The Rolling Stones ‎– Out Of Our Heads

London Records ‎– PS 429
Vinyl, LP, Album

Tracklist Hide Credits

A1 Mercy Mercy
Written-By – Covay*, Miller*
A2 Hitch Hike
Written-By – Paul*, Gaye*, Stevenson*
A3 The Last Time
Written-By – Richard*, Jagger*
A4 That's How Strong My Love Is
Written-By – Jamison*
A5 Good Times
Written-By – Cooke*
A6 I'm All Right
Written-By – Nanker Phelge
B1 Satisfaction
Written-By – Richard*, Jagger*
B2 Cry To Me
Written-By – Russell*
B3 The Under Assistant West Coast Promotion Man
Written-By – Nanker Phelge
B4 Play With Fire
Written-By – Nanker Phelge
B5 The Spider And The Fly
Written-By – Richard*, Jagger*
B6 One More Try
Written-By – Richard*, Jagger*


Jacket has STEREO PS 429 at the upper-left, with no "Electronically Re-Processed" text.

Label has "side one" and "side two" in lower-case letters.

Barcode and Other Identifiers

  • Matrix / Runout (Label Side A): (ZAL 6791)
  • Matrix / Runout (Label Side B): (ZAL 6792)
  • Matrix / Runout (Side A - stamped): ZAL 6791-1 2
  • Matrix / Runout (Side B - stamped): ZAL 6792-4

Other Versions (5 of 278) View All

Cat# Artist Title (Format) Label Cat# Country Year
LK 4733, LK.4733 The Rolling Stones Out Of Our Heads(LP, Album, Mono) Decca, Decca LK 4733, LK.4733 UK 1965 Sell This Version
278 016, 278.016 , LK 4.725 Rolling Stones* «L'âge D'or» Des Rolling Stones - Vol 4 - Satisfaction(LP, Album, Comp, RE, RP) Decca, Decca, Decca 278 016, 278.016 , LK 4.725 France Unknown Sell This Version
UICY-93784 The Rolling Stones Out Of Our Heads(CD, Album, RE, SHM) ABKCO UICY-93784 Japan 2008 Sell This Version
LK 4725, LK.4725 The Rolling Stones Out Of Our Heads(LP, Album, Mono, Exp) Decca, Decca LK 4725, LK.4725 Europe 1965 Sell This Version
POJD-1503 The Rolling Stones Out Of Our Heads(CD, Album, Unofficial, Min) London Records (2) POJD-1503 Russia 2005 Sell This Version



Add Review



May 30, 2019
edited 4 months ago

Back when, things moved much faster than they do today, where like the Beatles, the Rolling Stones first four albums came out between May of ’64 and July of ’65.

I liked the early Stones work, though there was nothing seemingly magical about them as compared to the Beatles, who for some reason were paving the road others were destined to follow. Try as they might, the Stones were always taking a back seat, though in all fairness, the boys did try. Completing sessions for Out Of Our Heads, the Stones recorded in both Chicago and Hollywood in America, and London; though the real calling card here was that the band found themselves in the heart of rhythm & blues, bathing themselves in the venerated rooms of Chess Studios, the home of their blues artists’ idols.

Certainly the Beatles looked toward Americas R&B sound, though not with the same acuity as did the Stones, who drew heavily on not only R&B styles, but the musicians who laid down those sounds, creating a more more raw gutsy heavy atmosphere. Like their counterparts the Beatles, the Stones also laced nearly every album with covers, and this was to be no exception. Yet what the glimmer twins brought to the table this time around were two original songs that would change the musical landscape of popular music with “Satisfaction” and “The Last Time”. Unlike previous outings where Mick and Keith so doubted their abilities that they tributed their own songs to Nanker Phelge, as they’d done with with the haunting “Play With Fire,” “The Under Assistant West Coast Promotion Man” (where everyone was attempting to figure out just what that was) and “I’m Alright” on this album. But not for “Satisfaction” and “Last Time,” those songs proudly flew the flag of Jagger & Richards.

“Satisfaction” was a great song, filled with defining hip swaggering riffs and sexual overtones, both of which defined the Stones as the bad-boys of rock n’ roll, making them the heroes of the music underground, where the band stood defiant and loved it, with the album’s title indicating that yes, we are crazy, we’re out of our heads … so get on board or get out of the way. Sadly “Satisfaction” with its tongue in cheek reference would still be dogging the Stones sixty years later, with reporters and interviewers using the same tired cliques, though in retrospect, Jagger never tired of sparring with a sly smile.

Up until this time, the Stones were primarily known as a band with a knack for reworking those American R&B blues numbers to suit their, all be it scruffy British stance, with many American’s being unaware that this music was not at all original. Within Out Of Our Heads was a new found force backed by a genuine sense of assurance that overshadowed the imitative nature of their earlier recordings, where even their cover songs came off with a sense of the dramatic, a sense of importance and contextual security.

Thematically, side two of the album is much more substantial and original, opening with the now legendary “(I Can’t Get No) Satisfaction,” a song that was pure rock n’ roll spurred on by Richard’s incredible riff and Jagger’s finest vocal performance to date, with Jones laying down a fast paced line of support with acoustic strumming, while Wyman lets loose with a funky bass that’s supported by Watts’ controlled and visionary jazz drumming, an aspect that only heightened the backbeat for Stones’ inflections. And I haven't even mentioned the hauntingly dark "Play With Fire," filled with wonder, a song recorded in the wee hours of a late night session after the others had gone. Phil Spector played electric guitar, while Jack Nietzche played the harpsichord. Everything about the song is solidly centered, perfectly balanced and nearly guided forward by Jagger's tambourine, where to my way of thinking was just about the best number the Stones had ever recorded, setting the pace for the sonic soundtrack of my life.

As with the Beatles, the Stones were face to face with Bob Dylan that year, where his Bob-ness released both Highway 61 and Bringing It All Back Home, both albums that deeply influenced thew world, with Dylan being the sort of guy who stayed up all night writing songs, with the Beatles and the Stones had to develop that skill. I could easily go through each track, though the description of each would be relatively the same, with all of the bands’ members working together as a unit in order to create a sonic wholeness, where during the following year the Stones would release the staggering Aftermath album, and in less than two years, we’d find them wonderfully wasted with Beggars Banquet.

*** The Fun Facts: Naker Phelge also known as Naker/Phelge was a collective pseudonym used by the Rolling Stones. Brian Jones suggested crediting songs the band was unsure of, or song on which everyone collaborated to Nanker/Phelge, this way the entire band would share writing royalties. Phelge came from Edith Grove, the flatmate Jimmy Phelge, while a Nanker was a revolting face that band members, Brian in particular, would make by pushing up the nose with one hand, while simultaneously pulling down on the lower eyelids. Group manager Andrew Loog Oldham has a somewhat different explanation, as he states in his book “Stoned” that Nanker Phelge was the idea of manager Allen Klein to let Oldham share parts of the royalties. The name would resurface in the late 1960s on the labels of the original vinyl pressings of Beggars Banquet and Let It Bleed. Manufacture of both albums was credited to Nanker Phelge, which was then acknowledged as an ABKCO company (ABKCO was manufacturing the records that still bore the London and Decca labels).

Review by Jenell Kesler