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1911 Sonny Terry (US blues performer) 1930 Big Bopper (J.P. Richardson) 1941 Bill Wyman (Rolling Stones) 1944 Ted Templeman (US producer) 1946 Jerry Edmonton (Steppenwolf) 1947 Edgar Broughton (Sing Brother Sing) 1948 Paul and Barry Ryan (Don't Bring Me Your Heartaches) 1948 Dale 'Buffin' Griffin (Mott the Hoople) 1980 Monica
Number 1 In The Charts On October 24
1960 Brenda Lee: 'I Want to Be Wanted' US 45 1970 Pink Floyd: 'Atom Heart Mother' UK LP 1970 Santana: 'Abraxas' US LP 1987 Sting: 'Nothing Like the Sun' UK LP 1987 Michael Jackson: 'Bad' US 45 1992 Simple Minds : Glittering Prize 81-92 : UK LP 1998 Monica : The First Night : US single 1998 Beautiful South : Quench: UK LP
Various Music Events On October 24
1942 Andy Kirk's 'Take It and Get' tops first 'Billboard' R&B chart, known as 'Harlem Hit parade'
1962 James Brown records 'Live at the Apollo', first R&B LP to sell a million copies
1964 Original version of 'Oh No Not My Baby' by Maxine Brown enters US Hot 100
1970 T. Rex hit UK chart with 'Ride a White Swan'
1980 Paul McCartney receives a rhodium-plated (rhodium is a metal related to platinum) disc for being the best-selling writer and recording artist in history from 'The Guinness Book of Records'
1987 INXS's 'Need You Tonight' hits UK chart for first time, to peak at No. 58. It returns on 12 November 1988
1989 At the Rock & Roll Hall of Fame the new inductees include Hank Ballard, Bobby Darin, the Four Seasons, the Four Tops, Holland-Dozier-Holland, Carole King and Gerry Goffin, the Kinks, the Platters, Simon & Garfunkel and the Who.
1993 Duran Duran cancel the rest of their tour when lead singer Simon LeBon tears a vocal chord.
1996 Berry Gordy, Jr., founder of Motown records,receives a star on the Hollywood Walk Of Fame.
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1941 Bobby Hebb (Sunny) 1943 Mick Jagger (Rolling Stones) 1949 Roger Taylor (Queen) 1961 Andy Connell (Swing Out Sister) 1961 Gary Cherone (Extreme/Van Halen) 1967 Headliner (Arrested Development)
Deaths On July 26
1992 Mary Wells (My Guy)
Number 1 In The Charts On July 26
1962 Frank Ifield: 'I Remember You' UK 45 1975 Van McCoy: 'The Hustle' US 45 1975 Eagles: 'One of these Nights' US LP 1980 Odyssey: 'Use it Up' UK 45 1980 Rolling Stones: 'Emotional Rescue' US LP 1986 Peter Gabriel: 'Sledgehammer' US 45 1986 'Top Gun' soundtrack US LP
Various Music Events On July 26
1968 Rolling Stones' 'Beggars Banquet' LP fails to come out on time because of objections to the sleeve, which features graffiti-scrawled lavatory wall
1976 Led Zeppelin US tour ends with news of death of Robert Plant's son Karac
1980 Police headline at Milton Keynes Bowl
1986 Steve Winwood's 'Back in the High Life' hits US LP chart
1986 Anita Baker plays her first major UK concert, with sold-out show at the Hammersmith Odeon in London
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The Rolling Stones performed at a free concert in Hyde Park on 5 July 1969, two days after Jones's death.
Musicians Born On July 5
1944 Robbie Robertson (Band) 1950 Andy Ellison (John's Children) 1950 Michael Monarch (Steppenwolf) 1950 Huey Lewis (Hugh Anthony Gregg) 1959 Marc Cohn 1973 Bengt Lagerberg (The Cardigans)
Deaths On July 5
1982 Bill Justis (Memphis session man with Elvis)
Number 1 In The Charts On July 5
1975 Carpenters: Horizon UK 45 1980 Rolling Stones: Emotional Rescue UK 45 1986 Janet Jackson: Control US LP
Various Music Events On July 5
1954 Elvis Presley records That's Alright and other songs in his first Sun session
1956 Billie Holliday's autobiography, Lady Sings the Blues, published by Doubleday in New York
1958 Ray Charles appears at Newport Jazz Festival, much to the dislike of purists.
1968 John Lennon sells his psychedelic painted Rolls-Royce
1968 Bill Graham officially converts Carousel Ballroom in San Francisco to Fillmore West
1969 Rolling Stones give free concert in London's Hyde Park to an estimated 250,000 fans
1969 Tony Joe White hits US chart for first time with Polk Salad Annie
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1937 Jimmy Jones (Handyman) 1941 William Guest (Gladys Knight and the Pips) 1941 Charlie Watts (Rolling Stones) 1949 Lionel Richie (All Night Long) 1950 Chubby Tavares (Tavares) 1960 Tony Hadley (Spandau Ballet) 1962 Thor Eldon Jonsson (The Sugarcubes)
Number 1 In The Charts On June 2
1962 Ray Charles: I Can't Stop Lovin' You US 45 1966 Frank Sinatra: Strangers in the Night UK 45 1973 Paul McCartney: My Love US 45 1973 Paul McCartney: Red Rose Speedway US LP 1979 Donna Summer: Hot Stuff US 45 1984 Wham!: Wake Me Up Before You Go-go UK 45 1990 Soul II Soul : Vol II (1990 A New Decade): UK LP 1997 Hanson : MmmBop : UK single
Various Music Events On June 2
1961 In Hackensack, New Jersey, two men are sentenced to prison for a year and a day, and a third man is given a suspended sentence in the first successful conviction of record bootleggers.
1962 Island label releases its first single, Owen Gray's Twist Baby. Founded in London by Chris Blackwell only weeks before, the label is initially a UK outlet for West Indian records
1972 Dion and the Belmonts reunite for special show at Madison Square Garden
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1921 Nelson Riddle (orchestra leader) 1934 Pat Boone (April Love) 1947 Ron Wood (Rolling Stones) 1950 Graham Russell (Air Supply) 1960 Simon Gallup (The Cure) 1963 Alan Wilder (Depeche Mode) 1963 Mike Joyce (Smiths) 1968 Jason Donovan 1974 Alanis Morissette
Deaths On June 1
1948 John Lee 'Sonny Boy' Williamson 1991 David Ruffin (Temptations)
Number 1 In The Charts On June 1
1959 Johnny Horton: Battle of New Orleans US 45 1961 Elvis Presley: Surrender UK 45 1963 Leslie Gore: It's My Party US 45 1968 Simon and Garfunkel: Mrs. Robinson US 45 1985 Prince. Around the World in a Day US LP 1991 Seal : Seal : UK LP 1998 B*witched : C'est La Vie : UK single
Various Music Events On June 1
1950 Decca introduce the 33-1/3 LP to the UK
1964 Rolling Stones arrive at John F. Kennedy Airport at the start of their first US tour
1967 Traffic debut on UK chart with Paper Sun
1967 Beatles release Sergeant Pepper's Lonely Hearts Club Band
1971 Elvis Presley's birthplace - a two-room house in Tupelo, Mississippi - is opened to the public
1973 Robert Wyatt breaks his spine falling from a window during a party
1974 Bad Company debut on UK chart with Can't Get Enough
1975 Guitarist Ron Wood joins Rolling Stones on tour for first time replacing Mick Taylor as Stones open in US at Baton Rouge Louisiana
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- Retro Rebirth
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The Rolling Stones began calling themselves the "World's Greatest Rock & Roll Band" in the late '60s, and few disputed the claim. The Rolling Stones' music, based on Chicago blues, has continued to sound vital through the decades, and the Stones' attitude of flippant defiance, now aged into wry bemusement, has come to seem as important as their music.
In the 1964 British Invasion they were promoted as bad boys, but what began as a gimmick has stuck as an indelible image, and not just because of incidents like Brian Jones’ mysterious death in 1969 and a violent murder during their set at Altamont later that year. In their music, the Stones pioneered British rock’s tone of ironic detachment and wrote about offhand brutality, sex as power, and other taboos. In those days, Mick Jagger was branded a “Lucifer” figure, thanks to songs like “Sympathy for the Devil.” In the ’80s the Stones lost their dangerous aura while still seeming “bad” — they’ve become icons of an elegantly debauched, world-weary decadence. But Jagger remains the most self-consciously assured appropriator of black performers’ up-front sexuality; Keith Richards’ Chuck Berry–derived riffing defines rock rhythm guitar (not to mention rock guitar rhythm); the stalwart rhythm section of Bill Wyman and Charlie Watts holds its own; and Jagger and Richards continue to add to what is arguably one of the most significant oeuvres in rock history.
Jagger and Richards first met at Dartford Maypole County Primary School. When they ran into each other 10 years later in 1960, they were both avid fans of blues and American R&B, and they found they had a mutual friend in guitarist Dick Taylor, a fellow student of Richards’ at Sidcup Art School. Jagger was attending the London School of Economics and playing in Little Boy Blue and the Blue Boys with Taylor. Richards joined the band as second guitarist; soon afterward, he was expelled from Dartford Technical College for truancy.
Meanwhile, Brian Jones had begun skipping school in Cheltenham to practice bebop alto sax and clarinet. By the time he was 16, he had fathered two illegitimate children and run off briefly to Scandinavia, where he began playing guitar. Back in Cheltenham he joined the Ramrods, then drifted to London with his girlfriend and one of his children. He began playing with Alexis Korner’s Blues, Inc., then decided to start his own band; a want ad attracted pianist Ian Stewart (b. 1938; d. December 12, 1985).
As Elmo Lewis, Jones began working at the Ealing Blues Club, where he ran into a later, loosely knit version of Blues, Inc., which at the time included drummer Charlie Watts. Jagger and Richards began jamming with Blues, Inc., and while Jagger, Richards, and Jones began to practice on their own, Jagger became the featured singer with Blues, Inc.
Jones, Jagger, and Richards shared a tiny, cheap London apartment, and with drummer Tony Chapman they cut a demo tape, which was rejected by EMI. Taylor left to attend the Royal College of Art; he eventually formed the Pretty Things. Ian Stewart’s job with a chemical company kept the rest of the group from starving. By the time Taylor left, they began to call themselves the Rolling Stones, after a Muddy Waters song.
On July 12, 1962, the Rolling Stones — Jagger, Richards, Jones, a returned Dick Taylor on bass, and Mick Avory, later of the Kinks, on drums — played their first show at the Marquee. Avory and Taylor were replaced by Tony Chapman and Bill Wyman, from the Cliftons. Chapman didn’t work out, and the band spent months recruiting a cautious Charlie Watts, who worked for an advertising agency and had left Blues, Inc. when its schedule got too busy. In January 1963 Watts completed the band.
Local entrepreneur Giorgio Gomelsky booked the Stones at his Crawdaddy Club for an eight-month, highly successful residency. He was also their unofficial manager until Andrew Loog Oldham, with financing from Eric Easton, signed them as clients. By then the Beatles were a British sensation, and Oldham decided to promote the Stones as their nasty opposites. He eased out the mild-mannered Stewart, who subsequently became a Stones roadie and frequent session and tour pianist.
In June 1963 the Stones released their first single, Chuck Berry’s “Come On.” After the band played on the British TV rock show Thank Your Lucky Stars, its producer reportedly told Oldham to get rid of “that vile-looking singer with the tire-tread lips.” The single reached Number 21 on the British chart. The Stones also appeared at the first annual National Jazz and Blues Festival in London’s borough of Richmond and in September were part of a package tour with the Everly Brothers, Bo Diddley, and Little Richard. In December 1963 the Stones’ second single, “I Wanna Be Your Man” (written by John Lennon and Paul McCartney), made the British Top 15. In January 1964 the Stones did their first headlining British tour, with the Ronettes, and released a version of Buddy Holly’s “Not Fade Away,” which made Number Three.
“Not Fade Away” also made the U.S. singles chart (Number 48). By this time the band had become a sensation in Britain, with the press gleefully reporting that band members had been seen urinating in public. In April 1964 their first album was released in the U.K., and two months later they made their first American tour. Their cover of the Bobby Womack/Valentinos song “It’s All Over Now” was a British Number One, their first. Their June American tour was a smashing success; in Chicago, where they’d stopped off to record the Five by Five EP at the Chess Records studio, riots broke out when the band tried to give a press conference. The Stones’ version of the blues standard “Little Red Rooster,” which had become another U.K. Number One, was banned in the U.S. because of its “objectionable” lyrics.
Jagger and Richards had now begun composing their own tunes (at first using the “Nanker Phelge” pseudonym for group compositions). Their “Tell Me (You’re Coming Back to Me)” was the group’s first U.S. Top 40 hit, in August. The followup, a nonoriginal, “Time Is on My Side,” made Number Six in November. From that point on, all but a handful of Stones hits were Jagger-Richards compositions.
In January 1965 their “The Last Time” became another U.K. Number One and cracked the U.S. Top 10 in the spring. The band’s next single, “(I Can’t Get No) Satisfaction,” reigned at Number One for four weeks that summer and remains perhaps the most famous song in its remarkable canon. Jagger and Richards continued to write hits with increasingly sophisticated lyrics: “Get Off My Cloud” (Number One, 1965), “As Tears Go By” (Number Six, 1965), “19th Nervous Breakdown” (Number Two, 1966), “Mother’s Little Helper” (Number Eight, 1966), “Have You Seen Your Mother, Baby, Standing in the Shadow?” (Number Nine, 1966).
Aftermath, the first Stones LP of all original material, came out in 1966, though its impact was minimized by the simultaneous release of the Beatles’ Revolver and Bob Dylan’s Blonde on Blonde. The Middle Eastern–tinged “Paint It, Black” (1966) and the ballad “Ruby Tuesday” (1967), were both U.S. Number One hits.
In January 1967 the Stones caused another sensation when they performed “Let’s Spend the Night Together” (“Ruby Tuesday”’s B side) on The Ed Sullivan Show. Jagger mumbled the title lines after threats of censorship (some claimed that the line was censored; others that Jagger actually sang “Let’s spend some time together”; Jagger later said, “When it came to that line, I sang mumble”). In February Jagger and Richards were arrested on drug-possession charges in Britain; in May, Brian Jones, too, was arrested. The heavy jail sentences they received were eventually suspended on appeal. The Stones temporarily withdrew from public appearances; Jagger and his girlfriend, singer Marianne Faithfull, went to India with the Beatles to meet the Maharishi Mahesh Yogi. The Stones’ next single release didn’t appear until the fall: the Number 14 “Dandelion.” Its B side, “We Love You” (Number 50), on which John Lennon and Paul McCartney sang backup vocals, was intended as a thank-you to fans.
In December came Their Satanic Majesties Request, the Stones’ psychedelic answer record to the Beatles’ Sgt. Pepper — and an ambitious mess. By the time the album’s lone single, “She’s a Rainbow” had become a Number 25 hit, Allen Klein had become the group’s manager.
May 1968 saw the release of “Jumpin’ Jack Flash,” a Number Three hit, and a return to basic rock & roll. After five months of delay provoked by controversial album-sleeve photos, the eclectic Beggars Banquet was released and was hailed by critics as the band’s finest achievement. On June 9, 1969, Brian Jones, the Stones’ most musically adventurous member, who had lent sitar, dulcimer, and, on “Under My Thumb,” marimba to the band’s sound, and who had been in Morocco recording nomadic Joujouka musicians, left the band with this explanation: “I no longer see eye-to-eye with the others over the discs we are cutting.” Within a week he was replaced by ex–John Mayall guitarist Mick Taylor. Jones announced that he would form his own band, but on July 3, 1969, he was found dead in his swimming pool; the coroner’s report cited “death by misadventure.” Jones, beset by drug problems — and the realization that the band now belonged squarely to Jagger and Richards — had barely participated in the Beggars Banquet sessions.
At an outdoor concert in London’s Hyde Park a few days after Jones’ death, Jagger read an excerpt from the poet Shelley and released thousands of butterflies over the park. On July 11, the day after Jones was buried, the Stones released “Honky Tonk Women,” another Number One, and another Stones classic. By this time, every Stones album went gold in short order, and Let It Bleed (a sardonic reply to the Beatles’ soon-to-be-released Let It Be) was no exception. “Gimme Shelter” received constant airplay. Jones appeared on most of the album’s tracks, though Taylor also made his first on-disc appearances.
After going to Australia to star in the film Ned Kelly, Jagger rejoined the band for the start of its hugely successful 1969 American tour, the band’s first U.S. trip in three years. But the Stones’ Satanic image came to haunt them at a free thank-you-America concert at California’s Altamont Speedway. In the darkness just in front of the stage, a young black man, Meredith Hunter, was stabbed to death by members of the Hell’s Angels motorcycle gang, whom the Stones — on advice of the Grateful Dead — had hired to provide security for the event. The incident was captured on film by the Maysles brothers in their feature-length documentary Gimme Shelter. Public outcry that “Sympathy for the Devil” (which they had performed earlier in the show; they were playing “Under My Thumb” when the murder occurred) had in some way incited the violence led the Stones to drop the tune from their stage shows for the next six years.
After another spell of inactivity, the Get Yer Ya-Ya’s Out! live album was released in the fall of 1970 and went platinum. That same year the Stones formed their own Rolling Stones Records, an Atlantic subsidiary. The band’s first album for its own label, Sticky Fingers (Number One, 1971) — which introduced their Andy Warhol — designed lips-and-lolling-tongue logo — yielded hits in “Brown Sugar” (Number One, 1971) and “Wild Horses” (Number 28, 1971). Jagger, who had starred in Nicolas Roeg’s 1970 Performance (the soundtrack of which contained “Memo From Turner”), married Nicaraguan fashion model Bianca Perez Morena de Macias, and the pair became international jet-set favorites. Though many interpreted Jagger’s acceptance into high society as yet another sign that rock was dead, or that at least the Stones had lost their spark, Exile on Main Street (Number One, 1972), a double album, was another critically acclaimed hit, yielding “Tumbling Dice” (Number Seven) and “Happy” (Number 22). By this time the Stones were touring the U.S. once every three years; their 1972 extravaganza, like those in 1975, 1978, and 1981, was a sold-out affair.
Goats Head Soup (Number One, 1973) was termed the band’s worst effort since Satanic Majesties by critics, yet it contained hits in “Angie” (Number One, 1973) and “(Doo Doo Doo Doo Doo) Heartbreaker” (Number 15, 1974). It’s Only Rock n’ Roll (Number One, 1974) yielded Top 20 hits in the title tune and a cover of the Temptations’ “Ain’t Too Proud to Beg.” Mick Taylor left the band after that album; and after trying out scores of sessionmen (many of whom showed up on the next LP, 1976’s Black and Blue), the Stones settled on Ron Wood, then still nominally committed to Rod Stewart and the Faces (who disbanded soon after Wood joined the Stones officially in 1976). In 1979 Richards and Wood, with Meters drummer Ziggy Modeliste and fusion bassist Stanley Clarke, toured as the New Barbarians.
Black and Blue was the Stones’ fifth consecutive LP of new material to top the album chart, though it contained only one hit single, the Number 10 “Fool to Cry.” Wyman, who had released a 1974 solo album, Monkey Grip (the first Stone to do so), recorded another, Stone Alone. Jagger guested on “I Can Feel the Fire” on Wood’s solo first LP, I’ve Got My Own Album to Do. Wood has since recorded several more albums, and while none were commercial hits (Gimme Some Neck peaked at Number 45 in 1979), his work was generally well received.
The ethnic-stereotype lyrics of the title song from Some Girls (Number One, 1978) provoked public protest (the last outcry had been in 1976 over Black and Blue’s battered-woman advertising campaign). Aside from the disco crossover “Miss You” (Number One), the music was bare-bones rock & roll — in response, some speculated, to the punk movement’s claims that the band was too old and too affluent to rock anymore.
Richards and his longtime common-law wife, Anita Pallenburg, were arrested in March 1977 in Canada for heroin possession — jeopardizing the band’s future — but he subsequently kicked his habit and in 1978 was given a suspended sentence.
In 1981 Tattoo You was Number One for nine weeks (1980’s Emotional Rescue also went to Number One) and produced the hits “Start Me Up” (Number Two, 1981) and “Waiting on a Friend” (Number 13, 1981), the latter featuring jazz great Sonny Rollins on tenor saxophone. The 1981 tour spawned an album, Still Life, and a movie, Let’s Spend the Night Together (directed by Hal Ashby), which grossed $50 million.
Through the ’80s the group became more an institution than an influential force. Nevertheless, both Undercover (Number Four, 1983) and Dirty Work (Number Four, 1986) were certifiable hits despite not topping the chart, as every new studio album had done in the decade before. Each album produced only one Top 20 hit, “Undercover of the Night” (Number Nine, 1983) and “Harlem Shuffle” (Number Five, 1986), the latter a remake of a minor 1964 hit by Bob and Earl.
Jagger and Richards grew estranged from each other, and the band would not record for three years. Jagger released his first solo album, the platinum She’s the Boss, in 1984. His second, 1987’s Primitive Cool, didn’t even break the Top 40. Richards, who’d long declared he would never undertake a solo album (and who resented Jagger’s making music outside the band), countered in 1988 with the gold Talk Is Cheap, backed up by the X-Pensive Winos: guitarist Waddy Wachtel and the rhythm section of Steve Jordan and Charley Drayton.
The two Stones sniped at each other in the press and in song: Richards’ album track “You Don’t Move Me” was directed at his longtime partner. Nevertheless, shortly before the Rolling Stones were inducted into the Rock and Roll Hall of Fame, in January 1989 the two traveled to Barbados to begin writing songs for a new Stones album. Steel Wheels (Number Three, 1989) showed the group spinning its wheels musically, and were it not for the band’s first American tour in eight years, it is doubtful the LP would have sold anywhere near its 2 million copies. But the 50-date tour, which reportedly grossed $140 million, was an artistic triumph. As the group’s fifth live album, Flashpoint (Number 16, 1991), demonstrated, never had the Stones sounded so cohesive onstage.
Bill Wyman announced his long-rumored decision to leave the group after 30 years, in late 1992. “I was quite happy to stop after that,” the 56-year-old bassist told a British TV show. The announcement helped deflect attention from Wyman’s love life: In 1989 he married model Mandy Smith, who was just 131⁄2 when the two began dating. The couple divorced in 1990, the same year that Mick Jagger finally married his longtime lover, Jerry Hall. (Jagger and Hall would later split up.)
The early ’90s were a time for solo albums from Richards — Live at the Hollywood Palladium and Main Offender (Number 99, 1992)and Jagger’s Wandering Spirit (Number 11, 1993). Neither sold spectacularly; apparently fans are most interested in Jagger and Richards when they work together. Wood released Slide on This, his first solo album in over a decade, and Watts pursued his real love, jazz, with the Charlie Watts Orchestra.
In 1994 Jagger, Richards, Watts, and Wood, along with bassist Darryl Jones (whose credits include working with Miles Davis and Sting) released the critically well-received Voodoo Lounge (Number Two, 1994) and embarked on a major tour that proved one of the highest-grossing of the year, earning a reported $295 million. Voodoo Lounge brought the Stones their first competitive Grammy, 1994’s Best Rock Album award. Voodoo Lounge was also the group’s first release under its new multimillion-dollar, three-album deal with Virgin Records, which included granting Virgin the rights to some choice albums from the Stones’ back catalogue, including Exile on Main Street, Sticky Fingers, and Some Girls. After having languished in storage for nearly three decades, the Rolling Stones’ Rock & Roll Circus concert film and soundtrack was released in 1996, which featured the Stones in the era of Beggars Banquet, and other rock luminaries — the Who, Jethro Tull, John Lennon and Yoko Ono, Eric Clapton, Taj Mahal, and more — as well as various acrobats, fire-eaters, and other circus artists who performed routines between songs.
Meanwhile, back to their standard time lapse of three years between tours, the Stones released Bridges to Babylon (Number Three, 1997, their 19th platinum LP) and launched yet another lavish, sold-out worldwide tour, where they played two-hour concerts consisting of only a few songs off the new album and lots of hits. Corporate sponsorship was particularly intense: long-distance carrier Sprint, for example, paying $4 million to print its company logo on tickets and stage banners. In 1998 the Stones released the obligatory tour album, No Security.
In 1997 Richards coproduced and played on Wingless Angels, an album of Rastafarian spirituals; guested, with Elvis Presley guitarist Scotty Moore, on All the King’s Men, a tribute to Presley; and with the rest of the Stones, played on B.B. King’s Deuces Wild. Assembling the roots-rock band the Rhythm Kings, with Peter Frampton and Georgie Fame sitting in, Bill Wyman put out three albums in the late ’90s. Watts continued his jazz excursions with 1996’s orchestral offering, Long Ago and Far Away, and then forayed into world beat with a 2000 collaboration with veteran session drummer Jim Keltner. Mick Taylor’s recording career revived, as the ex-Stone put out Stonesy releases with Carla Olson.
In 2000 "Satisfaction" topped a VH1 Poll of 100 Greatest Rock Songs. Jagger gained more attention in the social columns. In 1999 29-year-old Brazilian model Luciana Gimenez Morad claimed that she was pregnant with his child; Jagger disagreed. Jerry Hall filed for divorce. Jagger, despite the couple’s four children, maintained that their Hindu nuptials did not constitute a legal marriage. When Morad’s child was born, DNA tests concluded that Jagger was indeed the boy’s father. In 2001 he released his fourth solo album, Goddess in the Doorway (Number 39). At the post-9-11 "Concert for New York City," held at Madison Square Garden on Oct. 21, 2001, Jagger, Richards and a backing band performed "Salt of the Earth" and "Miss You."
In 2002, the Stones released Forty Licks, a greatest hits package including four new songs, and embarked on yet another tour, including two—one in Toronto and another in Hong Kong—to benefit victims of the SARS epidemic. In November 2003, the band inked a deal allowing the Best Buy chain to be the exclusive seller of their 4-DVD tour document Four Flicks. Some music retailers in the U.S. and Canada, including Best Buy competitor Circuit City and the 100-store HMV Canada, responded by pulling Stones merchandise from their shelves. In 2004, Rolling Stone ranked the Stones No. 4 in its "100 Greatest Artists of All Time," just below the Beatles, Bob Dylan and Elvis Presley.
On Jagger’s 62nd birthday, July 26, 2005, the Stones announced they were releasing a new album, A Bigger Bang (Number 3), followed by a tour. The album included a rare political song from Jagger, "Sweet Neo Con," which was stingingly critical of the Bush Administration’s post Iraq War tactics and included the line, "You say you are a patriot/I think that you’re a crock of shit." The Stones’ A Bigger Bang Tour began in August 2005 and by year’s end had already set the year’s record at $162 million in gross receipts. The tour took the band from North and South America to Europe, Asia and even the 2006 Super Bowl. The tour ended two years later in London. Overall, the Bigger Bang tour earned a staggering $558 million, the highest-grossing tour of all time. The tour was not without its setbacks. During the New Zealand stretch, in May 2006, Richards was hospitalized for brain surgery after reportedly falling from a coconut tree in Fiji. In June, Wood went into rehab for alcohol problems.
The Stones released another 4-CD box set, The Biggest Bang, in June 2007; it also was sold exclusively through Best Buy. The Very Best Of Mick Jagger, a collection of the singer’s solo works, came out in October 2007. Filmmaker Martin Scorsese's April 2008 documentary Shine a Light intimately captured the Stones' 2006 Bigger Bang live performance at New York City's Beacon Theater from sixteen different camera angles and included guest performances by Christina Aguilera, Jack White, and Buddy Guy.
Various Videos Of The Rolling Stones
Rolling Stones - Honky Tonk Woman (Live in Hyde Park 1969)
Rolling Stones - Love In Vain (1972)
Rolling Stones Miss You video
Rock On Music Lovers!!
-Stereo
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The Rolling Stones Rock and Roll Circus is a film released in 1996 of a December 11, 1968 event put together by The Rolling Stones. The event comprised two concerts on a circus stage and included such acts as Eric Clapton, The Who, Taj Mahal, Marianne Faithfull, and Jethro Tull. John Lennon and his fiancee Yoko Ono performed as part of a supergroup called The Dirty Mac, along with Eric Clapton, Mitch Mitchell, and Keith Richards. It was originally meant to be aired on the BBC, but the Rolling Stones withheld it because they were unhappy with their performance.
The Stones contended that they withheld the film's release due to their substandard performance, because they had taken the stage early in the morning and were clearly exhausted. Many others believe that the true reason for not releasing the video was that The Who, who were fresh off a concert tour, upstaged the Stones on their own production. The Stones had not toured recently, and were not in top playing condition, as The Who were.
The project was originally conceived by Mick Jagger as a way of branching out from conventional records and concert performances. Jagger approached Michael Lindsay-Hogg, who had directed two promos for Stones songs, to make a full-length TV show for them. According to Lindsay-Hogg, the idea of combining rock music and a circus setting came to him when he was trying to come up with ideas; he drew a circle on a piece of paper and free-associated.
The Stones and their guests performed in a replica of a seedy big top on a British sound stage, in front of an invited audience. The performances began at around 2 p.m. on December 11, 1968, but setting up between acts took longer than planned and the cameras kept breaking down, which meant that the final performances took place at almost 5 o'clock the next morning.
By that time the audience and most of the Stones were exhausted; Jagger's sheer stamina managed to keep them going until the end. Jagger was reportedly so disappointed with his and the band's performance that he canceled the airing of the film, and kept it from public view. This was the last public performance of Brian Jones with The Rolling Stones, and for much of the Stones performance he is inaudible, although his slide guitar on "No Expectations" remains clear.
Some of the footage of the concert was thought to be lost until 1989 when it was found in a trash can in a cellar. A significant segment of footage of The Who from the production was actually shown theatrically in the documentary The Kids Are Alright (1979), the only public viewing of the film until its eventual release. The Stones' film was restored and finally released on CD and video in 1996. Included on the recordings are the introductions for each act, including some entertaining banter between Jagger and Lennon, expressing mutual friendship and admiration.
This concert is the only footage of Black Sabbath guitarist Tony Iommi performing as a member of Jethro Tull; he was a member for this show only as a favor to Anderson while they looked for a replacement for Mick Abrahams. The band mimed to the album version of "A Song for Jeffrey" and 'Fat Man' as the Stones told them to cut their time down and it would save time on rehearsing," Fat Man' never made the final release . This footage also included some of Ian Anderson's first attempts of his now famous flute-playing position, with one leg in the air.
In 2004, a remastered DVD was released, with audio remixed into Dolby Surround. The DVD includes footage of the show, along with extra features which include previously "lost" performances, an interview with Pete Townshend, and three audio commentaries. Of particular interest in the Townshend interview is his description of the genesis of the Circus project, which he claims was initially meant to involve the performers travelling across the United States via train. (A concert concept used for a short concert series in Canada that was later documented in the feature film Festival Express). The remastered DVD also includes a special four-camera view of Dirty Mac's performance of The Beatles' "Yer Blues" (showing Ono kneeling on the floor in front of the musicians, completely covered in a black sheet).
According to Bill Wyman's book, the Stones also performed "Confessing the Blues", "Route 66" and an alternate take of "Sympathy for the Devil" with Brian Jones on guitar.
This is the July 15, 1967 issue of The Beat magazine that was dedicated entirely to the Monterey Pop Festival, which was held the month before. Brian attended the Festival to introduce Jimi Hendrix and while he was there one of the writers for The BEAT interviewed him.
BEAT: Can you comment about what’s happening this weekend in Monterey? BRIAN: Very groovy scene. We’ve been very busy recording. I just came away for a few days and it’s so nice to get on someone else’s scene. It’s a very beautiful scene happening here. BEAT: A lot of people have been sort of critical of this kind of happening in this country. The uptight people. BRIAN: They’re frightened of trouble but I don’t expect any trouble, do you? It has been wonderful. I have been walking freely amongst everybody. Yesterday I was walking through and joining rings of kids and fans. You know I’ve never had a chance to do that much before. People are very nice here. I like it. BEAT: Would you like to see this kind of thing happen all through the world? BRIAN: We have had one in London and there are going to be more. But of course it should happen. I think it’s wonderful. The new generations expressing itself. This is one way of expressing itself. BEAT: Do you like what’s happening with the new generation? BRIAN: Yes, very much. There’s lots of hassles but things always have to get worse before they can get better. There are mistakes on both sides. BEAT: What about the Stones – what’s happening with them? BRIAN: We record practically all the time as the Beatles do. We just got about a week off so I came over here with Andrew (Andrew Oldham, Stones manager). The others have sort of split to various places, I think, I’m not quite sure. But nobody seemed to get it together to come over here. I wish they had ‘cause they have missed a very nice scene. BEAT: What do you think about the Beatles new album? BRIAN: It’s great. It’s too much. It’s really good. I did a Beatles’ session the other night, actually. On soprano saxophone, of all things. I’ve taken up playing reeds again. I used to play reed instruments. I bought a soprano saxophone the other day and ever since I have been doing sessions on it. There are soprano saxophones on the Stones’ records, future Beatle records. You know, it’s a funny thing – you get hold of something and put it on everyone’s records. It’s great. There’s a very nice recording scene going on right now in London. BEAT: There have been rumors that the Stones and Beatles are going to record together. Could you comment on that? BRIAN: It would be at a certain stage. It would be a very nice thing. We are getting very close as far as work is concerned. Whether actually we could – well we could work something out together. From one point of view it might not be a very good thing because our direction is slightly different from theirs. Lack of distinction because of the joining up of the two might be lost. That’s the only thing that could spoil it, I think. There will certainly be schemes. We spend an awful lot of time with each other now. We’ve got a lot of mutual ideas. BEAT: It certainly would be wild from the standpoint of a combination of sounds. It would seem to me that you would come up with something really unique. BRIAN: It’s happening already. As I said, I did this Beatle session – mixed on a Beatle session, various things. Paul’s done a couple of ours. You know, it’s already happening. BEAT: It’s taking that direction, anyway. BRIAN: Yeah, and that’s not a bad direction. BEAT: We’re glad to have you in Monterey. BRIAN: It’s nice to let people know we’re still functioning. Still around – still on the scene – still doing all we can. BEAT: How long are you going to be over here, Brian? BRIAN: I’m just going to be here for a very few days. Just a little break from recording and everything. BEAT: Are there any immediate plans for coming back over after the court stuff is cleared up? BRIAN: No, not at the moment but everything’s going to be all right. The big job at hand is to get the L.P. done and we’re spending an awful lot of time on it this time. It’s going to be more of a production. We’ve really put some thought into it because people are still liking our albums so we’re trying to really give them something that will take them on a stage further. And, so that they will take us on a stage further. We feel at the moment that our important work is to be done in the studio rather than in baseball halls and stadiums around the country. You see, once you’ve been around the country once or twice people have seen you and it’s a question of what’s to be gained by going around again. But, there’s a lot to be gained by letting them share our progressions because we are progressing musically very fast. BEAT: You’re in a position to please yourselves more now, aren’t you? BRIAN: Well to a certain extent that’s always been true. But we can’t really please ourselves. We have too large a public who depend on us to be able to please ourselves. BEAT: That’s the best costume I’ve seen at the Festival. It’s beautiful – a work of art. BRIAN: Well, it’s Old English and European stuff. BEAT: Did you fly here? BRIAN: Yes, I flew in the other night. I came by New York and Los Angeles. I spent about one hour in New York and five minutes in Los Angeles. Then I was flown straight out here on a jet. The Mamas and Papas, I think, own it or rent it or something. BEAT: Any schedule after the Festival? BRIAN: I’ve got a few things to take care of at home so I might be leaving as soon as the festival is over. On the other hand, I might just take in Los Angeles and New York on the way back and look up a few old friends. It’s nice to come over here. I’m glad I came. BEAT: There’s a Love-in scheduled for Los Angeles soon. Have you heard about this? BRIAN: It’s such a different scene over here from back home. You have more of a problem or at least it’s more acute over here then we do. BEAT: Which problem is that? BRIAN: The whole problem of social change which is going on around the Western world right now. It’s going on in the Eastern world too, but in a different way. We won’t talk about that. BEAT: Do you think the Pop Festival would look like this or have an atmosphere like this if it had been held on London rather than in California? BRIAN: Yeah. We’ve had a similar affair in London and there are going to be more. I would like to see these affairs become a regular part of young community life because I think these people here – from what I’ve seen so far – are acting as a community. They have the community spirit, the community feeling. I haven’t seen any signs of any trouble or enmity. It’s very nice. People are showing each other around and it’s very beautiful. I’m glad I came. I’ll have lots of nice things to say when I get back home.
Brian Jones Biography (February 28, 1942 – July 3, 1969)
Musician. Born Lewis Brian Hopkin Jones on February 28, 1942 in Cheltenham, Gloucestershire, England. Born during World War II to Welsh parents, Brian Jones suffered from asthma as a child and throughout his life. His father and mother both played music, and by the time he was in high school, Brian had learned to play the piano, clarinet, saxophone and guitar. Though Jones was incredibly bright, he was a lazy student. He quit school and left home shortly after a scandal in which he fathered an illegitimate baby boy who was subsequently given up for adoption.
Jones moved to London to play blues guitar in local bars. In the spring of 1962, he formed The Rolling Stones with pianist Ian Stewart, singer Mick Jagger, and Jagger's childhood friend and guitarist Keith Richards. Bassist Bill Wyman and jazz-influenced drummer Charlie Watts soon joined the band.
During The Rolling Stones’ early days, Jones served as leader, entertainer and manager for the band. As the most photogenic band member, his antics and fashion sense were quickly adopted by the swingers of 1960s London. In 1963, the band hired manager Andrew Loog Oldham, who helped them cultivate a rough, somewhat menacing persona. Oldham’s arrival also marked the decline of Jones as ringleader. Jagger and Richard, who did much of the songwriting, soon moved into the spotlight.
Though he was chiefly known as a guitarist, especially for the guitar weaving he did with Richards, Jones played numerous instruments during his years with the Stones: sitar, tamboura, dulcimer, keyboards, recorder, harmonica, xylophone and marimba, among others. By the mid 1960s, Jones was feeling increasingly alienated by the band and became more and more dependent on drugs and alcohol. He was first arrested for drug use in May of 1967, and by May of 1968, he was recording his final substantial contributions with the Stones.
On June 8, 1969, following the recording of Let it Bleed, Jones was asked to leave the band. A month later, he was found at the bottom of his swimming pool at his home in Sussex, England. The death was ruled an accident. He was 27 years old.
