Johnny Cash – Orange Blossom Special (1965)

FrontCover1Orange Blossom Special is the 21st album released by musician Johnny Cash on Columbia Records in 1965. The recordings include country and folk standards, such as “The Long Black Veil”, “When It’s Springtime in Alaska”, “Danny Boy” and “Wildwood Flower”.

The song that gave the title to the album was “Orange Blossom Special”, released previous to the album, it became a success. At the time it was recorded, the authorship of the song was not widely known, being commonly covered by diverse artists. Cash learned from Maybelle Carter that the song was written by Ervin T. Rouse, who Cash later met during a show in Miami, Florida. Cash’s recording is unusual in his repertoire for featuring a tenor saxophone solo by Boots Randolph, an instrument (and musician) rarely spotlighted on Cash’s recordings.

The album also contains three covers of Bob Dylan songs, that he gave Cash after a concert in Newport, Rhode Island. “It Ain’t Me Babe”, “Don’t Think Twice, it’s Alright” and “Mama, You’ve Been on My Mind”. The last one was only recorded by Dylan as a demo, but it was first released in an album by Cash. Cash had previously borrowed the melody of “Don’t Think Twice” for his recording “Understand Your Man.”

Released on February 1965, the album reached number three in Billboard’s Country albums as well as forty-nine in pop albums respectively. The single “Orange Blossom Special” peaked number three on Billboards Hot Country Singles and the duet with June Carter “It Ain’t Me Babe” peaked number four in Hot Country Singles.


Following the recording of the concept album Bitter Tears: Ballads of the American Indian, Cash recorded ‘Orange Blossom Special’ between August 27 and December 20, 1964. The recordings included a series of country and folk standards such as Lefty Frizzell’s, “The Long Black Veil”, Tillman Franks’ “When It’s Springtime in Alaska (It’s Forty Below)”, A.P. Carter’s “Wildwood Flower”, Jester Hairston’s “Amen”, and Frederick Weatherly’s Danny Boy.

Due to the acclaim that the cover of the song “Orange Blossom Special” received from the audiences that attended live concerts of Cash, a single of the song was released previous to the album, in February 1965 reaching number three in the Billboard singles.[3] During the mid 1960s, the authorship of the song was not widely known. Cash asked Maybelle Carter during the recording session about the original author, Carter stated that the song was written by Ervin T. Rouse and his brother Gordon. Carter also told Cash that the songwriter resided in Florida. Cash called Florida disk jockey Jim Brooker, who told him that he lived with the seminoles on the Everglades. In order to locate him, Brooker announced on air during his radio show, that if Rouse was listening to call the station to give him the phone number of Cash. Rouse called the station and contacted Cash who told him that he would be soon in Miami, Florida for a scheduled concert.


During an intermission of the show in Miami, a man approached Cash backstage claiming to be Ervin Rouse. Cash recalled hearing the name but he could not remember who Rouse was. After clarifying that he had written a few songs, he remarked that one he co-wrote with his brother, named “The Special”, was particularly successful. Cash recognized that he was talking about Orange Blossom Special. Cash believed the man, who actually was Rouse, that he had traveled from his house in the everglades in a custom-made swamp buggy to the house of his sister in Miami, where he borrowed her bicycle to ride ten miles to be at the concert. Cash invited the man to perform the song with him in the concert, receiving the acclaim of the audience. Later Rouse stated: “The Special belongs to everybody by now, I guess, but it used to be my best number”[3][5][6] Cash’s back-cover album notes for Orange Blossom Special are devoted to describing his meeting with Rouse.

Complementary to the standards, the album also featured covers of Bob Dylan. Cash had met Dylan briefly backstage during one of his performances at The Gaslight Cafe, but they talked extensively after a show in Newport, Rhode Island. Cash and Dylan traded songs in a motel, where Joan Baez wrote for Cash the lyrics of “It Ain’t Me Babe” and “Mama, You’ve Been on My Mind”. The first song was originally released in Dylan’s Another Side of Bob Dylan, but the second was only recorded as a demo by Dylan. In addition “Don’t Think Twice, It’s All Right” was included. To publicize both of their artists, Columbia Records released the single “It Ain’t Me Babe” with the liner: “A new song from Bob Dylan on a new single sung by Johnny Cash”.

The album was released on February 1965, it reached number three in Billboard’s Country albums and forty-nine in pop albums respectively. The single “Orange Blossom Special” peaked number three on Billboards Hot Country Singles as well as eighty in the Hot 100. The duet with June Carter “It Ain’t Me Babe” peaked number four in Hot Country Singles and number fifty-eight in the Hot 100.


Billboard wrote: “Cash is in fine form here and he has been coupled with a great selection of material. Cash displays a sense of drama and wit”.[10] Meanwhile, Western Folklore also praised the album as well as the recognition of the original author of the title song: “Johnny Cash offers an interesting collection of songs, partially reflecting the Folk Song Revival’s influence, in Orange Blossom Special. While the album is good, the notes are even better for they give information previously unreported on the title tune of the album and its credited composer, Ervin Rouse.” AllMusic later wrote about the album: “Even if the best and most popular of the songs on this 1965 album are the ones most likely to show up on greatest-hits compilations, it certainly rates as one of Cash’s finer non-greatest-hits releases”.

The song “Orange Blossom Special” later became a regular part of Cash’s concerts, with Cash performing both harmonica parts himself, usually with a dual-harmonica technique. During a performance included on his At Folsom Prison live album, Cash jokes that the song requires him to “change harmonicas faster than kiss[ing] a duck”. (by wikipedia)


Norman Blake (guitar)
June Carter (vocals)
Johnny Cash (vocals, guitar)
Ray Edenton (guitar)
Karl Garvin (trumpet)
Marshall Grant (bass)
W.S. Holland (drums)
Charlie McCoy (harmonica)
Bill McElhiney (trumpet)
Luther Perkins (guitar)
Bill Pursell (piano)
Boots Randolph (saxophone)


01. Orange Blossom Special (E.Rouse/G.Rouse) 3.06
02. The Long Black Veil (Wilkin/Dill) 3.06
03. It Ain’t Me Babe (Dylan) 3.03
04. The Wall (Howard) 2.09
05. Don’t Think Twice, It’s All Right (Dylan) 2.56
06. You Wild Colorado (Cash) 1.45
07. Mama, You’ve Been on My Mind (Dylan) 3.02
08. When It’s Springtime In Alaska (Franks) 2.36
09. All Of God’s Children Ain’t Free (Cash) 2.11
10. Danny Boy (Weatherly) 5.08
11. Wildwood Flower (Carter) 2.10
12. Amen (Hairston) 2.05
13. Engine 143 (mono version) (Traditional) 3.31
14. (I’m Proud) The Baby Is Mine (Cash) 2.30
15. Mama, You’ve Been On My Mind (earlier version) (Dylan) 2.54


Superjazz – Number One (1983)

FrontCover1What happens when five extremely good and high experienced jazz musisicians beliebe that swing, musically and good humour are more important than labels and categories, and get together to prove it ? Superjazz !

After two immensely sucessful European tours, here´s their first record, with a selection of tunes which are es finely arranged and brilliantly played as they are refreshingly diffeerent.

Here are tunes by Ellington, Basie and the Gershwin borthers. Up tempo swingers, soft ballads, shuffle beat foot tappers and exquisitely arranged standards. The way these five musicians blend together and set off each other´s playing, all working together to make the band sound good without losing their individuality, is a tribute to their musicianship and seasoned jazz sense, which somes from years of playing in all kinds of bands for all kinds of audiences, accompanying American jazz greats and learning from them, and being dedicated to the principle “It Don´t Mean A Thing If It Ain´t Got That Swing”.

Ths music certainly has got that sing – It is, in a word. Superjazz” (taken from the original liner notes by Jean Pierre Weber)

Indeed, this is high quality traditonal jazz … it was their first and last album …

Bob Barton (born in Birmingham) lives today in Switzerland.


Bob Barton with his new jazzband in 2015

Ray Ball (drums)
Bob Barton (piano, vocals)
John Defferary (clarinet, saxophone, vocals)
Chris Haskins (bass, vocals)
Andy Lawrence (trumpet, vocals)


01. Just You, Just Me  (Greer/Klages) 3.59
02. Your Feet’s Too Big (Benson/Fisher) 4.17
03. What’s New (Haggart/Burke) 4.19
04. Rockin’ In Rhythm (Ellington/Mills/Carney) 4.39
05. I Was Doing All Right (G.Gershwin/I.Gershwin) 4.28
06. Blues March (Golson) 4.36
07. Around The World (Young) 3.22
08. Blue And Sentimental (Basie/Livingston/David) 4.15
09. S’ Wonderful (G.Gershwin/I.Gershwin) 3.24
10. Caravan (Ellington/Tizol/Mills) 4.13
11. Silver Dollar (Palmer/v.Ness) 3.39
12. Echoes Of Spring (Smith) 4.08
13. Groovy At The Movie (Defferary) 3.22




Mountain – Twin Peaks (1974)

FrontCover1“Twin Peaks”is a live album by hard rock band Mountain. Their first release following their 1972 breakup and subsequent reformation, the lineup consisted of original member Leslie West and Felix Pappalardi joined by guitarist/keyboardist Bob Mann and drummer Allan Schwartzberg. The revamped Mountain toured Japan, from which the album’s material is culled. The original release was a double album consisting of a whole second disk (31 minute, 49 second, both sides) LP version of “Nantucket Sleighride”, the first one holding all other tracks.

Recorded in Osaka, Japan, in 1973, Twin Peaks was Mountain’s second consecutive live album (with The Best of Mountain compilation between them), albeit featuring the re-formed, somewhat reconfigured version of the group, consisting of Leslie West (guitar, vocals), Felix Pappalardi (bass, vocals), Bob Mann (guitar, keyboards), and Allan Schwartzberg (drums). It overlaps with its predecessor, Mountain Live (The Road Goes Ever On) on only two cuts, “Crossroader” and “Nantucket Sleighride,” and the latter is stretched out even further here than it was on the earlier album, to 32 minutes. The content ends up showing off the best and the worst attributes of Mountain — the best being such staples as “Theme from an Imaginary Western,” “Mississippi Queen,” “Never in My Life,” and “Roll Over Beethoven”.


Nantucket Sleighride: over half-an-hour, was precisely what audiences of the period were paying to see and hear, and captures the band’s music in all of its excessive glory. Additionally, “Nantucket Sleighride” doesn’t seem that long in the actual listening, mostly because it’s difficult not to be impressed with the playing, especially the guitar dialogue between West and Mann.

I guess the audience was stunnend after this jamming Sleighride … including a fine bass-solo by Felix Pappalardi.


Bob Mann (guitar, organ)
Felix Pappalardi (bass, vocals, piano)
Allan Schwartzberg (drums)
Leslie West (guitar, vocals)


01. Never In My Life (West/Pappalardi/Collins/Laing) 4.16
02. Theme For An Imaginary Western (Bruce/Brown) 5.01
03. Blood Of The Sun (West/Pappalardi/Collins) 3.04
04. Guitar Solo (West) 5.41
05. Nantucket Sleighride (Pappalardi/Collins) 31.49
06. Crossroader (Pappalardi/Collins) 5.56
07. Mississippi Queen (West/Laing/Pappalardi/Rea) 4.17
08. Silver Paper (West/Pappalardi/Collins/Gardos/Knight/Laing) 6.15
09. Roll Over Beethoven (Berry) 2.24




The History Of Rock – 1965 (2015)


The History Of Rock 1965 is the complete guide to an extraordinary year of music. This is the first issue of a new monthly magazine that tells the history of rock using revelatory, long-lost Nme and Melody Maker interviews. . . “Spread the word and you’ll be free!” As the year 1965 dawns, the personalities who will define much of the music of the next 50 years – be that The Beatles, Bob Dylan, or The Rolling Stones – are all still in their early twenties and producing classic work like Help!, Highway 61 and Satisfaction. In their wake, a second wave of innovators are busy determining their own paths, inspired by the work of others. The music writers of New Musical Express and Melody Maker were there with them all. They skilfully captured the major personalities up close, at a time where music – and along with it, music writing – was undergoing rapid change. Join them at John Lennon’s dinner table, being serenaded by John Coltrane in his hotel room, in a Tv studio with The Rolling Stones. Relive this fantastic year when the Beatles met Elvis, Dylan unveiled “Like A Rolling Stone”, the Who and the Kinks exploded onto the music scene and The Byrds, Walker Brothers, John Coltrane, Burt Bacharach, Bert Jansch and many more shared everything with Nme and Melody Maker.

Enjoy this trip with the time machine !




















Blaine L. Reininger – Live In Brussels (1986)

FrontCover1Blaine L. Reininger (born Blaine Leslie Reininger, 1953, Pueblo, Colorado, United States) is an American post-punk, new-wave and alternative pop singer, songwriter, musician, multi-instrumentalist (particularly violin), writer and performer. He is known for being a member of the group Tuxedomoon since 1977 after co-founding it with Steven Brown and, latterly, for a notable music and theatre career, both as a soloist and contributor to other artist’s recordings, including Durutti Column, Snakefinger, Anna Domino, Savage Republic, Paul Haig, William Lee Self’s Montanablue project, Devine & Statton and Brown himself.

After learning the violin and guitar during childhood and studying music theory in San Francisco, Reininger formed the band Tuxedomoon with composer, singer, musician and college-mate Steven Brown and appeared on early albums such as Half Mute, Desire and Suite En Sous-Sol before departing early in 1983 to pursue a solo career. He permanently rejoined Tuxedomoon in 1988 and has subsequently appeared on more recent recordings such as Vapour Trails, issued in 2007 by independent label Crammed Discs.

While still a member of Tuxedomoon, and inspired by the work of John Cage and Allen Ginsberg, Reininger wrote and recorded his debut album Broken Fingers, issued on Brussels-based independent label Les Disques Du Crepuscule in 1982. The album’s title was inspired by his experience of being mugged after playing a concert in Rotterdam and included the title track, Uptown and a cover of David Bowie’s “Sons Of The Silent Age”.

During 1983, Reininger left Tuxedomoon to concentrate on a new co-project with occasional band member Michael Belfer. Entitled Night Air, the album represented a more electronic approach than before, was produced by Gareth Jones and saw him continue his recording relationship with Crepuscule. Further solo works have included the EP Paris En Automne (recorded with Alain Goutier), the Live In Brussels album in 1986,[3] Byzantium (recorded with Gilles Martin) and his last for the label Songs From The Rain Palace, released in 1990.


His collaborative and contributive work during this period included the albums Short Stories For Pauline and Without Mercy with Durutti Column, an album of cyclical contemporary classical music pieces recorded with composer and producer Mikel Rouse entitled Colorado Suite and the Live In Lisbon concert recording with Steven Brown. The last two albums heralded a shift in musical style towards minimal music and classical music. In 1989, he also wrote the song Zeb and Lulu for the William Lee Self-fronted band Montanablue, issued as a 12″ single and later re-recorded by Reininger himself for his “Songs From The Rain Palace” album.

Blaine L.Reininger – Alain Goutier – Daniel Wang

During the 1990s, Reininger embarked on a couple of musical projects for major labels such as the solo film-soundtrack album Radio Moscow (Polygram) and Kingdom Of Dreams with ambient house collective Falling Infinities (Sony Music), as well as a one-off ambient music album with UVOII entitled Sound Of Heaven, issued in 1994 by German indie-label Fax Records (also known as FAX +49-69/450464).

Since relocating to Greece in the late 1990s, shortly before the death of JJ La Rue, his wife of 18 years, his involvement in film and theatre projects has increased with further soundtrack commissions including The Manic Man, Danton’s Death and Elektra, as well as numerous recordings being made available online. In addition, much of his earlier solo output has been reissued on CD via LTM Recordings. Of these, “Night Air 2” garnered acclaim from some corners of the press, particularly Allmusic who declared the album “..a fine showcase for his abilities at lush, often classically ‘cinematic’ work..”.

Daniel Wang

In addition to music releases Reininger also began acting the late 1990s, including roles in “Agamemnon”, directed by Mikhail Marmarinos, “Spiel mir das Lied vom Tod” under the direction of Albrecht Hirche and a handful of films with director Nicholas Triandafyllidis including The Sentimentalists, released in 2014. Prior to this, Reininger resumed a working relationship with William Lee Self by recording several tracks at Self’s Hamburg home studio between 2009 and 2011. The recordings saw the light of day in 2012 as “The Hamburg Sessions”, issued as a CD on the Belgian imprint Stilll.

In 2013, Reininger co-wrote music for and appeared (as a contributing musician) in “Clear Tears Troubled Waters”, a dance-piece for 7 dancers and 3 musicians, choreographed and directed by Thierry Smits and written and performed by Reininger, Steven Brown and Maxime Bodson, its soundtrack gaining a release on Crammed Discs as part of its resurrected Made to Measure series. Live performances of the latter drew praise from French and Belgian press.

Also issued in late 2013 was Commissions, a double-CD retrospective of Reininger’s catalogue of theatre and dance productions staged from 2008 onwards including Electric Girl, New Electric Ballroom, Lithi (Oblivion), Danton’s Death, Double Take, American Buffalo and Antigone. (by wikipedia)


Blaine L. Reininger

“Live In Brussels” originally appeared on chic Euro label Les Disques du Crepuscule in 1986. Recorded on stage with a four piece band in February of that year, the powerful set includes versions of several of Blaine’s best known solo numbers, including Broken Fingers, Birthday Song and Mystery And Confusion, as well the Tuxedomoon classics What Use? and Volo Vivace. Most surprising of all is his ultraviolent take of Uptown, an extended essay in urban paranoia.


Blaine L. Reininger today

Alain Goutier (bass, keyboards, background vocals)
Klaus Klang (keyboards, background vocals)
Blaine L. Reininger (vocals, violin, keyboards)
Daniel Wang (drums, trumpet on 05.)


01. Intro (Reininger) 4.48
01. Volo Vivace (Reininger) 5.54
02. Night Air (Reininger) 4.52
03. Birthday Song (Reininger/Belfer) 4.424
04. What Use Indeed?  (Reininger)
05. Uptown (extremely long concert version) (Reininger) 14.43
06. Broken Fingers (Reininger) 8.12



Beaver & Krause – Gandharva (1971)

FrontCover1In electronic music circles — and among “heads” in general — the names of Beaver & Krause have attained an almost mystical status that their small back catalog frankly struggles to live up to. Sure, they were matchmakers when commercial rock and electronic music were circling each other warily — it was Bernie Krause, in particular, who introduced the Moog synthesizer to the likes of George Harrison and Micky Dolenz (though he neglected to show them how to put it to good use). Yet much of their recorded work sounds remarkably timid when compared to that of other electronic pioneers of the period. Ironically, the most powerful music they committed to record involved hardly any electronic input whatsoever. The suite that filled the second side of Gandharva was recorded in San Francisco’s Grace Cathedral — chosen for its extended decay time and as a space that would make the most of new quadrophonic recording techniques — and involved jazz legend Gerry Mulligan on baritone sax and Bud Shank on alto sax and flute. Also present were Gail Laughton, playing two harps simultaneously, Howard Roberts on guitar, and Krause on Moog — though he can only be heard adding the very occasional rumble. But what made the music unlike any previously recorded was Paul Beaver’s serene performance on the cathedral’s pipe organ.


The combination of sax and church organ has been attempted many times since (by Keith Jarrett and Jan Garbarek to name but two), but never have the results come close to matching these. “Short Film for David,” “Good Places,” and Mulligan’s own “By Your Grace” are works of extraordinary stillness and beauty, with both Shank and Mulligan soaring effortlessly. Speaking recently, Krause described Gandharva as “an attempt to express our collective spirituality musically” that would “bring music from a point of noise to a place very much quieter and more contemplative.” Unfortunately, it’s the “point of noise” — to wit, much of what was side one of the vinyl edition — that lets down the album badly. “Saga of the Blue Beaver” is a standard-issue blues-rock jam, while “Walkin’ by the River” is an equally humdrum gospel workout.


What these tracks are doing on an album like Gandharva is anyone’s guess. The only traces of B&K’s pioneering spirit to be found on side one are the electronic manipulation of Patrice Holloway’s powerful a cappella performance on “Walkin'” and the brief synth-generated breathing effect of “Soft/White,” originally written for the film Performance. Small fry indeed. Nevertheless, all is forgiven in the light of what follows. (by Christopher Evans)

In other words: A timeless masterpiece !


The original labels from 1971

Paul Beaver (keyboards, synthesizer)
Bernard L. Krause (synthesizer, vocals)
Mike Blomfield (guitar)
Ray Brown (bass)
Evangeline Carmichael (vocals)
Lee Charlton (drums)
Rod Ellicott (bass)
Rik Elswit (guitar)
Vanetta Fields (vocals)
Ron Lee Hicklin (vocals)
Patrice Holloway (vocals)
LaMont Johnson (piano)
Bill King (vocals)
Clydie King (vocals)
Mike Lang (piano)
Gail Laughton (harp)
George Marsh (drums)
Ronnie Montrose (guitar)
Lewis Morford (vocals)
Gerry Mulligan (saxophone)
Howard Roberts (guitar)
Bud Shank (saxophone, flute)
Edna Wright (vocals)


01. Soft / White (Beaver/Krause) 0.52
02. Saga Of The Blue Beaver  (Beaver/Krause) 4.19
03. Nine Moons In Alaska (Beaver/Krause) 3.04
04. Walkin’ (Beaver/Krause) 2.42
05. Walkin’ By The River (Beaver/Krause) 2.39
06. Gandharva (Beaver/Krause) 1.12
07. By Your Grace (Mulligan) 5.13
08. Good Places (Beaver/Krause) 3.37
09. Short Film For David (Beaver/Krause) 5.23
10. Bright Shadows (Beaver/Krause) 4.53



The Royal Philharmonic Orchestra – The Greatest Hits Of The Rolling Stones (2003)

FrontCover1In 2016, the Royal Philharmonic Orchestra (RPO) celebrates 70 years at the forefront of music-making in the UK. Its home base since 2004 at London’s Cadogan Hall serves as a springboard for fourteen residencies across the country, often in areas where access to live orchestral music is very limited. With a wider reach than any other UK large ensemble, the RPO has truly become Britain’s national orchestra.

The regional programme, plus regular performances at Cadogan Hall, Southbank Centre’s Royal Festival Hall and a hugely popular series at the Royal Albert Hall, are conducted by a distinguished roster of musicians: Charles Dutoit, appointed Artistic Director and Principal Conductor in 2009 after a decades-long association with the RPO; Pinchas Zukerman, the inspirational Principal Guest Conductor; Alexander Shelley, the dynamic young Principal Associate Conductor since January 2015, and the esteemed Permanent Associate Conductor Grzegorz Nowak.

International touring is vital to the Orchestra’s work, taking it to many prestigious destinations worldwide. The 70th Anniversary Season plans include concerts at the festivals of Montreux and Granada, an extensive tour of the USA, and visits to central Europe and the Far East, including South Korea and China.


For more than twenty years RPO Resound, the Orchestra’s community and education programme, has taken music into the heart of the regions that the Orchestra serves. From Azerbaijan to Jamaica and from Shanghai to Scunthorpe, the team – comprising the majority of the Orchestra – has worked with young people, the homeless, recovering stroke patients (in the STROKEstra project in Hull) and in settings ranging from the Sea Life London Aquarium to hospitals, orphanages and children’s hospices.

In 1986, the RPO became the first UK orchestra to launch its own record label. Continuing its tradition of entrepreneurial innovation, in 2015 the RPO started an online radio station, The Sound of the Royal Philharmonic Orchestra, which broadcasts via its website, and RPO TV, an online video channel streaming fly-on-the-wall shorts written, directed and filmed by the musicians.

The Orchestra has become increasingly active on social media platforms, inviting audiences to engage informally on Facebook and Twitter and to enjoy behind-the-scenes insights on the RPO blog, YouTube and Instagram. It also offers a digital booking service on its app, RPO Rewards, offering audiences loyalty points.

Although the RPO embraces twenty-first-century opportunities, including appearances with pop stars and on video game, film and television soundtracks, its artistic priority remains paramount: the making of great music at the highest level for the widest possible audience. This would have been lauded by its Founder and first conductor, Sir Thomas Beecham, who set up the RPO in 1946, leading a vital revival in the UK’s orchestral life after World War II.


Since then, the Orchestra’s principal conductors have included Rudolf Kempe, Antal Doráti, Walter Weller, André Previn, Vladimir Ashkenazy, Yuri Temirkanov and Daniele Gatti; and its repertoire has encompassed every strand of music from the core classical repertoire to music of the twentieth and twenty-first centuries, such as the three Stravinsky ballets with which it tours during 2016 and works by leading composers of recent years, including Sir Peter Maxwell Davies and Sir John Tavener.


As the 70th Anniversary Season unfolds, the RPO’s versatility and high standards mark it out as one of today’s most open-minded, forward-thinking symphony orchestras. Now it proudly looks forward to the next 70 years.

And this is their way to play Rolling Stones classic tracks … a real nice way, indeed.


Alternate frontcover

The Royal Philharmonic Orchestra


01. Satisfaction (Jagger/Richards) 7.30
02. The Last Time (Jagger/Richards) 4.44
03. Paint It Black (Jagger/Richards) 5.31
04. Emotional Rescue (Jagger/Richards) 5.55
05. As Tears Go By (Jagger/Richards/Oldham) 6.33
06. Out Of Time (Jagger/Richards) 6.22
07. Angie (Jagger/Richards) 5.48
08. 19th Nervous Breakdown (Jagger/Richards) 5.16
09. Lady Jane (Jagger/Richards) 5.42
10. Fool To Cry (Jagger/Richards) 6.32