Timeline

 

 

 

 

 

 

 

 

 

 

 
There are two versions of this song. #1 was recorded May 1964 in London and released in the U.S. only as a single and on the 12 x 5 album. #2 was recorded November 1964 at Chess Studios in Chicago and released in the UK in January 1965 on the Stones` second UK album, and later on both the Big Hits and Hot Rocks compilations. Here the song is sequenced as version #1 but the CD source is for version #2, which I prefer.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Originally written for and performed by Nina Simone at a much slower pace than the Animals` version, this song has since been covered again by countless artists, including Joe Cocker, Elvis Costello, and Cyndi Lauper.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
According to Bruce Spizer, the song`s title is a pun on the town of Ryde, off England`s coast on the Isle of Wight. When the song was first released as a single, the movie "Help!" had yet to be named after the song that had yet to be written. Instead, the 45`s label read, "From the United Artists Release `Eight Arms To Hold You`," which was the movie`s working title.
 

 

 

 

 

 

 

 
Van Morrison`s "Gloria" became so well known over the years that it`s strange to think how few people heard it in spring 1965 when Them`s original version barely scraped the bottom of the national charts for one week. A year later "Gloria" was covered by The Shadows of Knight, whose version made it to the national top 10. Them`s version was re-released but didn`t really compete at that time. Now hardly anyone remembers the cover version! The cover was contrived to "clean up" the horny urgency of the original so it wouldn`t be banned by some radio stations, notably WLS in Chicago. As you can hear in the samples, a key lyric was changed from "She comes to my room" to "She calls out my name."
 

 

 

 

 

 

 

 

 

 

 

 

 

 
Otis unforgettably sings, "Good God Almighty, I love you, I love you" as this great soul ballad fades out. But only on the stereo version, which was recorded during sessions for the "Otis Blue" album months after the mono single was released. The versions are different recordings, not just different mixes. You can recognize the single in a list without hearing it by its shorter length, 2:49.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Otis Redding`s original version of "Respect," a plea from a traveling man for his woman to treat him right "when I come home," is a top-drawer Stax-Volt song with a typically strong arrangement and vocal. However, as Redding famously said, "that little girl done stole it from me." Aretha Franklin`s cover, with an even better arrangement, a few pointed changes in lyrics, and a bravura vocal performance, achieved one of the great pop recordings of the century. Often called a feminist anthem, Aretha isn`t pleading for respect, she`s declaring and demanding what she deserves, including sexual satisfaction.
 

 

 

 

 

 

 

 

 

 
The mono version of this song is available on the "Best of the Original Mono Recordings" CD and as a 320 kbps digital file online.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
This is a cover version of The Regents` "Barbara-Ann" from 1961, but The Beach Boys` version is spelled without the hyphen, so the two versions will not show up in the same title search unless the search word is only "Barbara."
 

 

 

 

 

 

 

 

 

 

 

 
Although written by John Phillips, this track was first recorded with Barry McGuire singing lead over The Mamas & The Papas` backup vocals. At John`s request McGuire`s lead was replaced by Denny Doherty`s, and a flute solo added to the otherwise intact original arrangement. And a classic was born.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Otis Redding`s version of "Satisfaction" was originally released on his"Otis Blue" album in September 1965. According to legend, he had never heard the Rolling Stones` original recording when he did his own.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Them`s version of "Gloria" by Van Morrison is so well known these days, it may be hard to believe it took this version by The Shadows of Knight to break through to the US market. The song is so good that even a relatively lame cover version holds up pretty well. The cover was contrived to "clean up" the horny urgency of the original so it wouldn`t be banned by some radio stations, notably WLS in Chicago. As you can hear in the samples, a key lyric was changed from "She comes to my room" to "She calls out my name."
 

 

 

 

 

 

 

 

 

 

 

 
I`ve slotted this song when it was originally released as a single and famously bombed on the U.S. charts but reached #3 in the U.K. Phil Spector recorded an entire album with Tina Turner vocals in 1966 and released it that September but it didn`t reach much of an audience until re-released in fall 1969 on the A & M label. Since then the song has been often covered and received much acclaim.
 

 

 

 

 

 

 

 
I`ve chosen to spell the name of this song with a comma. It was first released and appeared on pop charts as "Hold On! I`m Comin`." A fuss about sexual connotation led to later releases of the single as "Hold On! I`m A-Comin`." The comma first appeared on the cover of the album of this name. Today iTunes uses no punctuation except the final apostrophe.
 

 
One might guess correctly from the sound of the bass guitar on this record that The Capitols are backed up by the moonlighting Motown studio band known as The Funk Brothers.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
A groundbreaking and pivotal song in pop music history, "Tomorrow Never Knows" demonstrated The Beatles` unprecedented studio wizardry and heralded their talent for mind-bending as well as musical innovation.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
When the Stones performed the song on The Ed Sullivan Show they changed the lyrics to "Let`s Spend Some Time Together." Such was mainstream TV in the mid-1960s.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Among afficianados of Southern Soul, The Dark End of the Street is considered one of the all-time great soul records, although it was essentially unknown to white audiences at the time of its release, peaking at #77 on the Hot 100. On the national R&B chart it peaked at #10.
 

 

 

 

 

 

 

 

 

 

 

 
Bo Diddley wrote a completely different song with the same title. This one was covered two years later on the first album by "Chicago Transit Authority," as they then called themselves.
 

 

 

 

 

 

 

 
Otis Redding`s original version of "Respect," a plea from a traveling man for his woman to treat him right "when I come home," is a top-drawer Stax-Volt song with a typically strong arrangement and vocal. However, as Redding famously said, "that little girl done stole it from me." Aretha Franklin`s cover, with an even better arrangement, a few pointed changes in lyrics, and a bravura vocal performance, achieved one of the great pop recordings of the century. Often called a feminist anthem, Aretha isn`t pleading for respect, she`s declaring and demanding what she deserves, including sexual satisfaction.
 

 

 

 

 

 

 

 
The CD source is for the mono version; both mono and stereo are on this CD.
 

 
According to David Fricke`s essay in the box set booklet, the "Banana" album was pulled from record stores after 5 weeks at the bottom of the charts over a dispute about the picture on its back cover. This CD source has superb sound quality.
 

 
According to David Fricke`s essay in the box set booklet, the "Banana" album was pulled from record stores after 5 weeks at the bottom of the charts over a dispute about the picture on its back cover.
 

 

 

 

 

 

 

 
For American listeners making their own playlists, both stereo and mono 2009 remastered CD sources need an edit after 5:04 to remove the other sound effects that ended the UK releases but not the US releases. The 1967-1970 [2010 remaster] version has both a clean introduction and US-appropriate ending.
 

 
Elvis Costello covered this Sam & Dave version on his "Get Happy!!" LP and also released the song as a single. Costello`s version is fast and urgent, while the original is a great slow burner in the inimitable Sam & Dave style which never appeared on an album until the CD reissue era. Listeners might be excused if they didn`t recognize that these are two versions of the same song, so great is Costello`s transformation of the mood and arrangement of the original. Although cover versions are often put down as pale imitations, each of these is a standout recording on its own terms.
 

 

 

 
With hype in overdrive, Columbia released five (!) singles at the same time from the first Moby Grape album, effectively dooming the success of all five of them.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
The backup band on this record is The Funk Brothers, the famous Motown studio group, who were moonlighting. The song had previously been recorded as "Higher and Higher" by The Dells.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
The CD source is the mono mix of the single. Both mono and stereo versions are on the CD.
 

 

 

 

 

 

 

 

 

 

 

 

 

 
Covered memorably by Rod Stewart on his Never A Dull Moment album.
 

 
"Sunshine of Your Love" was a top 10 hit single during the summer of 1968, but it first made a splash when the Disraeli Gears album was released late in 1967. This CD source is the only one I know for the mono single version. I prefer hearing the drums and guitar together, not widely separated, even at the expense of Clapton`s guitar solo.
 

 

 

 

 

 

 

 

 

 

 

 
"I Can`t Turn You Loose" was originally released on Volt 130 in December 1965 as the B-side of "Just One More Day." It was not released on an album until about two years later, however, when it reached its widest audience on "The History of Otis Redding," a greatest-hits album that climbed to the Billboard pop top 10 in tandem with the great success of the "Dock of the Bay" single.