Tag Archives: Brian Jones

The Rolling Stones- cover band, pt. 3- Nanker Phelge.

The Rolling Stones started as a cover band, and grew into a completely self-contained rocknroll unit.  From 1962 to this very day, the Stones have outlasted the Beatles by many years, who they aspired to be like in the early days.  This mix presents in chronological order the early original songs of the Stones, many of them written under the collective pseudonym Nanker Phelge.

It was Brian Jones’ idea to use this name- the whole band would share writing royalties, along with Andrew Oldham and in a few cases pianist Ian Stewart.  Phelge was the last name of a roommate of Brian, Mick and Keith when they shared an apartment in Edith Grove, London, as the band was starting out.  A ‘Nanker’ was a hideous face that they would make, especially Brian. (image below.)

Several of these songs were instrumentals, and listening to this particular mix of songs shows their development, pre-Jagger Richards.  Andrew Oldham had big dreams for the Stones, and his influence on the band cannot be overestimated.  As my previous post (Rolling Stones- Cover Band, Pt. 1) points out, their early strength was in their choice and interpretation of cover songs- blues, RnB, rocknroll, country and pop- but Andrew had worked for the Beatles prior to discovering the Stones, and he knew that their future must include original material, so, he pushed Mick and Keith to begin writing. 

It’s conjecture to wonder if the Stones would have become the greatest rocknroll band in the world on the strength of these early original songs alone- their ability as a cover band carried them to the point where they could develop their songwriting to compete with and even surpass the Beatles.

It’s also debatable whether Andrew was grooming his own version of Lennon-McCartney by pushing Mick and Keith to write outside of Nanker Phelge, thereby shoving Brian and Ian Stewart aside.  This fact, along with Brian’s personal insecurities, psychological problems, and later, his drug use and persecution by crooked British policemen, would eventually drown out his amazing talent and force him to leave the band he started.  Ian Stewart was a key member and architect of the Stones sound, and although he stayed on as piano player extraordinaire for many years, early on he was demoted to road manager.  Andrew decided that Ian’s look wasn’t cool enough for the image he had in mind.

Andrew’s idea was to present the Stones as the antithesis of the Beatles, and early press was generated to paint them as the bad boys of pop.  Lennon-McCartney also provided them with their second single and their first hit- I Wanna Be Your Man, with the first Nanker Phelge release as the B side.

It was cover songs that broke the Stones into pop success- Not Fade Away was their second major hit in the UK, written by Buddy Holly, with a fantastic two chord intro that Keith came up with.  Their first UK #1 hit was It’s All Over Now, written by Bobby Womack, and the second #1 was Little Red Rooster by Willie Dixon- this was the height of Brian’s dream- the Stones had put an authentic blues song on top of the pop charts. In the U.S., their cover of Time is On My Side made it to #6 in late 1964.

In early 1965 The Last Time was the first Jagger Richards UK #1, and they never looked back.  Of course, today the Rolling Stones are synonymous with Jagger Richards, but it wasn’t always that way. 

  1. Stoned– Nanker Phelge.  10-7-63  This was the first ‘original’ composition released by the Stones, as the B side of I Wanna Be Your Man.  It is very similar to Green Onions by Booker T and the MG’s- punctuated by an occasional lyric by Mick at the end of each phrase, this tune also prominently features Ian Stewart on piano.  The double entendre of the title has nothing to do with marijuana- this was well before British pop stars were smoking it.
  2. Now I’ve Got A Witness (Like Uncle Phil and Uncle Gene)– Nanker Phelge.  2.4.64 Another instrumental, with Ian Stewart on organ this time.  The title references the fact that it was recorded right after “Can I Get A Witness” by Marvin Gaye.  Gene Pitney and Phil Spector assisted on the recording.
  3. Little By Little– Nanker Phelge, Phil Spector.  2.4.64  The B Side to Not Fade Away, this is their first original song to feature actual lyrics, although the music seems to borrow heavily from several blues songs.
  4. Andrew’s Blues– Nanker Phelge.  2.4.64  This bawdy bootleg was sung by Gene Pitney and Mick Jagger- the lyrics outline Andrew’s sexual proclivities, and so it was never considered for official release.  Graham Nash and Allan Clarke sing background vocals.
  5. Tell Me– Jagger Richards 2.4.64  The second song credited to Jagger Richards, here we see the roots of their songwriting partnership.  Andrew Loog Oldham prevailed upon them to write their own songs, seeing how Lennon and McCartney were a self-contained song machine.  The story goes that Andrew locked them in their apartment and wouldn’t let them out till they had written a decent song.  Andrew’s influence was huge, although it’s a shame Brian wasn’t pushed along with Mick and Keith.  Brian’s only songwriting credits with the Stones are as part of Nanker Phelge.  Tell Me was featured in the movie Mean Streets in the early 70’s, and was originally  released on their first full length LP, The Rolling Stones, in 1964.
  6. Good Times, Bad Times– Jagger Richards 2.24.64  Another blues-based original, this one features Keith on 12 string acoustic guitar and Brian on harmonica.  It was the B side of It’s All Over Now.
  7. Congratulations– Jagger Richards 5.12.64 An early ballad, which has a similarity to Good Times by Sam Cooke, hints at the cynical approach to songwriting that Mick and Keith would further develop, in line with their public ‘anti-Beatles’ stance.  Of course, this was only Andrew Oldham’s ploy to have a pop group that didn’t compete with the Beatles, but rather would be ‘bad’ where the Beatles had a squeaky clean ‘good’ image.  Keith again plays 12 string acoustic guitar, including a barely passable solo.  First released as the B side to Time is On My Side.
  8. Surprise, Surprise– Jagger Richards 5.12.64  This was originally released on a non-Stones compilation LP in England, and was later included on the American release The Rolling Stones, Now!  Another cynical ‘love’ song, showing their slow but steady development as writers.
  9. Empty Heart– Nanker Phelge 6.11.64 Barely more than a single repeated chord progression, this is a full band creation with everyone contributing- Brian on guitar, harmonica and possibly backing vocals; Bill and Charlie as the churning rhythm section; Ian Stewart on B3 organ; Mick on vocals; and Keith on lead guitar and backing vocals.  This song has a definite similarity to the Pretenders’ song Middle of the Road, especially the background vocals.
  10. 2120 South Michigan Avenue– Nanker Phelge 6.11.64  Recorded at Chess Studios in Chicago, the title of this instrumental is the street address of the studio.  Brian takes a fantastic harp solo, worthy of any classic Chess recording.  The instrumentation is similar to the previous track, adding Mick on tambourine.
  11. Off the Hook– Jagger Richards 9.2.64  A bouncy, humorous stab at songwriting, with a triple entendre- the song itself has a hook, the phone is off the hook, and his girlfriend seems off the hook too- maybe she’s sleeping, maybe her phone is disconnected, maybe she’s with someone else.  Originally released as the B side to Little Red Rooster, the Stones performed a more rocking version of it on the TAMI Show.  I can’t wait for this song to be sampled by an RnB artist.
  12. Grown Up Wrong– Jagger Richards 9.28.64  Led by Brian’s slide guitar, this tune has a somewhat uneven rhythm- but they’re getting there!  Again, the subject matter is slightly negative, in direct contrast with the Beatles early output.
  13. Heart of Stone– Jagger Richards 11.2.64  This is the first truly great song written by Mick and Keith.  Their misogynist lyrics are clearly displayed, and this is in line with many Jagger Richards songs to come.
  14. What A Shame– Jagger Richards 11.8.64  Another bouncy number, with a slightly skewed subject matter- “You might wake up in the morning, find your poor self dead.”
  15. The Last Time– Jagger Richards 1.18.65  Keith said this was the first song they were happy to bring to the band- and it also became their first self-penned #1 single in England.  Various people have noted a similarity to a gospel song done by The Staple Singers called This May Be The Last Time, but Mick and Keith merely used this as a starting point, and came up with a truly original spinoff.  The guitar hook was written and played by Brian Jones.
  16. Play With Fire– Nanker Phelge 1.18.65  It’s odd that the songwriting credit for this one went to Nanker Phelge, since only Mick and Keith (with Jack Nitzsche on harpsichord) appear on the recording.  A classic song with a dark overtone, showing their growing talent and foreshadowing the slightly medieval approach to pop songs they would become famous for.  Released as the B side to The Last Time.
  17. The Under Assistant West Coast Promotion Man– Nanker Phelge 5.10.65. I hear Bob Dylan and Ray Davies’ influence on this tribute to the ‘suits’ that worked at record labels in the mid-sixties.  Featuring the classic early Stones lineup with Brian on harmonica and Ian Stewart on piano, this is the last song credited to Nanker Phelge, the B side to the Satisfaction single in the U.S.
  18. (I Can’t Get No) Satisfaction– Jagger Richards 5.12.65 This is the Stones watershed moment- the single went to #1 in the UK, the U.S., Germany, the Netherlands and Australia. From this point on, they were in a league of their own- Beatles, Kinks and The Who notwithstanding.  Keith came up with the riff in a motel room in Florida while on tour- he woke up from a deep sleep with the riff in his head, turned on his cassette recorder and laid it down.  The next morning, there was 2 or 3 minutes of the riff on the tape, followed by 40 minutes of him snoring!  Mick came up with the lyrics while sitting at the motel pool the next day.  Keith was initially against releasing it as a single- he thought their version was more of a demo, and that the riff should be played with horns.  Luckily he was outvoted by the rest of the band, and after he started hearing it on the radio constantly he was not displeased.  When he heard Otis Redding cover it with horns later that year, he thought Otis had gotten it right.  It was also a turning point for Brian Jones, as he saw Mick and Keith usurp his role as leader of the band.
  19. The Spider and The Fly– Jagger Richards 5.12.65 Even at this early stage, the Stones had a knack for writing new songs that sounded like old blues.  The guitar interplay between Brian and Keith is still very strong at this point- their playing is nearly indistinguishable till Keith takes his solo.  Mick had been taking harmonica lessons from Brian, and it shows.  First released as the B side to Satisfaction in the UK.
  20. One More Try– Jagger Richards 5.12.65  Unreleased in the UK until the Stone Age compilation in 1971, this was released in the US on Out of Our Heads.
  21. Get Off of My Cloud– Jagger Richards 9.5.65  With the Dylan influenced lyrics deliberately buried in the mix, Mick continues his description of the pop star alienation the Stones were starting to resent, begun with Satisfaction.  Released as a single in October 1965, it reached #2 in the U.S. and UK.
  22. Gotta Get Away– Jagger Richards 9.5.65  Ditto for this one.  Jagger was learning that it wasn’t so much what he sang, but how he sang it.  Listen to how he leans on the word Baby.  Brian must have been listening to the Byrds during this time, as he uses a 12 string electric guitar.
  23. The Singer Not The Song– Jagger Richards 9.5.65 The title says it all.  Keith sings excellent harmony- something he rarely gets credit for- although this tune doesn’t quite make it, perhaps because of Mick’s sloppy falsetto parts.  Notice how at the end of the second line of each verse we hear only Keith’s voice- “babe you know,” “thrilling me,” “much too long.” The jangly folk rock sound again is courtesy of Brian’s electric 12 string Rickenbacker guitar.  Released as the B side to Get Off Of My Cloud.
  24. Blue Turns to Grey– Jagger Richards 9.5.65 Another Byrds-like tune, a rare thing in the Stones catalog.  Originally released in the US on December’s Children, this was not released in the UK until 1971, on the Decca compilation album Stone Age.
  25. I’m Free– Jagger Richards 9.6.65  The lyrics show Mick and Keith’s resilience in the face of the pressures of stardom- whereas Brian internalized it and suffered from it, they were able to stay free.
  26. As Tears Go By– Jagger Richards 10.26.65  This is the first song that Mick and Keith wrote together, even though along with Andrew they initially felt it was not suitable for the Stones to record, and instead gave the song to Marianne Faithfull, who had a hit with it in 1964.  Mick and Keith eventually recorded it without the rest of the band, with strings arranged by Mike Leander.  Released as the B side of 19th Nervous Breakdown in the UK.
  27. 19th Nervous Breakdown– Jagger Richards 12.8.65  Another song about the crushing effects of touring and pop star alienation, this also seems to refer to Brian’s deteriorating mental state.  The two guitar interplay is very strong here, with Keith adding a distorted riff at times.  Released as a single in February 1966, this made it to #2 in the UK and U.S. 
  28. Sad Day– Jagger Richards 12.9.65 An underrated song that would have fit comfortably on the Aftermath album.  The American B side to 19th Nervous Breakdown.
  29. Paint It, Black– Jagger Richards 3.6.66  The only song on this mix recorded in 1966, Paint It, Black originally did not feature this odd, Turkish sounding rhythm.  After several unsuccessful stabs at recording it, Bill Wyman started playing the chord changes on an organ with a mad, churning rhythm, poking fun at their former manager, Eric Easton, who at one time was the organist in a cinema pit.  Charlie picked up on the rhythm, and Brian added the distinctive sitar part.  Bill assumed this would be credited to Nanker Phelge because of each band member’s input, but he was surprised and disappointed when the single was released and credit for the song went to Jagger Richards.  

It’s odd that halfway through the recording of Aftermath, starting in 1966, Brian sort of refused to play guitar with Keith anymore.  Several tracks on the album feature his guitar and harmonica playing- especially Mother’s Little Helper, Doncha Bother Me, Goin Home, and It’s Not Easy- all but one recorded before the end of 1965.  During these sessions Brian would disappear for days at a time, although Keith noted later that Brian’s diverse contributions on dulcimer, marimba, vibraphone, sitar, recorder, mellotron and piano were spot on when he did show up.  

Most of their next two albums, Between the Buttons and Their Satanic Majesties Request (both released in 1967) still feature Brian prominently, but in a more isolated role, and usually not on guitar- Brian was fading away, and his last real contribution to the band would be on Beggars Banquet in 1968, notably his poignant slide guitar on No Expectations.

The success of Satisfaction put the Stones into the pop stratosphere, but it also did away with Nanker Phelge, and took Brian’s band away from him.

Brian Jones and Keith Richards demonstrating a ‘Nanker.’

The Rolling Stones- cover band, pt. 1.

The Rolling Stones started as a cover band.  Most of their early albums are chock full of blues, RnB, Motown, pop and even country covers- some well-known, many obscure; most of them well chosen.  Once they broke through in America with ‘Satisfaction’ Mick and Keith worked hard at writing more and more original songs.  They released the Aftermath album in 1966, their first album of all original material, and their next two albums (Between the Buttons and Their Satanic Majesties Request) had no covers at all.  Starting again with Beggars Banquet in 1968 and continuing well into the 80’s, their albums consisted mostly of original Jagger-Richards songs and generally one cover per album.  

The early Stones recordings feature the imaginative and visionary musicianship of Brian Jones- his authentic slide guitar parts and outstanding harmonica playing make many of these blues covers entirely valid.  “He plays with a finesse with which few white guitarists have been able to compete.” – (from The Rolling Stones, All The Songs, page 86.)  Duane Allman, Jerry Garcia, Jimi Hendrix, John Fogerty, Alvin Lee and so many other guitarists owe Brian a huge debt.  Later he veered off into playing dulcimer, vibes, mellotron, sitar, autoharp, recorder, etc., and the band’s sound became more diverse, but perhaps less rocknroll.  Keith always wished Brian would have stayed with guitar, and as soon as Mick Taylor came in to replace Brian the two-guitar assault returned.

I started collecting records when I was 8 years old, and so by the time I was in my early teens I had ‘outgrown the ordinary.’  During those years I went from Elton John to KISS to The Doors and then the Stones, and I bought all the used Stones LP’s I could find.  Like the Beatles, the British and American Stones LP’s had VERY different song selections- the American releases would include hit singles, which were almost always separate from the British album releases.  I have often said that I’m glad I heard all the early American Stones albums on cheap stereos- there is nothing so anarchic than these obscure songs, sometimes in ‘mono reprocessed for stereo’ blasting out of a cheap stereo with an old, worn needle.  Maybe that’s why the mono sounds so great today!  The Rolling Stones mono box set is essential- it contains both the British and American versions of these early Stones albums, in glorious mono.  Also, the recent Stones compilation called GRRR! includes many of these early gems.

The original Rolling Stones lineup with Brian Jones was a well oiled machine, effortlessly combining blues, RnB, Motown and soul ballads.  The Stones eventually combined these influences in their original songs to become the band as we know them today- the greatest rocknroll band in the world.

Here’s a list of their recorded covers, in chronological order of the recording sessions, from 1963 to 1965- Forty five songs recorded in just slightly more than two years. The list of their original compositions from this same period is MUCH shorter, although it’s just as interesting. 

  1.  Come On– Chuck Berry.  5/10/63 This is the very first recording released by the Stones, and their first single, chosen by Andrew Loog Oldham.  The Stones always disliked it and refused to perform it in their shows- it is very uncharacteristically pop, featuring a spiffy arrangement with a modulation! It made the charts however, and to Oldham’s credit, probably did make it possible for the Stones to record their first album.
  2. I Want to Be Loved– Willie Dixon, recorded by Muddy Waters.  5/10/63 The B side of the first single, a slightly sped up blues.
  3. Fortune Teller– 7/9/63 Allen Toussaint, recorded by Benny Spellman.  It’s hard to think of the Stones doing ‘novelty’ tunes, but here you go!
  4. Bye Bye Johnny– 8/8/63 Chuck Berry.  The second of SEVEN Chuck Berry covers by the Stones, 1963-1965.  They would record several more in later years, live in concert.
  5. You Better Move On– 8/8/63 Arthur Alexander.  A very faithful folk-soul cover, linking the band to the Beatles, who covered Alexander’s “Anna.”
  6. I Wanna Be Your Man– 10/7/63 Lennon-McCartney.    Also recorded by the Beatles on their second album, this version is a sped up, zoomed out cacophony with Brian’s searing slide part leading the way.  
  7. Money– 11/14/63 Berry Gordy, Janie Bradford, Barrett Strong, recorded by Barrett Strong.  The Beatles also covered this classic.
  8. Poison Ivy– 11/14/63 Lieber-Stoller, recorded by The Coasters.  More novelty pop- but they rock this one out!
  9. Route 66– 1/3/64 Bobby Troup, recorded by Nat King Cole.  While the original is a smooth jazz romp, the Stones make it almost punk with the energy they give it.
  10. Carol– 1/3/64 Chuck Berry.  This version is fast- the Stones kept it in their set list throughout the years, slowing it down slightly.
  11. Mona (I Need You Baby)– 1/3/64 Bo Diddley.  Brian’s tremolo laden guitar gives this tremendous authenticity.
  12. Not Fade Away– 1/10/64 Buddy Holly.  Keith came up with the two chord intro that the Grateful Dead would continue to use in their live shows. Brian on harmonica.
  13. Can I Get A Witness– 2/4/64 Holland-Dozier-Holland, recorded by Marvin Gaye.  This sounds like a gospel rave up with Ian Stewart’s organ to the fore.
  14. I Just Want to Make Love To You– 2/24/64 Willie Dixon, recorded by Muddy Waters.  Another blues cover that reaches punk energy levels.
  15. Honest I Do– 2/24/64 Jimmy Reed.  A mid-tempo blues, showing that the Stones could play a plethora of styles and tempos.
  16. I’m A King Bee– 2/24/64 Slim Harpo. One of two covers of Slim Harpo by the Stones, again given an authentic sound by Brian’s slide guitar playing.
  17. You Can Make It If You Try– 2/24/64 Ted Jarret, recorded by Gene Allison.  A showcase for Mick’s interpretive vocal style.
  18. Walking The Dog– 2/24/64 Rufus Thomas.  The Stones make this tune their own- with a rare Brian Jones backing vocal (and whistles.)
  19. It’s All Over Now– 6/10/64 Bobby and Shirley Womack, recorded by the Valentinos.  One of the Stones’ most well-known cover versions.
  20. I Can’t Be Satisfied– 6/10/64 Muddy Waters.  An underappreciated track- again, Brian’s masterful slide guitar gives this cover lasting validity. It was his personal favorite!
  21. If You Need Me– 6/11/64 Wilson Pickett, recorded by Solomon Burke.  Another gospel tinged ballad, showing the Stones’ versatility.
  22. Confessin’ the Blues– 6/11/64 Jay McShann and Walter Brown.
  23. Around and Around– 6/11/64 Chuck Berry.  This song stayed in the Stones’ repertoire for years, although it got faster as the years went by, especially in the excellent live version on Love You Live, recorded at the El Mocambo Club.
  24. Down  the Road Apiece– 6/11/64 Don Raye, recorded by the Will Bradley Trio, and Chuck Berry. Originally a boogie woogie tune, the Stones identified more with Chuck Berry’s rocked up version.
  25. Look What You’ve Done– 6/11/64 Muddy Waters.  They often chose more obscure songs to cover- if they liked it, they did it.
  26. Time is on My Side– 11/8/64 Jerry Ragavoy, recorded by Irma Thomas.  Another very well-known Stones cover.
  27. Little Red Rooster– 9/2/64 Willie Dixon, recorded by Howlin’ Wolf.  This was a milestone, and a testament to the Stones devotion to American blues artists.   They insisted it be released as a single- against Andrew Oldham’s objections- and it went to #1 in the UK.
  28. Under the Boardwalk- 9/2/64 Arthur Resnick and Kenny Young, recorded by The Drifters.  Recorded the same day as Little Red Rooster, this pop cover again showcases their versatility as a cover band.
  29. You Can’t Catch Me– 9/28/64 Chuck Berry.  John Lennon borrowed lyrics from this song for Come Together.
  30. Susie Q– 9/28/64 Dale Hawkins. Also famously covered by Creedence Clearwater Revival 3 years later, complete with a slowed down, swamp blues groove, and an extended psychedelic guitar solo.
  31. Pain in My Heart– 11/2/64 Allen Toussaint, recorded by Otis Redding. Soul ballads were a big part of their multifaceted repertoire.
  32. Everybody Needs Somebody to Love– 11/2/64 Bert Berns, recorded by Solomon Burke.  Later famously covered by the Blues Brothers (and stolen by the Clams.)
  33. Down Home Girl– 11/2/64 Jerry Leiber and Arthur Butler, recorded by Alvin Robinson.  The Stones make this their own, with a swampy mid-tempo groove.
  34. Hitch Hike– 11/2/64 Marvin Gaye, Clarence Paul, Mickey Stephenson, recorded by Marvin Gaye.  Performed by Marvin Gaye on the TAMI show, the Stones give it a rock n roll treatment, replacing the flute solo in the original with a minor key Keith Richards solo.
  35. Oh, Baby (We Got A Good Thing Goin’)– 11/2/64 Barbara Lynn Ozen.  The Stones learned this one in the studio just hours before recording it, and make it sound like they’d been playing it for years.  No cover was out of bounds- even songs by female singers.
  36. I’m Moving On– 3/6/65 Hank Snow.  The Stones took this pure country tune and turned it into an ominous sounding rocknroll workout, complete with Brain’s squealing slide. Recorded live in concert in 1965.
  37. I’m Alright– 3/6/65  Bo Diddley.  Another cover from their Got Live if You Want It EP.
  38. Mercy Mercy– 5/10/65 Don Covay, Ronald Dean Miller, recorded by Don Covay and the Goodtimers, featuring Jimi Hendrix and Bernard Purdie.  Finding an old single of this original version in Steve’s 45’s led to this exploration of the Stones’ covers.  
  39. That’s How Strong My Love Is– 5/10/65 Roosevelt Jamison, recorded by Otis Redding.  The Stones recorded three songs that Otis sang, and he returned the compliment with an awesome version of Satisfaction, improvising his own lyrics.
  40. I’ve Been Loving You Too Long– 5/11/65 Otis Redding. This soul ballad features some of Mick’s best singing, and Keith manages to sound just like Steve Cropper.
  41. My Girl– 5/12/65 Smokey Robinson, Ronald White, recorded by The Temptations.  The Stones attempt at this Motown classic is reverent and faithful, if not slightly out of character.  They recorded several Temptations covers throughout the years.
  42. Good Times– 5/13/65 Sam Cooke.  Again showcasing their love of straightforward pop, the Stones sound just as at home in this style as the blues or RnB.
  43. Cry To Me– 5/13/65 Bert Berns, recorded by Solomon Burke.  Soul ballads are very common in the Stones’ cover repertoire.  Great interplay between Mick’s vocal and Keith’s lead guitar.
  44. She Said Yeah– 9/6/65 Sonny Bono, Roddy Jackson, recorded by Larry Williams.  This doesn’t SOUND like punk, it IS punk. Another link to the Beatles, who covered Williams’ Dizzy Miss Lizzie and Bad Boy.
  45. Talkin’ Bout You– 9/15/65 Chuck Berry.  Another Chuck Berry tune, their seventh, this was the last cover they recorded until 1968.  The Stones had by this time synthesized all of this material into their own style.

Look up these covers and the original versions up on Spotify- you won’t be disappointed- you’ll be amazed and surprised!

Two great Rolling Stones’ discographies.
The Rolling Stones Mono Box Set.