7 are the same, 5 are different.
So that makes eh, whe, when you get the five that are different.
5 plus 5, plus the 7 that are the same.
That makes 17 songs overall that we're going to take account of here
as we talk about this album form early 1965.
So there are four originals on this record.
So more and more originals on the albums, and we've went from 1 to 3 to 4
here with this third American studio album, and 13 covers.
We'll go through the covers and this week I really want to, at the end of the week,
at the end of the videos I want to make,
try to make some kind of generalization about, what we can really learn from
all of these cover versions that the Rolling Stones did?
What does, what do these cover versions tell us?
I just I just, just remarked that these were recorded in three different studios.
So we have Hollywood recordings, Chicago recordings, and London recordings,
as I said before are released in the U.K. in January and in the US in February.
When we look at the cover art,
because we've been paying a little bit of attention to that David Bailey,
once again takes the photos of, for the for
the both of these albums The Rolling Stones Now and, and No.2.
Remember he'd, was the fashion photographer who was a friend of Mick's,
who'd done the picture for 12 by 5.
And there are lengthy and fanciful Liner Notes by Andrew Loog Oldham.
These are probably the most lengthy Liner Notes he ever did,
and I, I called them fanciful because I like Andrew Loog Oldham.
And I think he's a, he's an imaginative character.
Some people might call these Liner Notes a little loopy.
[LAUGH] They almost seem like a kind of in anticipation of psychedelia,
like psychedelia without the drugs.
But anyway I, I, I'll leave it to you to look those up and, and
see what you think of them.
But again, we're seeing the same pattern of,
you know, thinking very carefully about what the cover-art looks like and
then marketing the group through the Liner Notes.
We talked about that last week.
So let's talk first about we said there are 4 originals and 13 covers.
So let's talk about the original songs that are on these two records.
What a Shame appears on both albums.
For Grown Up Wrong is a, is on number 2 only but
it had been on 12 by 5, right released in November of 1964.
Snd then, we have Heart of Stone
which was on the American version only, but it will appear on the UK version
of Out of our Heads which we'll get to in a future video here this week.
And then surprise, surprise that song is on the American version only.
So out of those Jagger-Richards tunes, that's kind of how they lay out.
Now, the cover versions that are on both albums.
So of the,
the 13 covers we have 6 covers that are on both albums, the 7 covers that differ.
So here are the six that are both albums.
There's a Solomon Burke tune called Everybody Needs Someone to Love.
Alvin Robinson, Down Home Girl.
Chuck Berry, You Can't Catch Me.
Chuck Berry, Down the Road Apiece.
That Off the Hook track that we talked about that's
not really a cover of Little Walter's song but they,
they had to give they had to come to some kind of legal agreement with Chess because
of their Off the Wall single that Little Walter had done.
And the sixth one being Pain in My Heart, Otis Redding.
So what are we seeing here?
More Chuck Berry?
Boy they love Chuck Berry.
But more Solomon Burke as well.
Otis Redding, Solomon Burke,
Chuck Berry real favorites with the Rolling Stones in these cover versions.
What about the ones that were separately on the US and the UK side?
Well, Mona (I Need You Baby) was on the U.S.
album, but it had been on the Rolling Stones' first album in the U.K. right.
So there was one they hadn't used in the U.S.
yet, so they bring that on here, for the U.S. album.
Little Red Rooster their Howlin' Wolf cover.
Now that one had been a single in the U.K.
remember just a, just a couple of months earlier.
And so now, they bring it onto the U.S. album and, and make some use of it.
And then Oh Baby (We Got a Good Thing Going) a Barbara Lynn tune,
or her full name, Barbara Lynn Ozen.
It appears on the American version only, but
it will appear on the UK version of Out of Our Heads.
I know it's a little bit complicated, but the idea is to u,
they end up using up almost all of the material.
So that it's some point, everything's released in both countries,
not entirely but, but almost what about the stuff that was only in the UK?
Under the Boardwalk was released on the UK version because it was on 12 by 5,
and of course, 12 by 5 wasn't released in the UK, so
there's one they, they were able to use up.
Susie Q, the Dale Hawkins cover that had been on 12 by 5,
also appears on the UK version.
Rolling Stones number two and I Can't Be Satisfied,
a Muddy Waters tune appears on the UK version.
I think one, one thing that we should really note here as we
talk about this album the Rolling Stones Now album is that these November
1964 sessions mark a real beginning in the RCA Studios, and
I talked about that just a couple of months ago a couple of a, moments ago.
But they also marked the beginning of the band's relationship with Jack Nitzsche.
I'm going to say his name Neet-cha.
He may pronounce is Neet-chee.
Nitzsche is following the German philosopher.
Jack Nitzsche was played piano,
he was a kind of sort of another Phil Spector acolyte.
They say acolyte.
He was, you know, he was part of the Phil Spector circle.
Knew a lot of people in town, was a real LA studio guy.
And he became sort of an active participant in those Rolling Stones
recordings in LA.
So much so that when they stopped recording in LA, they would flay,
fly Jack Nitzche to the session [LAUGH] so he could be with them in London.
They depended a lot on his, his,
his ability to sort of help them shape the music.
So this is where that relationship begins.
The relationship with the RCA Studio with Dave Hassinger.
When they're in that RCA Studio, and with Jack Nitzsche both, when they're in,
both when they're in LA and when they're in London a little bit later.
As we finish out this video, I just want to say a, a couple a real quick words
about an EP that was released in the UK only, it's called Got Live If You Want It.
And keep an eye on this title because the title Got Live If You Want It
will be used in 1966 for a live album,
that's got almost entirely different content and is released in the US.
So when you say Got Live When You Want It EP,
you mean the UK one that's released in 65.
Got Live If You Want It LP, that's the American record.
That's release in 1966.
And they only have, I think one song in common between the two of them.
Anyway, so just keep, keep your, keep your eye on that.
Don't, don't be confused between the two.
This one, the EP was recorded live on tour in the UK in March of 1965 and
though the recording is raw, it gives a useful picture of the bands sound live.
The story that you often read is that the engineer Glyn Johns simply put, you know,
a couple of microphones up in the balcony and and just recorded what he got.
But when you listen to the recording mm, I'm not quite there, he may have had mics
in the balcony, but you can tell that there are other mics that are pretty close
to the singer's mouths because you're not hearing the singing coming through some
gigantic PA or, or even a small PA reverberating through a big room.
But how, however it is that Glyn Johns did that,
the recordings are not really very good, and the Rolling Stones didn't like
the record very much and didn't really even consider that one.
Or even the second one that came out that I was talking about,
the American for the next year,
they didn't consider really either one of them to be live albums of the band.
The live, they figured their first live album was Get your you Ya's Out from 1970.
But anyway, these are great sort of early documents.
It's also important to point out that Glyn Johns will become very important as
an engineer when the band starts recording in Olympic Studios in, in London.