Rolling Stones

ARTICLE ABOUT Keith Richard (Rolling Stones) FROM New Musical Express, December 6, 1969

I wonder if Mr. Richard has the same views on the people and bands below these days? A very frank point of view it is, and it is kind of refreshing. I don`t think he would be as candid if interviewed today, but who knows?
Read on!


Keith Richard on Mick, Beatles, Led, Faith, Tull, Gees

Special by Ritchie Yorke

THE news that the Rolling Stones have resumed personal appearances must have gladdened the hearts of pop fans everywhere. The Stones always were the most important performing group to come out of England.
At the Stones’ office behind Oxford Circus in London just before leaving for America, guitarist-composer Keith Richard discussed the tour, Mick`s foray into films and several popular groups.
“The whole tour thing is very strange man, because I still don’t really believe it. We did the Hyde Park concert and it felt really good, and I guess the tour will feel even better. And we need to do it. Apart from people wanting to see us, we really need to do a tour, because we haven’t played live for so long.
“A tour’s the only thing that knocks you into shape. Especially now that we’ve got Mick Taylor in the band, we really need to go through the paces again to really get it back together.”
George Harrison told me that he thought the reason the Stones were going on the road again was money, and Keith didn’t deny it.
“Yeah, well, that’s how it is. We were going to do the Memphis Blues Festival but things got screwed up. Brian wasn’t in that good a shape and we had various problems. I personally missed the road.
“After you’ve been doing gigs every night for four or five years, it’s strange just to suddenly stop. It’s exactly three years since we quit now. What decided us to get back into it was Hyde Park. It was such a unique feeling.
“But in all the future gigs, we want to keep the audiences as small as possible. We’d rather play to four shows of 5,000 people each, than one mammoth 50,000 sort of number. We’re playing at Madison Square Gardens in New York, but it will be a reduced audience, because we’re not going to allow them to sell all the seats.
“We’re certainly going to have to rehearse like hell. That whole film thing in Australia was a bit of a drag. I mean, it sounds dangerous to me. He had his hand blown off, and he had to get his haircut short. But Mick thinks he needs to do these things. We`ve often talked about it, and I`ve asked him why the hell does he want to be a film star.
“But he says, `Well Keith you’re a musician and that’s a complete thing in itself, but I don’t play anything.’ So I said that anyone who sings and dances the way he does shouldn’t need to do anything else. But he doesn’t agree so I guess that’s cool.
“The trouble is that it has disorganised our plans! It happened just as we got Mick Taylor into the band, and just as we were finishing the album. We had one track to do and we accidentally wiped Mick’s voice off when we were messing around with the tape. And there’s Mick stuck down in Australia, about 3,000 miles from the nearest studio. It’s pretty far out.”

Mick`s absence

Mick’s absence has also been felt in other areas. The Stones have not been able to record a follow-up single to “Honky Tonk Women,” which was the second biggest selling record of their career, after “Satisfaction.”
“I have a couple of ideas for the next record,” Keith said, “and I think we’ll cut it in Los Angeles when I meet Mick.
“I wrote Honky Tonk Women as a straight Hank Williams-Jimmy Rodgers sort of number. Later when we were fooling around with it — trying to make it sound funkier — we hit on the sound we had on the single. We all thought, wow, this has got to be a hit single.
“And it was, and it did fantastically well; probably because it’s the sort of song which transcends all tastes.”
While we were talking, the muffled sounds of a Creedence Clearwater Revival album could be heard in another office, and I wondered if Keith was impressed by the group?
“Yeah, I’m into a very weird thing with that band: When I first heard them, I was really knocked out, but I became bored with them very quickly. After a few times, it started to annoy me. They’re so basic and simple that maybe it`s a little too much.”


Blood, Sweat and Tears

Blood, Sweat & Tears? “I don’t really like them… I don’t really dig that sort of music, but I suppose that’s a bit unfair because I haven’t heard very much by them. It’s just not my scene, because I like a really tight band and anyway, I prefer guitars with maybe a keyboard. The only brass that ever knocked me out was a few soul bands.”

Led Zeppelin

Led Zeppelin? “I played their album quite a few times when I first got it, but then the guy’s voice started to get on my nerves. I don’t know why; maybe he’s a little too acrobatic. But Jimmy Page is a great guitar player, and a very respected one.”

Blind Faith

Blind Faith? “Having the same producer, Jimmy Miller, we’re aware of some of the problems he had with Blind Faith, I don’t like the Buddy Holly song, “Well All Right,” at all, because Buddy’s version was ten times better. It’s not worth doing an old song unless you’re going to add to it.
“I liked Eric’s song, “In the Presence of the Lord,” and Ginger’s “Do What You Like.” But I don’t think Stevie’s got himself together. He’s an incredible singer and an incredible guitarist and an incredible organist, but he never does the things I want to hear him do. I’m still digging “I’m A Man” and a few of the other things he did with Spencer Davis. But he’s not into that scene any more.”

Jethro Tull

Jethro Tull? “We picked up on them quickly. Mick had their first album and we featured the group on the Rock ‘n’ Roll Circus TV show we taped last December (which still hasn’t come out, but hope remains).
“I really liked the band then but I haven’t heard it recently. I hope Ian Anderson doesn’t get into a cliche thing with his leg routine. You have to work so goddam hard to make it in America, and it’s very easy to end up being a parody of yourself. But he plays a nice flute.”

The Band

The Band? “I saw them at the Dylan gig on the Isle of Wight and I was disappointed. Dylan was beautiful, especially when he did the songs by himself. He has a unique rhythm which only seems to come off when he’s performing solo.
“The Band were just too strict. They’ve been playing together for a long, long time, and what I couldn’t understand was their lack of spontaneity, They sounded note for note like their records.
“It was like they were just playing the records on stage and at a fairly low volume, with very clear sound. I personally like some distortion, especially if something starts happening on stage.”

Bee Gees

The Bee Gees? “Well, they’re in their own little fantasy world. You only have to read what they talk about in interviews… how many suits they’ve got and that kind of crap. It’s all kid stuff, isn’t it?”

Crosby,Stills, etc.

Crosby, Stills, Nash and Young? “I thought the album was nice, really pretty. The Hollies went through all that personality thing before Graham left them, The problem was that Graham was the only one getting stoned, and everybody else was really straight Manchester stock. That doesn’t help.”


The Beatles? “I think it’s impossible for them to do a tour. Mick has said it before, but its worth repeating… the Beatles are primarily a recording group.
“Even though they drew the biggest crowds of their era in North America, I think the Beatles had passed their performing peak even before they were famous. They are a recording band, while our scene is the concerts and many of our records were roughly made, on purpose. Our sort of scene is to have a really good time with the audience.
“It’s always been the Stones’ thing to get up on stage and kick the crap out of everything. We had three years of that before we made it, and we were only just getting it together when we became famous. We still had plenty to do on stage and I think we still have. That’s why the tour should be such a groove for us.”


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ARTICLE ABOUT Rolling Stones FROM New Musical Express, November 29, 1969

Mr. Green was absolutely correct in his judgement of this album. Still counted among the very best of all the albums this band released. Great to see him going by it track-by-track too.
Read on!


Great Stones album!

declares Richard Green

ROLLING STONES: LET IT BLEED (Decca mono and stereo SKL/LK 5025; 37s 6d. Released December 5).

WHAT a great album! The Stones have obviously put a lot of thought and hard work into it and I have no hesitation in naming it one of the Top Five LPs of 1969 — people are going to have to go a long way to beat it.
There’s so much variety that each track makes you want to hear it again and again. The late Brian Jones is heard on a couple of numbers and Mick Taylor appears on his first Stones album. It’s really an incredible piece of work that shows the group and friends at their best.

GIMMIE SHELTER. This is one of the Stones’ mid-tempo specialities with a heavy beat and tons of oomph. Mick sings the first part and is then joined by Keith and Mary Clayton, before an easy guitar break that leads into a yelling solo by Mary. The whole thing becomes louder and wilder with Mick playing harmonica and the rhythm section letting rip.

LOVE IN VAIN. A slow, heavy ballad with a Hawaiian guitar effect and some nice mandolin work by Ry Cooder. Mick’s voice is in its rough and mournful mood as he sings about following his baby to the station only to see her leave on a train. It’s all very woeful and very appealing.

COUNTRY HONK. Grab your partners, folk, for the hoe-down version of “Honky Tonk Women.” A gas of a track, with Byron Berline on fiddle and Nanette Newman joining Mick and Keith on vocals. Mick Taylor appears on slide guitar and Charlie Watts gets a nice tapping beat going to hold the whole thing together. A fine number.

LIVE WITH ME. “Don’t you think there’s a place for you in between the sheets” sings Mick, so we all know what this one’s about. The whole works are thrown in, including horns arranged by Leon Russell, who also plays piano with Nicky Hopkins. Bobby Keys’ tenor sax gives a tremendous bite to the unrestrained sound that ends in a massive free for all.

LET IT BLEED. A lot like the first track in style, but with Ian Stewart’s piano playing a large part and Bill Wyman on auto-harp as well as bass. Keith gets some good sound from his guitar which butts in now and then with a series of phrases and his solo leads Charlie and Ian into a constrained rave up. Keith begins to dominate the proceedings again towards the end and though it’s five minutes, twenty-seven seconds long, you want to hear more.

MIDNIGHT RAMBLER. The original Stones, with Brian Jones on percussion. Again, it’s Keith who comes through strongest while Mick sings a medium-fast lyric and plays harmonica. About midway, it quietens and there’s some nice interplay between guitar and harmonica, then the whole caboodle speeds up and Mick’s voice can just be heard beneath the action. A sudden switch to a slow, quiet section which only serves as an intro to more raverama. Much long and much good.

YOU GOT THE SILVER. Short and Dylan-ish, with Keith singing and even sounding a bit like Dylan. There are odd bits of what sounds like an acoustic twelve-string guitar breaking up the song which is a change from the Stones’ usual style but which shows their versatility.

MONKEE MAN. Medium tempo with lots of instrumental work which gives Keith plenty of room to work out and Charlie gets his oar in with some nice playing. Mick begins yelling like an enraged chimp at the end as, again, all hell break loose.

YOU CAN’T ALWAYS GET WHAT YOU WANT. Ye Gods! The London Bach Choir: Madeline Bell, Doris Troy and Nanette Newman! Al Kooper on piano, French horn and organ, and Jimmy Miller on drums. It starts off like a chorale, then Mick takes over as the tempo increases slightly. The girls join him for the title line which is repeated over and over and that works well. There’s a part about the Chelsea Drugstore and an “angel chorus” backing Beaty goings-on in the foreground. A really long track full of surprises and a credit to producer Jimmy Miller and all involved!

Rolling let it

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ARTICLE ABOUT The Rolling Stones FROM New Musical Express, February 4, 1967

Written when the band had just released their “Between The Buttons” album – curiously enough, this album was released in two different versions – the US edition including “Let`s Spend the Night Together” and “Ruby Tuesday” – two great songs that never appeared on a studio album in the UK, but later was added on a lot of compilation albums. In the UK, singles were often excluded from studio albums.
Read on!


Our fans have moved on with us – Brian Jones

Keith Altham considers the unique phenomenon – the Rolling Stones` image

Let us consider that unique phenomenon – the Rolling Stones` public image! When the Stones began rolling approximately three years ago they founded their personal approach upon a direct appeal to young peoples` impatience with authority and the basic premise that no one likes to be told what to do — especially a teenager. The Stones became “the defiant ones” – representatives of the eternal struggle between youth and the aged; champions of the “it`s my life and I’ll do what I like with it” school.

The parents spotted the declaration of war upon their authority and rejected the Stones — the Stones promptly rejected the parents.
Today there exists a huge social barrier between the older generation and the Stones — a barrier which some critics argue must be broken if the group are to “appeal to a wider market” and make the transition like the Beatles into films.
Since their early days the group has progressed immeasurably both musically and lyrically — take a good listen to “Ruby Tuesday” — and Jagger, with the exception of that recent abortive presentation on the Palladium TV, is without equal on stage as an agitator and interpreter of musical excitement.
Any improvement in the group as entertainers has been largely over-shadowed by the regular bursts of shock publicity and personal life exposés in a National Press apparently as dedicated to a policy of “with the Rolling Stones only bad news is good news” as the group themselves are to their uncompromising attitudes and opinions.

Flicked ash

I took up the subject with Brian Jones in a bar off Kensington High Street last Monday, where he supped a pint of Guinness and flicked fag ash into his untouched oxtail soup at irregular intervals.
“Why should we have to compromise with our image?” posed Brian. “You don’t simply give up all you have ever believed in because you’ve reached a certain age.
“Our generation is growing up with us and they believe in the same things we do — when our fans get older I hope they won’t require a show like the Palladium.
“The recent pictures of me taken in Nazi uniform were a put-down. Really, I mean with all that long hair in a Nazi uniform, couldn’t people see that it was a satirical thing? How can anyone be offended when I’m on their side? I’m not a Nazi sympathiser.
“I noticed that the week after the pictures of me taken in that uniform appeared there were photographs of Peter O’Toole in the same newspaper wearing a German uniform for a film he is making. But no one put him down for wearing that!
“The photographs taken of my flat in a terrible mess recently was another misrepresentation. An Italian film company was filming in the room and we pushed everything into one corner to make room for the camera crew. We were not even aware of the photographs that were being taken were for publication in a paper here.
“You’ve seen my flat — I don’t live in that kind of mess normally. I’ve complained to the Press Council about the whole episode.”
At this point enter Mr. Keith Richard in his maroon leather jacket, University of Hawaii T shirt and orange neckerchief, full of apologies for being late as he had forgotten it was his chauffeur’s day off. How does he see the possibility of coming to terms with the older generation as the Beatles appear to have done?


Not honest

“You can’t suddenly become accepted overnight by cutting your hair, putting on a suit and saying ‘Look, aren’t I nice? ‘—it’s not us—it’s not honest, and why should we?” asked Keith.
“We haven’t got the same PR set up as the Beatles,” added Brian. “Anyway, I think you must realise that certain of the Beatles share a great many of our ideas and opinions.”
We moved on to just who exactly are the Stones fans now. Brian obliged by describing one who had ‘passed on.’
“‘Margaret Stokes’ was a Stones fan three years ago but she ‘copped’ out,” he said. “Now she’s probably married with a kid and another on the way. She and her husband go to the same pubs as her parents and they are both bored with life. If she goes to see a pop group at all she’ll go and see Dave Dozy and Speakeasy!
“Sometimes we get the old characters like the one we met in a country club over the weekend. He came up to us and said he was a fan and that he’d been in the business 40 years and prophesied that we’d be all right ‘as long as you keep yer ‘armonies!’


“Our real followers have moved on with us — some of those we like most are the hippies in New York, but nearly all of them think like us and are questioning some of the basic immoralities which are tolerated in present day society — the war in Vietnam, persecution of homosexuals, illegality of abortion, drug taking. All these things are immoral. We are making our own statement — others are making more intellectual ones.
“Our friends are questioning the wisdom of an almost blind acceptance of religion compared with total disregard for reports related to things like unidentified flying objects which seems more real to me. Conversely I don’t underestimate the power or influence of those, unlike me, who do believe in God.
“We believe there can be no evolutioh without revolution. I realise there are other inequalities — the ratio between affluence and reward for work done is all wrong. I know I earn too much but I’m still young and there’s something spiteful inside me which makes me want to hold on to what I’ve got.
“I believe we are moving toward a new age in ideas and events. Astrologically we are at the end of the age called the Pisces age — at the beginning of which people like Christ were born.
“We are soon to begin the age of Aquarius, in which events as important as those at the beginning of Pisces are likely to occur. There is a young revolution in thought and manner about to take place.”
Returning the conversation to any kind of level related to pop music proved difficult and a chance remark of mine as to Gene Pitney`s marriage brought the retort, from Brian:
“You`ve been trying to reduce the conversation to that level all afternoon!”
However we did manage to ascertain what they thought of Max Bygraves` action on the Palladium last week when he produced a can of areosol and sprayed the stage on mentioning the Rolling Stones by name.
“Brilliant,” said Keith sarcastically, “I mean all that and ‘Tulips From Amsterdam,’ too!”
“Did he do it without wearing a wig,” retorted Brian, “I mean that’s a bit avant garde for Max Bygraves — putting down the Stones without wearing a wig!”


We stepped over Max Bygraves and conversationally circumnavigated the death of President Kennedy — something else that Mr. Jones has very definite opinions about — and cares about almost obsessively. A neat swerve in discussion bought us to what if anything or anyone is following the Rolling Stones.
“I’d like to see the Move,” said Brian. “They are really an extension of our idea of smashing conventions. Those kind of smash ups they have — destroying TV sets, cars, etc., are all a part of dissatisfaction with convention.
“Pete Townshend’s tendency to smash guitars is a physical reproduction of what is going on in his mind — I wish he’d write a book!”
A somewhat disturbing interview was rounded off by Brian insisting that the Muzak version of Ravel’s Bolero was turned up over our heads — ” it builds to a great climax ” — and we finally left the restaurant — Mr. Jones in his Rolls — Mr. Richard in his girl friend’s dirty red sports car, and me by cab.
Nothing it seems is going to change the Rolling Stones — except perhaps old age!


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ARTICLE ABOUT Mick Jagger (Rolling Stones) FROM New Musical Express, January 28, 1967

Some interesting tidbits in this one. Not sure if Mick really listened to the new Beatles single, but still – some great discussion about their own single. This surely were a completely different time than we`re living in now.
Read on!


Jagger scorns critics

By Keith Altham

THOSE naughty Rolling Stones — the ones who write wicked things like “Let’s Spend The Night Together” — wouldn’t go on the nice man’s roundabout last Sunday. If that sounds frivolous considering the recent contention over the group’s refusal to mount the revolving circus-rostrum after their Palladium TV last Sunday, it reflects Mick Jagger’s own views when I spoke to him on Monday.
He had just finished a piano lesson and proved to be in good form.
“Ello Keef — controversial Mick ‘ere,” he rasped in suitably moronic tones. “Straight from my record breaking run at the Palladium!”

Pleased about row

“I thought we’d gone far enough by doing the show,” he said happily. “Anyhow, Andrew and I had a great row about it which made an excellent front page in the ‘Daily Mirror’ which I was very pleased with.
“The only reason we did the show was because it was a good national plug — anyone who thought we were changing our image to suit a family audience was mistaken.
“There was no question of our having to change the lyric of ‘Let’s Spend The Night Together.’
“Let’s face it, the BBC are playing it and you can’t get much `Auntier’ than them — we had to change it for America because the Ed Sullivan Show was the one plug we were doing on the record and they wouldn’t let us perform it without changing the lyrics.”

“I only yelled out things like ‘Hello Fruity’ because there were two girls waving a huge poster with ‘Fruity Mick’ written on it.”

“Yes — Paul video-taped it for us on his machine and Keith and I went round to his place to see it.”

“No Paul Asher! I thought it was people making pathetic remarks about pop stars. Dave Allen’s remarks about us weren’t funny – they were pathetic and they all take it so seriously. You should see them practising back stage.
“I thought the sound we got was better than any other group has achieved but the camera angles were terrible. Someone accused us of ruining the show – how can you ruin a show with two camera shots.
“Do you know they had four cameras there — two of them must have been out of action.
“I see someone wrote that Shani Wallis was the star of the show.
“I remember her — she’s in the shampoo ads isn’t she?”


“I think that it’s very important to be able to dance to our singles and `Let’s Spend The Night Together’ is the best dance number.”

“That’s because Charlie can’t play anything else — I think some people have got tin ears that’s what I think!”

“I’m pleased you asked me that — especially as I asked you to. I’m very pleased with it. It’s called ‘My Way Of Giving’ — it’s released next week and Steve Marriott who wrote it needs the money, so I hope it’ll be a big hit.
“We also recorded ‘Yesterday’s Papers’ with Chris off our own LP but Steve’s composition turned out better.”

“Quite soon — what I want to do is have a show for young people which is not just pop stars coming on stage singing their latest recordings. I want it to include all kinds of acts — a stage show — except at the end we’ll go round on a revolving stage, leaping about for an hour to make up for the Palladium.
“Oh, and the ice creams will all have acid in them — that’s my brother’s idea!”

“I suppose we could take an elephant on stage and break that up! Really the Who began all this smashing scene and they are the only group I like to see do it.
“With the others it’s just a case of finding bigger things to smash — someone will take a bus on stage soon and smash that up.
“I went to one of those ‘smashing happenings’ at the London Roundhouse a few weeks back. I thought everyone would be freaking out and wearing weird clothes but they were all wandering around in dirty macs — it was the most boring thing I’ve ever seen.
“Paul McCartney thought everyone would be wearing weird clothes have been very lonely for him, ‘cos and he went as an Arab, which must when I went there wasn’t another Arab in sight.”

“Yes and I can’t say anything about it. I like both sides equally.”

“I dig it — nice atmosphere in the club where I saw him. Most sexual thing I’ve seen for a long time!”


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ARTICLE ABOUT Rolling Stones FROM New Musical Express, December 21, 1968

Here`s some more Stones for you. They have a lot of fanatic fans and their contribution to rock music is nothing less than legendary. Still rocking in 2020, they seem indestructible even if their age is catching up with them in various ways. They will live on in rock`n`roll history, that`s for sure!
Read on!


Keith Altham joins the Stones Rock`n`Roll circus…

The greatest show on earth

The Rolling Stones put in some overtime last Wednesday when they spent 17 hours working on their telethon production of “The Rock and Roll Circus” which is likely to become a pop classic when it is shown. Michael Lyndsay Hogg, who directed some of the more memorable “Ready Steady Go!” sagas, produced this epic with a little help from his illustrious friends, John Lennon, Yoko Ono, Marianne Faithfull, Eric Clapton, Mitch Mitchell, Jethro Tull, classical pianist Julius Katchen, the Who and “perpetual” violinist lvri Gitlis.
It was, in fact, the most exciting pop show I have ever seen and one in which I was involved with those “maniacs” Keith Moon and Pete Townshend, who organised compulsory audience participation and early morning P.T. until 5 o’clock Thursday morning.
“If you had told me four years ago that we would have been involved in something like this I would never have believed you,” said Brian Jones, “but everyone is really enjoying themselves.”
Someone asked John (Lennon) what kind of amp he wanted and he just said “oh one that plays!” The idea is that if everyone has fun the people who watch will too! ”


When I arrived on set at the Wembley studios around noon I was distressed to find that the boxing kangaroo had been axed. I had also missed Mick wrestling with a live tiger the previous day.
We entered the viewing room in the studios where Michael was waxing enthusiastic over yesterday’s “rushes” of a mysterious American group called the Liquid Wallpaper.
“Oh, great work, Mike – nice shot — that’s the way to shoot rock and roll,” he drawled at a projection apparently taken by the cameraman standing on one leg, shooting under his left armpit through the strings of a guitar.
They were, in fact, very good, but my enthusiasm wained as I arose from my kneeling position in the darkened room and cracked my forehead on the sharp corner of a table.
Dabbing at the wound as the lights went up Michael kindly remarked on his way out, “How are you Keith — just sitting there bleeding — fine!
“The grand parade in the Circus ring was a photographer’s paradise with Yoko dressed as a witch with tall black pointed hat and John as a tumbler. Keith Moon minced up in black tights covered in bright glittering coloured spangles.
“Wait till I change out of my street clothes,” he quipped. Eric Clapton wore a suit of many colours and Mick was dressed as a ringmaster. The photographers were let in and crowded round like a cloud of locusts with Rolliflexes clicking. Ten minutes later Mick curtailed the photo call by announcing: “One more for Andy Gray,” referring to our Editor and the show was almost on.
The usual technical hitches resulted in the entire parade being stuck in the tunnel entrance to the ring from which the sound of Ivri’s interminable violin emerged along with loud rude noises from the Who attempting to play ancient brass instruments. Ivri launched into a Beatles composition.

“Hope you’ve got your performing rights money ready, mate — we’re all composers here,” quipped Townshend.
“Except me — I’m a decomposer!” added Moon. Much laughter from tunnel after 15 minutes of technical hitches.
Meanwhile, back in the sound room Jimmy Miller was semi-hysterical as engineer Glyn Johns raced around checking tapes.
“I haven’t had this much fun with my clothes on for weeks,” declared Jimmy. Jimmy also produced Traffic records and I asked him about the recent break-up of the group.
“It was a complete surprise to me,” he admitted. “I never thought Stevie would leave the group so suddenly. I know he has been very influenced by jazz organist Al Koopers’ recent one-man-work and that he has ideas about playing every instrument on future discs — even drums himself.”
Back in the ring the Parade was on with Cowboy, horse, midgets, clowns, trapeze artists, fire-eater and acrobats supplementing the pop stars.
That being completed, the other acts dispersed around the studios to watch Jethro Tull set up for their contribution, “A Song For Jeffrey.”
Eric Clapton was casting covetous glances at a midget’s huge red-crepe bow tie — “I’d give anything for that,” he whispered.
“Ask him for it,” suggested Keith Richard.
“He won’t part with it,” replied Eric. ” Made it himself.”
” Nick it,” suggested Keith. “You wear his tie and I’ll wear his trousers!”



In spite of all their musical progression it’s most noticeable of late that the Stones are becoming very much interested in blues music again. It was Jagger who expressed admiration of Jethro Tull’s brand of blues and asked them on the show.
Brilliant guitarist that he is, Clapton admitted that his inspirations were really still in his past. “I’m still a rocker,” he grinned, “and there’s nothing I can do about it!”
The event of the afternoon was probably the Super Group composed of Lennon, Clapton, Richard and Mitchell. They played a version of Lennon’s “Yer Blue’s.”
For one or two people it was interesting to note that as a guitarist Lennon, to quote one critic — “is not half bad.”
It was even more noticeable at one or two impromptu jam sessions back stage with the Super stars getting into old rock and rollers like “Hound Dog” and “Peggy Sue.”
Yoko provided a strange diversion to one side with a new dance in which she contrived to wiggle completely inside her voluminous black dress so that neither head or limbs were exposed.
Their second number was an improvisation with Yoko giving us an exhibition of “Japanese throat” which I do not pretend to understand so I will not attempt to criticise.
Sometimes I think she is quietly laughing at our attempts to read meaning into the meaningless.
It really is time that people were kinder towards John and Yoko. As far as I know they have never intentionally hurt or abused anyone and yet they have become the butt for every cheap comic stuck for a joke.
They spent the entire day and next morning along with us, supporting the Stones show from the audience. Photographers returned with smiles and reports of the new “mellow fellow” which is Lennon.
A tea lady brought back excited news after they signed her autograph book and chatted to her: “I was a little frightened of them but they were so nice it made me ashamed!”
Lennon, the millionaire who sat perched about on amplifiers and boxes in his old blue denims — a hole in the elbow and biro marks on the well worn knee — is a man worth watching and listening to and when people like him, Townshend, Burdon, Jagger, Walker, Marriott and Lane quit this business so will I. Talent and guts are rare combinations.


Meanwhile back at the show, Miss Marianne Faithfull in a beautiful aubergine gown sat with regal elegance upon a divan and trilled a Gerry Goffin “Something Better” number quite superbly arranged by one Mick Jagger which may yet see her return to records.
Trapeze artists were suspended above pianist Julius Katchen, who admires present pop groups because so much in the classical world is becoming “machine made,” while he played “The Firebird” and a piece of Brahms.
A nice man, as well as a gifted pianist. Clowns, fire-eater and cowboy on horseback led to the Who.
The Who did their mini opera in which Keith Moon regaled us with his latest impersonation of a human fountain by having beer spilled onto his snare drums while in top gear.
Although he might smile at the thought, Townshend is now almost a piece of pop-folklore with his catherine wheel like arm movements and aggresive leaps. The act must make great TV.
Around about 2 am the Stones were on stage and warming up with “Route 66.”
They got through “Jumping Jack Flash” and “No Expectations” to prove they still have the most exciting group sound in the world and the most interesting visual vocalist in Jagger.
At times he strikes attitudes reminiscent of an obscene Nureyev!
“Sympathy With the Devil” was Mick at his provocative best, in which he whipped off his shirt to reveal a tattooed Devil’s head on his chest.
This resulted in the total collapse of a young lady near the stage. “You Can’t Always Have What You Want” is their new number which may be the next single – and likely their next number one.
By 6.30 am Pete Townshend had donned a red leather seat as a hat which together with his red pancho made him look like a member of the Klu Klux Klan.
We all ended up on the finale — “Salt of the Earth” — and I rather suspect I may be seen in a soppy hat and smock amidst the others in a rousing chorus at the end.
At 6.30 am I was earning my lift home by helping pack the Stones amplifiers.


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