where everything was coming apart in very interesting ways. The songs got longer, and more jazzy, with an eye towards the endless horizon. So this album is very much the last stance on short perfect psych-pop songs that is also a snapshot of its year and I presume London music life as well. There's not a bad cut on this album, but the one that I play over and over again is “Girl From New York.” Just the rush of the melody and the fullness of the production makes one swoon. It's a great, great record. “London Social Degree,” “Portobello Road,” and the title cut (not written by Nicholls) are excellent as well. 

The Andrew Loog Oldham Orchestra and Chorus - "Rarities" CD Compilation

The Andrew Loog Oldham Orchestra and Chorus – Rarities

CD Compilation, 1984

See For Miles

On some days I prefer the Andrew Loog Oldham Orchestra than say the original Rolling Stones recordings. As a youngster I would poop over these recordings, but now, as an adult, I admire their arrangements as well as the vision. And Oldham is a man of great vision. He not only saw the Stones for what they were (not are!) but the big picture that they can eventually do movies and why not do an orchestrated record of their hits as well?

The film thing never worked out – especially their “A Clockwork Orange” film project, but Oldham did in a sense had Jagger and Richard as the court songwriters in the world of Andrew and his Immediate record label among other things. A vision I think that the boys themselves didn't have, but Andrew understood the importance of an organization and everything being in one house or home. That of course,didn't last forever. But those years for both the Stones and Oldham were golden. I love Andrew's orchestration of the Stones an other songs from that era. Of course he was influenced by Brian Wilson's work with the Beach Boys as well as with Jack Neitzsche and Phil Spector's recordings, but I feel Oldham added his own touch to the art of the orchestration. Maybe a tad more British sounding or sensibility. The Rolling Stones Songbook is the classic album, but Rarities which is a combination of the hits from the orchestra as well as the b-sides and some of the odder work - especially the Lionel Bart album, is a classic in itself. A throw-away classic but nevertheless a great one.

Strange enough when he does “Da Doo Ron Ron” it falls flat compared to the Spector recording, but his take on the Stones songbook is quite amazing. He really tears apart the songs and adds a bittersweet quality to the overall work. With Spector I can see the night, and the Beach Boys the afternoon, but Oldham converys the British stormy cold bitter weather. And for me that is what makes the Oldham Orchestra so special to me. The sadness that creeps into the music adds another element to the world of the Stones. And again, I don't think Mick or Keith would see it that way, but the man with the vision truly understands the depressing aspect  that lurks inside  pop music.