The Rolling Stones - Get Satisfaction...If You Want (BBC Radio Recordings 1963-1965) (Bootleg)

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Biography From Wikipedia 1962-65:
Culled from a series of early British Broadcasting Corporation television and radio appearances from 1963 to 1965, this collection of cover songs along with early hits like "The Last Time" and "(I Can't Get No) Satisfaction" is superb all around. The album is also noteworthy for the brief interviews sprinkled throughout as the band contemplates the future and their success. Because these are radio recordings, the sound quality throughout is quite high given the technology available at the time. Highlights include "Cops and Robbers" and "Cry to Me." 

Keith Richards and Mick Jagger were childhood friends and classmates in Dartford in Kent until the Jaggers moved. They became reacquainted in 1960 when Richards met Jagger at the Dartford railway station. The Chuck Berry and Muddy Waters records Jagger had in his hands revealed a mutual interest and prompted their musical partnership. Richards Jagger met Brian Jones as he sat in playing slide guitar with Alexis Korner's seminal London R&B band, Blues Incorporated, at the Ealing Jazz Club, which also had eventual Rolling Stones, Ian Stewart and Charlie Watts.

Stewart found a practice space and joined with Jones to start an R&B band playing Chicago blues. Besides Stewart, Jones, and Jagger, the first rehearsal of the as-yet-unnamed band also included Richards attending at Jagger's behest. Also at the first rehearsal were guitarist Geoff Bradford and vocalist Brian Knight, both of whom refused to join the band citing objections to playing the Chuck Berry and Bo Diddley songs preferred by Jagger and Richards. In June 1962 the line-up was: Jagger, Jones, Richards, Stewart, Taylor, and drummer Tony Chapman. According to Richards, Jones christened the band during a phone call to Jazz News. When asked for a band name Jones saw a Muddy Waters LP lying on the floor of which one of the tracks was "Rollin' Stone".

Jagger, Richards and Jones with Stewart and Taylor on bass billed as "the Rollin' Stones" played their first gig in July 1962 at the Marquee Club. Their material included the Chicago blues as well Chuck Berry and Bo Diddley songs. Bassist Bill Wyman joined in December 1962 and drummer Charlie Watts the following January 1963 to form the band's long-standing rhythm section. The Rolling Stones' then acting manager Giorgio Gomelsky secured a Sunday afternoon residency at the Crawdaddy Club, which, Gomelsky said, triggered an "international renaissance for the blues" and was a seminal facet of "Swinging London's" advent.

Andrew Loog Oldham, a former publicist of the Beatles, became the band's manager. Because he was too young to hold an agent's license - he was nineteen and younger than any of the band - he partnered with booking agent Eric Easton as his mother signed for her young son. Gomelsky, who had no written agreement with the band, was not consulted. Oldham changed the spelling of the band name from "the Rollin' Stones" to "the Rolling Stones" and changed the spelling of Richards last name to Richard because it "looked more pop". Stewart did not fit Oldham's mould, said Wyman, of "pretty, thin, long-haired boys," and was removed from the line-up in May 1963 to become road manager and occasional pianist for the band until his death in 1985.

Oldham approached Decca Records, which regretted passing on the Beatles, and signed the Rolling Stones to very favorable terms. They got three times a new act's typical royalty rate, full artistic control of recordings, and ownership of the recording masters. The deal also let the band use non-Decca recording studios. Regent Sound Studios, a mono facility decorated by egg boxes on the ceiling for sound treatment, became the preferred facility. Oldham, who had no recording experience but became the band's producer, said Regent had a sound that "leaked, instrument to instrument, the right way" creating a "wall of noise" that worked well for the band. Due to Regent's low rates, the band could record for extended periods rather than the usual three hour blocks then prevalent at other studios. All tracks on the first Rolling Stones UK album were recorded at Regent.

Oldham presented the Rolling Stones' use of independent studios to position his artists in the music press as more independent than the Beatles. Oldham said the Beatles' obligation to record in EMI's studios made them seem to be "mere mortals...sweating in the studio for the man". Oldham promoted the Rolling Stones as the nasty opposites of the Beatles by having the band pose unsmiling on the cover of the first UK album. He also encouraged the press to use provocative headlines such as "Would you let your daughter marry a Rolling Stone?"[ Though Oldham dressed the band in identical suits, the band returned to wearing casual clothes at public appearances. According to Wyman: "Our reputation and image as the Bad Boys came later, completely accidentally. Andrew never did engineer it. He simply exploited it exhaustively".

A cover of Chuck Berry's "Come On" was the Rolling Stones' first single, released on 7 June 1963. The Rolling Stones refused to play it at live gigs, and Decca bought only one ad to promote the single. With Oldham's direction fan-club members bought copies at record shops polled by the charts, helping "Come On" rise to No.21 on the UK singles charts. Having a charting single gave the band entree to play outside London, starting with a booking at the Outlook Club in Middlesbrough on 13 July, sharing the billing with the Hollies.[46] Later in the year Oldham and Easton arranged the band's first big UK concert tour as a supporting act for American stars including Bo Diddley, Little Richard and The Everly Brothers. This Autumn 1963 tour became a "training ground" for the young band's stagecraft.

During this tour the Rolling Stones recorded their second single, a Lennon–McCartney-penned number entitled "I Wanna Be Your Man"; it reached No.12 in the UK charts. Their third single, Buddy Holly's "Not Fade Away", itself based on Bo Diddley's hit, was released in February 1964 and reached No. 3.

Oldham saw little future for an act that lost significant songwriting royalties by playing songs of "middle-aged blacks," limiting the appeal to teenage audiences. At Oldham's urging, Jagger and Richards co-wrote songs, the first batch of which he described as "soppy and imitative."[49] Because songwriting developed slowly, songs on the band's first album The Rolling Stones, (issued in the US as England's Newest Hit Makers) were primarily covers, with only one Jagger/Richards original – "Tell Me (You're Coming Back)" – and two numbers credited to Nanker Phelge, the pen name for songs written by the entire group.

The Rolling Stones' first US tour, in June 1964, was, in Bill Wyman's words, "a disaster." "When we arrived, we didn't have a hit record [ or anything going for us." When the band appeared on Dean Martin's TV variety show The Hollywood Palace, Martin mocked both their hair and their performance. During the tour they recorded for two days at Chess Studios in Chicago, meeting many of their most important influences, including Muddy Waters. These sessions included what would become the Rolling Stones' first number 1 hit in the UK: their cover of Bobby and Shirley Womack's "It's All Over Now".

"The Stones" followed James Brown & The Famous Flames in the filmed theatrical release of The TAMI Show, which showcased American acts with British Invasion artists. According to Jagger in 2003, "We weren't actually following James Brown because there was considerable time between the filming of each section. Nevertheless, he was still very annoyed about it..." On 25 October the band also appeared on The Ed Sullivan Show. Because of the initial pandemonium the Rolling Stones caused, Sullivan banned the band from his show, though they were booked for subsequent appearances in the years following. Their second LP – the US-only 12 X 5 – was released during this tour; like their first album, it contained mainly cover tunes, augmented by Jagger/Richards and Nanker Phelge tracks.

The band's second UK LP – The Rolling Stones No. 2, released in January 1965, charted at number 1 as an album, and the US version, released in February as The Rolling Stones, Now!, reached number 5. The album was recorded at Chess Studios in Chicago and RCA Studios in Los Angeles. In January/February 1965 the band played 34 shows for about 100,000 people in Australia and New Zealand.

The first Jagger/Richards composition to reach number 1 on the UK singles charts was "The Last Time" (released in February 1965); it went to number 9 in the US. It was also later identified by Richards as "the bridge into thinking about writing for the Stones. It gave us a level of confidence; a pathway of how to do it."

Their first international number-1 hit was "(I Can't Get No) Satisfaction", recorded in May 1965 during the band's third North American tour. In recording the guitar riff with the fuzzbox that drives the song, Richards had envisioned it as a scratch track to guide a horn section. Disagreeing, Oldham released "Satisfaction" without the planned horn overdubs. Issued in the US in June 1965, it spent four weeks at the top of the charts there, establishing the Rolling Stones as a worldwide premier act.

A trade ad for the 1965 Rolling Stones' North American tour.The US version of the LP Out of Our Heads (released in July 1965) also went to number 1; it included seven original songs (three Jagger/Richards numbers and four credited to Nanker Phelge). Their second international number-1 single, "Get Off of My Cloud" was released in the autumn of 1965, followed by another US-only LP: December's Children.

The Rolling Stones' fifth UK single – a cover of Willie Dixon's "Little Red Rooster" backed by "Off the Hook" credited to Nanker Phelge – was released in November 1964 and became their second No.1 hit in the UK – an unprecedented achievement for a blues number. The band's US distributors (London Records) declined to release "Little Red Rooster" as a single there. In December 1964 London Records released the band's first single with Jagger/Richards originals on both sides: "Heart of Stone" backed with "What a Shame"; "Heart of Stone" went to number 19 in the US.

GET SATISFACTION...IF YOU WANT
The Best of BBC Radio Recordings 1963-1965

01. Come On (Recorded In 1963 For BBC)  2:02   
02. Memphis Tennesse (Recorded Live Fro BBC Radio "Saturday Club", Oct. 5, 1963)  2:21   
03. Roll Over Beethoven (Recorded Live Fro BBC Radio "Saturday Club", Oct. 5, 1963)  2:17   
04. Not Fade Away (Recorded Live For BBC Radio In Early 1964)  2:05   
05. Down The Road Apiece (Recorded Live For BBV-TV "Top Of The Pops", London, March 5, 1965)  2:04   
06. Route 66 (Live At Camden Theatre, London, March 19, 1964)  2:54   
07. Cops And Robbers (Live At Camden Theatre, London, March 19, 1964)  3:52   
08. You Better Move On (Live At Camden Theatre, London, March 19, 1964)  3:05   
09. Mona (I Need You Baby) (Live At Camden Theatre, London, March 19, 1964)  2:54   
10. Everybody Needs Somebody To Love (Recorded Live For BBV-TV "Top Of The Pops", London, March 4, 1965)  3:31   
11. The Last Time (Recorded Live For BBV-TV "Top Of The Pops", London; March 4, 1965)  3:07   
12. Mercy, Mercy (Recorded Live For "Yeah Yeah", London, August 20, 1965)  2:50   
13. Mick Jagger –  Interview  0:49   
14. Cry Tom Me (Recorded Live For BBV-TV "Top Of The Pops", London, Sept. 23, 1965)  3:05   
15. Fanny Mae (Recorded Live For BBC Radio "Saturday Club", Sept. 18, 1965)  2:12   
16. Mick Jagger –  Interview  0:23   
17  (I Can't Get No) Satisfaction (Recorded Live For BBV-TV "Top Of The Pops", London, Sept. 23, 1965)  3:44   
18. 12120 South Michigan Avenue (Recorded Live For BBC Radio In 1964)  3:47   
19  Oh Baby (We Tot A Good Thing Goin') The Spider And The Fly 1965  3:26   
20. (Recorded Live For BBV-TV "Top Of The Pops", London, March 4, 1965)  1:56   
21  Mick Jagger & Brian Jones (5) –  Interview  0:48  
21. Interview with Mick Jagger/Brian Jones 0'46 

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