Early Stones recordings don't get much better than this. Firmly established as celebrities, the band began to use the pandemonium they inspired as an artistic source. Nowhere is their initial reaction to fame and music bus... more »iness drama more apparent than in the humorous, mocking "The Under Assistant West Coast Promotion Man," in which the Stones effectively skewer the sleazier side of the record industry. Naturally, this will always be known as the album that features the original version of "Satisfaction," which would remain the band's signature tune throughout their career, but that's really just the tip of the iceberg. Equally effective as a Jagger-Richards distillation of rock and R&B is "The Last Time," a tune easily the equal of Bobby Womack's "It's All Over Now," which the Stones handily covered on 12 X 5. Standing out from the crowd is the harpsichord-driven, English folk-inspired "Play With Fire," a menacing minor key song full of subtly expressed psychological violence. This tune, a marked change of pace for the band, hinted at the stylistic variety they would later explore.« less
Early Stones recordings don't get much better than this. Firmly established as celebrities, the band began to use the pandemonium they inspired as an artistic source. Nowhere is their initial reaction to fame and music business drama more apparent than in the humorous, mocking "The Under Assistant West Coast Promotion Man," in which the Stones effectively skewer the sleazier side of the record industry. Naturally, this will always be known as the album that features the original version of "Satisfaction," which would remain the band's signature tune throughout their career, but that's really just the tip of the iceberg. Equally effective as a Jagger-Richards distillation of rock and R&B is "The Last Time," a tune easily the equal of Bobby Womack's "It's All Over Now," which the Stones handily covered on 12 X 5. Standing out from the crowd is the harpsichord-driven, English folk-inspired "Play With Fire," a menacing minor key song full of subtly expressed psychological violence. This tune, a marked change of pace for the band, hinted at the stylistic variety they would later explore.
"I've always been a big fan of the US releases of Out Of Our Heads and December's Children. What I didn't know is that the UK version of Out Of Our Heads is actually a composite of songs featured on both of the above mentioned US album releases. What you don't get are the hit singles from those albums; Get Off My Cloud, Last Time & Satisfaction. But, the songs included in the UK album feature the Stones, in their prime, covering some classic Motown; Mercy Mercy & Hitch Hike, (Marvin Gaye), Stax Volt; That's How Strong My Love Is, (Otis Redding) and Sam Cooke's timeless classic Good Times.
The songs seague beautifully and hold together more cohesively than on the US albums and the digital remastering is far superior to the US releases that were orginally released on CD in the mid '80's. If you like the Stones, in their early British Blues period circia 1965-67, then you'll love this one. It ranks right up there with Aftermath and 12x5 and Rolling Stones Now as their blusey and raunchiest best!"
Any ole time, to get what I want...
Mark H. | Hanson, MA USA | 01/01/2005
(5 out of 5 stars)
"Chronologically, this would be the third LP by the band released in their homeland as opposed to the US where the albums were usually compilations of the UK single, EP and LP releases. Case in point, the UK "Out of Our Heads" consists of a combination of tracks from the US album of the same name and "December's Children"(also has the same cover as the latter.) Confused yet? That's how it usually was when lps by British groups were put out stateside. Anyway, this album is very much a no frills (hit singles) example of young band on the cusp of superstardom and evolving their sound by still incorporating blues, soul and R&B standards along with more originals. Examples of the former include Otis Redding ("That's How Strong My Love Is"), Marvin Gaye ("Hitch Hike"), Solomon Burke ("Cry to Me"), Don Covay ("Mercy, Mercy"), Chuck Berry ("Talkin' Bout You") and Sam Cooke ("Good Times"), all credible versions of legendary artists. Originals include "I'm Free", "Under Assistant West Coast Promo Man", and "Heart of Stone" (a US single the previous year). The all-time classics singles "Satisfaction", "Last Time" and "Get Off of My Cloud" were left off the British lp, but if you are a Rolling Stones fan you already own those songs on various compilations. I think it's great that this album became available in the US on CD just for the fact it was an original recording, the songs that were meant to be on a long -player and not a record company hodge-podge. This album proved to be the last of the early era Stones lps, where covers dominated the track listings. Next up would be "Aftermath", the first great Rolling Stones album. Still "Heads" is definitely a solid purchase for the Stones enthuisiast but maybe not the casual fan."
Terrible sound quality mars this otherwise cool reissue
Gregory Carson | 03/14/2005
(2 out of 5 stars)
"I loved it that ABKCO released several of the classic Rolling Stones catalog from the 60's in the British versions as well as the more familiar American albums. In the case of Aftermath in particular, the buyer gets a much better album than the American version. I also bought the UK versions of Between the Buttons and Out of Our Heads. The latter purchase was a big disappointment however. In general, the sound quality has been extraordinary on the ABKCO releases on hybrid SACD. Out of Our Heads UK is the exception. The sound quality is muddy and extremely low fi. I am assuming that the original masters must be in poor condition, because other albums from the same period, like Big Hits, High Tide Green Grass sound fine. I applaud the idea of releasing the British Out of Our Heads album, because it is a cool selection of cover tunes and Jagger/Richards originals, but the atrocious sound quality makes it a bad purchase choice."
Finaly...The definitve way to hear these songs.
paulisdead | Melbourne, Australia | 11/02/2006
(5 out of 5 stars)
"After living with the US version for many years I thrilled when I found out that the original UK version would be released on SACD. Now with the sonic/proto punk onslaught of "She Said, Yeah" replacing "Mercy, Mercy" as that opening track we have a more complete sounding album than it's US counterpart. Also, taking out the hit singles like "Satisfaction" and "Last Time" keeps it flowing with any abrupt interruptions and allows other "filler" tracks like "Cry To Me" & "Hitch Hike" to be framed in a whole new context.
The sound is in glorious mono and is better for it. No off-putting, sparse mid-sixties mix with the drums on the left channel and guitars on the right, just a centred, tough sounding monophonic mix. The main different between the SACD layer and conventional CD is the bass. The bottom end on the SACD is much louder and fuller. Also the dynamics of the guitars have a bit detail in them, so they cut like switchblades on "She Said, Yeah" (like Richards would have wanted them too). Although most people may be put off by the tape hiss/distortion and occasional murkiness of the recording, this is the best we're going to hear these masters without being sabotaged by "modern" mastering techniques with older albums such as over compression and boosted top ends. Absolutely recommend."
I'm really, really sharp!
Johnny Heering | Bethel, CT United States | 02/03/2008
(5 out of 5 stars)
"This was the Rolling Stones' third UK album. A different version of the album was released as the group's fourth US album. This UK version features eight covers of R&B and R&R songs, plus four Stones originals. This is really great stuff. It should be noted that while the CD is labeled "Stereo", it is actually in mono."