Sold Date: December 3, 2018
Start Date: November 26, 2018
Final Price: £38.00 (GBP)
Bid Count: 1
Seller Feedback: 4801
Buyer Feedback: 1063

Well, you've got your diamonds and you've got your pretty clothes,
And the chauffeur drives your car, you let everybody know,
But don't play with me, 'cause you're playing with fire.

Your mother she's an heiress, owns a block in St. John's Wood,
And your father'd be there with her, if he only could,
But don't play with me, 'cause you're playing with fire.

Your old man took her diamonds and tiaras by the score,
Now she gets her kicks in Stepney, not in Knightsbridge anymore,
So don't play with me, 'cause you're playing with fire.
 
Now you've got some diamonds and you will have some others,
But you'd better watch your step, girl, or start living with your mother,
So don't play with me, 'cause you're playing with fire,
So don't play with me, 'cause you're playing with fire.
 

ROLLING STONES:"The Last Time" / "Play With Fire" 45 RPM IN MONO, FIRST UK PRESSING 6th MARCH,1965.
I should be used the astonishing condition of this 53 year old, first pressing of "The Last Time," I have been selectively buying
and selling Rolling Stones singles for over 30 years.  My picture taken of the "Play With Fire" label, has a rare sight around the
spindle hole, a wad of really delicate vinyl shavings are still in place after all those years.
For anyone new to collecting original vinyl, that was created immediately after the spindle hole was cut out, almost like when a
pencil is being sharpened, it was the final stage of a recording being pressed. A few plays in the week of purchase in March,1965
normally removed most of the wafer thin vinyl shavings, by November, 2018 and uncountable plays, not only are they long, long
gone, the label paper around the spindle hole has long ago been worn clear away.  Please see that close up picture for how this
first pressing record record looked like in March, 1965.....and still does in late 2018!  Even inside the original 1965 Decca sleeve
the record was first placed inside at Decca's pressing plant, it's also in fantastic condition, I will detail that below.
                                 

UNBOXED DECCA LABEL:  F. 12104

MAITRIX:  XDR - 35209 - T1 - 2C  /  XDR - 35210 - T1 - 2C
I will fully explain Decca's indexing of first pressings in the main description, as well as where this particular records fits
into the huge volume made before March,1965.  The 'first' of the first! 
   

ORIGINAL 1965 DECCA SLEEVE, UNUSED, UNFADED & HARDLY AGED, WITH ONLY THE HEAVYWEIGHT RECORD'S
INEVITABLE IMPRESSION AND A FEW RELATED GENTLE CREASES.  IN OTHER WORDS, 100% AUTHENTIC TO 1965
AND GENUINELY 53 YEARS OLD, UNLIKE COUNTERFEIT SLEEVES, WITH SUCH A FANTASTIC CONDITION RECORD
I SHOULD NOT HAVE TO BE CONCERNED BY A FEW LIGHT NATURALLY CREATED CREASES OVER HALF A CENTURY.
Top right on the back side, the number '11' is handwritten in red ink, the white oblong box was printed for record shop or home
indexing.  As a rare once only played, I am certain that one play was made in the original 1965 record shop as a sample, either
way, if it was written 55 years ago  when the sleeve and record were brand new, it belongs there.  I know that is stating the
obvious, but as we are almost into 2019, records still 100% and in Mint condition are becoming extremely rare now.
THE SLEEVE IS IN OUTSTANDING NEAR MINT CONDITION.


AS I WAS ENTHUSING, THIS IS INDEED A 1965 ROLLING STONES FIRST PRESSING, STILL WITH SUBSTANTIAL
WAFER THIN SHAVINGS OF VINYL FROM THE PRESSING 52 YEARS AGO.   IT DOES SOUND LIKE A DREAM SCENARIO
BUT THAT IS THE REALITY OF THIS INCREDIBLE CONDITION, IN FACT, I AM NOT EVEN CERTAIN THIS WAS PLAYED
ONCE, BECAUSE THE TEXTURED LABELS HAVE NATURAL PAPER 'VEINS'.... BY SAYING 'One Play,' I CAN VERY
CAREFULLY PLAY IT,  WITHOUT DISTURBING THE VINYL SHAVINGS.
THE RECORD IS GLEAMING LIKE NEW, ANY HANDLING TRACES FROM THE PRESSING PLANT AND ORIGINAL 60's
 RECORD SHOP ARE FEATHER LIGHT AND NEAR INVISIBLE. 
THE RECORD IS IN STUNNING MINT CONDITION.


"The Last Time" became the Stones third UK consecutive Number One single since 1964, just how early this still was, can be
illustrated by the release falling in between their second album and the third, "Out Of Our Heads."  A highly significant step
in the Rolling Stones' still blossoming career, "The Last Time" was the very first A-side containing an original Jagger/Richard
composition.   Another major 'first' was not having both sides of this single as cover versions, the B-side, "Play With Fire," was
also self written, even though for the uninitiated, it might at first appear to be credited to other songwriters.  This should be
common knowledge but I long ago learnt not to make assumptions, "Play With Fire" is credited to 'Nanker/Phelge,' the early
pseudonym used since their earliest days, for songs written within the band, when there was not necessarily only an input
from Mick and Keith.  Even their previous single had been a cover version of the Howlin' Wolf / Willie Dixon authentic blues
classic "Little Red Rooster", to have kept the 'No.1's' sequence running was a far greater achievement than it may seem on the
surface.   Both tracks featured truly great compositions and productions, the noticeable difference in the Stones' sound was a
contrast,"Play With Fire" featured Bob Dylan influenced social comment lyrics and the slower tempo had superb atmospherics.
Both tracks were recorded at RCA's Hollywood Studio, January,1965, with engineer Dave Hassinger, the production assistance
was from no less than Phil Spector and Jack Nizstche.  Immediately after the recording the band took off to tour Australia, Mick
was not at all happy with his vocals on "The Last Time," so they returned to Hollywood in February to overdub them.

A major selling single in England and  the sheer volume of records needed to meet the colossal demand, meant this positively
was a current record to the 6th March, 1965 release date.  Decca were meticulous about indexing  records and unlike EMI who
relied more on stamping codes for the same purpose, Decca used ending digits of the maitrix to number such massive volumes
required to supply the record shops, all those pressings had to be, and were made in advance of release dates. For anticipated
huge selling latest singles by the Rolling Stones, the sound quality control was maintained by pressing in restricted batches to
prevent a worn stamping disc /'mother' from producing substandard records.  This is a typical example, both side's maitrix;
'XDR - 35209 - T1 - 2C  /  XDR - 35210 - T1 - 2C', they began a long sequence with endings of '- T1 -T1,' the sides end '2C & 2C.'
Two of four '1' digits have not risen, only the 'C' letter digits have risen by one digits, which is not the slightest complicated.
I know how much confusion is evident on ebay about the maitrix end digits, it was merely how the expected colossal sales meant
the record shops were never allowed to 'run dry', chart figures were dependent on the weekly sales and this was how records were
manufactured during the 1960's and the 1970's.  Bar codes on sleeves in the 1980's, still did not alter how pressing plants had
the same requirement to create a method to index every record made, by then such simplicity was to become almost deliberately
unfathomable.  To take such a meticulous indexing system and manipulate it out of all context to the actual manufacturing process,
is ridiculous, because later re-issues reverted to using, '- T1 - 1C' as a starting point.  When in fact those with this record's
maitrix endings and much higher as well, were definitely bought on the day "The Last Time" was released. Instead of trying to
complicate perfectly clear and a very easily understood process, we should be thankful how much attention was paid in both
decades to ensure sound quality control. How do I know? I still have many of my original 1960's singles and Decca's catalogue
included so many of the artists I collected, record by record, bought as soon as they were distributed, I was nagging in my local
record shop for days before they had even arrived from the record companies!
  
Besides all those digits, a 53 year old Stones first pressed single, still in this stunning Mint condition, is a really precious
and exciting record.  To me every single is all about having two tracks on the record, this happens to have the second track as
a really delicate and completely exposed recording to crackles and clicks, the incredible "Play With Fire" was paired with the
equally superb "The Last Time."  "Play With Fire" is essentially only heard without the average condition's explosively loud and
annoying, almost dynamite generated noise, even more likely, terrible groove wear from a blunt stub of a 1960's mono needle.
Mid-1960's mono singles were usually played to death, this does need to have a perspective placed onto these original pressings
regardless of the pressing sequence or order. "Play With Fire" might be completely exposed to horrific crackles and clicks but I
cannot tolerate such diabolical noise on a much loved beautiful slow Rolling Stones non album track, unique to the single format.
The opposite is found on this record, just stunning crystal clear mono sound quality without any irritations, the same applies to
the superb A-side,"The Last Time."
   

The run-in grooves of a hardly played 1965 single, only has the expected minimum of natural minor static, virtually clear as the
stylus glides into the actual grooves with music.  That was how they made and heard in 1965 but I still include it, that really
dramatic guitar intro to "The Last Time" has the most fantastic impact.  Playing with all the full blown power and volume of the
mid-1960's first mono mix, projected in perfectly sharp definition.  An overlooked side to "The Last Time," this has one of those
amazing Rolling Stones improvised endings, exactly where blues and rock combined to create new sounds, improvisations would
be fully explored during the next year on "Aftermath," Mick works himself into quite a frenzy here.  Today this is classic Rolling
Stones, Chuck Berry and Buddy Holly cover versions had given way  to a relentless guitar riff, with Keith & Brian creating sounds
that would become instantly recognisable around the world. With a hint of menace in the lyrics and the fantastic instrumentation,
the band were just coming to the boil as songwriters and creators of some of the most remarkable records of all time.  60's 45's
and the Rolling Stones were made for each other,the instrumental backing to Mick Jagger's outstanding vocals, still has all their
earlier r&b/blues sound heard on on those cover versions.  Only now they truly had that sound unique to a Stones single. I'm very
aware many Stones collector's concentrate on original LP's only, but like those who also grew up following the amazing sequence
of their 1960's singles, EP's and albums, will know that foremost, the Stones were makers of magnificent singles. This was very
much a singles period and the competition and standard of the singles in England was fierce, but with every new Rolling Stones 45
their musical standards rose with every successive release until they reached an astounding level.  To still sound this good after
all those years,"The Last Time" had to be very special, this side of the record was purpose made for dancing and the percussion
forming a major part of the overall sound, has outstanding power. Mick's vocals were controlled but still carried terrific force,
then in those last minutes that control is abandoned completely, his fiery impassioned improvisations end up as more like screams,
even as the track fades out.


The initial run-in grooves to "Play With Fire" have the same static, there are limits to how far I take my pursuit of perfection
and that is best summed up as, 'playing exactly how it was pressed and first heard in early 1965.' I aim high, but not beyond how
they were pressed, the intro begins with virtually no background sound at all, amazing, revolving at 45 RPM perfectly in 2018.
An empty band without any music on a once only played 1965 single, is only just starting out to how perfectly they will perform
after several plays.  The entire length of the track, from the very first notes of the intro, to the last on the outro, is sheer
perfection right now, a few seconds before the music begins should not have any negative comments, but all my descriptions are
written openly and honestly, even if it means stating the obvious daily.  To hear "Play With Fire" sounding so clean, is why the
condition is vital and very rare in this incredible condition.  A really fragile almost folk intro, essentially heard without the
normal excessive needle noise, such ultra clean intro is something I have never compromised over, as a collector and a record
seller. I know one day in the not too distant future they will dry up and when it happens I will have to accept I can no longer
offer records in this 'as new' condition this for sale, for now I can soak up the fantastic audio clarity!  Unlike so many of the
1960's Stones' non-album 45's only tracks,"Play With Fire" was never released on the UK compilation albums like "High Tide" or
"Through The Past Darkly," surprisingly this was not even included on "No Stone Unturned."  A 1970's Decca compilation entirely
made up from their plentiful 60's non-album B-sides, Decca's compiler had overlooked this deeply beautiful melody. The production
created a highly atmospheric track, the slow tempo here was apparently made from one of two choices, a faster rock version was
recorded and considered for the single, but rejected in favour of this slower acoustic version. Crystal clear audio has the very
purest and sharpest edged sound imaginable, a brooding dark song full of unveiled threats to the high living, spoilt to the core,
wealthy young woman.   Mick Jagger's diction is just perfect for the lyrics, written as a put down to the rich pampered lady who
looked down on everyone, until her glittering jewelry was taken away.  "Now she gets her kicks in Stepney, not in Knightsbridge
anymore" tells of her fall from grace, Stepney is in East London and in the opposite spectrum of London's opulent Knightsbridge.
Jack Nizstche played the harpsichord on the track and Phil Spector added some percussion, harpsichords were an instrument that
would become widely used over the next few years.  The dramatic tension of such an intensive mood is unbroken by the normal wear
induced noise, it great to hear this stunning B-side from an early 1965 record without any form of needle sound. This is the true
greatness of the Stones, a sound they never lost as they progressed through the rest of the decade, this style manifested itself
in great tracks like "As Tears Go By" and on their next album "Aftermath" in 1966 with the sublime, "Lady Jane." Then it would
evolve again with the advent of psychedelia into the likes of "Ruby Tuesday" in 1967.  Both sides represent major Stones' songs
and heard from this pristine first pressing, in absolutely perfect mono sound quality.
{Roy}


R & M RECORDS.
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