Between The Buttons

The Rolling Stones' 1967 recordings are a matter of some controversy; many critics felt that they were compromising their raw, rootsy power with trendy emulations of the Beatles, Kinks, Dylan, and psychedelic music. Approach this album with an open mind, though, and you'll find it to be one of their strongest, most eclectic LPs, with many fine songs that remain unknown to all but Stones devotees. The lyrics are getting better (if more savage), and the arrangements more creative, on brooding near-classics like "All Sold Out," "My Obsession," and "Yesterday's Papers." "She Smiled Sweetly" shows their hidden romantic side at its best, while "Connection" is one of the record's few slabs of conventionally driving rock.[The Rolling Stones' London/ABKCO catalog was reissued in August of 2002, packaged in digipacks with restored album artwork, remastered, and released as hybrid discs that contain both CD and Super Audio CD layers. The remastering -- performed with Direct Stream Digital (DSD) encoding -- is a drastic improvement, leaping out of the speaker yet still sounding like the original albums. This is noticeable on the standard CD layer but is considerably more pronounced on the SACD layer, which is shockingly realistic in its detail and presence yet is still faithful to the original mixes; Keith Richards' revved-up acoustic guitar on "Street Fighting Man" still sends the machine into overdrive, for instance. It just sounds like he's in the room with you. Even if you've never considered yourself an audiophile, have never heard the differences between standard and gold-plated CDs, you will hear the difference with SACD, even on a cheap stereo system without a high-end amplifier or speakers. And you won't just hear the difference, you'll be an instant convert and wish, hope, and pray that other artists whose catalog hasn't been reissued since the early days of CD -- Bob Dylan, Bruce Springsteen, Neil Young, especially the Beatles -- are given the same treatment in the very near future. SACD and DSD are that good.] 

1967年第七张录音室专辑[美版] 时长:38:42 销量:500,000[RIAA] AllMusic:5/5 Rolling Stone:5/5 NME:7/10 Rolling Stone史上最伟大500张专辑:357/500

滚石在六十年代中期风格转折期的一张关键作品，也是在制作人兼经理人Andrew Loog Oldham主导下完成的最后一张录音室专辑。延续了《Aftermath》时期对原创与编配的重视，却明显偏离乐队以R&B为核心的既有路径，转而进入更为杂糅的英伦流行、巴洛克流行与轻度迷幻语境之中。 录制横跨1966年8月至12月，地点包括洛杉矶RCA录音室与伦敦的IBC、Olympic与Pye录音室。四轨设备与反复“压轨”的制作方式，使作品层次密集而复杂，也直接导致Mick Jagger对音质清晰度的长期不满。 这种技术限制反而强化了专辑的整体质感：吉他不再占据中心位置，钢琴、管风琴、羽管键琴、马林巴、扬琴、颤音琴、口哨与kazoo等音色频繁出现，Brian Jones几乎完全从传统主音吉他角色中退场，成为声音组织与色彩塑造的关键人物，这也是他在滚石作品中参与度最高、存在感最集中的阶段之一。 英美版本的曲目差异，直接影响了专辑的历史认知。英国版未收录同时期的双A面单曲《Let’s Spend the Night Together / Ruby Tuesday》，以更紧凑、内向的曲序呈现出一组围绕都市关系、阶级、欲望与疏离感展开的作品； 美国版则为商业考量替换曲目，使专辑在榜单表现与传播层面获得更大成功。尽管如此，英国版更接近乐队与Oldham最初的构想，也更清晰地呈现出专辑作为“整体陈述”的意图。 在内容层面，专辑反复书写六十年代“Swinging London”语境下的情感不稳定与身份焦虑。《Yesterday’s Papers》《Back Street Girl》《Miss Amanda Jones》等歌曲延续了Jagger对女性形象、阶级差异与流行文化消费的冷眼观察，但语气由早期的挑衅转向反讽与自嘲。 《Connection》《Complicated》《My Obsession》以更碎片化的结构处理现代生活中的紧张与失序，而《She Smiled Sweetly》《Something Happened to Me Yesterday》则将民谣、音乐厅传统与Dylan式叙事融入滚石的写作体系中，显示出当时乐队对英美流行语汇的高度吸收能力。

韦斯安德森导演的电影 《天才一族》中里奇和玛戈在帐篷里拿着的就是这张专辑。

1967年玩啥的都要去玩玩迷幻

封面什么意思？帅到模糊？[大哭]