Encore press release of The Rolling Stones cardboard sleeve reissue series featuring DSD remastering. Part of a 22-album The Rolling Stones cardboard sleeve reissue series featuring the albums "England's Newest Hit Makers," "12 x 5," "The Rolling Stones, Now!" "Out of Our Heads," "Out of Our Heads (UK Version)," "December's Children (And Everybody's)," "Big Hits (High Tide And Green Grass)," "Aftermath," "Aftermath (UK Version)," "Got Live If You Want It!" "Between The Buttons," "Between The Buttons (UK Version)," "Flowers," "Their Satanic Majesties Request," "Beaggars Banquet," "Through The Past, Darkly (Big Hits Vol. 2)," "Let It Bleed," "Get Yer Ya-Ya's Out!" "Hot Rocks 1964-1971," "More Hot Rocks (Big Hits & Fazed Cookies)," "Singles Collection: The London Years," and "Metamporphosis (UK Version)."
The Rolling Stones is the debut album by The Rolling Stones, released by Decca Records in the United Kingdom on 16 April 1964. The American edition of the LP—with a slightly different track list—came out on London Records on 30 May 1964, under the title England's Newest Hit Makers. Recorded at Regent Sound Studios in London over the course of five days in January and February 1964, The Rolling Stones was produced by then-managers Andrew Loog Oldham and Eric Easton. The Rolling Stones was originally released by Decca Records in the UK, while the US England's Newest Hitmakers appeared on the London Records label, with the track "Not Fade Away" (the a-side of the band's third UK single) replacing "Mona (I Need You Baby)". The majority of the tracks reflect the band's love for authentic R&B material. Mick Jagger and Keith Richards (whose professional name until 1978 omitted the s in his surname) were very much fledging songwriters during early 1964, contributing only one original composition to the album: "Tell Me (You're Coming Back)". more …
The British version of the Stones' first album has a nearly identical cover to its American equivalent, issued six weeks later, but a slightly different song lineup. Among these 12 songs, absent is "Not Fade Away," which was a hit single in England (where singles and LPs were usually kept separate), and in its place is the Stones' cover of Bo Diddley's "Mona (I Need You Baby)" (credited here as "I Need You Baby"), which had to wait until Rolling Stones Now!, a year later, for its U.S. release. It's not a big switch, a Bo Diddley-style cover of a Buddy Holly song bumping an actual Bo Diddley cover on the U.S. version. Otherwise, the main difference lies in the version of "Tell Me" included here, which sounds about two generations hotter than any edition of the song ever released in the U.S. – it's the long version, with the break that was cut from the single, but the British LP and the original late-'80s Decca U.K. compact disc (820 047-2) both contain a version without any fade, running the better part of a minute longer than the U.S. release of the song, until the band literally stops playing.
Metamorphosis is the third compilation album of The Rolling Stones music released by former manager Allen Klein's ABKCO Records (who usurped control of the band's Decca/London material in 1970) after the band's departure from Decca and Klein. An album of outtakes, demos and rarities recorded during the band’s period with Decca Records has some interesting tracks. Some of the demos only feature Mick on vocals and have session musicians, including Jimmy Page and Big Jim Sullivan on guitars. On the original UK release there were sixteen tracks, whereas the US version omitted “Some Things Just Stick in Your Mind” and “We’re Wastin’ Time”, two of the demos. ABKCO released a couple of singles at the time, including Mick’s version of “Out of Time”, sung over the original backing track for Chris Farlowe’s hit version.
The three-disc box set Singles Collection: The London Years contains every single Rolling Stones singles released during the '60s, including both the A- and B-sides. It is the first Stones compilation that tries to be comprehensive and logical – for all their attributes, the two Hot Rocks sets and the two Big Hits collections didn't present the singles in chronological order. In essence, the previous compilations were excellent samplers, where Singles Collection tells most of the story (certain albums, like Aftermath, Beggars Banquet, and Let It Bleed, fill in the gaps left by the singles). The Rolling Stones made genuine albums – even their early R&B/blues albums were impeccably paced – but their singles had a power all their own, which is quite clearly illustrated by the Singles Collection.
Hot Rocks covers most of the monster hits from the Stones' first decade that remained in radio rotation for decades to come. More Hot Rocks goes for the somewhat smaller hits, some of the better album tracks, and a whole LP side's worth of rarities that hadn't yet been available in the United States when this compilation was released in 1972. The material isn't as famous as what's on Hot Rocks, but the music is almost as excellent, including such vital cuts as "Not Fade Away," "It's All Over Now," "The Last Time," "Lady Jane," the psychedelic "Dandelion," "She's a Rainbow," "Have You Seen Your Mother Baby, Standing in the Shadow?," "Out of Time," "Tell Me," and "We Love You." The eight rarities are pretty good as well, including their 1963 debut single "Come On," early R&B covers of "Fortune Teller" and "Bye Bye Johnnie," great slide guitar on Muddy Waters' "I Can't Be Satisfied," and the soulful 1966 U.K. B-side "Long Long While."
This two-LP/two-CD set is both a lot more and a bit less than what it seems. It is seven years' worth of mostly very high-charting – and all influential and important – songs, leaving out some singles in favor of well-known album tracks, and in the process, giving an overview not just of the Rolling Stones' hits but of their evolving image. One hears them change from loud R&B-inspired rockers covering others' songs ("Time Is on My Side") into originators in their own right ("Satisfaction"); then into tastemakers and style-setters with a particularly decadent air ("Get Off of My Cloud," "19th Nervous Breakdown"); and finally into self-actualized rebel-poets ("Jumpin' Jack Flash," "Midnight Rambler") and Shaman-like symbols of chaos.
Recorded during their American tour in late 1969, and centered around live versions of material from the Beggars Banquet-Let It Bleed era. Often acclaimed as one of the top live rock albums of all time, its appeal has dimmed a little today. The live versions are reasonably different from the studio ones, but ultimately not as good, a notable exception being the long workout of "Midnight Rambler," with extended harmonica solos and the unforgettable section where the pace slows to a bump-and-grind crawl.