Comments, input and alterations are very welcome!
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It’s All Over Now
(Bobby Womack / Shirley Womack)

Chess Studios, Chicago, Illinois, US, June 10, 1964

Mick Jagger - lead vocals, tambourine
Keith Richards - electric guitar, harmony vocals
Charlie Watts - drums
Bill Wyman - bass
Brian Jones - electric guitar
Ian Stewart - piano

Well, baby used to stay out all night long
She made me cry, she done me wrong
She hurt my eyes open, that's no lie
Tables turning, now her turn to cry

Because I used to love her, but it's all over now
Because I used to love her, but it's all over now

Well, she used to run around with ev'ry man in town
Spent all my money, playing a highclass game
She put me out, it was a pity how I cried
The tables turning, now her turn to cry

Because I used to love her, but it's all over now
Because I used to love her, but it's all over now, yeah

Well, I used to wake 'the morning, get my breakfast in bed
When I’d gotten worried she’d ease my aching head
But now she's here and there with every man in town
Still trying to take me for that same old clown

Because I used to love her, but it's all over now
Because I used to love her, but it's all over now
Because I used to love her, but it's all over now, yeah

Produced by Andrew Loog Oldham

First released on:
The Rolling Stones - “It’s All Over Now / Good Times, Bad Times” 7” single
(Decca F 11934) UK, June 26, 1964

One of their greatest early singles, though I prefer the 1967 'Sunday Night At The London Palladium' arrangement.

I love the reverb-y guitar banging out the chords, during the verse and end.

This is my All Time Favourite Stones Song! I just love the guitars, especially that "outro", and wish they could recreate that guitar-sound again....

Also wonderful Jagger voice....some mixture of arrogantness/sweetness, I don't know how to put it in English....

Well what can we say about this tune, their first big breakthrough in my country, Great Great it will never bored

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Always loved this version (pity for the quality)

Rolling Stones - Live 1973 - Los Angeles
Skip to 22.00...this is real British





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The song that really established the Stones in the UK as their first No 1 and proved they could take the Beatles all the way.

Keith plays one of his all time great solos - despite what John Lennon said - and then Brian comes in with his trademark crashing chords that sound like tiny detonations sending the listener into rapture. After hearing it for the first time you just wanted to hear it over and over again. A killer single.

There's a great story about writer Bobby Womack not wanting the Stones to record it but on receiving the royalty check Womack said 'the Stones can have any song they like'.

What did John Lennon say?

Could listen to that outro for ever...

Lennon belittled Keith by saying it was a crap solo. Springsteen recently said it was one of his favourite ever solos.

The first song The Stones showed what one could call "professionalism". Partly dure to Chicago Chess studios, their engineers, and probably the band wanting to ve so precise as possible; very inspired performance and recording, and still today is soundwise a pleasure to hear. Yeah, the 'punkish' rawness of their fisrt album, and the singles, especially "I Wanna be Your Man" and "Not fade Away" was gone, but each of the key players showed a mature attitudu. Keith's solo is - I agree with Springsteen and Silver Dagger - one of the best he has ever done (so fresh and distinctive), Jagger's vocals are incredibly vital and colourful - sweet and arrogant at the same time, as someone said. Some much expression there. Charlie and Bill are tight as they can be. But the true gem that still makes it a treasure to listen is Brian's rhythm chords - are they early indications of "power chords" or not but they really capture one ears. That really showed how Brian was the "colourist" just from the straight start. He added something to the basic track that lifted the performace into eternal heights.

Yeah, a classic, historical track. No wonder being their first numero uno in their homeland.

- Doxa

Quote
Doxa
The first song The Stones showed what one could call "professionalism". Partly dure to Chicago Chess studios, their engineers, and probably the band wanting to ve so precise as possible; very inspired performance and recording, and still today is soundwise a pleasure to hear. Yeah, the 'punkish' rawness of their fisrt album, and the singles, especially "I Wanna be Your Man" and "Not fade Away" was gone, but each of the key players showed a mature attitudu. Keith's solo is - I agree with Springsteen and Silver Dagger - one of the best he has ever done (so fresh and distinctive), Jagger's vocals are incredibly vital and colourful - sweet and arrogant at the same time, as someone said. Some much expression there. Charlie and Bill are tight as they can be. But the true gem that still makes it a treasure to listen is Brian's rhythm chords - are they early indications of "power chords" or not but they really capture one ears. That really showed how Brian was the "colourist" just from the straight start. He added something to the basic track that lifted the performace into eternal heights.

Yeah, a classic, historical track. No wonder being their first numero uno in their homeland.

- Doxa

Well, Doxa, what more can I say/add? ><

Quote
keefbajaga

Quote
Doxa
The first song The Stones showed what one could call "professionalism". Partly dure to Chicago Chess studios, their engineers, and probably the band wanting to ve so precise as possible; very inspired performance and recording, and still today is soundwise a pleasure to hear. Yeah, the 'punkish' rawness of their fisrt album, and the singles, especially "I Wanna be Your Man" and "Not fade Away" was gone, but each of the key players showed a mature attitudu. Keith's solo is - I agree with Springsteen and Silver Dagger - one of the best he has ever done (so fresh and distinctive), Jagger's vocals are incredibly vital and colourful - sweet and arrogant at the same time, as someone said. Some much expression there. Charlie and Bill are tight as they can be. But the true gem that still makes it a treasure to listen is Brian's rhythm chords - are they early indications of "power chords" or not but they really capture one ears. That really showed how Brian was the "colourist" just from the straight start. He added something to the basic track that lifted the performace into eternal heights.

Yeah, a classic, historical track. No wonder being their first numero uno in their homeland.

- Doxa

Well, Doxa, what more can I say/add? ><

The only thing I'd add are Keith's Everlys-inspired harmonies. It's the first RS recording (as far as I can recall) to feature good harmonies.

I am just a 'ordinary musiclover and fan' of The Rolling Stones, and thus don't know anything about technical stuff like amplifiers, guitars, sound-effects, ways of recording and so on, but I am always amazed by this specific chrystal clear sound, The Stones produced during their Chess '64 sessions.

Should it be possible to (re)produce this amazing sound again?

It's so pure...

Quote
Sleepy City
One of their greatest early singles, though I prefer the 1967 'Sunday Night At The London Palladium' arrangement.

Is there a better recording of this? It sounds like some interesting things are going on. Was this a TV show or a concert?

Quote
24FPS

Quote
Sleepy City
One of their greatest early singles, though I prefer the 1967 'Sunday Night At The London Palladium' arrangement.

Is there a better recording of this? It sounds like some interesting things are going on. Was this a TV show or a concert?

It was a TV show, featuring live vocals over pre-recorded backing tracks (other songs were Connection, Ruby Tuesday & Let's Spend The Night Together). Unfortunately I've never heard a better recording (anyone?), & a video of this is up there with the 1968 NME Poll Winners Concert as my Holy Grail...

This is the record that got me hooked in 1964, and if there were any doubts about the Stones in my youthful mind, "The Last Time" blew them away, literally!
I agree with all you said, Doxa; but I would like to give more credit to Chess' recording studio!
I really love all the songs they recorded on those two days, and I think that stuff is a giant step forward compared to the studio recordings made earlier.



Edited 1 time(s). Last edit at 2011-09-26 21:24 by Rank Stranger.

Quote
Sleepy City

Quote
keefbajaga

Quote
Doxa
The first song The Stones showed what one could call "professionalism". Partly dure to Chicago Chess studios, their engineers, and probably the band wanting to ve so precise as possible; very inspired performance and recording, and still today is soundwise a pleasure to hear. Yeah, the 'punkish' rawness of their fisrt album, and the singles, especially "I Wanna be Your Man" and "Not fade Away" was gone, but each of the key players showed a mature attitudu. Keith's solo is - I agree with Springsteen and Silver Dagger - one of the best he has ever done (so fresh and distinctive), Jagger's vocals are incredibly vital and colourful - sweet and arrogant at the same time, as someone said. Some much expression there. Charlie and Bill are tight as they can be. But the true gem that still makes it a treasure to listen is Brian's rhythm chords - are they early indications of "power chords" or not but they really capture one ears. That really showed how Brian was the "colourist" just from the straight start. He added something to the basic track that lifted the performace into eternal heights.

Yeah, a classic, historical track. No wonder being their first numero uno in their homeland.

- Doxa

Well, Doxa, what more can I say/add? ><

The only thing I'd add are Keith's Everlys-inspired harmonies. It's the first RS recording (as far as I can recall) to feature good harmonies.

Isnt it Brian singing the harmonies here?, at least on the tami show he does

Quote
michel
Isnt it Brian singing the harmonies here?, at least on the tami show he does

No he doesn't, not really. He joins in (though his microphone is inaudible as far as I can tell), but it's Keith that we're hearing (look carefully & you'll see him singing).

Quote
Rank Stranger
This is the record that got me hooked in 1964, and if there were any doubts about the Stones in my youthful mind, "The Last Time" blew them away, literally!
I agree with all you said, Doxa; but I would like to give more credit to Chess' recording studio!
I really love all the songs they recorded on those two days, and I think that stuff is a giant step forward compared to the studio recordings made earlier.

I love the stereo mix on this too! Is this the earliest session where we have true stereo studio recordings?

Quote
Sleepy City

Quote
keefbajaga

Quote
Doxa
The first song The Stones showed what one could call "professionalism". Partly dure to Chicago Chess studios, their engineers, and probably the band wanting to ve so precise as possible; very inspired performance and recording, and still today is soundwise a pleasure to hear. Yeah, the 'punkish' rawness of their fisrt album, and the singles, especially "I Wanna be Your Man" and "Not fade Away" was gone, but each of the key players showed a mature attitudu. Keith's solo is - I agree with Springsteen and Silver Dagger - one of the best he has ever done (so fresh and distinctive), Jagger's vocals are incredibly vital and colourful - sweet and arrogant at the same time, as someone said. Some much expression there. Charlie and Bill are tight as they can be. But the true gem that still makes it a treasure to listen is Brian's rhythm chords - are they early indications of "power chords" or not but they really capture one ears. That really showed how Brian was the "colourist" just from the straight start. He added something to the basic track that lifted the performace into eternal heights.

Yeah, a classic, historical track. No wonder being their first numero uno in their homeland.

- Doxa

Well, Doxa, what more can I say/add? ><

The only thing I'd add are Keith's Everlys-inspired harmonies. It's the first RS recording (as far as I can recall) to feature good harmonies.

Yeah, a novel, definitive trait as well! (Probably only "Tell Me" before that had something similar Keef harmony.)

- Doxa

Quote
Sleepy City
I love the stereo mix on this too! Is this the earliest session where we have true stereo studio recordings?

I tend to think so, yes.

Quote
Rank Stranger
This is the record that got me hooked in 1964, and if there were any doubts about the Stones in my youthful mind, "The Last Time" blew them away, literally!
I agree with all you said, Doxa; but I would like to give more credit to Chess' recording studio!
I really love all the songs they recorded on those two days, and I think that stuff is a giant step forward compared to the studio recordings made earlier.

My thoughts as well. I made few yaers ago a blues collection of Stones stuff, and I came to an conclusion that those two days at Chicago were the highlight of their blues education/days, and after those sessions they were ready to do something else, to conquer new things. And under the eyes of their heroes, they were graduated. I guess it was a like a dream come true. But it also marked an end of an era - I guess having already tasted the pop success, they already had their mind elsewhere - they weren't the Crawdaddy r&b band any longer. But those two days they acted like being still one.

There are some incredible cuts there: "Confessin' The Blues" or "Look What You've Done" are among Jagger's best blues vocals ever. Sounds so mature. Brian nails the slide in "I Can't Satisfied", Keith solos in "Down The Road A Piece" are probaly his best Berry licks ever, etc. Not to mention the groove of "Around and Around" or the free-feeling jam of "Michigan Avenue", etc. I would say the band would not be until STICKY FINGERS as tight and precise in their playing as they were in those two days. In the following sessions and years the band started to experiment more and more and trying new things (and turning - partly intentionally - more sloppy and loose), and not looking back as they seemingly did in Chicago. I guess they were rehearsed all their career for those two days in Chicago.

But if we look the policy in releasing the stuff, they seemingly had some trouble there. It was probably "too blues" - an expection being "It's All Over Now" and "Time is On my Side" which had more commercial appeal (well, yeah - they did!). Some great tracks were buried to following album fillers, if not released at all, etc.

- Doxa



Edited 2 time(s). Last edit at 2011-09-26 22:31 by Doxa.

Quote
Doxa

Quote
Rank Stranger
This is the record that got me hooked in 1964, and if there were any doubts about the Stones in my youthful mind, "The Last Time" blew them away, literally!
I agree with all you said, Doxa; but I would like to give more credit to Chess' recording studio!
I really love all the songs they recorded on those two days, and I think that stuff is a giant step forward compared to the studio recordings made earlier.

My thoughts as well. I made few yaers ago a blues collection of Stones stuff, and I came to an conclusion that those two days at Chicago were the highlight of their blues education/days, and after those sessions they were ready to do something else, to conquer new things. And under the eyes of their heroes, they were graduated. I guess it was a like a dream come true. But it also marked an end of an era - I guess having already tasted the pop success, they already had their mind elsewhere - they weren't the Crawdaddy r&b band any longer. But those two days they acted like being still one.

There are some incredible cuts there: "Confessin' The Blues" or "Look What You've Done" are among Jagger's best blues vocals ever. Sounds so mature. Brian nails the slide in "I Can't Satisfied", Keith solos in "Down The Road A Piece" are probaly his best Berry licks ever, etc. Not to mention the groove of "Around and Around" or the free-feeling jam of "Michigan Avenue", etc. I would say the band would not be until STICKY FINGERS as tight and precise in their playing as they were in those two days. In the following sessions and years the band started to experiment more and more and trying new things (and turning - partly intentionally - more sloppy and loose), and not looking back as they seemingly did in Chicago. I guess they were rehearsed all their career for those two days in Chicago.

But if we look the policy in releasing the stuff, they seemingly had some trouble there. It was probably "too blues" - an expection being "It's All Over Now" and "Time is On my Side" which had more commercial appeal (well, yeah - they did!). Some great tracks were buried to following album fillers, if not released at all, etc.

- Doxa

Dear Doxa, will you accept the job to write a definitive 'The Rolling Stones' Biography? I mean, you nail it, everytime

I agree with Doxa about the "fresh" nature of Keith's solo. To me it always had a raw feeling, and it has always been one of my favorite of Keith's solos.

I admit that, for many years, I thought "playing a high class game" was actually "playing her half-ass games"

...high class game...
I thought for years it was ...half assed game. ..

Brian & his vox 12 string guitar playing (miming) 'It's All Over' Now on Ready Steady Go, more info about the particular show here-

[www.iorr.org]

On the live versions we have he uses a 6-string.

Quote
vox12string
Brian & his vox 12 string guitar playing (miming) 'It's All Over' Now on Ready Steady Go, more info about the particular show here-

[www.iorr.org]

On the live versions we have he uses a 6-string.

I wonder if he used the 12 string vox or the 6 string vox on the actual recording of this VERY FINE song.

One of the early greats. That ending with the two guitars is smokin'.

Great Great Great! No band does it nearly as great as the original Stones version, I could listen to it over & over.