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This short 1976 Rolling Stones documentary captures the band at their most ‘Spinal Tap’
07.22.2015
10:06 am

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Music

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Rolling Stones
documentary


“What’s wrong with being sexy?”

In a 1995 interview with Rolling Stone, Mick Jagger admitted that Their Satanic Majesties Request wasn’t a particularly good album. Interviewer Jann Wenner actually compared it to Spinal Tap, and perhaps unable to deny the resemblance to “Listen to the Flower People,” Jagger answered, “Really, I know.”

However the hippie-dippy experimentation of 60s Stones is in no way their most Spinal Tap era—that would be the mid-70s. In 1975 Jagger would ride a giant inflatable phallus onstage. In ‘76, they released Black and Blue with the very Smell the Glove-reminiscent advertisement you see above; the feminist group Women Against Violence Against Women protested until it was removed from the Sunset Boulevard billboard it adorned. The tour that promoted Black and Blue was a singularly debauched affair, complete with elaborate riders and highly specific luxury travel demands.

This 1976 mini-doc is a great record of the period, with footage of the band, crew and adoring fans. Highlights include a crew member trying to explain the inflatable pee-pee stage design; watching Mick and Bianca taking pulls off a champagne bottle celebrating their fifth wedding anniversary; a short Keith Richards makeup tutorial, and a surprisingly candid Charlie Watts reflecting on his ambivalence towards fame. There is a tension to the film. A fan made the Beatles/Stones comparison, despite the Beatles being long gone at this point, and the the interviewer actually questioned the band on a final album.

If he only knew…
 

 
Via Network Awesome

Posted by Amber Frost | Leave a comment
‘Dead Flowers’: Watch the Rolling Stones get their country honk out at the Marquee Club, 1971
06.22.2015
01:34 pm

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Music

Tags:
Rolling Stones


 
I don’t know about you, but as the years go by, I find that I really have to struggle to justify buying a CD or DVD anymore—not to my wife, I mean, but to myself. There’s a higher threshold for me spending ten bucks on a Blu-ray today than there ever was for me spending $59 for a VHS back in 1985 when I had far less disposable income.

Like with movies, if there’s little chance of repeat viewings, why would I want to own it? The last time I went to LA’s gigantic record emporium, Amoeba Records in Hollywood, I came home with seven DVDs and Blu-rays purchased with store credit and not one of them has even had the cellophane cracked on it yet. In fact, I doubt that I will watch ANY of them in the next twelve months. And perhaps not during the year after that. Or ever. And do I really, really NEED to own The Wizard of Oz on Blu-ray when it’s probably streaming in HD on Netflix? Why? What’s the real difference if it’s on a disc or digitally pumped into my house like a utility? Why did I bother?

Furthermore, I’m planning to move soon so I’m sizing up everything in my office with a wary eye, and most of what I’m keeping are straight up “in concert” DVDs with 5.1 soundtracks and stuff like that. Gorillaz. Pulp. Nick Cave. The Grateful Dead Movie. Born to Boogie. Paul McCartney and Wings’ Rockshow. Magical Mystery Tour. Yellow Submarine. The Monkees movie, Head. Tommy. The Last Waltz. Ladies & Gentlemen: The Rolling Stones. Things like that. Things with “playability.”
 

 
I’m only boring you with this information, dear reader, to let you know that the latest release “From the Vaults” of the Rolling Stones, The Marquee Club Live in 1971, which comes out tomorrow on SD Blu-ray (and various other formats) from Eagle Vision, is one such “keeper.” If you’re a serious Stones fan, this short set showcasing some songs from the soon-to-be-released Sticky Fingers album and shot for American television (it doesn’t say for what exactly, or if this ever aired in the liner notes) is a must own. To my mind, this release, which has been lovingly remastered in DTS-HD Master Audio by Bob Clearmountain from the original multitrack masters (and they’ve done a great job with upscaling the video) belongs in the “essentials” of a Rolling Stones collection. Next month sees their Hyde Park concert of 1969 coming out, too. Can an unexpurgated release of Robert Frank’s notorious document of the Stones’ drug and groupie fuelled 1972 American tour Cocksucker Blues be far behind?

Tonight at the The Perfect Exposure Gallery in Los Angeles is the opening of a show of photographs taken at the Marquee by Alec Byrne from 7-9pm. The show will be running until the 28th.

Below, “Dead Flowers,” a clip from the Rolling Stones famous Marquee Club performance of 1971, shot in front of an audience of VIPS that included Jimmy Page and Eric Clapton.

Posted by Richard Metzger | Leave a comment
The Rolling Stones recorded ‘(I Can’t Get No) Satisfaction’ 50 years ago today
05.12.2015
09:06 am

Topics:
History
Music

Tags:
Rolling Stones


 
(I Can’t Get No) Satisfaction,” a song that, arguably more so than ANY other, even “I Want to Hold Your Hand,” has served as a badge for British Invasion-era rock, was recorded by the Rolling Stones 50 years ago today, on May 12, 1965. But had things worked out differently, we might be accustomed to hearing a very different song. A version of the song was recorded two days prior, at Chess Studios in Chicago, reportedly with Brian Jones on Harmonica. (I have no idea if that recording has ever emerged anywhere, and if a better Stones maven than myself could point me in the right direction, I’d sure like to hear it.) But that version was jettisoned, and the version we all know very, very well was recorded later that week in Los Angeles, at RCA Studios. From Stanley Booth’s The True Adventures of the Rolling Stones:

The Stones tried but failed to record “Satisfaction,” flew the next day to Los Angeles, went the day after to RCA Studios, started working at 10:00 A.M. and by 2:15 A.M., more than sixteen hours later, had recorded six new songs, one of them “Satisfaction.” They went back to their hotel, slept a few hours, then [Stones manager] Andrew [Loog Oldham] and RCA engineer Dave Hassinger returned to the studio and began mixing the tracks. At 1:00 P.M. the Stones showed up to re-record certain parts, Bill, Charlie and Brian leaving at 9:00 P.M., Mick and Keith staying at the studio adding vocals till nine o’clock the next morning. They had a new album and a single that would be the most popular they had ever done.

Mick and Keith offered the following in Mark Paytress’ The Rolling Stones Off the Record:

During the Chess sessions, the Stones make their first attempt at recording a song written by Mick and Keith a few days earlier in Clearwater, Florida…
Keith: “A week later we recorded (‘Satisfaction’, again, at the RCA Studios) In Los Angeles. This time everything went right. Charlie put down a different tempo and, with the addition of a fuzz box on my guitar which took off all the treble, we achieved a very interesting sound.”
Mick: “We cut ‘Satisfaction’ in Los Angeles when we were working there. We cut quite a lot of things and that was just one—contrary to some newspaper reports, it only took us just half an hour to make it. We like it, but didn’t think of it as a single. Then London said they had to have a single immediately because “The Last Time” was long gone and we had a Shindig TV date and had to have something to plug. So they released ‘Satisfaction’ as a single.”

“We like it, but didn’t think of it as a single.” Does that not sound like EVERY story about a world-changing record? That song that the Stones didn’t think of as a single would become their first US #1 record, and be the band’s definitive work for fifty years and counting. Since you’ve heard the canonical single a million times, here’s a neat stereo mix that was released on the German edition of Hot Rocks (this is why I gave up the hunt for the Chess version—trying to run down session details for EVERY release of this song is way more spelunking than a 24-hour day allows for). I love how the acoustic guitars take prominence in this mix.
 

 
The first televised performance of ‘Satisfaction’ after the jump…

Posted by Ron Kretsch | Leave a comment
Lucifer rising: When the Rolling Stones got evil
01.29.2015
11:12 am

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Music

Tags:
Rolling Stones
Michael Lindsay-Hogg


 
Call me disputatious—or not, it’s entirely up to you—my favorite Stones album has always been Their Satanic Majesties Request. It’s the only one I still play all the way through these days. It sounds so amazing as one great big, trippy chunk, that it would be a shame not to experience the whole thing in one go. It’s a fantastic headphones album, too, the closest they ever got to Dark Side of the Moon. Many Stones fans and critics hated it when it came out and saw the album as a weak attempt to out weird the Beatles after they’d unleashed Sgt Pepper’s on the world, but time has been very kind to Their Satanic Majesties Request. To me, it’s just a thing of beauty, with the normal blues-based Stones sound thrown out the window, and replaced with a colorful sonic palette the likes of which they would never return to. I’m not saying that it IS the best Stones album, I’m just saying that it’s MY favorite. (For the record, my favorite Stones song is “Monkey Man,” followed by “Stray Cat Blues,” then “Doo Doo Doo Doo Doo (Heartbreaker)”—dark horses, all, I grant you. I’m also partial to “I Don’t Know Why,” but the Glimmer Twins didn’t write that one—it’s a Stevie Wonder cover.)

The Stones “demonic” phase, inaugurated if you will, by their association with the Magus of Cinema, Kenneth Anger, was when the Stones were truly on fire. Mick was still quite into his Satan/Lucifer thing well into the Let It Bleed/Gimme Shelter era, but after Altamont, Jagger was often seen wearing a crucifix around his neck, perhaps seeking to put down all the hoodoo Age of Horus energy he’d raised? Have sympathy for the poor devil. Jagger had a shamanic current running through his body during the Sixties that killed quite a few of his friends and contemporaries. Today, like a rock and roll Dorian Gray, he hardly looks any worse for the wear.
 

 
Below is the once very seldom seen pop video for “2000 Light Years From Home.” It seems so heavily influenced by Kenneth Anger that pre-Internet, some people (myself included) thought that perhaps he’d directed it, but it’s actually the work of Michael Lindsay-Hogg (Let it Be). This was possibly shot by photographer Michael Cooper, who shot the iconic image for the Satanic Majesties album jacket (which was originally issued with a fantastic 3-D lenticular cover) and Anger’s Lucifer Rising.

Although the song’s multi-generational familiarity has leached out quite a bit of its “evil” over time, just imagine what this short film communicated to someone in 1967!!! I have no idea if this outrageous clip was ever seen on television at the time—I suspect not.
 

 
Much more, including a Rolling Stones video that you have probably never seen before…

Posted by Richard Metzger | Leave a comment
The Rolling Stones’ studio receipt for recording ‘Wild Horses’ and ‘Brown Sugar’
09.19.2014
05:53 am

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Music

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Rolling Stones
Muscle Shoals


Bill Wyman, Jimmy Johnson, Keith Richards, Charlie Watts, Marshall Chess (president of Rolling Stones Records), Ahmet Ertegun (president of Atlantic Records) and Terry Woodford
 
Is Sticky Fingers the Stones’ best album? What do you think? There’s a lot of competition, Let It Bleed, Exile on Main Street, Beggars Banquet...... Sticky Fingers is up there, though.

Sticky Fingers was one of the first albums recorded at Muscle Shoals Sound Studio, in Sheffield, Alabama, having been founded by the Swampers just a couple years earlier. Over the course of the 1970s a lot of great music was recorded there, from Paul Simon and Rod Stewart to Bob Dylan, Lynyrd Skynyrd, and beyond. Cher’s album 3614 Jackson Highway takes its title from the studio’s address. In 2009 Akron’s the Black Keys came down to Muscle Shoals to cut Brothers, which ended up winning a Grammy.

As it happens, only three songs off of Sticky Fingers were recorded at Muscle Shoals, but two of them were the album’s only two singles and are without question the most immortal tracks off the album: “Wild Horses” and “Brown Sugar.” (The third song recorded at Muscle Shoals was “You Gotta Move.”)
 

(Click on the image for a larger version.)
 
Here’s the receipt that Muscle Shoals remitted to the Stones, or more precisely ABKCO, being the company founded by one Allen B. Klein, the shark tasked with managing both the Beatles and the Stones for a time. The Sticky Fingers sessions ran from December 2 to 4, 1969, with the rest of the album being recorded during much of 1970. This session was one of the last times Klein would be their manager, as the Stones would jettison him (as much as was possible) as soon as they could. As you can see, the receipt helpfully says “The Rolling Stones / Wild Horses” right on it. 

So that’s that: In 1969 recorded two of rock music’s greatest songs and paid a cool grand for the privilege. That amount of money translates into about $6,500 today.

Here are some wonderful pics of the Stones (found here) recording parts of Sticky Fingers at Muscle Shoals:
 

Mick Taylor, Keith Richards, and Ian Stewart (standing)
 

Charlie Watts
 

Bill Wyman, Jimmy Johnson, Mick Jagger, Charlie Watts, and Ian Stewart
 

Mick Jagger recording the percussion on “Brown Sugar”
 

Mick Taylor working out on the congas
 

Muscle Shoals Sound Studio in Sheffield, Alabama
 
via Blue Arrow Records

Posted by Martin Schneider | Leave a comment
‘I Got You Babe’: The Rolling Stones camp it up miming to Sonny and Cher, 1965
09.04.2014
01:49 pm

Topics:
Music
Television

Tags:
Rolling Stones
Cathy McGowan


 
Hosting Ready Steady Go! in September of 1965, The Rolling Stones camped it up in this “mime contest” version of Sonny and Cher’s hit—then at the top of the pop charts—“I Got You Babe.”

First Ready Steady Go!‘s co-host “Queen of the Mods” Cathy McGowan stands in for Cher before a vest-clad Brian Jones puts on his sunniest Sonny impression (and quite charming it is). Keith, on tuba, puffs away nonplussed.

Then it’s Mick’s turn to flounce around coquettishly taking Cher’s part to manager Andrew Loog Oldham’s turn as her decidedly more butch duet partner. Charlie and Bill just look suitably embarrassed to be a part of these shenanigans.

All but forgotten now, young Cathy McGowan was a hugely influential style icon of “Swinging London” and the idol of Twiggy and Vogue’s Anna Wintour. She had her own fashion line at British Homes Stones and helped popularize the miniskirt. McGowan’s Mary Quant-ish look seen on television every week is said to have been one of the key factors opening up the minds of young British working class women to the world of fashion in the 1960s.
 

Posted by Richard Metzger | Leave a comment
‘Superstars In Concert’: Jimi, Cream, Rolling Stones, Ike & Tina Turner & more in obscure classic


 
When the question of “What’s the best/great rockumentary of all?” is asked, the answers can range quite widely obviously, from something like Don’t Look Back or Let It Be to The Last Waltz or Stop Making Sense (which both seem to make almost everyone’s lists) to something totally out of left field and life-affirming like Half Japanese: The Band That Would Be King. I really loved the new Pulp: a Film about Life, Death and Supermarkets... and wouldn’t “Heavy Metal Parking Lot” be in the running for all-time best rockumentary? Of course it would be!

It’s an impossible question to answer, but sidestepping it somewhat, if I had to pick the best overall “time capsule” of the rock era to preserve for future generations, it would probably be Peter Clifton’s Superstars In Concert.  Also known as Rock City in a different edit, the film was directed and produced by Clifton (The Song Remains the Same, Popcorn, The London Rock and Roll Show) and is a hodge-podge compiling (mostly) his promotional short films and snippets of concert performances shot between 1964 and 1973 by the likes of Peter Whitehead (Wholly Communion, Charlie Is My Darling, Tonite Let’s All Make Love in London), Michael Cooper (who shot Kenneth Anger’s Lucifer Rising), Ernest Vincze (the cinematographer responsible for the 2005 Doctor Who reboot) and Ivan Strasburg (Treme).
 

 
Featured in the film are The Rolling Stones (several times), Eric Burdon and The Animals, a typically demure appearance of The Crazy World of Arthur Brown, Otis Redding bringing the house down, Cream, Steve Winwood, Blind Faith, Cat Stevens (a stark Kubrickian promo film for his “Father and Son” single) , The Jimi Hendrix Experience, Donovan, Joe Cocker, a segment with The Ike and Tina Turner Revue that will bring a smile to your face, Pink Floyd and Rod Stewart and the Faces. Pete Townshend is seen getting in his digs at the Stones for promoting pot use, managing to make himself look like a blue-nosed twat in the process, while Mick and the boys are seen doing “Jumpin Jack Flash” in the (decidedly more evil) warpaint version of that promo film (there were two, this is the one that was NOT shown on The Ed Sullivan Show for obvious reasons) and in their promo film for “We Love You” which features Keef in a judge’s wig, Marianne Faithfull as a barrister and Mick nude wrapped up in a fur rug (a sly joke that if you don’t get, then google “Rolling Stones,” “Redlands,” drug bust, her name and “Hershey Bar.”)

Superstars In Concert came out in Japan on the laserdisc format and that’s how I first saw it, in the late 80s. Since then, other than the various clips showing up cut from the film on YouTube, it’s remained an obscurity. Apparently there was a Malaysian bootleg and then in 2003 a Brazilian magazine called DVD Total gave away the film for free with one of their issues. So far fewer than 200 people have viewed the video.

DO NOT miss what’s perhaps the most intense version of Pink Floyd’s “Careful with That Axe Eugene” ever captured on film. This entire film is absolutely amazing from start to finish, but it jumps off the scale during that part (Otis Redding is no slouch, either!) I highly recommend letting it load first before you hit play, otherwise it’s kind of flickery. If you wait a while, it doesn’t hang up and looks and sounds great.
 

Posted by Richard Metzger | Leave a comment
BASS IN YOUR FACE: Isolated bass parts of Sonic Youth, Rolling Stones, The Police, Rick James & more


 
Poor bass players. In the hierarchy of rockbandland, even the mercenary backup singers get more love. Like a drummer, a crummy one can wreck your band, but unlike a drummer, even a superb bass player can fade into the background, seeming for all the world like a mere utility placeholder while the singer, guitarist and drummer all get laid. Before the ‘80s, the bass player was perceived as the would-be guitarist who couldn’t make the cut and got offered a reduction in strings as a consolation prize. Since the ‘80s, bass has been the “easy” instrument a singer hands off to his girlfriend to get her in the band.

It’s all a crock of utter shit. A good bass player is your band’s spine, and is a gift to be cherished.

An excellent online resource for bassists, notreble.com, has links to an abundance of isolated bass tracks, from celebrated solos to deep cuts to which few casual fans give much thought. There are, of course, song-length showoffs like “YYZ” and “Roundabout,” but there are unassuming gems to be found too. Check out how awesome Tony Butler’s part is in Big Country’s kinda-eponymous debut single. It wanders off into admirable weirdness, but when the time comes to do the job of propelling the song forward, this shit is rocket fuel.
 

 

 
Though Sting has been engaged in a long-running battle with Bono to see who can be the most tedious ass to have released nothing of worth in over 25 years, listening to his playing in the Police serves as an instant reminder of why we even know who he is. The grooves in “Message In A Bottle” are famously inventive and satisfying, but even his work on more straightforward stuff like “Next To You” slays. You can practically hear the dirt on his strings in these.
 

 

 

 
Funny, as much of a trope as “chick bass player” has become, loads of time spent searching yielded almost no isolated tracks from female bassists. Which is ridiculous. The only one I found was Sonic Youth’s Kim Gordon, heard here on “Teenage Riot.” It takes a bit to work up to speed. Taken on its own, it’s a minimal, meditative, and quite lovely drone piece.
 

 

 
Here’s a gem—a live recording of Billy Cox, from Hendrix’s Band of Gypsys, eating “All Along The Watchtower” for breakfast.
 

 

 
This one was a revelation—the Rolling Stones’ Bill Wyman on “Gimme Shelter.” I knew this was a great bass part, but there’s stuff in here I’ve never heard before, and it’s excellent. I should have been paying more attention.
 

 

 
But is there “Super Freak?” Oh yeah, there’s “Super Freak.”
 

 

 
I searched mightily to find isolated bass tracks from Spinal Tap’s gloriously excessive ode to both low-ends, “Big Bottom,” before I realized there would be absolutely no point in doing that. So I leave you with the unadulterated real thing.
 

 
Previously on DM: The incomparable James Jamerson: isolated

Posted by Ron Kretsch | Leave a comment
Every Rolling Stones clip British Pathé just uploaded to YouTube
04.18.2014
07:52 am

Topics:
Music

Tags:
Rolling Stones

The Rolling Stones
 
On Sunday newsreel archivist British Pathé uploaded 85,000 films, in high resolution, to its YouTube channel. An incredible, if sometimes a bit stodgy, resource that will be viewed countless of thousands of times in the years to come. Lots of things like the Hindenburg.

And pop culture too. I scoured the British Pathé YouTube presence for all of its Rolling Stones footage (mostly by entering in the term “Rolling Stones” in the appropriate place). This is what that quest produced: 12 videos covering the years 1964 to 1970. Some of them are collections of raw footage that made up some of the completed items you can also see here. A few of them have no sound at all. The concert footage from 1970 isn’t very good, esp. the sound (which is glumly conceded in the YouTube “About” area), but a number of the clips are excellent in their way.

The “Rolling Stones Gather Moss” video captures the Stones in their “Hard Day’s Night” phase, so to speak. They’re still in the Beatles mold—until you get to the performance section, where nobody would ever mistake these guys for the Beatles. The footage from Australia is pretty solid and the Hyde Park concert after the death of Brian Jones is also very good.

My favorite, though, is the weird footage of the audience at the Stones’ 1964 Hull concert. Someone’s going to make a pretty dandy experimental movie out of that someday.

In each instance I have pasted the “About” text underneath the video. In one case there is a duplicate, the two Hyde Park videos appear to be identical, but we strive to be complete.
 
“Rolling Stones Gather Moss” (5:51, 1964)

Full title reads: “Rolling Stones Gather Moss.” Technicolor Material. Hull, Humberside.
 
More where these came from, after the jump…

Posted by Martin Schneider | Leave a comment
The Rolling Stones on ‘The Dick Cavett Show,’ 1972
02.11.2014
05:30 am

Topics:
Music
Television

Tags:
Rolling Stones
Dick Cavett

Rolling Stones 1972 American Tour
 
The Rolling Stones’ U.S. tour of 1972 was a big fucking deal. Let us count the ways: The Stones had not played live shows in America since the infamous final show of their 1969 tour, at Altamont. The album they were supporting was one of the most epochal in all of rock and roll history, Exile on Main Street—which was released in America just a couple of weeks before the tour. (None of the Beatles’ late albums were supported by touring, keep in mind. Exile was, as were Beggars Banquet and Let It Bleed in 1969.) With the Beatles scattered to the winds, the Stones had the pinnacle of rock and roll all to themselves—no coincidence, then, that their sobriquet “the world’s greatest rock ‘n’ roll band” really began to be a thing around this time. 

This was the tour memorably captured in one of the all-time great rock and roll books, Robert Greenfield’s S.T.P.: A Journey through America with the Rolling Stones. Robert Christgau’s account of one of the NYC shows is worth reading as well. The tour also spawned two documentaries:  that Ladies and Gentlemen: The Rolling Stones! and the outlaw verité flick Cocksucker Blues.

By this time Mick Jagger had made the crucial transition from “mere” rock frontman and quasi-proto-punk to a bona fide celebrity of the first order. In the 1960s Jagger’s closest peers and pals were John Lennon and Jimi Hendrix and Bob Dylan; by 1972 he was hanging out with Truman Capote and Hugh Hefner and Zsa Zsa Gabor. (From here, the trajectory to Studio 54 was inevitable.) Not for nothing was the tour nicknamed the “Stones Touring Party”—so much more easygoing than the Hells Angels of Altamont, although Keith Richards did carry around a .38 caliber revolver just in case those same Hells Angels sought retribution. It was simply a massive tour without the element of danger that their (arguably) even more mythic 1969 tour—in other words, tours of this type were becoming standardized. The Stones were the talk of the country and, when they hit Madison Square Garden in late July, the talk of the town. Stevie Wonder was the opening act; how can you beat that?

Capote quit covering the tour in New Orleans and then went on The Tonight Show and The Dick Cavett Show to tell tall tales about it before showing up for the last city of the tour, at Madison Square Garden. Cavett, whose show was on ABC, also received accreditation for the Stones’ appearance in New York, and secured some backstage interviews between the two (!) concerts held on Tuesday, July 25, 1972. An entire episode was dedicated to the Stones that featured substantial interviews with Jagger and Bill Wyman as well as two full songs from the concert. 

You have to give credit to Cavett for his unflappable cool. Whether interviewing the Stones’ adoring fans outside the venue or Jagger himself, Cavett has a knack for putting his subjects at ease. Noteworthy moments from the Stones interview: Cavett inquires what Jagger, a former student at the London School of Economics, for his take on John Maynard Keynes. While chatting with Cavett, Wyman puffs on a “cigarette” that some have insisted was a joint. I can’t tell, but certainly their cheeky repartee about the smoky treat would seem consistent with that interpretation. Later Cavett and Jagger jokingly entertain the engagingly silly notion of Cavett, a Yalie to the bone, joining the Stones onstage to do a rendition of some GIlbert & Sullivan. (This last seems entirely true to Cavett’s preppy essence. I once saw Cavett at the Dave Hill Explosion in New York do a kind of duet with the Violent Femmes’ Gordon Gano: Gano performed “Blister in the Sun” while Cavett interrupted with verses by Rudyard Kipling.) Most amusingly, Wyman insists that he and the Stones will be retired by the time they reach the age of fifty.

In his studio bits taped later, Cavett treats the event much as a sociologist would, reading lyrics from “Brown Sugar” aloud for the attentive middle-aged midwesterners in the television audience and explaining that the frenzy in the audience was actually “peaceful.” Good for me, because I look at these clips much the same way: so that’s what a Stones concert looks like behind the scenes. It’s terrific footage, although the tape itself is a little muddy.

This playlist has all the essential parts of the show (there is a fifth part not included, but it’s just a couple minutes long and there’s nothing much on it). The first part has Cavett’s interviews with the fans outside. Parts 2 and 3 have an interview with Jagger and Wyman and then Jagger a second time. Part 4 has live performances of “Brown Sugar” and “Street Fighting Man.” Oh, and enjoy the Paul Lynde commercial and that one for Levis that wouldn’t look out of place in Yellow Submarine.
 

 
via Lawyers, Guns, and Money

Posted by Martin Schneider | Leave a comment
Jean-Luc Godard shoots The Rolling Stones in the studio working up ‘Sympathy for the Devil,’ 1968
12.10.2013
11:26 am

Topics:
Movies
Music

Tags:
Rolling Stones
Jean-Luc Godard


 
Jean-Luc Godard’s One Plus One (AKA Sympathy for the Devil) contains fly-on-the-wall footage of The Rolling Stones in the studio during the 1968 Beggar’s Banquet recording sessions that yielded one of their most famous numbers, “Sympathy for the Devil.” The Stones footage is intercut with set pieces for his camera by Maoist-types and (apparent) Black Panthers who kidnap and kill a group of white women. A feminist is interrogated and at one point there is a reading from Mein Kampf in a bookshop and the customers walk out “Sieg Heiling.” It’s a mess, even by Godardian standards.

The bits with The Stones aside, One Plus One is a terribly boring film. I saw it in a London art-house cinema when I was seventeen and had I been, oh, I don’t know eighteen, I probably would have had the presence of mind to simply walk out. It’s not just a little boring, it’s an epic snoozefest (I should point out that I tend to love pretentious art films with Situationist elements, this one… not so much).

Godard stated many times throughout his long career his belief that Western culture needed to be destroyed, but he felt this could only be achieved by the rejection of intellectualism:

“There is only one way to be an intellectual revolutionary, and that is to give up being an intellectual”

Well, sure, but you can’t exactly go around boring people to death, either! There’s nothing revolutionary about being a bore, JLG…

One Plus One was such a financial disaster—it flopped even in France—that Iain Quarrier, the film’s producer, retitled it Sympathy for the Devil and added the completed song at the end. When Godard found out about this, he punched Quarrier in the face.

Amusingly, a DVD of this film was given away free with the purchase of a Sunday Times newspaper in Britain in 2006. I wonder what the average Sunday Times reader who bothered to pop the disc into their DVD player thought about Godard’s decidedly radical film?

Below, all the best bits and none of the nonsensical parts from Godard’s One Plus One
 

 
Via Open Culture

Posted by Richard Metzger | Leave a comment
Casual snapshots from the Rolling Stones’ 1965 U.S. tour
11.26.2013
01:20 pm

Topics:
Music

Tags:
Rolling Stones

Brian Jones, Manger Motor Lodge in Savannah, Georgia
Brian Jones at the Manger Motor Lodge in Savannah, Georgia
 
These incredible pictures of the Rolling Stones relaxing during their 1965 tour of the U.S. were found a couple of years ago at a flea market in Saugus, California, by a musician named Lauren White. They date from the first week in May 1965. The Stones had played the Academy of Music in New York City on the first of the month and did a brief tour of the South before heading back up north to Chicago. On May 4 they played the Hanner Gymnasium at Southern College in Statesboro, Georgia, and on May 6 they played the Jack Russell Stadium in Clearwater, Florida. These pictures were taken right around that time.

To put it in perspective where the Stones were at this juncture, one month later, on June 6, “(I Can’t Get No) Satisfaction” would get its U.S. release (the U.K. release was later on in the summer). This is arguably one of the last moments that the Stones were not mega-superstars.

White suspects that the pictures were taken by a woman: “In a lot of the images, the guys are looking directly into the lens. It’s hard to get boys to be that vulnerable, especially in front of a camera. They are also sort of showing off. I think a girl is the only thing that could convince them to allow those kinds of shots. It’s hard to imagine a dude is evoking these intimate moments, but you never know.”

If you’d like to find a similar score, White says that her favorite flea markets in California are: “In Los Angeles, the Fairfax Flea Market, the Topanga Vintage Market and the Pasadena City College Flea Market. Rose Bowl overwhelms me. I also like the Alemany Flea Market in San Francisco.”
 
Mick Jagger in Clearwater, Florida
Mick Jagger, poolside in Clearwater, Florida
 
Keith Richards, somewhere between Savannah and Clearwater
Keith Richards, somewhere between Savannah and Clearwater
 
Bill Wyman, somewhere between Savannah and Clearwater
Bill Wyman, somewhere between Savannah and Clearwater
 
Mick Jagger and Charlie Watts in Clearwater, Florida
Mick Jagger and Charlie Watts, poolside in Clearwater, Florida
 
Charlie Watts in Clearwater, Florida
Charlie Watts, poolside in Clearwater, Florida
 
Brian Jones in Clearwater, Florida
Brian Jones, poolside in Clearwater, Florida
 
Mick Jagger in Clearwater, Florida
Mick Jagger, poolside in Clearwater, Florida
 
Brian Jones in Clearwater, Florida
Brian Jones, poolside in Clearwater, Florida
 
Brian Jones in Clearwater, Florida
Brian Jones, poolside in Clearwater, Florida

via Tombolare

Posted by Martin Schneider | Leave a comment
Mick Jagger to Andy Warhol, 1969: ‘Do what ever you want’
09.04.2013
02:06 pm

Topics:
Art
Music

Tags:
Andy Warhol
Mick Jagger
Rolling Stones

Rolling Stones, Sticky Fingers promo shoot
 
Sticky Fingers: The Stones at the peak of their powers, the catastrophe of Altamont right in their rear-view mirror, “Sister Morphine,” “Wild Horses,” “Brown Sugar,” an attention-getting album cover with a shot of a man’s crotch and an actual zipper—all of that courtesy of Andy Warhol, of course. In its own way Sticky Fingers is as 60s as anything that ever happened, even if it was released in April 1971.

That zipper would bring its own share of headaches—it made the album impossible to stack easily, leading to lots of scratched returns. Oh, and by the way, the album also featured the first-ever use of the Stones’ tongue logo, designed by John Pasche.
 
Sticky Fingers
 
If you want to see a megastar with a relaxed sangfroid that even Kanye West would envy, check out this suave letter to Andy Warhol getting him started on the Sticky Fingers project: “Here’s 2 boxes of material you can use, and the record.” Hilariously, Jagger warns him that extra elements in the cover design may lead to problems down the line, but then emphasizes, “I leave it in your capable hands to do what ever you want” before asking him, in so many words, where the truck should deposit the huge heaping mounds of cash. “A Mr.Al Steckler ... will probably look nervous and say ‘Hurry up’ but take little notice.”

In short, everything any designer would want from a client. World fame, money, creative freedom, and heedless to all consequences.
 
Mick Jagger to Andy Warhol
 
(via Letters of Note)

Posted by Martin Schneider | Leave a comment
What A Drag It Is Getting Old: The Rolling Stones, then and now…
05.14.2013
01:54 pm

Topics:
Music

Tags:
Rolling Stones


 
The recent Rolling Stone cover story on The Rolling Stones alludes rather bluntly to something that, frankly, I think about with every new clip I watch (in horror) of the current Stones tour: Can Keith even still play?

This time, before there could be any serious preparations for a 50th anniversary tour – something Richards wanted to see happen – Jagger made it plain that there would have to be some sort of reckoning. The details of whatever transpired between the two men remain private, but as Wood commented, things were “tense and awkward.” There was even a rumor that Richards’ position as the Rolling Stones’ rhythm guitarist might be in peril. Some thought he was having trouble playing – that perhaps his hands were growing afflicted with arthritis or that his steady intake of alcohol affected his musical agility. Following a critical review of his performance at a 2007 Rolling Stones concert in Gothenburg, Sweden, in which it was suggested that the guitarist was “super-drunk,” Richards demanded an apology from the reviewer, Markus Larrson, who replied that he wasn’t going to apologize to “a rock star who can hardly handle the riff to ‘Brown Sugar’ anymore.” According to a source close to the band, when the Rolling Stones convened in London in December 2011, it wasn’t merely for rehearsals but, as far as Jagger was concerned, to see if Richards could still get the job done.

These days Keith sounds like the “shredded” version of his guitar playing. Listen to this, it’s fucking diabolical. Does his left hand even function anymore? He can’t even play Chuck Berry riffs! How hard can that be?
 

 
Yikes! Doesn’t Keith sound like a drunk Jandek? And Gwen Stefani? Keith Urban? This is whole thing seems so preposterously godawful. The current Stones tour could be the last time, it may be the last time, it bloody well should be the last time (but I don’t know…).

At least Mick and the boys will be eternally youthful on YouTube, even if this 50th anniversary victory lap is rather obviously a consumer fraud… In the clip below, David Frost introduces the Stones performing “Honky Tonk Women” when it was high in the charts in 1969. Nevermind if the band is actually playing live, or else this is a doctored track with live vocals (I really can’t tell), in 1969 Keith Richards was one of the greatest rhythm guitar players alive. Time waits for no one…
 

Posted by Richard Metzger | Leave a comment
Mick Jagger just oozes sincerity!
05.08.2013
06:20 am

Topics:
Amusing
Music
Pop Culture

Tags:
Mick Jagger
Rolling Stones

 
Well, he’s certainly oozing something, isn’t he?

There was a nearly identical video that Keith made, but they took it down as of last night. He must’ve seen it and thought, “Fuck me, I look like a fucking twat.”

Mick seems, shall we say, somewhat less “reflective” than Keith is. I don’t even think Jagger knew exactly which “Bay Area” he was referring to here, do you? I don’t think he really cares, either.

Via the always interesting Bob Lefsetz

Posted by Richard Metzger | Leave a comment
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