There are but five Rolling Stones by Andrew Oldham Orchestra (beeside to 'To know him is to love him' single by Cleo, released 10th January 1964. Decca label) - "Recorded on the 2nd of January 1964 and released a week later, here's the Rolling Stones in the studio sandwiched between a performance on the first edition of Top of the Pops (1st January) and sessions for their debut album (3rd and 4th) topped off with gigs on each of those two nights. Not only that, despite the title this is the full 'six piece' Stones with founder member Stu (Ian) Stewart on piano. Andrew Oldham had a fixation over Phil Spector and his working methods as regards his musicians and also the artists he used on his recordings. It's now well known that the artists credited on some of Spectors finest recordings are not always the ones on the finished article. Also, loth to 'waste' a further song, Spector would regularly allow the 'wrecking crew' to record an instrumental as the beeside whilst retaining the top-side artist's name as the performer. Here though, on the beeside to a cover of Spectors first hit record, Oldham allows himself the credit for an in the studio jam by the Stones which features some 'Mrs Mills' style keyboard thumping enlivened by a typical Chuck Berry style solo from Keef. Charlie's drumming is typical of the Stones early work and there's nice rhythm guitar from Brian and bass from Bill too. I'm not sure of Jagger's involvement here, there's no vocal interjections or harmonica so perhaps he was in the control room? It's also possible that the Stones recorded two further tracks at this session for use by the AOO as later beesides, the punningly titled 'Oh, I do like to see me on the B side' and, following on from 'There are but...', the equally pun-tastic '365 Rolling Stones (One For Every Day Of The Year)'. And Cleo? Well, that's Cleo Sylvestre, a lady responsible for a couple of important milestones in British entertainment. After appearing in three era defining Ken Loach films and several popular TV dramas, she was the first black actor to appear in Coronation Street and, similarly, she was the first black actor to have a featured character in Crossroads as Meg Richardson's adopted daughter Melanie. She then took to the London stage in 1967, appearing alongside Sir Alec Guinness and being voted 'Most Promising New Actress' before taking a lead role in Peter Nichols 'The National Health' at The National Theatre in 1969. Her career since then has revolved around regional theatres but, in 1969 she took part in early rehearsals for Brian Jones projected band following his sacking from the Stones. Still acting, with a recent appearance in 'Paddington', much of her time is now devoted to the Young Vic and work with children in the arts."