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The Rolling Stones: Outtakes 1965-1967 MP3 Audio Download MP3 CD

The Rolling Stones: Outtakes 1965-1967 MP3 Audio Download MP3 CD
The Rolling Stones: Outtakes 1965-1967 MP3 Audio Download MP3 CD
Item# the-rolling-stones-outtakes-1965-1967-mp3-audio-download-mp3-cd
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67 Minutes Of Outtakes From From The Rolling Stones' "Aftermath", "Between The Buttons" And "Their Satanic Majesties Request" Albums As Well As Singles Sessions, Presented As An MP3 Audio Download Or Archival Quality MP3 CD!


01 - Satisfaction

02 - 19th Nervous Breakdown

03 - Mother's Little Helper

04 - Out Of Time

05 - Paint It Black

06 - Have You Seen Your Mother, Baby, Standing In The Shadow (Version 1)

07 - Have You Seen Your Mother, Baby, Standing In The Shadow (Backing Track)

08 - I Can See It (Backing Track)

09 - I Can See It

10 - Dandelion (Sometimes Happy, Sometimes Blue)

11 - Yesterday's Paper (Early Version)

12 - Yesterday's Paper (Backing Track)

13 - If You Let Me

14 - Let's Spend The Night Together

15 - Ruby Tuesday

16 - Complicated

17 - All Sold Out

18 - Citadel (Take 12)

19 - Citadel (Take 24)

20 - In Another Land (Wyman)

21 - We Love You

22 - Child Of The Moon

Aftermath is a studio album by the English rock band the Rolling Stones. The group recorded the album at RCA Studios in California in December 1965 and March 1966, during breaks between their international tours. It was released in the United Kingdom on April 15, 1966 by Decca Records and in the United States in late June or early July 1966 by London Records. It is the band's fourth British and sixth American studio album, and closely follows a series of international hit singles that helped bring the Stones newfound wealth and fame rivalling that of their contemporaries the Beatles. Aftermath is considered by music scholars to be an artistic breakthrough for the Rolling Stones. It is their first album to consist entirely of original compositions, all of which were credited to Mick Jagger and Keith Richards. The band's original leader Brian Jones reemerged as a key contributor and experimented with instruments not usually associated with popular music, including the sitar, Appalachian dulcimer, Japanese koto and marimbas, as well as playing guitar and harmonica. Along with Jones' instrumental textures, the Stones incorporated a wider range of chords and stylistic elements beyond their Chicago blues and R&B influences, such as pop, folk, country, psychedelia, Baroque and Middle Eastern music. Influenced by intense love affairs, tensions within the group and a demanding touring itinerary, Jagger and Richards wrote the album around psychodramatic themes of love, sex, desire, power and dominance, hate, obsession, modern society and rock stardom. Women feature as prominent characters in their often dark, sarcastic, casually offensive lyrics. The album's release was briefly delayed by controversy over the original packaging idea and title - Could You Walk on the Water? - due to the London label's fear of offending Christians in the US with its allusion to Jesus walking on water. In response to the lack of creative control, and without another idea for the title, the Stones bitterly settled on Aftermath, and two different photos of the band were used for the cover to each edition of the album. The UK release featured a run-time of more than 52 minutes, the longest for a popular music LP up to that point. The American edition was issued with a shorter track listing, substituting the single "Paint It Black" in place of four of the British version's songs, in keeping with the industry preference for shorter LPs in the US market at the time. Aftermath was an immediate commercial success in both the UK and the US, topping the British albums chart for eight consecutive weeks and eventually achieving platinum certification from the Recording Industry Association of America. An inaugural release of the album era and a rival to the contemporaneous impact of the Beatles' Rubber Soul (1965), it reflected the youth culture and values of 1960s Swinging London and the burgeoning counterculture while attracting thousands of new fans to the Rolling Stones. The album was also highly successful with critics, although some listeners were offended by the derisive attitudes towards female characters in certain songs. Its subversive music solidified the band's rebellious rock image while pioneering the darker psychological and social content that glam rock and British punk rock would explore in the 1970s. Aftermath has since been considered the most important of the Stones' early, formative music and their first classic album, frequently ranking on professional lists of the greatest albums.

Between The Buttons is the fifth British and seventh American studio album by the English rock band the Rolling Stones, released on January 20, 1967 in the UK and on February 10, in the US. Reflecting the band's foray into psychedelia and baroque pop balladry during the era, the album is among their most eclectic works; multi-instrumentalist Brian Jones frequently abandoned his guitar during the sessions in favor of instruments such as organ, marimba, dulcimer, vibraphone and kazoo. Keyboard contributions came from two session players: former Rolling Stones member Ian Stewart (piano, organ) and frequent contributor Jack Nitzsche (piano, harpsichord). Between The Buttons would be the last album produced by Andrew Loog Oldham, who had to this point acted as the band's manager and produced all of their albums. As with prior albums, the American and British versions contained slightly different track listings. The American version of Between The Buttons, which includes "Let's Spend the Night Together" and "Ruby Tuesday", is on the 2003 and 2012 versions of Rolling Stone magazine's 500 Greatest Albums of All Time. Between The Buttons reached number 3 on the British album charts and number 2 on the US Billboard Top LPs chart.

Their Satanic Majesties Request is a studio album by English rock band the Rolling Stones, released in December 1967 by Decca Records in the UK and by London Records in the United States. It was the first Stones album to be released in identical versions in both countries. The title is a play on the "Her Britannic Majesty Requests And Requires" text that appeared inside a British passport. The band experimented with a psychedelic sound on Satanic Majesties, incorporating unconventional elements such as Mellotron, sound effects, string arrangements, and African rhythms. The band members produced the album themselves as their manager/producer Andrew Loog Oldham had departed. The prolonged recording process was marked by drug use, court appearances, and jail terms by members of the band. The original LP cover features a lenticular image by photographer Michael Cooper. Satanic Majesties initially received mixed reactions from critics and members of the group itself. The album was criticised as being derivative of the contemporaneous work of the Beatles, particularly their June 1967 release Sgt. Pepper's Lonely Hearts Club Band, with the similarities extending to the LP's cover. In subsequent decades, however, it has gradually risen in critical reputation. Following the album's release, the Rolling Stones abandoned their psychedelic style for a stripped-down return to their roots in blues music.