ruudtes 60s music - stereo remixes & processed 'stereo' - 4

Edit for headphones. Dubbed video. Recorded September 28 & 29, 1964 in Regent Sound Studios in London. Released in the US on "12 x 5" in 1964 and in the UK on "The Rolling Stones No.2" in 1965.
Electric slide guitar & harmonica: Brian Jones. Lead vocals: Mick Jagger. Rhythm guitar & backing vocals: Keith Richards. Bass: Bill Wyman. Drums: Charlie Watts.

GROWN UP WRONG
(Jagger/Richards)

well you've grown up all wrong 2x
you come on too strong
well you've grown up all wrong
well you were easy to fool, when you were in school, but
you've grown up all wrong

well you've grown up on me 2x
don't believe what I see
well you've grown up on me
well you look so sweet when you're in your jeans, but
you've grown up on me

well you've grown up too fast 2x
don't forget about the past
girl, you've grown up too fast
well you won't be a fool, but I'm through with you
well you've grown up too fast 2x

®© UMG
®© ABKCO Music, Inc.

Review:
Of the several R&B-based songs the Rolling Stones wrote in 1963-1965 as they struggled to find their feet as songwriters, "Grown Up Wrong" is possibly the most mediocre. Most of the very first songs Mick Jagger and Keith Richards wrote were tame Merseybeat-influenced pop/rock ballads. Along with some other songs like "Surprise Surprise," "Grown Up Wrong" -- which appeared on their second album, 12 X 5 -- could be seen as an attempt to write in a much harder blues-rock tradition that was much more in line with their tastes and influences. The problem is that it isn't much of a song, based on a moody guitar riff that curls downward toward a twang before zooming up for a couple repeated high notes. Probably meant to be tough, it ends up being more irritating, particularly as it's repeated often throughout the track. Against a handclapping rhythm, the verses are little more than a series of ill-natured complaints - against a girl, presumably - who's grown up wrong and hard to handle. And the song doesn't develop any further than that, although some typical early Rolling Stones bluesy harmonica work helps fill it out to full-song length. Had the group's songwriting acumen as a whole not gone much further beyond "Grown Up Wrong," there would be many millions less people listening or thinking about the group today. Of course, as we all know, they did quickly develop as composers, starting with their huge 1965 hit singles like "(I Can't Get No) Satisfaction." "Grown Up Wrong" is a relic of the days before those skills had clicked.

Edit 2a for headphones. Oh boy, what a song, what a band, what a harmonica Brian Jones... absolutely impossible anyone can do this song better, not even mister Morganfield... source file of the edit is the song on the album "December's Children (And Everybody's)", Japanese mini lp remastered 2006 - uicy-93018.

Recorded June 10 & 11, 1964. Released on "December's Children (And Everybody's)" (US) in 1965. In April 1971 on "Stone Age".

Harmonica: Brian Jones. Lead vocals: Mick Jagger. Harmonica: Brian Jones. Bass: Bill Wyman. Harmonica: Brian Jones. Electric Guitar: Keith Richards. Harmonica: Brian Jones. Drums: Charlie Watts. Harmonica: Brian Jones. Piano: Ian Stewart. Harmonica: Brian Jones. Yes, Brian Jonesss... who else can do it this way? No one. (that's a dot)

LOOK WHAT YOU'VE DONE
(McKinley Morganfield aka Muddy Waters, as his grandma nick named him for playing in the nearby river)

now look what you've done
now look what you've done
look what you've done baby
now look what you've done
you left me here
the lonely one
and all I can say
is look what you've done

a broken heart
a worried mind
because of you baby
dying all the time
I once had a dream
but now I've none
your taking your love
and see what it done

I saw you last night
out moving round
with your new turf
you paint the town
that is OK
you're having your fun
because some day
they call you done

and now your bird cries
the shadow falls
gloomy memories
and I recall
your love is my life
as warm as the sun
but now it is gone
and see what it done

®© 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.)
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. A Nanker/Phelge composition, that is: all members of The Rolling Stones.
Recorded on February 4, 1964, released in the UK on "The Rolling Stones" (first album), released in the US on "England's Newest Hitmakers" (first album), both in 1964, respectively April 17 and May 29. Yes, America is usually somewhat behind...

Harmonica: Brian Jones. Guitars: Keith Richards & Phil Spector *. Bass: Bill Wyman. Drums: Charlie Watts. Tambourine: Mick Jagger. Organ: Ian Stewart. Piano: Gene Pitney.
* Phil Spector is mentioned in the liner notes of the album.

The images are from the sleeve of the vinyl lp that I got.

NOW I'VE GOT A WITNESS (LIKE UNCLE PHIL AND UNCLE GENE)
(Phelge)

®© UMG
®© Eagle Rock
®© ABKCO Music and Records, 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.)

Not an edit, March 2022. A song from the 1970 album "Zero She Flies" (label: "Collectors' Choice Music", catalogue number CCM-767).
(The art in the video isn't entirely that appropriate, sorry for that.)(Quite difficult to do it right.)

GETHSEMANE, AGAIN
(Alistair Ian Stewart)

in Gloucester Cathedral on Saturday night
I came to your flower show blown like a kite
and I stood by the tombstones and gazed at the lights on the altar

and the horse-faced old ladies and tweedy-toned men
of county society they came and they went
with pamphlets and leaflets of Christian events for the fall

but ain't that all just like Jesus crying in the rain
ain't that all just Gethsemane, again

oh the half-a-crown programmes on sale at the door
were clutched in the teeth of the rich and the poor
as they swayed in an undertone conscience-free forward together

and the outstretching hands of the swains of the Lord
sold the communing commuters the word
with LPs of Mary and photos of God in the hall

but ain't that all just like Jesus crying in the rain
ain't that all just Gethsemane, again

oh the flowers hushed the air as the columns advanced
to the clinking of coins in a ritual dance
on flagstones that ached for a chance of a chance of escaping

and the mystical statues looked down so depressed
at the endless possessors becoming possessed
and the costumed confessors who never confessed to the wall

but ain't that all just like Jesus crying in the rain
ain't that all just Gethsemane, again

oh I saw'r a blue hair-rinse I saw'r a black tooth
I saw'r a false face in a telephone booth
and the stark white-faced roses that screamed out the truth of their dying

and a walrus's dreams and a carpenter's love
absorbed like a hand in a great rubber glove
and flown like a flag over battlefields factories and all

ain't that all just like Jesus crying in the rain
ain't that all just Gethsemane, again

oh I dodged the collection box choirboy and out
to the streets where the wind shook my hair with a shout
and the dusty-faced daisies were blowing about so freely

and Christ in the ruins was wandering again
as He walked with the beggars and talked to the lame
and danced with the children and sailors who came aAt his call

but ain't that all just like Jesus crying in the rain
ain't that all just Gethsemane, again

ain't that all just like Jesus crying in the rain
ain't that all just like Nazareth, again

®© WMG on behalf of Rhino (Pure)
®© therock&rollingsixties

Edit no 3a for headphones. At 2.20 the video has an exclusive twenty seconds of imaginary outer space experience... (or let's just say this is a crappy video...) When recorded on October 16, 1967, the song was not meant to be released. But after Brian Jones added the mellotron to it, it was added too and became perhaps the best song on the album.
Mellotron & piano: Brian Jones. Percussion: Brian Jones & Mick Jagger. Vocals: Mick Jagger. Bass: Bill Wyman. Guitar: Keith Richards. Drums: Charlie Watts.

2000 LIGHT YEARS * FROM HOME
(Jagger/Richards)

Sun turnin' 'round with graceful motion
We're setting off with soft explosion
Bound for a star with fiery oceans
It's so very lonely, you're a hundred light years from home

Freezing red deserts turn to dark
Energy here in every part
It's so very lonely, you're six hundred light years from home

It's so very lonely, you're a thousand light years from home
It's so very lonely, you're a thousand light years from home

Bell flight fourteen you now can land
See you on Aldebaran, safe on the green desert sand
It's so very lonely, you're two thousand light years from home
It's so very lonely, you're two thousand light years from home

®© UMG
®© ABKCO

(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/ABCKO Music, Inc. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

* two thousand light years is:
eighteen thousand trillion (eighteen thousand million million) kilometres from home
that's
twelve thousand trillion (twelve thousand million million) miles from home

Edit for hedphones. A (Beatles) song from the sessions/demos album "Time To Get Alone", label: Silver Shadow ‎– cat.nr.: CD 9316-2. An unofficial 1993 Italian album release.

Edit 2a for headphones, July 2013. Better timing of the phase effect. Clearer sound. Best experienced on speaker boxes.
"The spider and the fly", written by Mick Jagger and Keith Richards, first released in 1965 on the lp "Out Of Our Heads". In the UK released as b-side to "Satisfaction". In my opinion, this song is far far far better than "Satisfaction". THIS should have been their great hit... It is written that the harmonica solo at the end is by Mick Jagger. I just don't believe that, it is so virtuoso, it must be Brian Jones...

Recorded May 12 & 13, 1965. Released on "Out Of Our Heads" in 1965. The last Nanker/Phelge track to be released.
Harmonica: must be Brian Jones. Guitars: Brian Jones & Keith Richards. Lead vocal (& harmonica?): Mick Jagger. Drums: Charlie Watts. Bass: Bill Wyman. Keyboards & percussion: Jack Nitzsche.

THE SPIDER AND THE FLY
(Nanker/Phelge)
(Nanker Phelge (was a collective pseudonym used between 1963 and 1965 for several Rolling Stones group compositions)

sittin', thinkin', sinkin', drinkin'
wondering what I'd do when I'm through tonight
moking, moping, maybe just hopin' some little girl will pass on by
don't wanna be alone, but I love my girl at home
I remember what she said
she said, "My, my, my don't tell lies, keep fidelity in your head
my my my, don't tell lies, when you're done you should go to bed
don't say hi, like a spider to a fly
jump right ahead and you're dead"

sit up, fed up, low down, go round
down to the bar at the place I'm at
sitting, drinking, supereficially thinking about the rinsed-out blonde on my left
then I said, "hi" like a spider to a fly, remebering what my little girl said

she was common, flirty, she looked about thirty
I would have run away but I was on my own
she told me later she's a machine operator
she said she liked the way I held the microphone
I said my, my, like the spider to the fly
jump right ahead in my web

®© 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.)
This sound recording is administered by UMG/ABKCO Music and Records, Inc. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

Edit for headphones, January 2022. "After Tea" was a Dutch sixties band. This song was a number 26 hit in the Dutch charts in 1968. The song is on their 1969 album "After Tea"

SNOWFLAKES ON AMSTERDAM
(Hans van Eijck/Ray Fenwick)

when the snowflakes are falling on Amsterdam
I'll be coming home to you

a letter air express
I guess around last May
but from where it came
I'm afraid I could not say

it proved to me one thing
thank heaven now I know
that the world is but a stage
and my life is but a show

my life is but a show
my life is but a show

when the snowflakes are falling on Amsterdam
I'll be coming home to you
how you cried when I told you on that tram
there was nothing I could do

the happy time we'd had
but I knew it had to end
the letter that I got
was from enemy nor friend

but still I had to leave
my time was all used up
I had a lot of downs
but at last I found some luck

at last I found some luck
at last I found some luck

when the snowflakes are falling on Amsterdam
I'll be coming home to you
how you cried when I told you on that tram
there was nothing I could do

when the snowflakes are falling on Amsterdam
I'll be coming home to you
how you cried when I told you on that tram
there was nothing I could
nothing I should
nothing I would do

®© UMG on behalf of Universal Music, a division of Universal International Music BV
®© therock&rollingsixties

Edit 4 for headphones to create a home stereo equipment effect. From the UK album "Between the Buttons" (January 20, 1967) and the US album "Flowers" (July 15, 1967). Source file is from the Japanese mini lp "Flowers" (remastered 2006)[uicy-93025].

vibraphone (or marimba/xylophone/celeste/glockenspiel *): Brian Jones
accordion: Nick de Caro **
acoustic guitar: Keith Richards
bass: Bill Wyman
percussion, claves: Charlie Watts
vocals, finger snaps: Mick Jagger
harpsichord: Jack Nitzsche

BACK STREET GIRL
(Jagger/Richards)

I don't want you to be high
I don't want you to be down
don't want to tell you no lie
just want you to be around

please come right up to my ears
you will be able to hear what I say

don't want you out in my world
just you be my backstreet girl

please don't be part of my life
please keep yourself to yourself
please don't you bother my wife
that way you won't get no help

don't try to ride on my horse
you're rather common and coarse anyway

don't want you out in my world
just you be my backstreet girl

please don't you call me at home
please don't come knocking at night
please never ring on the phone
your manners are never quite right

please take the favors I grant
curtsy and look nonchalant, just for me

don't want you part of my world
just you be my backstreet girl

just you be my backstreet girl

®© UMG
®© ABKCO 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/Abkco. 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.

* There's much discussion on which of these five instruments was used on the intro en further on in the song. I chose one of the the iorr.org forum members opinion:
It sounds like a vibraphone (or something similar) played higher up it's register with echo/reverb, hence the airy sound after the initial percussive strike to each note.

** It was the suggestion of Jack Nitzsche to engage Nick de Caro to play the accordion part. Nick was an established LA arranger for peop

Edit for headphones. This song was The Byrds' second single (June 14, 1965), released on their first album "Mr. Tambourine Man" (June 21, 1965). It was a #4 hit in the UK, a #40 hit in the US (because of Cher, who released her cover of this song at the same time, reaching #15). A #15 hit in Holland.
The Dylan album this song was on ("Another Side Of Bob Dylan") marks Dylan's withdraw from politically charged songs to instead write on more personal issues.
The single version has slightly different lyrics. See below in between the verses.

ALL I REALLY WANT TO DO
(Bob Dylan)

I ain't lookin' to compete with you
(single: I don't want to compete with you)
Beat or cheat or mistreat you
Simplify you, classify you
(single: classify you, simplify you)
Deny, defy or crucify you
All I really want to do
Is, baby be friends with you

No, I ain't lookin' to fight with you
Frighten you or tighten you
Drag you down or drain you down
(single: bring you down or chain you down)
Chain you down or bring you down
(single: drag you down or drain you down)
All I really want to do
is, baby, be friends with you

I don't want to fake you out
Take or shake or forsake you out
(single: shake or take or forsake you out)
I ain't lookin' for you to feel like me
(single: I ain't lookin' to you to feel like me)
See like me or be like me

I don't want to meet your kin
Make you spin or do you in
Or select you or dissect you
Or inspect you or reject you
All I really want to do
Is, baby, be friends with you
Baby, be friends with you
Baby, be friends with you

®© 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.

Edit (live yaya) for headphones. Yes, I know, another terrible video. Dubbed.
Source file of the edit is on the live album "Get Yer Ya-Ya's Out!" released 4 September 1970 on Decca Records in the UK and on London Records in the US. Recorded on 27–28 November 1969 at New York City's Madison Square Garden, ("Love in Vain" was recorded in Baltimore, Maryland on 26 November 1969). On some tracks (backing) vocals have been added at the London Olympic studios.

Ian Stewart: piano. Mick Jagger: vocals. Bill Wyman: bass. Charlie Watts: drums. Mick Taylor: lead, rhythm and slide guitar. Keith Richards: lead, rhythm guitar& backing vocals.

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.)

Edit for headphones (February 2020). Source file of the edit is the mono version on the 1966 album "Face To Face" (2011 2-cd deluxe edition)(mono, though the deluxe edition of the album says it is the stereo cd). The bass part is original, not edited.

TOO MUCH ON MY MIND
(Ray Davies)

there's too much on my mind
there's too much on my mind
and I can't sleep at night thinking about it

I'm thinking of the time
there's too much on my mind
it seems there's more to life than just to live it

there's too much on my mind
and there is nothing I can say
there's too much on my mind
and there is nothing I can do
aout it, about it

my thoughts just weigh me down
and drag me to the ground
and shake my head till there's no more life in me

it's ruining my brain
I'll never be the same
my poor demented mind is slowly going

there's too much on my mind
and there is nothing I can say
there's too much on my mind
and there is nothing I can do
about it, about it

there's too much on my mind

Edit for headphones, November 2021. This is a well known alternate version, but some time ago I found it with alternate vocals! Enjoy. A song from the bootleg "Studio Outtakes & Rarities Vol. 4 - 1968 (remaster by Teague Raw)". Label: Cadec. No catalogue number.

®© UMG on behalf of ABKCO Music and Records, Inc.
®© therock&rollingstones

edit for headphones. the official 1967 release is mono, source file of this edit is from the album "something else by the kinks" (2011 2cd deluxe edition), listed on cd 2 as "autumn almanac [stereo bonus track]". a #3 hit in the uk, #5 germany, #13 canada, #15 ireland, #17 in (shame on) holland. oh, and #73 in some part of the world, think it's the united somewhat of somewhere... why should it have reached a higher position anyway, as some have placed this and other davies compositions in the pastoral-romantic tradition of the poetry of wordsworth, among others...

the album stereo version is ten seconds longer the the official mono single release and features more "psychedelic" audio effects such as a tape loop during the fadeout. well, those ten seconds are caused by an eight seconds silence at the end of the song, reason why i extended the intro from two to eight seconds, just for peace's sake...

ray davies said the song was inspired by a local hunch-backed gardener in his native muswell hill neighbourhood of north london.

AUTUMN ALMANAC
(Ray Davies)

From the dew-soaked hedge creeps a crawly caterpillar,
When the dawn begins to crack.
It's all part of my autumn almanac.
Breeze blows leaves of a musty-coloured yellow,
So I sweep them in my sack.
Yes, yes, yes, it's my autumn almanac.

Friday evenings, people get together,
Hiding from the weather.
Tea and toasted, buttered currant buns
Can't compensate for lack of sun,
Because the summer's all gone.

La-la-la-la
Oh, my poor rheumatic back
Yes, yes, yes, it's my autumn almanac.
La-la-la-la
Oh, my autumn almanac
Yes, yes, yes, it's my autumn almanac.

I like my football on a Saturday,
Roast beef on Sundays, all right.
I go to Blackpool for my holidays,
Sit in the open sunlight.

This is my street, and I'm never gonna to leave it,
And I'm always gonna to stay here
If I live to be ninety-nine,
'Cause all the people I meet
Seem to come from my street
And I can't get away,
Because it's calling me, (come on home)
Hear it calling me, (come on home)

La-la-la-la
Oh, my autumn Armagnac
Yes, yes, yes, it's my autumn almanac.
La-la-la-la
Oh, my autumn almanac
Yes, yes, yes, yes, yes, yes, yes, yes.

Bop-bop-bopm-bop-bop, whoa!
Bop-bop-bopm-bop-bop, whoa!

®© UMG
®© [Merlin] PIAS

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.

Edit for headphones, March 2022. This is my stereo remix of studio take 11 of "On With The Show" (studio working title "Surprise Me") from the bootleg box set "Outtakes & Rarities Volume 3.1 Remastered By Teague Raw". Most likely Brian Jones on Mellotron, Nicky Hopkins on piano, Charlie Watts on drums, Bill Wyman on bass, Keith Richards on guitar.
A Mellotron uses analogue samples, recorded on audio tape. There's a slight delay when a key is hit before it produces sound, that's why it is a difficult instrument to play.

Many thanks to Mannymuc for some lovely tinted photos (that I found on Pinterest) at 0:25 and 0:38 and 0:47.
Here are Mannymuc's channels:
https://www.youtube.com/MannyMUC
https://www.youtube.com/channel/UCdcmK0dvvCh0j3Lb_PA3M4A

If you want to try and sing along (and find out that Mick Jagger did a real great job here), then here are the lyrics:

ON WITH THE SHOW
(Jagger/Richards)

good evening one and all we're all so glad to see you here
we'll play your favorite songs while you all soak up the atmosphere
we'll start with old "Wood River", then maybe "Stormy Weather" too
I'm sure you know just what to do
on with the show good health to you

please pour another glass it's time to watch the cabaret
your wife will never know that you're not really working late
your hostess here is Wendy, you'll find her very friendly too
and we don't care just what you do
on with the show good health to you

Bettina starts the show at two o'clock

oh if by chance you find that you can't make it anymore
we'll put you in a cab and get you safely to the door
oh we've got all the answers and we've got lovely dancer, too
there's nothing else you have to do
on with the show good health to you

you're all such lovely people dancing gaily round the floor
but if you have to fight please take your trouble out the door
for now I say with sorrow until this time tomorrow
we'll bid you all a fond adieu
on with the show good health to you

®© ABKCO Music and Records, Inc.
®© UMG
®© UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, Warner Chappell, LatinAutor - SonyATV, LatinAutorPerf
®© therock&rollingstones
(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. This song was the b-side to Them's biggest hit in the UK, "Here Comes the Night", which charted in the UK at No. 2 on 22 April 1965, five weeks after entering the charts, and went to No. 24 in the U.S. in May 1965.

ALL FOR MYSELF
(Van Morrison)

Well, I love you, love you darlin'
Like I never, whoa, loved before
I wanna get you, yeah, keep you
All for myself, nobody else
Well, sho' 'nuff
I'm gonna take you
Yeah, gon' take you
I'm gonna lead you by-i, the hand
I'm gonna hug you an' squeeze you, baby-yeah
Show you I'm a man
Well-a
It's alright, alright
It's alright, alright
It's alright, all night
Alright, all night
It's alright, it's alright
Feel it, yeah
I wanna keep you
Keep you, baby
I wanna keep you, whoa, satisfied
Walk through the rain, hail an' snow, darlin'
Walk by my side
Well, sho' nuff
It's alright, alright
It's alright, all night
It's alright, all night
It's alright, it's alright
Sho' 'nuff
All night, all night
Bring it on home
Oh, bring it on home, yeah
All night, all night
Alright, alright
All night, all right
You're alright all...

®© vanmorrisonofficial
®© UMG
®© SME

Edit (vers.1) for headphones. Dubbed video. This is the so called organ version of "Time is on my side", recorded June 24, 1964 in London, released in US as a single on September 25, 1964 and in October 1964 on the LP "12 X 5".
The single peaked at number six on the US Billboard Pop Singles Chart to become the Rolling Stones' first top ten hit in the US. Their previous single, "It's All Over Now", had peaked at number 26.

The second version (with guitar intro) was recorded in Chicago on November 8, 1964 and released in the UK on January 15, 1965 on "The Rolling Stones No. 2". This version appears on most compilation albums.

Guitars: Brian Jones and Keith Richards. Backing vocals: Brian Jones and Bill Wyman. Vocals: Mick Jagger. Bass: Bill Wyman. Drums: Charlie Watts. Organ: Ian Stewart.

TIME IS ON MY SIDE
Jerry Ragovoy (under the pseudonym of Norman Meade)(a member of The Coasters).

true lyrics of version one (you'll find them only here!):

time is on my side, yes it is
time is on my side, yes it is

now you always say, that you wanna be free
but you'll come running back (said you would baby)
you'll come running back (I said so many times before)
you'll come running back to me

oh, time is on my side, yes it is
time is on my side, yes it is

you're searching for good times, but just wait and see
you'll come running back (I won't have to worry no more)
you'll come running back (spend the rest of my life with you, baby)
you'll come running back to me

go ahead, go ahead and light up the town
and baby, do everything your heart desires
remember, I'll always be around
and I know, I know, like I told you so many times before
you're gonna come back, baby
'cause I know, you're gonna come back knocking
yeah, knocking right on my door, yes, yes!

well, time is on my side, yes it is
time is on my side, yes it is

'cause I got the real love, the kind that you need
you'll come running back (I'said you would, baby)
you'll come running back (I always said you would)
You'll come running back,(I'won't have to worry no more) to me

yes time, time, time is on my side, yes it is
time, time, time is on my side, yes it is
oh, time, time, time (oh) is on my side, yes it is
I said, time, time, time (yeah) is on my side, yes it is
oh, time, time, time is on my side
yeah, time, time, time...

®© UMG
®© WMG
®© ABKCO Music and Records, 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/WMG/ABKCO/EMI/SOLAR. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

Edit 2 for headphones, December 2020. From the album "MOFO" (the Making Of Freak Out), which also has the name "The MOFO Project/Object", a dressy 'version' of "Wowie Zowie" (basic tracks - 1970 fz remix).

This one is to show you what really neat & friendly music Zappa was able to make. He lied when he wrote that this song was just to attract a certain kind of listeners, just to get them to buy his music. In fact, deep down he was a friendly person that loved fine, friendly & nice things. I remember some interview with a "Mothers" band member saying during a studio mixing session a certain part was so beautiful, and that Zappa really shouldn't mix it and have it loose its sound. Then Zappa's frustrated personality came to the surface and decided not to, and forever some beautiful part was lost. Well, he's not to blame, I think it's the influence of the world he grew up in. As Zappa stated in one of his songs, "your whole attitude stinks I say, and the life you lead is completely empty", he was talking about American womanhood. I think he was being polite, for I think he meant the whole of the United States. Except the few free & non commercial individuals. I mean you, who reads this.

The official release with vocals had Frank Zappa: guitar & vocals. Ray Collins: lead vocalist, harmonica, tambourine, finger cymbals, bobby pin & tweezers. Jimmy Carl Black: drums (also sings in some foreign language). Roy Estrada: bass & guitarron, boy soprano. Elliot Ingber: alternate lead & rhythm guitar with clear white light.

WOWIE ZOWIE
(Frank Zappa)

wowie Zowie
your love's a treat
wowie Zowie
you can't be beat
wowie Zowie, baby
you're so neat
I don't even care
ff you shave your legs

wowie Zowie, baby
you're so fine
wowie Zowie, baby
please be mine
wowie Zowie
up and down my spine
I don't even care
if you brush your teeth

dream of you each mornin'
I dream of you each night
just the other day I got so shook up
I dreamed of you in the afternoon
I dream of you each mornin'
I dream of you each night
just the other day I got so shook up
I had a flash in the afternoon

wowie Zowie, baby
love me do
wowie Zowie
and I'll love you too
wowie Zowie, baby
I'll be true
I don't even care
if your dad's the heat

(Wowie Zowie...)

wowie
wowie Zowie
wowie
wowie Zowie
wowie
wowie Zowie
wowie
wowie Zowie
wowie
wowie Zowie
wowie
wowie Zowie
wowie...

®© 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. Peter Asher's sister Jane dated womanizing Paul McCartney for several years, that's how they got this McCartney song. In 1966 a no.14 hit in the USA, no.28 in the UK, no.15 in Holland. Well, what about these three countries, why only mention them? Well, to begin with: the British have the guts & wisdom to leave stupid money absorbing European Union (let's hope many countries will follow their good example); America, well America first (though not in this sentence), that's obvious. And Holland keeps the American feet dry & is England's best neighbour.

WOMAN
(Paul McCartney)

woman, do you love me?
woman, if you need me then believe me I need you
to be my woman

woman, do you love me?
woman, if you need me then believe me I need you
to be my woman

and should you ask me how I'm doing
what shall I say? things are ok
but I know that they're not
and I still may have lost you

woman, do you love me?
woman, if you need me then believe me I need you
to be my woman

I guess you'll take your time and tell me
when we're alone, love will come home
I would give up my world
if you'll say that my girl is my woman

I've got plenty of time (I've got plenty of time)
just to get through it
once again you'll be mine (once again you'll be mine)
I still think we can do it
and you know how much I love you

woman, don't forsake me
woman, if you take me then believe me I'll take you
to be my woman

®© 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/WMG/ABKCO/EMI/SOLAR. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education, not for monetary gain.

This video is the property of the respective owners. I don't hold any copyright about this video. This video has been collected from different public sources including different websites, considering to be in public domain. If any one has any objection of displaying this video, 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.

Edit 2a for headphones, December 2020. Dubbed video. Better synchronized. Though this video's real live performance is very interesting too, this one has the original studio version of the song, edited.
First recorded on January 10, 1964, re-recorded on February 4, 1964,
Third UK single, Feb. 21 1964.
First US single, March 6 1964, and on the first US album England's Newest Hit Makers, May 29, 1964.
Source file of the edit is on the album "England's Newest Hitmakers" Japanese mini lp (uicy-93013).

In 1964 "Not Fade Away" charted nr.3 in the UK, nr.44 in Australia, nr.44 in the US.

Harmonica: Brian Jones. Guitars: Brian Jones & Keith Richards. Percussion: Brian Jones & Mick Jagger. Lead vocals: Mick Jagger. Bass: Bill Wyman. Drums: Charlie Watts.

NOT FADE AWAY
(Norman Petty & Charles Hardin Holly, that is Buddy Holly)(Original performer: Buddy Holly in 1957.)

I'm gonna tell you how it's gonna be
you're gonna give your love to me
I'm gonna love you night and day
well love is love and not fade away
well love is love and not fade away

my love's bigger than a Cadillac
I try to show it if you drive me back
your love for me has got to be real
for you to know just how I feel
love is real and not fade away
well love is real and not fade away

I'm gonna tell you how it's gonna be
you're gonna give your love to me
love to last more than one day
well love is love and not fade away
well love is love and not fade away
well love is love and not fade away
lo' love is love and not fade away
not fade away

®© 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 for headphones. Its original one minute and fourteen seconds is just too short imo. So I extended it to two minutes and five seconds.* A great tip for each musician: play your song in reverse & a new melody is born!

From the album "After The Goldrush". A 1970 masterpiece ** by Neil Young and Crazy Horse with Greg Reeves, Steve Stills and Nils Lofgren.
Vocals: Neil Young, Danny Whitten, Nils Lofgren, Steve Stills, Ralph Molina
Piano: Neil Young, Jack Nitsche, Nils Lofgren
Bass: Billy Talbot, Greg Reeves
Drums: Ralph Molina
Guitars: Neil Young, Danny Whitten, Nils Lofgren
Harmonica: Neil Young
Vibes: Neil Young
Flügelhorn: Bil Peterson
Patches: Susan Young

Most of the album's song were inspired by the Dean Stockwell-Herb Berman screenplay "After The Goldrush".

TILL THE MORNING COMES
(Neil Young)

I'm gonna give you 'til the morning comes
'til the morning comes, 'til the morning comes

I'm only waiting 'til the morning comes
'til the morning comes, 'til the morning comes

I'm only waiting 'til the morning comes
'til the morning comes, 'til the morning comes

horn

I'm gonna give you 'til the morning comes
'til the morning comes, 'til the morning comes

horn

I'm gonna give you 'til the morning comes
'til the morning comes, 'til the morning comes

I'm gonna give you 'til the morning comes
'til the morning comes, 'til the morning comes

I'm only waiting 'til the morning comes
'til the morning comes, 'til the morning comes

reversed part:

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' gnitiaw ylno m'I

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' uoy evig annog m'I

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' uoy evig annog m'I

horn

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' uoy evig annog m'I

horn

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' gnitiaw ylno m'I

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' gnitiaw ylno m'I

semoc gninrom eht lit' ,semoc gninrom eht lit'
semoc gninrom eht lit' uoy evig annog m'I