(ROLLING STONES-More Hot Rocks: Big Hits & Fazed Cookies)-USA-H5-2xLP

	A$		35
	$		23

DESCRIPTION ITEM: 12" VINYL 2xLP  33 1/3RPM
ARTIST: THE ROLLING STONES
TITLE: More Hot Rocks: Big Hits & Fazed Cookies
COUNTRY PRINTED: USA
CAT No: See scan
COVER: Gatefold (Grade at EXCELLENT+ to NEAR MINT-)
INNER COVERS: (Grade at EXCELLENT+) sides & seam have splits
LABELS: (Grade at NEAR MINT+)
VINYL:
Record #1:(Grade at NEAR MINT-)
Record #2:(Grade at NEAR MINT)
TRACKS: See scans
All songs by Mick Jagger and Keith Richards, except where noted.

Side one

1. "Tell Me" 3:48
2. "Not Fade Away" (Charles Hardin/Norman Petty) 1:48
3. "The Last Time" 3:41
4. "It's All Over Now" (Bobby Womack/Shirley Jean Womack) 3:27
5. "Good Times, Bad Times" (B-side of It's All Over Now) 2:30
6. "I'm Free" 2:24

Side two
7. "Out of Time" (Edited version from Flowers) 3:42
8. "Lady Jane" 3:08
9. "Sittin' On A Fence" 3:03
10. "Have You Seen Your Mother, Baby, Standing in the Shadow?" 2:35
11. "Dandelion" 3:32
12. "We Love You" 4:22

Side three
13. "She's a Rainbow" (Edited version, without the announcer intro) 4:12
14. "2000 Light Years from Home" 4:45
15. "Child of the Moon (rmk)" 3:10
16. "No Expectations" 3:56
17. "Let It Bleed" 5:28

Side Four
18. "What to Do" (First released in 1966 on the British edition of Aftermath) 2:33
19. "Money" (Berry Gordy Jr/Janie Bradford – (First released in 1964 on the UK EP The Rolling Stones) 2:18
20. "Come On" (Chuck Berry – (The Rolling Stones' 1963 debut single in the UK, this was its first release in the US) 2:32
21. "Fortune Teller" ([Naomi Neville]) – (Recorded in 1963 and released in the UK in 1964 on the various artists LP Saturday Club) 1:48
22. "Poison Ivy" (Jerry Leiber/Mike Stoller) – (Recorded in 1963 and released in the UK in 1964 on the various artist LP Saturday Club) 2:34
23. "Bye Bye Johnnie" (Chuck Berry) – (First released in 1964 on the EP The Rolling Stones as "Bye Bye Johnny") 2:10
24. "I Can't Be Satisfied" (McKinley Morganfield) – (Originally released on the UK album The Rolling Stones No. 2 in 1965) 3:28
25. "Long, Long While" (Originally released as the UK B-side to "Paint It, Black" in 1966) 3:01

All tracks on sides one, two, and four were produced by Andrew Loog Oldham, except "Money" and "Bye Bye Johnnie", which were produced by Eric Easton. Side three was produced by Jimmy Miller, except tracks "She's a Rainbow" and "2000 Light Years from Home", produced by The Rolling Stones.
ALBUM COMMENT: Wikipedia
More Hot Rocks (Big Hits & Fazed Cookies) is the second compilation album of Rolling Stones music released by former manager Allen Klein's ABKCO Records (who usurped control of the band's Decca/London material in 1970) after the band's departure from Decca and Klein. Released in late 1972 as the follow-up to the hugely successful Hot Rocks 1964–1971, it was another success for Klein and ABKCO.

When Hot Rocks 1964–1971 proved to be a big seller, there was never any doubt that a successor would follow. However, initially—with Andrew Loog Oldham getting involved—the project was to feature previously unreleased (or more accurately, discarded) material and be titled Necrophilia. Artwork was prepared and the album made it as far as the mastering phase when it was recalled and something a little more practical was compiled (ABKCO would revisit this concept with 1975's Metamorphosis). The result was More Hot Rocks (Big Hits & Fazed Cookies).
COMMENT: Biography by Stephen Thomas Erlewine
By the time the Rolling Stones began calling themselves the World's Greatest Rock & Roll Band in the late '60s, they had already staked out an impressive claim on the title. As the self-consciously dangerous alternative to the bouncy Merseybeat of the Beatles in the British Invasion, the Stones had pioneered the gritty, hard-driving blues-based rock & roll that came to define hard rock. With his preening machismo and latent maliciousness, Mick Jagger became the prototypical rock frontman, tempering his macho showmanship with a detached, campy irony while Keith Richards and Brian Jones wrote the blueprint for sinewy, interlocking rhythm guitars. Backed by the strong yet subtly swinging rhythm section of bassist Bill Wyman and drummer Charlie Watts, the Stones became the breakout band of the British blues scene, eclipsing such contemporaries as the Animals and Them. Over the course of their career, the Stones never really abandoned blues, but as soon as they reached popularity in the U.K., they began experimenting musically, incorporating the British pop of contemporaries like the Beatles, Kinks, and Who into their sound. After a brief dalliance with psychedelia, the Stones re-emerged in the late '60s as a jaded, blues-soaked hard rock quintet. The Stones always flirted with the seedy side of rock & roll, but as the hippie dream began to break apart, they exposed and reveled in the new rock culture. It wasn't without difficulty, of course. Shortly after he was fired from the group, Jones was found dead in a swimming pool, while at a 1969 free concert at Altamont, a concertgoer was brutally killed during the Stones' show. But the Stones never stopped going. For the next 30 years, they continued to record and perform, and while their records weren't always blockbusters, they were never less than the most visible band of their era -- certainly, none of their British peers continued to be as popular or productive as the Stones. And no band since has proven to have such a broad fan base or far-reaching popularity, and it is impossible to hear any of the groups that followed them without detecting some sort of influence, whether it was musical or aesthetic.

VINYL GRADING SYSTEM

MINT:
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear.
NEAR MINT:
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear.
EXCELLENT:
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing.
VERY GOOD:
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine.
GOOD:
RECORD: Very obviously been played with very noticeable surface marks & exhibits major loss of sound quality.
COVER: Noticeable folding, scuffing of spine or edges, splits in seams or spine or fading of colour.
FAIR:
RECORD: Still just playable & exhibits considerable surface noise.
COVER: Major tears, wearing, splits & stains.
POOR:
RECORD: Will not play properly due to scratches etc.
COVER: Very badly damaged.
+(PLUS)/-(MINUS):
Slightly up or down in condition as appears in the comments above.
NOTE:
Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.

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