45 RPMs 87: Marianne Faithfull ~ Broken English 12" single

  ~  

 

Marianne Faithfull ~ Broken English

 

 

Today, one of my Immortals (link below) proved to me she wasn't! I never learn but love makes ya CRAZY!       

 

 

 Marianne Faithfull ~ Broken English

 

 

To me the album this song came from was the pinnacle of her work. It is as close to perfection anyone can attain. And these two songs are the crown of perfection!             

 

 

 Marianne Faithfull ~ Broken English

 

 

Broken English is a mid-tempo rock song with a strong influence from new wave. The song is set in the simple time signature of 4/4, with a tempo of 122 beats per minute. It is built around a simple rhythm guitar motif and synthesizer effects. Faithfull's vocals sound lower and cracked compared to her earlier work due to severe laryngitis coupled with heavy smoking and drug abuse during the 1970s. This gives the song a raw, more tavern-like feeling which was perfect for dancing in nightclubs.     

 

 

 Marianne Faithfull ~ Broken English

 

 

Why'd Ya Do It? is one of the most "X Rated" songs I've ever heard with a popular song and she hits it completely out of the park with this driving dance song! The sexually explicit lyrics by Heathcote Williams caused a walk-out by the female workers on the EMI production line.         

           

Marianne Faithfull ~ Why'd Ya Do It?
 

 

     Why'd Ya Do It?

 

Marianne Faithfull
When I stole a twig from our little nest
And gave it to a bird with nothing in her beak
I had my balls and my brains put into a vice
And twisted around for a whole fucking week

"Why'd ya do it", she said, why'd you let that trash
Get a hold of your cock, get stoned on my hash?

"Why'd ya do it", she said, why'd you let her suck your cock?
Ah, do me a favour, don't put me in the dock
"Why'd ya do it", she said, They're mine all your tools
You just tied me to the mast of the ship of fools

"Why'd ya do it", she said, when you know it makes me sore
'Cause she had cobwebs up her fanny and I believe in giving to the poor
"Why'd ya do it", she said, Why'd you spit on my snatch?
Are we out of love now, is this just a bad patch?

"Why'd ya do it", she said, Why'd you do what you did?
You drove my ego to a really bad skid

"Why'd you do it", she said, ain't nothing to laugh
You just tore all our kisses right in half!

"Why'd ya do it", she screamed, after all we said
Every time I see your dick, I see her cunt in my bed
"Why'd ya do it", she said, why'd you do what you did?
"Why'd ya do it", she said, why'd you do what you did?
Betray my little oyster for such a low bid

The whole room was swirling
Her lips were still curling

"Why'd ya do it", she said, why'd you do what you did?
"Why'd ya do it", she said, why'd you do what you did
"Why'd ya do it", she said, why'd you do what you did
"Why'd ya do it", she said, "Why'd ya do it", she said
Why'd you do what you did?

Oh, big grey mother, I love you forever
With your barbed wire pussy and your good and bad weather

("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)

("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)

("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)
("Why'd ya do it", she said, why'd you do what you did)

Songwriters: Marianne Faithfull, Terry Stannard, Joe Mavety, David York Stephen, Heathcote Williams, Barry (gb) Reynolds.

    
     

        

Tracklist:

Side 1:

A - Broken English, written by Barry Reynolds, Joe Mavety, M. Faithfull*, Steve York, Terry Stannard - 5:59

Side 2:

B - Why D'ya Do It?, written by Barry Reynolds, Heathcote Williams, Joe Mavety, M. Faithfull*, Steve York, Terry Stannard - 6:35

Companies, etc.

    Phonographic Copyright ℗ – Island Records Ltd.
    Produced For – Airstream
    Published By – Airstream Music Ltd.
    Published By – Zem Sounds, Inc.
    Lacquer Cut At – Sterling Sound
    Pressed By – Columbia Records Pressing Plant, Santa Maria

 Credits:

 

      Producer – Mark Miller Mundy

 

Notes:

Special 12" Single

"1S" etch in runouts denotes a Santa Maria pressing variant.

Antilles, a division of Island Records Inc. New York, N.Y.
Printed in U.S.A.

[labels]
℗ 1979 Island Records, Ltd.

A: Published by Airstream Music, Ltd.
B: Zem Sounds, Inc. (BMI)

Runout details are etched except STERLING stamped.

Barcode and Other Identifiers        

        

    Rights Society: BMI
    Matrix / Runout (Runout side A): I S AN-801-A-CS1 A2 STERLING
    Matrix / Runout (Runout side B): \ S AN 801-B-CS2 A1 STERLING

        

        

        

        

Viewfinder links:       

         

Marianne Faithfull        
Immortal Loves        
     
Net links:       

         

         

         

        
     
YouTube links:      
        
Broken English        

Why D'ya Do It?        

      
        
         

        

        

Styrous® ~ Monday, September 7, 2020

~

45 RPMs Archive
MAIN MENU - Blog Articles
~

      

 

 

 

 

 

 

 

 

Marianne Faithfull articles/mentions

 ~        

Broken English 12" 45 RPM             

     

     

mentions:     

      

     

     

     

     

     

     

Marianne Faithfull - 1968     

photographer unknown     

     

     

     

     

     

     

     

     

     

 

 

 

~

Music People

MAIN MENU - Blog Articles 
~

 

 

 

 

20,000 vinyl LPs 335: Rupert Hine ~ Immunity

 ~  

Rupert Hine ~ Immunity 

vinyl LP, front cover 

cover design by Michael Ross 

photos by Chris Parker

photo of album cover by Styrous®

Today is the birthday of musician and record producer, Rupert Hine, born on September 21, 1947, Wimbledon, London, the son of a timber merchant who also played drums in a jazz band when he was young. His mother was a Red Cross nurse and an amateur ballet dancer.         

Rupert Hine ~ Immunity 

vinyl LP, back cover 

cover design by Michael Ross 

photos by Chris Parker

photo of album cover by Styrous®

He has a sparkling career producing albums for the best of the best; Rush, Kevin Ayers, Tina Turner, Howard Jones, Saga, the Fixx, Bob Geldof, Thompson Twins, Stevie Nicks, Chris de Burgh, Suzanne Vega, Underworld, Duncan Sheik, Formula and Eleanor McEvoy! 

        

Hine has recorded six solo albums as well as many albums with other artists. He produced the soundtrack for the film, Better Off Dead and The Deep End.          

Of all the projects he has been involved with, his gem of New Wave music, the 1981 studio album, Immunity; it is at the pinnicle of them for me and is on my "desert island list"!       

     

Of course, I have a favorite song on the album which is Samsara. There's more to the song than music; it has great depth. The title is a Pali/Sanskrit word that means "wandering" as well as "world," wherein the term connotes "cyclic change" or, less formally, "running around in circles." The "cyclicity of all life, matter, and existence" is a fundamental belief of most Indian religions.        

 

The word in Buddhism and Hinduism is the beginningless cycle of repeated birth, mundane existence and dying again. Samsara is considered to be dukkha, suffering, and in general unsatisfactory and painful, perpetuated by desire and avidya (ignorance), and the resulting karma.         

 

Rupert Hine ~ Immunity 

vinyl LP, back cover detail

cover design by Michael Ross 

photos by Chris Parker

detail photo by Styrous®

 

 

Samsara has a quiet but speedy beat that slows for a time, a melody that is dreamy and beautiful with marimba backing at times. It is New Wave at its finest (link to lyrics below)!

 

 

 

 

The personel for the album is extraordinary! Phil Collins plays percussion on the title song, Immunity, and Marianne Faithful sings backup in the first cut on the album, I Hang On To My Vertigo, I can relate to this song (link below).             

 

 

 

 

Trevor Morais plays drums on the album; he is a session player who has recorded with Tina Turner, David Essex, Howard Jones and Björk. Geoffrey Richardson is a British viola player and multi-instrumentalist best known for his work with Caravan, Murray Head and the Penguin Cafe Orchestra.  

 

 

Hine suffered from a number of medical problems, including renal cancer and arrhythmia. He died at his home in Wiltshire on the 4th of June, 2020. He was 72 years old.

  

Tracklist:
       
Side 1:

        

A1 - I Hang On To My Vertigo, Vocals – Marianne Faithfull - 4:40
A2 - Misplaced Love - 4:14
A3 - Samsara - 5:15
A4 - Surface Tension - 4:19
A5 - I Think A Man Will Hang Soon, Drums – Trevor Morais - 4:17

       
Side 2:
       
B1 - Immunity, Percussion – Phil Collins - 3:53
B2 - Another Stranger, Percussion – Phil Collins, Trevor Morais - 4:49
B3 - Psycho Surrender, Clarinet, Recorder – Ollie W. Tayler - 4:20
B4 - Make A Wish, Percussion – Trevor Morais, Viola – Geoffrey Richardson - 5:42
       
Companies, etc.
       
    Phonographic Copyright ℗ – A&M Records Ltd.
    Published By – Rondor Music
    Published By – Petaluma Ink.
    Published By – Essex Music International Ltd.
    Produced At – Farmyard Studios
    Lacquer Cut At – Pye Studios
       
Credits:
       
    Guitar – Phil Palmer
    Lacquer Cut By – Tony Bridge
    Lyrics By – Jeannette-Thérèse Obstoj
    Music By, Arranged By – Rupert Hine
    Producer, Engineer, Mixed By – Stephen W. Tayler
    Producer, Performer – Rupert Hine
       
Notes:
       
Same as Rupert Hine - Immunity by with gold promo-sticker stamped

       
Barcode and Other Identifiers
       

    Rights Society: MCPS/BIEM
    Matrix / Runout (Side 1:): AMLH-68519-A2 tone
    Matrix / Runout (Side 2:): AMLH-68519-B2 tone-pye 

 

Rupert Hine – Immunity
Label:    A&M Records – AMLH 68519
Format:    Vinyl, LP, Album, Promo
Country: UK
Released: 1981
Genre: Electronic, Rock
Style: New Wave

         

Viewfinder links:        

         

Björk        

David Essex               

Marianne Faithful             

Fleetwood Mac             

Rupert Hine          

Howard Jones             

Labyrinthitis ~ a dizzy proposition              

Stevie Nicks         

Record Producers Extraordinaire                         

Samsara lyrics                

Thomson Twins          

Tina Turner        

The Viewfinder 'desert island' vinyl LP list        

        

Net links:        

         

Genesis News ~ Ever Heard of Rupert Hine?        

The Guardian ~ Rupert Hine obituary           

Rupert Hine website         

LouderSound ~ Rupert Hine: A regular musical Zelig         

MuZines ~ The Thinking Man's Guide To Production        

The Press ~ Rupert Hine – Immunity        

        

YouTube links:        

         

Cherry Red Records ~ The Rupert Hine Story by Mark Powell (1 hr. 4 Min.)        

The Deep End (full album)                

Immunity (full album)        

       I Hang On To My Vertigo              

       Immunity               

       Samsara         

        

         

        

        

        

Styrous® ~ Thursday, September 21, 2023       
       

 

 

~

20,000 Vinyl LPs Archive
MAIN MENU - Blog Articles
~

Kurt Weill song lyrics

~    

Alabama Song

Oh, show me the way to the next whiskey bar
Oh, don't ask why, oh, don't ask why!
For we must find the next whiskey bar
For if we don't find the whiskey bar
I tell you we must die
I tell you we must die
I tell you
I tell you
I tell you we must die!

Oh, moon of Alabama
We now must say good-bye
We've lost our good old momma
And must have whiskey, oh you know why!

Oh, moon of Alabama
We now must say good-bye
We've lost our good old momma
And must have whiskey, oh you know why!

Oh, show me the way to the next pretty boy
Oh, don't ask why, oh, don't ask why!

For we must find the next pretty boy
For if we don't find the next pretty boy
I tell you we must die
I tell you we must die
I tell you
I tell you
I tell you we must die!

Oh, moon of Alabama
We now must say good-bye
We've lost our good old momma
And must have boys, oh you know why!

Oh, moon of Alabama
We now must say good-bye
We've lost our good old momma
And must have boys, oh you know why!

Oh, show me the way to the next little dollar
Oh, don't ask why, oh, don't ask why!
For we must find the next little dollar
For if we don't find the next little dollar
I tell you we must die
I tell you we must die
I tell you
I tell you
I tell you we must die!

Oh, moon of Alabama
We now must say good-bye
We've lost our good old momma
And must have dollars, oh you know why!

Oh, moon of Alabama
We now must say good-bye
We've lost our good old momma
And must have dollars, oh you know why!        

       
     



The Bilbao Song
(Kurt Weill / Bert Brecht – English Lyrics by Johnny Mercer)

Recorded by: Chet Atkins; Clusone Trio; Dave Douglas; Eastside Sinfonietta; Gil Evans; Marianne Faithfull; Jacqueline François; Greta Keller; Masabumi Kiluchi; Ute Lemper; Lottie Lenya; Frank Portolese; André Previn; Martha Schlamme; Sextet of Orch. USA; Tethered Moon; Cal Tjader; Julie Wilson, Andy Williams.   

That old Bilbao moon, I won't forget it soon
That old Bilbao moon, just like a big balloon
That old Bilbao moon would rise above the dune
While Tony's beach saloon rocked with an old-time tune
We'd sing a song the whole night long and I can still recall
Those were the greatest (those were the greatest)
Those were the greatest (those were the greatest)
Those were the greatest nights of them all

No paint was on the door (no paint was on the door)
The grass grew through the floor (the grass grew through the floor)
Of Tony's two by four (of Tony's two by four)
On the Bilbao shore (on the Bilbao shore)
But there were friends galore (howdy do, howdy do)
And there was beer to pour (chug-a-lug, chug-a-lug)
And moonlight on the shore (and the moon shines above)
That old Bilbao shore (on the shore, not the rug)
We'd sing all night with all our might and I can still recall
Those were the greatest (those were the greatest)
Those were the greatest (those were the greatest)
Those were the greatest nights of them all

That old Bilbao moon, I won't forget it soon
That old Bilbao moon, just like a big balloon
That old Bilbao moon would rise above the dune
While Tony's beach saloon rocked with an old-time tune
We'd sing all night with all our might and I can still recall
Those were the greatest (those were the greatest)
Those were the greatest (those were the greatest)
Those were the greatest nights of them all

(Extra verse not used by Andy Williams)

Those old Bilbao Guys, they loved to harmonize
Who stopped to realize how fast the summer flies
The moon was on the rise, we'd catch the ladies' eyes
And whisper Spanish lies, They never did get wise.

We'd sing the whole night long
And I can still recall
Those were the greatest,
Those were the greatest
Those were the greatest days of them all.


     

Lost In The Stars

Before Lord God made the sea or the land
He held all the stars in the palm of his hand
And they ran through his fingers like grains of sand
And one little star fell alone

Then the Lord God hunted through the wide night air
For the little dark star on the wind down there
And he stated and promised he'd take special care
So it wouldn't get lost no more

Now, a man don't mind if the stars get dim
And the clouds blow over and darken him
So long as the Lord God's watching over them
Keeping track how it all goes on

But I've been walking through the night and the day
Till my eyes get weary and my head turns gray
And sometimes it seems maybe God's gone away
Forgetting his promise and word he'd say

And we're lost out here in the stars
Little stars, big stars, blowing through the night
And we're lost out here in the stars          

       

Surabaya Johnny

I was young, I was just sixteen then,
when you came up from Burma one day.
And you told me to pack up my suitcase,
and I did, and you took me away.
I said, "Do you work nice and steady,
or do you go sailing and roving out to sea?"
And you said, "I have a job on the railroad,
and baby, how swell it's all gonna be."
You said a lot, Johnny. It was all lies.
You sure had me fooled, right from the start.
I hate you when you laugh at me like that.
Take that pipe out of your mouth, Johnny.

Surabaya Johnny. Is it really the end?
Surabaya Johnny. Will the hurt ever mend?
Surabaya Johnny. Ooh, I burn at your touch.
You got no heart, Johnny, but oh, I love you so much.

Oh, at first you were kind and gentle,
'til I packed up and went off with you.
And it lasted two weeks until one day
you laughed at me and hit me too.
You dragged me all over the city,
up the river and down to the sea.
Now I look at myself in the mirror
and some old woman looks back at me.
You didn't want love, Johnny, you wanted money.
I gave you all I had. You wanted more.
Oh, don't look at me that way.
I'm only trying to talk to you.
Wipe that grin off your face, Johnny.

Surabaya Johnny. Is it really the end?
Surabaya Johnny. Will the pain never mend?
Surabaya Johnny. How I burn at your touch.
You got no heart, Johnny, but oh, I love you so much.

When we met I forgot to ask you
why they called you that funny name,
but in every hotel on the seacoast
I found out, and I loved you all the same.
I'm tired. I'm worn out.
The sea's pounding in my ears.
And I reach out my arms to hold you.
You're not here and who even cares?
You got no heart, Johnny. You're just no good.
You going now? Oh, tell me why.
I love you after all, Johnny, like that very first day.
Don't laugh at me no more, Johnny.

Surabaya Johnny. Is it really the end?
Surabaya Johnny. Will the hurt ever mend?
Surabaya Johnny. Oh, I burn at your touch.
You got no heart, Johnny, but oh, I love you,
I love you, I love you so much. 

     

          

         

          

Viewfinder links:        

      
Lotte Lenya              
André Previn          
Martha Schlamme ‎~ The World of Kurt Weill       
Cal Tjader          

Kurt Weill         

            

          

         

Styrous® ~ Thursday, March 5, 2020           

~

Music Notes Articles

MAIN MENU - Blog Articles

~

Marianne Faithfull artilces/mentions

~   

   

 

         

mentions:      

The Beatles ~ Magical Mystery Tour    

Rupert Hine ~ Immunity        

The Rolling Stones ~ Beggar's Banquet     

Mick Ronson ~ Slaughter on 10th Ave.   

           

   

   

Marianne Faithfull - 1968     

photographer unknown   

   
        
   
  
  
         

~

Music Notes Articles
MAIN MENU - Blog Articles
~

20,000 Vinyl LPs 159: The Rolling Stones ~ Beggar's Banquet

~

The Rolling Stones ~ Beggar's Banquet

vinyl LP, front cover 

photo by Styrous®

The seventh British and ninth American studio album by The Rolling Stones, Beggar's Banquet, was released 40 years ago on December 6, 1968, by Decca Records in the United Kingdom and London Records in the United States.          

The Rolling Stones ~ Beggar's Banquet

vinyl LP, back cover 

photo by Styrous®

Of all the great songs on this album, my absolute favorite is Sympathy For The Devil. No song before or since has had the pathos yet horror of atrocities this song details. The song was written by Mick Jagger and Keith Richards, and is the opening track of the album. Rolling Stone magazine placed it at number 32 on its list of the "500 Greatest Songs of All Time". I would have put it higher but then, who the hell am I?       

                 

The Rolling Stones ~ Beggar's Banquet

vinyl LP, back cover detail

detail photo by Styrous®

Jagger sings in first person narrative as the Devil, boasting his role in each of several historical violent atrocities. The singer then ironically demands our courtesy towards him, implicitly chastising the listener for our collective culpability in the listed killings and crimes. In the 2012 documentary Crossfire Hurricane, Jagger stated that his influence for the song came from Baudelaire and from the novel, The Master and Margarita (which had just appeared in English translation in 1967) by Russian author Mikhail Bulgakov. The book was given to him by Marianne Faithfull.      

Jagger originally wrote it as a folk song but Richards suggested changing the tempo and using additional percussion, turning the folk song into a samba.           

The Rolling Stones ~ Beggar's Banquet

vinyl LP, back cover detail

detail photo by Styrous®

The lyrics focus on atrocities in the history of mankind from Satan's point of view including the trial and death of Jesus Christ ("Made damn sure that Pilate washed his hands to seal his fate"), European wars of religion ("I watched with glee while your kings and queens fought for ten decades for the gods they made"), the violence of the Russian Revolution of 1917 and the 1918 shooting of the Romanov family during World War I ("I stuck around St. Petersburg when I saw it was a time for a change/Killed the Tsar and his ministers/Anastasia screamed in vain"), and World War II ("I rode a tank, held a general's rank when the blitzkrieg raged, and the bodies stank"). The song was originally written with the line "I shouted out 'Who killed Kennedy?'" After the Robert F. Kennedy death on 6 June 1968, the line was changed to "Who killed the Kennedys?". And the answer is "when after all it was you and me", which is a way of saying that "the devil is not the other one, but eventually each one of us."   

The Rolling Stones ~ Beggar's Banquet

vinyl LP, back cover detail

detail photo by Styrous®

The recording of Sympathy For The Devil began at the Olympic Sound Studios in London on June 4, 1968, and continued into the next day; overdubs were done on 8, 9 and 10 June. Personnel included on the recording include Nicky Hopkins on piano, Rocky Dijon on congas and Bill Wyman on maracas. Marianne Faithfull, Anita Pallenberg, Brian Jones, Charlie Watts, producer Jimmy Miller, Wyman and Richards performed backup vocals, singing the "woo woos". Richards plays bass on the original recording, and also electric guitar. Brian Jones plays a mostly mixed out acoustic guitar, although in isolated tracks of the studio cut, it is audible playing along with the piano.       

The Rolling Stones ~ Beggar's Banquet

vinyl LP, back cover detail

detail photo by Styrous®

Jagger said, "It has a very hypnotic groove, a samba, which has a tremendous hypnotic power, rather like good dance music. It doesn't speed up or slow down. It keeps this constant groove. Plus, the actual samba rhythm is a great one to sing on, but it is also got some other suggestions in it, an undercurrent of being primitive—because it is a primitive African, South American, Afro-whatever-you-call-that rhythm (candomblé). So to white people, it has a very sinister thing about it. But forgetting the cultural colors, it is a very good vehicle for producing a powerful piece. It becomes less pretentious because it is a very unpretentious groove. If it had been done as a ballad, it wouldn't have been as good."   

The Rolling Stones ~ Beggar's Banquet

vinyl LP, gatefold cover

photo by Styrous®

In an interview with Creem, Jagger said, "[When people started taking us as devil worshippers], I thought it was a really odd thing, because it was only one song, after all. It wasn't like it was a whole album, with lots of occult signs on the back. People seemed to embrace the image so readily, [and] it has carried all the way over into heavy metal bands today. Some people have made a living out of doing this; for example, Jimmy Page."         

The Rolling Stones ~ Beggar's Banquet

vinyl LP, gatefold interior

photo by Styrous®

Of the change in public perception the band experienced after the song's release, Richards said in a 1971 interview with Rolling Stone, "Before, we were just innocent kids out for a good time, they're saying, 'They're evil, they're evil.' Oh, I'm evil, really? So that makes you start thinking about evil... What is evil? Half of it, I don't know how much people think of Mick as the devil or as just a good rock performer or what? There are black magicians who think we are acting as unknown agents of Lucifer and others who think we are Lucifer. Everybody's Lucifer."        

The Rolling Stones ~ Beggar's Banquet

vinyl LP, gatefold interior detail

detail photo by Styrous®

Contrary to a widespread misconception, it was Under My Thumb and not Sympathy For The Devil that the Rolling Stones were performing when Meredith Hunter was killed at the Altamont Free Concert. Rolling Stone magazine's early articles on the incident misreported that the killing took place during Sympathy For The Devil but the Stones in fact played Sympathy earlier in the concert; it was interrupted by a fight and restarted, Jagger commenting, "We're always having—something very funny happens when we start that number." Several other songs were performed before Hunter was killed.      

The Rolling Stones ~ Beggar's Banquet

vinyl LP, gatefold interior detail

detail photo by Styrous®

Guns N' Roses recorded a cover in 1994 which reached number 55 on the Billboard Hot 100; it was featured in the closing credits of the Neil Jordan film adaptation of Interview with the Vampire (except the 4K cut of the film) by Anne Rice, and was included on their Greatest Hits album. This cover is noteworthy for causing an incident involving incoming guitarist, Paul "Huge" Tobias, that was partially responsible for guitarist Slash departing from the band in 1996. Slash has described the Guns N' Roses version of the song as "the sound of the band breaking up".         

The Slovenian avant-garde, Goth/heavy-metal group, Laibach, did a sensational cover of Sympathy For The Devil that raises goose bumps on your arms.     

         

The Rolling Stones ~ Beggar's Banquet

vinyl LP, side 1

photo by Styrous®

The Rolling Stones ~ Beggar's Banquet

vinyl LP label, side 1

photo by Styrous®

The Rolling Stones ~ Beggar's Banquet

vinyl LP, side 2

photo by Styrous®

The Rolling Stones ~ Beggar's Banquet

vinyl LP label, side 2

photo by Styrous®

Tracklist:

Side 1:

A1 - Sympathy For The Devil - 6:14
A2 - No Expectations - 3:52
A3 - Dear Doctor - 3:19
A4 - Parachute Woman - 2:17
A5 - Jig-Saw Puzzle - 6:07

Side 2:

B1 - Street Fighting Man - 3:10
B2 - Prodigal Son, written by Rev. Wilkins* - 2:47
B3 - Stray Cat Blues - 4:32
B4 - Factory Girl - 2:06
B5 - Salt Of The Earth - 4:43

Companies, etc.

    Recorded At – Olympic Studios
    Mastered At – Audio Matrix, Inc.
    Pressed By – Bestway Products Inc.

Credits:   

    Engineer – Eddie*, Gene (3), Glyn Johns
    Producer – Jimmy Miller
    Written-By – Jagger; Richard* (tracks: A1 to B1, B3 to B5)

Notes:    

Pressing Variation: Bestway Products Inc..

Does not include Credit for track B2 "Prodigal Son" to Rev. Wilkins on the label.
Include the text "Written by Mick Jagger and Keith Richards" on the back cover. See Picture
It comes in a gold-bordered gatefold cover.

Cat # PS-539 appears on the label.
Cat # PS 539 spine and rear sleeve, bottom-middle.
Barcode and Other Identifiers

    Matrix / Runout (Side 1 Label): ZAL-8476-BW
    Matrix / Runout (Side 2 Label): ZAL-8477-BW
    Matrix / Runout (Side 1 Etched): XZAL-8476A AM_
    Matrix / Runout (Side 2 Etched): XZAL-8477-B W 8-19-68
    Matrix / Runout (Side 1 & 2 Stamped): AUDIOMATRIX Bestway
    Pressing Plant ID (at the end of label matrix): BW

The Rolling Stones ‎– Beggars Banquet
Label: London Records ‎– PS-539, London Records ‎– PS 539
Format: Vinyl, LP, Album, Stereo, Bestway Pressing
Country: US
Released: 1968
Genre: Rock
Style: Blues Rock, Rock & Roll, Classic Rock
     
      
    

Viewfinder links:
        

Mick Jagger      

The Rolling Stones      

      

        

        

       
Net links:
       
    
         
       
       
       

       

     

        

          

          
Styrous® ~  Thursday, December 6. 2018      

~

20,000 Vinyl LPs Archive

MAIN MENU - Blog Articles

~