In 1965, the Stones finally proved themselves capable of writing classic rock singles that mined their R&B/blues roots, but updated them into a more guitar-based, thoroughly contemporary context. The first enduring Jagger-Richards classics are here – "The Last Time," its menacing, folky B-side "Play With Fire," and the riff-driven "Satisfaction," which made them superstars in the States and defined their sound and rebellious attitude better than any other single song. On the rest of the album, they largely opted for mid-'60s soul covers, Marvin Gaye's "Hitch Hike," Solomon Burke's "Cry to Me," and Sam Cooke's "Good Times" being particular standouts. "I'm All Right" (based on a Bo Diddley sound) showed their 1965 sound at its rawest, and there are a couple of fun, though derivative, bluesy originals in "The Spider and the Fly" and "The Under Assistant West Coast Promotion Man."

The usual assumption is that the British-issued Rolling Stones albums of the mid-'60s are, like the Beatles' British LPs of the same era, more accurate representations of the group and its work than their American equivalents; the latter were tailored to the U.S. market and usually had singles that had been recorded and released separately added to their programming. The reality, however, is that the group's British LPs were almost as much of a hodgepodge, but just devised differently. The U.K. version of Out of Our Heads actually came out later than its American counterpart by about a month and opens with the roaring, frenetic "She Said Yeah" rather than the soulful slowie "Mercy Mercy" (which follows it here).

Of the first run of British bands who rose to fame in the wake of the Beatles breaking through in America, none were tougher and more forbidding than the Animals. They were also one of the first English acts to break internationally while aligning themselves with the blues. While the Rolling Stones were steeped in that genre, it would take them years to summon the sort of menace that the Animals delivered on their second single, 1964's "House of the Rising Sun." The band moved into a more pop-oriented direction over the next two years without stripping songs like "Don't Let Me Be Misunderstood," "We Gotta Get Out of This Place," and "It's My Life" of their passion and intensity. Vocalist Eric Burdon would take the Animals into a more adventurous, psychedelic-infused direction after the dissolution of the original lineup in 1966, while the songs would remain proudly uncompromised to the end of their run.

Nice, more light than emphatic Afro-Latin and jazz mixture by flutist Herbie Mann and composer/vocalist Joao Gilberto from 1965. The two make an effective team, with Gilberto's sometimes sentimental, sometimes impressionistic works effectively supported by Mann's lithe flute solos.

This languid, seductive gem may well be Grant Green's greatest moment on record. Right from the opening bars of the classic title cut, Idle Moments is immediately ingratiating and accessible, featuring some of Green's most stylish straight jazz playing. Whether he's running warm (pianist Duke Pearson's "Idle Moments"), cool (the Modern Jazz Quartet's "Django"), or a bit more up-tempo (Pearson's "Nomad," his own "Jean de Fleur"), Green treats the material with the graceful elegance that was the hallmark of his best hard bop sessions, and that quality achieves its fullest expression here. He's helped by an ensemble that, as a sextet, is slightly larger and fuller-sounding than usual, and there's plenty of room for solo explorations on the four extended pieces…

A remarkable 1964 session produced by Horst Lippmann behind the Iron Curtain in East Germany that found Sumlin trying for the first time on record to sing. He played both electric and acoustic axe on the historic date, sharing the singing with more experienced hands Willie Dixon and Sunnyland Slim (Clifton James is on drums). All three Chicago legends acquit themselves well.

The definitive Roulettes collection, 22 songs covering the group's entire recorded history, with more highlights than one would expect to find. "Bad Time," "I'll Remember Tonight" (which is more familiar to Americans in its cover version by the Mugwumps), "Stubborn Kind of Fellow," and "I Hope He Breaks Your Heart" are priceless, and most of the rest isn't far behind. The sound is excellent, and the notes are entertaining and wonderfully detailed.

Although often overshadowed by the Los Angeles and New York folk-rock scenes, San Francisco also contributed several notable bands. Among them are We Five, featuring Mike Stewart (vocals/guitar/banjo) - brother of Kingston Trio member John Stewart - Peter Fullerton (vocals/bass), Beverly Bivens (vocals), Bob Jones (guitar/vocals), and Jerry Bergan (guitar/vocals). The quintet was among the first Bay Area groups to have chart success merging acoustic-based folk music with electric instrumentation. This single CD, from mail-order archivists Collector's Choice Music, contains the quintet's first two long-players: You Were on My Mind and Make Someone Happy. Both titles are similar in style and content, charting the linear progression of pop music and its fusion with folk, rock & roll, and post-bop jazz…

These two slightly later efforts are actually more consistently interesting than the duo's first two albums, mostly because they stop trying to sound like the Beatles or the Everly Brothers, and sound more distinctive and soulful - that's doubly true of the material off of the True Love Ways album. They rely more on their voices, which show more flexibility - P&G were never going to be blues singers, but they're far less embarrassing and more directly attuned to what they're singing here, which includes Otis Blackwell's "All Shook Up" and Leadbelly's "Good Morning Blues." The results are sometimes successful within the context of the duo's work; "Cry to Me" is a good cover and one of their better records of this era, even if the Rolling Stones did it better, and their cover of Smokey Robinson's "Who's Loving You" is astonishing. The sound is consistently good-to-excellent, though the notes are sketchy.

Pax is one of those seminal Andrew Hill albums that sat locked in Blue Note's vaults for a decade before the first five cuts here were finally released as part of a double-LP package in 1975 entitled One for One. The final pair, recorded at the same time, didn't see the light of day until they appeared on the limited-edition Mosaic Select Blue Note recordings a decade after that. The personnel on this disc is a dream band: Hill with Joe Henderson, Freddie Hubbard, Richard Davis, and Joe Chambers. All of the these players but Hubbard had played with Hill before, and the telepathy is simply synchronistic. The opening cut, "Eris," is a sprawling blues clocking in at nearly 11 minutes. Full of Hill's knotty harmonics, and truly fiery playing by Hill and Hubbard, it's one of Hill's finest moments on record from the mid-'60s…

The Turtles' first album was recorded in a frantic hurry, in response to the hit status achieved by their debut single, "It Ain't Me Babe." At the time, the members were barely out of high school, a situation that might have caused a lot of other young musicians to fold up under the strain of the moment - there was no time to write (and barely time to find) the songs the members might have seemed worthy of so momentous an event (which it would have been) as a debut long-player. But the members were smart and they were also lucky - they reached out to more of Bob Dylan's songbag, and also back to their own high-school past in folk music as the Crosswind Singers. Thus, their debut album led with a chiming electric rendition of Howard Kaylan's 1963-vintage "Wanderin' Kind"…