We pick up our discussion now of 1965 and some of what was happening with the stones, with a little bit of a discussion of some of the, some of the stones singles and some, some more details about them. Now, I'm going to save more detailed discussion of some of these records. For a song close up that's coming up in a couple of videos. But for now I just want to be able to paint a, a bigger and kind of broader picture. So as we've said before in terms of Stones singles and Jagger Richards tracks we've got Heart of Stone in December of 64, that's released in the US only. Again What a Shame is a Jagger Richards B side, so we've got Jagger Richards on both sides of the records, both side of the records. So they're getting the full publishing, benefit there. February of 65, March of 65. February in the UK and March in the US we get The Last Time, with the b-side to that being a song called Play with Fire, another Jagger Richards, original. And then in, in May of 65 in the U.S. August of 65 in the summer. We get, I Can't Get No Satisfaction. Of course, a Jagger Richards original. And then in the U.S. the B side to that is something called, The Under Assistant West Coast Promotion Man. And that's a Nanker Phelge tune. But not one of those Nanker Phelge tunes where they adapt some other song. It's just a kind of a, a kind of a fun-loving song they do making fun of a guy who by the name of George Sherman, who was their one of their promotion representatives [LAUGH] when they touring the U.S. and then in the, in the U.K. the B side to I Can't Get No Satisfaction was a song called The Spider and the Fly. And I'll spend a little bit more time talking about that. When we get to when we get to the song close-up. So, one of the pictures we want to ta, see, we want to talk about seeing develop over the course of 1965 is the rise in musical ambition that we see in the music of the Rolling Stones. One way in which that manifests itself is. Seeing Mick and Keith coming to even greater control and, and capability, as songwriters. And as we go into 65, we're starting to move into a situation where, the singles I just mentioned, are all Jagger Richards tunes, both on the A side and the B side. Now, as we talk about the albums. We're still going to see a lot of cover versions on the albums, but by the time we get into 66, we're going to start seeing records that don't have many cover versions on them at all. Not, not only are the singles, both sides Jagger Richards, but, all the other songs on the records, with a few exceptions are Jagger Richards tunes as well. So what we see is a kind of a growth of their song writing eventually. And one reason for pointing out in the last video how many sit songs they were writing for other artists is it doesn't just all of the sudden appear in 1965 or something sort of full bloom. They've been working on it now probably since at least the autumn of 1963 working on their song writing. So by the time we hit 1965 all their singles and B sides are are original tunes and by the time they get into 66 all, or most of the songs on the record, almost all the songs on that record are original tunes. This has, this has been kind of a gradual gradual thing for them. It didn't happen overnight as I say. And what we can see when we look at the songs. Is an increasing sophistication with the lyrics an intention to get past the kind of teen romancy kinds of things. Or, or simple kind of blues lyrics that, that we've seen already. And get to things that maybe deal with. Culture and society, maybe politics, things like that. And it will begin see that. Of course, that's happening with the music of a lot of other people in 1965. Dillon breaks out in the summer of 65 as an artist in his own right although he'd been writing songs for other artists. The Beatles are becoming enormously more sort of socially conscious and their lyrics are becoming more and more sophisticated. So the Stones are moving right along that. Another thing we're going to want to watch. And we only see little signs of it, in 1965, is the moving away from strictly combo instrumentation on their records. Up to this point, on most Rolling Stones records, we've heard guitar, bass, drums, vocals, and sometimes, piano. You know, when, when Ian Stewart is, is, is accompanying them, on a, on a track or two. But we're not hearing a lot of other kinds of instrumentation. One of the things that happens is the music gets more ambitious, the songwriting and the production starts to get more ambitious, is they start to bring in all kinds of instruments that are not usually associated with rock and roll, with Elvis or with Chuck Berry. And when that happens, we're going to take note of it. But this week, what we're going to see is little signs of that starting to happen now. Things that we're going to see happening a lot more in 66 and 67. So having said that about the overview, especially of the singles, the song writing and the first half of 65. Let's tune, turn now to the Rolling Stones' LP number two. The Rolling Stones' number two, in the U.K. and the Rolling Stones now in the U.S.. And yet another EP that we're going to want to consider.
