In the inevitable Beatles vs. Stones (straw man) debate, I intensely resent having to pick sides, since the very idea of one without the other is laughable at best. Nevertheless, this lifelong Beatles fan takes a certain fiendish thrill in devoting an entire blog post to those albums in which non-Stones groups play nothing but Rolling Stones tunes.
Kicking off this Stones-ploitation trend, appropriately enough, is their manager and svengali, Andrew Loog Oldham, who would arrange “polite” instrumental versions of early Stones songs for 1965’s The Rolling Stones Songbook under the name Andrew Oldham Orchestra. The Verve, you may recall, sampled the album’s final cut – “The Last Time” – for use in the dramatic opening strains of their huge 1997 hit “Bitter Sweet Symphony” but would not get to enjoy any of the royalties generated (sales, Nike ads, sporting event performances) due to the hardball tactics of the composition’s holder of copyright, ABKCO’s Allen Klein — as this exclusive excerpt from Fred Goodman’s new biography makes clear.
Joe Pass – as noted early in this blog’s existence – would release his seminal survey of mid-60s Stones, Stones Jazz, the following year in 1966. But a couple of other notable ‘Stones-centric’ albums would hit the marketplace that same year: (a) Baroque ‘n’ Stones by The New Renaissance Society and (b) A Tribute to The Rolling Stones by The Pupils.
BAROQUE ‘N’ STONES: hanna-Barbera Records + THE PUPILS: Tribute to the Stones
How fascinating to discover that ‘The Pupils’ were, in actual fact, cult “mod” band The Eyes, whose 1966 (UK-only) EP sells for hundreds of pounds/dollars at auction (and would include their cheeky retort to The Who — “My Degeneration“).
“19th Nervous Breakdown” The Pupils/The Eyes 1966
Four years hence,The Winstons would record their unabashed tribute to the Rolling Stones, notable primarily for its provocative “jail bait” cover, while two years later, The Collection would issue the only album of their career — a musical salute to the Stones, naturally — with a similarly risque front cover image.
1972 would also bear witness to one more cash-in effort, Rolling Stones Vol. 2 (unclear whether Vol. 1 was ever issued), by the confusingly-possessive Monkey’s Pop Group, whose only known LP was issued on French label, Les Tréteaux.1973 would bring five (count ’em) Rolling Stone tribute albums, including —
(1) a pair of delightfully kitschy covers from the “group” Rockery:
(2) the one and only recording from The Hot–Shockers released on German label, Auditon:(3) the stylish and slyly misleading cover for Rockin’ Stones Party from France’s (not Jamaica’s) Fabulous Five:(4) Million Copy Hits Made Famous by the Rolling Stones by The Flash (Starring Denny Jones):
magnification not included
(5) a tribute album by a group of Dutch musicians who departed at recording’s end with such frenzied haste, history never had a chance to record their identity:By the 1980s, unfortunately, it was clear that Stones-ploitation’s Golden Age had passed. Flash would issue Keep on Rolling in 1981 – impressively on CBS imprint, Epic – while that same year would see the release of Rolling Hits’ one and only album, Rolling Hits Medley, incredibly on major labels (Mercury, Polydor, Philips) in at least 10 countries, including Peru.
I was perhaps five when I encountered my first soundalike cash-in album in the form of a Beatle knockoff group, The Liverpools (as previously recounted), and then again not long after when I got suckered by one of those TV ads for 18 Golden Hits of 1971, as rendered by The Sound Effects (though it is possible I fell for the previous year’s 18 Golden Hits of 1970, which does not even bear the name of the artist-for-hire).
UDiscoverMusic, similarly, writes of a curious and confounding time “when cut-price soundalike recordings ruled the British charts” — 45 years ago, to be precise, when there was a brief change in the chart eligibility rules, and before you knew it, Top of the Pops 18 was dislodging The Moody Blues’ Every Good Boy Deserves Favour from the #1 spot!