Showing posts with label 1964. Show all posts
Showing posts with label 1964. Show all posts

Monday, November 10, 2025

The Rolling Stones - 12 x 5 [Japanese Ed.] (1964)

Year: 17 October 1964 (CD Apr 25, 1989)
Label: Polydor Records (Japan), P25L 25032
Style: Classic Rock, Rhythm and Blues, Rock and Roll
Country: London, England
Time: 31:15
Format: Flac Tracks 16/44,1 kHz
Size: 163 Mb

Imagine that in moments of smart alecky tomfoolery, many a person has looked at the cover of The Rolling Stones12 X 5 and yelled, “Sixty,” soon followed by uncontrollable giggling at their own corny brilliance. Had the same people seen the British EP which featured songs that appeared on 12 X 5, they would have probably yelled “Twenty-five.” In either case, the joke would most likely be met with blank stares and shaking heads, maybe a few befuddled shrugs from people not familiar with multiplication or amused by arithmetic.
The twelve songs by the five piece Stones which comprise 12 X 5 are, like its predecessor, deeply entrenched in rhythm and blues and soul; brimming with lively covers and boasting the support of bad-boy Brian Jones. Unlike its predecessor, the album offers some early Stones originals, which, though they stand on forgivably shaky legs, give a taste of what’s to come. It’s definitely an album of portent, something of a glimpse at the bands roots before Out of Our Heads or the all-original Aftermath.
The album kicks off with Chuck Berry’s “Around and Around.” The cover showcases the rhythm section, Keith Richards’ lead guitar, Jones’ piano and Mick Jagger’s vocals working in unison to create a catchy, bopping whole. The same can be said of “It’s All Over Now,” the rhythm section of Charlie Watts and Bill Wyman demonstrating their immense importance to the band as Jones and Richards guitars open up into solo bravado. “Confessin’ the Blues” crawls with a standard blues riff, Jones and Richards once again sharing guitar duties, seamlessly giving way for Jagger to wrap that mouth of his around a harmonica.
Ushered in by organ or a tasty guitar lick (depending on what version of the song you have) is The Rolling Stones’ first top-ten single stateside, “Time Is On My Side.” Originally recorded by Irma Thomas, Jagger’s lament and taunting backed by the band guide the song from beginning to the fading repetition of the song’s title, pulsing the word “time” for emphasis. Both “Time Is On My Side” and “Around and Around” were the two songs the band played on their first appearance on “The Ed Sullivan Show” in 1964. Apparently frightened by their motley looks, Sullivan vowed to never have them on the show again. In 1967, The Rolling Stones once again appeared on “The Ed Sullivan Show,” this time playing “Let’s Spend the Night Together.”
On the Rolling Stones original songs, it sounds as if Jagger is attempting to tame the muse of lyric writing with a Mars bar and a pouty-lipped pucker. While “Good Times, Bad Times,” the jilted “Congradulations,” and “Grown Up Wrong” aren’t bad by any means, they don’t have the same memorable melodic quality or the lyrical intelligence of what was to come. They stand there for the most part without the pomp, circumstance or flooring power that would characterize, for instance, the riff of “Satisfaction” or the sudden dark blast of “Paint it Black.”
Under the pseudonymous group guise of Nanker Phelge, the band delivers a grooving jam on “2120 South Michigan Avenue.” Named after the street address of Chess Records, the band blends organs, harmonica hums, blistering solos, warm thudding bass and tattering drums. Nanker Phelge also gets the credit for “Empty Heart,” a bounding rhythm and blues track that, along with “Grown Up Wrong,” is arguably one of the best of the album’s originals.
While there’s no iconic Jagger/Richards-written songs on 12 X 5, it’s an album bursting with energy and begging to be heard. By the following year, time matured the group into rock stars grown right, still tied to their roots but coming into their own in a satisfying way.
(treblezine.com/rolling-stones-12x5/) Review by Hubert Vigilla, September 19, 2004.

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Around And Around (03:08)
02. Confessin' The Blues (02:51)
03. Empty Heart (02:39)
04. Time Is On My Side (02:55)
05. Good Times, Bad Times (02:36)
06. It's All Over Now (03:30)
07. 2120 South Michigan Avenue (02:10)
08. Under The Boardwalk (02:48)
09. Congratulations (02:30)
10. Grown Up Wrong (02:08)
11. If You Need Me (02:06)
12. Susie Q (01:49)

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Tuesday, November 4, 2025

The Rolling Stones - England's Newest Hit Makers [Hybrid SACD] (1964)

Year: 17 April 1964 (CD Oct 21, 2002)
Label: ABKCO Records (Europe), 8822872
Style: Rhythm and Blues, Rock and Roll
Country: London, England
Time: 31:19
Format: Flac Tracks 16/44,1 kHz
Size: 183 Mb

The American edition of the debut LP.
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.
(allmusic.com/album/the-rolling-stones-englands-newest-hit-makers-mw0000195499)

01. Not Fade Away (01:48)
02. Route 66 (02:21)
03. I Just Want to Make Love to You (02:18)
04. Honest I Do (02:10)
05. Now I've Got a Witness (02:32)
06. Little by Little (02:40)
07. I'm a King Bee (02:37)
08. Carol (02:34)
09. Tell Me (04:05)
10. Can I Get a Witness (02:56)
11. You Can Make It If You Try (02:02)
12. Walking the Dog (03:09)

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The Rolling Stones - The Rolling Stones [Japanese Ed.] (1964)

Year: 17 April 1964 (CD Apr 25, 1989)
Label: London Records (Japan), P25L 25031
Style: Rhythm and Blues, Rock and Roll
Country: London, England
Time: 33:16
Format: Flac Tracks 16/44,1 kHz
Size: 185 Mb

The British edition of the debut LP.
Much is said about comparing The Beatles with The Rolling Stones, even hinting at a certain rivalry between the two bands. “Yesterday”, during a very interesting conversation, we concluded that comparing The Beatles to The Stones is like comparing apples to oranges. While one focused on creating the foundations for Pop, the other aimed to design a rebellious sound, both rooted in Rock.
The reality of this matter (at least in the beginning) is that The Beatles themselves propelled The Stones to fame, especially George Harrison, who persuaded Decca Records to sign them... and that’s exactly what happened. It is even said that The Beatles frequented the ‘Crawdaddy Club’ in Richmond, London, to watch The Stones, where they gained a significant fan base.
In 1964, The Rolling Stones debuted with their eponymous album, featuring 12 songs, of which only one is original, ‘Tell Me (You’re Coming Back)’, composed by Mick Jagger and Keith Richards.
We can hear a sound inspired by R&B and, of course, Rock & Roll. Practically, it is a cover album. However, The Rolling Stones refreshed all these songs and added that touch of rebellion that the generation needed to break conventional music and societal stereotypes.
Mick Jagger’s voice became the band’s hallmark from this album. Despite not possessing vocal virtuosity, he proposed something entirely different that would serve as a strong foundation for Rock in general, with a message of ‘You don’t have to be perfect to be in a band’. This influence, especially for Punk, was tremendous, as can be heard on albums like “Never Mind The Bollocks” (1977) by Sex Pistols.
The album was recorded in an express manner, in just 5 days! Consequently, it’s not perfect, which gives it a nostalgic sound and provides context regarding the technology of the time. Speaking of production, it contributes to the album sounding “heavy” for its era, maintaining the distortion peaks that are sometimes heard in the vocals.
It’s not just about Keith Richards‘ and Brian Jones‘ guitars, Bill Wyman‘s bass, and Charlie Watts‘ drums. Mick Jagger himself played the harmonica, and we can even hear a completely instrumental track, “Now I’ve Got A Witness”, where Ian Stewart played the organ. Stewart was part of the band but unofficially, as the band’s manager did not see him fit as a permanent member due to his marketing conception.
Certainly, the blues is present in songs like “I’m a King Bee”... a white version of the genre that began to hint at something more, a revolution that would soon scare the conservatives and liberate the rebels through art. Yes, we are talking about the official birth of Rock, with an audience that would gradually demand more.
And yes, dancing in Rock has always been, in one way or another, essential, the need to move the body and release that beautiful energy caused by our dopamine... The Rolling Stones add variety to the album with tracks like “Carol” or “Can I Get a Witness”, songs designed for fast and uncomplicated Rock N’ Roll dancing, with a very good display of guitars between Richards and Jones.
It’s impressive how, after so many years, we have the opportunity to listen to such an important part of music history. This album is entirely groundbreaking; it represents the desire of five individuals to leave a mark on the world, to do things differently, and at the same time, serve. They set an example, as their song “You Can Make It If You Try” says... that nobody can limit you. You can do anything you want as long as you manifest it and work on it.
(therockreview.net/the-rolling-stones-the-rolling-stones-eng/)

01. Route 66 (02:22)
02. I Just Want To Make Love To You (02:19)
03. Honest I Do (02:11)
04. Mona (I Need You Baby) (03:36)
05. Now I've Got A Witness (02:31)
06. Little By Little (02:41)
07. I'm King Bee (02:37)
08. Carol (02:36)
09. Tell Me (04:08)
10. Can I Get A Witness (02:58)
11. You Can Make It If You Try (02:03)
12. Walking The Dog (03:10)

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Saturday, September 20, 2025

Dusty Springfield - A Girl Called Dusty [8 bonus tracks] (1964)

Year: 17 April 1964 (CD 1997)
Label: Mercury Records (Germany), 534 520-2
Style: Oldies, Pop
Country: London, England (16 April 1939 - 2 March 1999)
Time: 56:31
Format: Flac Tracks 16/44,1 kHz
Size: 349 Mb

Dusty Springfield had been a member of the girl group The Lana Sisters from 1958 to 1960, and the folk-pop trio The Springfields from 1960 to 1963 (in the latter case with her brother Tom Springfield). While on tour in the US in the early 1960s she was exposed to soul music, which was to have a profound impact on her subsequent life and career. Although The Springfields were moderately successful, with songs such as "Island of Dreams", "Bambino" and "Silver Threads And Golden Needles" (a No. 16 US country hit), their style of music limited the wide range of material that Dusty Springfield wanted to sing. Therefore, in 1963, Springfield decided to begin a career as a solo singer.
Her first single, "I Only Want to Be with You", was actually recorded while still a member of The Springfields, and was released one week after their final concert. The song was a success in both Britain and the US and led to the recording of A Girl Called Dusty which was released in 1964. The album contained a mix of mostly straightforward pop songs and a few Motown influenced numbers, such as "When The Lovelight Starts Shining Through His Eyes", "Will You Love Me Tomorrow" and "Mockingbird". It also marked Springfield's first collaboration with well-known songwriters Burt Bacharach and Hal David, as well as Gerry Goffin and Carole King, whose songs Springfield continued to record for the rest of her career.
At the time, A Girl Called Dusty was not released to the US market. Instead, Philips released a compilation of singles and tracks recorded for the album as Stay Awhile/I Only Want To Be With You. It was named after her first two singles, which had been Top 20 hits in the US. Later in 1964, Philips released Dusty, a second version of A Girl Called Dusty with a different track listing and different tracks.
In January 1994, while recording her album, A Very Fine Love, in Nashville, Springfield began to feel ill. When she returned to England a few months later, her physicians diagnosed her with breast cancer. She received months of chemotherapy and radiation treatment, and the cancer was found to be in remission. In 1995, in apparent good health, she set about to promote the album, which was released that year. By mid-1996, the cancer had returned, and despite vigorous treatments, Springfield died on 2 March 1999, aged 59, in Henley-on-Thames, Oxfordshire.
Springfield's funeral service was attended by hundreds of fans and people from the music business, including Elvis Costello, Lulu, and the Pet Shop Boys.
(en.wikipedia.org/wiki/A_Girl_Called_Dusty)

01. Mama Said (02:14)
02. You Don't Own Me (02:30)
03. Do Re Mi (02:23)
04. When The Lovelight Starts Shining thru His Eyes (03:07)
05. My Colouring Book (03:03)
06. Mockingbird (02:34)
07. Twenty-Four Hours From Tulsa (03:07)
08. Nothing (02:29)
09. Anyone Who Had A Heart (03:11)
10. Will You Love Me Tomorrow (02:40)
11. Wishin' And Hopin' (02:56)
12. Don't You Know (02:53)
13. I Only Want To Be With You (alternate mix) (bonus track) (02:42)
14. He's Got Something (bonus track) (02:50)
15. Every Day I Have To Cry (bonus track) (02:30)
16. Can I Get A Witness (bonus track) (02:46)
17. All Cried Out (bonus track) (03:05)
18. I Wish I'd Never Loved You (bonus track) (03:40)
19. Once upon A Time (bonus track) (01:57)
20. Summer Is Over (bonus track) (03:44)

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Tuesday, September 2, 2025

Alexis Korner's Blues Incorporated - At The Cavern [Expanded Ed. 12 bonus tracks] (1964)

Year: 1964 (CD Jul 2006)
Label: Castle Music (Europe), CMRCD1372
Style: Blues, Rhythm and Blues
Country: London, England
Time: 60:58
Format: Flac Tracks 16/44,1 kHz
Size: 185 Mb

Alexis Korner's Blues Incorporated, or simply Blues Incorporated, were an English blues band formed in London in 1961, led by Alexis Korner and including at various times Jack Bruce, Charlie Watts, Terry Cox, Ginger Baker, Art Wood, Long John Baldry, Ronnie Jones, Danny Thompson, Graham Bond, Cyril Davies, and Dick Heckstall-Smith.
Korner (1928–1984) was a member of Chris Barber's Jazz Band in the 1950s, and met up with Cyril Davies (1932–1964) who shared his passion for American Blues. In 1954 they teamed up as a duo, began playing blues in London jazz clubs, and opened their own club, the London Blues and Barrelhouse Club, where they featured visiting bluesmen from America. The club embraced aspiring young musicians, including in its early days Charlie Watts, Long John Baldry, and Jack Bruce.
In 1961 Korner and Davies formed Blues Incorporated, the first amplified R&B band in Britain, and brought in singer Baldry (sometimes replaced by Art Wood), drummer Watts, bassist Bruce, and saxophonist Dick Heckstall-Smith. It was an informal band: its membership was intended to be fluid.
On 17 March 1962, Korner and Davies established a regular "Rhythm and Blues Night" at the Ealing Jazz Club. This brought together many more fans of blues and R&B music including Mick Jagger, Keith Richards, Brian Jones, Eric Clapton, Rod Stewart, Paul Jones, John Mayall, Zoot Money, and Jimmy Page, some of whom would occasionally sit in at Blues Incorporated performances. Watts left the group around this time to join the Rolling Stones and suggested Ginger Baker as his replacement.
From 3 May 1962, Blues Incorporated secured a Thursday-night residency at the Marquee Club, which brought them to the attention of record producer and promoter Jack Good who arranged a recording contract with Decca Records resulting in the LP R&B from the Marquee, released in late 1962. The album was actually recorded in the Decca studio and featured Baldry as lead singer with songs by Muddy Waters, Jimmy Witherspoon and Leroy Carr.
Late in 1962 Davies disagreed with Korner's intention to add a brass section to the band and turn more towards jazz than blues, so left to form his own group, the Cyril Davies All-Stars, and was replaced by Graham Bond. Blues Incorporated found a new residency at the Flamingo club but, shortly afterwards, Bond, Bruce and Baker left to form the Graham Bond Organisation.
Blues Incorporated concentrated on live work rather than recording and the group only released two singles on Parlophone, "I Need Your Loving" / "Please Please Please Please" (1964) and "Little Baby" / "Roberta" (1965). In 1964 they released the LPs At The Cavern and Red Hot From Alex, with American Herbie Goins as lead singer and Danny Thompson, later of Pentangle, on bass. By the time of the group's last album Sky High (credited to Alexis Korner's Blues Incorporated) in 1965, the group included Duffy Power on vocals. Korner dissolved the group in 1966.
(en.wikipedia.org/wiki/Alexis_Korner%27s_Blues_Incorporated#Discography)

01. Overdrive (04:00)
02. Whoa Baby (04:33)
03. Every Day I Have The Blues (04:12)
04. Hoochie Coochie Man (05:35)
05. Herbie's Tune (07:39)
06. Little Bitty Gal Blues (05:32)
07. Well All Right Ok You Win (03:15)
08. Kansas City (04:28)
09. announcement (00:13)
10. Overdrive (02:20)
11. brief interview (01:15)
12. I Need Your Lovin' (02:10)
13. Turn On Your Lovelight (02:25)
14. brief interview (01:07)
15. Please, Please, Please (02:50)
16. announcement (00:05)
17. Roberta (02:20)
18. Every Day I Have The Blues (02:01)
19. I Need Your Lovin' (02:16)
20. Please, Please, Please (02:32)

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