As Tears Go By

As Tears Go By
Name	As Tears Go By
Artist	Marianne Faithfull; The Rolling Stones
Released	1964 (Faithfull); 1965 (Stones)
Recorded	1964; 1965
Genre	Pop; Baroque pop; Rock
Length	2:33 (Faithfull); 2:45 (Stones)
Label	Decca; London; ABKCO
Writer	Mick Jagger; Keith Richards; Andrew Loog Oldham

As Tears Go By

As Tears Go By is a song written by Mick Jagger, Keith Richards, and Andrew Loog Oldham that became an early hit for Marianne Faithfull and a key early recording in the catalogue of the Rolling Stones. The composition bridged British pop, baroque pop, and rock traditions and linked figures from the London beat scene, the British Invasion, and contemporary folk-pop movements. Its melodic and orchestral arrangement influenced interpretations by artists across Europe and North America, connecting to producers, arrangers, and record labels prominent in the 1960s popular music industry.

Background and Composition

The song emerged from songwriting sessions involving Mick Jagger and Keith Richards, contemporaries linked to Brian Jones, Charlie Watts, Bill Wyman, and the wider milieu of the British Invasion. Andrew Loog Oldham, the Rolling Stones' manager and producer associated with Immediate Records and Decca Records, played a key role in shaping the song's early form, connecting it to performers such as Marianne Faithfull, whose career intersected with figures like Serge Gainsbourg, Caitlin Clark—no link— and Peter Asher. The composition's harmonic language drew on influences traceable to baroque-adjacent arrangements by contemporaries including George Martin and string orchestrations used by The Beatles on records such as Rubber Soul and Eleanor Rigby. Thematically, the lyrics reflect narrative threads present in songs by Bob Dylan, Paul Simon, and Donovan, and the songwriting mirrors early collaborative practices observed among bands like The Who and The Kinks.

Recording and Production

Marianne Faithfull's version was recorded under the supervision of Andrew Loog Oldham, employing session musicians from London's recording scene who had worked with producers such as Joe Meek and arrangers like Mike Leander. The production featured chamber-style strings reminiscent of arrangements by George Martin and sessions involving players who contributed to records by Petula Clark and Dusty Springfield. The Rolling Stones recorded their own rendition with producer Andrew Loog Oldham and engineer teams overlapping with studios used by The Beatles at EMI Studios and by The Hollies at Trident Studios. Recording techniques paralleled work by engineers associated with Phil Spector and Shel Talmy, and the Stones' version involved members Mick Jagger, Keith Richards, Brian Jones, Charlie Watts, and Bill Wyman collaborating with orchestral contractors known to London Records sessions.

Release and Commercial Performance

The Faithfull single was released on Decca Records in 1964 and issued in markets served by London Records in the United States, charting in the UK alongside singles by The Beatles, The Rolling Stones, and The Kinks. Its commercial success helped establish Marianne Faithfull within circuits that included appearances on Top of the Pops and tours promoted by agencies linked to NEMS Enterprises and Brian Epstein. The Rolling Stones' album appearance and single release in 1965 on Decca Records and cataloged by ABKCO Records expanded the song's reach into American markets competitive with releases by The Beach Boys, The Byrds, and The Animals. Chart placements reflected airplay from broadcasters such as BBC Radio 1 and programming influenced by disc jockeys tied to labels like Capitol Records and Columbia Records.

Critical Reception and Legacy

Contemporary reviews in music publications that covered Rolling Stone (magazine), Melody Maker, and New Musical Express noted the song's divergence from the Stones' blues-rock repertoire and its affinity with chamber pop exemplified by artists such as Scott Walker and Scott McKenzie. Retrospective criticism in books about rock music history and biographies of Mick Jagger and Keith Richards situates the song as a formative entry in the Stones' catalogue and in Faithfull's discography, influencing later singer-songwriters like Joni Mitchell, Carly Simon, and Patti Smith. The recording's legacy includes scholarly discussions in works about 1960s popular music, production aesthetics associated with Phil Spector and George Martin, and inclusion in curated collections by institutions such as The Rock and Roll Hall of Fame and archives maintained by British Library sound collections.

Notable Cover Versions and Interpretations

The song has been covered by a wide range of artists across genres, from folk interpreters like Joan Baez to pop performers such as Petula Clark and rock acts influenced by The Rolling Stones aesthetic. International renditions have appeared in catalogs of artists linked to Sony Music Entertainment, Warner Music Group, and Universal Music Group, with versions produced by figures associated with Phil Ramone and Norrie Paramor. Interpretations range from stripped acoustic takes akin to Nick Drake to orchestral arrangements comparable to work by Scott Walker and ensemble versions performed by groups affiliated with Decca Records reissue programs.

Cultural Impact and Media Usage

The song has been licensed for film and television productions within archives curated by studios like Paramount Pictures, Warner Bros., and Universal Pictures, appearing in soundtracks that also feature music by The Beatles, Elvis Presley, and Bob Dylan. Its cultural presence is evident in documentaries about the 1960s that involve directors linked to BBC Television and producers connected to ITV and Channel 4. The recording figures in retrospectives at institutions such as Victoria and Albert Museum exhibitions on fashion and music culture where Marianne Faithfull's role intersects with designers and photographers tied to Vogue (magazine) and the Swinging London scene.

Category:1964 songs Category:1965 songs Category:Marianne Faithfull songs Category:The Rolling Stones songs