USA US 7" discography / London 60's singles

The Rolling Stones - Not Fade Away ad • USA discography: London 60's singles The Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singlesThe Rolling Stones - USA - London 60's singles Different artistic and marketing strategies had London Records in the US producing a few more singles than Decca UK during the sixties. That also meant new B-sides [1965-1966], and couplings that would never be released in England [aka 'export' singles]. Whereas Decca most often would prevent singles' to interfere with albums' content, London US would not, singles being [already] a way to promote the album they would be extracted from. Another noticeable difference between the two countries were the dates of releases [always a little later in the US].

Picture sleeves were issued for all singles - except for the debut withdrawn one - but were only distributed with the initial runs. The 'Street Fighting Man' [910] 'riot' PS is the rarest of them and one of the most sought after PS in the world [counterfeited several times].
Labels' variations are numerous here as well [see 'anatomy' of a label below], and catalogue numbers' too: indeed, if Canadian pressings all start by the 'L.' prefix, US numbers can be preceeded by '45-LON', '45', 'LON', '5N', '5N-LON' to name the mains, or/and followed by 'DJ' for promos, or 'V'.

Except for a few early exceptions, five main types of labels can be met - please see table below.
Dating records through their label types is no exact science since a pattern of label generally spans several years. Still, as a rule, purple & white labels are considered originals up to January 1965, followed by blue & white swirls until the mid-70s, sunset labels appearing only for reissues from 1978 onwards. Finally, white & red London labels were for the latest reissues in 1986-1987.
Further, catalogue numbers starting by '5N', when on blue swirls [type III - or II for promos], are supposedly from 1973, and on 'sunset' labels [type IV] from 1978.



London titles rel. date charts
9641 I Wanna Be Your Man / Stoned 1964 -
9657 Not Fade Away / I Wanna Be Your Man 06/03/64 -
9682 Tell Me / I Just Wanna Make Love To You 12/06/64 #48
9687 It's All Over Now / Good Times, Bad Times 24/07/64 #26
9708 Time Is On My Side / Congratulations 25/09/64 #6
9725 Heart Of Stone / What A Shame 18/12/64 #19
9741 The Last Time / Play With Fire 12/03/65 #9 / #96
9766 (I Can't Get No) Satisfaction / The Under Assistant. 04/06/65 #1
9792 Get Off Of My Cloud / I'm Free 24/09/65 #1
9808 As Tears Go By / Gotta Get Away 17/12/65 #6
9823 19th Nervous Breakdown / Sad Day 11/02/66 #2
901 Paint It, Black / Stupid Girl 06/05/66 #1
902 Mother's Little Helper / Lady Jane 01/07/66 #8 / #24
903 Have You Seen Your Mother, Baby.? / Who's Driving Your Plane? 23/09/66 #9
904 Let's Spend The Night Together / Ruby Tuesday 13/01/67 #55 / #1
905 We Love You / Dandelion 18/08/67 #50 / #14
906 She's A Rainbow / 2000 Light Years From Home 01/12/67 #25
907 In Another Land / The Lantern 22/12/67 #87
908 Jumpin' Jack Flash / Child Of The Moon 31/05/68 #3
909 Street Fighting Man / No Expectations 30/08/68 #48
910 Honky Tonk Women / You Can't Always Get What You Want 03/07/69 #1 / #42
The Rolling Stones - London USA labels - Type I • USA discography: London 60's singles
Type I: purple & white labels,
Originals up to 01/1965 [9741].
[green & white CS in late '64]
The Rolling Stones - London USA labels - Type II • USA discography: London 60's singles
Type II: orange swirls.
Promo copies from 1964 to 1973.
Distrib. in neutral sleeves.

The Rolling Stones - London USA labels - Type III • USA discography: London 60's singles
Type III: blue swirls.
Originals from 1965 to 1969 + 70's reissues [the latter in type IV CS].
The Rolling Stones - London USA labels - Type IV • USA discography: London 60's singles
Type IV: 'sunset' labels.
Reissues from 1978.
Black London-Deram CS apply too.

Anatomy of US LONDON 45 labels [put your mouse over the picture active zones]

Since variations may also exist for a given label type, some relevant extra information should enable one label to distinguish itself from another.
The example below talks by itself. A description defines a design 'pattern' for the A-side which, unless exceptions, is the same on the B-side. Note that to keep description as simple as can be, only the minimum relevant information would be displayed [eg.: in the example below, there is no mention that the titles is split on 2 lines, but if similar labels would be met with the title standing on 1 line, such detail would be mentioned].

Labels below could textually be described as:
45-LON 9782 1960's type III - dist. note - usa/cat./prod. R
London US 45
usa timing prod cat band pub. dist. title mx beam
  • top
    • distribution: abbreviated 'dist. note', denotes the presence of the line 'Distributed by The London Records, Inc.'.

  • right[R]
    • USA: 'usa' denotes the mention 'made in U.S.A.'
    • production credits: 'prod' denotes the production credits, 'eng' the engineering credits.
    • catalogue number: the catalogue number - symbolized by 'cat.' - appears in descriptions exactly as it appears on labels - mind the separator [dash or blank space - eg: '45-LON' is not '45 LON']
    • white beam clock position: the blue swirls pattern of the background may vary for some type III labels; this is sometimes the only difference that may apply in a variation, recognizable by the position of the white(st) beam - here its bottom line is at 4 o'clock [some can be positioned above, at 3 o' clock]

  • bottom
    • song title: the song title - 'title' - may be split on 2 lines
    • band name: the band name, aka 'group', may be split on 2 lines

  • left [L]
    • publishing information: abbreviated 'pub.' [yet rarely mentioned for hardly relevant for distinctive purposes]
    • timing: the timing of the song, abbreviated 'time'
    • matrix: the matrix number. Some matrix have prefix or suffix letters, which give info on the pressing plant.

The Rolling Stones - London USA labels - Type V • USA discography: London 60's singles
Type V : white & red labels.
Reissues from 1986 & 1987, distributed in white sleeves.


Other types of labels:

The Rolling Stones - Stoned - 9641 - wlp • USA discography: London 60's singles- 0 - first promo copies of the two very first singles came out on white labels sporting the old 'curly' London logo.

- I-bw: second promo copies of the same singles were b&w versions of the type I labels [with an additional promo mention].

The Rolling Stones - Great Hits labels • USA discography: London 60's singles- rare gold 'Great Hits' labels also exist for late 70's reissues [it may be Canadian].


Pressing plants identifiers

London US has used many plants in the country for its production, including Columbia or RCA ones...
If a particular typesetting can appear to be the mark of a factory, this is not always accurate so one should always refer to the runout of the record to find out where this latter was pressed.
Codes / symbols engraved in the groove which identify plants responsible for the manufacturing of a record can be found in the table below.
Note that reported matrix numbers may voluntarily omit such signs as well and mirrored info.

Bell Sound studios
Pressing plant Runout etching(s) / label info Code in listings
Bestway Products, Mountainside, NJ BW or 𝓑𝓮𝓼𝓽𝔀𝓪𝔂 / BW or '19' matrix suffix BW
Columbia Records, Bridgeport, CT*   BR
Columbia Records, Pitman, NJ small P (stamped) or... nothing P
Columbia Records, Santa Maria, CA Ƨ or S Ƨ
Columbia Records, Terre Haute, IN T followed by one or more vertical bars TIIII (etched, oblique) TI
Monarch Record Mfg. Co., Los Angeles, CA circled MR logo MR
PRC Recording Corp., Richmond, IN PRC / '72' note PRC
RCA Records, Hollywood, CA H (stamped) R
RCA Records, Rockaway, NJ R (stamped) R
Shelley Products, Huntington Station, NY X (stamped) until 1969, then a circled Ⓢ S
Specialty Records Corp., Olyphant, PA SRC logo / '49' note SP

Also etched into the runout area, independently from the pressing plant info, the Bell Sound studios mark would often show up, sometimes followed by the initials of mastering engineer Sam Feldman.

* In late March of 1964, Columbia shut down its Bridgeport plant, transferring all East Coast pressing activities to their newer Pitman, NJ plant, which explains why only the 1st Rolling Stones single was pressed at Bridgeport.
Note that the label typesetting associated with Bridgeport would also go to Pitman.

I Wanna Be Your Man / Stoned

London 9641 labels
#6 view cat.# year pp type description
a 45 LON 9641 1964 TI I-bw black & white promo labels - cat.# split on 3 lines
b 45-LON 9641V 1964 BR I-bw black & white promo labels
c 45-LON 9641V 1964   I promo labels
d 45-LON 9641 1964 MR 0 promo white labels with open London letters
e 45-LON 9641 1964 BR I band name standing on 1 line
f 45-LON 9641 1964   I band name split on 2 lines


Not Fade Away / I Wanna Be Your Man

London 9657 labels
#7 view cat.# year pp type description
a 45 LON 9657 1964 TI I-bw promo black & white labels - catalogue number split on 3 lines
b view details 45 LON 9657 1964   I-p promo purple labels - catalogue number split on 2 lines
c view details 45 LON 9657 1964 TI I-p promo purple labels - catalogue number split on 3 lines
d 45 LON 9657 1964 TI I catalogue number split on 3 lines
e 45-LON 9657 1964 MR 0 promo white labels - 'not for sale' note
f 45-LON 9657 1964 R I small lettering - no production credits - PS
g 45-LON 9657 1964 P I big lettering - no production credits
h 45-LON 9657 1964 P I big lettering - production credits - PS
i 45-LON 9657 1964 MR I titles split on 2 lines - no production credits
j 45-LON 9657 1964 MR I titles split on 2 lines - production credits
k 45-LON 9657 1965 MR III  
l 45-LON 9657 1965 MR III narrow font
m 45-LON 9657 1965 MR III 'dist.' note - white beam at 3 o' clock
n 45-LON 9657 1965 S III 'dist.' note - white beam at 4 o' clock
o 5N-LON-9657 1973 S III  
p 5N 9657 1978 BW IV '19' matrix suffix - small lettering
q 5N 9657 1986 BW V '19' matrix suffix
r 5N-9657 1973 TI III  
s 5N-9657 1978 TI IV big lettering
t 5N-9657 1986 SP V '49' note


Tell Me (You're Coming Back) / I Just Wanna Make Love To You

London 9682 labels
#8 view cat.# year pp type description
a 45 LON 9682 1964 P I missing production credits
b 45 LON 9682 1964 P I production credits
c 45 LON 9682 1964 P I same as above - mislabeled: B-labels on both sides
d 45 LON 9682 1964 R I cat.# split on 2 lines
e 45 LON 9682 1964 TI I cat.# split on 3 lines - missing production credits
f 45 LON 9682 1964 TI I cat.# split on 3 lines - production credits - PS
g 45 LON 9682 1964 P II promotion copy - 'not for sale' - cat.# split on 2 lines
h 45 LON 9682 1964 TI II promotion copy - 'disc jockey' - cat.# split on 3 lines
i view details 45 LON 9682 1965   III 'Made in U.S.A.' note on the right
j 45-LON 9682 1964 MR I missing production credits
k 45-LON 9682 1964 P I production credits
l 45-LON 9682 1964   II promotion copy - 'not for sale'
m 45-LON 9682 1965 MR III 'dist.' note - white beam at 3 o' clock
n 45-LON 9682 1965 S III 'dist.' note - white beam at 4 o' clock
o 45-LON 9682 1973 TI III band name split on 2 lines - narrow typeface
p 5N-LON-9682 1973 S III  
q 5N-9682 1973 TI III band name split on 2 lines
r 5N-9682 1978 TI IV band name split on 2 lines - big lettering
s 5N 9682 1978 BW IV '19' matrix suffix - small lettering
t 5N-9682 1986 BW V '19' matrix suffix
u 5N-9682 1986 SP V '49' note


It's All Over Now / Good Times, Bad Times

London 9687 labels
#9 view cat.# year pp type description
a 45 LON 9687 1964 R I cat.# split on 2 lines - missing 'Made in U.S.A.' note
b 45 LON 9687 1964 P I cat.# split on 2 lines - 'Made in U.S.A.' note - PS
c 45 LON 9687 1964 TI I cat.# split on 3 lines - PS
d 45 LON 9687 1964 TI I cat.# split on 3 lines - misprint: black ink on B-side only
e 45 LON 9687 1964 R II promo copy - cat.# split on 2 lines - missing 'Made in U.S.A.'
f 45 LON 9687 1964   II promo copy - cat.# split on 3 lines - 'dist.' rim line
g 45-LON 9687 1964 MR II promo copy *
h 45 LON 9687 1965 TI III  
i 45-LON 9687 1964 MR I titles split on 2 lines *
j 45-LON 9687 1965 MR III 'dist.' note - white beam at 3 o' clock *
k 45-LON 9687 1965 S III 'dist.' note - white beam at 4 o' clock *
l 45-LON 9687 1965 MR III big catalogue numbers *
m 45-LON 9687 1965 MR III small catalogue numbers, new typog. *
n 5N-LON 9687 1973 S III *
o 5N-9687 1973 TI III  
p 5N-9687 1978 TI IV big lettering
q 5N-9687 1978 PRC IV '72' note - small lettering
* wrong A-side duration of 2:28 [instead of 3:20].


Time Is On My Side / Congratulations

London 9708 labels *
#10 view cat.# year pp type description
a 45 LON 9708 1964 R I cat.# split on 2 lines - v1- PS
b 45 LON 9708 1964 P I production credits - v1 - PS
c view details 45 LON 9708 1964   II promo copy
d 45 LON 9708V 1964 P II promo copy - v1
e 45 LON 9708V 1965 TI III v2
f 45-LON 9708 1964 MR I title split on 2 lines - v1 - PS
g 45-LON 9708 1964 P I missing production credits - v1
h 45-LON 9708 1964 MR II promo copy
i 45-LON 9708 1965 MR III 'dist.' note - v1
j 45-LON 9708 1965 MR III white beam at 3 o' clock - v1
k 45-LON 9708 1965 Ƨ III white beam at 4 o' clock - v2
l 45-LON 9708 V 1964 TI I cat.# split on 2 lines - v1 - PS
m 45-LON 9708 V 1965 TI III cat.# split on 2 lines - v1
n 45-LON 9708 V 1965 TI III cat.# split on 2 lines versus standing on one line - v2
o 5N-LON 9708 1973 Ƨ III v2
p 5N 9708 1986 SP V '49' note - v2
q 5N-9708 1973 MR III v1
r 5N-9708V 1973 TI III v1
s 5N-9708V 1978 TI IV big lettering - v1
t 5N-9708V 1978 BW IV '19' matrix suffix - small lettering - v2
u 5N-9708V 1987 BW V '19' matrix suffix - v2
* V1: 'organ' intro version - V2: 'guitar' intro version


Heart Of Stone / What A Shame

London 9725 labels
#11 view cat.# year pp type description
a 45 LON 9725 1965 TI I cat.# split on 2 lines - 'Made in U.S.A.' note - PS
b 45 LON 9725 1965 TI I cat.# split on 2 lines - mislabeled: B-side on both sides
c 45 LON 9725 1965 R I both title (A-side) and cat.# split on 2 lines
d 45 LON 9725 1965   II promotional copy
e 45 LON 9725 1965   III white London logo
f 45 LON 9725V 1965 R II promotional copy
g 45-LON 9725 1965 MR I titles split on 2 lines
h 45-LON 9725 1965   II promotional copy
i 45-LON 9725 1965 MR III narrow lettering
j 45-LON 9725 1965 TI III wide lettering
k 45-LON 9725 1972 MR III 'dist.' note - white beam at 3 o' clock
l 45-LON 9725 1972 MR III 'dist.' note - white beam at 3 o' clock - mislabeled: 2 A-sides
m 45-LON 9725 1972 S III 'dist.' note - white beam at 4 o' clock
n 5N-LON 9725 1973 MR III  
o 5N 9725 1973 TI III  
p 5N 9725 1978 TI IV big lettering


The Last Time / Play With Fire

London 9741 labels
#12 view cat.# year pp type description
a 45-LON 9741 1965 MR I mislabeled: B-side on both sides
b 45-LON 9741 1965 MR I PS or CS
c 45-LON 9741 1965   II promotional copy - 'dist.' note
d 45-LON 9741 1965 MR III white beam at 3 o' clock
e 45-LON 9741 1965 S III white beam at 4 o' clock
f 45 LON 9741V 1965 P II promotional copy
g 45 LON 9741V 1965 TI III white London logo - PS
h 45 LON 9741V 1965 TI III black vs white London logo
i 45 LON 9741V 1965 TI III c/w 'LON-9741' cat.
j 45 LON 9741V 1965 TI III  
k 45 LON 9741 1965 P III white London logo
l 45-LON 9741 1973   III 'dist.' note - reprint PS
m 5N-LON 9741 1973 S III A.L.O. name standing on 1 line
n 5N-LON 9741 1973   III A.L.O. name split on 2 lines
o LON-9741 1973 TI III band name split on 2 lines
p 5N-9741 1973 TI III  
q 5N-9741 1978 BW IV '19' matrix suffix - small lettering - band name on 1 line
r 5N-9741 1978 TI IV big lettering - band name split on 2 lines
s 5N-9741 1986   V  


(I Can't Get No) Satisfaction / The Under Assistant West Coast Promotion Man

London 9766 labels
#13 view cat.# year pp type description
a 45 LON 9766 1965 P III  
b 45 LON 9766 1965 P III as above - mislabeled: A-side on both sides
c 45 LON 9766 1965 P III as above - mislabeled: inverted labels
d 45-LON 9766 1965 MR II 'dist' note - 'promo. copy' + 'Not for sale' notes
e 45-LON 9766 1965 MR III 'dist' note - eng. credit standing on 1 line
f 45-LON 9766 1965 MR III 'dist' note - eng. credit split on 2 lines
g 45-LON 9766 1965 MR III bold lettering
h 45-LON 9766 1965 MR III light lettering, narrow typeface
i 45 LON 9766V 1965 P II 'promotional copy' note
j 45 LON 9766V 1965 TI III white London logo
k 45 LON 9766V 1965 TI III white London logo on A-side only
l 45 LON 9766V 1965 TI III white beam at 3 o' clock *
m 45 LON 9766V 1965 S III white beam at 4 o' clock - PS *
n 45 LON 9766V 1965 S III white beam at 4 o' clock - mislabeled: inverted sides *
o 5N-LON 9766 V 1973 S III *
p 5N-9766-DJ 1973   II promo copy - RS (not TRS) *
q 5N-9766-DJ 1973 MR II promo copy 'not for sale' - titles split on 2 lines *
r 5N-9766-DJ 1973 MR II promo copy - as above but misprint w/ blank B-side *
s 5N 9766 1973 TI II promo copy 'not for sale' *
t 5N 9766 1973 TI III big lettering *
u 5N 9766 1973 TI III small new lettering *
v 5N-9766 1973 MR III A-side title standing on 1 line *
w 5N-9766 1973 MR III A-side title split on 2 lines *
x 5N 9766 1978 TI IV matrix L - narrow bold titling - some distr. in 'export' PS *
y 5N-9766 1978   IV matrix L - wide titling *
z 5N-9766 1978 BW IV '19' matrix suffix *
a1 view details 5N-9766 1978 BW IV '19' matrix suffix - misprint: blank A-side (sunset & logo) *
b1 5N-9766 1978 BW IV '19' matrix suffix - mislabeled: 2 B-sides *
c1 5N 9766 1982 TI NA gold 'Great Hits' labels *
d1 5N-9766 1985 BW V '19' matrix suffix *
e1 5N-9766 1986 SP V '49' note - different typography than above *
* cleaned edited B-side missing the infamous line 'break my ass everyday...'


Get Off Of My Cloud / I'm Free

London 9792 labels
#14 view cat.# year pp type description
a 45 LON 9792 1965   II promo copy - production credits in the bottom
b 45 LON 9792 1965 MR III production credits on the right - PS
c 45 LON 9792 1965 MR III production credits on the right - 'dist' note on B-side (as #d)
d 45 LON 9792 1965 MR III 'dist.' note - production credits on the right - PS
e 45 LON 9792 1965 MR III 'dist.' note - prod. credits on the right - mislabeled - PS
f 45 LON 9792 1965 BW III production credits in the bottom - narrow titling - PS
g 45 LON 9792 1965 P III production credits in the bottom - wide titling - PS
h 45 LON 9792 1965 P III prod. credits in the bottom - wide titling - blank A-side - PS
i 45-LON 9792 1965   III  
j 5N 9792 1978 TI IV big lettering
k 5N 9792 1973 TI III big lettering - 'Made in U.S.A.' note on the left
l 5N-9792 1973 MR III 'Made in U.S.A.' note on the right
m 5N-9792 1978 BW IV '19' matrix suffix - small lettering
n 5N-9792 1986 SP V '49' note
o 5N-9792 1986 BW V '19' matrix suffix


As Tears Go By / Gotta Get Away

London 9808 labels
#15 view cat.# year pp type description
a 45 LON 9808 1965 TI II promo copy - 'Made in U.S.A.' note
b 45 LON 9808 1965 TI III 'Made in U.S.A.' note - PS
c 45 LON 9808 1965 TI III white London logo - 'Made in U.S.A.' note - PS
d 45 LON 9808 1965 BW III 'BW' matrix prefix - PS
e view details 45 LON 9808 1965   III 'dist.' note
f 45-LON 9808 1965   II 'dist.' note - 'promo' and 'not for sale' notes
g 45-LON 9808 1965 MR III 'dist.' note - PS
h 45-LON 9808 1965 MR III bold lettering
i 45-LON 9808 1965   III bold lettering - misprint: blank B-side
j 45-LON 9808 1965 MR III light lettering, narrow typeface
k 5N-LON 9808 1973   III  
l 5N-9808 1973 TI III  
m 5N-9808 1978 TI IV small lettering - LP credits below titles
n 5N-9808 1978 BW IV '19' matrix suffix - small lettering - LP cre. below band name
o 5N-9808 1986 BW V '19' matrix suffix


19th Nervous Breakdown / Sad Day

London 9823 labels
#16 view cat.# year pp type description
a 9823 1966 BW II blank A-side with London logo - white B-side
b 45 LON 9823 1966 TI II 'promotional copy' - 'Made in U.S.A.' note
c 45 LON 9823 1966 S III 'Made in U.S.A.' note - white beam at 4 o' clock - PS
d 45 LON 9823 1966 TI III 'Made in U.S.A.' note - white beam at 3 o' clock - PS
e 45 LON 9823 1966 BW III wide thick titles - no 'Made in U.S.A.' note - PS
f 45 LON 9823 1966 BW mislabeled w/ Mary Wells' Atco single 6392
g 45 LON 9823 1966   III wide thick titles - mispressed, playing Sonny & Cher
h 45-LON 9823 1966   II promo copy - 'dist' note
i 45-LON 9823 1966 MR III 'dist.' note - PS
j 45-LON 9823 1966 MR III bold lettering - 'Made in U.S.A.' note on the right
k view details 45-LON 9823 1966   III no 'Made in U.S.A.' note
l 5N-LON 9823 1973 S III 'Made in U.S.A.' note in the bottom
m 5N-LON 9823 1973 MR III 'Made in U.S.A.' note on the right
n 5N 9823 1973 TI III big lettering' - 'Made in U.S.A.' note in the bottom
o 5N 9823 1978 TI IV big lettering
p view details 5N-9823 1973   III 'Made in U.S.A.' note on the right
q 5N-9823 1978 BW IV '19' matrix suffix - small lettering
r 5N-9823 1986 BW V '19' matrix suffix


Paint It, Black / Stupid Girl

London 901 labels
#17 view cat.# year pp type description
a 45 LON 901 1966 P II 'Made in U.S.A.' in the bottom - 'promotional copy' note
b 45 LON 901 1966 TI III 'Made in U.S.A.' in the bottom - white beam at 3 o' clock - PS
c 45 LON 901 1966 S III 'Made in U.S.A.' in the bottom - white beam at 4 o' clock
d 45 LON 901 1966 TI III as #b - misprint: blank A-side
e 45 LON 901 1966 BW III no 'Made in U.S.A.' note - 'BW' matrix suffix
f 45 LON 901 1966 BW III as above - mislabeled: A-side on both sides
g 45 LON 901 1966 BW III as above - mislabeled: B-side on both sides
h 45 LON 901 1966 BW III as above - misprint: B-side missing title and band name - PS
i 45 LON 901 1966 R III 'Made in U.S.A.' on the right - missing comma in title - PS
j 45-901 1966 MR II 'dist.' note - engineering credits on the right
k 45-901 1966 MR III 'dist.' note - engineering credits on the right - PS
l 45-901 1966 MR III 'dist.' note - engineering credits in the bottom - PS
m 45-901 1966   III PS
n 5N-LON-901 1973 S III  
o 5N-901 1973 S III 'Made in U.S.A.' note on the right
p view details 5N-901 1973   III 'Made in U.S.A.' in the bottom - misprint: blank A-side
q 5N-901 1973 TI III 'Made in U.S.A.' note in the bottom
r 5N-901 1978 BW IV '19' matrix suffix - small lettering
s 5N-901 1978 TI IV big lettering
t 5N-901 1978 TI NA gold 'Great Hits' labels
u 5N 901 1986   V  
v 5N 901 1986   V misspelled 'Stupid Gir'
w 5N 901 1986   V misspelled 'Stupid Gir' and mispressed [Moody Blues 7"]


Mother's Little Helper / Lady Jane

London 902 labels
#18 view cat.# year pp type description
a 902 1966 MR NA mislabeled w/ Mel Carter's single labels [Imperial 66208]
b 45 LON 902 1966 P II 'promotional copy' - 'Made in U.S.A.' note
c 45 LON 902 1966 TI III 'Made in U.S.A.' note - production credits
d 45 LON 902 1966 TI III 'Made in U.S.A.' note - B-side w/ prod. credits - PS
e 45 LON 902 1966 TI III 'Made in U.S.A.' note - B-side w/o prod. credits - PS
f 45 LON 902 1966 P III as above - misprint: blank A-side
g 45 LON 902 1966 R III no 'Made in U.S.A.' note
h view details 45 LON 902 1966 R III no 'Made in U.S.A.' note - misprint: blank B-side
i 5N-LON-902 1973 S III  
j 45-902 1966 MR II promo copy - 'dist.' note
k 45-902 1966 MR III 'dist.' note - 'Made in U.S.A.' note
l 45-902 1966 MR III 'dist.' note - as above - mislabeled: A-side on both sides
m view details 45-902 1966   III 'dist.' note - no 'Made in U.S.A.' note
n 45-902 1966 MR III narrow 'made in U.S.A.' note - big cat.#
o 45-902 1966   III wide / narrow 'made in U.S.A.' note - small / big cat.#
p 45-902 1966 MR III wide 'made in U.S.A.' note - small cat.#
q 45-902 1966 BW III no 'Made in U.S.A.' note - thick titles - 'BW' matrix suffix - PS
r 5N 902 1973 TI III  
s 5N 902 1978 TI IV big lettering
t 5N-902 1978 BW IV '19' matrix suffix - small lettering
u 5N-902 1986 BW V '19' matrix suffix


Have You Seen Your Mother, Baby, Standing In The Shadow ? / Who's Driving Your Plane

London 903 labels
#19 view cat.# year pp type description
a 45 LON 903 1966 TI II  
b 45 LON 903 1966 BW II 'BW' matrix suffix
c 45 LON 903 1966 TI III big lettering - PS
d 45 LON 903 1966 BW III big lettering - 'BW' matrix suffix - PS
e 45-LON 903 1966 R III big lettering - 'dist.' note - PS
f 45-LON-903 1966 TI III small lettering
g 45-903 1966   II 'dist.' note - 'not for sale' note
h 45-903 1966 MR III 'dist.' note
i 45-903 1966 S III big cat.# - 'Made in U.S.A.' note - PS
j 45-903 1966 BW III small cat.# - no 'Made in U.S.A.' note - 'BW' matrix prefix - PS
k 5N 903 1973 TI III  
l 5N 903 1978 TI IV 'Made in U.S.A.' note
m 5N 903 1978 BW IV '19' matrix suffix - no 'Made in U.S.A.' note
n 5N 903 1986 BW V '19' matrix suffix
All releases misspell 'Who's Driving My Plane' instead of 'Who's Driving Your Plane' on B-side.


Let's Spend The Night Together / Ruby Tuesday

London 904 labels
#20 view cat.# year pp type description
a 904 1967   III band name on the left side
b 904 / 45 LON 904 1967 Ƨ III band name on the left side - B-side as #d - PS
c 45 LON 904 1967 TI II promo copy
d 45 LON 904 1967 TI III PS
e 45 LON 904 / 904 1967 Ƨ III A-side as above - PS
f 45-904 1967 MR II 'dist.' note
g 45-904 1967 MR III 'dist.' note - PS
h 45-904 1967 MR III 'Made in U.S.A.' note on the right - big cat.#
i 45-904 1967 MR III 'Made in U.S.A.' note on the right - small cat.#
j 45-904 1967 S III 'Made in U.S.A.' in the bottom - white @ 2 O'Clock
k 45-904 1967 S III 'Made in U.S.A.' in the bottom - white @ 4 O'Clock - PS
l 45-904 1967 BW III no 'Made in U.S.A.' note - 'BW' matrix prefix - PS
m 45-904 1986 PRC IV '72' note
n 45-904 1987 SP V '49' note
o 5N 904 1978 TI III big lettering
p 5N 904 1978 TI IV big lettering
q 5N-904 1973 MR III 'Made in U.S.A.' note on the right - small cat. #
r 5N-904 1973 S III 'Made in U.S.A.' note in the bottom
s 5N-904 1978 BW IV '19' matrix suffix - mislabeled: A-side vs B-side
t 5N-904 1986 BW V '19' matrix suffix
u 5N-904 1986 BW V '19' matrix suffix - mislabeled: A-side vs B-side


We Love You / Dandelion

London 905 labels
#21 view cat.# year pp type description
a 45-LON-905 1967 P II promo copy - long version 4:39
b 45-LON-905 1967   II promo copy - edited version 3:10
c 45-LON-905 1967 P III mislabeled: B-side on both sides
d 45-LON-905 1967 TI III  
e 45-905 1967   II promo copy - 'dist.' note
f 45-905 1967 S III production credits on the right - PS
g 45-905 1967 BW III production credits in the bottom - 'BW' matrix suffix
h 45-905 1967 MR III 'dist.' note
i 5N-905 1973 TI III arranger credits in the bottom
j 5N-905 1973 S III arranger credits on the right
k 5N-905 1978 BW IV '19' matrix suffix - small lettering - mislabeled: A vs B-side
l 5N-905 1978 TI IV matrix # L - big lettering
m 5N-905 1981 PRC IV matrix # L - new lettering - A-side misspells 'Jaggar'
n 5N-905 1987   V  


She's A Rainbow / 2000 Light Years From Home

London 906 labels
#22 view cat.# year pp type description
a 45-906-DJ 1967 P II  
b 45-906-DJ 1967 MR II 'dist.' note
c 45 LON 906 1967 TI II promo copy - 'Made in U.S.A.' note in the bottom
d 45 LON 906 1967 TI III 'Made in U.S.A.' note in the bottom - star - PS
e 45-LON-906 1967 P III 'Made in U.S.A.' note on the right - PS
f 45-906 1967 MR III 'dist.' note
g 45-906 1967 BW III prod. credits in the bottom - 'BW' matrix suffix - star
h 45-906 1967 S III prod. credits on the right - PS
i 45-906 1987 BW V promo versions*
j 5N 906 1978   IV no LP credits - promo versions*
k 5N-906 1973 S III 'Made in U.S.A.' note in the bottom, thick cat.#
l 5N-906 1973 TI III 'Made in U.S.A.' note on the right - small cat.#
m 5N-906 1978 TI IV LP credits - normal versions
n 5N-906 1986 SP V '49' note
o 5N-906 1986 SP V '49' note - misprint: blank B-side
* some sunset labels version, by mistake, contain the original promo edited versions of this single (quite different from the album ones). Matrix numbers: 5N-906-A and 5N-906-B etched in groove


In Another Land / The Lantern

London 907 labels
#23 view cat.# year pp type description
a 45 LON 907 1967 TI II promo copy - 'Made in U.S.A.' note in the bottom
b 45 LON 907 1967 TI III 'Made in U.S.A.' note in the bottom
c 45-LON-907 1967 P   white label test pressing - matrix as #d
d 45-LON-907 1967 P II promo copy - 'Made in U.S.A.' on the right - star on A-side
e 45-LON-907 1967 P III 'Made in U.S.A.' note on the right - PS
f 45-LON-907 1978 TI IV  
g 5N-907 1973 S III  
h 45-907 1967 MR II promo copy - 'dist.' note
i 45-907 1967 MR III 'dist.' note
j 45-907 1967 S III PS


Jumpin' Jack Flash / Child Of The Moon

London 908 labels
#24 view cat.# year pp   type description
a view details 45 LON 908 1968     III 'Made in U.S.A.' note on the right
b 45-LON-908 1968 TI   II promo copy
c view details 45-LON-908 1968     III misprint: blank A-side
d 45-LON-908 1968 TI   III misprint: missing London logo on A-side
e 45-LON-908 1968 TI   III mislabeled: B-side on both sides
f 45-LON-908 1968 TI   III mislabeled: A-side vs B-side
g 45-LON-908 1968 TI   III PS
h 45-LOS-908 1968 P   II promo copy - 'Stereo' notes
i 45-908-DJ 1968 MR   II no 'stereo' mention
j 45-908-DJ 1968 MR   II 'stereo'
k 45-908 1968     white labels test pressing
l 45-908 1968 S   III 'Made in U.S.A.' note in the bottom
m 45-908 1968 S   */III 'Made in U.S.A.' in the bottom - white label on A-side
n 45-908 1968 MR   III 'Made in U.S.A.' on the right - PS
o 45-908 1968 MR   III 'Made in U.S.A.' on the right - mislabeled: A-side x 2
p 45-908 1986 PRC   IV
q 5N 908 1973     III prod. credits in the bottom - 'Oldie but Goodies' sealing
r 5N-908 1973     III group/usa
s 5N-908 1973 MR   III 'Made in U.S.A.' note on the right
t 5N 908 1978 TI   IV big lettering
u 5N-908 1978 BW   IV '19' matrix suffix - small lettering
v 5N-908 1985 BW   V '19' matrix suffix
w 5N-908 1986 SP   V '49' note


Street Fighting Man / No Expectations

London 909 labels
#25 view cat.# year pp type description
a 45-LON-909 1968 TI II promo copy
b 45-LON-909 / 45-LOS-909 1968 TI II as above, but w/ '45-LOS-909' on B-side
c 45-LON-909 1968 P III  *
d 45-LON-909 1968 P III  * - misprinted A-side missing white swirls
e 45-LOS-909 1968 TI II promo copy
f 45-909-DJ 1971   II promo copy
g 45-909 1968 S II promo copy - prod. credits on the right
h 45-909 1971   II promo copy - prod. credits in the bottom
i 45-909 1968 S III production credits on the right. - PS *
j 45-909 1971 MR III production credits in the bottom *
k 5N 909 1973 TI III  
l 5N 909 1978 TI IV big lettering - 'Made in U.S.A.' note
m 5N-909 1982 PRC NA black sleek testpressing
n 5N-909 1982 PRC IV small lettering
o 5N-909 1982 PRC IV small lettering - misprint: blank B-side
* mono mix 7" version w/ different vocal track [all other copies feature the LP version]


Honky Tonk Women / You Can't Always Get What You Want

London 910 labels
#26 view cat.# year pp type description
a view details 45-LON-910 1969   II promo copy - star - no 'Made in U.S.A.' note
b 45-LON-910 1969 TI II promo copy - star - 'Made in U.S.A.' note in the bottom
c 45-LON-910 1969 TI III 'Made in U.S.A.' note in the bottom
d 45-LON-910 1969 P III 'Made in U.S.A.' note on the left - PS
e 45-LOS-910 1969   II promo copy
f 45-910-DJ 1969 Ƨ II promo copy - no 'Made in U.S.A.' - mono versions [XDR #]
g 45-910-DJ 1969 Ƨ II promo copy - no 'Made in U.S.A.' - stereo versions [ZXDR #]
h 45-910-DJ 1969 MR II promo copy - promo & 'stereo' notes - 'Made in U.S.A.'
i 45-910 1969 BW   white labels test pressing - matrix as below
j 45-910 1969 MR II promo note - star - 'Made in U.S.A.' note R - big cat.#
k 45-910 1969 MR III prod. + 'Made in U.S.A.' note R - big cat.# - mislabeled
l 45-910 1969 MR III prod. + 'Made in U.S.A.' note R - big cat.#
m 45-910 1969 MR III prod. + 'Made in U.S.A.' note R - small cat. #
n 45-910 1969 BW III narrow titles - 'BW' matrix - 'Gideon Music Inc.' on 1 line L
o 45-910 1969 BW III wide titles - 'BW' matrix - 'Gideon Music Inc.' on 2 lines L
p 45-910 1969 Ƨ NA mispressed: Al Green labels on Hi Records
q 45-910 1969 Ƨ III prod. credits on the right - no 'Made in U.S.A.' - PS
r 45-910 1969 PRC III rim line w/ 'dist.' note in the bottom - 'PH' matrix
s view details 45-910 1969   III Jimmy Miller credit L - 'Made in U.S.A.' note
t 5N 910 1973 TI III narrow lettering
u 5N 910 1978 TI IV narrow lettering
v 5N 910 1978 TI IV narrow lettering - mislabeled: A-side vs B-side
w 5N 910 1981 PRC IV new lettering - B-side misspells 'Jaggar'
x 5N 910 1986 SP V '49' note
y 5N-910 1978 BW IV '19' matrix - small lettering
z 5N-910 1986 BW V '19' matrix

The Rolling Stones - Stoned - 9641 • USA discography: London 60's singles Recorded in early October 1963, the instrumental 'Stoned' was the first track released to be credited to 'Nanker Phelge', and the band's first original composition.
This title being controversial in the US, it only very briefly appeared on the B-side of the Lennon-McCartney's cover 'I Wanna Be Your Man' though, which single was almost immediately withdrawn. A few hundred copies are known to have been pressed though, enough for promo variations to exist on both the old 'curly' London logo white labels and the b&w version of the purple labels [type I-bw]. A stock issue on the purple labels also exists.

The Rolling Stones - Stoned - 9641 fantasy PS • USA discography: London 60's singlesThis record never was reissued. In the late 70's, some 'DJ-rush' fantasy sleeves were made, supposedly for a US fanclub convention [at the same time some other 'fantasy' sleeves were made for other artists like the Beatles or Bob Dylan].



The Rolling Stones - Not Fade Away • USA discography: London 60's singles'Not Fade Away' [9657], released on 6 March 1964, soon shadowed this first single attempt, with the Beatles track now featuring on the flip side.
The Rolling Stones - Not Fade Away - London 9657 • USA discography: London 60's singlesThe single - which would be the opening track of the album 'England's Newest Hitmakers' a month later - reached #48 on the U.S. Billboard Hot 100 singles chart.
A rare picture sleeve - the David Bailey's band shot from their first album - was housing the very first copies.
Nearly 20 labels variations were pressed since, as the track was reissued constantly during the 60's and the 70's, up to the latest mid-80's reissues on white & red labels.

The Rolling Stones - Not Fade Away - London 9657 - labels • USA discography: London 60's singles
Still extracted from their US debut album, 'Tell Me' [9682], issued 3 months later, in June 1964, was the first Jagger/Richards song that the band released as a single A-side [edited here at 2:35], and their first record to enter the US Top 40 [#24].

Unreleased on 7" in the UK, this single was also originally issued in Denmark, Norway, South Africa and Australia, with the same B-side [Willie Dixon's 'I Just Wanna Make Love To You'], in other countries with a different B-side ['Carol' in Japan, 'Come On' in Holland, 'Route 66' in Belgium], or even as a B-side [the flip of 'It's All Over Now' in Germany, or 'Route 66' in Greece] - it also featured on various EPs of course.

On one side of the picture sleeve made for this single and depicting the band at the 'Thank Your Lucky Stars' television show, was an ad for 'starting a Rolling Stones fan club'.


The Rolling Stones - Tell Me - London 9782 • USA discography: London 60's singlesThe Rolling Stones - Tell Me - London 9782 • USA discography: London 60's singlesThe Rolling Stones - Tell Me - London 9782 • USA discography: London 60's singles



The band was touring the USA for the first time when they were played an advance copy of the Valentinos' 'It's All Over Now' by legendary DJ Murray 'the K' Kaufman. A few days after, they recorded it at Chess Studios in Chicago. While the original version only made it #68 on the Pop charts, the Stones' cover peaked at #26 [bitter Bobby Womack admitted he got his smile back later thanks to the royalties check].
The Rolling Stones - It's All Over Now - London 9687 • USA discography: London 60's singles

The Rolling Stones - fan club ad • USA discography: London 60's singles
As in England, 'It's All Over Now' [9687] was coupled with 'Good Times, Bad Times'.
The picture sleeve was extracted from the same TV show than the previous cover and sported the same fanclub ad on one side.


The Rolling Stones - Time Is On My Side - ad • USA discography: London 60's singlesThe Rolling Stones - It's All Over Now - London 9687 • USA discography: London 60's singles

The first of the two versions of 'Time Is On My Side' [9708] recorded by the Stones in 1964, with the organ intro, would be the fourth US single [also included into the '12x5' US album - while the guitar intro version would feature on the 'N° 2' LP in the UK].
Released a month after Irma Thomas' version, on September 26, 1964, the song became the band's first top ten hit in the U.S, peaking at number six on the U.S. Billboard Pop Singles Chart.
Backed with the bluesy ballad 'Congratulations', its picture sleeve used the same picture as the second British EP 'Five By Five'.

If this single was not released in the UK, it was in most of Northern Europe, as well as in Australia, New Zealand, or Japan.
Further, a live version of this song would be the second single extracted from the 1982 live album 'Still Life'.


The Rolling Stones - Time Is On My Side - London 9708 • USA discography: London 60's singles The Rolling Stones - Time Is On My Side - London 9708 • USA discography: London 60's singles



Written by Mick Jagger and Keith Richards, the next single 'Heart Of Stone' [9725] neither was released in the UK, as the track appeared on the 'Out Of Our Heads' album.
Recordings took place in November 1964 at Los Angeles' RCA Studios and the record was released a month after.


The Rolling Stones - Heart Of Stone - 9725 • USA discography: London 60's singlesThe Rolling Stones - Heart Of Stone - 9725 • USA discography: London 60's singlesThe single, whom first copies were dressed in a rare picture sleeve, became the band's second Top 20 US hit, reaching #19. As its B-side 'What A Shame', the track would also feature on the next album 'The Rolling Stones, Now! in February 1965.

Decca UK pressed a single [F 22180] for export purposes only to Denmark but 'Heart Of Stone' was released in many other countries, as a single or EP [in France, Belgium, Holland, Sweden, Germany, Japan or Mexico].

For some reasons, this 45 seems to have been reissued a lesser number of times than most of the 60's other US titles.

Also recorded at RCA Studios in Hollywood, California, in the beginning of 1965, 'The Last Time' [9741] was already at the top of the UK charts when the single came out in the US.

The Rolling Stones - The Last Time - ad - detail • USA discography: London 60's singles

In Europe, this single, also backed with the sweet 'Play With Fire' from the same recording sessions, had been released shortly before 'Heart Of Stone' though.

The original American PS is quite hard to find in nice shape and as usual was only available with the first issues [notably with white London logo labels on blue swirls or the last original purple & white labels].

The Rolling Stones - The Last Time - London 9741 - original PS • USA discography: London 60's singlesThe Rolling Stones - The Last Time - London 9741 - PS reprint • USA discography: London 60's singlesA darker, more contrasted, reprint was made in the 70's housing a reissue, while a fantasy sleeve was also made with an extra white border by the late 70's [as for 'Tell Me' and '19th Nervous Breakdown'].


But rarer is the original US picture sleeve for 'Satisfaction' [9766] from June 1965, which single gave the band its first number one - and gold disc award - in the United States. Busy working on 'Got Live If You Want It!', Decca would only release this number two months and a half later in the UK, swapping 'The Under Assistant West Coast Promotion Man' for 'The Spider And The Fly' on the B-side.


The Rolling Stones - Satisfaction - London 9766 • USA discography: London 60's singles The Rolling Stones - Satisfaction - London 9766 • USA discography: London 60's singles


The Rolling Stones - Satisfaction - London 9766 • USA discography: London 60's singles The Rolling Stones - Satisfaction - London 9766 • USA discography: London 60's singles

There have been more labels variations for this single than any other of course, several DJ promo copies were even produced related to 70's reissues. Note that 2 versions of the B-side 'The Under Assistant West Coast Promotion Man' exist: all reissues and late originals offer the edited version missing the words 'breakin' my ass everyday...' in the last verse.
'Satisfaction' was also one of the rare tracks ever appearing on the obscure gold 'Great Hits' labels. The track was reissued on a 12" PS in 2015 for its 50th birthday in its original artwork, coupled with its US and UK B-sides.

The Rolling Stones - Get Off Of My Cloud - US sheet music • USA discography: London 60's singles

Written as a reaction to this sudden popularity, 'Get Off Of My Cloud' [9792] was the band's eighth single, and was recorded fast at Hollywood's RCA Studios in September 1965. The single was backed with 'I'm Free' in the US, 'The Singer Not The Song' in the UK, and got #1 in both countries.

The Rolling Stones - Get Off Of My Cloud - London ad • USA discography: London 60's singles
The Rolling Stones - Get Off Of My Cloud - London 9792 • USA discography: London 60's singles Most of foreign editions, as well as the UK export issue - intended for the Scandinavian market - bore the same B-side than the US.

If the US picture sleeve is not very rare, it is yet unique and introduced photographer Gered Mankowitz who would work closely with the band over the next couple of years.

The Rolling Stones - Get Off Of My Cloud - London 9792 • USA discography: London 60's singles
Collector wise, 'Get Off Of My Cloud' surprisingly counts less labels variations than other #1's in this country [also the 'V' suffix in the catalogue number is no more option in the London catalogue].

The Rolling Stones recorded their own version of their first Jagger- Richards penned song [along with Andrew Oldham] 'As Tears Go By' in 1965, a year after Marianne Faithfull's.
The Rolling Stones - As Tears Go By - jukebox stripe • USA discography: London 60's singlesThe track was released as a single in the US due to popular demand after radio DJs across the country started playing the song from the band's recently released album 'December's Children (And Everybody's)' [which also contained the previous single], and it soon peaked at #6 on the American Billboard Charts.

The Rolling Stones - As Tears Go By - London 9808 • USA discography: London 60's singlesIts common black & white picture sleeve was another Gered Mankowitz's shot taken at the Ormond Yard in London, 1965, which would also notably be used for the cover of the 'Out Of Our Heads' LP in the UK, the export EP 'She Said Yeah' [Decca SDE 7503] or 'Get Off Of My Cloud' in many countries.

'As Tears Go By' did not make an A-side in England, but was to be found on the flip side of '19th Nervous Breakdown', which single would also be the next US one in February 1966 [9823].

The Rolling Stones - 19th Nervous Breakdown - ad - detail • USA discography: London 60's singles

The Rolling Stones - 19th Nervous Breakdown - London 9823 - promo copy • USA discography: London 60's singles Recorded during the 'Aftermath' sessions in early December 1965 at RCA Recording Studios in Hollywood by the end of the fourth North American tour, '19th Nervous Breakdown' hit both countries charts at #2.

On its flip side was 'Sad Day', a track that would only see the light of the day in England on a single in 1973 [Decca F 13404].

Another nice black & white picture cover would market this new single, inspired from a famous photo session of the band standing by a river [shots that would also be responsible for the artworks for the next single 'Paint It, Black' and the compilation album 'Big Hits (High Tide and Green Grass)'].


The Rolling Stones - 19th Nervous Breakdown - London 9823 • USA discography: London 60's singlesOut in May 1966, 'Paint It, Black' [901] soon topped both the UK and US charts again, and still remains the only song with a sitar to ever reach #1.

Coupled with 'Stupid Girl' in North America and 'Long Long While' in Europe, the track was extracted from the US version of the album 'Aftermath' [whom the UK's edition misses this song].

Note that a variation of the US picture sleeve exists missing both the London logo and catalogue number which was rushed to England to house the British pressing, most likely for demo reasons.
The Rolling Stones - Paint It, Black - London 901 • USA discography: London 60's singles

'Mother's Little Helper' [902] on the other hand came out from the UK version of 'Aftermath'. The track was recorded in Los Angeles from 3-8 December 1965, and the single peaked at #8 on the Billboard Singles Charts, while its B-side 'Lady Jane' reached #24.

Never released in England, this single was however issued or included onto EPs by mThe Rolling Stones - Mother's Little Helper - ad • USA discography: London 60's singlesany other countries around the world [France, Belgium, Holland, Germany, Italy, Australia, New Zealand, South Africa, Japan, Mexico...].

Its beautiful US picture sleeve is the same as the Aftermath LP cover, and is fairly common.

A little rarer was the picture cover for 'Have You Seen Your Mother, Baby, Standing in the Shadow?' [903], mostly famous for its back - for once completely different from front - which showed the band dressed in drag.

The single was released in September 1966 simultaneously in the United Kingdom and the United States - a first for the band, and reached #5 and #9 on those country's charts, respectively.
One of the first music videos was made for it through a promotional film directed by Peter Whitehead.

The Rolling Stones - Have You Seen Your Mother, Baby, Standing In The Shadow? - London 903 • USA discography: London 60's singlesThe Rolling Stones - Have You Seen Your Mother, Baby, Standing In The Shadow? - London 903 • USA discography: London 60's singles


For some reason, all North American releases of this single, up to the latest 80's reissues, misspelled the B-side labels 'Who's Driving My Plane' instead of 'Who's Driving Your Plane'.

The next record was another of these singles that would bet on both sides. In the US, because of the then-controversial nature of the lyrics of 'Let's Spend The Night Together' [904] [a memorable - and last - Ed Sullivan's TV show notably had Mick Jagger rolling his eyes at the camera while having to change the lyrics for 'let's spend some time together'], 'Ruby Tuesday' got more airplay and made it to the top, while its presumedly A-side only reached #55.


The Rolling Stones - Let's Spend The Night Together - London 904 • USA discography: London 60's singlesThe Rolling Stones - Let's Spend The Night Together - London 904 • USA discography: London 60's singles


'Let's Spend The Night Together's picture sleeve was almost the same worldwide, a miniature of the blurry picture used for the 'Between The Buttons' cover, the US album it was extracted from.
Fifteen years later, this song would give its name to the Hal Ashby movie of the band's 1981 American tour.

In August 1967, 'Dandelion', which would be the last Andrew Oldham production for the band, was also more promoted than its A-side 'We Love You' [905] and reached #14 [vs #50].
The Rolling Stones - We Love You - London 905 • USA discography: London 60's singles

Recorded in June 1967 during the sessions for 'Their Satanic Majesties Request', 'We Love You' [with vocal guests Lennon and McCartney] was a message from the band to its fans, expressing appreciation for support in the wake of their recent drug busts.

The Rolling Stones - She's A Rainbow - London 906 • USA discography: London 60's singlesNot many of the US picture sleeve were made, and its unique artwork illustrating the band in jail [also used for the UK and US sheet music] is very much sought-after.

The single 'She's A Rainbow', coupled with '2000 Light Years From Home' [906] was released in December 1967, and went to #25 in the US.

Its unique picture sleeve was a vivid psychedelic rework of 'Their Satanic Majesties Request''s cover that would also be used for a Mexican EP.

Again here, the England would not issue this single since both tracks came from an album, but would press an export record [Decca F 22706] for Scandinavia, and the single would be released in most of Europe.

The Rolling Stones - The Lantern - London 907 • USA discography: London 60's singlesThe same month, 'In Another Land' [907], written by Bill Wyman and featuring its author on lead vocals, was released with the Rolling Stones' 'The Lantern' on B-side. Other than in the US, this single was only released in Canada, Japan, New Zealand, Argentina and Turkey.
Housed in a nice psychedelic and unique cover again, the track did not do better than #87 on the US pop chart. Therefore its reissues are rarer than most of other titles' [especially the 'sunset' labels one].


Mick Jagger was staying at Keith Richards' country house, where they were awoken one morning by the sound of gardener Jack Dyer walking past the window. When Jagger asked what the noise was, Richards responded: "Oh, that's Jack – that's jumpin' Jack" [wikipedia].

The Rolling Stones - Jumpin' Jack Flash - London 908 • USA discography: London 60's singles'Jumpin' Jack Flash' [908], coupled with 'Child Of The Moon' was released in the US just a week after its UK release, on June 1st, 1968, and reached #3.

Its picture sleeve, showing the band disguised photographed by David Bailey, was nearly the same worldwide and is not rare.

Some early London Records US pressings of the single had a technical flaw in them: about halfway through the song's instrumental bridge, the speed of the master tape slows down for a moment, then comes back to speed.
Several promotional copies of 'Jumpin' Jack Flash' were pressed, the most sought after ones being the stereo versions, notably catalogue number '45-LOS-908'.


The Rolling Stones - Jumpin' Jack Flash - London 908 - promo • USA discography: London 60's singlesThe Rolling Stones - Jumpin' Jack Flash - London 908 - promo • USA discography: London 60's singles


The Rolling Stones - Street Fighting Man - London 909 • USA discography: London 60's singles'Beggars Banquet''s first single, 'Street Fighting Man' [909 - originally titled 'Everybody Pay Thier Dues'], saw the light of the day on August 31, 1968, but only reached #48 of the US charts for many radio stations refused to play the song, fearing its then 'subversive' lyrics.

Coupled with 'No Expectations', the song was released at the time of the riots at the 1968 Democratic National Convention in Chicago, and its famous - and now ultra rare - 'riot' picture sleeve was immediately withdrawn. Less than a hundred copies of this cover are believed to be in existence [beware of counterfeits, this is one of the most sought after PS in the world]. It has been officially reissued twice since by Abkco with new catalogue numbers, in 2016 [German pressing] and in 2024 [as part of the 'Singles 1966-1971' box set].

The Rolling Stones - Street Fighting Man - London 909 • USA discography: London 60's singles Again, because the song appeared on an LP, England would only release this single [Decca F 22825] for export distribution to Scandinavia, housed in Denmark into a different 'riot' PS [quite rare also but not impossible to find], and the song would have to await for an inland 7" release until 1971 on a 3-track EP - Decca F 13195].

Most editions of this single include the 'Beggars Banquet' album's stereo version of the track, but some variations [watch for matrix XDR-43220A in the groove] have it released in mono with an additional vocal overdub on the choruses and more piano.


The Rolling Stones - Street Fighting Man - London 909 - promo • USA discography: London 60's singlesThe Rolling Stones - Honky Tonk Women - London 910 • USA discography: London 60's singles



The Rolling Stones - Honky Tonk Women - sheet music detail • USA discography: London 60's singles

'Honky Tonk Women' [910] was the last original single from the London years, and was released a week after its UK release, in July 1969, a few days after Brian Jones' death and the Hyde Park show that followed.

The Rolling Stones - Honky Tonk Women - London 910 - picture by Ethan Russell, all rights reserved • USA discography: London 60's singlesThe song topped the charts both in England and the US [its fifth #1].
Its 'bar' cover with the new line-up featuring Mick Taylor is very common.

The very popular 'You Can't Always Get What You Want', recorded on 16 and 17 November 1968 at London's Olympic Sound Studios and featuring the London Bach Choir opening the song was shortened to 5 minutes to fit the B-side of this single.

'Honky Tonk Women' was the last North American London single by the band. 'Little Queenie' (live) would be released as a single by Decca in Europe, and by London in Japan and South America.


Extra notes

The Rolling Stones - 'Oldies 45' Dutch cover • USA discography: London 60's singles by the late 70's, Holland imported US 'Oldies' 45s to be distributed into special orange titled covers printed by the main local distributor (half official).
Sixties titles included 'Time Is On My Side' (442), 'Satisfaction' (317), 'Get Off Of My Cloud' (443), 'Mothers Little Helper' (435), 'Jumpin' Jack Flash' (445) and 'Honky Tonk Women' (444).

The Rolling Stones - 'Coming Home' Radio Spots EP United Artists • USA discography: London 60's singlesIn 1978, a promo-only 7" EP entitled 'Coming Home - Radio Spots' [United Artists UAC 401] was issued including 15 radio spots of 30 seconds, among which snippets of 'Jumpin' Jack Flash', 'Sympathy For The Devil', 'Out Of Time' and 'No Expectations' in the background to promote the United Artists movie 'Coming Home' directed by Hal Ashby [who would also direct 'Let's Spend The Night Together' in 1982], a romantic war drama about Vietnam, whom soundtrack includes many Rolling Stones tracks.
Turning at 33 rpm, the 15 tracks are cut so that they only play individually instead of straight through the side (the needle must be lifted and moved to the next track).