Sold Date: September 5, 2017
Start Date: August 29, 2017
Final Price: £182.00 (GBP)
Bid Count: 7
Seller Feedback: 4490
Buyer Feedback: 6

"CHILD OF THE MOON" (Mick Jagger / Keith Richards:-  B-side of "Jumping Jack Flash", 1968)
This is a very rare true 1968 Stereo mix and what an incredible sensory affecting Stereo sound here!

The wind blows, right into my face,
The sun glows, at the end of the highway,
Child of the moon, rub your rainy eyes,
Oh, child of the moon,
Give me a wide awake, crescent-shaped smile.

She shivers, by the light she is hidden,
She quivers, like a lamp lady vision,
Child of the moon, rub your rainy eyes,
Oh, child of the moon,
Give me a wide awake, crescent-shaped smile.

The first car, on the foggy road riding,
The last star, for my lady is pining,
Oh, child of the moon, bid the sun arise,
Oh, child of the moon,
Give me a misty day, pearly grey, silver, silky faced,
Wide awake, crescent shaped smile
ROLLING STONES: "No Stone Unturned" LP.  RARE FIRST UK PRESSING, NOVEMBER,1973.
My initial comment has to be, any Rolling Stones album that contains the glorious psychedelia of "Child Of The Moon" has to be
essential, but the other eleven 60's track have created a Stones album able to sit beside any of their non compilation albums.
Such was the standard of their singles,"No Stone Unturned" represents why 60's singles recieved unique material and performances
is by far superior to most albums released in later decades.

ISSUED ON THE NAVY BLUE & SILVER 'BOXED' LOGO DECCA LABEL: SKL 5173.
 
MAITRIX:  XEAL 12555 - P - 1W /  XEAL 12555 - P - 1W
The very first pressing, but in 1973 only the one pressing was required and made.

BOTH SIDE'S CODED 'Mother' NUMBERS AT 9 O'CLOCK IN THE RUN-OUT GROOVES ARE ' 1.'
Both Sides have '1' digit at 9 o'clock, coded letters at 3 o'clock translate to; 'BU' = No.12  & 'M' = No. 9, which are amazingly
 low on both sides.
For anyone new to vinyl, 'mothers' were the adopted name given because they 'gave birth' to the records we listen to, several
were made, depending on the commercial success of a record, determined how many of the 'mothers' were used. They were all
numbered for indexing purposes, in order to make certain they were not over used and flaws were not developing on the metal
  discs, ensuring perfect sound quality.  In the UK, that standard was strictly maintained by all the major record companies and
Decca were acknowledged as producing some of the finest sounding records ever made in the 1960's and 1970's.  Shame the
Stones did not maintain that incredible standard in this 1970's decade for their own 'Rolling Stones' record label!  Over used or
just poorly made 'mother's' drastically affected "Sticky Fingers", "Exile On Main Street" & "Goats Head Soup", no other regular
record seller will admit that or even care, but that is the truth.   A famous and true story about badly pressed records for a new
Neil Young album, is why I hold the Stones responsible for allowing the substandard pressings.  Neil Young always checked how
  newly made records sounded before the albums were sold, when he discovered a flawed  batch, he stopped the release, demanding
they were re-made.  He had the faulty first pressings delivered to his ranch, where he fired a gun at the boxes, he made certain
they were never sold or heard!
 
For albums like "No Stone Unturned" with such low sales, I have only ever seen 'Mother #1' & 'Mother #2' on the genuine November,
1973 records, with 'Mother #1' stamped on both sides of this record, this is the 'first of the first' pressings made.


ORIGINAL 1973 DECCA POLY LINED INNER SLEEVE IN UNSPLIT, UNAGED, UNUSED, NEAR MINT CONDITION.
Not all were printed with the date they were made but when they were, today it supplies the month and year and for Mint /Nr. Mint
  records that always ties into the year of a record was pressed in, sometimes even the actual month. This inner does have a date
of manufacturing on the front bottom right corner:
'8-73'
It was printed in August,1973, approximately 12 weeks before "No Stone Unturned" was issued.  Does that really matter?
In among the countless counterfeit items on ebay, anything with a positive original date is the best authentication possible.


FIRST ISSUE ONLY, LAMINATED FRONT COVER, PRINTED IN ENGLAND BY 'Robert Stace.'
As a first issue the front has a deeply glossy laminated front cover, this really is in superb condition, without any blemishes to
detail, beyond an unavoidable record impression.  The very heavy record's impression with a few related small laminate lines,
as usual, mostly next to the spine and the merest brushing to the corners.  As I write for virtually all the early 1970's Stones
Decca covers and countless other record company laminated covers with this design spine, there is a ridge or a raised edge where
the spine meets the front far left side.   A recess was created and as usual, the laminate was wrapped from the front, over the
spine without being smoothed into the 'empty space.  Often misunderstood and misinterpreted as 'laminate lift', but a small
area adjacent to the front, left side was never stuck down in 1973, something cannot 'lift' when it was never stuck down in the
first place.  That was how they were bought when brand new, I am not speculating because I was buying this design in the 1960's
and early 1970's, plus this is an unplayed, Mint record and nothing to do with use or wear. The colours on the laminated front
and matt back are unfaded and as vividly bright as 44 year ago, the great pictures on the front and back work perfectly with the
title of the LP, the front picture has the Stones turned away from the camera and then reversed for the back cover.  They had no
idea that would perfectly suit an album with B-sides of their non album, magnificent 1960's Decca singles, hence the 'turned'
reference.  The pictures were from the 1968 photo session for the UK songsheet for "Jumping Jack Flash" single and music press
promotional work, obviously in 1968 the pictures were still featuring the Brian Jones original line.  Brian is holding a gardening
fork and a wine glass, when they have turned round on the back cover strange things are happening!   A light bulb is in Charlie's
masked mouth, but you can see all this in the pictures, the main point about the back cover is there is no ring wear at all, or
fading to the really vivd colours.  The album was re-issued in 1978 and by then the label shapes had changed and the blue and
silver were nothing like the 1973 first pressings, the same applies to the cover, which lacked the deluxe laminated lamination
and  vivid, striking colour tones.

All the edges,corners and spine are as close to perfect as it gets, the '‌minus' allows for anything naturally formed by standing
unused in storage for all those decades.  
THE COVER IS IN TRULY OUTSTANDING MINT- CONDITION.

THE IMMACULATE TEXTURED LABELS DO NOYT HAVE ANY SPINDLE TRACES, JUST THE USUAL TINY LINES RADIATING
AWAY FROM THE SPINDLE HOLE WFROM THE IMPACT OF CUTTING OUT THE CENTRAL HOLE DURING THE FINAL STAGE
OF THE PRESSING.  I ALWAYS CHECK FOR FACTORY HANDLING TRACES, THERE IS ONLY ONE FEATHER LIGHT TRACE
AND AS IT WAS HANDLING, A FINGERTIP NEAR THE EDGE.   THE RECORD WAS NEVER PLAYED,  A RARE GENUINE
AS NEW, STUNNING UNPLAYED MINT CONDITION.
I will fully detail the twelve tracks individually during the record's description.
 
SIDE 1
"Poison Ivy"
"The Singer Not The Song"
"Surprise Surprise"
"Child Of The Moon"
"Stoned"
"Sad Day"

SIDE 2
"Money"
"Congratulations"
"I'm Moving On" (Live)
"2120 South Michigan Ave"
"Long Long While"
"Who's Driving Your Plane"
The Stones 1960's singles are among the greatest 45's ever made, the A-sides take all the acclaim, but to the band's credit, they
resisted the temptation to fill up their B-sides with album tracks fans had, adding to the excitement of their latest recordings.
The Stones rarely issued a single without a unique track on the reverse side, these were the exclusive songs and performances
  that made collecting their singles in the 60's...exciting. Artists of the stature of the Rolling Stones put every possible effort
into creating a two sided record, not just any old record, these were masterpieces. In 1973 Decca put an album together with ten
of those B-sides, plus two exclusive, non album rarities from their first 1964 UK EP, "Money" and "Poison Ivy", the live version
of "I'm Moving On" was from the 1965 live EP,  quite a package and a very novel presentation of rarer material. Okay, Decca did
spark into life not too long after "Exile" was released in June '73, but when Decca compiled a Stones LP like this it was capable
of rivaling anything currently recorded.   I will not enter discussions about which decade was superior, but personally I enjoyed
the Brian Jones original line-up's records.  Having followed them from their r&b/blues beginnings, in and out of psychedelia, to
return to their roots in 1968 - 1969, it was a once in a lifetime journey that nothing else could possibly replicate, as I said,
a personal opinion.  Decca created a stunning album musically and issued the record in a fantastic, deluxe laminated front cover,
the pictures on the front and back were from the 1968 photo session for the 1968 song sheet for "Jumping Jack Flash", so this
was indeed the original line up with Brian Jones.  The 'front and back pictures' were so suited to fit the clever album title and as
   I just explained, by facing the camera on the back cover, that perfectly personified the whole concept of compiling 12 tracks.
  
   This is not an easily found album as a first pressing, especially in this superb Mint condition, in spite of such a high profile
   in '73, amazingly "No Stone Unturned" completely failed to sell, not even gaining the lowest possible British chart entry.  Decca
tried again in the early 1980's but that was once again ignored, by then the re-issue was on very thin vinyl and the cover was as
   cheaply produced and left unlaminated. This rare very first UK pressing came on massively heavyweight vinyl and packing real
   potency in the mastering, plus the cover had far superior printing and a highly glossy laminated coating on the front.  The album
   title,"No Stone Unturned" was a very clever pun on the LP's concept, referring to gathering together the 60's non LP tracks which
    revolved around 45's and mostly found by 'turning, over the records after hearing the A-sides.  Many of those early 1970's Decca
   compilations failed to sell and competing with the likes of "Sticky Fingers" & "Exile On Main Street" was never going to be easy.
   All these years later the recordings can be heard from a different perceptive, it was no longer the two decades of music being
   released simultaneously, the 12 tracks represent the Rolling Stones as a force who shaped 60's music. I must point out how in the
  1970's Decca had a dilemma with Rolling Stones tracks only recorded in mono, it was now the time for stereo to dominate, mono
    only recordings were potentially going to be by-passed, so like other major's, Decca started adding to the labels and and covers
   that the mono only recordings were electronically reprocessed to give a stereo effect. Did they actually do that?  Well, I believe
    not!  To my ears, all these tracks sound like standard mono, not only standard mono, original master tape mixed mono! There is no
   echo delay at all, I can only give a personal opinion here, the tracks have all their original mono impact with a perfectly balanced
   mono sound, I have long ago tested that theory by playing this and other Stones / Pink Floyd / Yardbirds early 70's compilations
   on my original 60's mono record players (their correct name) and.... found perfect mono!  I cannot and will not review mono vinyl
  from original tube powered equipment because maybe as high as 95% of customers will be hearing them in stereo, shame really
  because I'm often forced to voice unfair criticism.  I play all mono records for ebay descriptions on a stereo system, I have to,
  but mono was the format I grew up with in the 1960's and it is very simple to check out a mono record from a stereo deck for me.
    How others cope without the benefit of having only known the  mono format, then moving onto and experiencing true stereo from
  1970, is a bit of a mystery to me. It means I can evaluate records like this and although I'm pretty good on stereo systems for
  mono records, a true mono system is a really useful and highly enjoyable item as well.   I am not convinced Decca's 1973 sound
  engineers made any in-roads into the original mono masters tape's sound, maybe just a little tweak here and there, but none of
  the awful signal delays that ruin the music.  The cover lists three of twelve tracks in true Stereo, "The Singer Not The Song,"
  "Child Of The Moon," and "2120 Sth. Michigan Ave," with the rest "Reprocessed mono to give a stereo effect." Playing this album
  with the tracks running directly into each other, is no different to any album made up from  mono and stereo recordings, I must
  comment that I do find that hard to digest from CD compilations with both formats.  Stressing again I am giving personal opinions,
  but based also on playing "No Stone Unturned" for 44 years now, I was one of the few who looked at the mouthwatering tracks and
  bought the album.  It made perfect sense to have these tracks together on one album, plus my 1960's Stones singles by 1973 had
  seen plenty of action!  In fact, I was intrigued to hear "Child of The Moon" in true stereo, it is my favourite Stones B-side and
  a psychedelic masterpiece, I will return to this subject when I describe the tracks but if these were Stones recordings sounding
  like they had been badly interfered with and were offensive, I wouldn't even  be selling this album in the first place!  I do consider
  it a duty to always inform and include how the tracks were mastered on any record I sell, that concern for the music has to bring
  with it my personal opinion. I often see albums like Jimi Hendrix's "Smash Hits" & The Who's "Direct Hits" being sold as 'stereo'
  LP's, even though the sellers have the same reprocessed mono disclaimer text I typed out above on the back covers. Both LP's are
  so thick with delay in both channels and horrible echo effects, I would not even consider selling them, why bother when there are
superb original mono versions of those Track LP's available, it makes sense to only pick them up.
 
  The labels are in pristine condition, no spindle traces at all, I often reluctantly hold back from playing vinyl of this rarity
but I love thisalbum and I will have one undetectable play through.  It will give me the chance to give the details of the tracks,
as a first pressing the vinyl is heavyweight with 60's standard deep grooves, a really beautiful looking record, that deep glossy
sheenof Mint vinyl.  The sound quality will be sheer perfection  with great power and in-built volume, I know these rare first
pressings inside, consistent outstanding audio clarity and virtually no form of surface sound, immaculately pressed from Decca's
 Analogue Master Tapes.
 

   Side 1 has near silent run-in grooves, so a perfectly clean intro to "Poison Ivy,"  Decca neglected to provide information for
where the tracks originated from, I will include the relevant details.  A track intended as the next Stones single in 1963 when
"Poison Ivy" was paired with "Fortune Teller", but that single never made it beyond a rare Test Pressing /demo stage.  A really
great bass sound here, with Charlie's drums in outstanding clarity.  A slow tempo version of the r&b Coasters song, playing with
superb definition on Mick's vocals, a very impressive and powerful sound, I can only re-emphasise the point about how pure a mono
sound this has, without a hint of awful delayed echo effects very common to re-enhanced mono to stereo. In fact, the source had to
be Decca's original Master Tape to sound this stunning, precisely as found on the UK, debut Stones Decca EP, released in 1964.
  There are no crackles or surface sound to detail, this is some pressing!   Linking in total silence to "The Singer Not The Song,"
the first of the true stereo tracks, this was recorded as the B-side of the 1965, "Get Off My Cloud" single, unlike the mono only
version, this is in the perfectly separated channels of wonderful stereo!  A slow burning r&b performance with fantastic acoustic
  guitars forming the backing, from Mint vinyl the clarity is just awesome!  Such a special time in the history of the Stones, although
their first three LP's were mostly made up with cover versions, Mick & Keith were honing their songwriting skills on the singles
  in 1965.  This brilliant composition highlights how capable they were and where their careers were heading, the days when 1960's
  young groups used outside songwriters for material, were dead and buried, the Beatles had blazed a trail by not relying on others
to compose for them. There's a lot to cover here so I will move along, another silent gap says it becomes pointless to keep writing
that when the whole album is this immaculate.  "Surprise Surprise" was on the 1965 USA only LP, "Rolling Stones Now", released as
a British 45 as a Maxi -Single with "Street Fighting Man" and "Everybody Needs Somebody To Love" during 1971.  Sounding rather
splendid in such stunning audio here, the superb r&b guitar solo rings out in perfect definition, an original composition to be very
proud of, Mick Jagger's vocal is almost at a conversational level in parts. The percussion sounds amazing, no way is this not just
straight ahead Mono, I'm sure Decca added the 'stereo' text  to the cover to make sure the album sold.  Ironically it failed and
also how a few decades later, 'Mono' would become the selling point for archive 1960's recordings!  From that r&b of 1965, into
nicely stoned, slowed psychedelic sounds of 1968, for me the most essential of three true stereo tracks on "No Stone Unturned",
the magnificent "Child Of The Moon". Originally released as the B-side to "Jumping Jack Flash," the A-side returned to the Stones
far heavier demonic blues after "Satanic." Turn the single over and psychedelic sounds were still there on a truly great, inspired
Jagger/Richards composition. The stereo panning here is sensational, so is the staggering sound quality!  I would name this track
as worth hearing "No Stone Unturned" for alone, the mono version is as superb but the incredible backing, especially the spaced
out guitar sound, has a fantastic sensory orientated stereo mix.  I better keep going, I could write about "Child Of The Moon"
forever, especially the out-take/instrumental of the backing track,a brilliant musical experience in it's own right. "Stoned" was
released only on the B-side of the UK 1963 single "I Wanna Be Your Man," another track never included on any of their EP's or the
later Decca 1960's compilation LP's.  A wonderful Stones performance of pure blues, as the song powers in with incredible audio
sharpness, although this is an instrumental, Mick speaks the title as well as making several other comments throughout the track,
very similar to the style of Van Morrison on Them records. A blues piano and a wailing harmonica adds to the very strong guitars,
bass and drums.  There's stunning sound on Mick's voice, great moments are when he says, "Out of my mind," and "Where I'm at."
Crystal clear sound, none of the crackles & clicks found on the majority of original 45's, mono is positively the format here and
you can easily tell that by Mick's spoken parts coming in equal strength from both speakers.  The track on the end does leave my
only question mark over the format, "Sad Day."  This never appeared in the UK and was exclusively issued on the 1966 USA single
  "19th Nervous Beakdown", there is an American 'stereo' mix of dubious origins, I believe this is the only track on the LP not in
an original UK mix / format.  Please remember I am doing my best here, for any UK Stones release I am on home ground and never
hesitate.  The speaker balance is too biased to the right channel, cutting the right channel reveals a bass heavy compressed sound,
it's still great to hear but I am far from convinced this is either true mono or true stereo. I am convinced there is no surface sound
at all and if the track needs a close up examination, it doesn't come any cleaner than on this record!  A wonderful Jagger/Richards
song with a distinctive "Aftermath" feel to the track, a rippling piano and improvised vocal ending, throw in the guitar and you
have a hint of early psychedelia.


  From near silent run-in grooves, Side 2 returns to the early Rolling Stones 1964 era for "Money (That's What I Want)", originally
released on their debut 1964 UK EP, like Side 1's opener, "Poison Ivy."  A superb guitar intro kicks off a brilliant performance,
a raw and very exciting sound!  With a real storm blown up by their sonic like instruments, the blues harmonica is exceptionally
clear, Mick's outstanding lead is given excellent vocal support. Songs like these were part of their live set and the nearest you
can get to sampling the true sound of a very young Rolling Stones in full flow.  Bill Wyman's bass is as loud as found on the EP,
I'm certain I do not need to say this plays without any form of distortion. Next a track really rare to the UK, "Congratulations"
was a USA only issue on the 1964 "12 x 5" LP, the 45 connection continues though, because this was also a USA only B-side for
"Time Is On My Side."  This is positively in Master Tape mono, the sheer clarity on this memorable melody is unbelievable, their
acoustic guitars are as sharp as a knife.  A Jagger/Richards composition and a real gem of a song, with the endless 'hooks' I am
  surprised it was kept back from a British release as a single or even on an EP.  So for the very first time "Congratulations" was
mastered to UK vinyl in nine years, and sounding amazing!  For raw electrifying energy of the earlier Stones, the following track
is awesome!  From their "Got Live If You Want It" 1965 EP, an inspired live version of "I'm Moving On." Brilliant r&b with all
the elements that made the Stones a real force either in a recording studio or performing live on stage. Simply stunning guitars,
a wailing blues harmonica and a very solid rhythm section, Mick Jagger sings an incredible vocal on a really a scorching red hot
performance, the Stones tear into this with all the energy and enthusiasm of a band on fire. The audience are mixed further down
  to the music, so you hear them, but precisely like the EP version, the Stones performance is not competing with the frenzy created
by the audience.  Unlike most original EP's there is no surface sound, reinforced when Mick sings the chorus with the instruments
dropping back, so crystal clear, you can hear Keith on his mike very quietly joining Mick, that is just as free of any surface or
needle sound here.  I'm anticipating hearing the EP's next track "I'm Alright", but back to the studio in 1964 for the stand-out
blues track from their UK "Five By Five" EP.  These perfectly smooth linking grooves run into an instrumental of fantastic blues
and r&b, the superb "2120 South Michigan Avenue".  The lead instrument here is a wonderfully played Hammond organ, the sound
quality is of the very highest standards expected from an unworn Decca pressing.  Surprisingly the Rolling Stones never really
returned to a Hammond as a main sound in their music, so a rather unusual Stones track.  The organ is played in a blues fashion
and the blues harmonica is authentic to the studio they recorded this track, in Chicago.  The sound is just immaculate and those
great's keep coming,"Long, Long While" was the B-side to the 1966 classic, "Paint It Black", and the piano, bass and percussion
intro plays without any needle or surface sound, Mick sings an intensive, slowly smouldering vocal on the verses and the chorus.
Then a shorter verse of explosive, louder and more forceful singing and playing from the band, the described lack of needle or
surface sound continues for the entire length of the track, I am in heaven hearing the mono sound so stunningly crystal clear,
I played this to death on my original "Paint It Black" 45!   The audio clarity is just awesome, the soulful quietly played organ
is in ultra sharp sound, you struggle to even hear the organ on scratched, worn out singles.  Although far closer to the 1965
Stones' r&b sound, you know immediately there had been major musical progress made since their "Out Of Our Heads" album.
As the temperature of the performance starts to rise, Keith plays some great blues guitar and the only surprising thing was why
  another complimentary harmonica was not played here, but that would come to full prominence on "Aftermath" for tracks such as
"Going Home."  I feel really disappointed and reluctant to now arrive at the final track, this album is so good to play, ending in
real style, naturally enough with some more really stunning blues!  From their 1966 "Have You Seen Your Mother Baby" single's
amazing B-side, "Who's Driving Your Plane" finds the Stones stomping their way through bar room blues with stunning authority!
  The early recordings were something else, but by 1966 the Sones were out on their own, this was after all the same music that
made "Exile" such a brilliant album in the same 1973, "No Stone Unturned" was compiled and released.  Fantastic guitar playing,
from Keith and Brian, what can I say about Mick Jagger's definitive vocals? Memories of first hearing these immense B-sides are
immaterial, taken as a fresh hearing today, "Who's Driving Your Plane" is the least known and most underestimated of all their
pre-"Beggars Banquet" blues performances with the original Brian Jones line-up.  I must find another top condition first pressing
of the "Have You Seen Your Mother Baby" single, if only it was that easy, but if sheer willpower gets results, I will!  For now I
have thoroughly enjoyed  how "Who's Driving Your Plane" was mastered and pressed in 1973.  The sound?  Just staggering!
  {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.
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  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
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FOR UK BUYERS;

WE ACCEPT:  PAYPAL, CHEQUES, POSTAL ORDERS & BANK WIRES.


FOR OVERSEAS BUYERS;

WE ACCEPT:  PAYPAL, INTERNATIONAL MONEY ORDERS IN POUNDS STERLING ONLY.
OR BANK TO BANK WIRE TRANSFERS.

WE WILL NOT MAKE FALSE STATEMENTS ON CUSTOMS DECLARATION FORMS AND WILL ALWAYS
CONDUCT ALL OF OUR BUSINESS WITH TOTAL HONESTY.
AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT
DUTIES, WE WILL NOT LIE.