Creedence Clearwater Revival - 'Cosmo's Factory' (1970)

Versions:
LP
CD
CD (Remastered)

Tracklisting:

Side One
1. Ramble Tamble
2. Before You Accuse Me
3. Travelin' Band
4. Ooby Dooby
5. Lookin' Out My Back Door
6. Run Through The Jungle

Side Two
1. Up Around The Bend
2. My Baby Left Me
3. Who'll Stop The Rain
4. I Heard It Through The Grapevine
5. Long As I Can See The Light

Best Tracks:
Run Through The Jungle
Ramble Tamble
Long As I Can See The Light
Who'll Stop The Rain
I Heard It Through The Grapevine

Currently listening to: LP

This is a record that's been with me for a long time. And, one that I don't listen to nearly as much as I should these days.

Back when I, around the age of 12, was discovering - and falling helplessly in love with - music from the late 60's, there were a few records (from my step-father's collection) that really stuck with me. Pearl was the main one. John Lennon/Plastic Ono Band was another (along with a handful of Beatles records). The other big one was Cosmo's Factory. Today, if someone were to ask me to list my favourite albums, both Pearl and Plastic Ono Band would still be high on that list. Cosmo's Factory, on the other hand, probably wouldn't even enter my mind. While I've never (ever!) fallen out of love with Creedence, I think I have - somewhat - forgotten what an impact Cosmo's Factory had on me.

I'm fairly certain that the first song that resonated with me was 'Long As I Can See The Light'. It was a similar story to that of Pearl (see this blog). I heard it (I think) at a party my parents had. And, that song stuck. So, I listened to the rest of the rest of the album. It was all familiar. I knew 'Ooby Dooby' from singing it at school (I did grow up in a hippie town, remember...). I knew many of the other songs already, too. Now, though, I was listening to them through the ears of a 12 year old hungry for something more than early 90's pop offered (although, thanks Melissa Tkautz, your cassingles did me well up until this point). And, Cosmo's Factory certainly fed my head.

Looking at the record cover tonight, for the first time in a long time, I did recall the many hours spent pouring over it (as was customary, as a teenager). As far as 60's record covers go, Cosmo's Factory is a pretty daggy cover. In these days before the internet, I knew nothing about the band other than what the record cover offered me. I didn't know which one was the singer, which drove me crazy. I clearly ranking them in order of preference. Looking at the photos on the back cover, I wished this guy was the singer:

I think it was the shirt, the moustache and the (almost) John Lennon glasses. All I had to go on was what I'd seen of 60's culture in the many school library books and record covers that I'd accumulated, so this guy was my best guess (for the record, that guy is Stu Cook, the bass player). I also clearly remember hoping it wasn't the weasely little guy with the crap haircut, sitting at the drums on the front cover:

(Nah, that guy couldn't be the singer)

By the time I was 13, I'd moved back to Adelaide to live my Dad. Who enlightened me to the fact that it was, indeed, the dorky guy at the drum kit that was John Fogerty, the singer. It was also through my Dad that my love for Creedence blossomed. Now, it has to be said, that just about everyone my age has a Dad who's favourite band is Creedence. This was evident to me when I was on my road trip through England with my friend Marie, a few years ago. We listened to Creedence for about 2 hours, and she unwillingly knew every song. Because her Dad loved Creedence. Because everyone's Dad loves Creedence. For her, it was a nice nostalgic trip to hear these songs driving through England. For me, it was nice to hear the songs because I'm just as big a fan of Creedence as my Dad. It's not nostalgic, generally. Which is, I think, an important distinction. I know a lot of people who like Creedence because it brings back memories of family road trips. I was, and am, a fan in my own right.

That said, my Dad did play a huge part in my love for Creedence. I would never deny that. I did, after all, inherit my love of music, in general, from my Dad. And, as it turns out, Creedence are his favourite band. I seem to remember him being particularly pleased that I loved Cosmo's Factory. And, we did bond over a mutual love for Creedence over the next few years. In fact, it's a mutual love over which we still bond.

By default, I'd list my favourite Creedence albums as either Green River or Willy & The Poor Boys. Those two albums, when I first heard them, offered familiar songs ('Lodi', 'Green River', 'Fortunate Son', 'Down On The Corner', etc, etc, etc) along with lesser known gems (particularly 'Effigy' and 'Wrote A Song For Everyone', which have, funnily enough, turned up on a few CCR compilations released since the 90's). Cosmo's Factory, by contrast, is all familiar. Every song is a fucking classic. Which is, I think, a big reason why I've neglected it for so long. Which sounds absurd, but when I was - as a teenager - listening to a religious amount of Creedence, all their other albums offered something to explore. I already knew Cosmo's Factory like the back of my hand. Instead of embracing that familiarity (and the wonderful songs contained within), I think it fell by the wayside. Because it was too familiar. Which, in itself, shows what an extraordinary album it is. Seven of it's eleven tracks are some of Creedence's most recognisable songs - if not the most recognisable (aside from 'Proud Mary' and maybe 'Bad Moon Rising'). And, this was the fifth album they'd put out in two years.

My initial copy of the album was a vinyl copy that I picked up for $1 or $2. It was another cheap treasure from the record shop in Reynella. I never bought the CD, as my Dad always had it. I eventually found a cheap copy and added it to the collection. Only a few weeks ago, I finally picked up the remastered CD with bonus tracks. The remastered version isn't a revelation in the way that, say, The Beatles or The Stones' remasters were. Though, it's still a nice addition.

My first ever concert ended up being John Fogerty, back in 1998. I was 16. And, I took my Dad (yes, I took him - not the other way around!). It was a great show, and a fitting introduction to my world of seemingly endless gigs. Since I never got to see Madonna, and I was never going to see Janis or The Beatles, I think John Fogerty was probably the perfect first concert for me. I remember feeling choked up when he played 'Wrote A Song For Everyone', and he did a stellar run through 'I Heard It Through The Grapevine'.

I'm still not sure I'd say Cosmo's Factory is my favourite Creedence album. But, in some ways, it is. It will always have a special place in my heart. It certainly open a door or two in my mind when I discovered it, as a 12 year old hippie kid. And, it's still a really fucking great album.

Marianne Faithfull - 'Before The Poison' (2005)

Versions:
CD
LP

Tracklisting:
1. The Mystery Of Love
2. My Friends Have
3. Crazy Love
4. Last Song
5. No Child Of Mine
6. Before The Poison
7. There Is A Ghost
8. In The Factory
9. Desperanto
10. City Of Quartz

Best Tracks:
The Mystery Of Love
There Is A Ghost
Last Song
Before The Poison

Currently listening to: CD

Before The Poison might just be my favourite Marianne Faithfull album. Like many before me, my introduction to Marianne was, of course, Broken English, which I got for my 16th birthday (and more on that one later). I would have though that Broken English would always be my favourite - as much as it irks me that every record she's put out since has consistently been compared to Broken English, it's not entirely unfounded. Broken English was such a landmark - and so fucking good - that it's hard not make the comparison. And, if I'm being honest, I never thought Marianne would surpass it. A Child's Adventure, Strange Weather, A Secret Life and Vagabond Ways are all very good records. While they prove that Marianne Faithfull has more to offer the world than that one landmark album, there's no escaping that none were quite as brilliant as Broken English.

Then, in 2002, she put out Kissin Time. And, fuck me. Unexpectedly, Kissin Time was - to me, at least - just as good as Broken English. I was suitably blown away by just how good it was. Thanks, in no small part, to the collaborators she chose to work with - Beck, Billy Corgan, Jarvis Cocker and Blur, among others.

So, imagine my immense joy when - sometime in 2002, not that long after Kissin Time came out - Marianne happened to mention that she was working on new material with PJ Harvey. PJ Harvey! For me, this was a match made in heaven. It felt too good to be true. Especially, when news of their collaboration trickled slowly. While Harvey was slowly working on the anticipated follow-up to her highly successful Stories From The City, Stories From The Sea, sparse interviews I'd read with Marianne would mention that they were still working on the record. But, man - it felt like a long wait. Once Harvey finally released Uh Huh Her in 2004, it featured a track called, 'No Child Of Mine'. In an interview, she stated that she wrote it as an outro for a song she'd done with Marianne. Apparently, Marianne hated it, but Polly liked it enough to include it on her album.

Before The Poison finally came in early 2005 - 5 songs were done with PJ Harvey, 3 with Nick Cave & The Bads Seeds and 1 with Damon Albarn. To say that I was excited to hear this record would have been the understatement of the fucking century. And, I'm happy to say, it far exceeded my already high expectations.

The devastatingly beautiful 'Mystery Of Love' opens the album. That beautiful, sweeping guitar. Those yearning lyrics. This is pure PJ Harvey. Yet, it's also pure Marianne Faithfull. Marianne, unsurprisingly, completely makes it her own, delivering it with an authority that would have left Polly shaking in her boots. 'The Mystery Of Love' encapsulates everything I love about both artists. It's absolutely stunning. Three minutes and fifty one seconds into the album and the Faithfull/Harvey collaboration is already a rousing success.

'My Friend Have' follows and is, once again, PJ Harvey all over. This one doesn't click quite as well as 'The Mystery of Love' until the middle of the song. The first half has Marianne croaking over Polly's unmistakable guitar and backing vocals. Just when she sounds like she might be getting lost under the weight of it all, suddenly Marianne lifts her vocal register and drives the song to a thrilling conclusion, showing that she can, indeed, keep up with Harvey. Apparently, at Polly's insistence, Marianne had undertaken some vocal coaching before they made the record. It was a wise move. As the joyous 'My Friends Have' shows, Marianne sounds better than she had since the late 70's.

I was surprised to learn that 'No Child Of Mine' was written solely by Harvey, as was 'The Mystery Of Love'. While 'The Mystery of Love' sounds very much like a PJ Harvey song, 'No Child Of Mine', a portrayal of a mother disowning her child, isn't a song I can imagine on any of Harvey's diverse records. Which isn't that much of a surprise coming from a writer as gifted as PJ Harvey. 'No Child Of Mine' still carries an impressive depth, and once again, is perfect for Marianne, who carries it as if it were her own. Which, of course, it now is. The biggest surprise for me, however, was the inclusion of the aforementioned outro to 'No Child Of Mine' that appeared on Uh Huh Her. It's the exact same recording, just with Marianne singing over Polly's vocals. In this context, it makes much more sense. I find it quite odd when I hear it in the middle of Uh Huh Her these days.

'In The Factory' and the title track, the remaining two tracks with PJ Harvey, took me a little more time to appreciate. There's a great chapter about 'In The Factory' in Marianne's second book, which I recommend you read. It certainly made me appreciate the song more than already I did. 'Before The Poison' has become a favourite over the last few years. It's hard to imagine Marianne tackling a song like 'Before The Poison' in the 80's or 90's. Maybe it was the vocal coaching. Or maybe it's that Marianne sounds so invigorated and revitalized. Thanks, I'm sure, to the quality of the material she had to work with.

And, of course, it's not only the PJ Harvey tracks that are great. Damon Albarn's remarkable 'Last Song', which he later recorded as 'Green Fields' on The Good, The Bad & The Queen, is one of the best tracks on both Before The Poison and The Good, The Bad & The Queen. Apparently, Damon didn't want Marianne to have it. Understandably. No respectable songwriter would want to lose a song as good as 'Last Song'. According to Marianne's book, he'd written it around the time they did Kissin Time and forgotten about it - and was none too pleased about giving it away. I must say, I am glad Marianne got it. And, I'm not surprised Damon revisited it a few years later. It's a beautiful song.

The Bad Seeds are the ultimate backing band for Marianne. While many of the songs on Before The Poison feel claustrophobic, the optimistic 'Crazy Love', swathed in Warren Ellis' distinctive violin, feels light and seamless. 'There Is A Ghost', a lament for a dead lover, is another striking highlight. In theory, the subject matter sounds like textbook Nick Cave. Such a description, however, would sell this wonderful song short. 'There Is A Ghost' actually wouldn't sound that out of place on The Bad Seeds' Push The Sky Away, released 8 years after Before The Poison, if not for Cave's distinctive piano - which harks back to And No More Shall We Part. 'Desperanto' comes across like a cross between 'Why'd Ya Do It' and The Bad Seeds' 'Babe, I'm On Fire'. It rocks, and it's a bit of fun, but it doesn't work quite as well as the rest of the tracks on the album. The album closes with 'City of Quartz', a collabaration with Jon Brion, who also worked on Kissin Time. It's a sweet, understated song, consisting of not much more than Marianne singing over a music box.

Like many albums in this blog, I chose to listen to the CD, since it hasn't been played since I got the LP. I actually didn't realise for a long time that the album came out on vinyl. I certainly never saw it anywhere when it came out - not even online. Once I realised, it became imperative that I owned it. I eventually found it on eBay for a reasonable price. It was worth the investment, it's become one of my favourite records to listen to.

I had ridiculously high expectations for Before The Poison when it come out. Too often, albums like this don't quite meet their expectations. If they do, the novelty soon wears off. Before The Poison, though, has only improved with time. Gladly, the collaborations with PJ Harvey and Nick Cave work as well on the record as they do on paper. Marianne's voice sounded better on this record than it had for many, many years. And, yes - Before The Poison is as just good as Broken English. It may not be as bold a statement, nor as important in Marianne's history, but the quality is there. Since Kissin Time came out, Marianne has put out a succession of consistently great records. The quality of these albums, and their steady output over the last 10 or so years, is rather impressive. This late period of Marianne's career has actually become my favourite music that she's put out. Before The Poison is the jewel in the crown.

Semi Precious Weapons - 'You Love You' (2010)

Formats:
CD

Tracklisting:
1. Semi Precious Weapons
2. Put A Diamond In It
3. Magnetic Baby
4. Statues Of Ourselves
5. Sticky With Champagne
6. I Could Die
7. Leave Your Pretty To Me
8. Rock N Roll Never Looked So Beautiful
9. Look At Me

Best Tracks:
None

Currently listening to: CD

I'd never heard of Semi Precious Weapons until I saw them open for Lady Gaga on her Monster Ball tour in 2010. I kept seeing people wearing t-shirts that screamed 'I CAN'T PAY MY RENT BUT I'M FUCKING GORGEOUS', and was intrigued by what it meant. Given the number of people I saw wearing them, I can only assume that many erroneously thought they were Lady Gaga shirts. Once Semi Precious Weapons started their set, I realised - as I'm sure many did - that the t-shirts everywhere were, indeed, not related to Lady Gaga.

Semi Precious Weapons were interesting to see. I remember commenting to my friend that I felt like I should hate them, but I didn't. As the singer jumped around in his fishnets and high heels, I felt like they could have some serious potential. With a bit more work, he could almost be a male Peaches. Almost. And, with choruses like the aforementioned 'I can't pay my rent, but I'm fucking gorgeous' and 'Sticky with champagne, it's OK, it's her birthday', I thought they may be onto something. If only they'd rough up their rough edges or get a bit dirtier and trashier.

As it was, they clearly weren't there yet. Though, when this album came out a few months after the Gaga show, I was - for some reason - compelled to buy it. It cost me $1 on eBay. I was interested to see how they'd translate on record.

It turns out, not so good.

At the show, I remembered songs like 'Semi Precious Weapons' and 'Sticky With Champagne' to have a certain trashy camp charm. Any charm they - or any of the other tracks on the album - had has been polished away by slick (over) production. I was hoping they'd channel The Teaches Of Peaches. Unfortunately, it channels Warrant's 'Cherry Pie' far more than it channels 'Fuck The Pain Away'. Thus, it comes across as an reality TV shower winner trying to sound like a bona-fide rock band. I got the impression that they were a small band, happily doing their thing. The album, however, sounds like a band (and/or a record label) trying hard for commercial success. Any redeeming features the band may have had live has been stripped away. Live, the band were very camp. It was what made them interesting. However, the most noticeable thing about this album is how un-camp it is. The whole album is a let down. The rock songs are very safe, and as the album winds to a close, there's a few cock rock ballads - by which point, You Love You is a sinking ship. And, there are no survivors.

I'm not sure if Semi Precious Weapons have put out any more records since this one, but I'm certainly in no rush to find out. This one certainly isn't for me.

Patti Smith - 'Gloria' (1976)

Versions:

7" (US)

7" (France)

12" (UK)

Tracklisting:

A: Gloria

B: My Generation

What can you say about 'Gloria'? 

It's probably my favourite punk single of them all. 

I went digging for the American 7", since I haven't blogged a 7" yet. I forgot I had the French 7". Which also made me remember I had the English 12". I guess they all count for this blog.

The American 7" is one of my favourites, and is an example of why I love 7" singles. At the risk of sounding like a typical record collecting wanker, they sound really great. I listened to the 12" first, then put this on. This is the clear winner. It seems to leap off the vinyl and dance it's way into my ears - the drums, bass and piano all vying for my attention. 'My Generation' sounds even more ragged and loose. This 7" is the perfect way to hear this seminal punk single.

The French pressing sounds a little more compressed, like the 12". At the end of the day, there's no bad way to hear 'Gloria'. I do love the American pressing, though. It can get pretty pricey these days, but it's well worth the investment if you're a Patti fanatic.

Cat Power - 'You Are Free' (2003)

Versions:

LP

CD

Tracklisting:

1. I Don't Blame You

2. Free

3. Good Woman

4. Speak For Me

5. Werewolf

6. Fool

7. He War

8. Shaking Paper

9. Baby Doll

10. Maybe Not

11. Names

12. Half Of You

13. Keep On Runnin'

14. Evolution

Best Tracks:

Good Woman

Maybe Not

I Don't Blame You

Fool

Currently listening to: LP

I'm going to try and keep this one sane, but be warned: I deeply, deeply love Cat Power. I hold her records very close to my heart. Lord knows, they've put my heart back together on more than one occasion. If I could somehow transform her records into human form, I would marry this human in a heartbeat. And, we would live happily ever after. I fucking love Cat Power.

I first heard her around that time that You Are Free came out. My best mate had heard 'I Don't Blame You' on local radio and made me listen it. I loved the song and became very interested in finding out more about who this Cat Power was. A week or two later, I saw 'Cross Bones Style' on rage (while Yeah Yeah Yeahs were hosting. Don't ask me how I remember that...) and was, again, impressed. After a discussion on the Magic Dirt forum (remember when forums were a thing?!) with a few people about Cat Power. I asked which album would be best to start with. Adalita herself recommended I get Moon Pix. So, I did.

Moon Pix didn't grab me immediately. I'm not sure why, it's brilliant. I liked it, but I didn't fall head over heels in love with it like I did with You Are Free (though, I did later). I bought You Are Free when Cat Power announced a solo show at The Gov in 2004. I was keen to check her out, and figured that she'd be playing new songs, so got the album. Now, this was exactly what I was after. Then I saw her live. She was quite something. The music was sparse, and often songs would bleed into one another, but it had quite an effect. Less, in this case, was definitely more. And, that voice. The two main times I remember being completely blown away by a voice at a show were the first time I saw PJ Harvey and the first time I saw Cat Power. Her voice seemed to come through the speakers and pierce my chest. After that, I was completely besotted. Ten years later, that love is stronger than ever.

You Are Free is the album that made me fall so madly in love with Cat Power. At the time, I think it was her most accessible record. And, while Cat Power's music may be mellow, it is by no means easy listening. The album kicks off with three of it's strongest tracks. The lament of 'I Don't Blame You', which she recently revealed was about Kurt Cobain (though, really, that comes as no surprise), the optimistic 'Free', and the devastatingly beautiful 'Good Woman'. The latter features a children's choir, Eddie Vedder on backing vocals (which, frankly, it could do without) and Warren Ellis on violin. The result is stunning. 'Speak For Me', 'He War' and 'Shaking Paper' show that Chan Marshall's usually spare song-writing and production can easily sustain - even, benefit from - a bit of beefing up (and these three are, actually, not unlike 2012's Sun). The album winds down with a selection of beautiful solo songs. The Covers Record seems to have given Chan the confidence to expand her repertoire on the piano, and we treated to 'Maybe Not', 'Evolution', and the chilling 'Names' - along with the aforementioned 'I Don't Blame You'.

You Are Free is probably the quintessential Cat Power album. Though, I may be not be the best judge - when I first heard The Greatest, I didn't think anyone would go for it. Yet, it turned out to be one of her most successful records. I remember trying to get a friend into Cat Power around the time that The Greatest came out, and urged him to listen to You Are Free instead. He did. And didn't like Cat Power until he heard The Greatest. So, there you go. For me, however, You Are Free encapsulates Cat Power better than any of her other records. Which is not to say that her other records aren't as good, nor is You Are Free necessarily her best (though, it's possibly close), but it's certainly a good place to start. It is one hell of a fucking record.

Hole - 'My Body, The Hand Grenade' (1997)

Versions:
CD
LP

Tracklisting:
1. Turpentine
2. Phonebill Song
3. Retard Girl
4. Burn Black
5. Dicknail
6. Beautiful Son
7. 20 Years In The Dakota
8. Miss World (Demo)
9. Old Age
10. Softer, Softest (from MTV's Unplugged)
11. He Hit Me (And It Felt Like A Kiss) (from MTV's Unplugged)
12. Season Of The Witch (from MTV's Unplugged)
13. Drown Soda (Live)

14. Asking For It (Live)

Best Tracks:
Burn Black
Old Age
20 Years In The Dakota
Drown Soda

Currently listening to: CD

My Body, The Hand Grenade is one those rarest of rarities - a b-sides and rarities compilation that's actually really fucking good. Coming out between Live Through This and Celebrity Skin, it feels like it should be a cheap stop-gap. Instead, it's an essential part of Hole's back catalogue, perfecting complimenting both Pretty On The Inside and Live Through This. It also stands on it's own, painting a very accurate picture of the band.

While My Body, The Hand Grenade doesn't contain every b-side and obscure track from Hole's career up to 1997, it is wonderfully sequenced to include the very best. A big part of why the album succeeds is the inclusion of both sides of the band's early 7" singles, 'Retard Girl', 'Dicknail' and 'Beautiful Son'. The pre-Pretty On The Inside singles ('Retard Girl', 'Phonebill Song', 'Dicknail', 'Burn Black') are more listenable and accessible than anything on that album, while still hitting hard. 'Beautiful Son' and '20 Years In The Dakota' were early indications of what direction the band would take with Live Through This - neither would sound particularly out of place on that album. These tracks have been remastered for My Body, The Hand Grenade, and the sound is vastly improved from the few tracks that had been previously released on CD (see 'Burn Black' on the Teenage Whore single).

Another highlight is the beautiful 'Violet' b-side, 'Old Age', which seems to be remembered more now for who wrote it than on the merits of the song. Why it didn't make Live Through This, I don't know (though, the wonderful intro turned up at the start of 'Credit In The Straight World'), because it's a really great song. The Nirvana version, released on With The Lights Out, pales in comparison to the Hole version. It doesn't even come close.

The only song on the album that sounds out of place is the demo of 'Miss World'. It's certainly an interest inclusion, and while I hope that the rest of the demos from this session see some sort of official release, the demo halts the flow of the album, somewhat. It's a distraction, given that it's one of Hole's best known songs, sitting among these lesser known gems.

The last half of the album consists of live recordings, three from their MTV Unplugged session and two from UK shows in 1995. The Unplugged songs are great, and are possibly the best tracks from the session (though, again, I do hope the whole show sees an official release at some point. It is widely available, in great quality, on countless bootlegs. And, it's worth checking out). The Unplugged 'Softer, Softest' may be the definitive version. 'Season Of The Witch', which was not included on the broadcast, is a particularly welcome inclusion.

'Drown Soda', recorded live at the Brixton Academy, is - easily - the best live recording of Hole I've ever heard. It's absolutely scathing. I'm glad they chose this version for the album, as opposed to the studio version from the 'Teenage Whore' single - this is the definitive version. It's truly wonderful. The album ends with 'Asking For It', live from the Reading Festival in 1995. While it's a faithful version, it's not a revelation, the way 'Drown Soda' is (and, for those interested, both the Reading and Brixton shows are partially available on the wonderful Vengeance Is Mine bootleg - 'Miss World' from the Reading show is particularly haunting).

I think this was the second Hole album I got, after Live Through This (and during a trip to Coffs Harbour, of all places). Hole vinyl has always been elusive. And, expensive. I managed to get a vinyl copy off eBay about 4 years ago. It's one of my favourite records.

My Body, The Hand Grenade is as important to Hole's history as any of their studio albums. More importantly, it's a great listen, particularly to fans of their pre-Celebrity Skin work. That Hole only released three studio albums during their lifetime makes My Body, The Hand Grenade even more valuable.

The Rolling Stones - 'Between The Buttons' (1967)

Versions:

LP

CD (UK)

CD (US)

Tracklisting:

Side One:

1. Yesterday's Papers

2. My Obsession

3. Back Street Girl

4. Connection

5. She Smiled Sweetly

6. Cool, Calm & Collected

Side Two:

1. All Sold Out

2. Please Go Home

3. Who's Been Sleeping Here?

4. Complicated

5. Miss Amanda Jones

6. Something Happened to Me Yesterday

Best Tracks:

Yesterday's Papers

Back Street Girl

Connection

Currently listening to: LP

Between The Buttons was one of the first Rolling Stones records I had that wasn't a compilation. I had Beggar's Banquet and Let It Bleed, and loved them. I was very much interested in exploring the Stones' early back catalogue, but I found it dauntingly vast (in retrospect, I'm not sure why. It wasn't that much more than The Beatles or The Who. However, it was much messier. I'm pretty sure that both the UK and US albums - which were considerably different - were released in Australia. Not to mention the countless 70's compilations).

I happened upon Between The Buttons in a record shop sometime in the late 90's and bought it (it was a German pressing that, I later found out, featured the tracklisting of the UK version. Thankfully). The only song I knew was 'Yesterday's Papers'. Being a 60's Stones record, I figured I couldn't go wrong. Once I got the record home and played it, however, I was slightly disappointed. It didn't really grab me. I wouldn't say that I didn't like it. It just didn't grab me. Especially not in the way that Let It Bleed had. I added it to the collection, and didn't give it much more thought...

...until about 10 years later. I've never stopped listening to The Stones, and have consistently bought their records. Whenever I found one of their 60's albums that I didn't have, and at a price I was willing to pay, I eagerly snapped it up. However, around 2009-2010, I found myself in a huge Stones resurgence. I decided, around this time, that I needed to finally get some of the albums I didn't have (I didn't even have Aftermath at this point - I'd never come across a cheap enough vinyl copy). It helped that the CD's had been beautifully remastered and rereleased a few years before. I slowly started buying them (and, at full price - I buy so much music, I'm usually quite a scrooge and only pay full price for new releases). By some happy coincidence, a few months after I decided to buy all the remastered CD's, I found myself at a huge CD sale at the Adelaide Showgrounds, where I found almost every one of the remastered CD's for $5 each. Suffice to say, I bought the lot. Including both the UK and US versions of Between The Buttons.

With these new CD's, I finally revisited Between The Buttons. And, this time, I loved it.

I find all of the songs on the first side quite charming. 'Back Street Girl' and 'Connection' have become favourites. Sure, 'Back Street Girl' is no 'Lady Jane', but it is a sweet song. As is, 'She Smiled Sweetly'. 'She Smiled Sweetly' almost sounds like it could belong on Their Satanic Majesty's Request, had they produced it like 'We Love You'. I even like 'Cool, Calm & Collected', despite it's silliness.

The second side is rockier than the first. 'All Sold Out' is typical of The Stones during this period. 'Miss Amanda Jones' is an interesting glimpse into what The Stones would become in the 70's. 'Please Go Home' is a psychedelic 'Not Fade Away'. While, 'Who's Been Sleeping Here' is a hint to what would come the following year with Beggar's Banquet. 

The US version of the album adds both sides of the 'Let's Spend The Night Together'/'Ruby Tuesday' single, at the expense of 'Back Street Girl' and 'Please Go Home' - two of my favourites. Despite the fact that both sides of the single were brilliant ('Let's Spend The Night Together' took me a long time to warm to. 'Ruby Tuesday' is, obviously, one of The Stones' best singles), they don't belong on Between The Buttons. The track order is also altered. They certainly made a mess of it. In the context of the US album, the album tracks feel like filler, lazily thrown together to make an album out of the single. Which, to the American record company people, it probably was.

There's a certain charm to Between The Buttons. While not every song is a classic (and who says they have to be?), it's certainly the most consistent album that they'd released, up to that point. If it is slight, it's only so in comparison to the great work that The Stones were doing at that point in their career. Either way, it has become one of my favourite Stones records.