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4.3 out of 5 stars
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4.3 out of 5 stars
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on 21 December 2007
If you like Hollies, Kinks and so on then this is the Stones album to get. More melodic than their otherwise more rock'n'roll based albums. As we all know there are two versions of this:
The UK version contains "Backstreet girl" (a nice ballad) and "Please go home" (a pointless rockier song). The US version instead contains their two hits "Let's spend the night together" and "Ruby tuesday". So all in all, the US version has more good songs. But if you own "Singles collection" or any similar compilation it's of course better to purchase the UK version since it contains only non-single tracks.
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on 25 September 2009
It still puzzles me why this album is so criminally ignored, especially in direct comparison to 'AFTERMATH' which is considered a classic by critics. There isn't a duff track on the album (how many other Stones albums can you truly say that about? Maybe 'STICKY FINGERS'?) which is completely written by Jagger/ Richards.

Perhaps the most striking difference when compared to most Stones albums is that it is far less rock/ rhythmn & blues orientated; instead its an album chock full of melodic pop songs. Lyrically it still features the 'poison pen' approach that the Stones have always been good at but with a new found musical awareness (check out the waltz time accordian driven 'Backstreet Girl' or psych-pop of 'Yesterday's Papers').

This perhaps is the key to the success of the album, as the music goes into Dylan terrority ('Who's Been Sleeping Here?'),vaudeville ('Cool, Calm, Collected'),psychedelia ('Please Go Home') and Dixie Jazz ('Something Happened To Me Yesterday'). In addition the songwriting is very strong as they rely less on riffs and more on melody and harmony. On several songs Jagger seems to really attempt to stretch his vocal range and its actually quite appealing.

The Stones would continue in this "softer" direction with the even more psychedelic (and indulgent) 'THEIR SATANIC MAJESTIES REQUEST', before returning to their roots with 'BEGGARS BANQUET'. They haven't really strayed too far from their core sound since. Given the fact that tracks from this album are rarely found on Stones comps it makes getting this album all the more essential.
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on 1 August 2013
Joy to get the UK track listed version of this gem of an album. The songs are all nicely done and arranged and show off how good mick and keef are as writers. it is not an album of "hits" but more a transitional move towards "Beggars Banquet" and "let it bleed". Good for stones fans and songwriters to hear how well it can be done! not rock and roll but I like it!
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on 30 October 2009
This is an album when Brian Jones heavily influenced the Rolling Stones output. More lyrical, less rock. If you were around at the time you'll know whether you like it or not, if you weren't then you can find out that the Rolling Stones weren't always just a vehicle for Mick's pout.
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VINE VOICEon 23 November 2009
The Stones had already impressed with lighter, more pop-oriented material such as 'Lady Jane' and 'As Tears Go By' prior to this album, and on 'Aftermath' they blended this with their r&b songs to great effect. 'Between The Buttons', however, wanders farther along this route, which leaves me with mixed feelings. On one hand, most of the songs here, notably 'Yesterday's Papers' and the waltz time 'Back Street Girl' are very good. On the other hand, I still prefer to hear them playing r&b. I can't imagine Charlie Watts being too thrilled at being reduced for much of the album to marking time, while the guitars give way to piano rather too often. This was 1966, however, a year when leading British bands were refining their style and writing their own, more imaginative songs. It worked for The Beatles, who were a more pop-oriented outfit anyway. It worked for The Kinks, who remade their sound after their 'Kwyet Kinks' EP. It even worked for lesser lights, such as The Hollies. But for the Stones, who tap into the same music hall influences as The Kinks did on a couple of ill-judged tracks, it seems more like a waste of talent. This is a worthwhile purchase, but it suggests that Jagger and Co were being pulled along by prevailing trends, something which the 'Satanic Majesties' album confirmed.
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on 1 January 2017
New Year's Eve again and here I am all alone again, naturally, in my cold water flat back in the 1950s where due to my time traveling capabilities, learned off of I should point out a couple guys I was lucky to serve with and call friends during WWII, the American War of Independence and that Carthaginian business, I happened to become a The Rolling Stones fan during the 1960s and thereafter a collector of their compact discs in the 1980s. Howver, tweren't till just now, on a journey to the 21st century, that I found all this Amazon/innernet biz and finally got hold of this. I mean, I bought it on vinyl back in '66 was it, and couldn't wait to get it even further back, to pre-Revolutionary France, say 1787, to stir stuff up somewhat. The bass sound alone on some of these tracks was enough to get Robespierre going, and 'She Smiled Sweetly' was played at several guillotinings. I could go on.
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on 27 March 2012
The fact that this was released the same year as 'Sgt Peppers' probably explains partially why it has been rather overlooked . In many ways it is at least the equal of that Beatles offering , with very strong songwriting and performances throughout . The production is admittedly rather primitive , and perhaps this is another reason it has been comparatively ignored. To give the Stones their due , it would be intersting to hear what George Martin would have done with this material ; if he had produced and arranged it , as he largely did for the Beatles , it might have rivalled Sgt Peppers even in terms of public opinion . Another disadvantage this album faced was that there was no accompanying singles release (at least from the British version) ; this could still be putting people off listening to it even now .
Stylistically it has similarities to Stones singles such as 'Mother's Little Helper', 'Lady Jane' and '19th Nervous Breakdown'. Influences seem to include The Doors , The Beach Boys, Simon and Garfunkel, Bob Dylan and Viv Stanshall's Bonzo Dog Doodah Band . The whole record has a quasi Beat , quasi Psychedelic , 'Kitchen-Sink in Carnaby Street' charm and represents the Stones at their most 'English'.
For fans of British sixties music this is a true classic and a sadly overlooked diamond.
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on 16 December 2014
Great music
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on 2 June 2016
This and Aftermath the 2 best Stones albums when Brian Jones was still influencing their music
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on 17 June 2004
Possibly the most overlooked of the Stones' sixties output, the UK version of Between The Buttons contained no hit singles and hence it has become something of an enigma. On first listen it sounds similar to Aftermath, but even worse. Many of the tracks are instantly forgettable, while a couple of them - Yesterdays Papers, My Obsession - don't even sound musically legal!
On closer inspection however, some strong tracks start to emerge. In particular, we have the sublime, Dylan-esque Who's Been Sleeping Here? Then there's the hectic, rocking and rolling of Miss Amanda Jones, and the playful nod to the Kinks that is Cool, Calm, Collected. The two tracks exclusive to the UK version are Back Street Girl, a pleasing number typical of their early ballads, and Please Go Home, a shimmering descendant of the earlier Not Fade Away.
You can call this album patchy, even insignificant, and I'm not going to argue with you. However, it's still home to the odd gem, so please don't write it off - please don't do that!
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