274. The Rolling Stones – Honky Tonk Women (1969)

No sooner have we reached the end of the Beatles’ 17 number 1s, than it’s now time to say goodbye to the Rolling Stones. But before we look at the backstory to their eighth and last number 1, it’s time to see what was in the news during their five-week run with Honky Tonk Women.

The day the single usurped Something in the Air, 23 July, saw the debut of BBC Two’s long-running snooker tournament Pot Black. The Beeb had been looking for programmes that could exploit its new colour transmissions, and they struck gold by turning snooker from a minority sport into one of the most popular in the UK. The show ran until 1986, but returned for many specials well into the 21st century.

On 1 August, the pre-decimal halfpenny ceased to be legal tender. The rest of the first half of August’s news was mostly taken up by the start of one of the late-20th-century’s biggest conflicts – The Troubles in Northern Ireland.

The Battle of the Bogside began on 12 August in Derry. The Taoiseach of the Republic of Ireland, Jack Lynch, made a speech the day after the ruins began requesting a United Nations peacekeeping force for Northern Ireland. On 14 August, British troops were deployed to restore order, and by the time they had, eight people had been shot dead, over 750 were injured, and over 400 homes and businesses had been destroyed. It was only the beginning.

Since the Rolling Stones’ triumphant comeback in 1968 with Jumpin’ Jack Flash, they hadn’t released any UK singles, but the album it came from, Beggars Banquet, was a real return to form, and the start of a run of classic LPs. Some of the tracks, including epic opener Sympathy for the Devil, are among the finest rock songs of the late 60s.

In December 1968 they filmed the concert special The Rolling Stones Rock and Roll Circus for the BBC. The line-up included Taj Mahal, the Who, Jethro Tull, Marianne Faithfull and a one-off appearance by supergroup the Dirty Mac, consisting of John Lennon, Yoko Ono, Eric Clapton, Keith Richards and Mitch Mitchell. The Stones withheld the show, believing their appearance to be substandard, though some claim they felt the Who outshone them. It eventually surfaced in 1996, and is worth a watch.

Mick Jagger and Keith Richards holidayed together that Christmas in a ranch in rural Brazil, and while there they became inspired to write their next single. There is not an ounce of Brasilia in either version, but it did bring to mind Americana, country and roots. Originally they had in mind the version that surfaced on next album Let It Bleed. Country Honk was, as the name implies, a country version of Honky Tonk Women, with slightly different lyrics (the first verse is set in Jackson, Mississippi rather than Memphis, Tennessee) and Byron Berline on fiddle.

Multi-instrumentalist Brian Jones featured on the demos for this track, recorded that March. It would be the last material he performed on. By the time the band regrouped in June, they had met with Jones at his home. Increasingly paranoid and drug-addled, the former bandleader had been contributing less and less, and couldn’t compete with Jagger and Richards’ growing control any more. He left the band.

Seeking a replacement, their keyboardist Ian Stewart and bluesmith John Mayall recommended a 20-year-old guitarist called Mick Taylor to Jagger. He had replaced Peter Green in John Mayall’s Bluesbreakers in 1967 when he left to form Fleetwood Mac. The Stones invited Taylor to a session, and he believed he was only wanted as a session musician, but they were impressed and he was asked to continue. He overdubbed guitar on to Country Honk and the new electric version they were planning to release as a single, called Honky Tonk Women.

Richards later claimed that Taylor had transformed the single, but the newest member of the group insisted his contribution was minimal. Whatever he actually did, he’s listed with Richards as lead guitarist. Richards also provided the rowdy backing vocals and rhythm guitar. Along with the usual roles for the rest of the band, the single featured backing vocals from Reparata and the Deltrons, who had a hit in 1968 with Captain of Your Ship, Nanette Workman (slyly credited as ‘Nanette Newman’) and Doris Troy, later to be best known for her orgasmic wailing on Pink Floyd’s The Great Gig in the Sky. Steve Gregory and Bud Beadle duetted on saxophones, and producer Jimmy Miller was the man behind the cowbell.

The Rolling Stones really know how to write brilliant intros, and Honky Tonk Women is one of their most memorable, thanks to the cowbell, and Watts’ raunchy drumbeat. Jagger begins to tell his tales of sexual conquest in a louche drawl, boasting about picking up a ‘gin soaked bar-room queen in Memphis.’ They’re pretty risqué lyrics for the day, with references to ‘a ride’ and laying divorcees, but Jagger gets around it by ramping up the accent to a comical degree, making some of the words almost intelligible. I love the lyric ‘she blew my nose and then she blew my mind’.

Musically, it’s not too adventurous, throwaway even. It’s not up to the standard of most of their number 1s, and sees the start of the Rolling Stones settling into their role as the ultimate good-time rock’n’roll band. Only two verses and it’s over in under three minutes, but it’s still a lot of fun.

But just before its release, the fun stopped for Brian Jones. He was found dead in his swimming pool on 3 July. Death by misadventure was the official reason, but his liver and heart were both enlarged from his pursuit of drink and drugs. He was 27, that infamous age that many rock stars have died at.

The Stones were scheduled to perform a free televised concert at Hyde Park on 5 July. Planned in part to unveil their new guitarist, it became a wake for Jones. In an example of pure black comedy, butterflies were let out into the crowd, but many had died, so they were simply banged out of boxes onto the floor as the band got started. It’s what Jones probably wouldn’t have wanted.

The Rolling Stones were the last British band to have a number 1 in the 60s. They have never topped the singles charts since, and it’s unlikely they will until perhaps Jagger or Richards die… so, some time in the 31st century, perhaps. The classic albums kept coming for a while though, with Let It Bleed their final LP of the 60s, released 5 December, featuring Gimme Shelter and You Can’t Always Get What You Want.

Unfortunately the 60s came to a tragic end for the Stones. A day after its release they headlined the Altamont Free Concert. It was a bad idea to have the Hells Angels providing security, and several scuffles between them and the crowd ended with armed fan Meredith Hunter stabbed and beaten to death, during, of all songs, Sympathy for the Devil.

The 70s began with the band having left Decca records to set up Rolling Stones Records. The first material released, Sticky Fingers (1971), contained Brown Sugar and Wild Horses. They became tax exiles, moved to France and recorded the double album Exile on Main Street. Raw and ragged, it’s considered by many to be their last classic, as the rest of the 70s saw commercial success but lukewarm reviews from critics, starting with Goat Head’s Soup in 1973.

Miller departed as producer, and then Taylor left after the release of the Glimmer Twins-produced It’s Only Rock’n’Roll in 1974. Faces guitarist Ronnie Wood had contributed to the title track, but his group were still taken by surprise when he took up an offer to join the Rolling Stones. But frustrations over numerous drug offences affecting the group’s abilities to tour meant this wasn’t the best period for Wood to be joining them.

Fortunately things picked up again in 1978 with the release of Some Girls, which featured their last classic, the disco-influenced Miss You. Despite the Stones being on top again, a rift developed between Jagger and Richards. Nevertheless, 1981’s album of outtakes contained Start Me Up, another huge hit.

Jagger became too busy with a solo album to concentrate much on the Rolling Stones, and their output suffered, like many 60s/70s legends, from substandard material recorded with bombastic production techniques.

In 1985 Jagger had a number 1 single with David Bowie for Live Aid, featuring one of the stupidest, most unintentionally hilarious videos of all time. I am of course referring to Dancing in the Street. That same year saw the death of the Stones’ keyboardist Ian Stewart, who had been there from the start. With both of the Glimmer Twins releasing solo albums, these were lean years for the Rolling Stones.

They were inducted into the Rock and Roll Hall of Fame in 1989, along with Jones, Stewart and Taylor, and this helped thaw the frosty relationship of Jagger and Richard, who put aside their differences and began work on their first album in three years, Steel Wheels. It was the best they’d made in a while, though nowhere near their best, which was now a distant memory.

Bassist Bill Wyman decided to leave in 1991, but the news was kept secret until 1993. He went on to form Bill Wyman’s Rhythm Kings. We won’t go into his love life, because as we all know, he’s on extremely dodgy ground there. Darryl Jones has been their bassist ever since, yet for some reason he isn’t given recognition as a ‘full’ member of the band. I just hope it has nothing to do with the colour of his skin. And that isn’t an insinuation, just a genuine hope.

The Stones took a break after touring and then released Voodoo Lounge in 1994, which was their most critically acclaimed in years, followed in quick succession by the half-decent Stripped (1995). They brought the 90s to a close with Bridges to Babylon (1997).

Their last album of original material to date, A Bigger Bang, was released in 2005. 2012 marked the 50th anniversary of the band’s formation, so the Stones embarked on yet another mammoth tour off the back of their 1000th greatest hits compilation.

In 2013 Michael Eavis finally got his wish and they headlined the Pyramid Stage at Glastonbury Festival. As I’ve mentioned before on this blog, I was lucky enough to be there, and they surpassed my expectations, playing a set of classic material. What really stood out was how much they seemed to relish the opportunity. They didn’t phone their set home, they attacked it with all the energy of a band more than half their age. It’s truly incredible how they can still have so much passion, really.

It’s a long, long time since the Rolling Stones were known as the most dangerous band in the world. You could argue they are just a money-spinning brand now, and to be fair, I’ve made that argument before. But seeing them at Glastonbury changed my opinion. Granted, we haven’t needed most of their recorded output since the early 80s, but it became clear to me that they actually get a kick out of still performing, even after all this time. Jagger recently had heart surgery, and is back on stage after a few months. The man is 75. He must have sold his soul to the devil to carry on the way he is. Look at Keith. He definitely has.

Their tally for number 1 singles may not match the Beatles or Elvis Presley , but the Rolling Stones outlasted them, through drug addictions, prison and deaths. They will come to an end one day though, and it may take that for people to realise not only that the Glimmer Twins were once one of the most talented songwriting teams of all time, but that we have lived through a true musical phenomenon, the like of which we’ll never see again.

Written by: Mick Jagger & Keith Richards

Producer: Jimmy Miller

Weeks at number 1: 5 (23 July-29 August)

Births:

Paralympian Tanni Grey-Thompson – 26 July
Bounty hunter Domino Harvey – 7 August
Joe Swail – Northern Irish snooker player – 29 August

Deaths:

Physicist Cecil Frank Powell – 9 August
Novelist Ivy Compton-Burnett – 27 August

251. The Rolling Stones – Jumpin’ Jack Flash (1968)

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On 25 June 1968, comic legend Tony Hancock was found dead. He had long struggled with bouts of depression, and since moving to Sydney, Australia, his career hadn’t gone as well as he hoped. Hancock committed suicide with a cocktail of vodka and tablets, leaving a note which said ‘Things just seemed to go wrong too many times.”

Not so long ago, the Rolling Stones were a pretty regular occurrence on this blog, but following one of their finest number 1s, Paint It, Black in 1966, the band suffered some dark times over the next two years.

Have You Seen Your Mother, Baby, Standing in the Shadow? reached the top five, which was an impressive feat for such a ragged, messy production. 1967 also got Jagger and co off to a great start, with the double A-side Let’s Spend the Night Together/Ruby Tuesday hitting number three in January, and their album Between the Buttons was also released. It saw the group delve deeper into studio experimentation, and has become somewhat forgotten over the years, which is a shame. It was to be the last time they worked on a full album with producer Andrew Loog Oldham.

1967 saw the biggest bands of the time embracing drugs, but because the Rolling Stones had a reputation as the bad boys of pop, the press and police decided they were the group to pick on. Over the next few months, members of the Stones would be raided by police, while newspapers ran exposes on their alleged sordid activity. Oldham was so freaked out by all the attention, he fled to the US. Tensions within the Stones were also growing, with Brian Jones’s girlfriend Anita Pallenberg ditching him for Keith Richards.

That spring, Jagger, Richards and Jones all faced prison sentences for drugs. Jagger and Richards were imprisoned but released on bail the following day. Surprisingly, The Times stuck up for them, running the famous editorial ‘Who breaks a buttterfly upon a wheel?”. While they awaited their appeal hearings, the group recorded the single We Love You as a thank-you to their loyal fans. Much underrated, the song features John Lennon and Paul McCartney on backing vocals. Oasis should have covered this, back in the day.

With all three free in December, the band released their answer to Sgt. Pepper’s Lonely Hearts Club Band. Sadly, the mostly self-produced Their Satanic Majesties Request fell flat. It sounded rather forced by comparison. It turned off fans and critics alike. Having said that, it’s not as bad as the reputation it has gathered over the years suggests. The bad acid trip 2000 Light Years from Home is excellent and She’s a Rainbow is a lovely slice of flower power.

With the band smarting from the unusually negative feedback of their recent work, they were clever and lucky enough to know that a change was in the air, and like many of the top artists, they went back to basics as they set to work on what would become one of their best albums, Beggars Banquet.  They knew they had struck gold with Jumpin’ Jack Flash, and decided to release it long before the album was ready. The Rolling Stones were serving notice. They were back, and then some.

The lyrics to Jumpin’ Jack Flash came about while Jagger and Richards were staying at Richards’ country house. They were woken one morning by gardener Jack Dyer trudging past a window. A startled Jagger asked what the noise was and the guitarist replied ‘Oh that’s Jack – that’s jumpin’ Jack.’ Playing around on the guitar, Richards played around with the phrase, with Jagger adding ‘Flash’.

At least, that’s the story the songwriters have given over the years. Bassist Bill Wyman feels he deserves a credit too, claiming he came up with the main riff while messing around on a piano. Jones and Charlie Watts began jamming along, and an impressed Jagger and Richards entered the studio before working on the lyrics.

Whatever the jumping-off (pardon the pun) point, the band came up with something special. Jumpin’ Jack  Flash is a blistering return to form, full of dark imagery, so dark it was actually comical, like much of Jagger’s best material is. And whoever wrote that riff, it’s up there with (I Can’t Get No) Satisfaction. The reference of being ‘born in a crossfire hurricane’ was a reference to Richards being born during the Blitz. Theories as to what’s exactly going on lyrically are probably delving too deep. What’s clear is the band are shaking off the bad acid trips and negative experiences of 1967, and are ready to let rip once more with their own take on the blues. Jumpin’ Jack Flash is the personification of all the bad shit, and he’s been to hell and back in his life, but ‘it’s alright now’. Personally, I wonder if Jack is actually dead and living it up in hell, but it’s just an idea.

One thing’s for sure, after being in the Beatles’ shadow in 1967, this is a better number 1 than Lady Madonna. Unusually, that’s Richards on the bass, with Wyman on the Hammond organ as the song draws to an end. Their new producer Jimmy Miller created one of the most primitive-sounding Stones singles since Loog Oldham was finding his feet a few years previous. Miller also helps out on the backing vocals at the end.

A month after its release, the Rolling Stones were at number 1 for the seventh time. Up above you can see one of the promos they made, in which they mime the song while wearing lots of make-up. They look as cool as fuck. Jagger also occasionally adds some live interjections to proceedings. By the time they got to number 1 for the last time, Jones was dead.

In a mighty catalogue of classics, Jumpin’ Jack Flash stands out as the song they turn to when performing live most often, and they tend to open most shows with it, even after all those years. They choose wisely, as it’s always going to be guaranteed to set the scene and get any crowd in the mood to witness rock legends.

Richards and Wood joined Aretha Franklin on a cover of the song used on the film bearing its name, starring Whoopie Goldberg in 1986. Other covers range from the surreal (386 DX) to the impressive (Ananda Shankar).

Written by: Mick Jagger & Keith Richards

Producer: Jimmy Miller

Weeks at number 1: 2 (19 June-2 July)

Births:

Welsh footbaler Iwan Roberts – 26 June
Actor Adam Woodyatt – 28 June

Deaths:

Writer WE Johns – 21 June
Comedian Tony Hancock – 25 June

242. Georgie Fame – The Ballad of Bonnie and Clyde (1968)

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On with 1968, then, and what a strange year of number 1s it is. We have the good, the bad, and even The Good, the Bad and the Ugly to listen to.

The Beatles were still at number 1 for most of January with their Christmas chart-topper, Hello, Goodbye, before finally running out of steam. They were replaced by Lancashire-born jazz cat Georgie Fame and his third and last number 1, The Ballad of Bonnie and Clyde.

Before hearing this track I assumed it would be taken from the soundtrack to the 1967 movie Bonnie and Clyde, starring Warren Beatty and Faye Dunaway. I was wrong, but that didn’t surprise me, as not only have I never seen the film, I don’t actually know much about the subject matter either.

Arthur Penn’s multi-Academy Award-winning landmark crime biography detailed the rise and fall of Bonnie Parker and Clyde Burrow. In the Great Depression of the 1930s, the duo captured the imagination of the US on a two-year crime spree. Although the romantic image of the duo as Robin Hood-style characters has endured, the reality is their many bungled robberies resulted in innocent people being killed. The movie is considered one of the first films of the New Hollywood era, prompting more filmmakers to show sex and violence in their work. At the time, the duo’s death was considered a truly shocking end to a Hollywood movie.

Songwriters Mitch Murray (the man behind both Gerry and the Pacemakers number 1s – How Do You Do It? and I Like It) and Peter Callander saw the film and felt inspired to write a 30s-style jazz spoof telling the tale of the duo. Georgie Fame, who had enjoyed two number 1s with his backing band the Blue Flames (Yeh Yeh and Get Away) was the perfect artist to record their new track.

Since Get Away topped the charts, the band had enjoyed two further top 20 hits with Sunny and Sitting in the Park. They released one more album, Sweet Thing in 1966, before Fame chose to sign with CBS Records and go solo. The Blue Flames disbanded, and drummer Mitch Mitchell became a third of the Jimi Hendrix Experience soon after. Fame released his first solo album Sound Venture later that year. His first two solo singles failed to chart, but The Ballad of Bonnie and Clyde, released in 1967, became number 1, and was his only top ten hit in the US.

This quirky, rickety little track certainly gets 1968 off to a weird start. It may not have been in the film, but without it, there’s no way Fame would have outsold the Beatles. It’s not without its charm, and I always enjoy a Georgie Fame vocal, but by reducing the story of Bonnie and Clyde to a bit of fun, it’s nothing more than a throwaway novelty track.

It’s quite a sparse recording, featuring mainly Fame and a banjo, but there’s some brass too, plus sound affects, including the sound of gunfire as it reaches its climax. I think we’re supposed to go ‘Awww!’ when Fame sings ‘Bonnie and Clyde/They lived a lot together/And finally together/They died’, which is going a bit easy on bankrobbing murderers really. I’m now trying to imagine other inappropriate tunes, such as The Ballad of Fred and Rose West, or Peter Sutcliffe’a Sad Sad Song.

Fame’s hits began to dry up soon after, but Somebody Stole My Thunder in 1970 is a strong shot of R’n’B. He formed a partnership with organist Alan Price, formerly of the Animals, and they had a hit with Rosetta in 1971, but they split two years later. Much of the early 70s was spent writing jingles for television and radio, and making the soundtrack for the Till Death Us Do Part big-screen spin-off, The Alf Garnett Saga (1972). In 1974 he reformed the Blue Flames, but by the 80s he was back in the advert industry.

In 1989 he began working with cantankerous Irish singer-songwriter Van Morrison as his producer and performing in his live band, as well as recording their collaborative LP, How Long Has This Been Going On in 1996. This partnership lasted until 1998, with occasional work together ever since.

Fame suffered tragedy in 1993 when his wife, Nicolette Powell, jumped off the Clifton Suspension Bridge to her death. They had married in 1972 after having a baby while she was still married to Alistair Vane-Tempest-Stewart, 9th Marquess of Londonderry. When tests proved the baby was theirs, the Marchioness had divorced him for Fame. Suffering from depression, Powell had left a suicide note in which she said she had no purpose in life now their children had grown up.

In 1998 Fame also became a founding member of former Rolling Stone Bill Wyman’s Rhythm Kings, with whom he worked for a couple of years before going it alone again. He has released albums ever since and has performed at Glastonbury Festival. His live band sometimes includes his two sons Tristan and James. What a shame Nicolette didn’t live to enjoy their performances.

Written by: Mitch Murray & Peter Callander

Producer: Mike Smith

Weeks at number 1: 1 (24-30 January)

Births:

Journalist Matthew d’Ancona – 27 January
Rapper Tricky – 27 January

Deaths:

Spymaster Maxwell Knight – 27 January 

215. The Rolling Stones – Paint It, Black (1966)

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1965 had been a phenomenal year for the Rolling Stones, and saw them established as the biggest rivals to the Beatles for the pop crown, despite the nihilism of rock classics (I Can’t Get No) Satisfaction and Get Off of My Cloud. That December they began work on their fourth album Aftermath. Originally conceived as the soundtrack to an abandoned film, the Stones had much more time than usual to work on this album, and it showed. For the first time they released an album feauring songs only written by Mick Jagger and Keith Richards, and they experimented with their sound. Featuring Mother’s Little Helper, Lady Jane, Under My Thumb and Out of Time, it’s easily their best album up to this point and perhaps their best to date.

Recorded during the same sessions in March 1966, and released as the opening track of the US version of Aftermath, Paint It, Black took the Rolling Stones into new territory, and remains a real stand-out track.

Initially it had been written with a standard rock-pop arrangement, and lyrically Jagger was continuing on the dark path of their previous two singles, but this time his disgust with the world had a reason. I only recently realised Paint It, Black specifically relates to a loved one’s sudden death, rather than general malaise and depression. Of course it was there, right in front of me, from the very start, if I’d taken proper notice of Jagger’s lyrics. The ‘line of cars and they are painted black’ refers to the funeral, and ‘I could not forsee this thing happening to you’ suggests how unexpected the death was. Something the band were to experience themselves soon… Although Jagger has never said who the song refers to, many believe it concerns a soldier in Vietnam, which is backed up by Stanley Kubrick playing it over the credits of Full Metal Jacket in 1987.

Fooling around with the song in the studio, Bill Wyman played on the organ and Charlie Watts improvised a double-time drum beat that became the song’s distinctive, unusual gallop. The band decided this rhythm would make a nice counterpoint to the bleak lyrics.

The key ingredient that elevates Paint It, Black to a classic, however, came from Brian Jones. Frustrated with his decline in importance to the band, and with Jagger and Richards now in charge, he began experimenting with new instruments and sounds. To compliment the new Moroccan feel to the song, he laid sitar over the top. Inspired by George Harrison, he was taught by Harihar Rao, a disciple of Ravi Shankar. The Beatles get all the credit for popularising the sitar, but Paint It, Black was one of the first pop songs to do so too, and the best for the time being. The whole band put in excellent performances, from Richards’ flamenco opening to the finale, in which Wyman goes crazy on the bass.

Released on 13 May, Paint It, Black quickly knocked the sunshine of Pretty Flamingo from the top of the pops, and cast a dark cloud over the optimism of the spring and summer of 1966. A world away from their early blues tracks, it proved the Rolling Stones could be just as effective at experimenting as the Beatles. It’s easily one of their greatest tracks, and one of the best number 1s of the 60s. However, the Rolling Stones began to hit a rocky patch after its release, and controversy and further experimentation led to their popularity sliding. Paint It, Black was their last number 1 until 1968.

And why did the title have that strange comma, adding emphasis on ‘Black’? A further sign of the darkness enveloping the group? No. It was just an error by Decca Records.

Written by: Mick Jagger & Keith Richards

Producer: Andrew Loog Oldham

Weeks at number 1: 1 (26 May-1 June)

Births:

Actress Helena Bonham Carter – 26 May

202. The Rolling Stones – (I Can’t Get No) Satisfaction (1965)

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What is it with these legendary songs that were supposedly written in the sleep of their composers? Paul McCartney has always said Yesterday came to him in a dream. He rushed to the piano in the Asher household the following morning to play the melody, and was convinced at first that somebody else must have written it. But Scrambled Eggs, as he originally called it, was a Lennon and McCartney original.

And in the same year came (I Can’t Get No) Satisfaction by the Rolling Stones. Mick Jagger and Keith Richards had written their first number 1, The Last Time, earlier in 1965, although how much they can lay claim to that is debatable considering they pinched the chorus from the Staple Singers. Nonetheless, their songwriting was improving. The fact this song came soon after makes that a hell of an understatement.

Richards claims he woke up one morning and had a half memory of recording himself trying out a song that had come to him in the night. Playing back the recording, he heard himself playing (I Can’t Get No) Satisfaction on an acoustic guitar for two minutes, singing the song’s title, followed by the sound of the pick hitting the floor and then him snoring for 40 minutes until the tape side ran out. Like McCartney, Richards was sure someone else had already written this song. He was worried it sounded like Martha & the Vandellas’ Dancing in the Street in particular.

Are the stories for these songs true? Did two of the most memorable pop songs of all time appear in their creators’ subconscious? Or did they lie to add to the legend? I guess we’ll never know, but if both are true, it’s fascinating.

The Rolling Stones entered Chess Studios in Chicago to record (I Can’t Get No) Satisfaction on 10 May. Mick Jagger wrote the lyrics four days beforehand by a swimming pool. Apart from the aforementioned line, that is. The original recording wasn’t the version we know and love, and feature Brian Jones on harmonica. This version was the first the public heard of the track, however, when they debuted it on US telvision series Shindig. Two days later they tried again at RCA Studios in Hollywood, with Charlie Watts adding a new beat, and Richards performing the famous riff through a Gibson fuzzbox. This hadn’t been done on a released record before, and added a scratchy rawness to their sound. But that was fine, because he had no intention of it appearing on the released single. It was only there as a guide for what he wanted a brass section to perform.

What else can be said about (I Can’t Get No) Satisfaction? How many superlatives exist? This was more dangerous than pop and rock’n’roll and to me, it’s one of the first singles you can call rock, along with You Really Got Me by the Kinks. Richards’ riff is like the musical equivalent of the big bang, it’s so important and incredible. And although it’s impossible to imagine a time in which it never existed, (I Can’t Get No) Satisfaction never, ever, sounds boring. That fuzzy riff is so primitive, it’s somehow meant the song has remained fresh in the same way the base raunch of You Really Got Me has. It’s such a fantastic riff, it would have no doubt sounded great from a brass ensemble, but would it be as immortal as the version we know? I doubt it.

Lots of credit should also go to Jagger, whose lyrics fit perfectly. This really spoke to his generation, and it’s hard sometimes to think a song that encapsulates feelings of alienation brought on by advertising could come from a man who later became obsessed with money like Jagger did. Despite all the plaudits the Stones have had thrown at them over the years, I don’t think Jagger has ever really got the credit he deserves as a lyricist. Some of his songs from 1965 through to the early-1970s are as sharp as pop and rock music gets. There’s a real dry wit on display here. It’s only now that I discover that although many people found this song dangerously sexually charged at the time, the filthiest lyric of all escaped most people, including me. When Jagger sings: ‘And I’m tryin’ to make some girl/Who tells me baby better come back later next week/’Cause you see I’m on a losing streak’ the ‘losing streak’ in question is the girl’s period. Clever, Jagger, you filthy beast. As great as the lyrics are though, I guess that riff overshadows, well, nearly everything. Bill Wyman’s bass also complements it brilliantly though.

Once the track was completed, everyone bar the songwriters was convinced it needed no brass overdubs, and that they’d hit upon something truly special. Luckily for everyone, Jagger and Richards were outvoted, and (I Can’t Get No) Satisfaction was quickly released a month later in the US, a well as featuring on the American version of their third album, Out of Our Heads. A month later it was the US number 1. UK buyers had to wait a while longer, as Decca were already about to release a live EP by the Rolling Stones. Released in August, the song divided public opinion. To older people and the BBC, it was disgusting. To pirate radio and teenagers and young adults, it was fucking brilliant. We know who was right. The BBC relented and on 9 September it began an all-too-short fortnight at number 1.

The Rolling Stones were suddenly in a new league, and rightly considered on the same level as the Beatles. Jagger and Richard had gone from blues copyists to premier songwriters. Although the whole band stood to benefit from this, 1965 marked the year in which Brian Jones began to feel sidelined.

(I Can’t Get No) Satisfaction is up there with She Loves You as one of the songs that defines music, let alone the 60s. There have been countless covers from the good, the bad and the downright odd over the years, including Otis Redding, Devo, Britney Spears, the Residents, Samantha Fox and Cat Power.

I was one of the lucky ones who finally got to see the Rolling Stones at Glastonbury Festival in 2013. I’m not a superfan, and was expecting dips in the set, but overall it was a triumph and well worth the wait. Their final song was (I Can’t Get No) Satisfaction. I’ve had many amazing monents at Glastonbury over the years. That ranks as one of the best.

Written by: Mick Jagger & Keith Richards

Producer: Andrew Loog Oldham

Weeks at number 1: 2 (9-22 September)

Deaths:

Cricketer JW Hearne – 14 September
Geologist Arthur Holmes – 20 September 

182. The Rolling Stones – Little Red Rooster (1964)

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The Supremes’ sugar-coated soul of Baby Love was knocked from the top spot by something altogether more low down and dirty. The Rolling Stones’ second number 1 holds the distinction of being the only blues song to ever get to the top of the charts. That’s a testament to just how big the Rolling Stones were quickly becoming.

Little Red Rooster (originally The Red Rooster) is a blues standard credited to Willie Dixon. It did however share similarities with Charlie Patton’s Banty Rooster Blues from 1929 and If You See My Rooster (Please Run Him Home) by Memphis Minnie in 1936. It had first been recorded by one of the group’s heroes, Howlin’ Wolf, in 1961. Two years later soul singer Sam Cooke recorded a more poppy, uptempo version that was a hit stateside. At around this time, the American Folk Blues Festival, featuring Dixon and Howlin’ Wolf, was touring the UK, and among its attendees were future bandmates Mick Jagger, Keith Richards and Brian Jones.

Fast forward to 1964 and the Rolling Stones had just scored their first number 1 with Bobby Womack’s It’s All Over Now. Jagger and Richards were making tentative steps towards writing their own songs regularly, but were still in thrall to blues artists, particularly those on Chicago’s Chess Records. Lots of Delta blues made it on to their early material, but now they were planning to follow up It’s All Over Now with a faithful, uncommercial cover of Little Red Rooster. Producer and manager Andrew Loog Oldham wasn’t best pleased. Call it arrogance, call it a desire to put their money where their mouths were, but the UK’s biggest blues act went ahead and recorded it anyway.

Little Red Rooster was blues purist and multi-instrumentalist Brian Jones’s chance to shine. It’s him playing the bottleneck guitar that resembles a rooster crowing and a dog barking, and the harmonica, and you can’t help guessing that it was his idea to release it as a single. Bill Wyman later rightly said this song was one of Jones’s finest hours. Jagger is also on form, adding a typically louche, lazy air to proceedings. So much so, in fact, that the general belief is that the red rooster in question is in fact Mick singing about his cock. Which makes the fact this got to number 1 even more unbelievable. But then again, this was the year The House of the Rising Sun got to number 1 too, and the charts were increasingly becoming ‘anything goes’ territory. It was their last cover song to be released as a single in the 1960s. Jagger and Richards were about to rival Lennon and McCartney, and Jones’s importance would slowly diminish within the band.

Written by: Willie Dixon

Producer: Andrew Loog Oldham

Weeks at number 1: 1 (3-9 December)

Deaths:

Poet Edith Sitwell – 9 December

173. The Rolling Stones – It’s All Over Now (1964)

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The Rolling Stones have been old for so long now, it’s hard to imagine how dangerous they must have seemed in 1964. There had been a few rivals to the Beatles’ crown the previous year, but they all followed the same template of charming, always smiling, suit-wearing nice guys. The Animals had been different, and broken the mould with their folk-rock cover of The House of the Rising Sun, but when It’s All Over Now replaced it at number 1, the Rolling Stones became the new biggest threat to the Fab Four, despite the fact they were actually pretty good friends. Here were five long-haired rogues who were in thrall to the blues, who rarely posed for the cameras, who posed a threat to the morals of the older generation.

Mick Jagger and Keith Richards had been classmates in the early 1950s in Dartford, Kent, but the Jaggers moved five miles away to Wilmington in 1954. Soon after, Jagger formed a garage band with Dick Taylor, and in 1961, Jagger and Richards met again at Dartford railway station. Jagger was carrying Chuck Berry and Muddy Waters records, and the pair got talking about music. Soon after, the duo and Taylor teamed up with Alan Etherington and Bob Beckwith and became the Blues Boys. In March 1962 they read about Ealing Jazz Club and Alexis Korner’s R’n’B band Blues Incorporated. The following month they visited the venue and got to know members of the band, and slide guitarist Brian Jones and keyboardist Ian Stewart decided to form a new band with Jagger, Richards and Taylor. Drummer Tony Chapman is also believed to have been in the line-up for the band’s debut gig at London’s Marquee Club on 12 July. Brian Jones was pressed for a band name by a journalist over the phone beforehand, and he spotted a Muddy Waters LP on the floor. The debut gig saw them billed as the Rollin’ Stones, before they changed their name.

The Rolling Stones toured the UK, performing purely blues and R’n’B tunes by other artists. Bill Wyman replaced Taylor on bass that December, and in January 1963, drummer Charlie Watts jumped ship from Blues Incorporated to replace Chapman. The following month they secured a Sunday residency at the Crawdaddy Club. In May, Andrew Loog Oldham replaced Giorgio Gomelsky as their manager. Oldham had been a publicist for Joe Meek, Bob Dylan’s first UK tour, and even the Beatles. It was they who told him about this hot new blues band. Originally Oldham had the Stones mirror the image of the Beatles, but then wisely decided a contrast would make them stand out of the crowd, and he encouraged them to look threatening and uncouth. He also removed Stewart from the official line-up, deciding he didn’t fit with the image he wanted and that six was one member too many. Stewart remained as road manager and touring keyboardist and would stay with the band until his death in 1985.

Oldham got the Stones signed with Decca Records, who had famously declined the Beatles. Not only that, he arranged for high royalty rates and full artistic control. He appointed himself the band’s producer, despite having no experience, and they would record at Regent Sound Studios, which unlike Abbey Road was mono only. Low booking rates meant longer time in the studio. All this may explain why some of the best Rolling Stones recordings are of a poor fidelity when compared to the Beatles’ works.

Their debut single, a cover of Chuck Berry’s Come On peaked at number 21, despite their refusal to perform it live. The follow-up, I Wanna Be Your Man, was a Lennon and McCartney (mainly McCartney) original. The duo donated it to the Stones and even finished writing it for them while they looked on. It reached number 12. Personally I prefer the Beatles more poppy version, sang by Ringo Starr on With the Beatles, but their first single of 1964 Not Fade Away, originally by the Crickets, was a big improvement and reached number three. Jagger and Richards had begun to write songs together, but unlike Lennon and McCartney, this took time and wasn’t something they found naturally easy at first.

June 1964 saw the band tour the US for the first time. They didn’t exactly win over hearts and minds like the Beatles had done earlier that year. However, they did manage to record at the legendary Chess Studios in Chicago, and met many of their heroes, including Muddy Waters. A week or so earlier, New York DJ Murray the K, fresh from his successful interview with the Beatles, had featured the Stones on his show, and played them a track by the Valentinos called It’s All Over Now. The Valentinos were also known by the Womack Brothers, and were led by gifted singer-songwriter Bobby Womack before he went solo. Their single hadn’t been a hit, but the Stones enjoyed it and decided to have a go at it themselves. Years later, Womack revealed that when his producer Sam Cooke told him about the Rolling Stones’ plans, he had told Jagger to ‘get his own song’.

Some of the Stones’ early recordings are at times a little too raw for my liking, and occasionally they sound surprisingly lacking in confidence. It’s All Over Now, like Not Fade Away, sees the band becoming more assured in the studio. Maybe recording in such a hallowed building gave them the edge they had been searching for. They take the strident bounce of the original and give it a more ragged, menacing sound, and Jagger is really finding his feet in particular, sounding less like a man impersonating his blues heroes, and developing a cockiness. It may all be over now, but Jagger sounds like he really couldn’t give a shit. Richards and Jones’s backing vocals are enjoyable, and so is Richards’ lead guitar line. The only thing I’m not sure of is his guitar solo, and apparently Richards and Lennon felt the same. It sounds a bit messy and rushed, and like it’s been lifted from a completely different song.

The first of eight number 1s, It’s All Over Now established the band as a true 60s phenomenon in the UK, and saw them begin to make inroads in the US. Six months after its release, the tempestuous Womack received a royalty cheque. He told Cooke that Jagger could have any song of his he wanted.

Written by: Bobby & Shirley Womack

Producer: Andrew Loog Oldham

Weeks at number 1: 1 (16-22 July)

Births:

Actor Ross Kemp – 21 July
Actress Bonnie Langford – 22 July

Deaths:

Footballer John White – 21 July