Norman Meade / 2:58
Musicians
Mick Jagger: vocals, tambourine
Keith Richards: rhythm guitar, lead guitar, backing vocals
Brian Jones: rhythm guitar
Bill Wyman: bass, backing vocals
Charlie Watts: drums
Ian Stewart: organ
Recorded
Chess Studios, Chicago: November 8, 1964
Technical Team
Producer: Andrew Loog Oldham
Sound engineer: Ron Malo
Using the pseudonym Norman Meade, Jordan “Jerry” Ragovoy wrote “Time Is on My Side” at the request of the arranger Garry Sherman. Sherman wanted the trombonist Kai Winding, whose sessions he was supervising, to extend his appeal beyond his usual jazz audience. Although this first version, dating from October 3, 1963, failed to achieve chart success (despite superb vocals from the Gospelaires, in other words Dionne and Dee Dee Warwick and Cissy Houston), it inspired two highly successful covers the following year. The first was by Irma Thomas, the “Soul Queen of New Orleans” (as the B-side of “Anyone Who Knows What Love Is [Will Understand]”), and the second was by the Rolling Stones, sung by Mick Jagger. Time is on my side, yes it is/Now you always say/That you want to be free/But you’ll come running back, he sings with all the confidence of the true soul singer.
The Rolling Stones decided to record “Time Is on My Side” after buying the sheet music in Los Angeles. They actually released two versions of the song on disc. The first was recorded during their session on June 10, 1964, at Chess (or during the sessions on June 24–26, 1964, in London according to other sources). With a running time of 2:50, it starts with an organ intro played by Ian Stewart on a Hammond B-3 in pure gospel style. There is abundant reverb on the overall sound, and Jagger attacks the lyrics with a plaintive voice and his characteristic vocal mannerisms. He is supported by Bill and Keith with backing vocals that are not always precisely in tune (for example, the “Time, time, time” at 2:14). It is a shame these harmonies were not better crafted. Keith plays rhythm and lead (on his Epiphone Casino) and his solo in the bridge is reasonably close in spirit to that on the Irma Thomas version. However, it is not always any more rhythmically successful (for example, in the coda from 2:14) than Mick’s very prominent tambourine, no doubt overdubbed. The number nevertheless possesses an undeniable charm, and the Stones make a virtue out of these small defects, which lend their cover a certain touching appeal. This version can be found on the album 12x5, which was destined for the US market. It was even released as a single, peaking at number 6 on the Billboard charts on December 5, 1964 (the Stones’ first top 10 hit in the United States).
The second version, cut on November 8 at Chess Studios in Chicago, was used for the British album, The Rolling Stones No. 2. This time Keith accompanies Ian’s organ on the intro. The tempo is slightly slower, and Keith, playing his 1959 Gibson Les Paul, delivers a very good solo with a very clear sound obtained from his Fender Showman amp. The track sounds far drier than the June 10 version thanks to greater discretion in the use of the famous Chess echo chamber. Jagger is no longer as prominent in the mix. His voice is more recessed but at the same time more rock ’n’ roll. Despite a number of slips (for example “To me” at around 1:23), the backing vocals are considerably more in tune than before. Bill provides a very good bass line on his Framus Star bass, plugged directly into the console, which he plays with a pick. Charlie supports his colleagues with aplomb, ensuring that this version is less untidy than the earlier one. The only fly in the ointment is the tambourine part, again overdubbed, which is clearly not in time, particularly at the beginning of the number (listen at around 0:35). Brian, who played his arpeggios on his Gretsch Anniversary on the first recording, now uses his Vox “Teardrop.” This second version of “Time Is on My Side” exemplifies the very good work done by the Stones to make a song their own, that is to say to distance themselves from the original version. Also worth noting is the proper ending, which can be heard distinctly despite the rapid fade-out.