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The Rough Guide to the Rolling Stones

Copyrighted Material

The Rough Guide to

The Rolling Stones

by Sean Egan

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Copyright © Sean Egan, 2006

This 2010 edition published by Metro Books, by with Rough Guides Ltd,

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission from the publisher.

This edition prepared by Heritage Editorial and bounford.com for Rough Guides Ltd

Metro Books, 122 Fifth Avenue, , NY 10011

ISBN 978-1-4351-2030-3

Cataloging-in-Publication data is available from the Library of Congress

Printed and bound in Singapore by Toppan Security Printing

1 3 5 7 9 10 8 6 4 2

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Introduction v

part one: THE 1. Early Days 3 2. As Good As ? 29 3. Annus Horribilis 53 4. The Stones Mach II 67 5. The Swaggering Seventies 89 6. The Stones Mach III 109 7. World War III 125 8. Life After Bill 143

Part Two: The 159 50 Great Stones 191 Odds & Sods 229 Solos & Side Projects 229 Stones Rarities 234 10 Unreleased Stones Recordings 235 Influences 237

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Contents cont.

Part Three: Stonesology The Stones in Person 245 Stones 256 Stones 260 Stones Women 263 Stones Aides 269 Stones Places 275 The Stones in Print & on Screen 281 Songs About The Stones 293 10 Stones Myths 294

Index 298

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ACKNOWLEDGEMENTS The author would like to gratefully acknowledge the following for providing quotes and/or answers to queries for this book: Keith Altham, Geoff Bradford, , Bill Farley, Hassinger, , Roger Savage, Harry Shapiro, and . Grateful acknowledgements also for quotes used herein to all the books, films, programmes and websites either mentioned in the main text or listed in the Print And Screen section, plus the fol- lowing sources (with apologies to anybody inadvertently omitted): Rock On Wood (Keith Badman & Terry Rawlings), (), Chronicle (Massimo Bonanno), Faithfull (), The Complete Guide to the Music of the Rolling Stones (James Hector), Exile On Main St. (), The Dark Stuff (Nick ), Keith Richards (Kris Needs), Mick & Keith (), Rebel Knight (Christopher Sandford). I’d also like to extend my very grateful thanks to the following Rolling Stones experts who patiently provided help and/or research materials: Felix Aeppli, , Christian Diemoz, Martin Elliott, Lynch, Ian McPherson, Kevin Maidment, Wendy Ellison Mullen and Chris Menicou. Picture Credits 1 Alamy: Popperfoto. 2-3 Redferns: Michael Ochs Archives. 9 Private Collection. 10-11 Private Collection. 15 Rex Features: . 17 Rex Features: Dezo Hoffmann. 22 Alamy: Pictorial Press. 24 Alamy: Pictorial Press. 27 Alamy: Lebrecht Music & Arts Photo Library / David Farrell. 28-29 Rex Features: Terry O’Neill. 33 Redferns: John Hopkins. 36 Private Collection. 38 Corbis: Bettmann. 41 Corbis: Hulton-Deutsch Collection. 44 Redferns: Michael Ochs Archives. 46 Getty Images: Evening Standard / Frederick R. Bunt. 48 Redferns: Ivan Keeman. 51 Redferns: Peter Francis. 52-53 Corbis: Bettmann. 56 Mirrorpix. 59 Rex Features: Dezo Hoffmann. 61 Corbis: Bettmann. 65 Redferns: Michael Ochs Archives. 66-67 Getty Images: Keystone / Douglas Miller. 71 Getty Images: Hulton Archive / Keystone Features. 72 Private Collection (top); Rex Features: Everett Collection (below). 74 Private Collection. 75 DK Images: / Cooper Owen (top); Rex Features: Polak (Globe Photos) (below). 77 Corbis: Hulton- Deutsch Collection. 78 Private Collection. 80-81 Mirrorpix. 83 Corbis: Henry Diltz. 85 Empics: AP Photo. 86-87 Corbis: Bettmann. 88-89 Redferns: Robert Knight. 92 Corbis: Bettmann. 96 Alamy: Arthur Steel. 99 Alamy: Popperfoto. 100 Private Collection. 102-103 Redferns: Robert Knight. 105 DK Images: Judith Miller / Guernsey’s Auctions. 108-109 Corbis: Neal Preston. 113 Corbis: Neal Preston. 116 Private Collection. 117 Private Collection (top) Rex Features: Jonathan Player (below). 118 Rex Features: Cito Franco. 122 Getty Images: Online USA Inc. / Julian Wasser. 123 Private Collection. 124-125 Corbis: S.I.N. 129 Rex Features: Sipa Press. 130-131 Corbis: Neal Preston. 134 Private Collection. 138 Private Collection. 142-143 Corbis: / Mike Cassese. 151 Corbis: EPA / Luis Tejido. 156-157 Getty Images: Keystone Features. 158 Corbis: Hulton-Deutsch Collection. 159 DK Images: Chris Eborn Private Collection. 160 Private Collection. 161 DK Images: Chris Eborn Private Collection (below); Private Collection (top). 162 Private Collection. 163 DK Images: Chris Eborn Private Collection (below); Private Collection (top). 164 DK Images: Chris Eborn Private Collection. 165 Private Collection. 167 Private Collection. 168-178 DK Images: Chris Eborn Private Collection. 179 DK Images: Chris Eborn Private Collection (below); Private Collection (top). 180 Private Collection. 181-183 DK Images: Chris Eborn Private Collection 184 DK Images: Chris Eborn Private Collection (top); Private Collection (below). 186-189 Private Collection. 190 Getty Images: Keystone Features. 228 Rex Features: David Magnus. 242-243 Corbis: Neal Preston. 244 Private Collection.

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RGStones2_01_i-27.indd 8 17/12/2009 10:23 Copyrighted Material 1 The Life The One: Part

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From the Stones’ first publicity shoot, 4 , before playing a short gig at Battersea Pleasure Gardens.

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Early Days Life 1961–63

Maybe was the quite disparate social backgrounds and musical tastes of the indi- viduals who came together to form The Rolling Stones in the early Sixties that has contributed to their sustained invention and longevity. That and, above all, a sheer delight in playing music live. Over almost half a century the Stones (as a band) have outlived their contemporaries and competitors and have played to people than any other group of musicians. How did this extraordinary story start?

class origins, growing up in a council house, A Meeting of Minds his father an unskilled practitioner of vari- The famous meeting on a train between Mick ous trades. In ’61, Jagger was a pupil at the Jagger and Keith Richards at Railway London School of Economics. Like Jagger, Station in October 1961 effectively marks the Richards also took the train to a seat of higher beginning of the story of The Rolling Stones. learning each morning, although they didn’t It’s a meeting so glowing with poetic resonance normally catch the same train. Richards’ place that it feels apocryphal, but there is little doubt of study was Sidcup Art College. that it happened. It transpired that the two now had a bit The paths of these two sons of Dartford had more than the fact that they both bisected before. Both were born in 1943, had hailed from the same town 16 miles south- lived a street apart when very young, and they east of London. Richards was intrigued, even had gone to the same primary school. Their amazed, to see that under his arm Jagger was paths diverged at the age of eleven. Although carrying a selection of albums by the likes of Richards later bought a cornet off Jagger when , and . the latter was working on an ice cream trol- Coverage of and R&B was then sparse ley, by 1961 they had not met for a long . indeed, when the BBC still had a monopoly of Jagger was a middle-class son of a PE teacher the radio waves and exercised that monopoly and housewife while Richards had working- – perhaps understandably – to appeal to the

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Almost inevitably, Richards joined Little Art School Rockers Boy and the Blue Boys, a group of Jagger’s mates and acquaintances who played Keith Richards had no aspirations to be a painter R&B informally; Jagger was the vocalist and but had opted to go to art school because it sometime . One of those mates and

The Life was a place in which he could practise his acquaintances was guitarist Dick Taylor who, chops while picking up a handy grant from the it so happened, was also a student at Sidcup. taxpayer at the same time. Many of his generation Taylor noticed a change in almost had exactly the same idea, and many art school students of the era went on to become famous immediately. His words about it bring to mind musicians or singers, Jeff , , eric so many subsequent reviews of Stones records Clapton, , and Pete and in which it has been observed Townshend among them. that Richards is the engine-house of the Stones’ Rockers from art school backgrounds who sound: “… you could feel something holding became famous in the seventies include david the band together.” Similarly, when Taylor also Bowie and ’s . (Ferry – who told a journalist, “Keith sounded great – but attended an arts course at newcastle university – was, in fact, one of the few art-schoolers-turned- he wasn’t flash,” he was succinctly making the pop-stars who started out with a serious interest point that has been made (sometimes over the in his subject.) Bowie and Roxy Music could be course of entire books) that Richards manages said to be artists who employed their art to be one of the ultimate guitar gods while not studies in their music and public , the indulging in the masturbatory meanderings of unashamed artifice and self-consciousness of some many lead . of their work suggesting an ingrained concern with Mick also seems to have appreciated some- imagery which led them to be described in some quarters as ‘art-rock’. thing was in the air, even if subliminally: he With the subsequent decline of the grants sys- began drifting away from the guitar and con- tem in favour of student loans, British rock will centrating on the , an instrument on now have to find a new source by which to nurture which his proficiency – several musicians attest young talent. – is genuinely significant. It was at the point of Richards’ arrival that Jagger’s mother, Eva, lowest common denominator; so, lovers of this began to worry. It was then that she felt for the type of music existed virtually isolated from first time that Jagger was thinking of pursuing each other and, of course a concept like the professionally what had hitherto been merely internet which could point you in the direc- a hobby. misgivings seem from today’s tion of fellow enthusiasts was literally the stuff perspective, of course, perfectly ludicrous but of science fiction. To encounter another by at the time were perfectly right: the blues was chance was like meeting a long-lost brother. a form of music created from the experience of

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Though they eventually acquired the title “The which lasted until The Beatles completely rejuvenated Life Greatest Rock ‘n’ Roll Band in the World”, The rock‘n’roll in the early Sixties. Rolling Stones were originally anxious to emphasize To add to the confusion, rock‘n’roll – or more often that they were a rhythm and blues, not ‘n’roll, ‘rock’ – eventually became a term used as an umbrella band. Debate on what rhythm and blues – or R&B – title for just about all post-Elvis , includ- constitutes is practically endless. ing R&B. Even more confusingly, the term R&B was R&B was essentially a faster, more exciting and less hijacked in the Nineties to describe a completely new depressive form of its American black music anteced- form of black music which had nothing in common ent, the blues (often referred to as twelve-bar blues), with rhythm and blues, other than that most of its by virtue of it being crossed with ‘’, an up- practitioners were black. tempo, almost big-band form of the blues, that had Clearly, these definitions are a vexed and never- influences. Though both the blues and R&B were - ending subject for those passionate about it, and acterized by 12-bar music progressions, R&B was less reams have been devoted to the issue. However, it so repetitive (the blues usually involved the repeat of the happens that one of the best entries into the debate first and third lines of each verse), less depressing (not was made by none other than pre-fame Rolling so inclined to laments about love and loss) and more Stones member in a letter to Jazz News exciting (inclined to breakneck tempos). R&B dispensed published in October 1962: with the brass sections of jump blues in favour of a “It appears there exists in this country a growing slimmed-down set-up reliant on . Rock‘n’roll was confusion as to exactly what form of music the term a mixture of black and white forms of music, combining ‘Rhythm & Blues’ applies to. There further appears R&B with . Though there are obviously to be a movement here to promote what would be overlaps between the genres, , better termed ‘ Jazz’ as Rhythm & Blues. Surely and were ‘rock‘n’roll’, while , we must accept that R&B is the American city Negro’s and Muddy Waters were R&B. Chuck Berry ‘pop’ music – nothing more, nothing less. is usually considered a rock‘n’roll artist but probably “Rhythm & Blues can hardly be considered a form stands squarely between the two brands. of jazz. It is not based on improvisation as is the latter. Though rock‘n’roll was very exciting, to some it The impact is, and can only be, emotional. It would was diluted: R&B was grittier and less tainted by be ludicrous if the same type of pseudo-intellectual the whiff of commercial compromise. This feeling snobbery that one unfortunately finds contaminating began to grow stronger when the first wave of late the jazz scene were to be applied to anything as basic Fifties rock‘n’roll began to fade and were and vital as rhythm & blues. replaced by less wild-looking and sounding artists “It must be apparent that Rock‘n’Roll has a far like and Bobby Vee, who managed to greater affinity for R&B than the latter has for jazz, squeeze all the grit out of the genre while utilizing insofar as Rock is a direct corruption of Rhythm and a never-changing repertoire of increasingly cheesy- Blues whereas jazz is Negro music on a different plane, sounding licks and progressions, a stagnant situation intellectually higher, though emotionally less intense.”

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being black, American and oppressed. It being packing the punters in. Within a month, the clearly the case that nobody would want to membership list of the club exceeded its physi- hear white, privileged, welfare state English cal capacity by a factor of four. People started kids playing facsimiles of it rather than the real making what could almost be described as a thing, it was patently obvious that making a pilgrimage to . Part of the reason for this

The Life living – let alone carving a career - by playing pilgrimage was a club policy to allow the enthu- it was an absurd concept. If any of the embry- siastic and untried a on stage. Amongst onic Stones had actually sat down and thought those who took advantage of this policy were about it, especially the very bright Jagger, they Eric Burdon (later to become famous as front- would have come to the same conclusion. man of Newcastle combo ), Paul History, however, is not just made by rational Pond (who later became Paul Jones, singer with decisions. Something that had nothing to do ) and one Brian Jones – Elmo with logic made the band members Lewis as he was styling himself on the - with, indeed increase their commitment to, ning in when Mick and Keith first the group. Ultimately, this would lead to some clapped eyes on him onstage playing slide gui- members of the band achieving greater com- tar in the style of his hero , whose mercial and artistic success than every one of skill in that capacity had prompted the nom de their blues heroes and amassing wealth beyond guerre. Jagger and Richards approached dreams of even the most successful gradu- diminutive but extraordinarily handsome Jones ate of the London School of Economics. after his . When Jones told them of his musical tastes in his upper middle-class accent, it turned out – notwithstanding the Going Public R&B-alluding – that he was actu- By March 1962, the Blue Boys came to the ally more into jazz than Jagger and Richards. quite staggering realization that there were The latter started turning him on to the likes actually several hundred people in Britain of other R&B merchants like Bo Diddley and who were into the same kind of music as they. Jimmy Reed. It was in that month that one Also more jazz-oriented was one Charlie started a weekly R&B club in the Ealing Club, Watts, a poker-faced but agreeable drummer West London. Richards and Taylor stared in who could frequently be seen . amazement at the advertisement for it that More boogie woogie-oriented was pianist Ian Korner placed in weekly music paper, Melody Stewart – universally known as ‘Stu’ – whose Maker. Jagger was similarly astounded when notably lantern-jawed face and gruff-but-lov- they showed it to him. Korner’s own band able were also often in attendance. Blues Incorporated were on the bill, and began Like Jagger, Watts would sometimes ‘sit in’

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with Blues Incorporated. In Jagger’s case, this Interestingly, despite Eva Jagger’s misgiv- The involved three songs on Saturdays in ings about her son beginning to take play-

the Ealing Club and three at the Marquee ing R&B a little too seriously for her liking Jazz Club in , where Korner’s band had upon Richards’ arrival, Richards himself later Life secured a Thursday night residency. When stated that it was the arrival into their circle Jagger’s recruitment was mentioned in main- of Jones that provided the impetus to create stream Disc, the first step had what he termed “a real band”. The first public been taken towards Jagger becoming one of performance by a band billing themselves as the world’s most famous men. The first steps The Rolling Stones occurred on 12 were also in motion towards his becoming the at the Marquee. The event had come about ultimate rock frontman of all: observers have because Blues Incorporated had been offered recalled him showing unusual stage extro- the accolade of a BBC radio broadcast on the vertism at this juncture in the way he would programme Jazz Club. Unfortunately, though shake his head around onstage. the group boasted seven members, the BBC

Jagger fronting ’ All-Stars at the Ealing Club, 1962. From left, Dave Stevens, Dick Heckstall-Smith, Alexis Korner, , MJ and Cyril Davies on mouth harp.

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would only agree to pay for we’re a rock’n’roll outfit”). It six. Korner good-naturedly also created inevitable endless told Jagger that they would punning headlines and media turn down the gig. Jagger slogans centred on the old insisted they go ahead with it, “A gath-

The Life reasoning that the extra pub- ers no moss”, most of them licity would bring more punt- contrived or meaningless but ers into the clubs for subse- some of them – when applied quent shows. Jagger has over to the image they acquired of the years been proven to be restless young men anxious to a very astute/manipulative kick over the traces – highly (delete as per moral standard) appropriate. It also lent itself individual and it may be the to chicdom-granting abbre- case that he was aware of viation: there was something just what an opportunity the naturally cool-sounding about absence of Blues Incorporated referring to them as simply would constitute. Specifically, “the Stones”. Later, as the Jagger got to sing an entire band got older than anyone set’s worth of songs as The ever conceived anybody con- Rolling Stones played the sup- tinuing to make port slot to a band fronted by The critical moment. would or should (i.e. over . The Stones thirty), the name was prone that momentous night con- to slightly contemptuous pun- sisted of Jagger on vocals, Richards and Jones ning (“the Strolling Bones”, the “Groaning (still insisting on being known as Elmo Lewis) Bones”). All of which makes it remarkable on guitars, Dick Taylor on bass, on that the name was not borne of inspiration but and Kinks member of what Richards describes as “panic”. Brian on drums. Jones was on the phone informing Jazz News The handle of this ad hoc group would come of the first gig and was stumped when asked to seem a superbly apposite one to the wider the name of the band: they hadn’t decided on world as it became incrementally more well one at this point. Richards says that Brian got known. ‘Rolling’ naturally had a poetic appro- the name Rolling Stones from ‘Rolling Stone priateness for its connection to rock (although Blues’ by Muddy Waters, a legend that has a still R&B-purist minded Jagger did say to become accepted as fact. Jagger’s friend Dave Jazz News at the time, “I hope they don’t think Godin, however, was there when the name

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down bottles of beer with crime reporters and 10 STONES MYTHS sniggeringly told “lewd and grossly exagger- A band that has had as long and as colourful ated stories about Marianne’s behaviour at the a career as the Stones will have accrued their time of the raid… and a totally false and mali- fair share of stories, myths and legends. Here cious rumour was begun which Marianne has are ten of the erroneous (or are they?) stories never quite managed to live down.” surrounding the band.

Stonesology 2. THE KEITH RICHARDS BLOOD 1. THE MARS BAR INCIDENT TRANSFUSION RUMOUR The 1967 drugs trial of Jagger and Richards Whereas Tony Sanchez did much to scotch the gave the popular press a of scandal Mars Bar rumour, he was chiefly responsible (supposed role models taking drugs) and for the legend that, in 1973, Richards – anx- (surrounded by men, a mystery woman was ious to be ‘clean’ for an upcoming tour but wearing only a rug). However, the most sala- unable to take the time to wean himself off cious gossip emanating from the trial did not smack – undertook a little-known rich addict’s see print, but instead was a true underground cure involving the wholesale replacement of rumour, passed by word of mouth until virtu- his blood with that provided by a donor or ally everyone in Britain had heard of it. This donors. It’s been repeated over and over in was that, when burst in that fateful newspapers since whenever the Stones are night, they had found Jagger eating a Mars bar touring and some juicy copy is required. Harry from the vagina of Marianne Faithfull (who Shapiro of the charity Drugscope says, “It’s was the woman in the rug but referred to only rubbish. Drugs like heroin and coke wash out as ‘Miss X’ in press reports). Faithfull herself of the system in 24–48 hours. Detoxifying is has denied it. Though Faithfull sometimes not that much of a problem so long as you seems confused about details (in her autobi- can deal with the withdrawals – it’s staying off ography she says is her favourite that is the issue – and that needs therapy, not a Stones and then proceeds to cite tracks blood transfusion.” Richards himself has also from that and Beggar’s Banquet and Sticky denied it. And yet… there is something con- Fingers), she is hardly one to be anything less vincing about the way Sanchez relates the story than candid about events. Even Tony Sanchez in his book, explaining that Marshall – whose book is a mine of dirt about the group – who had apparently taken the ‘cure’ before – says it didn’t happen. He wrote that, at the – told Richards of it, going into detail about Jagger and Richards trial, “in a bar during a the arranged it, the Swiss clinic lunch break, two senior police officers gulped at which it supposedly took place, the cost,

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Sgt. Pepper’s ‘Brown sugar’ 91, 95, 212 A Lonely Hearts Club Band 64 Bruce, Jack 9 Aeppli, Felix 35 Bulgakov, Mikhail 71 The Rolling Stones, 1962–2002 14 ‘Yesterday’ 47 Burdon, eric 6, 8 262 Beck, Jeff 6, 112, 257 ‘Bye, Bye Johnny’ 31 Aftermath 47, 49, 115, 162 ‘’ 222 ‘All down ’ 235 Beggar’s Banquet 67, 71, All night 33 73–74, 95, 168 C ‘Already over Me’ 227 Bergman, Jo 83, 96 Altamont festival 84–87, 98, 295 Berry, Chuck 5, 11, 12, 25, California 36 Altham, Keith 79, 126, 274 37, 117, 240 Cammell, douglas 68, 72–73, 93 ‘Andrew’s Blues’ 236 ‘’ 38 Canterbury, Archbishop of 74 ‘Angie’ 101, 115 ‘Bye, Bye Johnny’ 31 ‘Can’t You hear Me Knocking’ 212 Animals, The 8, 31 ‘Come on’ 19, 24 Capaldi, Jim 93 appearance 23, 102 Best, Pete 14 Capote, Truman 100 ‘As Tears go By’ 38, 47, 50 57, 165 Cash Box journal 21 Atlantic (label) 95 Bigger Bang, A 151, 185 CBgBs 116 Avedon, Richard 77 Big Hits (High Tide and CBs 133 Avory, Mick 10 Green Grass) 187 censorship and lyrics 55, 73 Billboard Magazine 21, 35 Chapman, Tony 13, 14 114–5, 173 charts 21 Black Crowes 263 Chelsea 277–278 B blues 5–7, 12, 44, 49, 93 277 Baldry, long John 10 Blues incorporated 8–10 Chess, Marshall 96, 102, 119 Band, The 74 ‘’ 197 Chess studios, Chicago 36–37, 38 Bangs, lester 114 Bo diddley 7, 8, , Chelsea 101 Barrett, syd 49 11, 13, 19, 23, 24, 37, 237 Chkiantz, george 47, 61, BBC 5, 9 ‘Crawdad’ 16 63, 69, 73, 103 Bean, george 26 ‘’ 15 Clapton, eric 6, 69, 75, ‘Beast of Burden’ 223 ‘’ 16 100, 117, 256, 257 Beatles, The 7, 14, 16, 18, 24, 25, Bolan, Marc 94 ‘Claudine’ 236 31, 35, 40, 41, 43, 49, Booker T (& the Mgs) Clearmountain, Bob 129 57,64–66, 95, 241, 260 ‘’ 24 Clewson, george 16 75 books 281–288 Cochran, eddie 7 ‘’ 25 Bowie, david 6 ‘’ 93, 235 ‘help!’ 43 Boyd, Patti 57 Cocksucker Blues (film) 99 ‘’ 24 Bradford, geoff 259 Coleman, Ray 34 ‘norwegian Wood’ 50 Breton, Michele 72 ‘Come on’ 20–21, 191 Please, 35 Bridges To Babylon 147, 184 ‘Con le Mie lacrime’ 234 50 Brill Building 25 Cooder, Ry 76, 100, 257, 259 Brixton Prison 60 Cotchford Farm 279–280

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‘Country Honk’ 84 EMI 13, 18, 119 ‘’ 84, 209 Index court appearances 40–41,58–63, 128, 176 Gimme Shelter (film) 94 91, 102 ’s Newest Hitmakers 34 Ginsberg, Allen 54 16, 35 EPs ( records) 31 Gleason, Ralph J., 77, 84 ‘Crazy Mama’ 220 Epstein, Brian 18 Glimmer Twins, The 103 Crosby, Stills, Nash & Young 85 Everly Brothers, the 24 Goat’s Head Soup Crowe, Cameron 77 Exile On Main St. 97–98, 170 100–101, 111, 128, 172 Curly Clayton Sound Studios 235 Godard, Jean-Luc 70–71 Godin, Dave 10 ‘Goin’ ’ 49 D F ‘Got Live If You Want It’ 44, 164 Gomelsky, Giorgio 14, 16, 18–19 Daily Mail 21 , The 103, 112, 261 Got Live If You Want It! 164 Daily Telegraph 94 Faithfull, Marianne 38, 57–58, ‘Gotta Get Away’ 196 ‘Dandelion’ 64 60, 74, 75, 76, 82, 91, 264 43, 77, 85, 87 Darin, Bobby 7 ‘As Tears Go By’ 38 Green, Peter 49 Dartford, Kent 5,12, 275 fame, early 31–33, 35 Greenfield, Robert 99 , The 37 Farley, Bill 31 99, 102 Davies, Cyril 9, 32 FBI 114 Guinness Book Of Hit Singles 21 Decca 13, 16, 18, 21, 34, Ferry, Brian 6 Guy, Buddy 37 45, 74, 91, 93, 95, 100 films & tv 288–291 December’s Children 163 first gig (full line-up) 14 279 first recordings 12 H Dirty Work 133–5, 182 ‘Five By Five’ 38, 162 Disc magazine 9 Flamingo club 14 Haley, Bill 7 Dixon, Willie 19, 37, 239 Flashpoint 140, 179 Hall, Jerry 122–123, 149, 267 ‘Little Rooster’ 39 Flowers 163 Hansen, Patti 132, 148, 268 Dr. Hook 77 Flying Burrito Brothers 85 ‘’ 40, 133 57 ‘’ 115 Harpo, Slim 44–45, 239 ‘Doo Doo Doo Doo Doo formation of the band 9–12 Harrison, George 16, 57 (Heartbreaker)’ 215 ‘Fortune Teller/Poison Ivy’ 234 Hassinger, David 41–43, 46, 50 ‘Down In The Hole’ 223 187, 188 ‘Have You Seen Your Mother Baby, , Stones in 50 Fox, James 72 standing In The Shadow?’ 50, 64 ‘’ 236 Frampton, Peter 258 ‘ of Stone’ 37, 49 drugs 49, 57–58, 60, 79, 94, 100 ‘Heaven’ 225 91, 102 Frank, Robert 99 Heckstall-Smith, Dick 9 Dylan, Bob 43, 44, 74, 77, 93, 95 Fraser, Robert 57–58 Hefner, Hugh 99 116, 138 Freddie and The Dreamers 14 Hell’s Angels 84–87, 295 Time Out Of Mind 138 Free 104 Herman’s Hermits 14, 37 ‘Hey, Negrita’ 112, 218 Hollies, The 14 E G Holly, Buddy 25 ‘Not Fade Away’ 31–34 Ealing club 8–11, 16, 35 Gallagher, Rory 100, 112, 258 Hollywood 39, 41 Easton, Eric 17–20, 45, 50 ‘’ 46, 195 ‘’ Edith Grove, Chelsea 12 Get Yer Ya-Yas Out! 9, 165 76, 79, 208, 236 Show 35–36, 38–39, 55 Gibbs, Christopher 57 Hopkins, Rev. Hugh 80

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hopkins, John ‘hoppy’ 60 lips, tongue 96–97 King, dr. Martin luther, Jr. 73 hopkins, nicky 21, 100, 272 marriage to Bianca 95–99 King’s Road, Chelsea 277–278 house of lords, the 39 meets Richards 5 Kinks, The 10, 57 howlin’ Wolf 117, 239 parents (eva and Joe) 6,9 Kinsey, Chris 123, 129 london howlin’ Wolf sessions 100 in Performance 72–73 Klein, Allen 19, 45–46, 82–84, Index ‘’ 39 and Circus 75 91–93, 97, 100, 112, 150, 272 hunter, Meredith 87, 94 solo albums and side projects Knebworth 115 Park 79–82, 84, 278 134, 136, 139, 145, 149, 232 Kooper, Al 76, 256 the ‘two Micks’ rumour 295 Korner, Alexis 8–10, 32 James, elmore 8 Kracker 100 I Jamming With Edward 230 Kristofferson, Kris 293 jazz 8 iBC studios 15, 235 Jazz Club radio 9 ‘(i Can’t get no) satisfaction’ Jazz news 10 L 43, 46, 194 43, 85 iCi 21 Jethro Tull 75 ‘lady Jane’ 200 ‘if You Really Want To Be John, elton 94 lane, Ronnie 73, 112 My Friend’ 107 Johnson, Robert 237 ‘The last Time’ 40, 43, 49, 62 image 23, 102 Johnson, Robert A. 259 117, 279 ‘i’m Alright’ 45 Johns, Andy 98, 101 leibovitz, Annie 77 ‘i’m Free’ 46 Johns, glyn 15, 75, 111, 272 lennon, John 6, 24, 25, 77 impact sound 45 Jones, Brian 7, 45, 248 Let It Bleed 76, 82, 91, 168 ‘in Another 205’ and 58 ‘let it loose’ 214 ‘i need You Baby ()’ 192 decline and death ‘let’s spend The night Together’ inland Revenue 94 49, 55, 69, 73, 76, 79 55–57, 201 international Times 60 drugs lillywhite, steve 134 island studios 101, 103 49, 57, 64–65, 70, 73, 91 lindsay-hogg, Michael 70 festival 85 ‘elmo lewis’ 8, 10 little Boy Blue and the Blue Boys ‘it’s All over now’ 37, 193 meets Jagger and Richards 8 6, 8, 235, 259 It’s Only Rock ‘N’ Roll 104, 111, 173 musical style 24, 49 ‘little By little’ 33 ‘i’ve Been loving You Too long’ 234 personality ‘little Red Rooster’ 39 ‘i Wanna Be Your Man’ 24–25, 64 26, 32, 47, 49, 65, 69–70, 73 24 sacking 78 little Walter 5 side projects 229 Live Licks 180 J Jones, darryl 146 loewenstein, Rupert Jones, Paul 8 94, 128, 275 Jagger, Bianca Perez Morena Jones, Peter 16 lofgren, nils 258, 293 de Macias) 95–99, 123, 266 (TV) 37 london 5 Jagger, Mick 57–58, 60–61, 76–78, ‘Jumpin’ Jack Flash’ 70, 205 london (label) 34 82, 91, 97, 98, 121, 135–7, 245 london school of economics (lse) /male tart 89, 99 5, 8, 12, 20, 278 on The Beatles 3 K The London Years see The Rolling childhood & upbringing 5–7 Stones Singles Collection crotch 296 Kennedy, Bobby 73 ‘long, long While’ 50, 199 death/sex-change 297 Kent, nick 104, 119 ‘’ 76 as front-man 99 Keylock, Tom 58, 83 ‘love’s The same As hate’ 46 knighthood 149 Keys, Bobby 98, 275 Love You Live 121, 178

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M N P Index McCartney, Paul 24, 25, 93, 97 name, origins of 10–11, 23 Page, Jimmy 6, 256, 259 McLaren, Malcolm 116 ‘Nanker, Phelge’ 12, 24, 38, 45, 49 ‘’ 47, 49, 198 McQueen, Steve 102 Ned Kelly (film) 82, 92–93 Pallenberg, Anita 58–59, 72–73, 76, MacDonald, Ian 23 Nellcote 97–99 78, 97, 102, 115, 119, 128, 265 112, 187 New Law Journal, The 61 Pan Pipes of Joujouka 229 Mahal, Taj 75 New Musical Express 21 Parsons, Gram 85, 98 Maharishi Mashesh Yogi 64 Pollwinner’s Concert 70 Pasche, John 96–97 Malo, Ron 38 57, 60–61 Passaro, Alan David 94 management of the band 14, 18 New York 57, 84, 280 Peeleart, Guy 111 Mandel, Harvey 112, 258 , The 116, 261 Performance (film) Manfred Mann 8 Nicaragua 95, 101 68, 72, 76, 92–93 9, 11 ‘’ Perkins, Wayne 112, 259 Marriott, Steve 259 47, 50, 197 Perrin, Les 94 Mars Bar incident 294 Nitzsche, Jack 21 Phelge, James 12 Martin, Dean 36 NME see New Musical Express Phillips, John 229 Mason, Dave 69, 257 ‘’ 69 Pilcher, Det. Sgt. 57 Master and Margarita, The 71 Norman, Philip 21, 41 Pitney, Gene 26 Mayall, John 79 180 ‘Play With Fire’ 40 Maysles brothers 94 95 ‘Poison Ivy’ 31, 234 ‘Melody’ 219 ‘Not Fade Away’ 31–34 Poparound 19 34 Pope, Alexander 62 ‘’ 93, 236 press, the 23, 34–35, 40–41, 57 Metamorphosis 64, 112, 174, 187 Presley, Elvis 7, 84 Metropolitan Police Force 57 O , The 260 ‘’ 79, 84 Psychic TV 293 Miller, Jimmy Oasis 260 69, 75, 97, 98, 101, 273 O’Duffy, Alan 79 ‘Miss You’ 220 Oldham, Andrew Loog 16–21, 24–26, Q Mitchell, Mitch 75 31–33, 45, 47, 64–65, 269 ‘Mona’ see “I Need You Baby (Mona)’ Stoned 26 Quarrier, Iain 71 ‘Money’ 31 ‘Andrew’s Blues’ 235 Queen ‘Monkey Man’ 79 Olympic Studio 19–20, 61, 278 A Night At The Opera 200 Monterey festival 85, 87 ‘ (To The Body)’ 133, 226 58 , The 132, 135, 279 ‘Mother’s Little Helper” 50 One Plus One (film) 70–71 R Mott 261 82 Radio Luxembourg 21 Mounties 119 Otis, Shuggie 259 Rarities 1971–2003 189 movies & tv 289–291 46, 161 RCA Victor Studios Muddy Waters ‘’ 201 39, 41–43, 46–47, 50 5, 7, 10–13, 37, 77, 238 RCMP 119 ‘I Want To Be Loved’ 15, 19 16 Music Week 21

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Record Retailer 21, 31 Ronson, Mick 259 stewart, ian ‘stu’ 8, 10, 11, 19–23, Redding, otis 296 Rotten, Johnny 123 47, 69, 120, 135, 271 Redlands 57–58, 280 Rowe, dick 13, 16, 18 stewart, Johnny 64 Reed, Jimmy 7, 8, 12–13, 238 Roxy Music 6 stewart, Rod 112, 114, 117 ‘Bright lights, Big City’ 15 royalties 91–92 Index Rees-Mogg, William 62–63 ‘Ruby Tuesday’ 57, 203 76, 82, 95, 97, 103, 169 Regent sound studios 31, 278 Still Life 132, 178 ‘Respectable’ 221 Stone Age 95, 197 Rest Of The Best, The 189 S ‘’ 207 187 ‘’ 73, 235 ‘sad day’ 47 R&B 5, 7, 8, 13, 16, 25, 46 Stripped 147, 179 sanchez, Tony (‘spanish Tony’) 72 Richard, Cliff 23 strummer, Joe 116–7 san Antonio 36 Richards, Keith studio 51 club, soho 25 84–85 76, 78, 93, 121, 127, 246 ‘stupid girl’ 200 santana 85 and Anita Pallenberg 58, 93, ‘summer of love’ 55, 60 san Tropez 97 blood-transfusion rumour 294–295 sunday night at the london ‘satisfaction’ 43, 46, 194 busts 57–58, 101, 102 Palladium 18, 56 savage, Roger 19 childhood & upbringing 5–7 sunset and elektra studios 84 savoy hotel, london 11, 25 children 58 sussex 57–58, 279–280 schneiderman, david (aka dave drug abuse/ ‘sway’ 235 Britton, the ‘Acid King’) 57, 60 102–3, 119–123, 135–7 ‘’ 213 searchers, The 14 meets Jagger 5 ‘’ 71, 206 16, 114, 263 musical style 6, 49 shelley, Percy Bysshe 80–82 solo albums and side projects ‘shine A light’ 215 139, 232, 236 T shrimpton, Chrissie 26, 38, 263 spelling of name 23 sidcup Art College 5, 6 128–32, 177 97, 102 simon, Carly 293 tax problems 9 Richardson, Tony 82 ‘The singer not The ’ 46, 195 Taylor, dick 6, 8, 10, 11 Ricky Tick club 14 ‘’ 76 Taylor, Mick 12, 79, 83, 95, 97, Ritts, herb 78 skirmshire, neville 13 103–107, 111, 253, 260 Rock and Roll Circus 94 solo albums and side projects 233 74–75, 80, 83, 180 smith, Mandy 268 ‘Tell Me’ 37 rock‘n’roll 7, 25 121–123, 175 ‘Tell Me Baby, how Many Roeg, nicolas 72–73 song-writing origins 24–26 More Times’ 234 Rolled Gold 95 soul 46 Temple, Julien 133 Rolling stone magazine spector, Phil 31, 33, 50 Telefones, The 293 76, 77, 84, 100 spedding, Chris 259 Thank Your lucky stars 21, 23 ‘The Rolling stones’ eP 31, 162 ‘spider And The Fly’ 44 Their Satanic Majesties Request The Rolling Stones 34, 159 springsteen, Bruce 116 64–65, 69, 167 The Rolling Stones No.2 39, 160 103, 279 Thompson, dr. hunter s. 77 The Rolling Stones Now! 40, 163 starr, Ringo 13, 25 Thorogood, Frank 80 The Rolling Stones Singles Collection: ‘star, star’ 102, 114 Through The Past Darkly 84 The London Years 187 ‘’ 131, 224 ‘Till The next ’ 104, 218 The Rolling stones Mobile station hotel, Richmond 14–16, 47 ‘’ 37, 192 Recording unit 91, 97, 279 182 Times, The 54, 61, 62 95, 100, 102 ‘Time Waits For no-one’ 104 Ronettes, The 31

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tongue logo 95–97 Vicious, Sid 123 Wood, Ronnie 103, 120, 254 Index 21, 63–64 Visconti, Tony 75 drug abuse/habits 127 Toronto 119, 280–281 146, 183 joins band 112–4 Tosh, Peter 100 solo albums and side projects 233 tours festival 85, 87 39 W 78 europe 53, 58, 93, 119 Wormwood Scrubs 60 Wailers, The 100 Far East 40, 119 Wyman, Bill 42, 45, 49, 64, 78, 94, Warhol, Andy 84, 97, 129 ireland 45 100, 107, 120, 129, 134–135, Was, Don 146, 273–274 steel Wheels/Urban Jungle 140 137, 249, 269 Watts, Charlie 63, 78, 80, 97, switzerland 35 Blues Odyssey 14 100, 120, 134–135, 146, 150, 251 uK 33, 35, 94, 119 joins band 13 joins band 8 us 35–37, 84–85, leaves band 140–1 musical style 14 98–100, 119, 131, 281 musical style 14 solo albums and side projects 233 Townshend, Pete 6, 16, 76, 260 Rolling With The Stones 14 Watts, Shirley, 268 Traffic 69, 93 solo albums and side projects 231 websites 292 Trudeau, Margaret 120 14 ‘’ 63, 204 ‘’ 98 Wenner, Jann 77 ‘Turd In The Run’ 214 Wetherby Arms, Chelsea, 13 163 X ‘We Want The Stones!’ 45 Who, The 62, 74–75, 93, 97, 279 X-Pensive Winos 139, 145 U ‘Who’s Driving Your Plane?’ 50 Wilde, Oscar 63 Undercover 133, 181 Wilson, Brian 49 Y ‘’ 225 Wimbish, Doug 146 ‘Yesterday’s Papers’ 203 ‘’ 62 Winter, Johnny ‘You Better Move On’ 31 ‘I’m Yours And I’m Hers’ 80 ‘You Can’t Always Get Winwood, Stevie 93 What You Want’ 76, 84, 211 V Wohlin, Anna 78, 79 ‘You Got The Silver’ 76, 210, 236 Wolfe, Tom 77 Vee, Bobby 7 Young, Hugo 62 Womack, Bobby 37, 134 Vietnam war 69

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