The Rolling Stones: Out Of Our Heads (US album) - 1965

The third Rolling Stones US-only album release here. Six of the album's twelve tracks were also included on its UK release.

UK - songs that also appeared on the UK version of the album.

Mercy Mercy (Covay/Miller) UK

Similar to Larry Williams - whose She Said Yeah The Stones covered on the UK release of this album - was Don Covay, an Atlantic label artist. Just as with She Said Yeah, Jagger does a good job on the vocal of Mercy Mercy without ever losing his own uniqueness, neither is he simply imitating Covay.

Hitch Hike (Gaye/Paul/Stevenson) UK

A Marvin Gaye song is up now, Hitch Hike, one typical of its era in that it was about a dance craze, you know, the one where you pretend to be hitching a ride. Its guitar solo, good as it undoubtedly is, seems completely incongruous on the song, however. 

The Last Time (Jagger/Richards)

A Jagger-Richards number that very much followed in the soundsteps of It's All Over Now in its upbeat verve and vigour, the song had an absolute corker of a jangly guitar riff. Perfect mid-songs pop. Jagger's end of the chorus "oh no" vocal bit was incredibly catchy, as was the "no no no no" shrieking bit at the end.

That's How Strong My Love Is (Jamison) UK

Not many can cover Otis Redding and get away with it, but the Stones did, simply because many fans had not heard of Redding. To them, this version of That's How Strong My Love Is was definitive. Regarding the cover, it's not as good as Redding, but who was? I like it though.

Good Times (Sam Cooke) UK

Covering Sam Cooke was another damn difficult job, and Mick doesn't really achieve it on Good Times. The already late Cooke's voice was so honey-sweet and melodic that he never really stood a chance. Only Rod Stewart has ever really done Cooke's material justice.

I'm All Right (Bo Diddley)

Played live against a background of screaming from 1965's Got Live If You Want It Album, this is a frenetic, chaotic rendition of a Bo Diddley song, redeemed only by one of those rubbery Bill Wyman basslines. Otherwise, the sound quality is pretty damn ropey. Quite why it was included on this album remains a mystery. There were plenty of better candidates available - I'm Free, She Said Yeah, Talkin' 'Bout You?

(I Can't Get No) Satisfaction (Jagger/Richards)

The one that gave us the Stones riff for the first time. The song spawned numerous myths about its creation - Jagger and Richards locked in a room by Andrew Oldham until the had written a number one hit etc etc. Whatever, it has become possibly their most famous song. From its iconic "dah-dah-da-da-daaaah" singalong riff to Jagger's precociously cynical vocals taking swipes at the shallowness of the advertising industry and contemporary consumer culture. This was one of the early occasions where a pop song had such sneering, questioning lyrics. If you feel you have heard Satisfaction just too many times, just close your eyes and put yourself in the place of someone hearing it for the first time in August 1965. Now how good does it sound? Its effect must have been seismic for so many people.

Cry To Me (Bert Berns) UK

Another cover, this time of Solomon Burke's 1962 hit Cry To Me. Jagger once more puts his own stamp on it. It is a slow bluesy ballad.

The Under Assistant West Coast Promotion Man (Nanker/Phelge) UK

One of my favourite Stones deep cuts here. Nanker and Phelge get all cynical about the music business in the USA, unsurprisingly, as they were in the middle of touring the country and were at the mercy of God knows how many "promotion men". It's a great early Stones hidden gem. 

Play With Fire (Nanker/Phelge)

This was another of those atmospheric slow, cynical ballads that warned society girls not to dally with those mad, bad and dangerous to know Rolling Stones. It is notable for some more Elizabethan/baroque-influenced grandiose-sounding keyboard backing. It also has some "swinging London" location references in St. John's Wood, Knightsbridge and Stepney, neither of which were near Carnaby Street or the King's Road, but never mind, for many they will have fitted the bill. 

The Spider And The Fly (Jagger/Richards)

A slow-paced drawling blues that saw Jagger warning young girls not to get caught in his spider's web of lechery, or maybe he is just telling them that he's going to catch them in it anyway. Either way, lyrically, it is wry and clever. This sort of what would be now considered casual sexism was de rigeur in 1965, and all very harmless it was too, I have to say. Sorry. Back to the song, I love its bassy, bluesy slow grind. One of the best on this album, with great sound quality too. 

One More Try (Jagger/Richards)

A fast-paced number, quite deliciously bluesy in its catchy guitar lines, it has an energy to it, but is also somewhat throwaway. At less than two minutes in length, it is over before we know it. It is very singalong, though, and sticks in my head a lot.

Overall, though, quite why the Out Of Our Heads album was split into two separate US and UK releases is somewhat perplexing. A fine single release album could easily have been created, couldn't it?

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