Category Archives: Blues Rock

Aerosmith Virtual LP Collection

CBS 65486

AEROSMITH S/T SELF-TITLED 12" LP VINYL

AEROSMITH – S/T Self-Titled

is the selftitled debut album by American hard rock band Aerosmith, released in January 1973 by Columbia Records.1973 

Red Label CBS 32203

AEROSMITH - S/T Self-Titled Red CBS

AEROSMITH – S/T Self-Titled Red CBS

is the selftitled debut album by American hard rock band Aerosmith, released in January 1973 by Columbia Records.1973 CBS 82147 

Aerosmith – Draw The Line1977Holland

Aerosmith – Gems

CBS AL 32847

Price 11.99€

AEROSMITH – Get Your Wings (USA)

“Get Your Wings” is the second studio album by American hard rock band Aerosmith, released March 1, 1974. The album is the first to feature production from Jack Douglas, who would go on to produce the band’s next four albums.

1976 Made in Netherlands

AEROSMITH - Live Bootleg FOC Gatefold 2LP

AEROSMITH – Live Bootleg FOC Gatefold 2LP

Live! Bootleg is the double live album by American hard rock band Aerosmith, released in 1978. While1976 Geffen 924 162

Aerosmith – Permanent Vacation .

Permanent Vacation was the first Aerosmith album to be promoted by heavy music video airplay on MTV. Permanent Vacation is often considered their true comeback album,1987Germany

GEFFEN Records 924 254 WX 304

AEROSMITH – Pump

Pump is the tenth album by American rock band Aerosmith, released in 1989.1989 

CBS AL 34165

AEROSMITH – Rocks

Rocks is the fourth album by American rock band Aerosmith, released May 3, 1976. Allmusic described Rocks as having “captured Aerosmith at their most raw and rocking”.1976

USA

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ROLLING STONES – AFTERMATH DECCA NETHERLANDS 12″ LP ALBUM VINYL

A0660 ROLLING STONES Aftermath
Aftermath Front Cover

“Aftermath” proved to be a major artistic breakthrough for “The Rolling Stones”, being the first full-length release by the band to consist exclusively of Mick Jagger/Keith Richards compositions. “Aftermath” was also the first Rolling Stones album to be recorded entirely in the United States, at the legendary RCA Studios in Hollywood, California at 6363 Sunset Boulevard, and the first album the band released in stereo.

Collector’s notes for ROLLING STONES – Aftermath ( detailed background information on the persons working on this album)Album Front Cover Details:The album front cover shows a group photo of the “Rolling Stones” band.The album-title of the album “Aftermath” is printed near the bottom right corner of the album front cover.The band-name itself is NOT mentioned on the front cover.Album Back Cover Details:The upper right corner of the album back cover shows “STEREO 6835 (10)”The bottom right corner (just below the boxed DECCA logo)THE DECCA RECORD COMPANY LTD. LONDON
(c) 1966, The Decca Record Company Limited, London 
                                                                           Printed in The NetherlandsThere is NO bar-code on the album coverAlbum Record Label Details:The labels have the colour BlueOn the upper half are the letters “DECCA” in a large fontThere is NO label-code on the labels.The rights society STEMRA (boxed) is located on the left , near 9 o’clockBelow the rights society there is: (P) 1966On the right hand near 3 o’clock there is:6835 108
6835 108.1
MADE IN HOLLANDThe rim-text on the label runs from 7 o’clock to 5 o’clock and is printed in the English languageMatrix and run-out codesSide A: (Stamped) 6835 108 1Y 4 (P) 1966 670 111 06
Side B: (Stamped) AA 6835 108 2Y 1 (P) 19**66 670 119 03Transcript of the original linet notes:In July 1964, I was engineering a session for Jack Nitzsche at RCA in Hollywood; the song was “Yes sir, that’s my baby” In walked the Rolling Stones and Andrew Oldham, who had stopped by to say hello to Jack, a friend they had met thru Phil Spector. In December of 1964, we did our first session together. Andrew had phoned me from England, and wanted to do a session en route to Australia. I was thrilled; since then, we have worked together thru “The Last Time”; “Satisfaction”; “Cloud”; “Breakdown” and a number of albums, in a way that has been rewarding both artistically and professionally, for working with the Stones is extremely exhilarating. They never go the easy route; from the moment Mick and Keith run a song down to the rest of the group, to Brian deciding on an acoustic or electric guitar, or something more bizarre, to Bill sorting out a bass pattern, to Charlie laying down the tempo; to their friend Jack Nitzsche (always on the dates) or Road Manager Stu (Ian Stewart) picking out chords on piano, organ, harpsichord or anything else that happens to be lying around. To some many hours later, at a final take, it’s all great. In this business of dubious standards,it’s been great working with the Stones, who, contrary to the countless jibes of mediocre comedians all over the world, are real professionals, and a gas to work with. 
Dave Hassinger, Engineer
Album Fact Sheet: ROLLING STONES – Aftermath
Music Genre: British Rock, Blues-Rock, R&B 
Album Production information:The album: “ROLLING STONES – Aftermath” was produced by: Andrew Loog OldhamSound/Recording Engineer(s): Dave HassingerThis album was recorded at: RCA Studios HollywoodAlbum cover design: Sandy BeachAlbum cover photography: Guy Webster, Jerrold Schatzberg
Record Company / Catalog number / Label: Decca – 6835 108
Record Format12″ Vinyl HIFI Stereo Gramophone Record
Total Album (Cover+Record) weight: 230 gram  
Country:  Netherlands

ROLLING STONES – THE ROLLING STONES (SELF-TITLED) AMIGA DDR 12″ LP ALBUM VINYL

A0662 ROLLING STONES The Rolling Stones (Amiga)
Amiga’s Front Cover of The Rolling Stones

This album “ROLLING STONES – Self-Titled” on the Amiga Record Label is a compilation album with tracks from the period 1965-1968.

Collector’s notes for ROLLING STONES – Self-Titled AMIGA ( detailed background information on the persons working on this album)

This ROLLING STONES – Self-Titled AMIGA can be identified / distinguished by the following attributes :

Album Front Cover Details:

The album front cover has a group photo of The Rolling Stones band-members and in the bottom right corner the band-name.
Album Back Cover Details:

How does the album back cover be different from other versions

The upper right corner of the album back cover has: 16,10 M STEREO 8 55 885
There is NO barcode on the album cover
Bottom left corner, last line: “Ubernahme von Teldec Schallplatten GMBH., Hamburg/BRD
Bottom right cornere, last two paragraphs:
VEB DEUTSCHE SCHALLPLATTEN BERLIN DDR
Made In Germany Democratic Republic

Gestaltung Bernd Scheubert
Lithografie und Druck: VEB Gothe-Druck
Ag 511/01/82A Verpackung nach TGL 10609

Album Record Label Details:

Record label information:

The labels on this recored are in Dark Red colour
Near the top of the label is printed AMIGA in a very large font
Near 11 o’clock is the Rights Society “AWA”
Near 3 o’clock is the catalognr “8 55 885”
There is NO label code
The rim-text on the label runs from 10 o’clock to 2 o’clock and is printed in the German language.
Album Fact Sheet: ROLLING STONES – Self-Titled AMIGA
Music Genre: Classic Rock, Blues-Rock, R&B
Album Production information: m

Album Liner Notes: Ingolf Haedicke

Album cover design: Bernd Scheubert

Transcript of the original liner notes (German Language)

The Rolling Stones — das Fluidum des Pro-vokanten der 60er Jahre verblaßt. Was bleibt, sind Erinnerungen an die einst “härteste Rockband der Welt”. Dieser vom Management und Journalismus geprägte Begriff ist eher geeignet, die Life-Auftritte der Rolling Stones zu charakterisieren, nicht aber ihre Songs. Wesentlicher ist: sie leisteten in den frühen 60er Jahren neben den Beatles den wohl wichtigsten Beitrag zur Entwicklung der modernen Rockmusik. Alles das einbeziehen und berücksichtigen, sowohl die ständige Provokation (schockierende Plattencover, zweifelhafte Texte, aggressives Auftreten), als auch viele großartige Songs, aber auch das unproduktive Verharren in der einmal entwickelten und erprobten Schablone in den 70er und 80er Jahren, so mag vielleicht ein umfassendes Bild der englischen Gruppe The Rolling Stones (Landstreicher, Rollende Steine) gelingen.

Diese Widersprüchlichkeit ist nur zu erklären angesichts der Geburtswehen eines neuen Genres, das sich Anfang der 60er Jahre etablierte — einerseits der frühe Höhenflug, verbunden mit übertriebenem Abgrenzungsgebaren, andererseits das Erkennen von Grenzen, das Zurückfallen in die schlichte Produktion von Rockmusik. Der Ehrgeiz, Neues zu entwickeln verlischt, das erprobte Rezept wird Jahr für Jahr bis zur Gegenwart in klingende Münze verwandelt. Der persönliche Reifeprozeß, das Älter-werden wird hinter Rockschablonen “versteckt”, die Idee des ewig Jungbleibens ständig aufs Neue suggeriert. Einige Aspekte sollen uns helfen, das Besondere der Rolling Stones Songs zu verstehen.

  1. Die Behauptung, die Rolling Stones seien als Alternativgruppe zu den Beatles vom Management aufgebaut worden, stimmt höchstens in Bezug auf das Äußerliche ihres Auftretens. Zu verschieden waren die musikalischen Quellen beider Gruppen. Die Beatles verdanken ihre entscheidenden Anregungen der städtisch proletarischen Volksmusik Liverpools, auch Merseybeat genannt, während die Rolling Stones in London groß wurden, dem Zentrum des weißen englischen Blues, repräsentiert durch Alexis Korner und John Mayall. Fast alle Mitglieder der Rolling Stones spielten eine Zeitlang in der Blues incorporated Band von Alexis Korner. Es waren dies Mick Jagger (1943) voc; Keith Richard (1943) g; Brian Jones (1942) g und Charlie Watts (1941) dr. Nach dem frühen Tod Brian Jones im Jahre 1969 wurde Mick Taylor (1948) aufgenommen.

Er war vorher Gitarrist bei John Mayall. Nach seinem Ausscheiden 1974 nahm seinen Platz Ron Wood (1947) ein. Von Anfang an dabei war der Baßgitarrist Bill Wyman (1936). Die musikalische Herkunft, der Blues, prägte fast alle Songs. Kein noch so zwingendes Management hätte die Rolling Stones zu einer anderen Musik überreden können, nachdem der Blues ihnen in Fleisch und Blut übergegangen war. Das betrifft keines-falls nur den formalen Aspekt (Blues-schema), sondern die ganze Art und Weise der Darbietung. Dies äußert sich vor allem in dem ausdrucksvollen Sprechgesang des “Nur Sängers” Mick Jagger. Er versteht es, alle Register der menschlichen Stimme zur Gestaltung der Songs einzusetzen. Die Skala reicht vom sprechenden Singen über-kontrolliertes Schreien bis hin zu geflüsterten Passagen und klaren sauber gesunge-nen Melodien.

Seine Stimme wird zum wichtigen Instrument und bestimmt wesentlich das Klangbild des jeweiligen Titels. Das ist einer der schlüssigen Verweise auf die Tradition des Bluessängers. Nicht das Singen der vorgegebenen Melodie wird wichtig, sondern die gefühlsmäßige Gestaltung, dem Text und der jeweiligen Situa-tion angepaßt. Die Show der Rolling Stones ist einerseits Show im Sinne des Wortes, aber das gestische Gebaren Mick Jaggers und der übrigen Mitglieder ist auch die Umsetzung emotionaler Spannungen und Erregungen in eine Art Körpersprache, wie wir sie schon lange von Jazzmusikern, Blues-sängern und religiösen Gemeindesängern der Afroamerikaner kennen. Solch eine Körpersprache wirkt-ansteckend auf die Zuhörer. Helfen dann noch Sensationspresse und verantwortungslose Konzertmanager nach, so ist das Chaos vorprogrammiert.

  1. Die Grundlage vieler Songs sind eingängige, ständig sich wiederholende Motive, auch Riffs genannt und ostinate Baßfiguren. Sie machen die Struktur eines Titels durchsichtig und leicht durchschaubar (Beispiel 1-7). Es fällt auf, daß der Ablauf stets der gleiche ist: eine aufsteigende Linie wird sofort wieder auf den Ausgangspunkt zurückgeführt. Außerdem ähneln sich manche Riffs verblüffend (vergl. Bsp. 4 mit Bsp. 6). Es sei ausdrücklich betont, daß dies keine Abwertung bedeuten soll. Ein gefundenes Schema muß immer mit Erfindungsreichtum gekoppelt sein, um wirksam zu werden. Ohne Perfektion und Sinn für Klang-farbengestaltung, gekoppelt mit der Kunst des Weglassens — sprich sparsames Arrangement — kann kein Konzept so vielfältig variiert werden, wie es die Rolling Stones vorführten und vorführen. Diese musikalisch einfache Grundstruktur ist das hervorstechende Merkmal der meisten Rolling Stones Songs und verleiht ihnen die besonders kraftvolle Ausstrahlung.

Dieser Querschnitt repräsentiert die produktivste Phase der Rolling Stones, und zwar die Jahre von 1965 (Satisfaction) bis 1969 (Honky Tonk Woman).
Ingolf Haedicke (1982)

Record Company / Catalog number / Label: AMIGA – 8 55 885
Record Format12″ Hi-Fi Vinyl Stereo Gramophone Record
Total Album (Cover+Record) weight: 230 gram
Year & Country: 1982 East-Germany, German Democratic Republic (GDR)

Rolling Stones – Between The Buttons , album cover differences

This blog of the album “Between The Buttons” shows three different types of album front covers used:

  1. Between The Buttons with catalognr PAX ISK 1027 from ISRAEL – the front cover has a group photo of the Rolling Stones with on the upper half , two “buttons” with the album title and the band-name. The bottom left corner has the PAX logo inside a light blue box.
  2. Between The Buttons with catalognr Decca SLK 16 450-P ZAL 7644 from Germany – the front cover has the group photo of the Rolling Stones and with the DECCA logo on the bottom left corner. There are NO band-name nor album title on the front.
  3. Between The Button with catalog LONDON 820 051 from West-Germany which has a “button” in the top right corner with the band-name “The Rolling Stones” inside, in the bottom left corner there its “LONDON” records logo inside a blue/red box. There is NO album-title on the album front cover.

Examples of these three album covers are shown on my website.

ROLLING STONES – EMOTIONAL RESCUE + POSTER 12″ LP ALBUM VINYL

A0659 ROLLING STONES Emotional Rescue

Collector’s notes for ROLLING STONES – Emotional Rescue ( detailed background information on the persons working on this album)

This ROLLING STONES – Emotional Rescue can be identified / distinguished by the following attributes :

Album Front Cover Details:

The album front cover has the band-name “Rolling Stones” and the album-name “Emotional Rescue” printed in Red. There is no catalognr on the front cover.

Album Back Cover Details:

How does the album back cover be different from other versions

  • There is NO barcode on the album back cover
  • On the top right corner are the catalognr for the LP “1A 062-63 774” (Boxed) and the catalognr of the Cassette “1A 262-63 774” (Unboxed). The notation of the catalognr on the album back cover is slighty different from the catalognr on the record’s label. See enlarged photos below
  • The bottom left corner has the EMI-logo inside a white box and the text “All rights reserved Printed in Germany by 4P Nicolaus GMBH, Köln”
  • Is there a catalognr on the back cover
  • Is this catalognr the same as the catalognr on the label

This album comes with a very large poster

Album Record Label Details:

  • The record labels are printed in yellow, with the “Red Tongue” logo.
  • The label code “LC 2251” is printed near 3 o’clock
  • The catalognr “1 A 062.63 774” is printed near 3 o’clock
  • The rights society is “STEMRA”
  • Near the bottom of the label, at 6 o’clock , there is “Made in Holland”
  • The rim-text is printed in English.

ROLLING STONES DIRTY WORK 12″ LP ALBUM VINYL

A0658 ROLLING STONES Dirty Work

“Dirty Work” is the 18th full-length official album by the British Rock band “The Rolling Stones”, it was produced by “Steve Lillywhite” and released in 1986.

This album is still in the (opened) dark red cellophane shrink-wrap. The inner sleeve contains the complete lyrics of all the songs and a comic strip, drawn by Mark Marek.

This is the last album on which “Ian Stewart” participated

Collector’s notes for ROLLING STONES Dirty Work ( detailed background information on the persons working on this album)

This ROLLING STONES Dirty Work can be identified / distinguished by the following attributes :

Album Front Cover Details:

  • This album comes in the original dark red cellophane shrink-wrap and has the large illustrated promotional sticker on the front.
  • The album title is printed on the top right corner of the front cover
  • The name of “The Rolling Stones” does not appear on the cover.

Album Back Cover Details:

  • The is NO barcode on the album back-cover.
  • The catalognr “86321” is printed on the top right corner of the album0s back cover.

This album comes with the original light cardboard custom inner sleeve (OIS)

Album Record Label Details:

Record label information:

  • The labels have colourful artwork with photos of the Rolling Stones.
  • The Label Code is “LC 0419” and is printed near 7 o’clock
  • The right societies are “BIEM STEMRA” and is printed near 9 o’clock
  • The rim-text on the label is in the English language

ROLLING STONES BIG HITS (HIGH TIDE AND GREEN GRASS) ISRAEL PAX 12″ LP ALBUM VINYL

A0657 ROLLING STONES Big Hits (High Tide and Green Grass) PAX ISRAEL
Fish-Eye photo of the Rolling Stones

Big Hits (High Tide and Green Grass) is the first official compilation album by The Rolling Stones, originally released in 1966. It has been released with different album front covers based on territory.

This version is the edition from Israel and shows a photo of “The Rolling Stones” in front of a buiding in “fish-eye” view.

Collector’s notes for ROLLING STONES – Big Hits (High Tide and Green Grass) Israel PAX ( detailed background information on the persons working on this album)

This ROLLING STONES – Big Hits (High Tide and Green Grass) Israel PAX can be identified / distinguished by the following attributes :

Album Front Cover Details:

The album front cover shows a photo of “The Rolling Stones” in front of a buiding in “fish-eye” view.. On the top of the album cover is the album title and in the right hand corner is the catalognr “ISK 1022” (unboxed).

Near the bottom is the band-name “THE ROLLING STONES” in all capital letters and in the bottom left corner are the letters “PAX” inside a white box.

Album Back Cover Details:

The album back cover has a black-white photo of the Rolling Stones standing near a river (other versions of the album “Big Hits” have this photo on the front cover).

The back cover has NO barcode.

On the upper right corner of the back cover is the catalognr “ISK 1022”. The notation of the catalognr on the back cover is slightly different from the notation on the label “ISK. 1022”

The bottom left corner has the “PAX” logo inside a white box. Followed by the text
PRODUCT OF
SYMPHONIA (WHOLESALE) LTD, TEL AVIV

There are NO liner notes on the back cover.

Album Record Label Details:

The labels are printed in dark red color with silver-ish lettering.

Near the top of the label it has printed:
PAX (in very large font)
MADE IN ISRAEL

Near 9’o clock: has the rights society: ACUM

Near 3’o clock ISK. 1022