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 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. 

Rolling Stones - "Beggars Banquet" Vinyl, LP, Album, 1968 (London)

I would think most people will think of "Beggars Banquet" as the classic Rolling Stones album, but to me, it's not as good as their previous albums.   "Sympathy for the Devil" is incredible, as well as "Street Fighting Man" (as a record, but as commentary?) and "Jig-Saw Puzzle" as well as "Salt of the Earth" are pretty fantastic as well.   This is the first album produced by Jimmy Miller after Andrew Loog Oldham left the Stones world.   A good solid record producer, but doesn't add the usual drama of a Stones recording, except for the opening epic "Sympathy for the Devil."  After that, I feel the Stones are mirroring their rhythm and blues angle, but not with the same conviction and passion of their early recordings.  Not a bad album by any means or imagination, but I wish there were a tad more of the Brian Jones magic within the grooves. Also lyrically, besides the songs I mentioned already, the rest of the tunes are slight with no great insight or observation sensibility.  On the other hand, Nicky Hopkins does fantastic piano throughout the album.  

The Rolling Stones - "Jumpin' Jack Flash/Child of the Moon" Vinyl 7" 45 rpm single, U.S., 1968 (London)

For some, this was back-to-basics from the psych world of "Their Satanic Majesties Request" world, but alas, I still hear the strains of that landscape in both "Jumpin' Jack Flash" and it's great b-side "Child of the Moon." Brian Jones' either on sitar or mellotron gives the song that acid touch, that makes it not only a riff-master piece of rock.   It's a great record due to the layers of texture in what seems to be a simple rock ditty.   "Child of the Moon" is Kenneth Anger.  At least that is the first image I obtain while listening to this song.   It reeks of decadence and that is why this single is loved so much. This is the band at its height of its strength.   The Stones still do "Jumpin' Jack Flash" on stage, but the versions I have heard (recordings) it always sounds flat to me.  It's the soup itself that is important, not the song.  And the original recording is pure magic.  So yes, this is very much part of the Satanic Request year(s) or months.  

The Master Musicians of Joujouka - "Brian Jones Presents The Pipes Of Pan At Joujouka" Vinyl LP

The Master Musicians of Joujouka - Brian Jones Presents The Pipes Of Pan At Joujouka

Vinyl LP, U.S., 1971

Rolling Stones Records

For me, Brian Jones is the musician that made The Rolling Stones be the Stones.  One can argue forever with respect how important he was to the band’s make-up, but to me when he left the band (as well as Andrew Loog Oldham) it became a very much of a different music group.  I might add not as one as interesting, because with Brian Jones you get a sense of exploration as well as adventure.  This album pretty much represents the adventure aspect of Brian and his world. 

Sadly I don’t have this record anymore, but Paul Bowles for Folkways or The Library of Congress, was the first one to record The Master Musicians of Joujouka, which in turn inspired a lot of musicians from the West.  Including Brian Jones who at the time must have been looking for something beyond the world of Mick and Keith.  The music here is hypnotic and rhythm orientated.   Brian went to Joujuka with a two-track portable recording machine to capture the magic, and he did.   When he got back to London, he added some stereo effects and did a re-mix of the album.  Its interesting because it is clearly how a western artist looks at another culture, specifically their music. 

It would be a mistake to see this as only music from this particular tribe, because Brian added his sensibility to the mix as well.  Paul Bowles probably captured the essence that is the Musicians, but Brian Jones with this recording added a footnote of sort.  A footnote that is an entrance to another world.   It is tragic that he died, because i suspect he would explore this sort of music more, as well as matching it with the intensity of the blues.  I believe we lost a visionary with the death of Brian Jones.