Album

Release Format Tracks Date Country Label Catalog# Barcode
Official
Out of Our Heads (US version) 12" Vinyl 12 London Records PS 429 [none]
Out of Our Heads (US version, mono) 12" Vinyl 12 London Records LL 3429 [none]
Out of Our Heads (US version) Reel-to-reel 12 London Records LPX 70098 [none]
Out of Our Heads (UK version) 12" Vinyl 12 Decca Records SKL 4733, SKL.4733 [none]
Out of Our Heads (US version) CD 12 London Records, ABKCO 820 049-2 042282004925
Out of Our Heads (US version) CD 12 ABKCO 844 463-2 042284446327
Out of Our Heads (US version) CD 12 ABKCO 74292 018771742920
Out of Our Heads (US version) CD 12 London Records 820 049-2 042282004925
Out of Our Heads (US version) Hybrid SACD 12 ABKCO 8822902 042288229025
Out of Our Heads (US version) CD 12 ABKCO 882 319-2 042288231929
Out of Our Heads (UK version) CD 12 ABKCO 882 320-2 042288232025
Out of Our Heads (UK version) Hybrid SACD 12 ABKCO 8822912 042288229124
Out of Our Heads (UK version) 2×Hybrid SACD 12 + 12 ABKCO 8822912 042288229124
Out of Our Heads (US version) CD 12 ABKCO 94292 018771942924
Out of Our Heads (UK version) Hybrid SACD 12 ABKCO 94302 018771943020
Out of Our Heads (US version) CD 12 ABKCO UICY-93016 4988005422033
Out of Our Heads (UK version) CD 12 ABKCO UICY-93017 4988005422040
Out of Our Heads (US version) CD 12 ABKCO UICY-93783 4988005535771
Out of Our Heads (UK version) CD 12 ABKCO UICY-93784 4988005535788
Out of Our Heads (US version, mastered for iTunes) Digital Media 12 ABKCO 018771894223
Out of Our Heads (UK version, mastered for iTunes) Digital Media 12 ABKCO 018771894322
Out of Our Heads (US version) Digital Media 12 ABKCO 018771942924
Bootleg
Out of Our Heads (UK version) CD 24 СД-Максимум (CD-Maximum) CDM 1202-1042/07
Out of Our Heads (US version) CD 23 СД-Максимум (CD-Maximum) CDM 1202-1041/06

Relationships

part of: Rolling Stone: 500 Greatest Albums of All Time: 2012 edition (number: 116)
Allmusic: http://www.allmusic.com/album/mw0000191520 [info]
Discogs: https://www.discogs.com/master/194321 [info]
Wikidata: Q580504 [info]
other databases: https://rateyourmusic.com/release/album/the_rolling_stones/out_of_our_heads/ [info]
https://rateyourmusic.com/release/album/the_rolling_stones/out_of_our_heads_f11/ [info]
reviews: http://www.bbc.co.uk/music/reviews/gxhj [info]

CritiqueBrainz Reviews

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Most Recent

By 1965, when the bulk of this album was recorded pop acts of the day were accustomed surfing an alternating tidal wave of hormonal acclaim and establishment distaste. Yet the pop market was a fickle thing with no guarantees about how long there success might last. We look at The Stones, now in their dotage and still managing to scare the horses, and look back on their rise as being inevitable. However, acts like Herman's Hermits were actually shifting more units than The Stones at the time (they knocked "Satisfaction" off the US number one slot!) and the moral panic surrounding the group meant there was nothing predictable about their longevity at all.

What began to put distance between The Stones and their lightweight package-tour companions was their growing ability to write their own material. Whilst the Jagger and Richards team had penned a few ditties there was nothing that they could really call their own, as the rabble-rousing R&B potboiler "It's Alright" "The Under Assistant West Coast Promotion Man" and "One More Try" ably demonstrate.

That all changed when they holed up in an LA studio between live dates. "The Last Time" welded together all their experience to date into a glorious cavernous swirl that revolved around one of pop music's truly great riffs. Recorded in the same session but at the other end of the dynamic spectrum was "Play With Fire," elegantly articulating the subtle frictions of London's social classes rubbing shoulders and more besides: grown up social commentary to a harpsichord accompaniment no less!

As was the custom, none of these singles appeared on the original UK pressing of the album, and their presence on this 2002 reissue overshadows this clutch of capable cover versions. What the likes of "Mercy Mercy" and "Good Times", and "Cry To Me" lack in inspiration, they compensate with admirable perspiration, though Jagger's cavorting truculence is clearly outgrowing such sedate vehicles as these.

Whilst "Satisfaction" consolidated things, it's "The Last Time" which represents the peeling back of their vestigial R&B persona, to become something that would be both beautiful and scary.