Jerrysstones

Stones' Covers Compilation

By JERRY MICCO

jerry_micco@sonymusic.com

"I mean what's the point in listening to us do 'I'm a King Bee' when you can listen to Slim Harpo doing it?"
Mick Jagger, 1968

By the summer of 1968, when the above remarks were taken from a Rolling Stone magazine article, The Rolling Stones' early exercises in "authentic" R&B styles had long been assimilated into original music that transcended mere imitation. Several world-wide smash hits more than validated their approach, which combined popular music with blues and soul based stylings. By late 1968, the Stones' music reflected the blues of the Mississippi Delta, country and bluegrass music and the burgeoning Soul music scene in Memphis and other points South.

As the music on these compact discs illustrates, however, there was a time when favorite singles were carefully considered for material; American singles on exotic labels like SAR, Jamie, Chess and Red Bird were scooped up on shopping trips while on tour in the USA and learned quickly sometimes, right in the studio during recording sessions!

The Rolling Stones' earliest recordings were cover versions of favorite Blues, R&B and Soul songs, recorded with the earnest devotion of the "true believer." Until the Jagger-Richards partnership proved capable of writing hit singles, The Rolling Stones considered themselves first and foremost an R&B band and were primarily concerned with presenting their beloved blues and soul numbers with as much authority as possible.

The results were mixed, especially in the early years (1963 1965), when triumphant versions of Chuck Berry's "Around and Around" and Bo Diddley's "Mona" stand along tepid covers of Gene Allison's "You Can Make It If You Try" and The Temptations' "My Girl." The material on these discs includes songs that were the backbone of the band's early stage shows, songs recorded for the BBC radio programs that were so essential to gaining an audience in the days before MTV and songs that were recorded with an eye towards eventual release, only to wind up on the cutting room floor. Included are large helpings from the Chuck Berry and Bo Diddley songbooks, several excursions into the deep blues of Muddy Waters, Elmore James and Howling Wolf (indeed, the Stones insisted that the Wolf appear with them on ABC TV's Shindig!
in a 1965 appearance) and many nuggets culled from the Stax/Volt and Tamla/Motown catalogs. In later years, Keith's love of Delta blues saw songs by Robert Johnson, Mississippi Fred McDowell and Robert Wilkins as well as the then-unfamiliar rhythms of Jamaican Reggae added to the canon.

The songs on these discs were the foundation of what came to be known as "The World's Greatest Rock 'N' Roll Band." There are over100 songs here, all of which illustrate Bill Wyman's assertion that

"we young musicians were mining gold, the rich source of our inspiration being black or black-inspired music."

STONES COVERS:

Come On (Chuck Berry)  A calculated choice for the band's first single release through their hard-won contract with UK Decca Records, "Come On" was never released in the UK by Chuck Berry and had not been covered by any of the band's contemporaries at a time when several groups often vied for success with the same (cover) songs, this was an important factor!. In a shrewd move, the Stones' managers (Eric Easton and the 20 year old Andrew Oldham) agreed to lease their masters to the company for a specified period of time allegedly, this was on the advice of Oldham's hero, American producer Phil Spector. In any event, this was indeed sharp dealing, because the Stones maintained ownership of their masters and was in many ways a better deal than the Beatles had with EMI. "Come On" charted in the Top 50 and faded, but it DID accomplish the all-important task of getting them noticed. Unlike Berry's version, which conveys the frustration of a spurned lover, the Stones' stab at the song seemed rushed and featured a key change in the middle eight bars that was worthy of Freddie and the Dreamers! In an effort to secure all-important airplay, Berry's lyric "some stupid jerk / Trying to reach another number" was changed to "some stupid guy", foreshadowing the same pragmatism that later saw "Let's Spend The Night Together" changed to "Let's Spend Some Time Together" at the behest of CBS-TV and the Ed Sullivan show just 4 years later. Unloved, it disappeared from the set list and was soon forgotten.

I Want To Be Loved (Muddy Waters) This song was recorded twice by the Stones once at IBC Studios as one of their earliest sessions and again as the "B" side to "Come On." This is the "Rollin' Stones" as Brian Jones envisioned them and compares very well with the original by Muddy Waters.
Keith Richards, remembering the earliest days of the band, has talked about meeting with Ian Stewart's frank disapproval of his taste in music "You're the Chuck Berry artist?" was how Keith was greeted by Stu, who had already answered Brian Jones' call for blues players. Bo Diddley, Chuck Berry and Jimmy Reed were looked upon as "beyond the pale" by players like Ian Stewart and Cyril Davies (the harmonica player with Alexis Korner's Blues Incorporated) and Mick and Keith's insistence that Chuck and Bo's tunes become part of the band's songbook was not without cost several players quit over the introduction of "rock and roll" songs!

You Can't Judge A Book By Looking At Its Cover (Bo Diddley)  This was the very first song ever recorded by The Rolling Stones. Never commercially released, it was one of several songs recorded with a "proto Stones" lineup featuring Mick Jagger, Keith Richards, Brian Jones, Ian Stewart, but with a different drummer and bassist than Charlie Watts and Bill (Perks) Wyman. It is only available as an acetate and is in the hands of a private collector.

Let It Rock (Chuck Berry)  Keith Richards offers this compact rocker as definitive proof of the genius of Chuck Berry he feels that Berry's special gift was in his ability to transform the standard I-IV-IV 12 bar blues progression into pop music. This number has been included in the set list for many years and was released as a "B" side in the 1970s.

Road Runner (Bo Diddley) - Another one of the numbers recorded at IBC. It was said that Brian Jones would play these tracks for friends and wistfully remark that THIS was his vision for the Stones. Jones' guitar work on this and several other Bo Diddley numbers was very good and clearly showed what he was capable of when he was interested! Jones' influence was at its peak during the years 1963 1965, but after the others discovered that he was getting an extra stipend from management because he was the "leader," his influence began to wane. Included in the stage shows in 1963 and 1964.

Diddley Daddy (Bo Diddley)  This was yet another IBC track and features Jones' excellent harmonica playing . The tremolo guitar figure from this song was "reused" on 1965's "19th Nervous Breakdown."

Honey What's Wrong (Jimmy Reed)  Mick Jagger in 1963 was said to be so besotted with Jimmy Reed that any question put to him stood a fair chance of being answered by a Reed song lyric. One of several Reed compositions recorded (but not issued commercially) by the band and thus fair game for the Yardbirds! The Stones' arrangement clearly reflects the influence of Bo Diddley and, unlike the other Jimmy Reed songs they covered, moves along at a sprightly pace.

Bright Lights, Big City (Jimmy Reed)  Recorded as a "one off" at the end of a session. This was never commercially released and is very similar in arrangement and feel to the Reed original. Also recorded by The Animals, whose gritty version features Alan Price's organ and is very good.

Pretty Thing (Bo Diddley)  Never recorded, but featured in a 1963 film made at the Crawdaddy Club by then-manager Giorgio Gomelsky. This was a big favorite during the early days at the Club and it is said that the audience would literally hang from the rafters during this number.

I'm Moving On (Ray Charles) - I can't be sure, but I feel stongly that this version, rather than the original Hank Snow record, was the inspiration for the Stones. Recorded live in concert 1965 and issued on the EP "Got Live If You Want It" (UK) and the LP "December's Children" (USA). A driving number featuring Jones' slide guitar and Mick's wailing harmonica, this was a great selection for the set list. This was the number that the Beatles heard at the Crawdaddy Club in 1964.

I'm A Hog For You Baby (The Coasters) - Recorded as a possible follow-up to "Come On," but was quickly discarded and never commercially released. It is interesting that the Stones, even at this early stage of their career, were always ready to consider a different approach this Lieber/Stoller novelty tune was worlds apart from the Chicago Blues they cut their teeth on, but they were willing to try this kind of material if it meant a hit record.

Fortune Teller (Benny Spellman) - This was eventually issued on the USA "Got Live If You Want It" LP but in fact, "Fortune Teller" was one of their very earliest studio recordings! This reading of the Allen Toussaint-produced hit stayed very close to the original, even down to Mick's spoken aside at the close of the song. Again, this song clearly shows that even "purists" make concessions in the interest of getting a hit. One of the earliest recorded examples of the famed "Rolling Stones Harmony Vocals" Brian Jones' response to Northern bands like the Hollies (who featured four part harmonies in almost every song they performed) was to comb the Edith Grove 45 collection for material suitable for the Stones' vocal abilities. In James Phelge's book Phelge's Stones, he recounts the time-consuming rehearsals given over to installing harmonies into this and several other numbers. At the end of the day, all of Jones' patient tutoring was for naught like their black and white houndstooth uniform jackets, four part harmonies were soon discarded!

Money (Barret Strong) - Included on the group's first EP release. This was one of the few times the Stones covered a song that had already been waxed by many other UK acts including the definitive recording by John Lennon. The version of this song cut by the Stones, alas, pales in comparison to the Beatles' reading and was probably included just because it was a popular number of the day.

Poison Ivy (The Coasters)  Another Lieber/Stoller novelty number. This was actually recorded twice for UK Decca and both versions (the difference is a minor variation in tempo) were released one on an LP of songs for a charity and again on their first UK EP. Songs like this were also learned (and performed onstage) because the group found that audiences outside "The Smoke" were not as fond of 12 bar blues as the London audiences they were accustomed to! "The show must go on," and the punters quickly lost interest if more than a few blues numbers were in the set.

Bye Bye Johnnie (Chuck Berry) - Recorded for their first UK EP. Keith Richards takes the lead on this uptempo rocker, but his timing is uncharacteristically shaky. Initially, the EP containing this song was to have quickly followed "Come On," the band's first single, into the shops. Stone's management had not counted on the band's headstrong nature insistent upon the right "feel" for their records, they simply would cancel studio time (even when it was prepaid) if they did not feel up to recording that day. This was unheard of at the time and showed the confidence they had in themselves (or just how stubborn they could be!)

You Better Move On (Arthur Alexander) - John Lennon had already recorded "Anna," but this plaintive bluesy number was still on the table. The "hit" track that propelled their first UK EP to the Bestsellers charts, and a dependable stage number that was featured in live performances and on early TV appearances. Features an excellent example of the famed "Rolling Stones Harmony Vocals."

Green Onions (Booker T and the MGs) - This was the "inspiration" for the "B" side of "I Wanna Be Your Man," "Stoned." Credited to "Nanker Phelge" a name that came from Jimmy Phelge, their roommate at the infamous Edith Grove apartment and the "nanker" a face devised by Brian Jones to "send up" the people who displeased the Stones. "Nankering" involved pulling down the eyes and pushing up the nose at the same time, sometimes accompanied by strange "eeekeeek" noises!. Several photos from the period show the band in full "nanker!"

Go Home, Girl (Arthur Alexander) - Recorded, but never issued. That this was recorded at all was probably due to the success that "You Better Move On" brought them.

Carol (Chuck Berry)  A highlight of the first LP, "Carol" has remained in the set list for 30 plus years. The "interplay" between Keith Richards and Uncle Chuck (filmed during the making of the "Hail Hail Rock 'N' Roll" film as to the "correct" way to play the song's opening riff is NOT to be missed!

Route 66 (Chuck Berry) - - Those fans that did not consider "Carol" the best song on the group's first "long player" felt that this number deserved that honor. Written by Bobby Troup, "Route 66" was made a hit by none other than Nat "King" Cole. Chuck Berry's version, however, was the version recorded by the Stones. Interestingly, the guitar chords that open Berry's version were "played" by Charlie Watts, whose distinctive drum rolls start things off! This was a firm favorite and featured in the set list for many years it was included in the UK "Got Live If You Want It" EP and was included in the USA LP "December's Children."

Mona (I Need You Baby) - Bo Diddley- Included on their eponymous long player, this song illustrates their complete mastery of the "Bo Diddley beat". Brian Jones' guitar playing on this record illustrates why the other band members held him in such high regard in fact, Jones' work so impressed Bo Diddley that he used Jones, Watts and Wyman as his backing group for a 1964 BBC broadcast! Photographer Devo Hoffman noted that Jones had borrowed a pair of gold cufflinks from him for use during an early photo shoot much to his chagrin, Hoffman discovered that the cufflinks were presented as a gift to Bo from Brian. In the early 1960s, Brian Jones roomed with members of the Pretty Things at a house at 13 Chester Street, London. One of the Pretty Things lost his striped polo jersey to Brian you can see this shirt in many pictures from 1964!

Beautiful Delilah (Chuck Berry) - Never recorded commercially, but was performed on the BBC. This Chuck Berry number was also essayed by The Kinks on their first long player since Kinks drummer Mick Avory also played with the nascent Stones, there might have been a "direct connection" between the two bands' choice of material!!! Bootleg only.

Walking the Dog (Rufus Thomas)  "Walking the Dog" was a very recent hit for "America's Oldest Teenager," Rufus Thomas, when it was picked to conclude the group's first long player. The Stones' version is faithful to the original down to Brian Jones' dog whistles! An alternate version, with the guitar figures played on the A and D strings, exists on bootleg.

You Can Make It If You Try (Gene Allison)  Roy Carr's comment ("displays Jagger's predilection towards emotional 'I'm down on my knees beggin' you baby' soul ballads" says it all! Not an astute choice for the then-still-emerging soul singer better choices lay ahead.

I Just Want To Make Love To You (Muddy Waters) - The Stones' manic take on this Muddy Waters chestnut reflects a decision to eschew the slow tempo (and the incendiary Little Walter Jacobs harmonica solo) that graced the original version. This song was featured on the infamous 1965 Hollywood Palace television appearance, when host Dean Martin made the Stones the butt of several unkind comments. Performed in 1991's set list and recorded for that year's "Flashpoint" live album this time, the Stones slowed the tempo.

I'm A King Bee (Slim Harpo)  Slim Harpo was long a favorite of Mick Jagger and his first hit is faithfully reproduced even including all of Harpo's spoken asides. Bill Wyman's bass line, played on his homemade fretless bass, foreshadows the "dive bomber" riffs he included on the ending of "19th Nervous Breakdown."

Memphis, Tennessee (Chuck Berry) - Another BBC title, this was part of an experimental broadcast that advised listeners to tune in on TV to get the left channel and the radio for the right channel, thus hearing the program in stereo! Long John Baldry was the compere for this event.

Honest I Do (Jimmy Reed)  This plaintive blues, with its underlayer of acoustic guitar and unamplified harmonica,is the only Reed composition to have ever been commercially released by the Stones. (I can imagine Loog Oldham objecting that all of Reed's songs sound alike!)

Not Fade Away (Buddy Holly) - Keith Richards imposed a heavy "Bo Diddley" feel to this number. Clocking in at just under 2 minutes (thus insuring airplay), this was the band's first single in the USA (after an earlier release of "I Wanna Be Your Man" / "Stoned" was left on the tarmac). Still being performed 27 years later, "Not Fade Away" was a great choice and really solidified the band as "England's Greatest Hitmakers". In live performance, Brian's harp fills were played with two different harmonicas due to the fact that he was chording with an "A" harp played in second position when Jagger was singing and using a higher pitched harmonica to play the fills at the end of the verses this can be clearly seen on the "Hollywood Palace" telecast.

Cops and Robbers (Bo Diddley) - This cover was recorded for an early BBC Saturday Club broadcast; vetted for release on the never-realized "Black Box" set, "Cops and Robbers" is an early masterwork that has always deserved commercial release. Perhaps this year's remastered Decca CDs will (finally) remedy this

Roll Over Beethoven (Chuck Berry) - Unlike "Money," this version of the Chuck Berry opus compares very favorably to the one waxed by the Beatles in fact, many people feel that the Stones' incendiary take on this song is superior to the Fab Four's. Bootleg only, recorded "live" for the BBC.

Can I Get A Witness (Marvin Gaye) - Added to the recording program at Regent Sound for the band's first album on the recommendation of Andrew Loog Oldham, boy producer, this Marvin Gaye number featured Ian Stewart's gospel-tinged piano and is one of the more successful covers of soul material on their early albums even if Mick had to familiarize himself with the song's lyrics from the sheet music! This song's chord changes inspired an instrumental ("Now I've Got A Witness (Like Uncle Phil and Uncle Gene)") where "Uncle Phil" referred to Phil Spector and "Uncle Gene" referred to Gene Pitney. Pitney had recently taken a Jagger/Richards song to the middle of the UK charts ("That Girl Belongs To Yesterday") and joined in the session, playing piano on a couple of numbers. This was not the last time that Phil Spector was involved in a Stones session he played guitar on 1965's "Play With Fire." Andrew Loog Oldham idolized Spector and tried to emulate the American producer's "Wall of Sound" techniques on Stones records. "Andrew used to think that anything was possible if you put enough echo on it," opined Keith Richards. Bill Wyman was less kind, however, noting that "Phil Spector had the 'Wall of Sound' we had the 'Wall of Noise.'"

Ain't That Loving You, Baby (Jimmy Reed)  Although the Stones recorded several Reed songs, only "Honest I Do" was ever formally released. This is available on bootleg only and certainly sounds like it was cut to "warm up" before the session "officially" began.

Suzy Q (Dale Hawkins) - Hawkins worked for Stan Lewis' record shop in Shreveport, LA and cut rockabilly and rock 'n' roll records on the side. This track, featuring the great James Burton on lead guitar, presented a formidable challenge to Keith Richards when the Stones cut this track in 1964. "Frenetic" is a good adjective for the band's approach to the song, with the bass and drums driving the backbeat! Featured in 1965 on one of the band's "Shindig!" performances.

It's All Over Now (The Valentinos)  Bobby Womack's original version tells a story of love gone wrong with almost palpable relief the Stones, however, turn Womack's cautionary tale of romance into quite a different mood angry and vindictive, Jagger's vocal is much more somber than Bobby Womack (who sounds relieved that the affair is over and sings his song over some truly manic New Orleans-style second line drumming and a prominent bass figure). This number, recorded at 2120 South Michigan Avenue and engineered by Chess's Ron Malo, is a terrific recording, with Messrs. Jones and Richards' guitars in the forefront (heavily reverbed power chords layered over Travis-style finger picking), the first great Keith Richards solo and the Wyman and Watts rhythm section in full flower. In later years, Mick was more than happy not to correct an interviewer who alluded to the lyric "playing her half-assed games" as being a reason that the song was banned on some stations the actual lyric was "high class games," but (then as now) why let the truth get in the way of a good story? A Number One in the UK, this was also a hit in the USA.

If You Need Me (Solomon Burke) - Written by Wilson Pickett, Solomon Burke also had a hit with this gospel-flavored ballad. Jagger stands and delivers the lyric in his best declamatory style, with the spoken verses in the middle eight delivered with particular sincerity.

Down the Road Apiece (Chuck Berry) - Chuck Berry knew a good song when he saw one, and it is his version of this hoary oldie that inspired the boys. Replete with a reference to "Charlie McCoy, that rubber legged boy", this is a great example of the music that these young fellows had in them this record swings like mad and the playing throughout is of a very high standard. Berry himself was present to offer encouragement when this song was recorded at Chess in Chicago in 1964. Ian Stewart is particularly good on this one! This was in the band's songbook from the very earliest days.

I Can't Be Satisfied (Muddy Waters)  Brian Jones, unlike Mick, Keith and Andrew, stayed close to his first love, the Delta blues. This version of the Muddy Waters classic features Jones' excellent slide work as Keith's spare rhythm figures do nothing to detract from Jones' playing. Jagger's vocal is understated and this is one of their best blues recordings.

Confessin' The Blues (Jay McShann / Walter Brown)  Chuck Berry also recorded this on an early album, but the Stones' version is closer to the Kansas City style of the original recording. A good " live" number, this was featured in the stage set through 1964.

Around And Around (Chuck Berry)  This was the "B" side of "Johnny B. Goode" and its stop time chorus was (in the words of Chris Jagger) "meat and gravy for the Stones." Like the Beatles' version of the Isley Brothers' "Twist and Shout," "Around and Around" is that rarest of musical happenings the pupils' version outstrips the originator's, producing the definitive version of a song. Everything works on this record and it stands as one of the band's early glories, never to be bettered. Recorded as one of the tracks for the groups' UK EP "5x5," "Around and Around" has been a staple of the band's live performances and was cut again in the early 1970s for the "Love You Live" double album set. To paraphrase Roy Carr, "it just doesn't get much better than this!"

Don't Lie To Me (Chuck Berry) - Recorded in the mid 1960s and only released on the dreadful Metamorphosis album some 10 years later, this mid tempo Chuck Berry rocker is one of the better songs on the collection that has come to be known as "Klein's Revenge", because he refused to issue a collection of songs hand picked by Bill Wyman and instead released a haphazard amalgam of demos and rejects only because his company held the publishing rights for most of the compositions.

Look What You've Done (Muddy Waters)  This mid period tune from the Muddy Waters catalog has little to recommend it save a heavily reverbed harmonica solo by Brian Jones. The band plods along respectfully, but there are little fireworks here.

High Heel Sneakers (Tommy Tucker) - This Checker single was often part of the early set list, but is available on bootleg. The track was one of the ones recorded under the watchful eye of Glyn Johns at London's independent IBC studios before the Stones signed with Oldham/Easton for representation. When Andrew found out about this early session, he sent a contrite Jones off to pay the session bill and clear the band's contractual status. Glyn Johns, the engineer for these early recordings, was angered by this and did not work again with the Stones until a few years had passed.

Meet Me In The Bottom (Howlin' Wolf)  Another IBC track, this one really cooks! Brian Jones' guitar work on this and many other early efforts clearly displays the depth of talent and professionalism he brought to the band and goes far in explaining the respect he commanded from his fellow Stones in those days. Unfortunately, his pedantic and rigid personality, along with his autocratic tendencies, made Jones a prime candidate for "taking the piss out of" something that the other Stones were only too happy to do. Brian Jones had a unique musical versatility and was said to be able to coax a tune out of any instrument he encountered; this "gift" became a curse in later years as he began to dabble with many different instruments at the expense of his guitar playing Jones simply lost interest. As the years have passed, it is easy to place the blame for Jones' decline solely on his shoulders yet, it is clear that the "unholy trinity" of Andrew Oldham, Mick and Keith really did go out of their way to undermine his confidence and minimize the role he was to play in the band. Whatever their actions, it is clear that by the time Anita Pallenberg left Jones for Keith Richards, he became almost pathologically undependable. Often, he would miss recording sessions or show up in such parlous shape that he could not be counted upon to play at all. He left in June of 1969 and was rumored to be putting together a new band with the help and advice of old friend Alexis Korner. Instead, he died in his swimming pool under suspicious circumstances. His death has spawned a "cottage industry" of books speculating that his drowning was no accident. In a bizarre footnote, his home was ransacked in the days following his death and just about anything of value (instruments, furnishings, clothing) removed without a trace. While some would have us believe that Brian Jones was The Rolling Stones, and that his musicianship was sadly underused by the band, the truth is that his personality just did not provide the ability to laugh off the jibes that came his way from Mick, Keith and Andrew ("Mister Shampoo" was one of their names for Brian) and his self-confidence plummeted. Losing the love of his life to Keith Richards certainly did not help. John Lennon once remarked that Jones was the kind of person that one dreaded meeting socially, because the conversation was very likely to become a litany of his current difficulties and suspicions. Whatever the reason, it is true that the Stones have never been the same band without Brian Jones; while the 1970s and 1980s saw them ascend to true superstar status and (finally) accumulate real wealth, his absence left a void that was never really filled.

Time Is On My Side (Irma Thomas)  Two versions were recorded of this tune, with the "guitar version" getting my nod as the preferred take (the other take, issued as a US single, began with Ian Stewart's best imitation of a church organist). This was a Top Ten hit in the USA and garnered valuable airtime; it was one of the numbers performed on the T.A.M.I. show in the fall of 1964 (more on this later). Also covered by the Moody Blues, with a great vocal by Denny Laine.

You Can't Catch Me (Chuck Berry) - Bill Wyman often spoke of seeing Chuck perform this song in the movie "Jazz on a Summer's Day". Another song recorded at Chess Chicago and another terrific performance by the Stones, who were obviously thrilled to be recording at this hallowed studio!

The Red Rooster (Howlin' Wolf) - BBC TV footage from "Ready Steady Go" shows a very proud Brian Jones leading the band in this Howlin' Wolf classic; beaming out from behind his Gretsch guitar, Jones' slide work "made" this record it was the first time an "authentic" blues song had topped the UK charts.
This was the last time the band would use outside material for a single, and it meant a lot to them to take their beloved Delta Blues to the top.

Under The Boardwalk (The Drifters)  In his new autobiography, Andrew Loog Oldham mentions this track as "an outstanding production." Frankly, I can't share his opinion. To me, this track exists as a vehicle for Keith's newly-purchased 12 string guitar and little else!

Pain In My Heart (Otis Redding)  The Stones found "The Big 'O'" relatively early in his career and always turned in a creditable job when covering his material. This song featured the late Jack Nitzsche on his invention, the "Nitzsche-Phone," which sounds somewhat like an oboe with a bad cold. No other examples of the "Nitzsche-Phone" are extant and one may reasonably assume that Loog Oldham was behind the album credit!

Hitch Hike (Marvin Gaye)- Recorded in 1965 and included on the "Out Of Our Heads" album. This is a classic example of "filler." Not even a languid Keith Richards solo can pull this one out of mediocrity.

Down Home Girl (Alvin Robinson)- Another example of the band's ability to interpret another artist's work and bring out a qualities that its originator may not have even known were present. This is an "atmospheric" piece, with the guitars following Bill Wyman's prominent bass line and some of Mick Jagger's best recorded harmonica work. Jagger's vocal is just the opposite of Robinson's lugubrious story Mick approaches the lyric with an earnestness that is quite different than its originator's approach.

(Oh Baby) We Got A Good Thing Going (Barbara Lynn)  Like "Hitch Hike," this one is little more than album filler perhaps this was one of the numbers learned from a 45 RPM record after a shopping spree.

Everybody Needs Somebody To Love (Solomon Burke)  Two versions of this song were released, with the USA getting an alternate take by mistake! This was (belatedly) corrected in the 1990s when the original albums were remastered by Oldham for Abkco and the correct version was reinstated in all of its glory. A terrific number live and part of the set list for 1965-1966; it was performed on the Ed Sullivan show.

Mercy Mercy (Don Covay) - Another excellent cover of a recent soul hit. The guitar work is fine and this one was part of the stage show for years. Check out the falsetto vocals on the chorus shades of "Emotional Rescue!"

Key To The Highway (Little Walter)  A favorite of the late Ian Stewart, whose barrelhouse piano version was heard as the fade to the "Dirty Work" album. The Stones played this at the "invitation only" show that served as Stewart's wake their only performance of 1986. Keith remembers meeting up with Stewart for the first time unsure of where the rehearsal room was, he followed the sound of Stewart's boogie-woogie piano playing and came upon Ian Stewart, dressed in a shirt and a pair of leather alpine style shorts playing flawless blues piano while keeping a watchful eye on his bicycle, which was parked out on the corner!

Fanny Mae (Buster Brown)  Brown's surprise R&B hit spawned not only a dependable stage number (bootleg only; this was never officially released) as well as the well-known "B" side "The Under Assistant West Coast Promotion Man." Mick seems pleased with his "seersucker suit!"

This Could Be The Last Time (The Staple Singers) - It has often been rumored that "The Last Time" was directly inspired by this magnificently moody gospel hit by the Staple Singers. Turns out that the only thing the two songs have in common is the chorus.

That's How Strong My Love Is (Otis Redding) - The group turns in a nice job on this ballad, and Brian Jones is featured on organ. This was part of the stage show in 1965.

Try Me (James Brown) The T.A.M.I. Show (Teen Age Music International) was an important break for the young band, as they were topping a bill filled with hitmakers from both sides of the Atlantic The Beach Boys, Gerry and the Pacemakers, Chuck Berry, Leslie Gore, Marvin Gayeand James Brown, who was lurking in the spot just before their performance slot! Brown's performance was scary and it is to their credit that the Stones even went on after he had brought the house down! Dance moves were studied and this ballad was cut back in the UK but never issued. James Brown certainly taught his competition a lesson that day the bar was definitely raised for live performances!

My Girl (The Temptations)  Issued on the Flowers compilation, this is possibly the least successful cover ever attempted by England's Greatest Hitmakers. Flaccid and puerile.

Cry To Me (Solomon Burke) - The group slows this midtempo number into a ballad and Mick gives it a subdued reading. Keith's "call and response" guitar work is the best thing on the track. (Of course, compared to the version by The Pretty Things, this is a masterwork.)

Good Times (Sam Cooke)  The only Sam Cooke song ever issued by the band and that seems wise, given the power and majesty of Cooke's singing voice! Included on 1965's "Out Of Our Heads" long player.

I've Been Loving You Too Long (Otis Redding) - This is the quintessential soul ballad of the early 1960s, and the band gave it a fair reading on their "live" album "Got Live If you Want It." A close listen, however, shows that this was NOT a "live" track at all it was a studio job with overdubbed audience reaction. All in a day's work for Andrew Oldham, as the USA market demanded more than just the EP issued in the UK.

She Said "Yeah" (Larry Wiliams) - Recorded as an exercise in controlled feedback by the Jones/Richards team, this was featured on a 1965 "Hullaballo" NBC TV performance and was the lead track on that year's "December's Children" collection. "December's Children" was a composite of "B" sides, unissued EP tracks, LP selections not released in the USA and even the occasional demo. This was the last time that the band's USA label conducted a full scale "rape of the vaults" to cobble together a USA album release while subsequent releases ("Aftermath" and "Between the Buttons") were edited to include recent USA singles releases, London Records began to show a little more care in issuing product. (Of course, there was still the "Flowers" compilation in 1967)

The Tracks Of My Tears (The Miracles)  Recorded in 1965 but never issued, not even the bootleggers have found this one!

Dust My Broom (Elmore James)  Brian Jones went by the stage name "Elmo Lewis" when first seen by Mick and Keith, who were so impressed by his talent that they were not sure if they were seeing the "real" Elmore James. Jones' earliest heroes included Elmore James, Howling Wolf and Robert Johnson and he was not at all impressed by the "rock 'n' rollers" admired by Mick and Keith. Of course, it was not long after he was mobbed by young fans while helping the Beatles carry their instruments into the Albert Hall for a 1964 concert that this young "purist" began to broaden his musical taste in order to reach a wider audience

Love In Vain (Robert Johnson) - Keith has said that this was his favorite track by the legendary bluesman, but that he considered it pointless to try and duplicate Johnson's setting for the song. Of course, one could also note that earliest pressings of the album "Let It Bleed," which contained the Stones' version, credited the song to someone other than its author (a certain "Woody Payne"), but all's fair in love and copyright. Keith crafted a great setting for the song, incorporating both country and Delta influences new Stone Mick Taylor contributes typically immaculate slide guitar and the song stands out, even on an album deemed by many to be among their best.

Look On Yonder's Wall (Elmore James)  Recorded but never issued, this is another number that has eluded bootleggers. Another version, by Junior Parker, was the inspiration for the Paul Butterfield Blues Band in 1965.

That Ain't No Way To Get Along (Robert Wilkins)  Reworked with different lyrics by Wilkins as the gospel song "Prodigal Son" after its composer found religion. Included on the magnificent "Beggar's Banquet" album. By this time, Keith Richards had assumed just about all of the guitar work on their recordings Brian Jones had begun his decline into pathetic lassitude and he became fascinated by the guitar tunings used by the Delta players on their classic sides. Keith has said that his interest in reworking these open tunings into a Rolling Stones context became an obsession he has said that these tunings rekindled his interest in guitar playing. By 1967, with the emergence of guitar heroes Jimi Hendrix and former Yardbird Eric Clapton, it became clear to Richards that, like his idol Chuck Berry, his abilities lay in what Jack Nitzsche called his unique, "no bullshit" rhythm guitar playing. Keith was not a virtuoso and began to realize that he simply could not offer the technically accomplished solos gracing albums like "Are You Experienced" or "Disraeli Gears." (To be fair, most of his contemporaries couldn't either). Keith began to study Delta players like Robert Johnson, Son House, Charlie Patton and many others; the results began to surface on "Beggar's Banquet," but by "Let It Bleed" and "Sticky Fingers," Richards had almost exclusively adopted an open tuning system based on the tunings favored by the Delta players and began to use a 5 stringed guitar (the low "E" string was extraneous and often "buzzed" discordantly, so he removed it). Most of the guitar work on subsequent albums was played in these tunings and became the "signature" of the Richards style, which featured a very rhythmic approach to electric guitar that was riff-based and decidedly NOT about playing a lot of notes. Mick Taylor, during his time with the band, could perform in the style that Keith had decided not to attempt; interestingly, the mid-period Stones records are often seen to be a very satisfying marriage of Keith's riffs 'n' rhythms and Mick Taylor's technically accomplished single note soloing. Ronnie Wood's work with the Stones is reminiscent of the Jones/Richards days, when the two guitarists had worked out a pattern that saw both men switching between lead and rhythm parts in a tightly interlocked style.

I'm Yours and I'm Hers (Johnny Winter) - This song, a favorite of the late Brian Jones, was featured in the Stones' 1969 Hyde Park concert performed in his memory. If only they had bothered to tune up before attempting this number!

Walking Blues (Robert Johnson)  Recorded, but not issued. It's a pity this might have been a very interesting track!

It Hurts Me, Too (Elmore James)  Recorded for the dreadful "Jamming With Edward" 1972 release. Even at a $3.98 list, many fans felt somewhat cheated. This was one of Mick's favorite songs from his "Little Boy Blue" period.

I Don't Know Why (Stevie Wonder)  Another "Metamorphosis" track, but at least this features some tasty slide from Mick Taylor. Original pressings credited "Jagger/Richards," but this was a Stevie Wonder song.

Stop Breaking Down (Robert Johnson)  One of the many highlights of 1973's "Exiles on Main Street" collection, this Robert Johnson number was recast in a midtempo rocker that does indeed "blow your brains out!"

Little Queenie (Chuck Berry)  Recorded during the 1969 tour for "Get Your Ya-Yas Out," this is a classic example of the Stones' ability to interpret Chuck Berry's music. Still part of the set list as late as 1998, this version features great piano work from Ian Stewart.

You Got To Move (Mississippi Fred McDowell)  Learned from a Takoma records album and recorded at Muscle Shoals for what became "Sticky Fingers." An excellent example of Keith's fascination with deep Delta blues. Keith's slide riff showed up on the posthumous John Phillips album, Pay Pack And Follow as a "bumper" between songs it must have been recorded in the early 1970s.

Shake Your Hips (Slim Harpo)  Another great "Exiles On Main Street" track, this one features the Taylor/Richards team in full swing! Nice harmonica work from Master Jagger, too.

Ain't Too Proud To Beg (The Temptations) - Issued as a single from 1975's "It's Only Rock And Roll".
The band steps up the tempo and delivers a competent reading of this Motown hit. Interestingly, Charlie Watts decided not to use the song's introductory drum roll on the Stones' version.

Drift Away (Dobie Gray) - Recorded for "It's Only Rock And Roll," but not issued. A workmanlike job, available on bootleg only.

Cherry Oh Baby (Eric Donaldson)  Included on "Black And Blue." Keith's ongoing fascination with roots reggae continues with a fine reading of this song.

Shame Shame Shame (Jimmy Reed)  It is interesting that so many Reed songs were cut but never released (as this track), because the guitar boogie parts in Reed's records have informed many Stones songs over the years. The guitar parts in this song, for example, were lifted for the Jagger/Spector "composition" "Little By Little." Many Stones songs over the years have been cast in the same sly midtempo Delta boogie that characterizes Reed's records "Who's Driving Your Plane," "Casino Boogie," "Tumbling Dice" and many others make use of the lessons learned from Reed, a Mississippian who learned to combine the deep blues of the Delta with a danceable beat and whose string of hit records in the 1950s was unmatched by any of his contemporaries even the great Muddy Waters. As mentioned earlier, the earliest Stones records feature the ensemble playing of Messrs. Jones and Richards, who worked the style out in endless hours of practice at the notorious Edith Grove apartment since neither Keith nor Brian had a job, they had plenty of time to devote to this task! Keith has often described the style as a seamless joining of lead and rhythm guitar and it may well be that the root of their idea was the fact that most of the music they were interested in were recorded in monaural Keith's comment upon hearing Robert Johnson for the first time "Who's the other guitarist playing with Robert?" illustrate how difficult it was to determine who played what when the music was heard on a little monaural record player and that this very well could have been the basis for Jones and Richards' early approach. The style may be heard on many of the early songs "19th Nervous Breakdown," "Little By Little," "The Last Time," "What A Shame," "She Said Yeah" and many others show the two men working in an ensemble context that did not emphasize "lead" and "rhythm" parts. After the Mick Taylor years, Keith and Ron Wood revisited the original concept., which Richards has called "the ancient art of weaving."

Mannish Boy (Muddy Waters)  Recorded for the "Love You Live" album in a small Toronto club, Margaret Trudeau's presence in the audience started tongues wagging! Also recorded with Muddy himself at a 1981 session at Buddy Guy's Chicago nightclub.

Crackin' Up (Bo Diddley)  Another "Love You Live" track, also recorded at Toronto's El Mocambo Club. Actually, this was part of the bands' earliest set lists. This song was a "B" side from a Bo Diddley single and was also recorded by Paul McCartney for his "oldies" album aimed at the Russian market.

Talking 'Bout You (Chuck Berry)  This features an excellent example of what Bill Wyman calls "shuffle and eighths". The Stones' version features a nice Keith Richards solo, too!

Still A Fool (Muddy Waters)  Recorded at Keith's home, Redlands. Bootleg only. For once, I agree that this lackluster version is better left unissued.

What Am I Living For (Chuck Willis) - - Recorded but never issued. The Animals also covered this, which might explain why the Stones never issued their version.

Just My Imagination (The Temptations)  Another single release inspired by the smooth harmonies of Motown's finest vocal group. The Stones chose to arrange it as a rocker and (mercifully) did not attempt to duplicate the exquisite harmonies!

I Ain't Superstitous (Howlin' Wolf)  Recorded, but never issued. Jeff Beck's terrific version (recorded in 1968 for the Truth album) might be the reason this version was never released.

The Harder They Come (Jimmy Cliff)  This song was recorded by Keith as part of a Holiday single the other side was "Run Rudolph Run."

Twenty Flight Rock (Eddy Cochran)  This American rocker enjoyed great popularity in the UK due to the fact that he toured there in the mid 1950s and died in a car wreck. This song was recorded for the live album "Still Life."

Sweet Home Chicago (Robert Johnson)  Recorded, but never issued.

Going To A Go Go (The Miracles)  Issued on the "Still Life" concert album, the band gives this Miracles hit a pedestrian reading.

Harlem Shuffle (Bob and Earl)  Included on mix tapes sent to Mick from Keith for many years until Mick agreed to do the song. The result is one of the best tracks on the "Dirty Work" album and the song is heard to its best advantage in the 12" remix version produced for club play. Another instance in which the original version of a song is reworked by the Stones to produce the definitive recording.

You're Right, I'm Left, She's Gone (Elvis Presley and the Blue Moon Boys) - Keith has long been an admirer of Scotty Moore and has spoken of learning Moore's riffs whilst sitting in the stairwell at his home. Keith finally met and recorded with Moore in the early 1990s. This song was recorded but never issued.

Trouble Man (Marvin Gaye)  A terrific recording by Motown's most iconoclastic talent, "Trouble Man" was recorded but never released.

Corrina (Taj Mahal)  Emerging in the latter 1960s (first with the Rising Sons, a band that featured Ryland Cooder), Taj Mahal's first Columbia Records album was a very influential recording. Taj Mahal was invited to appear in the Rolling Stones Rock 'N' Roll Circus in 1968 and performed this song as one of his numbers. Years later, he recorded it with the Stones on the live "No Security" album.

Don't Look Back (The Temptations)  Mick Jagger recorded this number as a duet with then-labelmate Peter Tosh in the late 1970s.

Run Rudolph Run (Chuck Berry)  Keith Richards recorded this Christmas offering in the 1970s with a band featuring several Small Faces and Charlie Watts on the drums.

Like A Rolling Stone (Bob Dylan)  Dylan once told Keith that he could have written "Satisfaction" but that the Stones could never have written "Mister Tambourine Man." Bob Dylan's influence on popular music is admittedly great it is impossible to imagine rock music in the 1960s and 1970s without him and the Stones were no different than many of their contemporaries (John Lennon, Jimi Hendrix, Manfred Mann, The Band and many others) in acknowledging his talent. Certainly, songs like "Who's Been Sleeping Here" from 1967's "Between the Buttons" album were directly influenced by Bob Dylan. Yet the passing years showed that Bob Dylan also absorbed the Stones' approach as well "Infidels," featuring ex-Stone Mick Taylor on lead guitar, displays a few songs that sound remarkably like Stones numbers "Neighborhood Bully," played in the open chord tuning favored by Keith Richards, is a good example of this. Dylan's history with The Rolling Stones is long and involved he was particularly friendly with Brian Jones and Jones was said to have asked him to stand as his best man should he marry Anita Pallenberg. Many believe that "The Ballad Of The Thin Man" was based in part on Brian Jones. Dylan, members of the Hawks and Brian Jones were together in New York City on the night of the power outage that darkened the city and they all jammed by candlelight Jones played the harmonica with such intensity that his lips bled. On the "Infidels" track "Sweetheart Like You," Bob Dylan includes the following lines: "You had to be an important person to get in here baby/ You had to do some evil deed You had to play your harp until your lips bleed." (my italics). It would seem that Dylan was still thinking of his friend some 15 years after his death. The Stones' version of "Like A Rolling Stone" is a straight reworking of the original and features a Mick Jagger harmonica solo, and was recorded for the "unplugged" album "Stripped."

Little Baby (Howlin' Wolf) - This song, like all of the other Wolf songs recorded by the band, came from the "Howlin' Wolf" Chess album that featured a rocking chair on the cover. It is interesting that Mick Jagger's approach to singing Howlin' Wolf songs never varied over the years rather than try and match the blues singer's prodigious lung power, Jagger chooses to deliver the lyric in an understated fashion. Early in the band's history, the BBC declined to broadcast them, rejecting an audition tape mainly because of Jagger's vocals. Eric Easton, the man who partnered with Andrew Oldham to manage the Stones, suggested that Jagger be replaced. Incredibly, Brian Jones was receptive to the idea, and even suggested that his friend Paul Pond (later to be the lead singer and harmonica player for Manfred Mann, using the stage name Paul Jones) replace Jagger Brian noted that Jagger had a "weak voice"and had to be very careful not too strain it when they had consecutive bookings! This was rejected by Oldham and the other band members and was quickly forgotten. For those familiar with the singer's coarse bellowing on numbers like "Satisfaction" and "Jumping Jack Flash," it might be surprising to realize that the singer rarely approaches a blues number with the same aggressiveness he shows on singing his own material; instead, it would appear that Jagger was able to assimilate elements of blues shouters like Howlin' Wolf into his own style but chose not to try and emulate them while singing their songs.

Trouble No More (Muddy Waters)
Don't Start Me To Talking (Sonny Boy Williamson)
Going Away Baby (Jimmy Rogers)

Recorded for what turned out to be Jimmy Rogers' last album, released on Atlantic Records in the late 1990s. Mick and Keith were the only participants, and the results are very satisfying renditions of these favorite blues songs.

That Ain't Your Business (Slim Harpo)
Mean Old World (Little Walter)
Blues With A Feeling (Little Walter)
Watch Yourself (Little Walter)
Checking Up On My Baby (Sonny Boy Williamson)
One Way Out (Sonny Boy Williamson)
Talk To Me Baby (Elmore James)
Evil (Is Going On) (Howlin' Wolf)
You Need Love (Muddy Waters)
Dream Girl (Slim Harpo)
Shake 'Em On Down (Bukka White)
Forty Days And Forty Nights (Muddy Waters)

These 12 songs were cut by Mick Jagger and the Los Angeles-based blues band The Red Devils sometime in the 1990s. It is evident that everyone connected with these recordings (bootleg only, unfortunately) had a great time and the playing and singing is of a uniformly high order. Jagger seems genuinely enthusiastic about singing these songs, all of which are doubtless long-time favorites of the singer. "Dream Girl," with a particularly fine harmonica solo by Red Devil Lester Butler, is an especially fine recording. These songs should be available to a wider audience the quality of the performances is very high.

Use Me (Bill Withers) This song was covered by Mick Jagger on his most successful solo album, 1992's Wandering Spirit. Jagger's version was faithful to the original.

Think (James Brown) Another song from Wandering Spirit; Mick used the James Brown 1960s remake of the Five Royales' original hit version.

Stranded In The Jungle (The Cadets)  Never "covered" as such, but Mick Jagger uses the line"meanwhile, back in the jungle" from this 1956 song in the 12" remix of "Too Much Blood," the best song on the Undercover album and one of the band's best-ever performances. The 12" version expands the song to almost twice its original length and features several very amusing comments by the singer! I wonder what a breathalyzer test administered to Mr. Jagger would have read.

It Takes A Lot To Laugh, It Takes A Train To Cry (Bob Dylan) Recorded, but never released. From the respectful treament the band gave to "Like A Rolling Stone," it seems likely that they would not have changed much from Dylan's arrangement, anyway.

Rock Me (BB King) Recorded in the 1980s as part of a series of "warm ups" before the "official" session started. Never issued.

Linda Lu (Ray Sharpe) Recorded in the 1980s during the Emotional Rescue sessions; an instrumental version of this 1959 hit has appeared on bootleg.

Hold On, I'm Coming (Sam and Dave)  Recorded in the late 1960s, but never issued.

Come On In My Kitchen (Robert Johnson)  This is the song that Mick Jagger plays on acoustic guitar in the film Performance.

Sweet Little Sixteen (Chuck Berry) - One of the songs put on tape by "Little Boy Blue and the Blue Boys" in 1962, this Chuck Berry chestnut was recorded for the BBC and for release but never was released commercially. The Animals did release a version of this song perhaps that dissuaded the band from releasing their version!

Paying The Cost To Be The Boss (BB King) The Stones backed BB King on this number on his Deuces Wild album in the late 1990s.

Hound Dog (Elvis Presley) - This song was performed live by the band just once during a show in Memphis in the 1980s.

Reeling And Rocking (Chuck Berry) - Another song that was in the band's earliest set lists, this was also featured in BBC broadcasts. This number was also one of the songs recorded for and presented to Alexis Korner in 1962 with an eye towards securing a "guest vocalist" slot in Korner's band Blues Incorporated by "Little Boy Blue and the Blue Boys."

32-20 Blues (Robert Johnson) - This blues was played as a "warm up" during the 1970s tours. An acoustic version (complete with Mick Jagger's botched lyrics) is available on bootleg.

Too Rude (Half Pint) Al Kooper, in his book Backstage Passes and Backstabbing Bastards, noted that the Stones were always generous in giving credit to the musicians they admired. Indeed, early Stones albums always listed all of the musicians playing on the disc. This was decidedly not true of most of the band's contemporaries. Talented musicians like Nicky Hopkins, Ry Cooder and the aforementioned Alan Peter Kooper were credited scrupulously on both 45 RPM and 33 1/3 RPM releases. This care (with a couple of exceptions) was also extended to crediting the songwriters and performers of the songs they covered. Certainly, it had to be a shot in the arm for artists like Arthur Alexander and Barbara Lynn Ozen to have one of their songs included on an album that sold in the millions! Half Pint's "Too Rude" was included on Dirty Work and was later one of the songs featured on Keith's live album Live At The Hollywood Palladium, and as such had to generate substantial income for the song's composer! Half Pint's Legal We Legal album, which contains this song, thanked Mick and Keith for the cover.

"There's nothing I can do about it that's what Muddy did to me, that's what Chuck and Howlin' Wolf did to me, what they all Elvis, Buddy, Eddie Cochran, Jerry Lee, Little Richard all those cats did to me. They fired me up to the point where it wasn't a matter of conscious decision, it was just that's what I was meant to do. I'm only 18, already people ain't hearin' this music anymore, and it lit my life up. Now I've got to one way or another keep the flame alive."

KEITH RICHARDS