Rolling Stones: Between The Buttons

For vinyl collectors seeking an album that captures The Rolling Stones at their most experimentally diverse while maintaining their blues-soaked soul, Between the Buttons (1967) stands as a pivotal document of rock's evolution from rhythm and blues rebellion to psychedelic sophistication. This often-overlooked gem in the Stones' catalog represents not just a band in transition, but rock music itself crossing the threshold from raw power to artistic ambition.

Between the Buttons was the last album produced by Andrew Loog Oldham, the band's manager and producer of all of their albums to this point. This farewell collaboration marked the end of an era—Oldham had masterminded the Stones' image as the antithesis to the Beatles' clean-cut charm, and this album would be his final statement with the band that would soon become "The World's Greatest Rock and Roll Band."

What makes Between the Buttons essential for understanding the Stones' impact on rock music is its adventurous instrumentation. Brian Jones sidelined his guitar on much of the album, instead playing a wide variety of other instruments including organ, marimba, vibraphone, and kazoo. Piano contributions came from two session players: former Rolling Stones member Ian Stewart and frequent contributor and studio legend Jack Nitzsche.

This experimental approach fundamentally challenged what a rock album could be. While their contemporaries were still largely guitar-focused, the Stones were painting with a broader sonic palette, helping to expand rock's instrumental vocabulary and paving the way for the progressive rock movement that would follow.

The Stones' relationship with blues music was fundamentally different from that of the Beatles, and this distinction shaped the entire trajectory of rock music. Unlike many British bands of the time, the Rolling Stones did not merely mimic American blues; they immersed themselves in it. Brian Jones, in particular, was a blues purist, ensuring that the band maintained a genuine connection to the genre.

Paul McCartney himself acknowledged this difference, stating "They are rooted in the blues. When they are writing stuff, it has to do with the blues. We had a little more influences." This wasn't just a stylistic choice—it was a philosophical commitment that influenced everything from their songwriting to their stage presence.

Andrew Loog Oldham promoted the Rolling Stones as the nasty counterpoint to the Beatles, encouraging provocative headlines such as: "Would you let your daughter marry a Rolling Stone?" This wasn't merely marketing—it reflected a genuine musical and cultural divide.

The Beatles' initial clean-cut personas contrasted with the Rolling Stones' "bad boy" image, and so the music press forged a rivalry between the two acts. But the differences ran deeper than image. While The Beatles were cute and beloved by teenagers and their mothers, The Rolling Stones were wild, edgy and somewhat threatening. Where The Beatles tried to avoided controversy, The Rolling Stones seemed to revel in it.

This dichotomy shaped rock music's future, establishing the template for countless bands to position themselves as either pop craftsmen or dangerous rebels. The Stones proved that rock could be commercially successful without being sanitized.

The Vinyl Verdict
For collectors, the pressing variations of Between the Buttons offer fascinating insights into 1960s record manufacturing. The US Monarch pressing (catalog number Δ10041) is particularly sought after for its sonic qualities. This pressing is described as "a surprising match for the mono edition" with "more than enough umph and vibrancy for a stereo edition."

The UK mono pressing (Decca LK 4852) remains the holy grail for many collectors. As one collector notes: "The UK Mono is what you want. Expensive for a clean copy but worth it if you are a fan." The mono mix offers a more cohesive, punchy sound that many argue better represents the band's intentions.

The tracklist differences between UK and US versions tell their own story about the music industry of the era. The US version's inclusion of "Let's Spend the Night Together" and "Ruby Tuesday"—the two songs that gave the group a double-sided number one in early 1967—made it more commercially potent, while the UK version maintained the album's artistic cohesion.

The inventive arrangements and innovative instrumentation on brooding near-classics like "All Sold Out," "My Obsession" and "Yesterday's Papers" brought a new dimension to the music. These weren't just blues-rock songs with added instruments; they were sophisticated compositions that showed the Stones could match the Beatles' studio innovations while maintaining their dangerous edge.

"Something Happened to Me Yesterday," which closes the album, features Keith Richards' first solo vocal—a playful music hall number that showed the band's range extended far beyond their blues foundation. This willingness to experiment while maintaining their core identity would become a Stones trademark.

The album's influence extended far beyond its initial reception. It demonstrated that bands could evolve without abandoning their roots, that psychedelia could coexist with blues, and that rock albums could be both experimental and commercially viable. This blueprint would be followed by countless bands, from Led Zeppelin to the Black Keys.

Original pressings of Between the Buttons continue to appreciate in value, particularly complete mono copies with laminated covers in excellent condition. The US stereo Monarch pressings command premium prices among audiophiles, while UK Decca monos are considered investment-grade artifacts of rock history.

The 2016 mono reissue as part of "The Rolling Stones in Mono" box set offers excellent sound quality for those seeking a more affordable entry point, though it lacks the visceral impact of original pressings played on period-appropriate equipment.

When you drop the needle on Between the Buttons, you're experiencing a crucial moment in rock history—when the bad boys proved they could be artists without losing their edge. Steven Van Zandt wrote: "With the Stones, the message was, 'Maybe you can do this.' The hair was sloppier. The harmonies were a bit off." This accessibility, combined with sophistication, created a new template for rock music.

This album captures the Stones at their most adventurous, proving that you could honor American blues traditions while pushing rock music into uncharted territory. It's the sound of a band refusing to be confined by expectations, whether from their management, their rivals, or their audience.

For the serious vinyl collector, Between the Buttons isn't just a historical curiosity—it's essential evidence of rock's evolution from three-chord rebellion to sophisticated art form. It's the album where the Rolling Stones proved that being the anti-Beatles didn't mean being anti-innovation. In these grooves, you'll find the blueprint for rock's future: dangerous, experimental, and impossibly cool. This is the album that proved rock's bad boys had brains, and that sometimes, the most revolutionary act is to evolve without apology. 💰

💰Invest
💵 Consider
💸 Pass