Rolling Stones Single-By-Single Thread

All Down The Line · Feb 17, 2019

tim_neely said: ↑

I absolutely loved "Miss You." By the summer of 1978, I had all three common lengths in my collection: the 45, the 12-inch single, and the LP. Each version is a different experience, and each works on its own terms. I can't decide which version I prefer. Today, of course, radio almost always plays the LP length and mix.

"Miss You" was the very first 12-inch single I ever bought. I'm not sure why my local Woolco (which was in the place that my local Grants, which went under in 1976, had been) carried it at all, but there it was. The 12-inch replaced the sax solo with a guitar solo, which, again, helped make all three versions into different experiences. I never collected 12-inches with the same vigor as 45s and LPs, but I still have between 100 and 150 of 'em, including most, if not all, of the Stones' stock copies through 1989.

Surprisingly, "Miss You" was not an across-the-board #1. It did top the chart for two weeks in Cash Box, but stopped at #3 in Record World. In the latter magazine, it got stuck behind both "Three Times a Lady" by the Commodores and "Grease" by Frankie Valli.

Over the years, four different Rolling Stones singles crossed over to the Billboard R&B charts. "Miss You" was the last of the four; it made the Top 40, peaking at #33 and spending 13 weeks on the chart. Curious what the other three crossovers were? They were "(I Can't Get No) Satisfaction," which peaked at #19; "19th Nervous Breakdown," #32; and "Hot Stuff," #84.

"Miss You" also made the Billboard National Disco Action Top 40 (the precursor to the Hot Dance Music charts), peaking at #6. Several later Stones hits would make this chart as well.

Promo 45s of "Miss You" were mono/stereo with the 3:31 single length on both sides.

In an attempt at a crossover to yet another chart, RSR prepared mono/stereo promos of "Far Away Eyes." Country radio passed on the song, and it didn't chart. These promos are not easy to find today.

Stock copies were pressed by Monarch, Specialty, and PRC in Richmond, Indiana; the latter have an RI on the label and are styrene. The catalog number is RS 19307. The SP and RI 45s have "A Warner Communications Company" added to the perimeter print; the MO labels don't.

For the first time in nine years, a Rolling Stones 45 in the U.S. had a real picture sleeve. It's very common, a 1 on the 1-10 rarity scale. Those few copies without a picture sleeve came in generic white sleeves.

As noted in passing, "Miss You" received a commercial 12-inch single release with the catalog number DK 4609. The A-side is 8:36; the B-side is the standard length of "Far Away Eyes." It was issued with two different cardboard sleeves; some copies have the blue company "Atlantic/Atco Disco" sleeve, which is cool looking in its own right, but others have a custom white cardboard cover with the tongue logo at the right and the words "The Rolling Stones Miss You" in black and "Special Disco Version" in red below that.

http://images.45worlds.com/f/12/the-rolling-stones-miss-you-1978-6-12.jpg

This 12-inch single is fairly common. Not as common is the promo 12-inch (DSKO 119) with the 8:36 version on both sides; it came in a white cardboard sleeve with a rubber stamp of the tongue logo on it, like on the "Hot Stuff" promo.

Reissues:

"Miss You" was reissued three times in the U.S. that I know of, twice on 45 and once on 12-inch.

The 12-inch reissue was on the Atlantic Disco Oldies label; it had the dance mix of "Miss You" on Side 1 and the LP version of "Hot Stuff" on Side 2. It came out in 1979 on DK 4616 (stock) and DSKO 174 (promo). I get the impression that neither is common.

On 45, "Miss You"/"Far Away Eyes" was re-pressed with the word OLDIES at the upper right, like some earlier singles. Unlike those, Atlantic gave this a new number in its consolidated Oldies Series (RS 13219).

Finally, in 1984, Atlantic reissued "Miss You" in conjunction with the release of the compilation LP Rewind. "Miss You" was intended as the A-side because double-sided promos of it were issued. The catalog number was 7-99724. Stock copies (with generic white sleeves) have the Undercover track "Too Tough" on the B-side. The stock copy is harder to find than promos because the 45 didn't sell and it was deleted when Rolling Stones Records changed U.S. distribution from Atlantic/Atco to CBS.

I'm sure I forgot something in this overview...
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The 79' 2nd 12" issue came in a fancy die cut sleeve depicting a limo arriving at a premiere, the record label acting as the car wheel as I recall.

All Down The Line · Feb 17, 2019

MCT1 said: ↑

In case anyone is wondering, we skipped right over 1977 because the Stones didn't release any new singles that year. 1977 was basically a repeat of 1970: the Stones' only new release was a live album (the 2-LP set Love You Live) which had no singles drawn from it.

I'll add one more detail to Tim's excellent-as-usual write-up: Effective with the release of Some Girls and its attendant singles, Rolling Stones Records switched distributors in the U.K. (and in most other countries outside of North America) from Atlantic to EMI. With this switch, the 19100 numbering series for 45s, which had been used worldwide from 1971-74 and in most non-North American markets through 1976, came to an end. In the U.S. and Canada, Rolling Stones Records remained with Atlantic, and the 19300 numbering series which had been used in those countries since 1974 continued onward.

Atlantic and EMI released "Miss You" as the lead single from Some Girls worldwide, but they were not on the same page when it came to followups. In North America, Atlantic would put out two more singles from the album. In most countries where it handled distribution, EMI released only one additional single, and it did not match either of Atlantic's singles.

As I had mentioned earlier in the thread, during the period in between "Honky Tonk Women" and "Miss You" when U.S. Stones 45s didn't come with picture sleeves, it wasn't just the Stones' 45s that didn't have them. For some reason, during the early/mid '70s, the U.S. record industry just largely stopped making picture sleeves for 45s.

By 1978, there were signs of a comeback. The Stones were early adopters - if you looked at a Billboard Top 40 from 1978 while "Miss You" was on the chart, you'd still probably find only a handful of singles whose 45s came with picture sleeves - but with each passing year in the late '70s and early '80s, more and more 45s had them. By the mid 1980s, they had become so common that it had become surprising for a hit single to not have one. There are probably weeks in the 1984-88 timeframe where the 45 of every song in the Top 40 had a picture sleeve.

Just as I'm not sure why picture sleeves went away, I'm not sure why they came back (and with such a vengeance). 45 sales were in decline during this era; were picture sleeves seen as a value-add to entice customers to buy 45s? Did the emergence of punk/new wave and MTV cause record labels to place more emphasis on the visual? Once the ball got rolling, was every record label afraid of being the only one whose hit 45s didn't come packaged in colorful sleeves to catch consumers' eyes?

And it wasn't just that more titles were being released with picture sleeves. It's my impression that, for those titles that came with them, record labels were producing picture sleeves in much larger numbers (in relation to the total number of 45s produced) than had been the case in the past. The survival rate for picture sleeves from this era is also probably much higher than it is for earlier sleeves. The net effect is to make picture sleeves from this era far more common than those of earlier eras. With one notable exception, I suspect that Tim's rarity ratings for most of the upcoming singles will be on the low end. When I was avidly collecting 45s back in the '90s and early '00s, I think I found almost all of the Stones' sleeves from this era pretty easily - again, with one notable exception.

"Miss You" was one sleeve I didn't even have to look for. My wife already owned a copy of "Miss You" with a picture sleeve, purchased new in 1978. She was nine years old then; I'm not sure if the 45 was originally hers, or if it was originally her mother's but my wife ended up with it at some point. As for myself, in 1978 I still wasn't yet paying that close attention to popular music. I have first-hand memories of some songs from this era, but "Miss You" isn't one of them. "Miss You" was such a big hit that I'm sure I must have heard it, but I don't really remember it as a new song.

Looking ahead, reissues of the next two singles seem to have kept their original catalog numbers (like all of the pre-"Miss You" singles), then reissues of the singles from Emotional Rescue and Tattoo You got Oldies Series numbers (the same as "Miss You").

It's weird how Atlantic was inconsistent about this. I'm sure the average consumer didn't care; unless you looked closely at the catalog numbers, the reissue of "Miss You" looked the same as the reissue of any other Stones 45s on Rolling Stones Records. But I'm guessing this would have resulted in "Miss You" being in a completely different place from previous Stones singles on order forms, stored in a different location in warehouses, etc. It would have made more sense to have either kept the original catalog number on all singles, or assigned Oldies Series numbers to all singles.

For what it's worth, most of the surrounding Atlantic Oldies series catalog numbers contain songs that were on the charts in 1979 or early 1980, so I'm guessing that the reissue 45 of "Miss You" appeared no earlier than the middle part of 1980.

I'm not sure if we'll be discussing this single when we get to 1984, or if we'll skip it on grounds that it contains previously released material, but I've always found it to be a very strange release. It seems to be exceptionally rare for a 1980s U.S. major label 45 by a major artist. I am only aware of its existence from price guides and discographies; I don't think I've ever seen a stock copy in person. Many sources list "Too Tough" as the A-side, although as Tim noted, it seems like "Miss You" is actually the A-side, since double A-side promos seem to exist only of "Miss You". The timing of the single seems about right for it to have been released in conjunction with Rewind, but there is no mention of Rewind on the label. The album credit on the "Miss You" side is to Some Girls.
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The one difference release wise between 1970 & 1977 is that in the US a promo only E.P. (Of all things) in a custom picture sleeve was issued to promote Love You Live!

All Down The Line · Feb 17, 2019

MCT1 said: ↑

The "A Warner Communications Company" tagline was added to Atlantic 45s in 1975. Looking at label scans on 45cat, all copies of "Fool To Cry" lack the tagline, even though that single was released in 1976, which is after Atlantic had started using it. Then, as you say, the Monarch copy of "Miss You" lacks the tagline, but the Specialty and PRC Richmond copies have it. All subsequent singles have the tagline on copies from all plants. This suggests to me that Rolling Stones Records 45s didn't get the tagline at first for some reason, but it was added around 1978. At the time "Miss You" was released, either Monarch hadn't gotten the memo yet, or they had a supply of old label blanks they were still working through.

(Speaking of old label blanks: 45cat has a white label promo "Miss You" from SP with DIST. BY ATCO, DIV. OF ATLANTIC RECORDING CORP., 1841 B'WAY, N.Y., N.Y. perimeter print. That wording hadn't been current for Rolling Stones Records 45s since 1972, and Atlantic had moved away from that address around late 1973 or early 1974. Someone at Specialty must have been cleaning out the supply closet....)

45cat has pressings of ten different Rolling Stones singles with "OLDIES" on the label. All were pressed at Specialty (after a certain point in time, I believe that Atlantic pressed all of its reissue 45s at Specialty). All have the distinctive small, bold typeface that Specialty began using around 1976. The two oldest titles of the bunch ("Doo Doo Doo Doo Doo (Heartbreaker)" and "It's Only Rock 'N Roll") lack the tagline. All others have it. Perhaps the the OLDIES pressings of "Doo Doo Doo Doo Doo (Heartbreaker)" and "It's Only Rock 'N Roll" first appeared sometime in the 1976-78 timeframe, contemporary to original-pressing copies of "Fool To Cry", which also lack the tagline. Then, by time "Fool To Cry" went into an OLDIES pressing, the tagline had been added. But Atlantic may have never gone back and added the tagline to "Doo Doo Doo Doo Doo (Heatbreaker)"and "It's Only Rock 'N Roll"; they may have remained in print without it.

45cat has non-OLDIES SP pressings of all singles up through "Ain't Too Proud To Beg" which have the tagline. All except "Wild Horses" use whatever pre-1976 typeface they were originally issued with (not the post-1976 typeface described above). It's hard to say definitively when these were pressed. Because they use a pre-1976 typeface, you would think that these predate 1976. That's especially true of "Doo Doo Doo Doo Doo (Heartbreaker)" and "It's Only Rock 'N Roll", since they also exist in OLDIES pressings with the post-1976 typeface. If that's correct, these pressings would seem to have first appeared around 1975. That would mean that Atlantic initially used the tagline on Rolling Stones Records 45s, then stopped around 1976, then started using it again around 1978. On the other hand, I find it odd that none of these singles except "Doo Doo Doo Doo Doo (Heartbreaker)" and "It's Only Rock 'N Roll" seem to exist as OLDIES pressings. I have a hard time believing that Atlantic would have deleted "Brown Sugar" or "Angie" from its reissue 45 catalog in 1976. Do the rest exist as OLDIES pressings, but no one has posted them at 45cat yet? Or did at least some titles remain in print in this form even after OLDIES pressings of other titles began to appear?

It's even harder to figure out where the "Wild Horses" with the post-1976 typeface and the tagline (but no OLDIES) fits in. Did this first appear post-1978, because it has the tagline? Or did it first appear in 1976, in between the records discussed in the last paragraph, and the OLDIES pressings discussed in the paragraph before that? Why does only this one title seem to exist in this form?
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Love your knowledge on all the US 45 label variations, i need to look through my collection now!

All Down The Line · Feb 17, 2019

ohnothimagen said: ↑

As far as the Love You Live version goes, it should be called "Juh Jaah Flah" since that's how Mick seems to be singing it

Interesting that nothing from the "El Mocambo side" was included, arguably the best part of the entire LP!
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To spotlight and take that breakneck speed JJF and Jagger enunciation to extremes just watch how it is used in the Henry Winkler/Michael Keaton movie Nightshift.

All Down The Line · Feb 17, 2019

Culpa said: ↑

Great post! Don't forget the very cool pink vinyl 12-inch with photo cover, I think mine is from Holland.

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Holland got pink as well as the UK??
Rarer still the French got a red 12"!

All Down The Line · Feb 17, 2019

ohnothimagen said: ↑

That's what I thought
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That’s Life.

All Down The Line · Feb 17, 2019

Culpa said: ↑

Great post! Don't forget the very cool pink vinyl 12-inch with photo cover, I think mine is from Holland.

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Miss You:
This was brilliant as the Stones perfectly appropriated a newer sound to their own stylistic trademark to once again sound up with or ahead of the game.
The genius began with the beat and ever developing bass line but then we got great lyrics from Jagger with a killer delivery (I wished those girls were just dyin' to meet me the same way) to boot. Next add the funky guitar licks (especially from the 12") and there is still the masterstroke that was Sugar Blue on Harmonica!
Any live version they are invested in is great to me too.
In fact this is a great number to jam to or play live, not only is it funky to play and open for a variety of licks and fills but I have also played this with eager muso's who are not even particularly Stones fans but love this song.
@Purple Jim was right on about this one!

Faraway Eyes:
When I first heard this I thought Mick had some front sending up country devotees but he got away with it.
I am not a country fan but I like this, especially Keith singing along on the chorus' which conveys emotion for me and Ronnie's sure feel with pedal steel is ideal.
Now if you do want to pledge money and call a preacher to have your prayer said over the radio, well iam Not going to make fun of you!

All Down The Line · Feb 17, 2019

Parachute Woman said: ↑

Next up, an American-only single:

Beast of Burden (1978)

Released: 8/28/78
B-Side: When the Whip Comes Down
Charts: #8 (US)

"Beast of Burden" is a song by English rock band The Rolling Stones, featured on the 1978 album Some Girls. In 2004, Rolling Stone magazine ranked the song #435 on their list of "The 500 Greatest Songs of All Time" and #433 on the 500 Greatest Rock and Roll Songs of All Time.

A "beast of burden" is an animal, usually domesticated, that labors for the benefit of man, such as an ox or horse. The music and some lyrics were primarily written by Keith Richards. In the liner notes to the 1993 compilation disc Jump Back, Richards said Beast of Burden "was another one where Mick (Jagger) just filled in the verses. With the Stones, you take a long song, play it and see if there are any takers. Sometimes they ignore it, sometimes they grab it and record it. After all the faster numbers of Some Girls, everybody settled down and enjoyed the slow one."

In those same notes, Jagger says, "Lyrically, this wasn't particularly heartfelt in a personal way. It's a soul begging song, an attitude song. It was one of those where you get one melodic lick, break it down and work it up; there are two parts here which are basically the same." The song can be seen as allegorical, with Richards saying in 2003, "When I returned to the fold after closing down the laboratory [referring to his drug problems throughout the 1970s], I came back into the studio with Mick... to say, 'Thanks, man, for shouldering the burden' - that's why I wrote "Beast of Burden" for him, I realise in retrospect."

"Beast of Burden" was recorded from October–December 1977. Although basic lyrics were written before the Stones entered the studio, many of the lyrics on the recording were improvised by Jagger to fit with the smooth running guitars of Richards and Ronnie Wood. Characteristically, Richards and Wood trade off rolling, fluid licks. Neither is really playing lead or rhythm guitar; they both slip in and out, one playing high while the other is low. The song is another famed Some Girls song that features each band member playing his respective instrument without any outside performers; both Richards and Wood play acoustic and electric guitars, with Wood performing the solo.[1]
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A US and Japanese single.

All Down The Line · Feb 17, 2019

ohnothimagen said: ↑

Groove wise, "Beast Of Burden" reminds me very much of "Tumbling Dice". As song, it's alright, I can probably take it or leave it.
IMO shoulda used the live "Whip Comes Down" version they used on Sucking In The Seventies on the B-side instead of the studio version.
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Um ex

Parachute Woman said: ↑

Here is the band's performance on Saturday Night Live in '78:

They do Beast of Burden, Respectable and Shattered. Mick's voice is shot, but the energy levels are crazy high. Mick also licks Ronnie all over the face. It's a nice snapshot of the era.
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They also were filmed in various sketches as themselves.

Fox67 · Feb 17, 2019

All Down The Line said: ↑

If you were their svengali they never would have created Ruby Tuesday, Miss You, Waiting On A Friend, Shine A Light, She's A Rainbow, Beast Of Burden, Moonlight Mile, 2000 Light Years From Home, Paint It Black, Play With Fire, You Got The Silver, Wild Horses etc.
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DANDELION!...…...Child Of The Moon!

Grant · Feb 17, 2019

I made my comments on The Stones doing ballsy rock and blues, but "Miss You" is a disco record, and it's good! "Hot Stuff" before it was a cool slice of funk.

Fox67 · Feb 17, 2019

Emotional Rescue?

John Fell · Feb 17, 2019

Grant said: ↑

I made my comments on The Stones doing ballsy rock and blues, but "Miss You" is a disco record, and it's good! "Hot Stuff" before it was a cool slice of funk.
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Personally, I prefer Fingerprint File and Slave as groove tracks to either of those. I never really cared for Hot Stuff or Miss You much.

John Fell · Feb 17, 2019

Fox67 said: ↑

Emotional Rescue?
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Personally, I think it's bloody awful.

Fox67 · Feb 17, 2019

John Fell said: ↑

Personally, I prefer Fingerprint File and Slave as groove tracks to either of those.
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Fingerprint File & Miss You for me. (out of the 4)

Grant · Feb 17, 2019

John Fell said: ↑

Personally, I prefer Fingerprint File and Slave as groove tracks to either of those.
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Those are good, too. As with the debate about "She's A Rainbow" and others from their trippy period, it's all a matter of subjective taste.

John Fell · Feb 17, 2019

Grant said: ↑

Those are good, too. As with the debate about "She's A Rainbow" and others from their trippy period, it's all a matter of subjective taste.
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I like She's A Rainbow, 2000 Light Years From Home, Citadel & 2000 Man. The rest of Their Satanic Majesties Request I don't care much for. Adding We Love You and Dandelion would have improved it.

guy. · Feb 17, 2019

[QUOTE="

Faraway Eyes:
When I first heard this I thought Mick had some front sending up country devotees but he got away with it.
I am not a country fan but I like this, especially Keith singing along on the chorus' which conveys emotion for me and Ronnie's sure feel with pedal steel is ideal.
Now if you do want to pledge money and call a preacher to have your prayer said over the radio, well iam Not going to make fun of you![/QUOTE]

Not the first/last time that the Stones have used country - "country honk" is brilliant, although not a single, or "dear doctor"

Grant · Feb 17, 2019

guy. said: ↑

Faraway Eyes:
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I think the song is a piece of sh---...

9la · Feb 17, 2019

guy. said: ↑

Not the first/last time that the Stones have used country - "country honk" is brilliant, although not a single, or "dear doctor"
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"High and Dry" on Aftermath.

All Down The Line · Feb 18, 2019

Parachute Woman said: ↑

I love that song! Better than any of the Stones' reggae songs. Just pure joy.

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There is a temptation......

All Down The Line · Feb 18, 2019

Purple Jim said: ↑

Beast Of Burden - One of their best ever ballads and a high point of Some Girls.
When The Whip Comes Down - I've never been keen on this one. The Stones trying to bring in some punk energy in order to be relevant. It's just a dirge with Mick yelling like a drunken sailor. Tedious. I always skip it on the live shows.
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I also think Beast Of Burden is a classie ballad that compares favorably with all stages of their career in this area.
I dislike overusing the weaving terminology but This is The classitc example of it! No doubting Keith and Ronnie did a lot of active 'wood'-shedding to sound so effortless and pleasingly melodic, this is one latterday number I can't picture them working up in this way with Mick Taylor.
Great lyrics and vocal whereby Mick does a surprisingly good job at vulnerability.

When The Whip Comes Down has good amusing verse lyrics and is played effectively well but musically is a pretty basic structure and variation on a theme.

All Down The Line · Feb 18, 2019

Parachute Woman said: ↑

Mick definitely has a sense of humor (even about himself), sometimes overlooked.

But I hated how they erased Bill on that cover. Why? He's on some of the recordings on the album and he was a part of the band for many years. It seemed totally unnecessary and kind of mean. But I hate that comp, anyway. A real missed opportunity.
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Really poor to have taken Bill out of the photo for one.
Many years after their divorce Bianca said she thought Mick had a great sense of humour, not really sure if it had extended to Bianca hiring Marvin Mitchelson as her gun celebrity divorce lawyer?

All Down The Line · Feb 18, 2019

Purple Jim said: ↑

Respectable - More enjoyable than the other "punky" song WhenThe Whip Comes Down. Musically it's pretty dull but the lyrics make it fun but I always sort of yawn when it comes on.
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Respectable is a good fun Chuck Berry rewrite in format.
The lyrics are good as is the intro and some of the tracks guitar licks.
Bill once said of the Stones that they were not chosen friends but when they got together it was enjoyable like seeing the relatives at Christmas and catching up on what everyone has done.
I don't play the song often but it is fun to give it an occasional spin to become reacquainted with its simple pleasures.

All Down The Line · Feb 18, 2019

Parachute Woman said: ↑

Here he is. I'm no great artist, but he's lasted almost 15 years. He's got all the Keith signatures (skull ring, handcuff bracelet, guitar).
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Maybe he could be in a pirate movie?

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Rolling Stones Single-By-Single Thread

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