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 Fortunes - "You've Got Your Troubles" b/w "Here It Comes Again" 45 rpm 7" vinyl single (London)

My dad, Wallace Berman, played music on his portable turntable in his studio, and The Fortunes' "You've Got Your Troubles" is one of the songs that he played over and over again.  When he played a record and loved it, that means it can be played 10 or 12 times in one sitting.  My job, as a child, was to make sure to pick up the needle at the end of the song and start it over again.  At the time, it was a song that seemed sad to me.  The melody always caught me in a very reflective state of mind. As a child and one who tends to play by himself, I often had time for quiet meditation, which was always backed by a record.  

The trumpet played in such a manner, like in this song, always seems like someone is crying.  The singer lost his love that day.  Nothing is good.  Here the singer wants sympathy, but he comes across another one in the dumps.  Misery loves company.  The brilliant part is the reframe where another voice comes in and sings over the vocal  of the one who is suffering, and comments "And so forgive me if I seem unkind/I ain't got no pity for you."  As a grown-up, I realize that this song is about self-pity, and is making a humorous statement of sorts.  

The beauty of this song, written by Greenaway and Cook, is that it is both a song of romantic despair as well as making fun of one who allows themselves to be in such a state, and not imagines anyone else feeling that similar type of romantic angst.  The duality, now as an adult, appeals to my sensibility.  As a child or teenager, the song always spoke to me as being in the bottom of a well, and just hearing my voice echoing among the walls.   "You've Got Your Troubles" is an amazing song and a superb recording by The Fortunes.   Not sure if it meant to be ironic, but the very name of the band seems to mock the song's sentiment as well. 

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.  

Marianne Faithfull - "Summer Nights" b/w "The Sha La La Song" 45 rpm Single, Vinyl, 1965 (London)

I have always been attracted to Marianne Faithfull's "Summer Nights."  It's a song about a feeling or a seasonal change.  Her approach is folk but filtered through a London aesthetic that was happening at the time.  The harpsichord is the first instrument one notices, and the chorus of the 'at a cafe' with the hand claps gets me all the time.  It's a beautiful record on many levels.  And so short.  Only one minute and fifty seconds.  It comes and goes, like a strong crush on a girl you see walking down a street.  Also, the pitch and speed march on, it's not a song of reflection, but manic intensity.  The chorus is a relief of the tension.   I have read somewhere that The Smiths used to cover this song as part of their live act, at the beginning of their career.  Now, that I would love to hear.  

Anton Karas "Anton Karas Plays The 3rd Man Theme" LP, Vinyl, Album (London Records)

"The Third Man" is one of my favorite films.  Friendship is a good subject matter for a film.  Especially a bad friendship.   I have always loved the soundtrack by Anton Karas, with just him playing the Zither.  Ah, the very name of the instrument makes me remember the days of Vienna, right after the war.  Except I never been to Vienna.  I only know Vienna through "The Third Man," through the eyes of Harry Lime.

I never realized that there was "The 3rd Man" TV show.   An American or British show?  Since this album seemed to come from the United Kingdom, I gather it's a British production. Nevertheless, it's Michael Rennie as Lime, and by this album cover, I already love the series.  I'm also not sure when this album was released.    By my estimate, sometime in the late 1950s.  

I have seen numerous edition of "The Third Man" soundtrack over the years, but it was Michael Rennie that made me put down $5.95 plus California sales tax.   Side one is the beloved and classic Karas soundtrack, but side two are Fritz & Jacky, who do Zither duet.  The titles are in German.  So, I'm not even sure it this music was used in the TV series or not. The music is not as good as Karas, but the playing is quite lively.   Oh, and I should state that the Karas soundtrack is the same as the Orson Welles/Caroll Reed film.  

A1	Third Man Theme
A2	Visions Of Vienna
A3	Danube Dream
A4	Cafe Mozart Waltz
A5	Second Theme
A6	Wien, Weib, Wein
B1	Die Annemarie Aus Rotterdam, Einmal Kommt Die Grosse Liebe, Erzahl' Mir Ein Marchen, Marina
B2	Ein Kleines Schiff Am Grossen Meer, Der Cowboy Hat Immer Ein Madel, Der Negerkonig "Bum"
B3	Halt, Bitte Bleiben Sie Doch Stehn, Liebe 1st Ja Nur Ein Marchen, Pack Die Badehose Ein
B4	Quicksliver, Du Ahnst Es Nicht, Was Du Fur Mich Bedeutest