Thanks Marty for your detailed reply.  I totally agree.  I think when you remix a previously MONO recording to a STEREO mix ...there is where potential drastic changes can occure.  Say for example, Dave Clark of Dave Clark 5.  He has been against the old tracks being remixed to stereo, although it has already been done on their hits.  The states that the echo in the original MONO mix is almost gone in the stereo that we all grew up on.  That seems to be his primary reason to not back the idea.  Since that statement I think he retracted that and is involved or has already remixed all to stereo in a box set, so I have been told.  I do like the punch and the clarity of the stereo remixes.  I have never heard some of the details of the recording until I heard the stereo remixes from DC5.  I think George Martin feels the same way with some of the originally mixed to MONO recordings of his producing, especially the Beatles are more well balanced and EQed in their MONO mixes than STEREO.  More importantly, the STEREO mixes were usually done after the creative talent was off doing something else, so they had little or no involvement with how it sounded in STEREO, in those days.  They put all their effort for a UK and European release, in those days, for a predominantly MONO audience.  Not everyone had a stereo phonograph in 1963-67.  I did really get into popular groups STEREO mixes until 1965-66, even though I had a stereo turn table.  The US had always been on the technology cutting edge especially in the recording arena.  (ie) Mick Jagger and the boys choice to do MOST of theri 1964-66 recordings here in the good ol' USA, for that reason.  Finally, in recent years, we have heard in legitimate releases or bootlegged form, of what Jagger was talking about.  Their Chess sessions original stereo masters, which I have heard most of, has such punch.  Charlie Watts drums and Bill Wymans bass are punched way up.  In contrast, Satisfaction, Time On My Side Heart of Stone  and Get Off My Cloud have the drums and bass turned way down.  That may be because it was a different studio, too,  RCA, Hollywood, I believe.  If you listen to their Aftermath sessions, for the most part, they also were a bit light with bass and drums, for some reason.  Probably the same engineer did all those tracks.  So, yes,  better EQing can fix allot of that without altering the instrumental balance as was originally intended during the sessions.   I wonder if the Stones had any say in how their recordings were balanced especially during their long Aftermath sessions, (late1965-late66).  At least were they involved,  as the Beatles were, during their MONO mixing sessions?  If you have also heard I Get Around by the Beach Boys, is a perfect example of how stereo remixing can drastically change the recording.  I have a clean...NON SYNCED stereo version of that song and, once again, there are instruments I have NEVER heard in the original mono or Duophonic releases.  Contrary to popular opinion the mix I have of that track has the lead guitar intact and not lost, it is the same take, too.
 
Thanks for your thoughts.

 BRIAN JONES UNSTONED AND STONED SOLO WORK:

1963

20th - 21st November: London, Regent Sound Studios.  Producer: Andrew Oldham. Sound engineer: Bill Farley.
                      - Leave Me Alone (MJ/KR) -STU on piano
                      - It Should Be You I (MJ/KR) -demo for George Bean
                      - It Should Be You II (MJ/KR) -Rolling Stones-version
                       - Shang A Doo Lang  (MJ/KR) -demo for Adrienne Poster
                      - So Much In Love (MJ/KR) -demo for The Mighty Avengers

BRIAN JONES     -I Want You To Know" is another  unreleased Rolling Stones recording from December 1963. . Legendary crooner Gene Pitney is to have assisted Jones in the completion of this track.This track was produced into an acetate demo and shopped around as a potential recording vehicle for emerging artists. 

BRIAN JONES     "Wake Up In The Morning"  is an October 1963 commercial jingle the Stones recorded for Rice Krispies Cereal that was utilized for European consumers.  Evidence suggests
                           that Jones did compose  and record some embryonic Rolling Stones material. The music is vintage sounding Stones, composed by Jones.

BRIAN JONES     "Dust My Pyramids"  is thought to be a Jones instrumental performed by the group on a January 1964 BBC Radio broadcast.

BRIAN JONES     "A Degree of Murder"  Other things like the legendary soundtrack for this movie. composed by Brian Jones and recorded.   That would be an amazing one to find. 
                
BRIAN JONES      The other item is that Jones was forming a group just before his death and there may be some demos around with