Sold Date: July 12, 2017
Start Date: July 5, 2017
Final Price: £183.99 (GBP)
Bid Count: 5
Seller Feedback: 4463
Buyer Feedback: 79

"THE SPIDER AND THE FLY" (Mick Jagger & Keith Richards)

Sitting, thinking, sinking, drinking,
Wondering what I'd do when I'm through tonight.
Smoking, moping, maybe just hoping,
  Some little girl will pass on by.
  Don't wanna be alone but I love my girl at home,
  I remember what she said,
  She said, "My, my, my don't tell lies,
Keep fidelity in your head,
My, my, my, don't tell lies,
  When you're done you should go to bed.
  Don't say "Hi," like a spider to a fly,
  Jump right ahead and you're dead."
 
Sit up, fed up, low down, go around,
  Down at the bar at the place I'm at.
  Sitting, drinking, superfically thinking,
  About the rinsed out blonde on my left.
  Then I said, "Hi," like a spider to a fly,
  Remembering what my little girl said.
  She was common, flirty, she looked about thirty,
  I would have run away, but I was on my own,
She told me later, she's a machine operator,
  She said she liked the way I held the microphone,
I said,"My, my," like the spider to a fly,
  "Jump right ahead in my web."
  ROLLING STONES: "(I Can't Get No) Satisfaction"/"The Spider And The Fly".
THE VERY FIRST UK PRESSING, 20th AUGUST, 1965.  PLAYS AT 45 RPM, IN MONO.
I always struggle to produce a first pressing of "Satisfaction" in a minimum of Near Mint, all 1960's Rolling Stones singles grow
rarer as we move ever further away from 1965, that has now become 52 years since "Satisfaction" was recorded and released.
Which makes me fell very old to have bought the single on release in August, 1965, I also picked up a Decca Demo at a second hand
shop, record company reps unloaded free Demo's with 'Not for Sale' text on the labels, amazing to think back then Demo's were
cheap singles to buy!  Not only the greatest Rolling Stones single from the first half of the 1960's decade, "Satisfaction" ranks
among the greatest tracks of all time, great enough to associate with an iconic 60's track, just look at how many cover versions
have been made.  As I only offer all the Rolling Stones singles in Nr. Mint / Mint, I'm delighted  to have this very first pressing
in once played Mint condition.  By that I am discussing an ultra faint spindle trace...as the record had to pass the 1960's auto
play / stacking protruding metal clip, in reality it was probably played in a 1965 record shop, allowing for microscopic handling
the actual vinyl is literally like brand new!


UNBOXED LOGO, DECCA LABEL: F.12220.
Naturally enough the maitrix on the labels are inverted or printed upside down to the rest of the silver text, a feature unique
to the 1960's for all Decca related records.

MAITRIX: XDR- 35801- T1 - 2T  / XDR- 36110 - T1 - 2C  
The very first pressing made, two out of four digits after letters, 'T' & 'C' are '1', the other two digits are increased by only one,
  which serves to magnify the rarity of still being in astonishing Mint condition after 52 years.


ORIGINAL 1965 DECCA COMPANY SLEEVE, NO SPLITS OR TEARS, NO AGEING, JUST THE USUAL RECORD
IMPRESSION, WITH A FEW RELATED LIGHT CREASES.   HOW COULD AN AUTHENTIC 1965 SLEEVE NOT HAVE THAT...
UNLESS IT'S A COUNTERFEIT SLEEVE, MADE IN 2017?
  THE AUTHENTIC SLEEVE THE RECORD WAS FIRST PLACED INSIDE, IS IN SUPERB NEAR MINT CONDITION.


THE RECORD WAS ONLY PLAYED ONE WITH SUCH CARE, THERE ARE NO MARKS AND ANY TINY HANDLING TRACES
ARE VIRTUALLY INVISIBLE, THE VINYL LOOKS AND SOUNDS LIKE NEW, IN MINT CONDITION.


Both labels are in suberbly unblemished condition, spindle alignment traces show only two plays for the B-side and the for the
A-side, spindle use is very much like a car's speedometer, you also have the record's whole history contained there.  Most of this
era's records were so heavily played the paper round the centre hole has lost the top surface and a white circle is left instead,
or multiple traces are impossible to count due to the maze like series.  You read them for the individual sides from the opposite
side's label because a record faces down onto onto a spindle , the playing side is always on top, however careful someone was
with a stylus use, nobody, I repeat nobody tried to 100% align a centre hole to a spindle without making contact.  Particularly
for 60's record players, the sprung clip for stacking vinyl for auto play was merciless, the above figures are very easily read
from the matt, textured 60's labels, I personally rate under 10 plays exceptional for any record, especially if from the 1960's.
The greater the record, the more it was returned to, I hunt for the few that escaped the normal excessive plays, the reason I
always give this info in text, is because a digital camera cannot possibly pick up light natured spindle use unless the paper is
positively worn away to the sub level white backing, in fact scratches on the vinyl will not show on pictures either. Traces left
from even a few plays often are reflected by scratches on the vinyl, but some people were really careful with a stylus or needle
and like this stunning looking, ultra glossy vinyl, with none of the customary scratches. With such fantastic sound on both sides
a Mint grading is thoroughly deserved.

One of the most unique and classic guitar riffs of all time, and even the song title, were not written in a concious state, as it
was told by Keith Richards, he was fast asleep at the time.  He woke up in the night, picked up his guitar and recorded the riff
  and the lyric,"I can't get no satisfaction" onto a cassette recorder, then he fell back asleep with the tape still recording.  Keith
described the recording as having,"Two minutes of "Satisfaction" and 40 minutes of me snoring." The song was completed in the
Jack Tar Harrison Hotel, Clearwater, Florida, in May 1965 with Mick Jagger, who picked up on the one line heard in a dream, to
write most of the lyrics that were socially critical about materialism.  They caused unease to many and that was no just because
they were criticising and rejecting the commercial impact of TV and radio onto society, the overtly sexual nature of them caused
howls of outcry in 1965.  For the USA TV music show, 'Shindig,' that featured live recordings, even if they were mimed in front
of the camera's, the Stones had to adjust the lyrics when performing it in 1965, by excluding,"And I'm trying to make some girl."
Ironically in the 21st century when the Rolling stones performed three song live during half time at the 'Super Bowl' in February
2006, two of the songs were censored for the live broadcast, 40 years later "Satisfaction" was the only one with all the lyrics
left unedited, we had moved on after all!

As was their custom now, the Rolling Stones recorded the track "Satisfaction" in America, 10th May,1965, at the legendary Chess
Studios in Chicago. That day they recorded the first and an alternate version, playing the harmonica was Brian Jones, a role shared
  with Mick Jagger, a second and final attempt came two days later at RCA Studios in Hollywood, that was much slower and more like
  a folk version, now the tempo was increased and a far more familiar outstanding feature concerned the guitar riff that began all the
  proceedings. The sound that would become synonymous with the 1960's, was a method of boosting the guitar's sound with 'fuzzed'
  sustain, first used in 1964 on the Kinks "You Really Got Me" single.  Dave Davies discovered that by literally pushing one of his
  mother's knitting needles into their tiny green amp, creating the desired effect, a distortion speakers can suffer from, but Dave
  used it the previous year to make give the guitar riff a heavier sound.  Jimmy Page was so impressed with the Kinks single he had
an amp made with the 'fuzzy' sound, I often read "Satisfaction" was the first single to have it, but Dave Davies should get full
credit, the knitting needle idea originated from Ray & Dave being unable to afford a bigger amp and Dave was trying to 'beef up'
their very old, one and only tiny green amp.  Kinks fans will know the affection the Davies brothers felt for the green amp that
gave "You Really Got Me" such a distinctive sound.
 
"(I Can't Get No) Satisfaction" itself also had one of the most distinctive sounds, it can be named an era defining recording, by
the time they utilised the fuzzed tone, there was a Gibson Maestro fuzzbox available.  The main reason to use it concerned Keith
Richards, who insisted the track needed horns or brass and the fuzzed tone was only there to be later overdubbed with Memphis
style horns.  The rest of the band, their manager and producer Andrew Loog Oldham and the RCA sound engineer Dave Hassinger,
convincingly over ruled Keith's wishes and the track stood as it was.  The sound Keith Richard had initially wanted caused such a
sensation among other musicians and producers Gibson's fuzzbox was suddenly in such demand, they sold out of them before the end
of 1965.  Maybe Keith lost out to the others but it was soon in the hands of the finest horns on the whole planet, and the same
applied to the very special vocalist they were backing.  The great Otis Redding recorded "Satisfaction" and his live performances
were nothing less than pure dynamite.  The song that was inspired by the Memphis Stax or Volt sound, was indeed given the full
Stax treatment and the two very different versions are as equally potent.

With the exception of only a couple of tracks before 1966, all Rolling Stones singles, EP's & LP's were mono only recordings and
"Satisfaction" was only intended as a mono track.  A true stereo version turned up on CD reissues of "Hot Rocks" in Germany and
Japan only, the mix was so different, an almost inaudible piano and Brian Jones' acoustic guitar are heard in full on the mono mix.
  I have to point out the latest German and Japanese CD's now have the mono mix on "Hot Rocks" and only deleted CD's contained a
stereo mix, a strange sounding mix that lacks the highly charged energy of the performance, most likely a reduction made before
the mono mix was finalised.  Stick to the original UK mono Master tape mix though, preferably the staggering 45 first pressing I
just heard from this sensational condition very first pressing!

I'm sure describing "Satisfaction" will only require a few sentences so I'm adding some hopefully interesting bits and pieces
to one of the most loved Rolling Stones 1960's tracks. In the UK, for all the instantaneous 'No.1' "Satisfaction" had written all
over it, Decca delayed the release until the 20th August, for the June 1965 release of the Stones EP, "Got Live If You Want It,"
which meant it was still selling strongly. The B-side of the UK singles was totally different to the USA equivalent 45, which had
"The Under Assistant West Coast Promotion Man,"  that was included on their "Out Of Our Heads" album, released later on the
2nd October,1965.  The UK single was paired with the slow burning blues of "The Spider And The Fly," like "Satisfaction", it did
not appear on the British "Out Of Our Heads" LP.   The American London label "Satisfaction" single was available in May, 1965,
by the 10th July it had reached No.1 and remained there for a whole month, "Satisfaction" also appeared on the USA version of
"Out Of Our Heads" and the UK export only edition, of the album with a different artwork as well.  The UK single sat at No.1 for
two weeks and was constantly re-pressed on the unboxed Decca label, that ran up to mid-1966 and again on the re-designed 45's
only labels.  LP labels were not re-designed until 1970, only EP's and singles had a boxed Decca lettering logo from mid-1966.
This is positively the very first pressing made, it sold in huge numbers but 1965 was a very long time ago for 1960's singles,
the overwhelming majority were played to such an excess, it has left most scratched to the core and no longer able to produce
the once staggering mono sound quality we enjoyed so much in '65.   Bearing in mind how both sides were normally worn smooth
in 1965 alone, for this to be totally unmarked and gleaming like new is very rare today, I only sell Stones singles in genuine
  top condition, so I can vouch for how tough it is to locate such perfect sound quality as I just enjoyed.  A Stones classic and
a Mint first pressing is a real gem of a mid-60's record, I don't care how many were sold in 1965!

Both labels are in suberbly unblemished condition, spindle alignment traces show only one play for the B-side and no traces at
all for the B-side, spindle use is very much like a car's speedometer, you also have the record's whole history contained there.
  Most of this era's records were so heavily played the paper round the centre hole has lost the top surface and a white circle is
left instead, or multiple traces are impossible to count due to a maze like series. You read individual sides from the opposite
side's label because a record faces down onto onto a spindle, the playing side is always on top, however careful someone was
with a stylus use, nobody, I repeat nobody tried to 100% align a centre hole to a spindle without making contact.  Particularly
for 60's record players, the sprung clip for stacking vinyl for auto play was merciless, the above figures are very easily read
from the matt, textured 60's labels, I personally rate under 10 plays exceptional for any record, especially if from the 1960's.
The greater the record, the more it was returned to, I hunt for the few that escaped the normal excessive plays, the reason I
always give this info in text, is because a digital camera cannot possibly pick up light natured spindle use unless the paper is
positively worn away to the sub level white backing, in fact scratches on the vinyl will not show on pictures either. Traces left
from even a few plays often are reflected by scratches on the vinyl, but some people were really careful with a stylus or needle
and like this stunning looking, ultra glossy vinyl, there are no marks, scuffs or scratches. The only way to tell such outstanding
records were played, is via spindle traces and of course the sound quality of the music.  With such fantastic sound on both sides
a Mint grading is thoroughly deserved.  That grading and the fact only one side was played was also verified by the centre hole
being too tight to slide down my spindle, I gently eased it down while making sure it will remain a very tight fit, that alone is
a major rarity.

From near silent run-in grooves, I will define that for anyone just getting into vinyl, without the customary loud and annoying
  crackles, clicks and pops etc.  Just  natural static of any 1965 record, then that guitar 'intro of intro's,' really rings out in
staggering power and perfect, sharply defined mono sound, there is none of the above even on the tremendous opening.  Loud?
This is off the scale for delivering the most sensational impact, Mick comes in singing those classic lines, Charlie plays almost
legendary percussion as the driving force behind "Satisfaction".  Mick Jagger played the harmonica on this, the second version
mentioned earlier when I just about exhausted all I could detail about such a renowned Rolling Stones recording. I realise it's
pointless describing such a well known track but I must say how stunning the first pressing's mono mix sounds from an unmarked,
Mint- record.  My favourite section comes at the end when all the electrifying  improvisations kick in, here you hear how amazing
the Rolling Stones actually were, why Otis Redding felt so at home covering a song written by British artists for the first time.
The sound is absolute perfection from beginning to end, reinforcing my firm belief  wear alone left such  horrendous noise on
Decca's once immaculate pressings.

Initially light natural static, thenthe same problem free opening grooves give a stunning guitars and great Mick Jagger harmonica
  intro,  perfect, crystal clear sound quality.  Slow, pure blues of "The Spider & The Fly" should never be heard through a mass of
needle noise, Mick'ssuperb leering, sneering vocals are in razor sharp, pristine sound.  A Jagger/Richard composition, even if at
this early stage they prefered to be credited as Nanker/Phelge if other Stones' members made a substantial input to the writing.
A 'Number 1'song backed by a complately uncommercial blues performance, this is the true greatness of the Stones and the very
sound they never lost. The harmonica solo is stunning, the sound quality is mono at full power, but never distorting. Recorded at
Chess Studios in Chicago during their first ever USA tour, these lyrics are indeed about life on the road and women who are the
'spiders' with webs to snare rock stars.  It was very interesting how on their 1995 acoustic album, "Stripped," when the Stones
re-recorded "The Spider & The Fly" after thirty years, the lyrics concerning the woman in the bar had her age raised from thirty
  to fifty years old.  In the same 1995, Mick Jagger summed up this superb track far better than I could, so I will just confirm how
stunning the sound is, literally no surface sound /static for the whole of the long track's duration, and finish with Mick's quote
when discussing "The Spider & The Fly."  He appears critical, but also very proud and fond of the song, or they would not have
re-recorded it 30 years later as an acoustic, slow blues version.

"I really wasn't mad about it, but when you listen to it on record, it still holds up quite interestingly as a blues song.
  It's a Jimmy Reed blues with British pop-group words, which is an interesting combination: a song somewhat stuck in a time warp."

{Roy}
  R & M RECORDS.

My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade
  in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl
  into becoming a professional record seller.  Nearly thirty years ago we entered into the wonderful atmosphere
of record fairs with the highest possible standards set. When the Internet became the world's new market place for
  vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be,
the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly
and very efficient service we are proud to provide;

EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE.
  I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY
  FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK.
THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE
AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL
INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE
OF GENUINELY UNPLAYED VINYL.  EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD
WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
 

  We take 100% responsibility after an item has been posted and offer our fullest support in the event of any problems.
"There Are No Problems, Only Solutions" (John Lennon)
MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS
FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION.


ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.
 

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We have kept all our charges at the same level for years now, but due to the Post Office's new price increases, regretfully we
will have to increase the cost of LP's, however, singles will remain unchanged.  Ebay were aware of that happening and have
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our UK First Class, Recorded Delivery cost for albums up to the value of £46.  A temporary reduction this week means we can
now post LP's for £5, but who knows how long before the Post Office return to £7?

For LP's valued above £46, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant
in 13 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future.

IN THE UK RECORDS UP TO THE VALUE OF £46 WILL BE SENT RECORDED DELIVERY, OVER £46 WILL BE
SENT SPECIAL DELIVERY.
  FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.'

POSTAGE  COST FOR LP's
UK: UP TO VALUE OF £46, FIRST CLASS RECORDED DELIVERY  £5.00
UK: OVER VALUE OF £46, FULLY INSURED SPECIAL DELIVERY £9.00


EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR  £15.00


USA,JAPAN & REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR £20.00


POSTAGE COST FOR EP's & 7"
UK: UP TO THE VALUE OF £46 FIRST CLASS RECORDED DELIVERY £3.00
UK: OVER THE VALUE OF £46 FULLY INSURED SPECIAL DELIVERY £6.00
EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR £10.00
USA, JAPAN ETC. AIRMAIL VIA INTERNATIONAL SIGNED FOR £12.00


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AS NEAR TO THE AUCTION ENDING AS POSSIBLE.

OUR AIM IS TO MAKE YOUR PURCHASE SMOOTH AND TROUBLE FREE.


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