ROLLING STONES 'MARQUEE CLUB' MARCH 26, 1971 MOD LABEL LIVE, RARE & FANTASTIC

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ROLLING STONES 'MARQUEE CLUB' MARCH 26, 1971 ~ FIRST PRESSING ON MOD LABEL 1982 FINAL SHOW OF THE ICONIC 1971 UK TOUR ~ RARE w/ FANTASTIC SET LIST

THE ROLLING STONES "STONES ~ MARQUEE CLUB" RECORDED: MARCH 26, 1971 ~ MARQUEE CLUB ~ SOHO LONDON LABEL: 'MUSIC OF DISTINCTION' MOD 1008 ~ 'CREATIVE ARTISTRY' 3350 RELEASED: CIRCA SUMMER 1982 FOLD-OVER BLUE JACKET w/ TAN SLIP-SHEET INSERT COVER MATRIX: CP 3350 - A / CP 3350 - B CONDITION: VINYL: EX-  LABELS: EX- SLIP COVER: EX  JACKET: VG++
I've been going thru my large vinyl record collection over the past few weeks and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 45 years and it's time to pass some of them on to the next generation of collectors.
After all, we are just temporary 'caretakers' of these musical gems until the next owner and next collection takes them in. ~~~~~
This week, in recognition of upcoming July 12, the date 63 years ago when the Rolling Stones played their first concert together at the Marquee Club in London, on July 12, 1962, we are offering this rare, fantastic, 'collector' record featuring the Rolling Stones famous return to the Marquee Club to play their final 'Farewell' show in England on March 26, 1971.  They wouldn't return to play in the UK again for 2 years.
Before I describe this great record, a little Rolling Stones history...
The Rolling Stones played their first concert as a band together, 63 years ago this week, at the Marquee Club in London, on July 12, 1962.
Clearly that July day wasn't the first time Mick Jagger and Keith Richards played together.  They had already met a year earlier at the train station in Dartford, outside London. They shared their love of American blues records, jammed together, and had already formed their first crude band, 'Little Boy Blue and the Blueboys' which included their friend Derek Taylor on guitar. 
Central to the London blues scene was Alexis Korner and his band 'Blues Incorporated' who had a constantly revolving membership and played regularly at the Marquee Club. 
At the time, Charlie Watts was the drummer with 'Blues Incorporated' and Mick Jagger also occasionally sang with the band.
While Mick and Keith were forming their partnership, Brian Jones was still trying to form his own R&B band under his stage name of 'Elmo Lewis' at the time. He soon hooked up with piano player Ian Stewart.
Alexis Korner's band had a regular Thursday night gig at the Marquee Club in Soho, where all these various musicians would gather, socialize, play together and jam.
Eventually those Thursday night jam sessions became dominated by the early lineup of the Rolling Stones, and on Thursday, July 12, 1962 the 'Rolling Stones' performed at the Marquee Club for the first time as a band.
The band that night included Brian Jones, Mick Jagger, Keith Richards, Ian Stewart, Dick Taylor on bass and Tony Chapman on drums. 
Rock legend claims that Mick Avery of the Kinks was the drummer that night, but the drummer was Tony Chapman, who played with Bill Wyman in a band called the Cliftons during that period.
The legend is that Bill Wyman had the most powerful amplifier at the time, and was therefore asked to join the band. Bill was in the band by December 1962, and Charlie finally decided to join the Rolling Stones by January 1963. 
The original lineup of Brian, Mick, Keith, Bill, Charlie and Ian Stewart was in place by early 1963, and they soon developed a strong following of fans at the Crawdaddy Club in the Richmond Station hotel, as well as several other small blues clubs around London. 
By the summer of 1963 Andrew Loog Oldham became their manager and they were well on their way to becoming the greatest rock ‘n’ roll band in the world. ~~~~~~~~~~
So, this week on EBay, to celebrate the formation of one of my favorite bands, I'm offering up this vintage early US Pressing of the fantastic Rolling Stones 'collector' record 'Rolling Stones: Marquee Club' on the iconic MOD 'Music of Distinction' label.
This is my personal, original, early pressing copy that I purchased 'used' in the shops along St Marks Place in Greenwich Village in the early 80's, my usual vinyl hunting grounds in those days, and it has remained in my record collection ever since.
I've taken great care of this record for over 40 years now. It's been poly-line sleeved, inside and out, since I purchased it, stored properly in my collection, and it's still in great condition, just like I purchased it all those years ago.
The Rolling Stones live at the Marquee Club in 1971 is often cited by Rolling Stones collectors as one of the Stones' best live 'collector' records.
It's considered one of the essential, most incredible, live Stones recordings, capturing the Stones at their rough and rocking peak, and revealing all their power, rawness, and bluesy swagger. 
This is a clean, classic, early 'Music of Distinction' pressing, with better than average sound for these types of records, and a great early paper slip-sheet cover. An excellent recording that belongs in every classic rock or Rolling Stones vinyl collection.
Please read and see the full description of this album's content, the amazing story behind its performance, and more details on the record's condition below. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
In March 1971, as the Stones prepared to leave England for France as 'Tax Exiles', they played a brief “Farewell To England” Tour, a 10 day run of 16 shows, playing twice a night in small theaters and on college campuses.
For tax reasons, they needed to be out of England before the new tax year started in the first week of April, so they didn't have much time left.
The brief tour started on March 4th 1971 in Newcastle, ran thru Manchester, Coventry, Glasgow, Bristol, Brighton, Liverpool, Leeds, and finished up with 2 classic shows at the London Roundhouse on March 14th. They played two shows each night, except in Brighton and Leeds.
These concerts were the band's first British shows in four and a half years, since the fall of 1966, apart from the famous Hyde Park concert in July 1969, and a brief live appearance at an NME Poll Winners’ Concert in 1968, so there was a lot of excitement among fans anxious to see the band and the shows all sold out instantly.
The 1971 UK tour captured the Stones right on the brink of superstar status, while they were still pure, unfiltered, wild and untamed. 
The 1971 'Farewell' tour was stripped down and raw - no elaborate staging or production, just swagger, grit, a killer band, and killer riffs. Pure rock ‘n’ roll firepower, with the Stones doing what they did best; delivering pure, dirty, swaggering electrifying rock ‘n’ roll that sounded both dangerous and thrilling.
These March 1971 UK college shows have a close intimacy that previous Rolling Stones' arena shows on the 1969 tour, and later stadium shows on the 1972/73 tour lack. 
London's 'Record Mirror' rightfully claimed "The Rolling Stones proved once again that they are still the best little rock and roll band in the land."
By the spring of 1971, the Stones were at their peak musically and were confident that their new album 'Sticky Fingers' was going to be a hit, change their fate and trajectory, and that they were on the cusp of superstardom.
The band knew that they were at a turning point, at a crossroads, and that these 1971 UK gigs marked the end of an era. They also knew that by leaving England to be Tax Exiles in the South of France meant that performing intimate shows in small theaters like this would be impossible in the future, so they were wise enough to know that this moment should be captured and documented for Rock'n'Roll history, but time was running out. 
The band had to be out of England before the new Tax year started in early April, so just 12 days after the tour ended, on March 26th, 1971, although not officially part of the tour, the band decided to perform one last show, record and film it for posterity and a future TV special.
The Stones wisely decided to perform this final gig at the small Marquee Club on Wardour Street in Soho London, the same venue where they got their start as a band some nine years earlier, when singer Mick Jagger and guitarist Keith Richards were still teenagers.  ~~~~~~~~~~~~~~~~
On March 26th 1971, the Stones were at their absolute peak as they rolled into the small, hot, cramped Marquee Club in Soho, to perform their final UK concert for 2 years in front of less than a thousand lucky 'invited' fans.
According to the 'Melody Maker', the small, elite crowd included friends and family as well as some of London's top rock musicians including Eric Clapton, Jimmy Page, Ric Grech, and their old manager Andrew Oldham.
This Marquee show is also noteworthy since it was the very first time that the famous Rolling Stones 'tongue and lips' logo was ever used, when it appeared on the VIP backstage passes for the concert.  It would soon make it's public appearance on the cover and inner sleeve of the 'Sticky Fingers' album, which was still several weeks away.
There were two Marquee shows taped that day. One a rehearsal, with no audience, and the second with a small invited guest list. A film crew was there to capture the event.
This Marquee performance is up close, personal, intense, and it really sounds like the band is playing just for you and your friends in a small club, which they were.
This album really immerses you in the band and the sound, and you hear every lick from Mick and Keith's guitars, the crack & snap of Charlie's drums, and every word and nuance from Mick Jagger's lips.
This Marquee show took place just weeks before the UK release of the classic 'Sticky Fingers' album, so a special delight for the crowd was hearing early live versions of 'Brown Sugar', 'Bitch', Dead Flowers' and the very rarely performed 'I Got The Blues' from 'Sticky Fingers', for the very first time, before the album was available in stores.
An amazing, inspired, passionate performance. The Stones are in top form throughout this show and prove that they were one of the best live rock n roll bands in their day. As you can hear, the entire band were obviously enjoying themselves in the small, hot, sweaty Marquee Club, the place where it all began.
This concert on March 26. 1971 at the Marquee Club was truly the Rolling Stones 'Farewell' to the UK. It would be two long years before the band would return to play shows in Britain. 
If you had any doubt that the Rolling Stones were "The Greatest Rock'N'Roll Band in the World", just give a listen to this album, 'Rolling Stones: Marquee Club', or 'Get Your Leeds Lungs Out', or any of the other recordings from that 1971 UK tour. ~~~
Although the plan to film the band's last UK performance was a great idea, The Stones were generally dissatisfied with how the film and recording ended up.
The performances were a little choppy, there were several restarts and 2nd takes, Jagger's voice and the sound wasn't perfect, several cues were missed and Mick messed up a few lyrics, forcing him to ad lib. 
On top of that, Keith was a little frayed and frazzled. This is all what made the Marquee show fantastic from a collector's perspective, but the Stones weren't happy that it wasn't more smooth and polished. They didn't like how it sounded and how they appeared, and decided to shelve the project. They only allowed heavily edited parts of the broadcast to be aired in select parts of Europe as a TV special titled 'Ladies and Gentlemen, The Rolling Stones', not to be confused with the 1969 Tour documentary film with a very similar name.
For decades, the 1971 Marquee Club show remained a shadowy, semi-official affair, having been sporadically broadcast by the BBC over the years. The show  became a grail for Stones collectors.
Many years later, the entire Marquee Club performance, a heavily edited mix of rehearsal and show footage, was eventually released by the band on CD and DVD in June 2015.  ~~~~~~~~~~~~~~~~~~~~~~~~
The 1971 Marquee Club show is one of the key, important, live performances of the Mick Taylor-era Rolling Stones. An intimate live recording, and absolutely essential for all Stones fans.
There aren't many performances from that rocking, blues-drenched and country-infused 1971 UK Tour available to collectors. 
This Marquee Club show, the Leeds show, and the final London Roundhouse show on that “Farewell To England” Tour, were originally recorded by the BBC in full stereo and the Marquee and Leeds shows were professionally filmed, so the sound is generally fantastic. 
Those recordings are the source for this 'Stones: Marquee Club' 'collector' record, as well as many others. Although those shows were recorded in full Stereo, this record is a decent sounding Mono, possibly narrow Stereo, soundboard recording.
For Stones collectors, the venues and audiences on that tour were so small that only 2 other shows, out of the 16 total shows, are known to be captured on tape and in circulation..
It's unfortunate that this 1971 period, the band’s best and most iconic era as a stage act and as live performers is not better documented on 'official' releases, making us Stones fans seek out these rare  'collector' records. ~~~~~~~~~~~~~~~~~
Many Rolling Stones fans and collectors feel that the Mick Taylor-era Stones was the band's pinnacle of creativity and live performance.
Many Stones fans really like 1972/1973 era of the band, and consider it their best live period, but then others don't like the glitzy, glittery, 'coked up', fast tempo of the 1973 shows and prefer the earlier tours like this one. 
I personally think this 1971 period is when the Stones were at their best. The smaller theaters and stages, with Bobby Keys and Jim Price on horns, and Nicky Hopkins on Piano, works perfectly with the band's style, attitude, new 'Sticky Fingers' songs, and the pacing of the material.
In 1971, the band was rawer, rough and rocking, less showy, more intense and way more tighter and exciting than on the 1969 tour. This show is much more polished and not as loose, raw and demonic as shows on the '69 tour.
In the spring of 1971, the Stones were playing in the kind of venues where rock’n’roll was measured by the attitude, performance and energy of the band, not by the size of the crowd. 
I love the “Get your Ya’s Ya’s Out!” record - one of the greatest live albums ever, which captures a perfect snapshot of the 1969 US tour, but this album serves as a perfect snapshot of their 1971 UK 'Farewell to England' tour. The attitude, performances, and song selection are incredible.
Most Rolling Stones collectors agree this is one of the essential recorded performances of the Mick Taylor era, Rolling Stones. Easily one of the classic, unissued, live 'collector' albums by The Rolling Stones and arguably some of the best music they ever recorded. ~~~~~~~~~~~~~~~~~~~
The entire Marquee Club concert was filmed and recorded by the BBC, but due to the time constraints of vinyl, this album doesn’t include the whole show, just many of the highlights. 
The songs on 'Stones: Marquee Club' include:
Dead Flowers I Got The Blues  Let It Rock Midnight Rambler (I Can't Get No) Satisfaction Bitch Brown Sugar Tumbling Dice (May 18th, 1972 Rialto Theater rehearsals, Montreux, Switzerland) ~~
The amazing and interesting thing to me is that these shows took place just weeks before the UK release of the classic 'Sticky Fingers' album, so the Stones were debuting 'Sticky' material before it was even available in stores. The audience was hearing songs like 'Brown Sugar' and 'Bitch', performed an in an intimate setting, for the very first time. They were also treated to a fantastic Stax-styled, southern soul version of 'I Got the Blues', a song Mick wrote about his recent split from Marianne Faithfull. It's a song the Stones rarely ever played, then or since. It wouldn't be heard again until 28 years later, popping up on the 1999 'No Security' Tour.
It must have been truly amazing seeing them on that short UK tour and hearing these songs for the very first time. ~~~~~~~~~~~~
This album starts off with a fantastic countrified version of a 'new' song, 'Dead Flowers' with Mick Taylor playing some amazing lead guitar.
The band then powers through the excellent, bluesy, 'I Got The Blues' with more excellent slide guitar work by Mick, some amazing expressive horns, and fantastic, raw, impassioned vocals by the other Mick.  Jagger's in a talkative mood throughout this show, introducing songs and bantering with the small, personally invited audience.
We then get a blistering version of Chuck Berry's 'Let it Rock'. It's as if Keith finally came to his senses, turned his amp up to 11, and cuts loose. A real treat to hear.
Then it’s on to my favorite cut on the record, a slightly short, but absolutely burning, crackling, and positively spine-chilling version of 'Midnight Rambler' which is arguably one of the best versions they ever recorded. 
The band knew every nuance of this classic song from 'Let it Bleed' and attack it with abandon.  Mick Jagger is intense and ferocious, both vocally and on the harmonica, while Keith and Mick Taylor  give the song an “edge” and just blaze away. 'Midnight Rambler' has rarely been bettered.
Next up comes one of my favorite songs on this live album. a slightly reworked version of 'Satisfaction'. It shows that the band, at least in 1971, wasn't yet entombed in their ways, cranking out the same old versions of the same old songs, night after night like they did on later tours. Back then, they weren't afraid to rework their songs and give them a fresh sound.
The version of 'Satisfaction' on this album is a bit slower and more spacious than the single version, and has a much funkier soulful arrangement that seems to owe a lot to Otis Redding and the Memphis Stax sound. For this show, 'Satisfaction' came to life in a way it never would again.
It's a much more slinky, soulful version and demonstrates what Keith once famously said; "It’s about the “roll” as well as the “rock”. This is a prime example of the "roll" in Rolling Stones. 
Next comes the show's powerful closing salvo of 'Bitch' and 'Brown Sugar'.
Bitch is terrific. A fiercely swinging version with Jagger's strong vocals and the band's driving rhythm and crunchy boogie goodness backing him up. That opening riff to “Bitch” is classic Keith.
The version of 'Brown Sugar' on this album is far more incendiary, sleazy and lustful than the single version, which was yet to be released when this concert happened. The song features that quintessential Keith Richards blues-rock guitar riff and it benefits from Charlie's rock-solid backbeat and the punch of Bobby Keys and Jim Price's horns, which effortlessly add a funky southern soul vibe to the song.
An extraordinary version of the band's 'new' song which was soon to be released as the first single from 'Sticky Fingers' and heard all over the radio.
The last song on this album is a slinky, soulful 'outtake' of 'Tumbling Dice', recorded on May 18th, 1972 during rehearsals for the 1972 'Exile on Main Street' tour at the Rialto Theater in Montreux, Switzerland. It's intimacy and slow soulful groove fits well with the other songs on this album. ~~
This Marquee Club concert really returned the band to their blues and R&B roots and really captures the original spirit of the Rolling Stones. 
It's everything you'd ever want to hear from the Rolling Stones, especially in a small intimate setting. Quintessential stuff.
As I said previously, this pressing of 'Marquee Club', although not perfect sound quality, is one of the best unissued, live 'collector' albums by The Rolling Stones and arguably some of the best music they ever recorded. ~~~~~~~~~~~~
There have been many 'collector' records and CDs capturing this legendary Marquee show over the years, but this MOD version, and the Swinging Pig version, were two of the first and earliest releases.
This copy is an original first pressing from the summer of 1982. This album was repressed in the mid 80's with orange GLC 'great live concerts' labels, with a white jacket and a light blue insert.
This early first pressing of 'Stones: Marquee Club' is one of the rarest, rawest, and most sumptuous, prime-era Stones shows known to exist. 
This album would make a wonderful companion recording to the classic “Get Your Leeds Lungs Out” from the same 1971 UK tour that I also have listed on my Ebay page. Click 'see sellers other items'. ~~~~~~~~~~~~
THE ROLLING STONES FRESH NEW APPROACH TO MUSIC IN 1971
After the 1969 tour and the death of Brian Jones, the Rolling Stones became fascinated with, and moved towards, more simpler, rootsy, bluesy, American music.
The band's new music featured a return to the traditional classic rock lineup of  twin guitars, drums, bass, and percussion, as expertly provided by Mick, Keith, Charlie, Bill, and new guitarist Mick Taylor. 
The Stones were always fascinated with 'American' music, but they weren't just copying the American blues, r&b, and country that they loved and respected, the were reinventing it, reformulating it, and making it their own. 
As Keith was diving deeper into his nasty habits: potions, pills, and powders, you name it, he took it, the band starting writing songs with a fresh, different approach, a musical return to basics, utilizing their new guitarist Mick Taylor more, as well as a new small horn section that Jagger claimed he had wanted to add to the Stones’ stage act for years. 
This new band and new approach is clearly evident on the songs on 'Sticky Fingers' and on this album. ~~
The band's lineup for this Marquee Club show included:
Lead Vocals – Mick Jagger Electric Guitars – Keith Richards, Mick Taylor Piano – Nicky Hopkins Trumpet – Jim Price Alto Saxophone – Bobby Keys Bass – Bill Wyman Drums – Charlie Watts
By the time of these UK shows in 1971 Mick Jagger’s trademark mix of swagger and abandon had already made him rock's definitive frontman, but on this album, his vocal performances reach incredible new heights.
Mick Jagger's voice is amazing; powerful, emotional, and all about melody, feeling, and style. Mick never sounded richer or fuller, and never sang better, than what he did during this early 70's time period.
Mick Jagger was at his youthful demonic peak in 1971. During this show he's fired up and gives a lot of banter between songs.
Mick also still sounds as though he truly means what he is singing, and makes an effort to put some life and emotion into the lyrics, as opposed to the flat, often emotionless, shouting, barking and yelping he would do on future tours. 
As time went on, Jagger gradually became more focused on his appearance and his stage act than singing, but here, at the Marquee in 1971, his vocals on 'Brown Sugar', 'Bitch' and 'Midnight Rambler’ are perfect; sneering yet charismatic, menacing yet mellow, hip, flowing, and spot-on. Jagger gives his all at singing on this album, from blues crooning to brutal snarls, and he also manages to play some excellent harp. ~~~
Keith Richards is also in top form on this live recording. His overall sound and biting riff-work is amazing; fresh and crisp, vibrant and dynamic, with lots of punch.
Keith was at his most 'elegantly wasted' at this gig and almost didn't make the show.  Reportedly, Keith ~ having overslept or 'overindulged' ~ was over 4 hours late to the gig that day and in pretty rough shape.
At the time, Keith was spending a lot of time hanging out with his new pal, Graham Parsons from the Flying Burrito Brothers, sharing their love of music and drugs, and soaking up Graham's deep knowledge of American country and blues music.
Keith somehow finally pulled himself together, resurrected himself, and came straight to the gig; slightly disheveled, unshaven for days, in the same clothes he had been wearing for, well, awhile, and not wearing any shoes. Mick had to ask the audience if anybody had any size 9 boots Keith could 'borrow'.
Bill Wyman later recalled: “We went to the Marquee (and) Keith didn’t show up for about four hours. When he did, he looked awful. He was dirty, unshaven, and very untogether.”  
Despite it all, Keith managed to plug in his guitar and tune up, just in the nick of time.  Of course, Keef plays amazingly!
Keith's guitar tone on this live recording is one of the dirtiest and rawest he ever achieved. His amps create a guitar sound which is the aural equivalent of sharp, but rusty, razor blades.
Interestingly, Keith also missed the band's train to the tour's opening night in Newcastle, eventually showing up hours late, but just in time, with buddy Graham Parsons in tow.
Mick and Keith are great, as always, but Mick Taylor is easily the standout of this concert.
By the time of this concert, 1971, Mick had been in the band almost two years and had found his place and built his confidence.
Mick Taylor is in top form on this live album with his beautiful, tasteful, inventive and jaw-dropping guitar work. His playing is amazing. Mick Taylor was now fully integrated into the group and he faithfully captures the attitude, style, and sound of the Stones, but also adds his own distinctive sounds and flavors.
His virtuosity on slide guitar gave the Stones an authentic blues sound they hadn't had since the very early Brian Jones era.
Mick Taylor's leads are transcendent and the tight rhythm guitar / lead guitar interplay between Richards and Taylor is both telepathic and full of dynamics.
Keith Richards and Mick Taylor show why many Stones fans considered this lineup their best, as the duo spin and weave their guitar lines together and trade off solos with each other throughout the show, instinctively knowing when to leave space for the other. 
Mick Taylor really shines on this album, especially on 'Dead Flowers', 'Midnight Rambler', 'Brown Sugar', and his stratospheric slide solo on 'I Got The Blues'. ~~~
The overall musicianship on this live album is outstanding and the whole band is on fire.
The Rolling Stones horn section, made up of saxophonist Bobby Keys and trumpet player Jim Price, fresh from Bonnie and Delaney's touring band, had settled into their roles as the group’s horn section and they add all the right punches, bluesy funkiness, and 'seasoning' to these songs. They generally hang back enough to let the band do their thing, but leap out and remind you of their presence at the perfect moments.
For this brief 1971 UK Tour, the band also had their veteran keyboard player Nicky Hopkins playing piano with them onstage for the first time ever. He's exceptional as well and adds his own touches and keeps the melodies flowing, while everyone else cuts loose.
Bill Wyman, often overlooked, also really stands out on this live album. He's not credited enough for driving the power behind the Stones. His powerful bass just throbs along in that perfect pocket that's not exactly with Charlie, and not exactly with Keith, yet supports both. Bill Wyman's playing is rock solid and gives these songs an amazing pulse of their own.
Charlie's drumming is great, as it always is. Tight, crisp, driving, but with a funky, sometimes jazzy, looseness.
As a live band, the Stones were definitely operating at a very high level during this show. Very tight, energetic and inspired throughout, and the performances are great. The whole band is on fire and the setlist is amazing, featuring some very early live versions of songs that would later appear on the upcoming 'Sticky Fingers' album. ~~
'Rolling Stones: Marquee Club' is a terrific record. The Stones at their peak; great music, great musicianship, and fantastic songs.
Overall, a great vintage Rolling Stones record and one that belongs in any Rolling Stones or classic Rock vinyl collection. 
The sound is decent, as far as 'collector' records go, the band is absolutely on fire, the energy is positively crackling, the set list is excellent, and the performances are outstanding.
For years, the Stones had been called the World's Greatest Rock'n'Roll Band, but if that designation ever applied, it was here on 'Stones: Marquee Club'.  ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CONDITION: 
I tried to show good hi-resolution photos of the jacket, labels, sleeve, and vinyl in my pictures.
This is my original early copy of 'Rolling Stones: Marquee Club' that I purchased 'used' nearly 45 years ago. I purchased this copy back in the early 80's, in Greenwich Village, on one of my regular vinyl digs in those days, and have taken great care of it since.
This record has been sleeved and stored properly for years, and is still quite nice for an early pressing. ~~ 
The cover lists the record company as 'Music of Distinction' and has catalog # MOD 1008, while the record labels list the company as 'Creative Artistry' with the catalog #3350.
The jacket is a plain, one piece, bright blue, older, file-folder style, folded cardboard sleeve, no 'pocket', with a nice Tan printed slip-sheet paper insert.
The insert has a great design with a rare 1971 era photo of the band and some terrific 'Tumbling Dice' artwork by 'The Ted'. This was made in the era when hand-drawn covers by William Stout were all the rage, and 'Ted' gives a nod to both Stout and 'Exile on Mainstreet' cover artist Robert Frank, with the image of a circus performer freak in the background.
The blue 'Creative Artistry' labels list the artist as "Davey Winston" and have a fictitious tracklist printed on them. The blue color of the labels matches the blue color of the sleeve. ~~
VINYL: The vinyl looks excellent. Clean and bright. This album is pressed on nice, heavy, high quality 'virgin vinyl' and has a nice sound to match. A flawless pressing, which was rare for 'collector' records in the early 80's.
No significant scuffs, scratches, or dings worth mentioning. I'm sure you'll be very happy with it.
I'll call it a conservative VG+, to keep everyone happy, but you can see from my photos how nice it looks. 
I haven't messed with this disc or cleaned it, other than my trusty 'DiscWasher' brush, in over 40 years, so it would likely benefit from a good deep cleaning to make it even better looking and better sounding than it already is. I'll leave that up to the winning bidder.
LABELS: As mentioned, this pressing has blue 'Creative Artistry' labels and lists "Davey Winston" as the artist. It's unusual, but I've seen and own several other 'collector' records with this identical label.
The labels are clean and bright and the spindle holes are clean and sharp, suggesting infrequent playing and my careful handling over the years.
JACKET: As you can see from my pictures, this still looks very nice for a 45 year old copy. 
There's a Tan paper slip cover insert over a plain bright blue jacket. The tan paper insert is in excellent condition. Clean, square and bright with sharp corners. The insert is loose and removeable. 
I purchased this record 'gently used', decades ago, and, as you can see, the previous owner very neatly wrote the song titles in black marker on the back of the album. That's how I purchased it many years ago and left it alone.
It never bothered me, and actually helps me remember what was on this album. I think it adds 'character' and some unique personal collector history.
As they say, you don't play the jacket, it's all about the fantastic music on the disc inside.
The plain blue record jacket has some mild edge wear and mild dings, but not too bad. For decades, I had planned to swap it out with a clean white jacket that had an actual pocket, not just a simple fold-over, but never got around to it.
As you can see it still looks great and very acceptable. An amazing rare survivor. I tried to show details in my photos.
Very nice, all original, and a real gem. I'm sure you'll be very happy to add it to your collection. It would make a great addition to any Classic Rock or Stones vinyl record collection.  ~~~~~~~~~~~~~~~~~~~
** NOTE: I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's rare, and as described, and I'm sure you'll be very happy with it. A great, rare, original, early 80's, decent sounding copy. ~~~~~~~~~~~~~~~
I’m recently retired and downsizing and letting go some gems and rarities from nearly 50 years of vinyl record collecting. 
Keep an eye on my Ebay page, 'jjrbyrne' for more of these great rare collectible albums, EPs and 45 singles. 
All records have been carefully evaluated and graded by me. I visually inspect all records under bright light, personally gently clean them with a soft cloth and then, if unsure, play them on a modern high-end turntable and system to get a true picture of condition. 
Please look at all the high-resolution pictures I added. They are all my own and are of the actual record being sold. The pictures are part of the description and can show small details, label variations, and condition better than I can put into words. 
My grading is fair and honest. I have had over 3,600 happy and satisfied EBay customers over the years, with 100% positive feedback, and I have been buying/selling on EBay for nearly 30 years, so please bid with confidence!
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As you well know, packing and shipping rare records requires special care and attention, therefore, shipping cost within the lower 48 states is $5.00 on this item. If you would like insurance, or anything faster than Media/Economy Mail, please let me know and I can arrange it for you. I’ll work with you to make sure you’re happy!
I will gladly combine multiple records, or other items on my page, and make the shipping much less for you. I don’t inflate the shipping costs; they are what they are. I strive to keep them as low as possible. See my feedback for comments on my quality packing and shipping.
All items are packaged with sturdy cardboard mailers and appropriate padding. I take pride in my packaging and shipping and package all my records as if I were sending them to myself. I treat the records you win as if they were my own, and mail them the same way. 
All orders are processed and shipped within 2 business days of receipt. We package and ship our vinyl records with the greatest care, using proper packaging to ensure that your rare and collectible vinyl records arrive in pristine condition.
Payments can be made by any of the multiple options that Ebay offers.
I will be happy to exchange feedback with anyone I complete a transaction with.
THANK YOU for looking and reading if you got this far. I know I rambled on a bit, but can't help it. I have a passion for records, especially the Rolling Stones. I hope this listing was entertaining and informative.   -- JOHN