The Rolling Stones

Time Trip, Vol. 5: Surplus/Movin' North & More

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Though the unwieldy title might lead you to believe this bootleg is a messy catch-all of unreleased/rare mid-'60s Rolling Stones, actually it has some very interesting items (all in very good studio sound), even if much of the disc is likely to already be owned by serious Stones collectors on other boots. The big finds here are the first three tracks, which seldom if ever showed up elsewhere prior to this CD's appearance. The first is a cover of Arthur Alexander's "Go Home Girl" from November 1963, done very much in the style the group brought to Alexander's "You Better Move On" around the same time, though "Go Home Girl" isn't quite as good a song or performance. The second is a November 1964 version of "Mercy Mercy" that predates the recording done for the 1965 album Out of Our Heads; this one is thinner and more threadbare, though hardly embarrassing. The third, also from November 1964, is an amble through the country blues "Key to the Highway," though it's done in such a low-key fashion that one wonders if it was ever seriously intended as a candidate for release. The rest of the CD goes into much more familiar (to Stones collectors, at any rate) territory with 1963-1964 outtakes that had first been booted years before this release; the Italian version of "As Tears Go By"; and alternate mixes of some familiar mid-'60s classics, though one of these, of "19th Nervous Breakdown," has a distinctly different and more hesitant vocal than the one used on the hit single. The "Movin' North & More" component of the disc is a 40-minute compilation of footage from the group's 1965 Scandinavian tour, playable on home computers. You don't get much in the way of musical performances here; it's chiefly devoted to scenes of fan hysteria, airport landings, and backstage preparation, though there's one fairly extended interview sequence involving all five Rolling Stones. It's for fans only, but by those standards it's not bad, as the footage is in good condition, and the interview sequence in particular illustrates the nonchalant anti-establishment image for which the band was becoming renowned by 1965.