Flowers Roundup

Flowers Roundup

Wikipedia:

Flowers is the eighth U.S. studio album by The Rolling Stones, released in 1967. The album is a mishmash of previously recorded tracks. The songs either appeared as singles, had been omitted from the American versions of Aftermath and Between the Buttons, were collected from studio sessions dating back several years, or are simply reissues of songs recently released on other albums.

Three tracks had never been released. "My Girl" from the Out of Our Heads and Between the Buttons sessions, and "Ride On, Baby" and "Sittin' On A Fence" from the Aftermath sessions.

1. "Ruby Tuesday" – 3:17
A January 1967 single release also featured on the US edition of Between the Buttons. See my post for the Between the Buttons version.
2. "Have You Seen Your Mother, Baby, Standing in the Shadow?" – 2:34
A September 1966 single release.
3. "Let's Spend the Night Together" – 3:36
A January 1967 single release also featured on the US edition of Between the Buttons. See my post for the Between the Buttons version.
4. "Lady Jane" – 3:08
Originally released on Aftermath in 1966. See my post for the Aftermath version.
5. "Out of Time" – 3:41
An abridged edit of the version originally released on the UK edition of Aftermath in 1966.
6. "My Girl" (Smokey Robinson/Ronald White) – 2:38
Previously unreleased. Recorded in 1965
7. "Back Street Girl" – 3:26
Originally released on the UK edition of Between the Buttons.
8. "Please Go Home" – 3:17
Originally released on the UK edition of Between the Buttons.
9. "Mother's Little Helper" – 2:46
Originally released on the UK edition of Aftermath.
10. "Take It or Leave It" – 2:46
Originally released on the UK edition of Aftermath.
11. "Ride On, Baby" – 2:52
Previously unreleased. Recorded in 1965.
12. "Sittin' On A Fence" – 3:03
Previously unreleased. Recorded in 1965.

Sittin' On A Fence

Flowers
Track 12
"Sittin' On A Fence" – 3:03





This is what God GammelDags has to say about this track:

Sittin' On A Fence sounds like Mick Jagger accompanied by studio musicians. It could have been a demo for one of their songs for other artist to record with Mick Jagger on vocal backed by Studio Musicians and later mistakenly reckoned as a Rolling Stones recording by Allen B. Klein and London Records. Most fans liked it, so why bother?

However, there's a reason why these 'new' tracks were kept hidden in the vaults for years. Keith Richards has not ever since come close to playing his acoustics in such a leading manner as this. Jimmy Page in the right channel on acoustic lead guitar?

But compared to the rest of the songs recorded at that time it then sounds very odd. It is rumored that The Glimmer Twins wrote the song during the Scandinavian tour, June 24th - 29th 1965, while in Sweden. You can actually pin point the recording date to the same as Ride On, Baby. Both has a verse arranged for Vocal and Harpsichord. Very typical Aftermath.

He's got a point about the musicianship on this track – it is very definitely not a typical Stones track. I am not sure how things worked back then, so I don't know how likely the theory about studio musicians is.

The critical consensus seems to be that this is a charming trifle, a sweet little piece of throwaway pop music. I am not sure what I think of it, although I know I don't hate it. That sounds kinda shitty written like that, but to be perfectly honest, I have now blogged ten Stones albums, and I have probably lost all perspective when it comes to the band. Luckily, the next album on my plate is a surefire winner.

Ride On, Baby

Flowers
Track 11
"Ride On, Baby" – 2:52




Wow. This is another one of those songs that sat in the can for almost two years, recorded during the Aftermath sessions, released in 1967 on the USA-only Flowers album. If you take out all the wacky instruments (marimba, harpsichord, dulcimer), this is a song one could easily imagine Them releasing – there is certainly a Van Morrisonesque quality to Mick's phrasing, and a pop sensibility to the melody that is unfortunately out of character for the Stones during this era. I wish I knew about this song before, it's a winner.

Take it or Leave it

Flowers
Track 10
"Take it or Leave it" – 2:46




Ha ha ha:



Ha ha ha:




God, they weren't even trying at this point, were they?

Mother's Little Helper

Flowers
Track 9
"Mother's Little Helper" – 2:46




A Stones song about someone else's drug abuse? Is this supposed to be ironic or something? I never understood what was going on in this song.

Musically, there was a lot going on. Brian Jones plays that lick after each verse that sounds like a sitar (actually a 12-string played with a slide). Bill Wyman overdubs those same bass slides that he used on "Paint It, Black" over Charlie Watts' double-time beat – some nice acoustic guitar rounds out the rhythm section. A great modulation to the major for the bridge.

Still, what the fuck? I just don't get this song. What is the point of telling me about mom's Valium addiction? Are they trying to tell me that the squares who busted them for drug use were hypocrites? "See, it's not just us, everyone is doing drugs"? If that's it I am going to be sorely disappointed. Is it a "The Darker Side of the Suburbs" slice-of-life observational study? Is it about someone they knew? I wish I knew the point of all this.

Please Go Home

Flowers
Track 8
"Please Go Home" – 3:17




Yes! Now that's what I'm talking about. The Stones were always at their best extending the work of their 50s rock and roll heroes like Chuck Berry or Buddy Holly, and on "Please Go Home" they can be heard combining their native misogyny with a heavy Bo Diddley rhythm – Brian Jones's guitar sounds especially great. Add in some pseudo-psychedelic touches (that echo that comes in at the end of the chorus; the theremin) and you've got the makings of a great single.

Back Street Girl

Flowers
Track 7
"Back Street Girl" – 3:26





Well, someone's been listening to "You've Got to Hide Your Love Away", eh? Acoustic ballad played in waltz time, studio musician brought in to supplement the sound with an exotic instrument, stoic lyrics barely hiding a mind wracked with melancholy.

Speaking of the lyrics, Mick somehow managed to combine the misogyny of "Stupid Girl" with the faux chivalry of "Lady Jane":

Please don't you call me at home.
Please don't come knocking at night.
Please never ring on the phone.
Your manners are never quite right.
Please take the favors, I grant.
Courtesy, don't you look nonchalantly at me.
Don't want you out in my world.
Just you be my backstreet girl.

Oh, Mick. You are such a charmer.

My Girl

Flowers
Track 6
"My Girl" (Smokey Robinson/Ronald White) – 2:38




Another one from the "What Were They Thinking?" file. "My Girl" was recorded more than two years before it appeared on Flowers, on the same day they recorded "Satisfaction". Given their previous failed attempts to perform soul songs credibly, it's no wonder the song sat in the can for a couple of years. The real mystery is what possessed them to record it in the first place.

Out of Time

Flowers
Track 5
"Out of Time" – 3:41




A song left over from the Aftermath sessions a year previously[*], "Out of Time" sounds much older than that – it reminds me a lot of early-60s Girl Group structure, with the melodramatic marimba opening and the backing vocals throughout. I can picture the Marvelettes doing this song. After dealing with two albums of experimental garbage, it is a relief to hear the Stones do something this old school, and do it so well.

The Mick Voice. I will be discussing this in the weeks to come. You know the Mick Voice: jaw sticking out, severe underbite, slurring words all over the place. Think of the first line of "Angie" – that is the Mick Voice. When I began this project, friend of the blog and general raconteur Ron Littlejohn challenged me to find the first overt instance of the Mick Voice. I don't think this counts, not exactly, but you can hear the very beginnings of the Mick Voice 46 seconds into the song as he sings tyeeyeeime. What do you think?

[* Aftermath sessions a year previously: it actually appeared on the British version of Aftermath – in fact, I was unable to track down the Flowers version for this post, which is a much-edited version of the British Aftermath release I included in the Youtube clip.]

Have You Seen Your Mother, Baby, Standing in the Shadow?

Flowers
Track 2
"Have You Seen Your Mother, Baby, Standing in the Shadow?" – 2:34

(I forgot to do Flowers! 3 of the songs are repeats from Between the Buttons, so I won't do those.)




There is a good song lurking in here somewhere, but this mix is total shit. The horns sound like shit, the bottom end is muddy, you can't hear the guitars clearly. The song itself is an archetypical garage rock shaggy dog story, with a nice double-time beat. I've read that Keith was not impressed by the final product, which buried the rhythm section.

Here's another mix, with results just as poor:



This is probably more like what it was meant to sound like. It's Mick performing the song in 1993 on his Wandering Spirit solo tour.

Ruby Tuesday

Between the Buttons (USA Version)
Side 1, Track 3
"Ruby Tuesday" – 3:17





Apparently, Keith wrote this one. Go figure.

I've never really liked the song – the arrangement always seemed too fussy. I mean, what is the hook? Obviously the singalong title phrase and the great Charlie Watts drum fills in the chorus. Why the hell are you adding flutes and cellos to a straightforward rock song?

Anyway, I don't have much to add. I'd rather talk about Rod Stewart's version:



That is the most hilariously literal video I've ever seen. Aw, she's so carefree! She doesn't have time for photoshoots (or statues) – she just wants to blow bubbles in the fields and drive down streets with her head hanging out the window.

Rod's voice sure does sound good, though, doesn't it? I just wonder why he was so interested in that menu.

Let's Spend the Night Together

Between the Buttons (USA Version)
Side 1, Track 1
"Let's Spend the Night Together" – 3:36




This was the song famously censored by Ed Sullivan for the Stones appearance on his show – he made the band change the title lyrics to "Let's Frolic Through the Daisy Fields Together". In protest, Mick performed the song dressed as a giant ham, which of course later led to him being cast as Victor Vacendak in Freejack.



Never liked this song.

Lady Jane

Aftermath (USA Version)
Side 1, Track 3
"Lady Jane" – 3:09



What the fuck? Really: What. The. Fuck.

My Sweet Lady Jane, when I see you again.
Your servant am I, and will humbly remain.
Just heed this plea my love, on bended knees my love.
I pledge myself to Lady Jane.

What the fuck is this shit?

UPDATE 11:53 AM: No, really, what the christ is this horrifying shit? I've thought about nothing else for the last half hour, and I still can't come up with an answer. In what universe is "Your servant am I, and will humbly remain" a good song idea? Is this an English thing? How the holy hell do you go from "She's the sickest thing in this world, look at that stupid girl" directly into "Wedlock is nigh my love, her stations right my love – Life is secure with Lady Jane"? I demand answers.