‘Mr. Spector and Mr. Pitney Came Too’: An Unreleased Rolling Stones Collaboration from 1964

By Marcelo Sonaglioni on December 19, 2024

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Rolling Stones unreleased: Mr. Spector and Mr. Pitney Came Too

Written by: Phelge/Spector
Recorded: IBC Studios, London, England, Feb. 4 1964 (England’s Newest Hit Makers sessions)
Guest musicians: Phil Spector, Gene Pitney, Allan Clarke, Graham Nash

*From Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012:
This track perfectly encapsulates the uniqueness of the session. Laughter at the beginning and someone shouts (possibly Ronnie Ronette), ‘I’ve never recorded before’. A false piano intro was laughed at before Phil Spector takes control and starts it off with a 1-2, a 1-2-3-4. The band charge in with an infectious assault of R’n’B. Harmonica, boogie piano and lead guitars and that bottle chiming in the background provide an alternate take to Now I’ve Got A Witness.

*Click for MORE STONES UNRELEASED TRACKS

More about ‘Mr. Spector and Mr. Pitney Came Too‘ by The Rolling Stones

*By Marcelo Sonaglioni
On February 4, 1964, the Rolling Stones headed into Regent Sound Studios in London for a recording session that would mark another step in their burgeoning career. At this stage, the band had already released a couple of singles, and Regent Sound was quickly becoming their favorite creative haven. The atmosphere in the studio that day was electrified by the presence of notable guests, adding a collaborative spark to the proceedings. Among those joining the Stones were singer-songwriter Gene Pitney, Graham Nash, and Allan Clarke from The Hollies, alongside the brilliant and innovative record producer Phil Spector.

As the night unfolded, the synergy between these musical powerhouses led to the creation of several tracks, showcasing their collective creativity. One standout from the session was a provocative piece titled Andrew’s Blues. This track, steeped in humor and audacity, has earned its place in Rolling Stones lore as arguably the most risqué song the band has ever recorded—pushing boundaries and rivaling even their most infamous works in sheer bawdiness.

The session not only highlighted the Stones’ willingness to experiment and push the envelope but also underscored their knack for attracting and collaborating with some of the era’s most talented artists, laying the groundwork for the legacy they would soon cement.

In his autobiography, Stone Alone: The Story of a Rock ‘n’ Roll Band, bassist Bill Wyman offered a vivid and humorous account of the chaotic yet memorable session, produced by the Rolling Stones’ charismatic manager Andrew Loog Oldham, who also became the subject of the cheeky track Andrew’s Blues. Reflecting on the night, Wyman wrote: “We’d become friendly with Phil Spector and attended a star-studded party in his honour thrown by Decca a week earlier; so he continued the friendship by dropping in our recording. Graham Nash and Allan Clarke of the Hollies also came and later Gene Pitney arrived direct from the airport, with duty-free cognac…

…It was his birthday, and his family custom was that everyone had to drink a whole glass. Pitney played piano while Spector and the Hollies played tambourine and maracas and banged coins on empty bottles. We recorded three songs, ‘Little by Little’, ‘Can I Get a Witness’ and ‘Now I’ve Got a Witness’ which we invented on the spot. The session then degenerated into silliness, but everybody had a great time cutting Andrew’s Blues and Mr. Spector and Mr. Pitney Came Too, both of which were very rude.”

This snapshot from Wyman’s perspective provides a glimpse into the unpredictable magic that often defined the early days of the Rolling Stones, blending camaraderie, humor, and musical experimentation in a way that set the tone for their groundbreaking career.

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