Rolling Stones Between The Buttons CD

Remastered reissue of 1967 album, suitable for standard & 'Super Audio' CD players. Digipak.

The Rolling Stones: Keith Richards (vocals, guitar); Mick Jagger (vocals); Brian Jones (guitar); Bill Wyman (bass); Charlie Watts (drums).
Recorded in 1966.
This is a Hybrid Super Audio CD playable on both Super Audio and regular CD players.
The Rolling Stones: Keith Richards (vocals, guitar); Mick Jagger (vocals); Brian Jones (guitar); Bill Wyman (bass); Charlie Watts (drums).
Recorded in 1966.
The Rolling Stones' 1967 recordings are a matter of some controversy; many critics felt that they were compromising their raw, rootsy power with trendy emulations of the Beatles, Kinks, Dylan, and psychedelic music. Approach this album with an open mind, though, and you'll find it to be one of their strongest, most eclectic LPs, with many fine songs that remain unknown to all but Stones devotees. The lyrics are getting better (if more savage), and the arrangements more creative, on brooding near-classics like "All Sold Out," "My Obsession," and "Yesterday's Papers." "She Smiled Sweetly" shows their hidden romantic side at its best, while "Connection" is one of the record's few slabs of conventionally driving rock. ~ Richie Unterberger
The Rolling Stones' 1967 recordings are a matter of some controversy; many critics felt that they were compromising their raw, rootsy power with trendy emulations of the Beatles, Kinks, Dylan, and psychedelic music. Approach this album with an open mind, though, and you'll find it to be one of their strongest, most eclectic LPs, with many fine songs that remain unknown to all but Stones devotees. The lyrics are getting better (if more savage), and the arrangements more creative, on brooding near-classics like "All Sold Out," "My Obsession," and "Yesterday's Papers." "She Smiled Sweetly" shows their hidden romantic side at its best, while "Connection" is one of the record's few slabs of conventionally driving rock. But the best tracks were the two songs that gave the group a double-sided number one in early 1967: the lustful "Let's Spend the Night Together" and the beautiful, melancholy "Ruby Tuesday," which is as melodic as anything Mick Jagger and Keith Richards would ever write. ~ Richie Unterberger
Once known as hard-core blues/R&B traditionalists, the Stones plunged deeper into the waters of original songwriting on BETWEEN THE BUTTONS, leading to a golden age of classic albums including LET IT BLEED, BEGGAR'S BANQUET, and EXILE ON MAIN STREET. In addition to scoring a double-sided smash-hit single in "Let's Spend The Night Together" backed with the baroque-pop "Ruby Tuesday," BUTTONS was also the last album produced by then-manager/svengali Andrew Loog Oldham. More importantly, the obscure songs on this tight package show the Stones coming into their own as composers.
Between the ornate orchestrations of the aforementioned "Ruby Tuesday" and Mick Jagger's Dylanesque inflections on "She Smiled Sweetly," BUTTONS found the Stones in a strata far beyond covering Chuck Berry and Buddy Holly. Although none of these developments ranks with the Beatles' contemporaneous sonic experiments, the fabs' bad-boy counterparts showed differing degrees of whimsy and sass. Examples are Ian Stewart's barrelhouse piano and Brian Jones' kazoo playing on "Cool, Calm & Collected," or the Dixieland-flavored "Something Happened To Me Yesterday."
Once known as hard-core blues/R&B traditionalists, the Stones plunged deeper into the waters of original songwriting on BETWEEN THE BUTTONS, leading to a golden age of classic albums including LET IT BLEED, BEGGAR'S BANQUET and EXILE ON MAIN STREET. BUTTONS was also the last album produced by then-manager/svengali Andrew Loog Oldham. More importantly, the obscure songs on this tight package show the Stones coming into their own as composers.
Between the melodic balladry of "Back Street Girl" and Mick Jagger's Dylanesque inflections on "She Smiled Sweetly," BUTTONSEntertainment Weekly (9/20/02, p.104) - "...A cheeky set of sardonic Swinging London vaudeville rock..." - Rating: A
Entertainment Weekly (9/20/02, p.104) - "...A cheeky set of sardonic Swinging London vaudeville rock..." - Rating: A
NME (Magazine) (7/8/95, p.46) - 7 (out of 10) - "...boosted by the social commentary of `Yesterday's Papers' and the colossal `Something Happened To Me Yesterday'..."
NME (Magazine) (7/8/95, p.46) - 7 (out of 10) - "...boosted by the social commentary of `Yesterday's Papers' and the colossal `Something Happened To Me Yesterday'..."