The Lower Paleolithic

IMG_6568 (2)Primitive Pogoing

A Rolling Stones post for RipThisJoint

Appendix 1


The Lower Paleolithic occurred when several previously isolated cultural forms from the American continent, contentiously termed The Proto-Lower Paleolithic, were adopted by localised populations in major British conurbations. The effect on local wildlife was initially contained to small groups. However, once the movement of culture reached a critical tipping point, traditional British culture became extinct, marginalised or adapted the incoming forms from America in order to survive, creating hybrid forms. The reason for the widespread adoption of the American culture is believed to be the sexual attractiveness it bestowed upon the male vanguard of the new culture.
On the American continent, the hybrid forms proved acceptable to the majority population. Thus, it was adopted, with some changes, by the majority population that had previously repressed and kept the Proto-Lower Paleolithic culture isolated. The spread of The Lower Paleolithic resulted in further hybrid versions spreading around the world. These hybrid versions were often initially rejected by majority cultures – sometimes successfully. However, the later and more sophisticated forms that evolved from The Lower Paleolithic have proved impossible for all but the most repressive cultures to resist.
Appendix 1, above, charts the initial musical growth of The Lower Paleolithic. In retrospect, it seems inconceivable that The Lower Paleolithic movement succeeded as it seems to be a less advanced form of The Proto-Lower Paleolithic. In fact, many would argue that The Lower Paleolithic was, in fact, a cultural regression. Nevertheless, it proved successful and hybridisation continues to advance Post Nouveau Paleolithic culture everywhere. That initial cultural experimentation is perhaps best illustrated by the last ten musical examples in Appendix 1, which mix British and American forms with varying degrees of success.

27 thoughts on “The Lower Paleolithic

    • For you, anything. 😉

      I tried to keep away from The two Hot Rocks albums but the difference between the US and UK releases in that 1963 to 1966 period is crazy and I can only guess at what you know and don’t know. I left off quite a few goodies and a fair bit of dross. I was amazed at how good Between the Buttons sounds now. Maybe my old vinyl copy was pressed from primordial mud but the original mixes must have been made by listening through it.

      It’s rocking collection. The sort of mix I would have listened to while working with my father. It was great fun to put together

  1. I know the first 2 but haven’t heard them for quite awhile – damn they’re good blues covermen, aren’t they. I know King Bee too, and my S list almost had Spider and the Fly on, that’s a goodun too. Around and Around and Carol i know. (love Carol.)

    Have you seen this before?

    • Down the Road a Piece is new to me. Cover i’m guessing, but who? Sounds like another Chuck Berry but i have nfc. You Can’t Catch Me is newtome too. I Just Wanna Make Love to You i know of course, but i’m not sure i ever heard the Stones’.

    • She Said Yeah i’ve probably heard, Oh Baby is new to me. Surprise Surprise is new. Empty Heart is just ace, think i first heard this one from Shane. Jesus, i call myself a Stones fan.Mercy Mercy is kind of awesome too, don’t think i’ve heard this one either. Gotta Get Away is new and nice too, isn’t it. I’m thinking i like this stuff better than the Chuck Berry covers. Sounds like they’re starting to find their own way now. I’m Free i know and really love. It’s Not Easy is new.

    • ok GHE, so i finally heard Flight 505 now. And let’s just say that i don’t think i know any of the rest of them either except for Backstreet Girl which i love.

  2. Well, that was a fantastic list and the best birthday present ever. (What to Do was another one i know and love, but jeez, forgot all about it and i must have been decades since i’ve heard it.) Despite the fact that with this list and the latter-day Stones list from before you’ve shown yourself to be the true Stones fan and i’m a total poser and loser. Thanks again, and cheers.

  3. Happy Birthday Amy!

    Enjoyed this, will say that Aftermath has always been my favourite Stones album, for me it’s the moment they attained a perfect balance of their hard R’n’b sensibilities with that dark, very English type of songwriting – songs like Lady Jane and Under My Thumb are just unparalleled and deserve to be up there with the very best of pop songs (always loved What to Do too).

    I think Aftermath and Between the Buttons were as much a musical quantum leap as The Beatles made with Rubber Soul/Revolver, though of course we know the Stones mis stepped a bit with their attempt at a Pepper…

    Great era of music here.

    • Thanks BB!

      Satanic Majesties was no Pepper, but still has some goodies on it. I think it’s Ubu and Shiv’s favorite.

      I love both Lady Jane and Under My Thumb. Play with Fire too, dunno what album that was on. Dandelion was on Flowers but i always get confused and think it was on Satanic Majesties. That’s a nasty little tune too, and a beauty. Jeebus, Backstreet Girl is cruel as they come. And so pretty too.

      • Play With Fire was the b-side to The Last Time in the UK. It was quite hard to find back in the 1980s. Little Red Rooster is my father’s favourite and a UK number one single and the reason for my Rolling Stones collection. Amazing that it wasn’t a US single, AFAIK.

        In the period before Aftermath the Stones had five studio albums released in the US but only three in the UK! The track-listing and titles are different and I guess the mixes were. The biggest shock I got was driving back from the central library and puttting on Everybody Needs Somebody to Love. I expected five minutes of tight, piano-driven stomp. Instead I got three minutes of guitar and wild tambourine that sounds like a warm-up for Sympathy! How did the US go for such a different version?

        When listening to the songs it struck me that I couldn’t listen to the cover versions where Jagger has to express some soul or emotion and there are tunes where they don’t cut the mustard. But they really start to get it right with Aftermath and BtB. (Totally agree with BB).

        But god those lyrics! I’ve tried to put the songs so that you can hear the contradictions in how they thought and Backstreet Girl is just chilling. Notice how the Stones had a thing for “women on the poor side of town” but were obsessed with ‘class’. But when I was 14 I just liked the fact that they were a different world.

      • Something that really strikes me listening to some of this (newer) older stuff, and the stuff i already know, is what they lost when Brian died. Jeez, the guy was talented wasn’t he. Royal high-maintainance pain in the ass by most accounts, but he added so much to those songs. They got Mick Taylor to carry them through my preferred era, dunno if Brian would have been up for that. More delicate sensibilities i reckon. But then MT added a lot of prettiness too, and ultimately had to bail out as well.

      • I think the Brian Jones influence is what I mean when I refer to a “dark, very English type of songwriting” – I think he really got them embracing soundworlds and song structures away from their rnb roots (yet still powered and informed by them, which is what makes them so powerful). Stuff like Paint it Black and Have You Seen Your Mother Baby just seem to come from nowhere with no precursors, they are songs of incredible invention – it’s fascinating to ponder what would have happened if Brian Jones hadn’t come to such an untimely end – I can’t help but wonder if they would have burnt themselves out more quickly and ended before their magnificent 70s output had even begun (a la The Beatles). Great to see so much appreciation of this era of those work on here, always loved it and it does feel a bit overlooked.

      • Dark English songwriting. Here’s Mick and Keith and singing and being very English in a Kink’s way but with a bit of Dylan thrown in. On the sleeve for BtB, Brian Jones is fading away, in every sense. I think the 1970s defined them so much that they’ve never really returned to this pop sound, although maybe they couldn’t because Brian Jones wasn’t there.

        Sorry to leave this off the playlist, but even I have to stop somewhere.

      • List of instruments Brian Jones played:

        ‘Rolling Stones’: Guitar, harmonica and percussion
        ‘Rolling Stones 2’: Guitar, keyboards and harmonica
        ‘Out of Our Heads’: Guitar, harmonica, organ and percussion
        ‘Aftermath’: Guitar, harmonica, marimba, bells, Appalachian dulcimer, sitar, koto, keyboards, percussion
        ‘Between the Buttons’: Guitar, piano, organ, electric dulcimer, percussion, harpsichord, kazoo, recorder, theremin, trumpet, trombone, tuba, saxophone, harmonica and sitar.
        ‘Their Satanic Majesties Request’: Mellotron, keyboards, electric dulcimer, recorder, percussion, theremin, concert harp, sitar, saxophone, flute, brass, bass guitar
        ‘Beggars Banquet’: Guitar, harmonica, mellotron, stiar, tamboura
        ‘Let it Bleed’: Autoharp, percussion.

      • I’ve got an article called Brian Jones on Exotic Instruments. I’ll post some quotes from it later. Might be a couple of days before I manage that though. He certainly knew his stuff.

    • Tinny told me that Stray Cat Blues was written about Brian, but i never did follow up on it though. I do believe that’s who Shine a Light is about. Which is a lovely if belated send off.

  4. Sure you know this but can you imagine how a track like Can You Hear The Music might have turned out if Brian Jones had been able to incorporate influences like this. Transglobal Underground indeed!

  5. Ace ace ace! Love how it all moves from classic boppy/jivey/woteva stuff, to getting a bit cleverer and adding more instruments/styles into the mix. What instrument are those bassy-bottom noises coming from on It’s Not Easy and Flight 505 (and I think on My Obsession – love that one)?. Bit like the ones on Under My Thumb that are soooo sexy. I love those.

    Can see that Stephen and Johnny must have been listening to Mona when they wrote How Soon Is Now – or am I embarrassing myself by only just noticing that well known fact. So while I’m here, I may as well admit that not only have I never heard the original I’m Free, I didn’t even know it was a Stones song! Ha! There. I’ve owned up.

    Those last four are beauties!

    Brilliant listen Fuel. I’ll use this as a guide to getting MrM to buy me some of this early stuff for my birthday! 🙂

    • Mona’s cool. I always thought they copped the riff off the Stones or Bo Diddley but I don’t know if it’s ever been acknowledged. The Soup Dragons getting groovey!The Rolling Stones: a major influence on C86 and baggy. Well I never!

      Soup Dragon! I believe The Clangers are making a return. Take a trip.

      BTW. Buy the recently remastered stuff. The older CDs and vinyl sound crap in comparison. Honestly I never liked Between the Buttons much until I could hear what it was meant to sound like. Whoever did the remastering deserves praise, I never knew it could be the difference between night and day.

      • Spent last night dipping into these when everyone had gone to bed – these songs are really something, and sure to get better on even further listens. Please Go Home is just psychedelicious and Charlie’s relentless drum-beat and cymbal crashing is super-smashing!

        New Clangers eh? That’s ace! Hope they don’t go all CGI on it – it was perfect as it was. Not that I’ll have an excuse to watch – my two are probably too old, tho are you ever too old for The Clangers?

        btw I could put your daughter’s face on a butty (obviously not literally) she’s so gorgeous. Those cheeks!!!

  6. happy birthday amy .. looking forward to listening while i cook tonight
    Stones at Hyde Park was on telly here at the weekend, taped it, not seen it, but a Stones overdose – shan’t complain

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