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

255. The Crazy World of Arthur Brown – Fire (1968)

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‘I AM THE GOD OF HELLFIRE AND I BRING YOU…’ Yes, Tommy James and the Shondells’ stint at number 1 with the raunchy Mony Mony was interrupted briefly by the schlock-horror psychedelia of Fire. The Crazy World of Arthur Brown were only at the top of the charts for a week, but they gave us one of the most memorable one-hit wonders of all time.

Before he became the god of hell fire, he was plain Arthur Brown from the seaside town of Whitby, North Yorkshire. Pretty appropriate, considering its links to goth culture. Born in June 1942, he went to Roundhay Grammar School in Leeds, and then moved to London to attend the University of London and the University of Reading. While at the latter, he formed his first band, Blues and Brown, in 1965. The following year he moved to Paris, and while working on his theatrical skills, which later stood him in good stead, he recorded his first material – two songs for the movie adaptation of La Curée.

Around late 1966-early 1967 he returned to London, and was briefly a member of the Ramong Sound. The promising multi-racial R’n’B and soul group had run into a spot of bother when their frontman, Ramong Morrison, was imprisoned. Brown was suggested and he and Clem Curtis briefly fronted the band. However, Brown had already set up the Crazy World of Arthur Brown and soon left to concentrate on his fledgling group. The Ramong Sound morphed into the Foundations, and later that year they scored a number 1 with Baby, Now That I’ve Found You.

The Crazy World of Arthur Brown were Brown on vocals, Vincent Crane on Hammond organ and piano, Drachen Theaker on drums and Nick Greenwood on bass. Unusually, there was no guitarist. And unusual was what helped the Crazy World of Arthur Brown stand out in that first year. With his penchant for energetic, over-the-top performances and a dark operatic voice, Brown was a mesmeric frontman, with the band quickly becoming known as an antithesis to the day-glo flower power during the Summer of Love.  He began performing a song called Fire, and at the Windsor Festival he wore a collander on his head soaked in methanol. Not for the last time, the fuel poured over him by accident, and his head caught fire. For the acid-taking hippies, this must have been a hell (pardon the pun) of a sight. In addition to almost burning his face off, he would wear ghoulish make-up and occasionally perform naked. This was all a long way from the besuited Beatles or tuxedo-wearing easy listening stars of yesteryear, and really helped the band get noticed.

They signed with the ultra-hip Track Records, which had been founded by Kit Lambert and Chris Stamp, who managed the Who. The label was also home to the Jimi Hendrix Experience. Debut single Devil’s Grip is long forgotten and failed to chart, but in June 1968 they released their debut eponymous LP and Fire. Following memorable TV appearances, both rapidly climbed the charts.

Critics of Fire argue that that opening electrifying statement from Brown is the best part, and that the rest of the tune fails to live up to such drama. Maybe they have a point, but for me, Fire is a lot of fun and a song I never fail to enjoy. Crane’s organ riff might be cheesy, but I’ve always dug a good Hammond organ. One thing I will agree with from a critical persepctive is that the mono version is a little empty-sounding, not only is there no guitar, but there’s no bass either. Until researching this, I’d never heard the mono. The horns in the stereo mix add some much-needed beef to the production. Both versions also end very differently, with a weird lazer sound on the mono, whereas the stereo fades out with demonic wailing, trumpets and a primitive ‘fiery’ noise. Apparently, the brass and extra strings on the album came at the behest of US label Atlantic.

Originally credited to Brown and Crane, eventually Mike Finesilver and Peter Ker received songwriting credits due to the similarity to their long-forgotten track Baby, You’re a Long Way Behind. Interestingly, Ronnie Wood claimed a few years back to have played bass on Fire, but Brown believes he’s getting mixed up with helping out on a radio session version. I’d imagine Wood’s memory is a little muddy. The Who’s Pete Townshend received an executive production credit on the album, but nobody seems to know what that actually entails. Although I’ve yet to hear The Crazy World of Arthur Brown, I can recommend the track Spontaneous Apple Creation.

Once the influence of psychedelia faded from the charts, the novelty of Brown’s group quickly wore off with the general public. Brown was simply too weird to remain a popular star. Theaker had left the band in 1968 due to his fear of flying, and was replaced by Carl Palmer. Crane also left briefly and then returned, but in June 1969 The Crazy World of Arthur Brown disbanded, with Crane and Palmer forming Atomic Rooster. Palmer of course became a third of progressive rock supergroup Emerson, Lake & Palmer and later joined Asia.

Brown has retained a cult following ever since. He formed Kingdom Come in 1970, and continued to plough the same dark but camp psychedelic and progressive path. They appeared at Glastonbury Fayre in 1971, before splitting three years later. In 1975 Brown starred in the Who’s rock opera Tommy as ‘The Priest’. He released several solo albums before moving to Africa briefly.

In the 80s Brown moved to Austin, Texas and obtained a master’s degree in counselling. Imagine deciding you needed help and walking in to find Arthur Brown with a flaming collander on his head… ‘I AM THE GOD OF HELLFIRE AND I BRING YOU… THERAPY!’. Even stranger than that, he became a painter and carpenter along with Jimmy Carl Black from Mothers of Invention, and they recorded an album together called Brown, Black and Blue, released in 1988. 

The 90s saw the intro to Fire sampled on Essex rave outfit the Prodigy’s song of the same name in 1992. Brown collaborated with Iron Maiden’s Bruce Dickinson, as well as psychedelic indie-rockers Kula Shaker.

In the 21st century, Brown is still accidentally setting fire to himself, performing for his beloved hardcore fans. He also appeared in the Darkness’s video for Is It Just Me? in 2006, and in 2010 he returned to Glastonbury Festival. Now 76, later this year he will work with Carl Palmer once more, singing on his ELP Legacy tour.

It’s easy to poke affectionate fun at Brown, but he must have been an exciting and idiosyncratic presence on the charts in 1968. You cannot deny his influence on a wide range of flamboyant rock and pop stars either, including Alice Cooper, David Bowie, Peter Gabriel, George Clinton and Marilyn Manson. Let’s hope he sees out the rest of his years without a fire-related fatal incident.

Written by: Arthur Brown, Vincent Crane, Mike Finesilver & Peter Ker

Producer: Kit Lambert

Weeks at number 1: 1 (14-20 August)

Births:

Boxer Jane Couch – 14 August
Actor Adrian Lester – 14 August|
Actress Helen McCrory – 17 August

 

223. Small Faces – All or Nothing (1966)

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As the summer of 1966 drew to a close, Britain’s first Polaris submarine, HMS Revolution, was launched in Barrow-in-Furness, and two days later the Oberon-class submarine HMCS Okanagan was launched at Chatham Dockyard. It was the last ship to be built there. On 19 September, Scotland Yard arrested Ronald ‘Buster’ Edwards for his part in the Great Train Robbery of 1963.

The number 1 at the time was All or Nothing. This was the only chart-topper for east London mod rockers Small Faces, one of the best groups of the period, who had only formed a year previous.

Singer and guitarist Steve Marriott, born in East Ham, London in January 1947, came from a working class background. His father Bill was a dab hand on a pub piano, and he bought Steve a ukelele and harmonica. Marriott joined his first band, the Wheels, in 1959. He was a huge Buddy Holly fan, like so many at the time. In 1960, the 13-year-old joined the cast of Lionel Bart’s musical Oliver! as the Artful Dodger. One of his audition songs was Connie Francis’s number 1, Who’s Sorry Now? From 1961 he was gaining lots of work in television, film and radio, often typecast as a cheeky cockney lad. A family rift ensued when he decided to concentrate on music, and he moved away from home.

From 1963 onwards Marriott attempted solo success and fame with several bands, including the Frantiks (later the Moments) and the Checkpoints. By 1965 Marriott was working in a music shop when he first met Ronnie Lane, who came in looking for a bass guitar. The duo bonded and went back to Marriott’s to listen to records. they decided to form a band and Lane’s friends, drummer Kenney Jones and guitarist Jimmy Winston, who switched to the organ, as Marriott wanted to play and sing. Thanks largely to Marriott’s attention-grabbing, powerful vocal prowess and a strong bluesy sound, they quickly progressed from pub gigs to the club circuit and christened themselves Small Faces. Back then, a ‘face’ was a mod term, for special, cool bastards, and the quartet were all small in stature. It was the perfect name.

The Small Faces’ early sets were made up of US soul and R’n’B covers, all mod staples, and early compositions from Marriott and Lane. Singer Elkie Brooks was very impressed with Marriott’s stage presence, and thanks to her recommendation to an agent, the band started finding work outside of London. Their first gig in the north, at a working men’s club in Sheffield, went disastrously. They finished early and offered to play at a nearby mod club, King Mojo Club, owned by Peter Stringfellow. They went down a storm. Soon after they had a residency at Leicester Square’s Cavern Club, and among their support acts at the time were Sonny & Cher.

Around this time, Small Faces signed with the impressario Don Arden, who helped snag them a contract with Decca Records. Debut single, Whatcha Gonna Do About It, featured lyrics by Ian Samwell, a former member of the Drifters (later the Shadows), who was responsible for Cliff Richard’s legendary debut record, Move It. Although it reached the top 20, second release I’ve Got Mine bombed.

Winston chose to leave the group, according to Jones, because he started pushing to replace Marriott as star of the band. He was replaced by Ian MacLagan, another shortarse. They were back on track with their third single. The upbeat pop track Sha-La-La-La-Lee was written by Elvis songwriter Mort Shuman and British entertainer Kenny Lynch. Their debut, eponymous album also did well. They were gaining traction.

Marriott and Lane came up with fifth single All Or Nothing. According to Marriott’s mother Kay, her son’s lyrics were inspired by his split with his fiancee Sue Oliver. However, his first wife Jenny Rylance claimed he told her it was about her split from future Faces singer Rod Stewart.

For such small guys, this band could really make a racket. Opening with a fade-in of Jones’s drums, All Or Nothing is a great slice of mod power-pop, soul and rock. The riff has an appealing, plaintive, elegiac sound, and it’s that and Marriott’s stunning vocal that must have caught the public’s imagination. Some say the lyrics are dated and sexist, but to me it’s either simply a very young man who’s desperate to get his end away, or, digging deeper, the lyrics perhaps hint at the singer trying to persuade his lover to leave their partner for him, for good. However, it’s not Small Faces’ best single, and it surprises me that some of their other tracks couldn’t outdo it commercially.

After All Or Nothing toppled Eleanor Rigby/Yellow Submarine, they were one of the biggest bands in the country, but were unable to tour the US initially due to MacLagan’s recent drug conviction. By the end of 1966, they were still broke, and confronted manager and producer Arden over money. He tried to scare the parents of the band by telling them they were all on drugs. They left Arden and Decca and in 1967 they signed with Andrew Loog Oldham’s Immediate label. Their next single, Here Come the Nice, explicitly referred to drugs, yet performed well, and they released a second, eponymous album. Were they too stoned to come up with a name?

The next two singles are classics. Itchycoo Park, released during the ‘Summer of Love’, was full on lysergic pop, featuring flanging and an ecstatic chorus. Tin Soldier, released at the end of the year, took the sound of All or Nothing and outdid it, with PP Arnold bolstering a superior 60s rock anthem. Although Immediate released Lazy Sunday against their wishes in 1968, and many find it grating, I think it’s great, and Marriott unleashes his full-on cockney to great effect.

Also that year came the album that raises Small Faces reputation above that of a great singles band. Contained in a round replica antique tobacco tin, Ogden’s’ Nut Gone Flake was their psychedelic opus. The opening title track hints at what might have been if they’d stayed together and become a progressive rock act, and Afterglow and Song of a Baker are further great slabs of soul-rock. The second side is a surreal fairytale about Happiness Stan, narrated by Stanley Unwin (Spike Milligan having been the original choice).

Sadly, things began to fall apart, and the increasingly frustrated Marriott recorded most of their final official single, the folk-influenced The Universal, in his back garden, with his dogs barking in the background. He had got bored with pop, and he walked off stage that New year’s Eve, shouting ‘I quit!’.

Soon after, he announced he had formed a new supergroup, Humble Pie, featuring guitarist Peter Frampton, who went on to great success. Meanwhile, the remaining trio teamed up with Rod Stewart and Ronnie Lane from the Jeff Beck Group and became, simply, Faces. Treading further down the ‘lad rock’ path that Marriott wanted no part of, they became one of the biggest acts of the early 70s, thanks to hits such as Stay with Me and Ooh La La, and also made a megastar of Rod Stewart.

Once Faces broke up in 1975, Small Faces resumed with the classic line-up. Sadly they didn’t last long. Lane was beginning to show signs of multiple sclerosis, but the other three thought he had a drink problem. Former Roxy Music bassist Rick Mills soon replaced him. Two albums – Playmates in 1977 and 78 In the Shade a year later, but the magic was gone. This final album also featured Jimmy McCulloch, who had recently left Wings. The following year he sadly died from a heroin overdose.

Upon the Small Faces’ split, Kenney Jones joined the Who to fill the huge hole left after Keith Moon’s death. He stayed with them until the late-80s. In 2001, he worked with Wills once more in his own group, the Jones Gang. MacLagan toured with top artists including Bob Dylan and the Rolling Stones, now featuring former Faces’ bandmate Ronnie Wood. He died from a stroke in 2014. Lane’s MS curtailed his musical output, but he battled on until 1997. Marriott had reformed Humble Pie in 1980, but went solo in 1982. In 1991 he tragically died in his sleep when a lit cigarette set fire to his house. All or Nothing was played as the requiem at his funeral.

Despite their brief time together, Small Faces burnt bright and went on to influence the Jam in the 70s and many Britpop groups in the mid-90s. It’s a shame they split just as things were getting really interesting. Marriott is much underrated, and is up there with rock giants like Robert Plant. They seem to have fallen out of fashion again since, which is a great shame. I’m sure their time will come again.

Written by: Steve Marriott & Ronnie Lane

Producer: Don Arden

Weeks at number 1: 1 (15-21 September)