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 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.