ROLLING STONES (NANKER PHELGE) 'OUT OF TIME' MID-60's STUDIO RARITIES ON MONROE

$

45

ROLLING STONES (NANKER PHELGE) 'OUT OF TIME' ON MONROE  MID-60's STUDIO RARITIES
THE ROLLING STONES (NANKER PHELGE) "OUT OF TIME" LABEL: MONROE RECORDS NP-6 1963-1968 STUDIO OUTTAKES, ODDITIES & RARITIES RELEASED: CIRCA 1982 RECORDED: STUDIOS IN LONDON, HOLLYWOOD, CA & CHICAGO RECORDING ENGINEERS: GLYN JOHNS, DAVE HASSINGER, RON MALO ALBUM COVER PHOTO: JERRY SCHATZBERG ("RODNEY BONER") PRODUCER: ANDREW LOOG OLDHAM for IMPACT SOUND MATRIX (SIDE A): (Etched) NP-6-A   (SIDE B): NP-6-B
CONDITION: VINYL VG+   JACKET EX ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I've been going thru my massive vinyl record collection over this past winter 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 on EBay I am offering up this fantastic, rare, nice clean copy of the classic Rolling Stones 'Collector' album "Out of Time"
This is my original clean copy that I purchased back when it was 'new', around 1982, over 40 years ago, on one of my regular vinyl digs in the many shops along St Mark's Place in Greenwich Village.
I don't recall exactly where I picked this up. My days living in New York as a young man are a little 'hazy', but I was an avid record collector and buying lots of rare vinyl and 'collector' records back in those days at the various record stores in lower Manhattan, where these type of records were relatively inexpensive and everywhere.
I've taken great care of this record ever since and it's in excellent condition. Read the full description of this album's history, content and the condition of the record below.
This is a great Stones 'Collector' record featuring rare, obscure studio recordings and material from the Stones classic mid sixties period.
All of the songs on this album are rare songs and rare mixes from various studios in London and America. They are all studio quality soundboard recordings and they sound amazing and outstanding. ~~~~~~~~~~~~~~~~~~
This is pressed on the Monroe label, not very well known to me as a Stones collector, but likely a local NYC outfit, one of many, that were direct competitors with TMOQ, Pig's Eye, Amazing Kornyphone, Rubber Dubber, Ruthless Rhymes, and other 'Collector' record labels.
I initially purchased this record back in the day because the great cover art caught my eye, but I was also a Stones completist and collector and purchased every odd Rolling Stones album I could find.
The album's cover is Jerry Schatzberg's famous, controversial and notorious black & white photograph of the Stones in drag, which was used as the picture sleeve for the November 1966 7-inch 45 release of "Have You Seen Your Mother, Baby, Standing in the Shadow?"  ~~~~~~~~~~~~~~~~~
The artist listed on the front cover of this LP is 'Nanker Phelge'.
As any serious Rolling Stone fan knows 'Nanker Phelge' was a fictional collective pseudonym used in the early 60s for several Rolling Stones group compositions. 
A 'Nanker' was a funny facial expression that Brian Jones often used to amuse his bandmates, and Jimmy Phelge was the name of an early flatmate, back in the very early days when the Stones all lived together in Edith Grove. 
The fictitious name 'Nanker Phelge' was suggested by guitarist Brian Jones to be used for any songs that were group efforts and credited to the whole band, so that the entire band, including early pianist Nicky Hopkins and manager Andrew Loog Oldham, would share in writing royalties and be able to earn money.
'Nanker Phelge' was commonly used in the very early 60s for the band's loose jams and blues numbers, but resurfaced in the late 60's on the credits of the 'Beggars Banquet' and 'Let it Bleed' albums, both very much 'group' efforts.
Therefore, 'Nanker Phelge' is a cool and appropriate band name for this collection of earlier mid 60s rarities. ~~~~~~~~~~~~~~~~~~
This album is a great example of how the Rolling Stones music was greatly improving and taking a drastic turn by the mid 60's.
They slowly transitioned from well mannered English kids playing mostly Blues and R&B covers, to unkempt, scruffy, rebellious young men, writing and singing their own songs about sex, partying, independence and rowdiness.
Once the Stones took on Andrew Loog Oldham as manager, he started pushing the band away from their blues roots and towards a more commercial Pop and Art Rock style, combined with a more subversive and aggressive presence on stage.
It was clear that the band's normal preference of covering other people's songs wasn't paying the bills, so Andrew encouraged the band to start writing their own songs, like the Beatles did.
By the end of 1965, they had released such gems as 'Satisfaction', 'Get Off of My Cloud', and “As Tears Go By,” taking their music in a new direction.
This was the Brian Jones era, and Jones was at his musical peak around this time. Brian was the original leader of the Stones, a talented musician, gave the band their name, and a bluesman at heart.
On some of these tracks you can really hear Brian shine. Brian Jones was clearly one of rock and roll’s most unique and dynamic guitarists. 
The drugs and hedonism hadn't taken over yet and he was still the master of his voice and instruments. Brian and Keith had a great sound playing together.
They developed what Keith has called the "ancient art of weaving" where they both simultaneously play lead and rhythm guitar at the same time, without clear boundaries between the two roles, punctuating each other's work. It made the 2 guitars sound like four or five. It became one of the Rolling Stones' trademarks in the 60's. 
On these recordings Brian plays some fantastic slide guitar licks, terrific harp, as well as some other instruments like the Dulcimer and Recorder. ~~~~~~~~~~~~~~~~
Andrew Oldham's biggest influence on the band was to make Jagger's charisma and flamboyance the focus of the group, moving Brian to the background, which pushed the 'glimmer twins' to write together more frequently, often leaving Brian out of the loop. The further away from their blues roots they got, the more Brian felt disconnected and uninterested. 

To keep his interest in the music fresh and exciting, Brian branched out to other instruments than guitar and harp, like the Dulcimer, Recorder, Sitar and even the tambourine. His instrument choices and playing was an essential part of the 'sound' of their mid-60's albums.
In the early 60's, the tambourine was just a simple folk percussion instrument, but Brian and Mick were some of the first rock musicians to use the tambourine (and maracas) in new ways and feature them as 'lead' instruments.
Unfortunately, Brian would slowly self-implode and was famously an early member of the '27 club' by the summer of 1969. Mick and Keith then took the band in a very different, but very successful direction.
There have been many changes for the Stones over the years, but two of the key transitions were Pre and Post 'Satisfaction' and Pre and Post Brian.
This album of Brian-era rarities shows the band at the peak of their early powers, right around the 'Satisfaction' period. Overall, a fantastic LP full of rare, hard to find, mid 60's tracks. As far as I know, some of these tracks are unique and not available on any other record of this type. 
This album contains some classic songs from the Brian Jones Era, when he was at his peak, the ultimate Rock star, and the Rolling Stones were on top of the Pop world. Brian and Keith were cool, hip and confident and their bold use of acoustic and electric guitars and odd instrumentation gives these songs a cool vibe and a 'different' sound. Definitely well worth a listen and worth adding to your collection. ~~~~~~~~~~~~~~~~~~~~~~~~~~
This release, from early 1982, is on the original 'Monroe' label and has deluxe packaging and early custom printed labels. The whole package is designed to look and feel just like a London Stones record from the mid 1960's. It even uses a blue London style 'Monroe' custom label.
This is a great 'Collector' record due to it's excellent cover art, fantastic studio, soundboard audio quality, deluxe packaging, and custom labels. ~~~~~~~~~~~~~~~~~~~~~~
I've listed all the songs on this album, along with the song length, the original composers, and the studio recording dates and locations as best I can below. The recording dates and locations aren't listed on the album, but I included them to the best of my knowledge.
I WANT TO BE LOVED [01:52] (Willie Dixon) May 10, 1963 Olympic Sound Studios, London ~~~ I WANNA BE YOUR MAN [01:44] (Lennon/McCartney) October 7, 1963 De Lane Lea Studios, London ~~~ STONED [02:09] ('Nanker Phelge') October 7, 1963 De Lane Lea Studios, London ~~~ POISON IVY [02:04] (Leiber/Stoller) November 14, 1963 De Lane Lea Studios, London ~~~ 2120 SOUTH MICHIGAN AVENUE [03:37] ('Nanker Phelge')  June 11, 1964 Chess Studios, Chicago ~~~ EVERYBODY NEEDS SOMEBODY TO LOVE [05:09]  (Wexler/Russel/Burke) November 2, 1964 RCA Studios, Los Angeles, CA ~~~ I'VE BEEN LOVING YOU TOO LONG [02:52] (Otis Redding)  May 12, 1965 RCA Studios, Hollywood, CA ~~~ DA DOO RON RON [02:21] (Phil Spector/Greenwich/Barry)  August 31, 1964 Regent Sound Studios & Decca Studios, London ~~~ SAD DAY [03:00] (Jagger/Richards) December 3, 1965 RCA Studios, Hollywood, CA ~~~ SOME THINGS JUST STICK IN YOUR MIND [02:25] (Jagger/Richards)  June 29, 1964 Regent Sound Studios, London ~~~ WE'RE WASTING TIME [02:41] (Jagger/Richards) August 31, 1964 Regent Sound Studios and Decca Studios, London ~~~ CON Le MIE LACRIME ('AS TEARS GO BY' [02:46]  (Jagger/Richards/Oldham) March 15, 1966 IBC Studios, Portland Place, London ~~~ WHO'S DRIVING YOUR PLANE? [03:13] (Jagger/Richards) August 3,1966 RCA Studios, Hollywood, CA ~~~ OUT OF TIME [05:35] (Jagger/Richards) March 6, 1966 RCA Studios, Los Angeles, CA ~~~ MEMO FROM TURNER' [04:08] (Jagger/Richards) November 17, 1968 Olympic Sound Studios, London ~~~ 'WILD COLONIAL BOY' [03:56] (Shel Silverstien) From 'Ned Kelly' Film - Mick Jagger Vocals
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The songs on this album include a collection of studio rarities from the 1963-1968 era. Excellent, exceptional sounding studio soundboard recordings. Some of the best, cleanest and clear versions of these rare songs that I've ever heard, and I've heard a Lot.
 A fantastic 'Collectors' album that any fan of early, mid-60's Rolling Stones would be pleased to add to their collection. Many great rarities and rare non-LP songs are collected here and it's nice to have them all together on one LP.
Some rare alternate versions, like a version of 'As Tears go Bye' sung in Italian, some rarities, and a few gems that the Glimmer Twins were toying with and considering for inclusion on their mid 60''s albums, but never made the cut. Many are quite rare. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THE STORY BEHIND THE 'SOURCE' OF THESE RECORDINGS
After the success of 'Hot Rocks' in 1971, the Stones' manager Allen Klein, who controlled the band's pre-1971 Decca/London material, wanted to release a follow-up, compilation album of Rolling Stones rarities, outtakes and alternate versions that were still in the Decca/London vaults. The working title was 'Necrophilia' and it was to be released on his ABKCO Record label. 
Several people in the Stones 'inner circle' were allowed access to the vaults and compiled lists of songs that they felt should be on such a 'rarities' compilation.
Unable to agree on what should be released, Klein put the whole project on hold and 'Nerophilia' was never released, but news, talk and discussion of the project made Stones collectors aware of some Gems still in the vaults that were still out there to seek out.
Abkco eventually released 'Flowers', 'More Hot Rocks (Big Hits & Fazed Cookies)', and 'Metamorphosis', each of which contained a trickle of rarities, but fans knew there was still much more out there.
Years went by, and in 1980, 2 years before this album, two 2-track master tapes of several popular hit Rolling Stones songs, in wide-stereo, were discovered at Sigma Sound studios in Philadelphia, which had previously been an old Cameo/Parkway recording studio.
The 2 newly discovered tapes were selections of hits from 2 different 1966 recording sessions at RCA Studios in Hollywood.
It was assumed that the Stones tapes discovered at Sigma Sound once belonged to Allen Klein, whose ABCKO records empire also included rights to the Cameo/Parkway labels who recorded in the same building years earlier.
I can remember that, at the time, there were rumors among Stones collectors of 2 reels of 1966 Stereo recording sessions that Klein and ABKCO 'threw out' in the early '70s after making 'Hot Rocks', but somehow still 'survived' in Sigma Sound's tape library. 
Descriptions of the tape boxes started circulating among Stones sleuths. One was a box of RCA 'Red Seal' (professional) brand tape marked "3-19-66 NANKER-PHELGE" and the other box was marked "STEREO MASTERS 10-18-66 D.H.".
It was soon clear that "D.H." was Dave Hassinger, one of the recording engineers at RCA Studios, Hollywood and the dates lined up with known Rolling Stones recording dates. 
By the summer of 1980 it was clear to tones collectors that the 'rumors' were true and that the tapes had been found.
The songs included perfect, never heard before, full Stereo versions of "Satisfaction", "The Last Time", "19th Nervous Breakdown" (2 Versions, including a totally alternate vocal take), "Get Off My Cloud", "Have You Seen Your Mother...", "Paint It Black" (minus several overdubs), "Heart Of stone", and a long 11-minute version of "Goin' Home." 
The story was that Klein, thru RCA Engineer Dave Hassinger at RCA Studios in Hollywood, had actually kept the tapes since making 'Hot Rock's in late 1971 and they resurfaced because Klein loaned them to 'Mobile Fidelity Sound Labs' back when MFSL was assembling and mixing their updated audiophile version of 'Hot Rocks'.
Despite MFSL having access to these 'new' 1966 Stereo reels and new Stereo mixes, they were never used for the remaster, because they weren't on the original 'Hot Rocks' album. Nobody knew that they still existed back when the original 'Hot Rocks' was put together in late 1971.
Nobody is really sure of what happened to the original reels after they 'surfaced' for the MFSL 'Hot Rocks' project. One assumed they went back to Allen Klein's personal vaults at Sigma Sound.
The appearance of these tapes raised the question of whether more Stones tapes exist at Sigma Sound that haven't seen the light of day?
At the time, late 1980, most of these stereo mixes were pretty hard to come by, and Stones collectors like myself were eager to get their hands on them.
Of course, tapes of these 1966 recordings soon circulated, but the sound quality was (purposely?) horrible. After some hunting and some 'I know a guy, who knows a guy...' detective work, fairly high quality transfers of the tapes made the collector market.
Buzz about these newly discovered reels was all the rage among Rolling Stones collectors at the time. This was in late 1980 and 1981's 'Tattoo You' and the huge tour that followed it were still in the future and unknown to fans at the time. The hottest 'news' was these newly discovered reels, especially the odd, stripped-down, un-dubbed version of "Have You Seen Your Mother, Baby, Standing in the Shadow" that was on it. 
The discovery of these reels sparked lots of interest among collectors about what else was out there. It also raised new interest in Allen Klein's aborted 'Necrophilia' album and what rarities were still in the Decca/London vaults. 
Then suddenly, in early 1982, some enterprising folks at Monroe records released this album, with the bold picture from the "Have You Seen Your Mother, Baby" picture sleeve on the front and full of unused rare London/Decca vault songs from Allen Klein's aborted project.
When this album came out in 1982, it was a smash hit. The right record at the right time for Stones collectors. Although it didn't contain anything from the newly discovered Sigma Sound reels, the cover implied it, and it was, and still is, highly sought after by Stones collectors. 
With so many rare Stones 'collector' records constantly being repackaged, re-titled and re-released, it was nice to get something 'new' and rare for a change. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Some comments on "Have You Seen Your Mother, Baby...", which is not on this album, but suggested by the cover, and the motivation and driving force behind this album's release in 1982.
The Sigma Sound 1966 RCA Studios reels contains a great, stripped-down, un-overdubbed version of "Have You Seen Your Mother, Baby, Standing in the Shadow". It was basically the only song on those reels that was truly unique, unavailable elsewhere, and sought after by serious Stones collectors.
The song was written by Jagger/Richards in the summer of 1966, at RCA Studios in Hollywood, during early recording sessions for their 'Between the Buttons' album.
It's noted as the first Stones song Keith Richards wrote on piano even though Jack Nitzsche, not Keith, plays piano on the final cut.
It's also noted as the first Stones song to include a horn section, which was inspired by the sound of Ike & Tina Turner's current hit singles at the time. The Stones were such big fans that they invited Ike & Tina to be the opening act for much of their 1969 Tour.
The clean, un-overdubbed version on the Sigma Sound tapes was recorded between the 'Aftermath' and 'Between the Buttons' albums in the summer of 1966 and one of the first songs completed for the 'Buttons' album.
It was the start of a new sound, new direction, and new attitude for the band and many fans claim it marked the beginning of their classic late sixties run of 'harder' songs and hard rocking albums.
The Sigma Sound version lacks that loud, somewhat annoying, feedback at the beginning and end, added by engineer Glyn Johns to make the song sound more 'powerful' on AM radio. The result is a much cleaner sound and you can really hear Keith's raunchy jagged guitar playing and the vocals more clearly.
The single was 'tweaked' by producer Glyn Johns, reportedly without the band's knowledge, and rushed out in time to be available for their 1966 American Ed Sullivan appearance. The band hated the final mix. I agree and think the un-dubbed version is much better.
Premiering the song live on Ed Sullivan made sales of the single take off, despite the questionable mix and both Keith and Brian clearly and poorly 'faking' their piano playing on the broadcast.
When fans swarmed to the shops to buy the single, they were shocked to see Jerry Schatzberg's famous photo of the band dressed in drag, wearing dresses, on the back cover. To sneak it past the censors, the front of the US single had a fish-eye lens photo of the band. 
'HYSYMBSITS' was the first Stones single to be released on the same day in both the US and UK, in September 1966. The UK single came in a plain, red striped company sleeve.
Apparently a short film, one of the first music videos ever made, was shot of the band walking around New York City and going to a bar, all while still dressed in drag.
The film was never officially released, but the record sleeve and the song's lyrics raised a lot of controversy around the Stones in America at the time. Keith said at the time to not read too much into it; "You must listen to it and place your own interpretation on the lyrics." 
With the release of 'HYSYMBSITS' the Stones were suddenly Rock's 'Bad Boys' an image they would capitalize on for the rest of the sixties.  ~~~~~~~~~~~~~~~~~
CONDITION: I tried to show good hi-resolution photos of the cover, labels and vinyl in my pictures.
VINYL: The vinyl is still generally in fantastic condition. Clean, bright, glossy and pressed on nice thick vinyl. The one 'fault' this great album has is a very light, long, 'scuff', not a scratch, across the first few songs on side two. It looks much worse than it is. It's very superficial and doesn't affect the sound or play. I showed a picture of it in my photos.
It's purely cosmetic, but should be pointed out. Other than that, no obvious flaws, dings or damage. This record is pressed on thick heavy high quality vinyl, unusual for a 'collector' record. None of the pitting or uneven filling so often found on records of this type. Beautifully pressed with fantastic sound to match. Professionally done, including the sturdy jacket and artwork.
Due to the scuff, I'll call it VG+, to keep everyone happy, but you can see from my photos how terrific the vinyl looks.   I haven't messed with this disc or cleaned it, other than my trusty 'DiscWasher' brush, in 45 years, so it's a little 'dusty' and 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: This release, from around 1982, is on the original Monroe label and has deep blue London-esque labels with silver text, just like the Stereo pressings of the first few Stones LPs. The blue custom labels are clean and bright. No marks or defects. 
The spindle holes are still sharp and clean, suggesting minimal playing and my careful handling over the years, despite the 'scuff' which I can't explain.
JACKET: The jacket is in excellent condition. Clean and bright. No marks, names, writing or damage. This jacket is made of thick cardboard, with quality printing, and has a fold-over paste-on back cover. Very similar to a mid 60's London pressing in look, design, construction and feel.
The corners are sharp, the printed spine is straight, and there are no seam splits or other issues. No signs of prior ownership. 
I've owned this record since it was new in the early 80's and it has been sleeved, inside and out, and stored properly for decades now. It's still quite nice for an original early pressing. Very nice, all original, and a real gem. I'm sure you'll be very happy to add it to your collection.
This copy still looks fantastic for a nearly 45 year old OG copy. It's a beauty and an amazing rare survivor. You just don't see these anymore. It's about as good a copy of this classic rare release as you're ever likely to find these days.
Overall, a terrific Rolling Stones 'Collector' record featuring a fantastic collection of great sounding studio rarities from the band's classic late 60's period. Songs from around the time period of the 'Aftermath' and 'Between the Buttons' albums, what many consider their first great, classic period.
Add this rare. classic, Rolling Stones record to your vinyl collection today. It has some great, rare songs and 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, clean, excellent sounding copy. ~~~~~~~~~~~~~~~
I’m recently retired and downsizing and letting go some gems and rarities from nearly 45 years of vinyl record collecting. Over the next few months I'll be offering an assortment of these rare and collectable LP’s. Many of these records have been in my personal collection for decades. Some of them are quite rare and seldom come up for sale. Limited pressings, European imports, promos, fan club releases, live recordings, first pressings and other general rarities. 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!
I'm a One-man operation, this is a hobby, not my job. I do this for fun. I do this because I love music, love collecting vinyl and want others to share in that same experience. I take my time listening, researching, grading, listing and packaging. I will NOT sell any record that I personally would not want in my collection.
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 refuse to use cheap flimsy packaging material when sending my vinyl. I treat them as if they were my own and mail them the same way. 
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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