The Rolling Stones

Total Page:16

File Type:pdf, Size:1020Kb

The Rolling Stones 112 Chapter7 George Harrison wrote and recorded albums of his Tho membersof the Rolling Stones,Mick Jagger(born own and alsobecame very involvedin movie production in 1943) and Keith Richard (born in 1943),had attended for Handmade Films, wherehe often worked with mem- the sameprimary school.(Keiths name had beenmistak- bers of the British comedy troupe Monry Python. Ringo enly spelled"Richards" enough times that he eventually Starr pursuedhis own careeras a singerand actor and oc- adopted the final "s" himself.) Although they lost contact casionallyplayed drums on recordingsmade by the other with eachother for ten years,they had both becomeblues ex-Beatles.Harrison and Starrplayed together on several fans after hearing Muddy \Taters perform in England in of Harrison'salbums, including the successfulCloud Nine 1958. \XAen they ran into eachother againin 1960 they (1987). Harrison died of cancerin 2001. In 1989, fungo began to work together,joining various blues groups in pur togetherwhat he calledhis All-Starr Band for a tour. London. ln 1962,they formed the Rolling Stones,naming The band included Nils Lofgren, Billy Preston, Joe their group after the "rolling stone" that representeda tough Walsh, Dr. John, Jim Keltner,Rick Danko, Levon Helm, and independentman in bluessongs like "Rollin' Stone" and ClarenceClemons. Of thosemembers, only Lofgren and "Mannish Boy" (both recordedby MuddyWaters). and'Walshwere in the 1992 "All Starrs,"accompanied by The original Rolling Stones included singer/harpist Dave Edmunds,Todd Rundgren,and others. Mick Jagger,guirarist Keith fuchards, guitarist Brian McCartney, Harrison, and Starr-at the time, the three Jones(1942-1969), pianisr Ian Stewart,and other musi- living Beatles-finally dropped their various feuds and re- cianswho playedwith them off and on during their first grouped to record two new Beatlesongs, "Free as a Bird" year. In December 1962, BilI Wyman (\William Perks, (1995) and "RealLove" (1996),which werereleased along born in 1936)was addedon bass,and in January1963, with many rare tracks and outtakesfrom the past on two Charlie lVatts (born in 1941) joined as drummer. When double-CD volumes entitled The BeatlesAnthology 1 Andrew Oldham wassigned as their manager,he choseto (1995) and Tbe BeatlesAnrhology 2 (1996). The new songs remove Stewart from the official group roster, although were indeed recordedby all four Beatlesbecause tapes made Stewartdid condnue to do occasionalwork with the band by John Lennon were usedas the basisof the recordings, throughout their careeruntil his death in 1985. with the other Beatlesadding new vocalsand instrumental Although they startedout playing rhythm and blues, tracks. The BeatlesAnthologti was releasedlater in 1996. most of the Stones'more popular early recordingswere The Americanpress, particularly when introducing the coversof songsby other rock artists.Their first hit in Eng- Beatlesin 1964, portrayedthem asgood, clean,firn, nice iand (1963)was a coverof Chuck Berry's"Come On"; their guys. Yes, they had hair that was a bit long by American secondwas "I \7annaBe Your Man" ( 1963),by Lennonand standards, but after all they were English so they could McCartney; and their third was a 1964 cover of Buddy Iook a bit different.The Rolling Stones,on the other hand, Hoilyt "Not FadeAway." fu the listening guide for "Not weregiven the imageof "bad guvs."The Beatlesdressed in Fade Away" shows, the Stones' recording did not follow matching suits,a look that the Rolling Stonesresisted at all Holly'ssryle at all.They turnedthe pop-rockabillysong inro costs.The Beatlessang songs about love or dancing,and rhythm and blues.The listeningguide on page 114 is a the Rolling Stonessang coversof blues and rhythm and comparison of the two recordings.The Stones'version blues songs.Right from the beginning, the British inva- was a number three hit on the British pop charts and sion was led bv theserwo diversebands. number forty-eight on the American charts. By 1964, the Beatleshad become well known interna- The Rolling Stones tionalll', and the Stonesfollowed along,gaining a reputation asthe Beatles'nasty opposites. American teens preferred the The Rolling Stones of the two-thousandsis not a Beatiesat first, but the Stonessoon won a large following. rhythm and blues band, but the Rolling Stonesof the After all, rebellionhad long beenpart of the history of rock early sixtieswas one of Britain'sbest. Their bohemian and roll music. lifestylewas shocking to most conventionalBritons, but then they never cared to appealto the conventional. Lb The mayor of Denver once sent They playedan expressive,like-it-or-go-to-hell brand of rhythm and blues,and becauseboth the music and their us a letter asking us to come in rebelliousimage appealed especially to young audiences, quietly, do the show as quietly as they attracteduntold numbersof bluesfans. They be- possible and split ttre same night, came one of the longest-livedgroups in rhe history of if possible. They might rock music. In the course of their career,they veered away from rhythm and blues in most of rheir original entertain the Beatles, but they compositions, but their concerrscontinually revived wanted to kick us out of town. )) ― their roots. ― -Keith Richards l l i.
Recommended publications
  • AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green
    AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green Let's Stay Together Alabama Dixieland Delight Alan Jackson It's Five O'Clock Somewhere Alex Claire Too Close Alice in Chains No Excuses America Lonely People Sister Golden Hair American Authors The Best Day of My Life Avicii Hey Brother Bad Company Feel Like Making Love Can't Get Enough of Your Love Bastille Pompeii Ben Harper Steal My Kisses Bill Withers Ain't No Sunshine Lean on Me Billy Joel You May Be Right Don't Ask Me Why Just the Way You Are Only the Good Die Young Still Rock and Roll to Me Captain Jack Blake Shelton Boys 'Round Here God Gave Me You Bob Dylan Tangled Up in Blue The Man in Me To Make You Feel My Love You Belong to Me Knocking on Heaven's Door Don't Think Twice Bob Marley and the Wailers One Love Three Little Birds Bob Seger Old Time Rock & Roll Night Moves Turn the Page Bobby Darin Beyond the Sea Bon Jovi Dead or Alive Living on a Prayer You Give Love a Bad Name Brad Paisley She's Everything Bruce Springsteen Glory Days Bruno Mars Locked Out of Heaven Marry You Treasure Bryan Adams Summer of '69 Cat Stevens Wild World If You Want to Sing Out CCR Bad Moon Rising Down on the Corner Have You Ever Seen the Rain Looking Out My Backdoor Midnight Special Cee Lo Green Forget You Charlie Pride Kiss an Angel Good Morning Cheap Trick I Want You to Want Me Christina Perri A Thousand Years Counting Crows Mr.
    [Show full text]
  • Brian Jones: the Making of the Rolling Stones by Paul Trynka Book
    Brian Jones: The Making of the Rolling Stones by Paul Trynka book Ebook Brian Jones: The Making of the Rolling Stones currently available for review only, if you need complete ebook Brian Jones: The Making of the Rolling Stones please fill out registration form to access in our databases Download here >> Paperback:::: 384 pages+++Publisher:::: Plume; Reprint edition (November 3, 2015)+++Language:::: English+++ISBN-10:::: 0147516455+++ISBN-13:::: 978-0147516459+++Product Dimensions::::5.4 x 0.8 x 8 inches++++++ ISBN10 0147516455 ISBN13 978-0147516 Download here >> Description: “Should be unfailingly interesting to any Stones fan.”—Larry Rhoter, New York TimesThe Rolling Stones’ rise to fame is one of rock ‘n’ roll’s epic stories. Yet one crucial part of that story has never been fully told: the role of Brian Jones, the visionary who founded the band and meticulously controlled their early sound, only to be dethroned by Mick Jagger and Keith Richards. Tormented by paranoia and drug problems, Jones drowned at the age of twenty-seven. Drawing on new information and interviews with Richards, Andrew Oldham, and Marianne Faithfull, among dozens of others, Brian Jones lays bare the Rolling Stones’ full story, in all its glory and squalor. By far and away the best book ever written about Brian Jones. Paul Trynka interviewed over 100 people. He spends quite a lot of time on Brians very early days in Cheltenham England. He covers his family life, his social life, his rebellious life and most importantly his musical life. All this before he even hit London where he impressed everyone with his incredible slide guitar.
    [Show full text]
  • Bright Tunes Music V. Harrisongs Music
    420 F.Supp. 177 United States District Court, S. D. New York. BRIGHT TUNES MUSIC CORP., Plaintiff, v. HARRISONGS MUSIC, LTD., et al., Defendants. No. 7 1 Civ. 602. | Aug. 31, 1976. | As Amended Sept. 1, 1976. OPINION AND ORDER OWEN, District Judge. This is an action in which it is claimed that a successful song, My Sweet Lord, listing George Harrison as the composer, is plagiarized from an earlier successful song, He’s So Fine, composed by Ronald Mack, recorded by a singing group called the “Chiffons,” the copyright of which is owned by plaintiff, Bright Tunes Music Corp. He’s So Fine, recorded in 1962, is a catchy tune consisting essentially of four repetitions of a very short basic musical phrase, “sol-mi-re,” (hereinafter motif A),1 altered as necessary to fit the words, followed by four repetitions of another short basic musical phrase, “sol-la-do-la-do,” (hereinafter motif B).2 While neither motif is novel, the four repetitions of A, followed by four repetitions of B, is a highly unique pattern.3 In addition, in the second use of the motif B series, there is a grace note inserted making the phrase go “sol-la-do-la-re-do.”4 My Sweet Lord, recorded first in 1970, also uses the same motif A (modified to suit the words) four times, followed by motif B, repeated three times, not four. In place of He’s So Fine’s fourth repetition of motif B, My Sweet Lord has a transitional passage of musical attractiveness of the same approximate length, with the identical grace note in the identical second repetition.5 The harmonies of both songs are identical.6 *179 George Harrison, a former member of The Beatles, was aware of He’s So Fine.
    [Show full text]
  • Billy Preston
    Billy Preston Billy Preston was a soul singer and pianist who, in addition to having a successful solo career, collaborated with some of the greatest names in the music industry, including the Beatles, the Rolling Stones, Little Richard, Ray Charles, George Harrison, Eric Clapton, Bob Dylan, Sam Cooke, Sammy Davis Jr., Sly Stone, Aretha Franklin, the Jackson 5, Quincy Jones, and the Red Hot Chili Peppers. Often called “the Fifth Beatle,” this former child prodigy left one of the most profound and prolific legacies in music. William Everett Preston was born in Houston, Texas in 1946. He began playing piano at age three, and by ten he had joined the band of gospel great Mahalia Jackson. At age twelve he appeared in the 1958 film St. Louis Blues, portraying blues composer W.C. Handy as a young man. In the 1960s Preston performed with Little Richard and Ray Charles, and became a regular singer and pianist on the ABC television series Shindig. Preston went on to a successful career as a session musician, including lending his talents to the Beatle’s Let It Be album. That collaboration led to his signing to the Beatles’ Apple label, and in 1969 his solo effort, produced by George Harrison, was released. The album That's the Way God Planned It and the single of the same name met with limited success, but in 1972 he released an instrumental funk single, "Outa-Space," that reached #2 in the U.S. and won the Grammy award for Best Pop Instrumental Performance. Over the next two years, Preston enjoyed more number one hits including "Will It Go Round In Circles" and "Nothing From Nothing." He was the first guest musical artist on the premier episode of the popular TV show Saturday Night Live.
    [Show full text]
  • Course Outline and Syllabus the Fab Four and the Stones: How America Surrendered to the Advance Guard of the British Invasion
    Course Outline and Syllabus The Fab Four and the Stones: How America surrendered to the advance guard of the British Invasion. This six-week course takes a closer look at the music that inspired these bands, their roots-based influences, and their output of inspired work that was created in the 1960’s. Topics include: The early days, 1960-62: London, Liverpool and Hamburg: Importing rhythm and blues and rockabilly from the States…real rock and roll bands—what a concept! Watch out, world! The heady days of 1963: Don’t look now, but these guys just might be more than great cover bands…and they are becoming very popular…Beatlemania takes off. We can write songs; 1964: the rock and roll band as a creative force. John and Paul, their yin and yang-like personal and musical differences fueling their creative tension, discover that two heads are better than one. The Stones, meanwhile, keep cranking out covers, and plot their conquest of America, one riff at a time. The middle periods, 1965-66: For the boys from Liverpool, waves of brilliant albums that will last forever—every cut a memorable, sing-along winner. While for the Londoners, an artistic breakthrough with their first all--original record. Mick and Keith’s tempestuous relationship pushes away band founder Brian Jones; the Stones are established as a force in the music world. Prisoners of their own success, 1967-68: How their popularity drove them to great heights—and lowered them to awful depths. It’s a long way from three chords and a cloud of dust.
    [Show full text]
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • Bob Dylan: the 30 Th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’S Great Performances in March
    Press Contact: Harry Forbes, WNET 212-560-8027 or [email protected] Press materials; http://pressroom.pbs.org/ or http://www.thirteen.org/13pressroom/ Website: http://www.pbs.org/wnet/gperf/ Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS “Bob Dylan: The 30 th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’s Great Performances in March A veritable Who’s Who of the music scene includes Eric Clapton, Stevie Wonder, Neil Young, Kris Kristofferson, Tom Petty, Tracy Chapman, George Harrison and others Great Performances presents a special encore of highlights from 1992’s star-studded concert tribute to the American pop music icon at New York City’s Madison Square Garden in Bob Dylan: The 30 th Anniversary Concert Celebration in March on PBS (check local listings). (In New York, THIRTEEN will air the concert on Friday, March 7 at 9 p.m.) Selling out 18,200 seats in a frantic, record-breaking 70 minutes, the concert gathered an amazing Who’s Who of performers to celebrate the 30th anniversary of the enigmatic singer- songwriter’s groundbreaking debut album from 1962, Bob Dylan . Taking viewers from front row center to back stage, the special captures all the excitement of this historic, once-in-a-lifetime concert as many of the greatest names in popular music—including The Band , Mary Chapin Carpenter , Roseanne Cash , Eric Clapton , Shawn Colvin , George Harrison , Richie Havens , Roger McGuinn , John Mellencamp , Tom Petty , Stevie Wonder , Eddie Vedder , Ron Wood , Neil Young , and more—pay homage to Dylan and the songs that made him a legend.
    [Show full text]
  • Young Americans to Emotional Rescue: Selected Meetings
    YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • Billy Preston & Syreeta
    Billy Preston Billy Preston & Syreeta mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Billy Preston & Syreeta Country: Canada Released: 1981 Style: Soul, Funk, Disco MP3 version RAR size: 1450 mb FLAC version RAR size: 1144 mb WMA version RAR size: 1176 mb Rating: 4.6 Votes: 313 Other Formats: MP4 DTS AU MIDI MOD DMF MPC Tracklist Hide Credits Someone Special A1 4:15 Written-By – Greg Beck, Ollie E. Brown*, Renee Moore* Searchin' A2 4:35 Written-By – Ollie E. Brown* Just For You A3 5:15 Written-By – Billy Preston, Michael McGloiry, Ollie E. Brown*, Syreeta Wright It's So Easy A4 3:41 Written-By – Carol Connors, David Shire A Long And Lasting Love A5 3:38 Written-By – Gerry Goffin, Michael Masser Love B1 4:06 Written-By – Michael Masser, Randy Goodrum One More Try B2 4:07 Written-By – Allee Willis, Lauren Wood Hey You B3 4:04 Written-By – Billy Preston, Keith Boyd, Jr. A New Way To Say I Love You B4 3:00 Written-By – Gerry Goffin, Michael Masser What We Did For Love B5 2:58 Written-By – Michael Masser, Randy Goodrum Companies, etc. Phonographic Copyright (p) – Motown Record Corporation Copyright (c) – Motown Record Corporation Credits Arranged By [Backing Vocals] – Arnell Carmichael (tracks: A1 to A3, B2, B3), Jim Gilstrap (tracks: A1 to A3, B2, B3), Ollie E. Brown* (tracks: A1 to A3, B2, B3) Arranged By [Horn Arrangements] – Jerry Hey (tracks: A1 to A3, B2, B3) Arranged By [Rhythm Arrangements] – Barry Fasman (tracks: A5, B1, B4, B5), Ollie E.
    [Show full text]
  • The Inner Light: the Beatles, India, Gurus, and the Legacy
    The Inner Light: The Beatles, India, Gurus, and the Legacy John Covach Institute for Popular Music, University of Rochester Arthur Satz Department of Music Eastman School of Music Main Points The Beatles’ “road to India” is mostly navigated by George Harrison John Lennon was also enthusiastic, Paul somewhat, Ringo not so much Harrison’s “road to India” can be divided into two kinds of influence: Musical influences—the actual sounds and structures of Indian music Philosophical and spiritual influences—elements that influence lyrics and lifestyle The musical influences begin in April 1965, become focused in fall 1966, and extend to mid 1968 The philosophical influences begin in late 1966 and continue through the rest of Harrison’s life Note: Harrison began using LSD in the spring of 1965 and discontinued in August 1967 Songs by other Beatles, Lennon especially, also reflect Indian influences The Three “Indian” songs of George Harrison “Love You To” recorded April 1966, released on Revolver, August 1966 “Within You Without You” recorded March, April 1967, released on Sgt Pepper, June 1967 “The Inner Light” recorded January, February 1968, released as b-side to “Lady Madonna,” March 1968 Three Aspects of “Indian” characteristics Use of some aspect of Indian philosophy or spirituality in the lyrics Use of Indian musical instruments Use of Indian musical features (rhythmic patterns, drone, texture, melodic elements) Musical Influences Ravi Shankar is principal influence on Harrison, though he does not enter the picture until mid 1966 April 1965: Beatles film restaurant scene for Help! Harrison falls in love with the sitar, buys one cheap Summer 1965: Beatles in LA hear about Shankar from McGuinn, Crosby (meet Elvis, discuss Yogananda) October 1965: “Norwegian Wood” recorded, released in December on Rubber Soul.
    [Show full text]
  • The Rolling Stones and Performance of Authenticity
    University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]