ruudtes 60s music - stereo remixes & processed 'stereo' - 3

In loving memory of Charlie Watts, drummer of The Rolling Stones... another Stone, rolled away into eternity...
Born June 2, 1941, Kingsbury, United Kingdom, passed away August 24, 2021.
May he rest in peace...

Stereo edit 2 for headphones. "Going Home" was recorded March 3 - 8, 1966 and released on the album "Aftermath" in 1966, their best ever...
Drums: Charlie Watts. Harmonica: Brian Jones. Lead vocals: Mick Jagger. Guitar: Keith Richards. Bass: Bill Wyman. Piano: Ian Stewart. Percussion: Jack Nitzsche.
Source of the edit is "Aftermath" (UK version, 2006 Japanese remastered mini lp uicy-93021).

GOING HOME (the only exact true lyrics on the web)
(Jagger/Richards)(or: a jam by Nanker/Phelge that is: the entire band)

spending too much time away, I can't stand another day
maybe you think I've seen the world, but I'd rather see my girl

I'm goin' home, I'm goin' home, I'm goin' home, I'm goin' home
I'm goin' home, bome, bome, bome-bome-bome, home, bome, bome, bome, back home
yes, I am

all those letters ev'ry day, maybe alright in their way
but I'd love to see your face, when I get home in their place

I'm goin' home, I'm goin' home, I'm goin' home, I'm goin' home
I'm goin' home, bome, bome, bome-bome-bome, home, bome, bome, bome, back home
ah yes, I am, alright

I'm goin' home, I'm goin' home, I'm goin' home, I'm goin' home
I'm goin' home, bome, bome, bome-bome-bome, home, bome, bome, bome, back home
ah yes, I will

when you're three thousand miles away, I just never sleep the same
if I packed my things right now, I could be home in seven hours

I'm goin' home, I'm goin' home, I'm goin' home, I'm goin' home
I'm goin' home, bome, bome, bome-bome-bome, home, bome, bome, bome, back home
ah yes, I will, ah yes, I will, ah see my baby, ah see my baby
I wanna see my girl, I just can't wait, I just can't wait
I just can't wait, I just can't wai

ta ta ah ah ah
I just can't wait, I just can't wait, I just can't wait, I just can't waiiit
I just can't wait, I'll see my baby, she'll make me feel alright
ma ma ma ma ma ma ma ma ma ma ma ma ma ma hm
gotta gotta gotta gotta gotta see my baby, she'll make me feel so good
she'll make me feel allright allright allright allright allright
yes she does in the middle of the night, ah so good, ah so good ah so good so good
so tight so tight so ti ti tight ti, ah tsah eh ah eh
I feel allright, feel allright, sha, sha, come on baby, I'm gonna get back
I'm gonna get home, I'm gonna get home, gonna get home babe
I'm gonna get home babe, I'm gonna get home babe, ah, get home honey, get home
sha ah mmm sss ssshaps

I feel allright, mta ta my babe, I'm lookin' for my baby
don't wanna go? in the early morning babe, early in the morning, early in the morning
gonna catch that plane, I'm gonna catch that plane
now it won't be long, I said, ah listen to me, it won't be long
ah no, ah no, ah no it won't

Edit for headphones, June 2022. Source file of the edit is the song on the 1969 album "Nashville Skyline" (2003 remastered hybrid sacd). And also on this song I lowered the "not that good" bass & did some other "things".
The album "Nashville Skyline" marked a stark change in Dylan's vocals, he had developed a baritone country singer voice that he claimed was a result of his decision to quit smoking cigarettes. He told Rolling Stone magazine: "When I stopped smoking, my voice changed... so drastically, I couldn't believe it myself."

®© SME on behalf of Columbia
®© therock&rollingsixties

Edit (no fiddle mix) for headphones, May 2021. This is an edit of the version that is on the bootleg album "Collector Treasures 1968-1974" by Wonderland Recordings (WLR SF 6874) cd 4 track 16. That one is narrow stereo. I widened it up a bit.

Recorded March 10 - November 2, 1969. Brian Jones may have played guitar on the first take of this song. Released on "Let It Bleed" on December 5, 1969. This was one of the first songs that Mick Taylor played on with the Stones.
Lead vocal: Mick Jagger. Acoustic guitar: Keith Richards. Slide guitar: Mick Taylor. Drums: Charlie Watts. Fiddle: Byron Berline. Backing vocals: Keith Richards & Nanette Newman aka Nanette Workman. Source file of the edit: Japanese mini lp "Let It Bleed".

Robert Cross wrote:
If you hear the Stones playing anything approaching American country music you can be sure its entirely Keith Richards' doing. Jagger went along with it but it certainly wasn't anything HE initiated. They both kept things on the silly side to make sure Nashville didn't think they were serious about being country music artists. It was just Keith paying homage to a music style he enjoyed listening to.

If you're interested in bootlegs then here is an extensive list
(COPY and PASTE this into your browser's address bar & hit enter):

iorr.org/talk/read.php?2,1718165

(if that line ↑↑↑ appears as a link, then clicking leads to the wrong web page; you MUST copy & paste.)

When it comes to downloading at Filefactory.com: FIRST sign up for a (free) account.
For downloads at Filefactory.com go much faster after you are signed in.
You can download without signing up for an account too, but that is much slower.

COUNTRY HONK
(Jagger/Richards)

I'm sittin' in a bar tippling a jar in Jackson
and on the street the summer sun it shines
there's many a bar-room queen
I've had in Jackson
but I just can't seem to drink you off my mind

it's the honky tonk women
gimme, gimme, gimme the honky tonk blues

I laid a divorcee in New York City
I had to put up some kind of a fight
the lady she all dressed me up in roses
she blew my nose and then she blew my mind

it's the honky tonk women
gimme, gimme, gimme the honky tonk blues

it's the honky tonk women
gimme, gimme, gimme the honky tonk blues
it's the honky tonk women
gimme, gimme, gimme thse honky tonk blues

®© UMG
®© ABKCO Music and Records, Inc.
®© Decca Music Group Ltd.

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)

Edit for headphones, June 2022. Source file of the edit is the song on the 1969 album "Nashville Skyline" (2003 remastered hybrid sacd). And also on this song I lowered the "not that good" bass & did some other "things".

Songfacts dot com says:
« Nashville Skyline was met with a heated rebuke from many hardcore Dylan fans who followed him because of his progressive protest songs. Dylan had already been angering this contingent for years as he'd moved to electric music and lyrics that were more personal, less political (at least in any obvious sense), and more surreal. But in the eyes of those fans, Dylan had at least kept close to some semblance of revolutionary roots by creating music that defied all genres, boxes, and expectations. »

®© SME on behalf of Columbia
®© therock&rollingsixties

Edit 1a for headphones. A (mono) live performance. The official studio version of the song is on the album "Future Blues", it was released as a single in 1970 in Europe (#2 in the UK, #3 in hurray for Holland, Switzerland and Belgium, #13 in Germany, #15 in Austria and #26 in the US) and the only Top Ten-Hit for a Canned Head title sang by Bob "The Bear" Hite. It's also one of the last performances with Alan "Blind Owl" Wilson (the solo guitarist) who died a few months later of an overdose at age 27. The song is a cover of a 1962 song by the American singer Wilbert Harrison.

This video always gets blocked by some German a$$holes of "Studio Hamburg". They have an entire division that is only busy with one thing: browsing the internet for videos that they own. What a sad bunch of a$$sholes, their videos are all over the internet available for free, but they keep acting like a dog, haunting its own tail. What a loosers!

®© UMG
®© WMG
®© ABKCO Music, Inc.
®© EMI Music Publishing
®© SOLAR Music Rights Management
®© Studio Hamburg A$$holes
®© LatinAutorPerf, SOLAR Music Rights Management, LatinAutor - SonyATV, Sony ATV Publishing, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM

All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music. This sound recording is administered by UMG/WMG/ABKCO/EMI/SOLAR/Studio Hamburg A$$holes. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

All the pictures shown in this video are property of their respective owners. I don't hold any copyright about these pictures. These pictures have been collected from different public sources including different websites, considering to be in public domain. If any one has any objection of displaying any picture here, just send an email or comment and I will remove it immediately, after verification of the claim.

Copyright disclaimer under section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

The music/song and photos remain copyright of their respective owners and are strictly used here for educational, comparison and discussion reasons.

Edit 2 for headphones, May 2021. New edit, old video (July 2013), I used all off the driving-you-mad slideshow transitions Windows Moviemaker has - throw a stone if you don't like 'm...
Recorded August 3 - 11, 1966, released on "Between the Buttons" in February of 1967.
Sitar, banjo, kazoo, dulcimer & harmonica: Brian Jones. Vocals: Mick Jagger. Bass: Bill Wyman. Drums: Charlie Watts. Guitar: Keith Richards. Piano: Nicky Hopkins.

* Ken c wrote: I think this was Nicky Hopkins' first song with the Stones.

Source file for the edit: "Between The Buttons" (UK edition)(2002 remaster abkco 18771-9500-2).

COOL, CALM & COLLECTED
(Jagger/Richards)

well she's very wealthy it's true
so in that she is one up on you
she's dressed all in red, white and blue
and she always knows more than you do

she's so affected
cool, calm, collected

she knows who to smile to today
she has just been brought up in that way
she knows all the right games to play
and she always just knows what to say

she's well respected
cool, calm, collected

she's so affected
cool, calm, collected

in public the strain's heard to bear
she exudes such a confident air
but behind she is not without care
but she sweeps it right under her hair

she's well respected
cool, calm, collected

she seems to glow brilliantly white
and her hair seems to shine in the night
with her feet unbelievably light
and her teeth ready, sharpened to bite

she's so respected
cool, calm, collected

®© UMG

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)

Edit for headphones, June 2022. Source file of the edit is the song on the 1969 album "Nashville Skyline" (2003 remastered hybrid sacd). Also on this song I lowered the ugly boom boom bass & did some other "things". A great album, but a bad bass. Or should it be badass bass? No big problem on a turntable or so when you lower the bass volume... Oh wouldn't it be great if there was such a knob on Vladimir Putin ??? And on everyone of his slimy army staff ? His army of yes men ?

Songfacts dot com says:
« The lyrics to "I Threw It All Away" lack the complex imagery and sophisticated religious and literary allusions of Dylan's prior work, but in many ways the song is more profound than any of those. With a higher level of self-awareness and humility, it stabs at a deep truth Dylan arrived at after 14 months healing broken vertebrae incurred from a motorcycle accident.

Up to this point, Dylan's breakup songs were generally angry and full of accusation, not unlike the "finger-pointing" (Dylan's term) songs he'd been using to needle and condemn politicians on his early albums. The songs always saw Dylan playing the victim. A condemnatory victim rather than a weak or whining one, but a victim nonetheless.

With this song, Dylan seems to have realized two things: He was also responsible for his previous failed relationships, and love is one of the most precious gifts in the human experience. It's something to be cherished. That's all this song is saying. It just has Dylan reflecting on his past without any kind of surrealist sidestepping or rhetorical cushioning. He had love, and he'd mistreated it and thrown it all away. »

®© SME on behalf of Columbia
®© therock&rollingsixties

Edit 3 for headphones.
Recorded August 3 - 11, 1966, released on the album "Between the Buttons" in February of 1967.
Electric guitars: Brian Jones & Keith Richards. Lead vocals: Mick Jagger. Vocal harmony: Keith Richards. Drums: Charlie Watts. Bass & percussion: Bill Wyman.

"Connection" was a song Keith Richards played during a solo tour, in 1988.
The song has a special meaning for him, and I think this text from rollingstone dot com explains it:
This is what it felt like to be the Rolling Stones in 1966: dark, jumpy, surly, a little bit paranoid, barely a step ahead of the law. Jagger and Richards sum up their jangled nerves in "Connection," one of their most searing vocal duets. It's one of the first Stones songs to feature Richards' voice so prominently. "Connection" has always been a favorite of Stones connoisseurs — including Richards, who wrote it. This was one of the few Stones songs he picked to bust out on his first solo tour, in 1988, and a searing live version appears on the 2010 compilation Vintage Vinos.

Source file for this edit: Between The Buttons (US version) (Japanese mini lp remastered 2006 - uicy-93023.

Keith Richards wrote most of this song, which is about the long hours the Stones spent in airports and the hard life of performing on the road, with all the travel-weary metaphors that go with it. The repeated word "connection" is a reference to connecting flights, "Everything is going in the wrong direction" is again suggesting not being able to get the right flights, and "The doctor wants to give me more injections, giving me shots for a thousand rare infections" is about the immunization shots you have to get when traveling. Oh, and "my bags, they get a very close inspection." Well, better not have any contraband in there!
Speaking of contraband, this song was written only months before the notorious drug bust of Richards, Jagger, and Jones in 1967; notorious for being mostly trumped-up and the sentences greatly reduced following public outcry.

Yeah, judges make mistakes, and a judge that makes mistakes is a criminal!

How come, Ruud? A judge, a criminal? Yeah for sure. Let me explain about some Dutch examples of injustice. A committee formed by the Dutch government officially stated, after thourough inquiries, that judges committed enormous injustice by convicting innocent people for tax crimes, tax crimes they did not commit, and that would have been clear if only the judges would have done their work better. They relied on what the tax officials declared, rather than having things investigated properly. And you know what: the tax officials concerned CANNOT BE PROSECUTED, that's the unjustice of the Dutch law. So, because of this the Dutch government had to resign, happened early 2021...

CONNECTION
(Jagger/Richards)

all I want to do, is to get back to you
connection, I just can't make no, connection
but all I want to do, is to get back to you

everything is going i

Edit for headphones, June 2022. Source file of the edit is the song on the 1969 album "Nashville Skyline" (2003 remastered hybrid sacd). On this song I lowered the ugly boom boom bass & did some other "things".

At this moment of uploading, Sunday June 5, 2022, Putin is blocking YouTube videos in Russia. (This one and the previous Dylan, an instrumental. Now what can there be dangerous about an instrumental song in a video ?) Boy oh girl what an a$$hole is that nazi ! Russian people wake up, that man is a threat to world peace ! He is raging a war in Ukraine ! He definitely is not on a special "peace" mission !

Songfacts dot com says:
« When Dylan made the Nashville Skyline album, he really was a different person than he'd been a couple years earlier in 1967 with his eighth studio album, John Wesley Harding. He spent the previous 14 months resting, healing, and enjoying life, mostly in Woodstock, New York. This long restful stretch was triggered by a motorcycle accident in which Dylan cracked vertebrae, but it ended up going well beyond physical recuperation.

Dylan found himself exhausted from the frenetic pace he'd been living. He felt like his manager, Albert Grossman, and other business types had taken advantage of him and driven him to the breaking point in order to make some money. The Dylan that emerged from that period wasn't the same man as he'd been when he wrecked his bike (he's said as much himself multiple times). He was tired of the life he'd been living and was determined to change it. The Dylan on Nashville Skyline was rested and happy.
Dylan enjoyed learning from the structured Nashville music scene, which was already by that time a smooth-running machine - what a slightly younger Dylan would have scoffed at. This post-wreck Dylan, though, loved it. Afterwards he would comment about how he felt like he'd only just then truly learned music.

His old hardcore fans, of course, hated this song and this album. They wanted the brooding Rimbaud-rock that he'd been giving them before, or they wanted the politically revolutionary songs (which often were imagined by them rather than resulting from any political intention on Dylan's part) that made him a hero of the counterculture.

Dylan was done giving it to them. This song is simple fun, and that's all Dylan intended it to be.
Dylan didn't perform this song live until October 15, 1989, but after that Dylan opened shows with this song many times and ended up playing it well over 100 times.
Dylan recorded this on February 13, 1969 in Columbia Recording Studios in Nashville, Tennessee. It was the first song he recorded for the album.
Just after the start of the song, Dylan asks, "Is it rolling, Bob?" This isn't a cheeky reference to himself. He was actually talking to producer Bob Johnston. »

®© SME on behalf of Columbia
®© therock&rollingsixties

Edit 2 (version 2) for headphones.
The song has three versions.
This is the second version, the different mix from the album "Flowers": the chorus accompaniment at the right (instead of centered) and cut almost two minutes shorter to 3.40 instead of 5.35. Chorus just sounds better, in my opinion. Though cut much too short.
The first version is the long, uncut one from "Aftermath", the album every Stones fan should buy. It has the chorus accompaniment centered.
The third version is on "Metamorphosis", the Andrew Loog Oldham skillfully messed up version...
Source file of this edit: the cd "Flowers", 2006 Japanese remastered mini lp (uicy-93025).
Main artistic influence: Brian Jones. Marimbas & piano: Brian Jones. Background vocals: Brian Jones, Bill Wyman & Keith Richards. Lead vocals: Mick Jagger. Acoustic guitars: Keith Richards. Harpsichord: Jack Nitzsche. Organ: Ian Stewart. Drums: Charlie Watts. Bass: Bill Wyman.

OUT OF TIME
(Jagger/Richards)

you don't know what's going on
you've been away for far too long
you can't come back and think you are still mine
you're out of touch my baby
my poor discarded baby
I said, baby, baby, baby, you're out of time

well, baby, baby, baby, you're out of time
I said, baby, baby, baby, you're out of time
you are all left out
out of there without a doubt
'cause baby, baby, baby, you're out of time

the girl that wants to run away
discovers that she's had her day
it's no good you're thinking that you are still mine
you're out of touch, my baby
my poor unfaithful baby
I said, baby, baby, baby, you're out of time

well, baby, baby, baby, you're out of time
I said, baby, baby, baby you're out of time
yes, you are all left out
out of there without a doubt
'cause baby, baby, baby, you're out of time

you thought you were a clever girl
giving up your social whirl
but you can't come back and be the first in line, oh no
you're obsolete my baby
my poor old-fashioned baby
I said baby, baby, baby you're out of time

well, baby, baby, baby, you're out of time
I said, baby, baby, baby, you're out of time
yes, you are left out
out of there without a doubt
'cause baby, baby, baby, you're out of time

sing the song...

baby, baby, baby, you're out of time
I said baby, baby, baby, you're out of time
ahhh

®© ABKCO Music and Records, Inc.
®© UMG

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)

Edit (1b) for headphones, June 2022, slightly less bass than 1a. Source file of the edit is the song on the 1969 album "Nashville Skyline" (2003 remastered hybrid sacd).
This song has a real great bass part, just like the album's "Lay Lady Lay" and "Country Pie"..
It was the third single released from the album, after "I Threw It All Away" and "Lay Lady Lay", reaching #50 on the US Billboard Hot 100 chart, and reaching the top 20 in other countries.
Dylan arrived at the Nashville Skyline recording sessions having written just four songs, including "I Threw It All Away" and "Lay Lady Lay". Having recorded these and three other new songs on February 13 and 14, 1969, he needed a few more songs to fill out the album. "Tonight I'll Be Staying Here with You" was written over two days at the Ramada Inn where Dylan was staying, and recorded over 11 takes on February 17.

®© SME on behalf of Columbia
®© therock&rollingsixties

Edit (live bbc) for headphones. The bootleg cd "Get satisfaction... if you want!" has this great version of "Come on", recorded live in 1963 for the BBC. Unlike the officially released version, this version has a nice guitar and harmonica solo (at 0:50), and not the stupid old fashioned modulation (in the official release at 0.59).
It is from a bootleg by 'the swinging pig' (tsp-cd-003)(subtitle: the best of BBC radio recordings 1963-65). Enjoy!
Since its many years this bootleg also has the four stereo songs that only recently were released on "Grrr!"; nicked from a bootleg: Route '66 - Cops and robbers - Mona (I need you baby) - You better move on.

"Come on" was the first single by The Rolling Stones, it didn't sell that much; I am convinced that it would have been a much bigger hit if mister Oldham would have picked this live BBC recording for releasing...
(Note Brian Jones is the one that is singing second (high) voice.) Throughout this version Brian's harmonica is much better audible too.

The studio version was recorded on May 10, 1963. Released November 4, 1966 on "Big hits (high tide and green grass)" and on "More hot rocks (big hits and fazed cookies)", December 1972.

Harmonica: Brian Jones. Backing vocals: Brian Jones & Bill Wyman. Lead vocals: Mick Jagger. Rhythm guitar: Keith Richards. Bass: Bill Wyman. Drums: Charlie Watts.

COME ON
(Chuck Berry)

everything is wrong since me and my baby parted
all day long I'm walkin' 'cause I couldn't get my car started
laid off from my job and I can't afford to check it
I wish somebody'd come along and run into it and wreck it

come on, since me and my baby parted
come on, I can't get started
come on, I can't afford to check
I wish somebody'd come along and run into it and wreck it

everything is wrong since I've been without you
ev'ry night I lay awake thinkin' about you
ev'ry time the phone rings it sounds like thunder
some stupid guy try'n' to reach another number

come on, since I've been without you
come on, always thinkin' about you
come on, phone sounds like thunder
some stupid guy try'n' to reach another number

everything is wrong since I last saw you, baby
I really wanna see you and I don't mean maybe
I'm doin' ev'rything try'n' to make you see
that I belong to you, hon, and you belong to me

come on, I wanna see you, baby
come on, I don't mean maybe
come on, I'm try'n' to make you see
that I belong to you and you belong to me

come on, I gotta see you, baby
come on, I don't mean maybe
come on, I've gotta make you see
that I belong to you and you belong to me

come on, come on, come on, come on

®© UMG
®© WMG
®© ABKCO Music, Inc.
®© EMI Music Publishing
®© SOLAR Music Rights Management

All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music. This sound recording is administered by UMG. No copyright infringement

Not an edit. This is a 1966 BBC performance of the Hollies, all dubbed & mono, so I put an interesting, real bright & clear remaster stereo version of the song in it, from the album "20 Greatest Hits". It is interesting for it is a different mix, with voices spread over both channels and the banjo at the left. The banjo solo is nine seconds longer than the BBC version and some other stereo version on YouTube. I therefore had to extend the video's solo by adding some banjo, bass and drums parts. Enjoy!
Stop³ was a top ten hit in eight countries: #1 in Canada & New Zealand, #2 in the UK, #4 in Germany, Norway & Sweden, #5 in Holland, #7 in the US. #11 in retarded Australia and #12 in even more backward Belgium...

STOP STOP STOP
(Allan Clarke, Tony Hicks, Graham Nash)

see the girl with cymbals on her fingers entering through the door
ruby glistening from her navel, shimmering around the floor
bells on feet go ting-a-ling-a-lingin', going through my head
sweat is falling just 'a like 'a teardrops running from her head

now she's dancing, going through the movements, swaying to and fro
body moving, bringing back a memory, thoughts of long ago
blood is rushing, temperature is rising, sweating from my brow
like a snake, her body fascinates me, I can't look away now

stop, stop, stop all the dancing, give me time to breathe
stop, stop, stop all the dancing or I'll have to leave

now she's moving all around the tables luring all in sight
but I know that she cannot see me hidden by the light
closer, closer, she is getting nearer; soon she'll be in reach
as I enter into her spotlight, she stands lost for speech

stop, stop, stop all the dancing, give me time to breathe
stop, stop, stop all the dancing or I'll have to leave

stop, stop, stop all the dancing, give me time to breathe
stop, stop, stop all the dancing or I'll have to leave

now I hold her, people are staring, don't know what to think
and we struggle, knocking over tables, spilling all the drinks
can't they understand that I want her? Happens every week
heavy hand upon my collar throws me in the street

stop, stop, stop all the dancing, give me time to breathe
stop, stop, stop all the dancing or I'll have to leaeeeeeeeeeeeve

®© UMG
®© ABCKO Music, Inc.

All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music. This sound recording is administered by UMG. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

All the pictures shown in this video are property of their respective owners. I don't hold any copyright about these pictures. These pictures have been collected from different public sources including different websites, considering to be in public domain.

Edit 3c for headphones. Dubbed video. Ever noticed the first 80 seconds part of this 187 seconds song is MONO? Time to change that. A beautiful song from the first Stones album I bought. Real loud edit, as much bass as possible (maybe far too much, may sound distorted on bad headphones).

Recorded August 20-30 and September 1-7, 1967. Released in December of 1967 on the album "Majesties Request".
Organ & acoustic guitar: Brian Jones. Vocals: Mick Jagger. Bass: Bill Wyman. Guitars: Keith Richards. Drums: Charlie Watts.

2000 MAN
(Jones/Jagger/Richards/Watts/Wyman/Stewart)

well my name is a number
a piece of plastic film
and I grow tiny flowers
in my little window sill

dont you know I'm the 2000 man
and my kids, they just don't understand me at all

well my wife still respects me
I really misuse her
I am having an affair
with a random computer

don't you know I'm the 2000 man
and my kids, they just don't understand me at all

oh daddy, proud of your planet
oh mummy, proud of your sun
oh daddy, proud of your planet
oh mummy proud of your sun
oh daddy, your brain's still flashin'
like it did when you were young
or did you come down crashin'
seeing all the things you'd done
all was a big put on

oh daddy, proud of your planet
oh mummy proud of your son
oh daddy, proud of your planet
oh mummy proud of your son

oh daddy, proud of your planet
oh mummy proud of your sun
oh daddy, proud of your planet
oh mummy proud of your sun

and you know who's the 2000 man
and your kids they just won't understand you at all

®© UMG

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)

Edit for headphones, June 2021. Sam Cooke was the composer and the first one to perform this song, released on May 8, 1962. The song peaked at number two on Billboard's Hot R&B Sides chart, and also charted at number 13 on the Billboard Hot 100. The song has become a pop standard, covered by numerous artists of different genres. It is one of The Rock and Roll Hall of Fame's 500 Songs that 'Shaped Rock And Roll'. Sam initially offered the song to fellow singer Dee Clark, but he turned it down. Captain Alberto Bertorelli would say "What a mistaka to maka"...
Sam must have been inspired by (or should I write: it is a copy of) Charles Brown's "I Want To Go Home" https://youtu.be/KFaNWqk_tWU
Further more I think that Lou Rawls was a bit to eager on his backing vocals here.

The source of this edit is the song on cd three of the box set "Amazing Early 60s Box: 88 Hard-To-Find Hits" (Complete 60s – 12201).

Sam Cooke – vocals
Lou Rawls – backing vocals
Clifton White – guitar
Tommy Tedesco – guitar
René Hall – guitar
Adolphus Asbrook – bass guitar
Ray Pohlman – bass guitar
Ernie Freeman – piano
Frank Capp – drums, percussion
William Green – saxouchphone

Cello: Cecil Figelski, Armand Kaproff
Viola: Wilbert Nuttycombe, Irving Weinper
Violins: Myron Sandler, Joseph Saxon, Ralph Schaeffer, Marshall Sosson, Elliot Fisher, Marvin Limonick

BRING IT ON HOME TO ME
(Sam Cooke)

if you ever change your mind
about leaving leaving me behind
baby bring it to me
bring your sweet loving
bring it on home to me
yeah (yeah) yeah (yeah) yeah (yeah)

I know I laughed when you left
but now I know I only hurt myself
baby bring it to me
bring your sweet loving
bring it on home to me
yeah (yeah) yeah (yeah) yeah (yeah)

I'll give you jewellery and money too
that ain't all, that ain't all I'll do for you
oh if you bring it to me
bring your sweet loving
bring it on home to me
yeah (yeah) yeah (yeah) yeah (yeah)

you know I'll always be your slave
'til I'm buried, buried in my grave
oh honey bring it to me
bring your sweet loving
bring it on home to me
yeah (yeah) yeah (yeah) yeah (yeah)

one more thing
I tried to treat you right
but you stayed out, stayed out at night
but I forgive you bring it to me
bring your sweet loving
bring it on home to me
yeah (yeah) yeah (yeah) yeah (yeah)
yeah (yeah) yeah (yeah) yeah (yeah) yeah

®© UMG, SME on behalf of Not Now Music

Edit 2 for heaphones. I made it December 5, 2018, it was my gift for you on European Saint Nicholas celebration day (also called "Sinter Klaas", it is the origin of Santa Claus). Edit for a home-stereo-equipment-experience. With silent B O N U S pictures... for silence is golden...
Recorded March 24 - 27, 1969. Released on "Let It Bleed" on December 5, 1969.
Source file of the edit is the one on the Japanese remastered mini lp "let it bleed".
Electric slide guitar: Brian Jones (sounds likes Brian Jones, so whatever one may say, to me this is Brian)(dot). Acoustic guitar: Keith Richards. Bass: Bill Wyman. Drums: Charlie Watts. Mandolin: Ry Cooder. Vocals: Mick Jagger.

LOVE IN VAIN
(Robert Johnson)

well I followed her to the station
with a suitcase in my hand
yeah, I followed her to the station
with a suitcase in my hand
whoa, it's hard to tell, it's hard to tell
when all your love's in vain

when the train come in the station
I looked her in the eye
well the train come in the station
and I looked her in the eye
whoa, I felt so sad so lonesome
that I could not help but cry

when the train left the station
it had two lights on behind
yeah, when the train left the station
it had two lights on behind
whoa, the blue light was my baby
And the red light was my mind

all my love was in vain
all my love's in vain

®© ABKCO Music and Records, Inc.
®© UMG

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)

Edit (extended) for headphones (a whole minute longer). Otis Redding recorded this song with "Booker T. and the MG's". The song was released in 1968, a year after Otis' death. Producer was Steve Cropper.
I think this is the best ever version of this Christmas song. Way too short, alas, way too short... that's why I extended this song with a whole minute.
Otis Redding was born in Dawson, Georgia and at the age of two he moved to Macon, GA. He quit school at age 15 to support his family, working with Little Richard's backing band, "The Upsetters" and by performing in talent shows at the historic Douglass Theatre in Macon, Georgia. In 1958, he joined Johnny Jenkins's band, "The Pinetoppers", with whom he toured the Southern states as a singer and driver. An unscheduled appearance on a Stax recording session led to a contract and his first single, "These Arms of Mine", in 1962.

Stax released Redding's debut album "Pain in My Heart" two years later. Initially popular mainly with African-Americans, Otis later reached a wider American pop music audience. Along with his group he first played small gigs in the American South. He later performed at the popular Los Angeles night club "Whisky a Go Go" and toured Europe, performing in London, Paris and other major cities. He also performed at the Monterey Pop Festival in 1967.

Redding received many posthumous accolades, including the Grammy Lifetime Achievement Award and induction into the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In addition to "(Sittin' On) The Dock of the Bay," "Respect" and "Try a Little Tenderness" are among his best-known songs. And this song should be added to the previous sentence. So please, share this song with your friends and family, collegues & - if present - the people who don't like you... maybe then they will be friends with you...

WHITE CHRISTMAS *
(Irving Berlin**)(for the 1942 movie Holiday Inn)

®© BMI
®© ASCAP

All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music. This sound recording is administered by UMG. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

Edit 2 for headphones. Uncensored text. Dubbed video. The last track Brian Jones recorded with the Stones, March 10 & 11, 1969. But his guitar was edited out and Mick Taylor's guitar was dubbed in at the last minute, before its release as a single in the UK on July 3, 1969. Also released as a US single on July 11, 1969, went to # 1 on the charts in both the US and UK. #4 in retarded Dutchies land... Released September 12, 1969 on the album "Through the past, darkly (big hits, volume 2)".

This is an edit of a multi channel file, which has censored out the word "ride". I inserted it back into the first line.

Lead vocals: Mick Jagger. Lead & rhythm guitars: Keith Richards. Rhythm guitar: Mick Taylor. Bass: Bill Wyman. Drums: Charlie Watts. Piano: Ian Stewart. Cowbell: Jimmy Miller. Background vocals: Keith Richards.

HONKY TONK WOMEN
(Jagger/Richards)

I met a gin soaked, bar-room queen in Memphis,
she tried to take me upstairs for a ride.
she had to heave me right across her shoulder
'cause I just can't seem to drink you off my mind.

it's the honky tonk women
gimme, gimme, gimme the honky tonk blues.

I laid a divorcee in New York City,
I had to put up some kind of a fight.
the lady then she covered me with roses,
she blew my nose and then she blew my mind.

it's the honky tonk women
gimme, gimme, gimme the honky tonk blues.

(yeah!) It's the honky tonk women.
gimme, gimme, gimme the honky tonk blues.

(yeah!) It's the honky tonk women.
gimme, gimme, gimme the honky tonk blues.

®© UMG

All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music. This sound recording is administered by UMG. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

All the pictures shown in this video are property of their respective owners. I don't hold any copyright about these pictures. These pictures have been collected from different public sources including different websites, considering to be in public domain. If any one has any objection of displaying any picture here, just send an email and I will remove it immediately, after verification of the claim.

Copyright disclaimer under section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

Edit for headphones, January 2022. A song from the 1969 album "Brainbox". The original release is 17 minutes long, I edited out the typical sixties habit of endless solo's. In 1969 this was number 30 in the Dutch top 40.

SEA OF DELIGHT
(Kaz Lux)

our lips drinking wine
your eyes giving a sign
just like mine

meeting the sea of delight
knowing it sure is right
to drown in it
drown in it

hand visit good lands
apeasing all your demands
all your demands

meeting the sea of delight
knowing it sure is right
to crawl in it
crawl in it

I'm gonna squeeze you
I'm gonna please you
I'm gonna hold you

show me your body
I'm gonna show you mine

my love waits in front of your gates

greeting the sea of delight
knowing it sure is right
to burn in it
yeah, grow in it

crawl
I'm gonna crawl
crawl
I'm gonna crawl
crawl

®© UMG on behalf of EMI Music Netherlands BV
®© therock&rollingsixties

Edit 2 for headphones. More bass, wider sound, less channel separation.
From the legendary album that every Stones fan GOT to have... "Aftermath", worth its weight in gold... buy one for your enemy... he'll be your friend... Source cd of this edit: "More Hot Rocks (Big Hits & Fazed Cookies) [London 820516-2].
Recorded March 6, 1966, released in the UK on "Aftermath" in April '66 and in the US on "More Hot Rocks", in 1972.
Piano: Brian Jones. Guitars: Brian Jones & Keith Richards. Lead vocals: Mick Jagger. Bass: Bill Wyman. Drums: Charlie Watts. Backing vocals: Mick Jagger and Keith Richards.

WHAT TO DO
(Jagger/Richards)

what to do yeah
I really don't know
I really don't know what to do
what to do yeah
I really don't know
I really don't know

maybe when the TV stops
faded out on the epilogue
watch the screen just fade away

now, I really don't know
I really don't know

what to do yeah
well, I really don't know
I really don't know what to do
what to do yeah
I really don't know
I really don't know.

there's a place where you get bored
that's what you make your money for
drink and dance 'til four o'clock.

now, you really don't know
you really don't know what to do yeah

nothin' to do, nowhere to go
you're talkin' to people that you don't know
there's na-na-nothin', to do-do-do
there's na-na-nothin', (no) no
you (I) really don't what to do yeah

well, I really don't know
I really don't know what to do
what to do yeah
I really don't know
I really don't know

hurry people get on your train
don't be late for work again
take this time to go to bed
now, I really don't know
I really don't know what to do yeah

nothin' to do, nowhere to go
you're talkin' to people that you don't know
there's na-na-nothin', to do-do-do
you're sick n' tired of foolin' 'round
there's na-na-nothin', to do-do-do
to do-do-do, to do-do-do
there's na-na-nothin', na-na-nothin'
na-na-nothin', na-na-nothin'
na-na-nothin', na-na-nothin'
na-na-nothin'

®© UMG
®© ABKCO Music and Records, Inc.
®© Decca Music Group Ltd.

(All rights reserved by the copyright owners. This nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.)
This sound recording is administered by UMG/ABKCO Music and Records/Decca Music Group Ltd., Inc. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

Edit for headphones, June 2022. Source of the edit is the song on the double album "The Vaudeville Years Of Fleetwood Mac 1968 to 1970". A lovely guitar instrumental, yet, another song with a bit too much "boom boom bass" (a dull, dim sound), I tried to fix it a bit.

Songfact dot com says: « When Peter Green left the group, he declared money to be evil and gave it all away, and then got a job as a gravedigger. Peter Green died in 2020 at 73, he had an enormously troubled life. He was diagnosed with schizophrenia and suffered bizarre paranoia on and off. LSD use may have been a factor in his erratic behavior.

Jermey Spencer disappeared and joined a religious cult called the Children of God (later partly the name of his 1973 solo album) in 1971. »

About this cult Jeremey was lured into: authorities concluded that the Children of God (also known as The Family International) was guilty of polygamy, prostitution and pedophilia, which are prohibited by law in many countries.
In the sixties I once was approached by one of their members, a VERY sensual girl who tried yo convince me to spend the night with her in their Amsterdam refuge. I politely refused, pointing out my astonishment that the "religious" leaflet's cover that she gave me was a recommendation for women not to wear a bra. "A joke from Mozes David", she explained. Mozes David was their then leader, known for picking out the best looking women of the "Family", adding them to his harem. A sort of "christian" Hugh Heffner. The bastard.

BLUES IN B FLAT MINOR: The album says: "Unissued instrumental - Peter Green".

®© BMG Rights Management (Europe) GmbH
®© therock&rollingsixtie

Edit 2 (got live!) for headphones. Dubbed video. Stunning video footage IN COLOR ! Brian in his famous red pants. Keith in serious pink. The previous edit was made in February 2013, this is an August 2020 edit.
Source of the edit is the song of the album "Got live if you want it!" London records. (This album's version has the band at the left, with a tiny little echo at the right. Mick in the middle, audience screaming at the right.) The mix is so bad that the Japanese edition of this album is mono.
I changed it, hope you like it, enjoy.

Recording date of the studio version: December 3-8, 1965. First release: single, February 4, 1966. Some months later released on the album "Big Hits (High Tide And Green Grass)", US april 2, 1966, UK November 4, 1966.

Electric guitar and fuzz sound: Brian Jones. Lead vocals: Mick Jagger. Electric guitars & background vocals: Keith Richards. Bass: Bill Wyman. Drums: Charlie Watts.

19TH NERVOUS BREAKDOWN
(Jagger/Richards)

you're the kind of person
you meet at certain dismal dull affairs
center of a crowd, talking much too loud
running up and down the stairs
well, it seems to me that you have seen too much in too few years
and though you've tried you just can't hide
your eyes are edged with tears

you better stop
look around
here it comes, here it comes, here it comes, here it comes
here comes your nine-teenth nervous breakdown

when you were a child
you were treated kind
but you were never brought up right
you were always spoiled with a thousand toys
but still you cried all night
your mother who neglected you
owes a million dollars tax
and your father's still perfecting ways of making sealing wax

you better stop, you gotta, gotta look around
here it comes, here it comes, here it comes, here it comes
here comes your nilne-teenth nervous breakdown

oh, who's to blame, that girl's just insane
well nothing I do don't seem to work
it only seems to make matters worse so please

you were still in school
when you had that fool
who really messed your mind
and after that you turned your back
on treating people kind
on our first trip
I tried so hard to rearrange your mind
but after while I realized you were disarranging mine

you better stop, you gotta, gotta look around
here it comes, here it comes, you gotta

oh, who's to blame, that girl's just insane
well nothing I do don't seem to work
it only seems to make matters worse so please

when you were a child
you were treated kind
but you were never brought up right
you were always spoiled with a thousand toys
and still you cried all night
your mommy who neglected you
owes a million dollars tax
and your father's still perfecting ways of making sealing wax

you gotta stop, you gotta, gotta look around
here it comes, here comes your nine-teenth nervous breakdown
here comes your nine-teenth nervous breakdown
here comes your nine-teenth nervous breakdown
here comes your nine-teenth nervous breakdown

®© therock&rollingstones

Edit (slightly) for headphones, June 2022. A song from the double album "The Pearl Sessions", cd two, song two "Get It While You Can (take 3 - July 27, 1970). This take is more relaxed, has some nice guitar picking, funny finale, overall a less "crowded" take.

®© SME on behalf of Columbia/Legacy
®© therock&rollingsixties

Not an edit (r&r). This absolute delight is song nr.3 on the bootleg "ABKCO Copyright Preservation YouTube Uploads" (Frankenstein FP 058).

Here ↓ is some info that is on the forementioned bootleg.

It already became a good tradition for fans to check YouTube at the end of the year for Abkco's annual copyright preservation uploads. This time the files have only been available for less than a day... luckily some fans were attentive and saved these files in time and shared them with us. A big thank you to Honestman in particular… but also to Axl79 for explaining how to get rid of the awful beep noise present on many of the uploads, and to Blakeeik who reworked these files.
In this version I re-used the files posted by Blakeeik, I tried to brighten the sound a bit and improve the start and end of the songs. I also kept the bonus (6 songs which already circulated), e.g. the « Hot Rocks early Shelley Mixes » but I deleted the Gimme Shelter 1978 tour rehearsal that has nothing to do with 1969 copyright preservation (and was uploaded by Abkco by mistake). I chose to place the sequence with the choir (YCAGWYW) at the end, because I am sure that many won't listen to it more than once!
For the details concerning the origin of these pieces, I advise you to refer to:
- The Rolling Stones Complete Works Database by Nico Zentgraf (entry 191231C): http://www.nzentgraf.de/books/tcw/works1.htm
- The review made by Riccardo99 in "Hotwax"
http://www.hotwacks.com/database/publish/ROLLING_STONES_66_RS69TRX.php

01 - Sympathy for the devil (Rock And Roll Circus-rehearsal)
02 - Stray Cat Blues (instrumental)
03 - Ruby Tuesday (Rock And Roll Circus-rehearsal)
04 - Midnight Rambler (instrumental)
05 - Wild Horses (“with strings and glass harmonica"-mix)
06 - Country Honk (instrumental)
07 - Sister Morphine (longer early version)
08 - Let It Bleed (nearly instrumental)
09 - Love In Vain (blusier version)
10 - You Got The Silver (MJ on lead vocals)
11 - Gimme Shelter (alternate vocals)
12 - Brown Sugar (“Hot Rocks”, early "Shelley"-mix)
13 - Wild Horses (“Hot Rocks”, early "Shelley"-mix)
14 - Honky Tonk Women (some alternate lyrics)
15 - Gimme Shelter (Keith and Mick double tracked vocals)
16 - You Can t Always Get What You Want (choir overdub sessions)

A big thanks to my usual partners in crime nzb and Jaap (Stonesmuziekfan) who gave critics and advise regarding my work.
Posted by StonyRoad in 2020 on IORR: https://www.iorr.org/talk/list.php?2

------------
That was the info that is on the bootleg.
And to conclude:
another real big THANK YOU mister Frankenstein, you create beautiful monsters!
!
!

edit for headphones. it was the third single taken from the 1966 album "fifth dimension", it reached #36 on the billboard hot 100 in the us. didn't chart in the uk. in holland it was a # 22 hit. now we're talking about taste...

mr. spaceman
(roger mcguinn)

woke up this morning with light in my eyes
and then realized it was still dark outside
it was a light coming down from the sky
i don't know who or why
must be those strangers that come every night
those saucer shaped lights put people uptight
leave blue green footprints that glow in the dark
i hope they get home alright

hey, mr. spaceman
won't you please take me along
i won't do anything wrong
hey, mr. spaceman
won't you please take me along for a ride

woke up this morning, I was feeling quite weird
had flies in my beard, my toothpaste was smeared
over my window, they'd written my name
said, "so long, we'll see you again"

hey, mr. spaceman
won't you please take me along
i won't do anything wrong
hey, mr. spaceman
won't you please take me along for a ride
hey, mr. spaceman
won't you please take me along
i won't do anything wrong
hey, mr. spaceman
won't you please take me along for a ride

®© umg

all rights reserved by the copyright owners. this nonprofit fan-made video is solely to promote awareness and interest in the artists and the music.
this sound recording is administered by umg. no copyright infringement is intended. the purpose of this upload is for viewer enjoyment and education, not for monetary gain.

disclaimer
all the pictures shown in this video are property of their respective owners. i don't hold any copyright about these pictures. these pictures have been collected from different public sources including different websites, considering to be in public domain.
if any one has any objection of displaying any picture here, just send an email and I will remove it immediately, after verification of the claim.