Reconfiguring the Rolling Stones' catalog thru '66...

Many have posted here in the past about the disarray in the Stone's catalog up through 1966, where - like the Beatles - U.K. and U.S. LP releases were released with differing track configurations, sometime vastly so. A situation which foisted upon us entire "prefab" releases like "December's Children" and "Flowers" to catch the strays. And where there's considerable difference of opinion which catalog is "definitive".

Okay - for this exercise I'm gonna pretend that Allen Klein just left me as a secret beneficiary in his will. I now have the opportunity to re-issue an entirely reconfigured 'unified' Stones studio catalog, reconciling the U.S. and U.K. versions, with carte blanche authority and no commercial considerations to adhere to.

Let's also say that CDs are to be the main media, leaving plenty of additional space for "bonus tracks" to supplement the basic LPs. Not only that, but there's the opportunity to elevate long-bootlegged "lost tracks" to canon - by including them along with the previously released official tracks. (As I was going through this project I was amazed by how many great quality tracks had been passed over for whatever reasons in the official releases - I'll be making recommendations as I go where the best sounding current versions of these can be found).

Some additional ground rules...

1) Adhere to actual recording session chronology as closely as possible.

2) Since these are to be "canonical" rather than collections of "rarities", no un-issued alternate versions of tracks previously issued unless they either a) represent a completely different arrangement/take on the track (a la "Time Is On My Side", "Everybody Needs Someone to Love", "Poison Ivy"), or b) are better than the officially issued version (very subjective I know, but someone has to decide).

3) Studio or 'studio-quality' recordings only (making some of their BBC tracks available that were recorded under studio-like conditions). But no live tracks with audience, unless completely unobtrusive. Also, only tracks that are in current circulation.

4) With only a couple of possible exceptions, no Jagger/Richards 'songwriting demo' tracks unless the entire band was involved recording the track (in lieu of session musicians sometimes used). This eliminates most of the early tracks included on the disappointing "Metamorphosis" comp.

To keep this manageable, I'm going to break this up into one LP per post. I welcome any feedback/corrections/suggestions.

Here goes...

LP #1

This would be a new addition to the catalog and consists entirely of tracks recorded in 1963, thus pre-dating their first officially released LP. Between the U.K. singles and EP tracks, demo recordings, and BBC tracks, there's a wealth of excellent mostly unfamiliar material that could easily fill out an LP...

1 Baby What’s Wrong - 3/11/63
2 Diddley Daddy - 3/11/63
3 Bright Lights Big City - 3/11/63
4 Roadrunner - 3/11/63
5 I Want to Be Loved v1 - 3/11/63

These five "non-official" R&B covers were all recorded at their Decca audition session at IBC Studios in the U.K. They are all available in excellent quality, though in the circulating versions "Bright Lights" loses some clarity starting at the 2nd verse and carrying through for about a minute, and "Diddley Daddy" has a weird upward pitch change in the guitar intro on some versions. "I Want to Be Loved" is a different and rawer (i.e. better) version of the track re-recorded as the B-side of their first U.K. single a couple of months later. All five currently best heard on "More Stoned Than You'll Ever Be".

6 Come On - 5/10/63
7 I Want to Be Loved - 5/10/63

The A- and B-sides of their first U.K. single, both recorded 5/10/63 at Olympic Studios in the U.K. Both today sound a little "slick", and each are available in better versions IMHO, but need to be included here for historical accuracy.

8 Fortune Teller - 7/9/63
9 Poison Ivy v1 - 7/16/63

Two tracks recorded in early July '63 at Decca intended to be their 2nd U.K. single, but then withdrawn. Both eventually found their way onto the early '64 Decca "Saturday Club" comp, with "Fortune Teller" also appearing in a bastardized "audience noise added" version on the 1966 "Got Live If You Want It" LP.

10 Bye Bye Johnny - 8/8/63
11 You Better Move On - 8/8/63

The Stones were back at Decca in early August with this rocking Berry track and Arthur Alexander ballad first issued on their early '64 U.K.-only EP "The Rolling Stones." "You Better Move On" also found its way onto the 1965 U.S. "December's Children" LP comp.

12 I Wanna Be Your Man - 10/7/63
13 Stoned - 10/7/63

The band moved over to De Lane Lea in early October for this rocking Lennon-McCartney cover that was issued as their 2nd single in the U.K., with the accompanying instrumental on the B-side.

14 Memphis Tennessee - 10/26/63
15 Roll Over Beethoven - 10/26/63
16 Come On - 10/26/63

Three "non-official" BBC studio recordings of Chuck Berry covers, all available in excellent quality. "Come On" to me sounds rawer and better here than the previously issued 45-version, losing the corny key change in the last verse. All best heard on "Unsurpassed Masters Vol. 1."

17 Go Home Girl - 11/14/63
18 Money - 11/14/63
19 Poison Ivy v2 - 11/14/63

The band returned to De Lane Lea to lay down three more tracks, with the Arthur Alexander ballad "Go Home Girl" remaining un-issued. Their covers of "Money" and the raunchier second take on "Poison Ivy" made up Side 2 of their U.K.-only EP "The Rolling Stones". For "Go Home Girl" try "The Genuine Black Box".

20 It Should Be You - 11/20/63
21 Leave Me Alone - 11/20/63

Two up-tempo unissued tracks that were both the first Jagger-Richards compositions to be recorded by the band and their first recordings at Regent Studios, where they would return frequently over the next several years. Undistinguished and somewhat derivative, but not bad compared to some of the pap they were churning out at the time intended solely as artists demos for others. For "It Should Be You", again "The Genuine Black Box"; for "Leave Me Alone", google "The Philip Cohen Collection".

22 I'd Much Rather Be With the Boys

No one seems to have solid info on when this anomaly was originally recorded. To me, Jagger's 'thinnish' vocal especially sounds distinctly late-'63, thus its inclusion here. Of course it sounds like crap on the "Metamorphosis" comp with all the layers of later overdubs, but the original unadorned version as best heard on the "Metamorphosis" alternate version in circulation is pretty cool and definitely worth checking out.

So that's it for LP #1 - a 22-track effort that collects the all that's worthwhile of the earliest Stones studio recordings.

 

Great stuff, looking forward to more

 

Totally jazzed to see this listing. But bootleg discussion is verboten here, please refer to unreleased tracks as simply 'unreleased' so as to not tick off anyone here. That said, please continue..

 

While it's cool to have all the different US/UK cds and the many weird compilations it is a mess.

I think the most sensible thing would have been to stick 100% to the UK discography and then release a 'past masters' type release that caught up anything left out, though I guess these would run to quite a few disks. I know there are arguments that some of the US albums are just as valid as the UK releases but as a UK band they should stick with the UK discography.

 

I like this idea but IMo you should keep to officially released stuff to compile your hybrid Lp's. Not everyone WANTS bootleg stuff to clutter up the flow, whether it be lesser quality songs or lesser quality recordings. Stick with the official stuff, eh?

Your enthusiasm is nice!

 

I kinda like hearing about the b*otleg stuff myself..

 

This is great because I don't have the knowledge of the Stones that I'd like for this period. And why? It's all hazy with trying to figure out where recordings are. US vs UK? They really should have fixed this with the reissues. Why do I want 2 Aftermaths? Just pick one and throw some bonus tracks on it. I like your idea very much and will use it for a source I'm sure.

 

I think they should be on their own. I'm looking forward to seeing how the released recordings go together.

 

I take the point, but part of the rationale for including some of the unreleased tracks is so fans can discover some of the lost pieces of the canon and decide for themselves if they belong. It certainly was a revelation for me - personally I think a lot of these tracks are easily the equal of the released stuff. And as mentioned previously, I'm only including ones that can be found in studio-standard quality. (Note: I also have a strong bias for mono on all these tracks, and these are the mixes I'm referencing unless otherwise noted - of course, many aren't even available in true stereo.)

Bear in mind as well that some of those tracks probably would have been released officially on a "Metamorphosis"-type comp at the time (Bill Wyman in fact had prepared one on his own for release) if Klein & Co. hadn't been so obsessed with publishing royalties from Jagger-Richards compositions (even if many of those included were absolute garbage).

Moving on - I went back to my sources and need to make a quick correction on the first listing. Turns out the BBC recordings "Memphis", "Beethoven" and "Come On" were actually recorded on 9/23/63 - but not broadcast until 10/26. Which places them earlier in sequence ahead of the "I Wanna Be Your Man" session. (BTW - my primary source for chronology is "The Complete Works of the Rolling Stones" database at http://www.nzentgraf.de/books/tcw/works1.htm, but I attempt to verify everything there with other sources.)

Note that "Money" and an early version of the Chuck Berry track "Talkin' About You" were also apparently recorded on this date, but haven't made it into circulation. "Talkin' About You" would be especially interesting to hear in comparison to the later-recorded version included on U.K. "Out Of Our Heads" and U.S. "December's Children".

Also, note that in Bill Wyman's book "Rolling With the Stones" on page 98 he mentions a band session on 1/24/64 at Regent where they supposedly cut the original tracks for "I'd Much Rather Be With the Boys", "Each and Every Day of the Year" and "Walking Through the Sleepy City." Which is interesting, because most sources believe only Mick and Keith participated on these tracks. Moreover, to my ears these three don't sound like they were done on the same date. I haven't yet been able to corroborate Wyman with other sources.

At any rate, here's the final track list for LP #1:

1 Baby What’s Wrong
2 Diddley Daddy
3 Bright Lights Big City
4 Roadrunner
5 I Want to Be Loved (v1)
6 Come On (v1 - 45 release)
7 I Want to Be Loved (v2 - 45 release)
8 Fortune Teller
9 Poison Ivy (v1 - Saturday Club release)
10 Bye Bye Johnny
11 You Better Move On
14 Memphis Tennessee
15 Roll Over Beethoven
16 Come On (v2 - BBC)
12 I Wanna Be Your Man
13 Stoned
17 Go Home Girl
18 Money
19 Poison Ivy (v2 - EP release)
20 It Should Be You
21 Leave Me Alone
22 I’d Much Rather Be With the Boys

The 2nd LP of the project is basically an expanded version of the band's first official LP - "The Rolling Stones" in the U.K. and "England's Newest Hitmakers" in the U.S. Ironically, this LP had the strongest correlation between the U.K. and U.S. versions of any of their official releases, differing only in one track ("Mona" was deleted and held for "The Rolling Stones Now" in the U.S. in favor of the "Not Fade Away" U.K. 45).

By this time the band had settled on the primitive 2-track facilities at Regent as their studio venue of choice. Recorded almost completely live with very few overdubs, these early 1964 tracks for the most part represent a significant uptick in both vocal and band confidence and performance over previous output. It is here where the early Stones really find their sound.

1 Carol - 1/3-1/4/64
2 Mona - 1/3-1/4/64
3 Route 66 - 1/3-1/4/64
4 Walking the Dog - 1/3-1/4/64
5 You Can Make it If You Try - 1/3-1/4/64

Initial sessions for the LP at Regent.

6 I’m a King Bee - 1/10/64
7 Honest I Do - 1/10/64
8 Not Fade Away v1 (unreleased) - 1/10/64

Continuing the LP sessions. This early version of "Not Fade Away" is similar in arrangement to the later-recorded 45 version, but is taken a bit faster and has enough additional energy and drive to warrant inclusion.

9 Not Fade Away v2 - 1/28-1/29/64

The official re-recorded version as released on the U.S. LP and U.K. 45.

10 Can I Get a Witness - 2/04/64
11 Little By Little - 2/04/64
12 Now I’ve Got a Witness - 2/04/64
13 Mr. Spector & Mr. Pitney Came Too (unreleased) - 2/04/64

The notorious Phil Spector/Gene Pitney "brandy-aided" session. All assembled are obviously having a blast, though the pornographic "Andrew's Blues" also recorded on this date probably takes things a bit too far (it's fun to hear once though). OTOH, the unreleased R&B jam called "Mr. Spector & Mr. Pitney Came Too" for lack of a better title is an absolute barn-burner that should not be missed.

14 Try a Little Harder - 2/13/64

A mid-tempo, driving track that made its original appearance in a significantly overdubbed version on "Metamorphosis". A preferred tighter, stripped down version is in circulation. Unclear from sources if the original track is an actual Stones session or a Mick and Keith demo with outside musicians (Wyman claims it's a band track).

15 I Just Wanna Make Love to You - 2/24-2/25/64
16 Tell Me - 2/24-2/25/64
17 Good Times Bad Times - 2/24-2/25/64

Final LP sessions, including "Tell Me", the first fully Mick & Keith composition to be released by the band (the longer unedited version on the U.K. LP is preferred). Most sources also place the slow self-composed blues "Good Times, Bad Times" as being recorded on this date - certainly the 12-string acoustic heard on this track is similar to that used on "Tell Me". However, release was held back for issue as the B-side of the "It's All Over Now" single and also on the U.S. LP "12 x 5".

18 Cops and Robbers 3/19/64

We'll wind things up with this live BBC Bo Diddley cover, recorded in studio-like quality with only a slight bit of audience clapping heard at the end (the other tracks recorded on this date already exist in studio versions.) This was an experimental stereo broadcast and thus is only available in (good sounding) stereo.

Final track list for this LP:

1 Carol
2 Mona
3 Route 66
4 Walking the Dog
5 You Can Make it If You Try
6 I’m a King Bee
7 Honest I Do
8 Not Fade Away v1 (unreleased)
9 Not Fade Away v2 (45 and LP)
10 Can I Get a Witness
11 Little By Little
12 Now I’ve Got a Witness
13 Mr. Spector & Mr. Pitney Came Too (unreleased)
14 Try a Little Harder
15 I Just Wanna Make Love to You
16 Tell Me
17 Good Times Bad Times
18 Cops and Robbers (unreleased)

 

Correct me if I am wrong, but the Stones didn't officially audition for Decca like the Beatles did. The IBC demos from March 1963 is an audition tape (at least I think it is), but the songs weren't recorded specifcally for Decca. When the Stones signed with Andrew Oldham and Eric Easton (Imapct Sound), they were able to get the group a deal with Decca. Their recordings, which were owned by Imapct Sound, were leased to Decca.

The Stones hardly recorded at Decca's studio in London. I don't think there were any sessions after the summer/fall of 1963.

Again, please correct me if I am wrong.

 

What about the alternate take of Tell Me which appeared by mistake on the inital pressings of the Stones 1st LP?

 

For those of us compiling at home, it would be helpful to include where we can find each track (U.K. "Out Of Our Heads", More Hot Rocks, etc.).

 

Sounds like what you're really describing here is the discs of a potential box set.

 

Try this site

This site does a great job of putting everything released in chronological order. Great site!

http://www.timeisonourside.com/disco1.html

 

Loving this thread!!!

 

Absolutely correct - I was wrong to refer to the IBC sessions as a "Decca audition." The tracks were actually recorded at the suggestion and under the auspices of Glyn Johns to spur record company interest in a deal - but not specifically for Decca.

Yes, aware of this, but I wouldn't be so sadistic to make anyone sit through more than one version of this (IMHO dismal) track. If it's the recording I think it is, the version in circulation sounds a bit primitive in any case and in no way compares with the released version.

 

Understood, but you are willing to include 2 versions of Not Fade Away that sound similar to each other. At least the alternate take of Tell Me is totally different to the released version. However, to each his own.

I have been enjoying this thread too. Thanks!

 

I agree with Tommyboy on this. IMO, there is a much bigger difference between the two versions of "Tell Me", then there is between the various takes of the official "Not Fade Away". Obviously, this is all very subjective, as the OP admits in the first post.

So the question then becomes whether or not the OP is willing to add such things that a majority (who know of these matters) would want or, because it's his thread, should he simply add what he prefers?

I would argue for a compromise, wherein some addendum can be added (with, perhaps, an asterisk) to acknowledge things that this "majority" would think useful for the many in the thread seeking knowledge that others of us may posess...

 

The next collection in the set centers around the band's pivotal first trip to the U.S. in June of 1964 and their amazing two days of session work during their first visit to the legendary Chess Studios in Chicago. Working with in-house engineer Ron Malo they were able to lay down an astounding 14 (or 15 depending on which source you believe) complete tracks, achieving a powerful sound that thrilled the band and resulted in their first undeniable single - "It's All Over Now" - recorded in just two takes.

The other tracks recorded here were originally issued primarily on the U.K. EP "5x5" and the expanded U.S. LP version "12x5". Exceptions included their great cover of Muddy Water's "I Can't Be Satisfied" - featuring outstanding slide work from Brian - issued on their 2nd U.K. LP "The Rolling Stones #2", but not seeing light of day in the U.S. until the early '70's "More Hot Rocks" comp.

"Down the Road Apiece" from these sessions also wound up on "#2", in tandem with their 3rd U.S. LP "Rolling Stones Now". "Look What You've Done" was held back until the 1965 "December's Children" comp in the U.S. and remained unissued in the U.K. until the 1971 Decca "Stone Age" comp. Finally, five tracks remain officially unreleased and make as great an argument as any for an official catalog revision.

This 3rd LP in the proposed series pulls together into one place all the Chess tracks recorded in this momentous 2-day session, along with a couple of Regent tracks recorded in close proximity, and another BBC track not otherwise recorded by the band...

1 Congratulations - 5/12/64
2 Don’t Lie to Me - 5/12/64

According to most sources, the Stones laid down these two tracks at Regent a few weeks prior to their U.S. visit, the first another new Jagger/Richards composition of no particular distinction, the 2nd a rollicking Chuck Berry cover that remained in the can for over ten years until being pulled out for the 1975 Metamorphosis rarities comp, erroneously credited to Mick and Keith on the original issue.

3 It’s All Over Now - 6/10/64
4 I Can’t Be Satisfied - 6/10/64
5 Stewed and Keefed (unreleased) - 6/10/64
6 Time Is On My Side v1 (organ intro) - 6/10/64
7 If You Need Me - 6/11/64
8 High Heel Sneakers (unreleased) - 6/11/64
9 Look What You’ve Done - 6/11/64
10 Down In the Bottom (unreleased) - 6/11/64
11 Confessin’ the Blues - 6/11/64
12 Down the Road Apiece - 6/11/64
13 Around and Around - 6/11/64
14 Empty Heart - 6/11/64
15 Tell Me Baby (unreleased) - 6/11/64
16 2120 South Michigan Avenue - 6/11/64
17 Reelin’ and Rockin’ (unreleased) - 6/11/64

According to Ron Malo in the BBC documentary "The Rolling Stone's Story", the Stones worked straight through from the afternoon of the 10th to the morning of the 11th laying down all these tracks, an incredibly productive session that shows how efficiently the band could work in the studio when so inspired. Along the way, such luminaries as Muddy Waters, Willie Dixon, Buddy Guy and Chuck Berry dropped in at different points to view the proceedings.

It's virtually a crime that such great tracks as their covers of Howlin' Wolf's "Down In the Bottom" and Big Bill Broonzy's "Tell Me Baby" remain officially unreleased to this day. Fortunately, all the unreleased tracks from this session are in common circulation in both great sounding mono and true stereo.

The early 'organ intro' version of "Time On My Side" recorded here may have been subjected to further overdubs later in the month at Regent when they returned to the U.K.

18 Crackin’ Up (unreleased) - 7/17/64

Winding up again with another previously unrecorded BBC track - a slightly 'rough around the edges' but still charming Bo Diddley cover.

LP #3 final track list:

1 Congratulations
2 Don’t Lie to Me
3 It’s All Over Now
4 I Can’t Be Satisfied
5 Stewed and Keefed (unreleased)
6 Time Is On My Side v1 (organ intro)
7 If You Need Me
8 High Heel Sneakers (unreleased)
9 Look What You’ve Done
10 Down In the Bottom (unreleased)
11 Confessin’ the Blues
12 Down the Road Apiece
13 Around and Around
14 Empty Heart
15 Tell Me Baby (unreleased)
16 2120 South Michigan Avenue
17 Reelin’ and Rockin’ (unreleased)
18 Crackin’ Up (unreleased)

 

What about Surprise Surprise? It was recorded a few months after the sessions for the first LP. It was issued on a Decca compilation LP in the UK but appeared on the Rolling Stones Now LP in the US.

 

Surprise Surprise was recorded in September 64 if I remember correctly.

And one more thing:

No matter what some sources say, Don't Lie To Me was recorded at CHESS in June.

Listen to the cleaness of the piano & drums and you've not in doubt.

The Metamorphosis mix is in near-mono, but other b*** sources has it wide stereo.

 

You're right. I stand corrected.

 

Great thread!

Was the organ-intro "Time Is On My Side" originally mixed in stereo (like the other Chess tracks), and then folded to mono for the US single release? Or was this a dedicated mono track all along?

 

I've always heard the guitar version of "Time" was recorded at Chess & the organ version was recorded at Regent...

 

Regarding the second and more familiar 'guitar intro' version of "Time Is On My Side", absolutely not in dispute that it was recorded during the band's 2nd stopover at Chess on November 8th of that year.

As for the first 'organ intro' version, there's some dispute over whether they actually did record it at Chess, or if some or all of it were done a little later at Regent. Wyman lists it as a Chess track, the Stone's database site says it was done later that month at Regent.

As noted in a previous post, there's also some disagreement over "Don't Lie to Me" and "Reelin' and Rockin'" being Chess tracks or not. Both though are usually included on the "Chess Session" comps floating around out there...