THE ROLLING STONES - LITTLE QUEENIE
"Little Queenie" is a song written and recorded by Chuck Berry. It appeared on the 1959 album Chuck Berry Is on Top and was released as a double A-side with "Almost Grown". Berry performed the song in the movies Go, Johnny Go! (1959) and Hail! Hail! Rock 'n' Roll (1987). It has been covered by many artists, including the Beatles, the Rolling Stones and REO Speedwagon. One year earlier Berry had released "Run Rudolph Run", a Christmas song with the same melody.
THE ROLLING STONES EP - 1963 1964
The Rolling Stones - EP
A1 : Bye,Bye Johnny (Chuck Berry)A2 : Money (Berry Gordy Jr/Janie Bradford)B1 : You Better Move On (Arthur Alexander) B2 : Poison Ivy (Jerry Leiber/Mike Stoller)
Producers : A1 - Andrew OldhamA2, B1, B2 - Eric EastonRecorded :A1, B1 - 8.08.1963, Decca Studios, West HampsteadA2, B2 - 14.11.1963, De Lane Lea Studios, Kingsway Released : 10(17 ?).01.1964Decca DFE 8560
The Rolling Stones is the debut EP released by The Rolling Stones in 1964. Recorded to test the commercial appeal of the band before their UK label Decca Records would commit to letting them record an album, The Rolling Stones includes four songs recorded at two separate sessions in August and November 1963.
The Rolling Stones is the debut EP released by The Rolling Stones in 1964. Recorded to test the commercial appeal of the band before their UK label Decca Records would commit to letting them record an album, The Rolling Stones includes four songs recorded at two separate sessions in August and November 1963.
five by five
released 14 august 1964 – recorded 11 june 1964
label decca - dfe 8590 – producer Andrei Loog Oldham
1. "If You Need Me" (Robert Bateman/Wilson Pickett) – 2:03
2. "Empty Heart" (Nanker Phelge) – 2:37
3. "2120 South Michigan Avenue" (Nanker Phelge) – 2:07
o The full recording, now heard on the remastered 12 X 5, was faded early here for lack of time available on a conventional EP in 1964
side 2
"Confessin' the Blues" (Jay McShann/Walter Brown) – 2:48
Around and Around" (Chuck Berry) – 3:05
Five By Five reached #7 in the UK singles chart, while its five tracks and namesake would form the basis for their second American album, 12 X 5, later in 1964
Five By Five is the second EP by The Rolling Stones and was released in 1964. Captured during a prolific spurt of recording activity at Chess Studios in Chicago that June, Five By Five (five tracks by five musicians) was released that August in the UK shortly after their debut album, The Rolling Stones, had appeared.
label decca - dfe 8590 – producer Andrei Loog Oldham
1. "If You Need Me" (Robert Bateman/Wilson Pickett) – 2:03
2. "Empty Heart" (Nanker Phelge) – 2:37
3. "2120 South Michigan Avenue" (Nanker Phelge) – 2:07
o The full recording, now heard on the remastered 12 X 5, was faded early here for lack of time available on a conventional EP in 1964
side 2
"Confessin' the Blues" (Jay McShann/Walter Brown) – 2:48
Around and Around" (Chuck Berry) – 3:05
Five By Five reached #7 in the UK singles chart, while its five tracks and namesake would form the basis for their second American album, 12 X 5, later in 1964
Five By Five is the second EP by The Rolling Stones and was released in 1964. Captured during a prolific spurt of recording activity at Chess Studios in Chicago that June, Five By Five (five tracks by five musicians) was released that August in the UK shortly after their debut album, The Rolling Stones, had appeared.
Side 1
1. "Bye Bye Johnny" (Chuck Berry) – 2:09
2. "Money" (Berry Gordy Jr./Janie Bradford) – 2:31
Side 2
1. "You Better Move On" (Arthur Alexander) – 2:39
2. "Poison Ivy" (Jerry Leiber/Mike Stoller) – 2:06
1960's RADIO BROADCAST
BBC Stones: "Beat Beat Beat at the Beeb"
A cross reference of all the tracks on "Beat Beat Beat at the Beeb" against the least common denominator set of previously available recordings including The Swingin' Pig's GSIYW :
"Beat Beat Beat at the Beeb"
CD1:From Saturday Club, October 26, 1963:
"Beat Beat Beat at the Beeb"
CD1:From Saturday Club, October 26, 1963:
1. Come On2. Memphis, Tennessee3. Roll over Beethoven From Saturday Club, February 8, 1964:4. Ain"t That Loving You, Baby5. Don"t Lie To Me6. Mona7. Walking The Dog8. Bye Bye Johnny9. I Wanna Be Your Man10. You Better Move OnFrom Saturday Club, March 8, 1964:11. Roll Over Beethoven12. Beautiful DelilahFrom Blues in Rythm, March 19, 1964:13. Route 6614. Cops and Robbers15. Yuo Better Move On16. MonaPresumably from The Joe Loss Show, April 10, 1964:17. Hi-heel Sneakers18. Little By Little19. I Just Wanna Make Love To You20. I"m Moving OnFrom Saturday Club, April 18, 1964:21. Not Fade Away22. Walking The Dog23. I Just Wanna Make Love To You24. Beautiful Delilah25. Hi-heel Sneakers26. Carol
CD2:From Saturday Club, June 6, 1964:
1. Meet Me In The Bottom2. You Can Make It If You Try3. Route 664. Confessin" The Blues5. Down The Road ApieceFrom The Joe Loss Show, July 17, 1964: 6. It"s All Over Now7. If You Need Me8. Confessin" The Blues9. Carol10. MonaFrom Top Gear, July 23, 1964:11. Around and Around12. If You Need Me13. I Can"t Be Satisfied14. Crackin" upFrom Rhythm and Blues, October 31, 1964:15. 2120 South Michigan AvenueFrom Top Gear, March 6, 1965:16. Down The Road Apiece17. Interview with Mick and Brian18. Everybody Needs Somebody To Love19. The Last TimeFrom The Rolling Stones, August 30, 1965:20. Mercy, Mercy21. Oh Baby (we got a good thing goin")22. The Spider And The Fly23. (I Can"t Get No) SatisfactionFrom Saturday Club, September 18, 1965:24. Cry To Me25. Fanny Mae
Cops and Robbers
1. Cops and Robbers 2. Memphis Tennessee 3. Roll over Beethoven 4. Fanny Mae
SINGLES 1963
Come On
A : Come On (Chuck Berry) B : I Want To Be Loved (Willie Dixon)
Producer : Andrew OldhamSound Engineer : Roger SavageRecorded : 10.05.1963Studio : Olympic Sound Studio, London Released : 7.06.1963Decca F 11675Come On is a song written and first released by Chuck Berry. It was chosen by The Rolling Stones as their debut single (UK charts: pos.11).Mick Jagger (1972): "I don't think Come On was very good, in fact it was s--t. God knows how it ever got in the charts, it was such a hype. In fact we disliked it so much we didn't do it on any of our gigs." (thanks, bertrand - Paris, France)
liric
Everything is wrong since me and my baby parted All day long I'm walkin 'cause I couldn't get my car started. Laid off from my job and I can't afford to check it, I wish somebody'd come along and run into it and wreck it. Come on, since me and my baby parted, Come on, I can't get started Come on, I can't afford to check it, I wish somebody'd come along and run into it and wreck it Everything is wrong since I've been without you Ev'ry night I lay aake thinkin' about you. Ev'ry time the phone rings it sounds like thunder Some stupid guy try'n to reach another number. Come on, since I've been without you Come on, always thinkin' about you. Come on, phone sounds like thunder Some stupid guy try'n to reach another number. Everything is wrong since I last saw you, baby I really wanna see you and I don't mean maybe. I'm doin' ev'rything try'n to make you see That I belong to you, hon, and you belong to me. Come on, I gotta see you, baby Come on, I don't mean maybe. Come on, I'm try'n to make you see That I belong to you, hon, and you belong to me. Come on, I gotta see you, baby Come on, I don't mean maybe. Come on, I'm try'n to make you see That I belong to you, hon, and you belong to me. Come on, come on, come on, come on .
I Wanna Be Your Man
A : I Wanna Be Your Man (John Lennon/Paul McCartney) B : Stoned (Nanker/Phelge)
Producer : Eric EastonRecorded: 7.10.1963Studio: De Lane Lea Music Recording Studios, London Released: 1.11.1963Decca F 11764I Wanna Be Your Man" is a rock song written by John Lennon and Paul McCartney, and recorded separately by The Beatles and The Rolling Stones. Although The Beatles' version is better-known today, the Rolling Stones' version was released earlier.Mick Jagger (1968): "We knew (the Beatles) by then and we were rehearsing and Andrew brought Paul and John down to the rehearsal. They said they had this tune, they were really hustlers then. I mean the way they used to hustle tunes was great: 'Hey Mick, we've got this great song.' So they played it and we thought it sounded pretty commercial, which is what we were looking for, so we did it like Elmore James or something. I haven't heard it for ages but it must be pretty freaky 'cause nobody really produced it. It was completely crackers, but it was a hit and sounded great onstage."
lyric
I wanna be your lover baby,I wanna be your man,I wanna be your lover baby,I wanna be your man.Tell me that you love me baby,Like no other can,Love you like no other baby,Like no other can.I wanna be your man,I wanna be your man.Tell me that you love me baby,Tell me you understand,Tell me that you love me baby,I wanna be your man.I wanna be your lover baby,I wanna be your man,I wanna be your lover baby,I wanna be your man.I wanna be your man,I wanna be your man.I wanna be your lover baby,I wanna be your man,I wanna be your lover baby,I wanna be your man.Tell me that you love me baby,Like no other can,Love you like no other baby,Like no other can.I wanna be your man,I wanna be your man.."
SINGLES 1964
Not Fade Away
A : Not Fade Away (Norman Petty/Charles Hardin Holly) B: Little By Litle
A : Not Fade Away (Norman Petty/Charles Hardin Holly) B: Little By Litle
(Nanker/Phelge/PhilSpector)) Producer : Andrew OldhamSound Engineer : Bill FarleyRecorded : 10.01.1964Studio : Regent Sound Studios, London Released : 21.02.1964Decca F 11845
Rolling Stones "Not Fade Away" reaches no.3 in UK singles chart.
The Rolling Stones version of "Not Fade Away" was one of their first classic hits. Recorded in late January of 1964 and released by Decca on February 21, 1964, with "Little by Little" as the B-side, it was their first Top 5 hit in Great Britain, reaching #3.[1] In March 1964 it was also the first single release of The Stones in the United States by London Records with "I Wanna Be Your Man" as the B-side, reaching only into the mid-40's on the US charts (It had briefly been preceded by "Stoned" which had immediately been withdrawn).[2] It was also placed as the opening track of their first US album, England's Newest Hitmakers. It was a mainstay on Stones tours throughout their early years, usually opening a show. It was revived in that capacity for the 1994 Voodoo Lounge Tour
lyric
Rolling Stones "Not Fade Away" reaches no.3 in UK singles chart.
The Rolling Stones version of "Not Fade Away" was one of their first classic hits. Recorded in late January of 1964 and released by Decca on February 21, 1964, with "Little by Little" as the B-side, it was their first Top 5 hit in Great Britain, reaching #3.[1] In March 1964 it was also the first single release of The Stones in the United States by London Records with "I Wanna Be Your Man" as the B-side, reaching only into the mid-40's on the US charts (It had briefly been preceded by "Stoned" which had immediately been withdrawn).[2] It was also placed as the opening track of their first US album, England's Newest Hitmakers. It was a mainstay on Stones tours throughout their early years, usually opening a show. It was revived in that capacity for the 1994 Voodoo Lounge Tour
lyric
I'm gonna tell you how it's gonna be You're gonna give your love to me I'm gonna love you night and day Well love is love and not fade away Well love is love and not fade away My love bigger than a Cadillac I try to show it and you're drivin' me back Your love for me has got to be real For you to know just how I feel Love is real and not fade away Well love is real and not fade away I'm gonna tell you how it's gonna be You're gonna give your love to me Love to last more than one day Well love is love and not fade away Well love is love and not fade away Well love is love and not fade away Love, love is love and not fade away Not fade away Not fade away
Bill Wyman: "The rhythm thing was formed basically around the Buddy Holly thing. We brought the rhythm up and emphasized it. Holly had used that Bo Diddley trademark beat on his version, but because he was only using bass, drums and guitar, the rhythm element is sort of a throwaway. Holly played it lightly. We just got into it more and put the Bo Diddley beat up front." (thanks, bertrand - Paris, France
US version
A : Not Fade Away (Norman Petty/Charles Hardin Holly) B : I Wanna Be Your Man (John
Bill Wyman: "The rhythm thing was formed basically around the Buddy Holly thing. We brought the rhythm up and emphasized it. Holly had used that Bo Diddley trademark beat on his version, but because he was only using bass, drums and guitar, the rhythm element is sort of a throwaway. Holly played it lightly. We just got into it more and put the Bo Diddley beat up front." (thanks, bertrand - Paris, France
US version
A : Not Fade Away (Norman Petty/Charles Hardin Holly) B : I Wanna Be Your Man (John
Lennon/Paul McCartney)
Producer : Andrew OldhamSound Engineer : Bill FarleyRecorded : 10.01.1964Studio : Regent Sound Studios, London
Released : 6.03.1964London 45-LON 9657
It's All Over Now
Producer : Andrew OldhamSound Engineer : Bill FarleyRecorded : 10.01.1964Studio : Regent Sound Studios, London
Released : 6.03.1964London 45-LON 9657
It's All Over Now
A : It's All Over Now (Bobby & Shirley Womack) B : Good Times,Bad Times (MJ/KR) Producer :
Andrew OldhamSound Engineers : A - Ron Malo, B - Bill FarleyRecorded : A - 10.06.1964, B - 25.02.1964Studio : A - Chess Studio, Chicago, B - Regent Sound Studios, London Released : 26.06.1964Decca F 11934
It's All Over Now is a song by Bobby Womack and Shirley Womack. It was first a hit for The Valentinos featuring Sam Cooke and then for The Rolling Stones, giving them their first of eight UK number one singles (UK: #1 for 1 week, 15 weeks in charts; USA: #26, 10 wks). It featured on their album 12 X 5.The song was also performed by Rod Stewart, Molly Hatchet, Ducks Deluxe, The Grateful Dead, and by Ry Cooder on his album Paradise and Lunch.
It's All Over Now is a song by Bobby Womack and Shirley Womack. It was first a hit for The Valentinos featuring Sam Cooke and then for The Rolling Stones, giving them their first of eight UK number one singles (UK: #1 for 1 week, 15 weeks in charts; USA: #26, 10 wks). It featured on their album 12 X 5.The song was also performed by Rod Stewart, Molly Hatchet, Ducks Deluxe, The Grateful Dead, and by Ry Cooder on his album Paradise and Lunch.
lyric
Well, baby used to stay out all night long She made me cry, she done me wrong She hurt my eyes open, that's no lie Tables turn and now her turn to cry Because I used to love her, but it's all over now Because I used to love her, but it's all over now Well, she used to run around with every man in town She spent all my money, playing her high class game She put me out, it was a pity how I cried Tables turn and now her turn to cry Because I used to love her, but it's all over now Because I used to love her, but it's all over now Well, I used to walk in the morning, get my breakfast in bed When I'd gotten worried she'd ease my aching head But now she's here and there, with every man in town Still trying to take me for that same old clown Because I used to love her, but it's all over now Because I used to love her, but it's all over now Because I used to love her, but it's all over now Because I used to love her, but it's all over now
US version
A : It's All Over Now (Bobby &Shirley Womack) B : Good Times,Bad Times (MJ/KR)
US version
A : It's All Over Now (Bobby &Shirley Womack) B : Good Times,Bad Times (MJ/KR)
Producer : Andrew OldhamSound Engineers : A - Ron Malo, B - Bill FarleyRecorded :A - 10.06.1964, Chess Studio, Chicago B - 25.02.1964, Regent Sound Studios, London Released : 25.07.1964London 45-LON 9687
Tell Me
A : Tell Me (MJ/KR) B : I Just Want To Make Love To You (Willie Dixon)
Producer : Andrew OldhamSound Engineer : Bill FarleyRecorded : 24 or 25.02.1964Studio : Regent Sound Studios, London
Released : 13.06.1964London 45-LON 9682
This was the first Mick Jagger/Keith Richards composition. They wrote it when their manager, Andrew Oldham, locked them in his kitchen and told them to write some songs. At the time, The Stones were content to interpret songs written by other artists. This helped give Mick and Keith the confidence that they could be songwriters as well as performers.
Released : 13.06.1964London 45-LON 9682
This was the first Mick Jagger/Keith Richards composition. They wrote it when their manager, Andrew Oldham, locked them in his kitchen and told them to write some songs. At the time, The Stones were content to interpret songs written by other artists. This helped give Mick and Keith the confidence that they could be songwriters as well as performers.
lyric
I want you back again I want your love again I know you find it hard to reason with me But this time it's different, darling you'll see You gotta tell me you're coming back to me You gotta tell me you're coming back to me You gotta tell me you're coming back to me You gotta tell me you're coming back to me You said we're through before You walked out on me before I tried to tell you, but you didn't want to know This time you're different and determined to go You gotta tell me you're coming back to me You gotta tell me you're coming back to me You gotta tell me you're coming back to me You gotta tell me you're coming back to me I wait as the days go by I long for the nights to go by I hear the knock on my door that never comes I hear the telephone that hasn't rung You gotta tell me you're coming back to me You gotta tell me you're coming back to me You gotta tell me you're coming back to me You gotta tell me you're coming back to me
Time is On My Side
A : Time Is On My Side (Jerry Ragavoy) B : Twenty Flight Rock (Ned Fairchild/Eddie Cochram)
Producer : The Glimmer Twins Mixing Engineer : Bob ClearmountainRecorded : LiveA : 18.12.1981, HamptonB : 9.12.1981, Largo Released : 09.1982 RS 111
Time Is on My Side" is a song written by Jerry Ragovoy (under the pseudonym of Norman Meade). First recorded by jazz trombonist Kai Winding and his Orchestra in 1963, it was covered by both soul singer Irma Thomas and rock band The Rolling Stones in 1964. The Rolling Stones recorded a cover of the song for their second U.S. album 12 X 5, and a different version (featuring a guitar track over the organ intro, and improved harmony vocals) was included on their second UK album The Rolling Stones No. 2 (1965). The Andrew Loog Oldham-produced U.S. version was released on September 26, 1964 (a month after Thomas' cover) and peaked at number six on the U.S. Billboard Pop Singles Chart to become the Stones' first top ten hit in the U.S. (their last single, "Tell Me", had gone no higher than the top forty). When they performed "Time Is on My Side" during their first guest spot on The Ed Sullivan Show, Sullivan was shocked by their appearance and promised that they would never be invited onto the show again, but he subsequently invited them back several times. The Stones version is sung repeatedly by the demon Azazel in the 1998 Denzel Washington film Fallen.A live version of the song from the band's 1982 live album, Still Life, reached number sixty-two on the UK singles chart.
lyric
Time is on my side, yes it is Time is on my side, yes it is Now you always say That you want to be free But you'll come running back (said you would baby) You'll come running back (I said so many times before) You'll come running back to me Oh, time is on my side, yes it is Time is on my side, yes it is You're searching for good times But just wait and see You'll come running back (I won't have to worry no more) You'll come running back (spend the rest of my life with you, baby) You'll come running back to me Go ahead, go ahead and light up the town And baby, do everything your heart desires Remember, I'll always be around And I know, I know Like I told you so many times before You're gonna come back, baby 'Cause I know You're gonna come back knocking Yeah, knocking right on my door Yes, yes! Well, time is on my side, yes it is Time is on my side, yes it is 'Cause I got the real love The kind that you need You'll come running back (said you would, baby) You'll come running back (I always said you would) You'll come running back, to me Yes time, time, time is on my side, yes it is Time, time, time is on my side, yes it is Oh, time, time, time is on my side, yes it is I said, time, time, time is on my side, yes it is Oh, time, time, time is on my side Yeah, time, time, time is on my side
US version
A : Time Is On My Side (Jerry Ragavoy) B : Twenty Flight Rock (Ned Fairchild/Eddie Cochran)
Producer : The Glimmer Twins Mixing Engineer : Bob ClearmountainRecorded :A : 18.12.1981, HamptonB : 9.12. 1981, Largo
Released : 13.09.1982RS7 - 99978
Little Red Rooster
A:: Little Red Rooster (Willie Dixon) B : Off The Hook (MJ/KR)
Producer : Andrew OldhamSound Engineer : Bill FarleyRecorded : 2.09.1964Studio : Regent Sound Studios, London
Released : 13.11.1964Decca F 12014
Little Red Rooster is a blues song originally written by Willie Dixon and released by Howlin' Wolf as a single ("The Red Rooster" b/w "Shake For Me" (Chess Records 1804) in 1962. It was also included on his second album. It was recorded in June, 1961 in Chicago with: Howlin' Wolf, vocals, harmonica; Johnny Jones, piano; Hubert Sumlin, guitar; Willie Dixon, bass and Sam Lay, drums.
lyric
Released : 13.11.1964Decca F 12014
Little Red Rooster is a blues song originally written by Willie Dixon and released by Howlin' Wolf as a single ("The Red Rooster" b/w "Shake For Me" (Chess Records 1804) in 1962. It was also included on his second album. It was recorded in June, 1961 in Chicago with: Howlin' Wolf, vocals, harmonica; Johnny Jones, piano; Hubert Sumlin, guitar; Willie Dixon, bass and Sam Lay, drums.
lyric
I am the little red rooster Too lazy to crow for day I am the little red rooster Too lazy to crow for day Keep everything in the farm yard upset in every way The dogs begin to bark and hounds begin to howl Dogs begin to bark and hounds begin to howl Watch out strange cat people Little red rooster's on the prowl If you see my little red rooster Please drive him home If you see my little red rooster Please drive him home Ain't had no peace in the farm yard Since my little red rooster's been gone
The Stones' manager, Andrew Oldham, wanted them to record this in order to keep their image as a tough, naughty band, essentially the opposite of The Beatles. Their previous singles in England were "It's All Over Now," "Not Fade Away," and "I Wanna Be Your Man," all of which were successful, but moved them away from The Blues and into a more pop direction. Recording this raw Blues number was for their reputation
Heart Of Stone
A : Heart Of Stone (MJ/KR) B : What A Shame (MJ/KR)
Producer : Andrew OldhamSound Engineers : A - Dave Hassinger, B - Ron MaloRecorded :A - 2.11.1964, RCA Studios, HollywoodB - 8.11.1964, Chess Studios, Chicago
Released : 19.12.1964London 45-LON 9725
This was released in the US as a single in 1964 when many radio stations refused to play "Little Red Rooster," which contained lyrics that were too suggestive for many listeners. "Rooster" was #1 in England, but did not chart in the US.The original version is in mono. A stereo version was released in 1966 on their Big Hits (High Tide and Green Grass) compilation
lyric
There've been so many girls that I've known I've made so many cry and still I wonder why Here comes the little girl I see her walking down the street She's all by herself I try and knock her off her feet But, she'll never break, never break, never break, never break This heart of stone Oh, no, no, this heart of stone What's different about her? I don't really know No matter how I try I just can't make her cry 'Cause she'll never break, never break, never break, never break This heart of stone Oh, no, no, no, this heart of stone Don't keep on looking that some old way If you try acting sad, you'll only make me glad Better listen little girl You go on walking down the street I ain't got no love, I ain't the kind to meet 'Cause you'll never break, never break, never break, never break This heart of stone Oh, no, no, you'll never break this heart of stone darlin' No, no, this heart of stone You'll never break it darlin' You won't break this heart of stone Oh no no no You better go You better go home 'Cause you'll, you'll never break this heart of stone .
I GET AROUND
I GET AROUND
640629A
between 29th June - 7th July 1964 : ANDREW OLDHAM ORCHESTRA. London, Regent Sound Studios and Decca Studios. Producer: Andrew Oldham. Sound engineers: Bill Farley (Regent), Gus Dudgeon (Decca). Musical Directors: Mike Leander, John Paul Jones, David Whittaker. - I Get Around (Brian Wilson) -Andrew Oldham Orchestra with MJ on vocals - I Know (Andrew Oldham or MJ/KR) -similar backing track to Some Things Just Stick In Your Mind - Some Things Just Stick In Your Mind II (MJ/KR) -Big Jim Sullivan on guitar; with additional guitar Additional musicians: Jimmy Page (gtr, bass)/John McLaughlin (gtr)/Reg Guest (p)/Joe Moretti (gtr)/Andy White (dr)
640629A
between 29th June - 7th July 1964 : ANDREW OLDHAM ORCHESTRA. London, Regent Sound Studios and Decca Studios. Producer: Andrew Oldham. Sound engineers: Bill Farley (Regent), Gus Dudgeon (Decca). Musical Directors: Mike Leander, John Paul Jones, David Whittaker. - I Get Around (Brian Wilson) -Andrew Oldham Orchestra with MJ on vocals - I Know (Andrew Oldham or MJ/KR) -similar backing track to Some Things Just Stick In Your Mind - Some Things Just Stick In Your Mind II (MJ/KR) -Big Jim Sullivan on guitar; with additional guitar Additional musicians: Jimmy Page (gtr, bass)/John McLaughlin (gtr)/Reg Guest (p)/Joe Moretti (gtr)/Andy White (dr)
THE ROLLING STONES ANIMAL DUDS
ANIMAL DUDS - NEW MUSICAL EXPRESS POLL WINNERS CONCERT EMPIRE POOL, WEMBLEY, APRIL 26, 1964
ALBUMS 1964 : THE ROLLING STONES - ENGLAD S NEWEST HIT MAKER - 12 X 5
Pw Oldham Engineer: Bill Farley Released: May 1964 Original label: London Records (Polygram)
Side 1
"Route 66" (Bobby Troup) – 2:20
"I Just Want to Make Love to You" (Willie Dixon) – 2:17
"-st I Do" (Jimmy Reed) – 2:09
"I Need You Baby (Mona)" (Ellas McDaniel) – 3:33
Left off of the US edition of the album, England's Newest Hitmakers, in favour of "Not Fade Away"
"Now I've Got a Witness (Like Uncle Phil and Uncle Gene)" (Nanker Phelge) – 2:29
"Uncle Phil" and "Uncle Gene" refer to Phil Spector and Gene Pitney, both of whom contributed to the sessions; "Nanker Phelge" was a pseudonym for group-written compositions by The Rolling Stones, used from 1963 to 1965
"Little by Little" (Nanker Phelge, Phil Spector) – 2:39
Side 2
"I'm a King Bee" (James Moore) – 2:35
"Carol" (Chuck Berry) – 2:33
"Tell Me (You're Coming Back)" (Mick Jagger, Keith Richards) – 4:05
The first released Rolling Stones song by Mick Jagger and Keith Richards, the US edition of the album has an abbreviated version of "Tell Me (You're Coming Back)", although the CD re-issue now contains the longer UK version.
"Can I Get a Witness" (Brian Holland, Lamont Dozier, Eddie Holland) – 2:55
"You Can Make It if You Try" (Ted Jarrett) – 2:01
"Walking the Dog" (Rufus Thomas) – 3:10
Our first album reflected what we used to play at the Crawdaddy - a regular diet of Jimmy Reed, Bo Diddley, Muddy Waters, with some Slim Harpo. The album was basically the cream of the set! We cut the album in a room full of egg boxes, using a two-track Grundig. The only concession to professionalism was that the tape recorder was hanging on the wall instead of sitting on a tabletop... We would sit around in playback and go, Sounds good or Stop it, let's do it again and then Yeah, that's it. It was either a or a no. We were using two-track or four-track machine and there's not a lot you can do with that. To overdub you had to do what they call ping-ponging between the tracks, which was not a great thing because you actually lost generations of sound quality. - Keith Richards, 2003
ENGLAD’S NEWEST HIT MAKERS (US RELEASED )Side 1
"
"Not Fade Away" (Buddy Holly, Norman Petty) – 1:48Side 1
"Route 66" (Bobby Troup) – 2:20
"I Just Want to Make Love to You" (Willie Dixon) – 2:17
"-st I Do" (Jimmy Reed) – 2:09
"I Need You Baby (Mona)" (Ellas McDaniel) – 3:33
Left off of the US edition of the album, England's Newest Hitmakers, in favour of "Not Fade Away"
"Now I've Got a Witness (Like Uncle Phil and Uncle Gene)" (Nanker Phelge) – 2:29
"Uncle Phil" and "Uncle Gene" refer to Phil Spector and Gene Pitney, both of whom contributed to the sessions; "Nanker Phelge" was a pseudonym for group-written compositions by The Rolling Stones, used from 1963 to 1965
"Little by Little" (Nanker Phelge, Phil Spector) – 2:39
Side 2
"I'm a King Bee" (James Moore) – 2:35
"Carol" (Chuck Berry) – 2:33
"Tell Me (You're Coming Back)" (Mick Jagger, Keith Richards) – 4:05
The first released Rolling Stones song by Mick Jagger and Keith Richards, the US edition of the album has an abbreviated version of "Tell Me (You're Coming Back)", although the CD re-issue now contains the longer UK version.
"Can I Get a Witness" (Brian Holland, Lamont Dozier, Eddie Holland) – 2:55
"You Can Make It if You Try" (Ted Jarrett) – 2:01
"Walking the Dog" (Rufus Thomas) – 3:10
Our first album reflected what we used to play at the Crawdaddy - a regular diet of Jimmy Reed, Bo Diddley, Muddy Waters, with some Slim Harpo. The album was basically the cream of the set! We cut the album in a room full of egg boxes, using a two-track Grundig. The only concession to professionalism was that the tape recorder was hanging on the wall instead of sitting on a tabletop... We would sit around in playback and go, Sounds good or Stop it, let's do it again and then Yeah, that's it. It was either a or a no. We were using two-track or four-track machine and there's not a lot you can do with that. To overdub you had to do what they call ping-ponging between the tracks, which was not a great thing because you actually lost generations of sound quality. - Keith Richards, 2003
ENGLAD’S NEWEST HIT MAKERS (US RELEASED )Side 1
"
Replaces "I Need You Baby (Mona)" from the UK edition
"Route 66" – 2:20
"I Just Want to Make Love to You" – 2:17
"Honest I Do" – 2:09
"Now I've Got a Witness (Like Uncle Phil and Uncle Gene)" – 2:29
"Little by Little" – 2:39Side 2
1. "I'm a King Bee" – 2:35
2. "Carol" – 2:33
3. "Tell Me (You're Coming Back)" – 4:05
4. "Can I Get a Witness" – 2:55
5. "You Can Make It if You Try" – 2:01
6. "Walking the Dog" – 3:10
1964 UK TOP 20 ALBUM 1- 1965 UK 20 TOP ALBUM 3
1964 BILLBOARD POP ALBUM 11 – 1965 BILLBOARD POP ALBUM 87
12 x 5
Recorded & mixed: February 24-25 and May 12, 1964: Regent Sound Studios, London, England June 10-11, 1964: Chess Studios, Chicago, USA August 31-September 4, 1964: Regent Sound Studios, London, England
Producer: Andrew Oldham Engineers: Bill Farley, Ron Malo Released: October 1964 Original label: London Records (Polygram)
Track listing
"Around and Around" (Chuck Berry) – 3:03
"Confessin' the Blues" (Jay McShann/Walter Brown) – 2:47
"Empty Heart" (Nanker Phelge) – 2:37
"Time Is on My Side" (Norman Meade) – 2:53
This is the "organ" version of this song, as opposed to the version with the guitar intro
"Good Times, Bad Times" (Mick Jagger/Keith Richards) – 2:30
"It's All Over Now" (Bobby Womack/Shirley Jean Womack) – 3:26
"2120 South Michigan Avenue" (Nanker Phelge) – 3:38
This is the full length version, previously only heard on bootleg
"Under the Boardwalk" (Arthur Resnick/Kenny Young) – 2:46
"Congratulations" (Mick Jagger/Keith Richards) – 2:29
"Grown Up Wrong" (Mick Jagger/Keith Richards) – 2:05
"If You Need Me" (Robert Bateman/Wilson Pickett) – 2:04
"Susie Q" (Eleanor Broadwater/Stan Lewis/Dale Hawkins) – 1:50
MusiciansBrian Jones - Guitars, harmonica, vocals, percussionMick Jagger - Lead vocals, harmonica, percussionKeith Richards - Guitars, vocalsCharlie Watts - Drums, percussionBill Wyman - Bass guitar, vocals
On the first album, we cut everything in mono. The band had to record more or less live in the studio so what was on our record was more or less our act, what we played on the ballroom and club circuits. It was really just the show you did onstage recorded in one take - as it SHOULD be. Bill Wyman, 1982
1964 BILLBOARD POP 1965 3 BILLBOARD POP ALBUM 3
Recorded & mixed: February 24-25 and May 12, 1964: Regent Sound Studios, London, England June 10-11, 1964: Chess Studios, Chicago, USA August 31-September 4, 1964: Regent Sound Studios, London, England
Producer: Andrew Oldham Engineers: Bill Farley, Ron Malo Released: October 1964 Original label: London Records (Polygram)
Track listing
"Around and Around" (Chuck Berry) – 3:03
"Confessin' the Blues" (Jay McShann/Walter Brown) – 2:47
"Empty Heart" (Nanker Phelge) – 2:37
"Time Is on My Side" (Norman Meade) – 2:53
This is the "organ" version of this song, as opposed to the version with the guitar intro
"Good Times, Bad Times" (Mick Jagger/Keith Richards) – 2:30
"It's All Over Now" (Bobby Womack/Shirley Jean Womack) – 3:26
"2120 South Michigan Avenue" (Nanker Phelge) – 3:38
This is the full length version, previously only heard on bootleg
"Under the Boardwalk" (Arthur Resnick/Kenny Young) – 2:46
"Congratulations" (Mick Jagger/Keith Richards) – 2:29
"Grown Up Wrong" (Mick Jagger/Keith Richards) – 2:05
"If You Need Me" (Robert Bateman/Wilson Pickett) – 2:04
"Susie Q" (Eleanor Broadwater/Stan Lewis/Dale Hawkins) – 1:50
MusiciansBrian Jones - Guitars, harmonica, vocals, percussionMick Jagger - Lead vocals, harmonica, percussionKeith Richards - Guitars, vocalsCharlie Watts - Drums, percussionBill Wyman - Bass guitar, vocals
On the first album, we cut everything in mono. The band had to record more or less live in the studio so what was on our record was more or less our act, what we played on the ballroom and club circuits. It was really just the show you did onstage recorded in one take - as it SHOULD be. Bill Wyman, 1982
1964 BILLBOARD POP 1965 3 BILLBOARD POP ALBUM 3
THE 60 STUDIO/OUTTAKES
.JPG)
EAR CANDY
Tendolar TDR-139 10 - from released versions1 CDR - from MP3s
Let's Spend The Night TogetherYesterday's PapersRuby TuesdayConnectionShe Smiled SweetlyCool, Calm, CollectedAll Sold OutMy ObsessionWho's Been Sleeping HereComplicatedMiss Amanda JonesSomething Happened To Me YesterdayMother's Little HelperStupid GirlLady JaneUnder My ThumbDoncha Bother MeFlight 505High & DryOut Of TimeIt's Not EasyI Am WaitingTake It Or Leave ItThink
GEMSTONES VOL 1 1963-68
Var - all from best available sources2 CDR
CD 1You Shouldn't Judge A Book By Its CoverBaby What's WrongBright Lights, Big CityDiddley DaddyRoad RunnerRice Krispies Jingle (Wake Up In The Morning)It Should Be YouMemphis, TennesseeRoll Over BeethovenAnd Phil Spector And Gene Pitney Came TooAndrew's BluesBeautiful DelilahAs Time Goes ByAin't That Lovin You BabyCops And RobbersHigh Heeled SneakersOh, I Do Like To See Me On The B-SideDown In The BottomDon't Lie To MeStewed And KeefedTell Me BabyHeart Of Stone IIIHow Many More YearsCrackin' UpDa Doo Ron RonEach And Every Day Of The YearHear ItSleepy City
CD 2We're Wasting TimeI'd Much Rather Be With The BoysHey Crawdaddy (live)West Coast IdeaFanny MaeLooking TiredCon Lie Mie LacrimeSome Things Just Stick In Your MindMedley- You've Just Made My Day/I'm Just A Funny Guy/You Must Be The One/So Much In Love/I'll Hold Your Hand/Shang A Doo Lang/When A Boy Meets A Girl/No One KnowsTrouble In MindI've Been Loving You Too LongGet Yourself TogetherIf You Let MeLoving Sacred LovingShades Of OrangeChild Of The Moon (acoustic)Did Everybody Pay Their DuesBlood Red WineFamilyStill A FoolStuck Out all Alone
NANKER PHELGE
Nanker Phelge (aka Nanker/Phelge) was a collective pseudonym used between 1963 and 1965 for several Rolling Stones group compositions. Stones bassist Bill Wyman explained the origins of the name in his 2002 book, Rolling with the Stones:
When the Stones cut "Stoned"—or "Stones," according to early misprinted pressings—as the B-side to "I Wanna Be Your Man," Brian [Jones] suggested crediting it to Nanker/Phelge. The entire band would share writing royalties. Phelge came from Edith Grove flatmate Jimmy Phelge, while a Nanker was a revolting face that band members, Brian in particular, would pull.
Thus anything credited to Nanker Phelge refers to a Mick Jagger/Brian Jones/Keith Richards/Charlie Watts/Bill Wyman collaborative composition. The ASCAP files for the very earliest Nanker Phelge compositions also list early Rolling Stones member Ian Stewart (also known as "the sixth Stone") as a co-author covered by the pseudonym.
The name resurfaced in the late 1960s on the labels of the original vinyl pressings of Beggars Banquet and Let It Bleed. Manufacture of both albums was credited to Nanker Phelge, which was then acknowledged as an ABKCO company. (Apparently ABKCO was now manufacturing the records which were still bearing the London and Decca labels.)
The following songs were credited to Nanker Phelge:
"Stoned" (Oct. 1963) (ASCAP also credits Ian Stewart as co-writer)
"Little by Little" (Feb. 1964) (credited as 'Phelge') (co-written with Phil Spector; ASCAP also credits Ian Stewart as co-writer)
"Andrew's Blues" (Feb. 1964) (unreleased)
"And Mr Spector And Mr Pitney Came Too" (Feb. 1964) (unreleased, co-written with Phil Spector)
"Now I've Got a Witness" (credited as 'Phelge') (Apr. 1964)
"Stewed and Keefed (Brian's Blues)" (Jun. 1964)
"2120 South Michigan Avenue" (Aug. 1964)
"Empty Heart" (Aug. 1964)
"Play with Fire" (Feb. 1965)
"The Under Assistant West Coast Promotion Man" (May 1965)
"I'm All Right" (Jul. 1965) (sometimes credited to Phelge/McDaniel)
"Aftermath" (Dec. 1965) (unreleased and unavailable on bootleg; not to be confused with the album)
"Godzi" (unreleased and unavailable on bootleg, although the song has been registered with BMI)
"We Want The Stones" (actually this is audience cheering on the 1965 got LIVE if you want it! E.P.)
When the Stones cut "Stoned"—or "Stones," according to early misprinted pressings—as the B-side to "I Wanna Be Your Man," Brian [Jones] suggested crediting it to Nanker/Phelge. The entire band would share writing royalties. Phelge came from Edith Grove flatmate Jimmy Phelge, while a Nanker was a revolting face that band members, Brian in particular, would pull.
Thus anything credited to Nanker Phelge refers to a Mick Jagger/Brian Jones/Keith Richards/Charlie Watts/Bill Wyman collaborative composition. The ASCAP files for the very earliest Nanker Phelge compositions also list early Rolling Stones member Ian Stewart (also known as "the sixth Stone") as a co-author covered by the pseudonym.
The name resurfaced in the late 1960s on the labels of the original vinyl pressings of Beggars Banquet and Let It Bleed. Manufacture of both albums was credited to Nanker Phelge, which was then acknowledged as an ABKCO company. (Apparently ABKCO was now manufacturing the records which were still bearing the London and Decca labels.)
The following songs were credited to Nanker Phelge:
"Stoned" (Oct. 1963) (ASCAP also credits Ian Stewart as co-writer)
"Little by Little" (Feb. 1964) (credited as 'Phelge') (co-written with Phil Spector; ASCAP also credits Ian Stewart as co-writer)
"Andrew's Blues" (Feb. 1964) (unreleased)
"And Mr Spector And Mr Pitney Came Too" (Feb. 1964) (unreleased, co-written with Phil Spector)
"Now I've Got a Witness" (credited as 'Phelge') (Apr. 1964)
"Stewed and Keefed (Brian's Blues)" (Jun. 1964)
"2120 South Michigan Avenue" (Aug. 1964)
"Empty Heart" (Aug. 1964)
"Play with Fire" (Feb. 1965)
"The Under Assistant West Coast Promotion Man" (May 1965)
"I'm All Right" (Jul. 1965) (sometimes credited to Phelge/McDaniel)
"Aftermath" (Dec. 1965) (unreleased and unavailable on bootleg; not to be confused with the album)
"Godzi" (unreleased and unavailable on bootleg, although the song has been registered with BMI)
"We Want The Stones" (actually this is audience cheering on the 1965 got LIVE if you want it! E.P.)
SINGLES 1965
The last time
A : The Last Time (MJ/KR) B : Play With Fire (Nanker/Phelge)
Producer : Andrew OldhamSound Engineer : Dave Hassinger Recorded : 18.01.1965Studio : RCA Studios, Hollywood Released : 25.02.1965Decca F 12104
This was inspired by a 1955 Gospel song of the same name by The Staples Singers. Many Gospel fans felt The Stones ripped it off, since The Staples Singers never got any royalties from it. Since it is a traditional song (meaning no one owns the rights to it), many artists have recorded it, but The Stones were a very high-profile band that had success reworking songs by black artists into hits. Many people believe The Stones should have compensated The Staples Singers because it was based on their version of the song.
This was inspired by a 1955 Gospel song of the same name by The Staples Singers. Many Gospel fans felt The Stones ripped it off, since The Staples Singers never got any royalties from it. Since it is a traditional song (meaning no one owns the rights to it), many artists have recorded it, but The Stones were a very high-profile band that had success reworking songs by black artists into hits. Many people believe The Stones should have compensated The Staples Singers because it was based on their version of the song.
US CHART POS.9 – UK CHART POS. 1 ==========lyric
" Well I told you once and I told you twice But ya never listen to my advice You don't try very hard to please me With what you know it should be easy Well this could be the last time This could be the last time Maybe the last time I don't know. Oh no. Oh no Well, I'm sorry girl but I can't stay Feelin' like I do today It's too much pain and too much sorrow Guess I'll feel the same tomorrow Well this could be the last time This could be the last time Maybe the last time I don't know. Oh no. Oh no Well I told you once and I told you twice That someone will have to pay the price But here's a chance to change your mind 'Cuz I'll be gone a long, long time Well this could be the last time This could be the last time Maybe the last time I don't know. Oh no. Oh no Well, this could be the last time
1997 song called "Bittersweet Symphony" by The Verve sampled an obscure orchestral version of this. The Stones' former manager Allen Klein, who owns the publishing rights to this, received extensive royalties, as "Bittersweet Symphony" was a radio hit and even used in a Nike commercial.
This was the first song Mick Jagger and Keith Richards wrote that was an A-side single. The Stones played a lot of covers before they learned to write songs. =====
US version ==A : The Last Time (MJ/KR) B : Play With Fire (Nanker/Phelge)
Producer : Andrew Oldham,Impact SoundSound Engineer : Dave Hassinger Recorded : 18.01.1965, vocal A - 18.02.1965Studio : RCA Studios, Hollywood
Released : 13.03.1965London 45-LON 9741
(I Can't Get No) Satisfaction
A : (I Can't Get No) Satisfaction (MJ/KR) B : The Spider And The Fly (Nanker/Phelge)
Producer : Andrew OldhamSound Engineer : Dave HassingerRecorded : 12.05.1965Studio : RCA Studios, Hollywood Released : 20.08.1965Decca F 12220
While in Clearwater, Florida on The Stones third US tour in 1965, Keith Richards woke up in his hotel room with the guitar riff and lyric "Can't get no satisfaction" in his head. He recorded it on a portable tape deck, went back to sleep, and brought it to the studio that week. The tape contained his guitar riff followed by the sounds of him snoring.Richards ran his guitar through a Gibson Fuzz Box to create the distortion effect. He had no intention of using the sound on the record, but Gibson had just sent him the device, and he thought the Fuzz Box would create sustained notes to help sketch out the horn section. The band thought it sounded great and wanted to use the sound because it would be very unusual for a Rock record. Richards thought it sounded gimmicky and did not like the result, but the rest of the band convinced him to ditch the horn section and use the distorted guitar sound.==========lyric
While in Clearwater, Florida on The Stones third US tour in 1965, Keith Richards woke up in his hotel room with the guitar riff and lyric "Can't get no satisfaction" in his head. He recorded it on a portable tape deck, went back to sleep, and brought it to the studio that week. The tape contained his guitar riff followed by the sounds of him snoring.Richards ran his guitar through a Gibson Fuzz Box to create the distortion effect. He had no intention of using the sound on the record, but Gibson had just sent him the device, and he thought the Fuzz Box would create sustained notes to help sketch out the horn section. The band thought it sounded great and wanted to use the sound because it would be very unusual for a Rock record. Richards thought it sounded gimmicky and did not like the result, but the rest of the band convinced him to ditch the horn section and use the distorted guitar sound.==========lyric
I can't get no satisfaction, I can't get no satisfaction. 'Cause I try and I try and I try and I try. I can't get no, I can't get no. When I'm drivin' in my car and that man comes on the radio and he's tellin' me more and more about some useless information supposed to fire my imagination. I can't get no, oh no no no. Hey hey hey, that's what I say. I can't get no satisfaction, I can't get no satisfaction. 'Cause I try and I try and I try and I try. I can't get no, I can't get no. When I'm watchin' my TV and that man comes on to tell me how white my shirts can be. Well he can't be a man 'cause he doesn't smoke the same cigarrettes as me. I can't get no, oh no no no. Hey hey hey, that's what I say. I can't get no satisfaction, I can't get no girl with action. 'Cause I try and I try and I try and I try. I can't get no, I can't get no. When I'm ridin' round the world and I'm doin' this and I'm signing that and I'm tryin' to make some girl who tells me baby better come back later next week 'cause you see I'm on losing streak. I can't get no, oh no no no.
Hey hey hey, that's what I say. I can't get no, I can't get no, I can't get no satisfaction, no satisfaction, no satisfaction, no satisfaction. =====
Hey hey hey, that's what I say. I can't get no, I can't get no, I can't get no satisfaction, no satisfaction, no satisfaction, no satisfaction. =====
US version ==A : (I Can't Get No) Satisfaction (MJ/KR) B : The Under Assistant West Coast Promotion Man (Nanker/Phelge)
Producer : Andrew OldhamSound Engineers : A - Dave Hassinger, B - Ron MaloRecorded :A - 12.05.65 , RCA Studios, HollywoodB - 10.05.65 , Chess Studios,Chicago Released : 6.06.1965London 45-LON 9766
Get off of my cloud
A : Get Off Of My Cloud (MJ/KR) B : The Singer Not The Song (MJ/KR)
Producer : Andrew OldhamSound Engineer : Dave Hassinger Recorded : 6.09.1965Studio : RCA Studios, Hollywood Released : 22.10.1965 Decca F 12263
Keith Richards: "Get Off My Cloud was basically a response to people knocking on our door asking us for the follow up to Satisfaction. Satisfaction was such an enormous hit worldwide. This, to us, was mind-blowing. I mean not only was it a #1 record but, boom! We thought, 'At last. We can sit back and maybe think about events.' Suddenly there's the knock at the door and of course what came out of that was Get Off Of My Cloud. Because within 3 weeks, in those days hey, they want another single. And we weren't quite ready for that. So it was our response to the knock at the door: Get off of my cloud. And I'm surprised that it did so well. I mean it has a certain charm but I really remember it as a knee-jerk reaction. And it came out better than I thought." (thanks, bertrand - Paris, France)Mick Jagger (1995): "That was Keith's melody and my lyrics. It's a stop-bugging-me, post-teenage-alienation song. The grown-up world was a very ordered society in the '60s, and I was coming out of it. America was even more ordered than anywhere else.==========lyric
Keith Richards: "Get Off My Cloud was basically a response to people knocking on our door asking us for the follow up to Satisfaction. Satisfaction was such an enormous hit worldwide. This, to us, was mind-blowing. I mean not only was it a #1 record but, boom! We thought, 'At last. We can sit back and maybe think about events.' Suddenly there's the knock at the door and of course what came out of that was Get Off Of My Cloud. Because within 3 weeks, in those days hey, they want another single. And we weren't quite ready for that. So it was our response to the knock at the door: Get off of my cloud. And I'm surprised that it did so well. I mean it has a certain charm but I really remember it as a knee-jerk reaction. And it came out better than I thought." (thanks, bertrand - Paris, France)Mick Jagger (1995): "That was Keith's melody and my lyrics. It's a stop-bugging-me, post-teenage-alienation song. The grown-up world was a very ordered society in the '60s, and I was coming out of it. America was even more ordered than anywhere else.==========lyric
I live in an apartment on the ninety-ninth floor of my block And I sit at home looking out the window Imagining the world has stopped Then in flies a guy who's all dressed up like a Union Jack And says, I've won five pounds if I have his kind of detergent pack I said, Hey! You! Get off of my cloud Hey! You! Get off of my cloud Hey! You! Get off of my cloud Don't hang around 'cause two's a crowd On my cloud, baby The telephone is ringing I say, "Hi, it's me. Who is it there on the line?" A voice says, "Hi, hello, how are you Well, I guess I'm doin' fine" He says, "It's three a.m., there's too much noise Don't you people ever wanna go to bed? Just 'cause you feel so good, do you have To drive me out of my head?" I said, Hey! You! Get off of my cloud Hey! You! Get off of my cloud
Hey! You! Get off of my cloud Don't hang around 'cause two's a crowd On my cloud baby I was sick and tired, fed up with this And decided to take a drive downtown It was so very quiet and peaceful There was nobody, not a soul around I laid myself out, I was so tired and I started to dream In the morning the parking tickets were just like A flag stuck on my window screen I said, Hey! You! Get off of my cloud Hey! You! Get off of my cloud Hey! You! Get off of my cloud Don't hang around 'cause two's a crowd On my cloud Hey! You! Get off of my cloud Hey! You! Get off of my cloud Hey! You! Get off of my cloud Don't hang around, baby, two's a crowd=====
Hey! You! Get off of my cloud Don't hang around 'cause two's a crowd On my cloud baby I was sick and tired, fed up with this And decided to take a drive downtown It was so very quiet and peaceful There was nobody, not a soul around I laid myself out, I was so tired and I started to dream In the morning the parking tickets were just like A flag stuck on my window screen I said, Hey! You! Get off of my cloud Hey! You! Get off of my cloud Hey! You! Get off of my cloud Don't hang around 'cause two's a crowd On my cloud Hey! You! Get off of my cloud Hey! You! Get off of my cloud Hey! You! Get off of my cloud Don't hang around, baby, two's a crowd=====
US version==A : Get Off Of My Cloud (MJ/KR) B : I'm Free (MJ/KR)
Producer : Andrew OldhamSound Engineer : Dave Hassinger Recorded : A - 5.09.1965, B - 6.09.1965Studio : RCA Studios, Hollywood
Released : 25.09.1965London 45-LON 9792
Producer : Andrew OldhamSound Engineer : Dave Hassinger Recorded : A - 5.09.1965, B - 6.09.1965Studio : RCA Studios, Hollywood
Released : 25.09.1965London 45-LON 9792
As tears go by ( US released)
A : As Tears Go By (MJ/KR/Andrew Oldham) B : Gotta Get Away (MJ/KR)
Producer : Andrew OldhamSound Engineer : A - Glyn Johns, B - Dave Hassinger Recorded : A - 26.10.65 , IBC Studios LondonB - 5 or 6 .09.65 , RCA Hollywood
Released : 18.12.1965London 45-LON 9808
This was one of the first songs written by Mick Jagger and Keith Richards. The Stones manager, Andrew Oldham, gave it to a singer he also managed named Marianne Faithfull, who released it in 1964. It was going to be the B-side of her first single, but the record company decided to make it the A-side and it became her first hit. The Stones recorded it a year later.==========lyric
Released : 18.12.1965London 45-LON 9808
This was one of the first songs written by Mick Jagger and Keith Richards. The Stones manager, Andrew Oldham, gave it to a singer he also managed named Marianne Faithfull, who released it in 1964. It was going to be the B-side of her first single, but the record company decided to make it the A-side and it became her first hit. The Stones recorded it a year later.==========lyric
It is the evening of the dayI sit and watch the children playSmiling faces I can see
But not for meI sit and watchAs tears go byMy riches can't buy everythingI want to hear the children singAll I hear is the soundOf rain falling on the groundI sit and watchAs tears go byIt is the evening of the dayI sit and watch the children playDoing things I used to doThey think are newI sit and watchAs tears go by
But not for meI sit and watchAs tears go byMy riches can't buy everythingI want to hear the children singAll I hear is the soundOf rain falling on the groundI sit and watchAs tears go byIt is the evening of the dayI sit and watch the children playDoing things I used to doThey think are newI sit and watchAs tears go by
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