The Stones are one of the world’s iconic rock bands, boasting an iconic sound, look, and public image that make up one of its hallmark characteristics. Their 1972 American tour became notoriously wild – documented in Robert Frank’s Cocksucker Blues documentary film.
Andrew Loog Oldham took over their management in 1963 and immediately encouraged them to write more original material and adopt a hard rock sound, leading them to have multiple hits such as “(I Can’t Get No) Satisfaction.”
The Early Years
The Stones began life as an obscure London student-bohemian band playing an obscure form of Chicago blues music in pubs and clubs around London. But soon they became second only to The Beatles among teenage Britain. While the former wore matching suits that appeared respectable while intimidating, while with long hair and looked intimidating – their tongue-and-lips logo instantly identifiable as a sign against establishment rebellion.
By the late 1960s, The Rolling Stones had established themselves as the bad boys of rock music; their concerts often caused enough trouble to lead to disorderly conduct citations from police. Their popularity helped fuel counterculture movement’s rising interest in communal living, music and drugs.
By the end of the decade, The Stones had returned to their blues-rock roots on Beggars Banquet album and its title track, “Jumpin’ Jack Flash”, followed by an unparalleled tour that made them rock’s premier touring attraction. Jagger was joined by multi-instrumentalist Brian Jones, guitarist Keith Richards and bassist Bill Wyman as the initial stable lineup of this legendary group.
The Glimmer Twins
The Stones have long been known for their wide-ranging musical tastes – from blues and American R&B, through disco and punk music, all the way up to disco dance music. But through it all their swagger never wavered.
Keith Richards awoke one morning in May 1965 with a musical motif running through his mind – this led to the composition of (I Can’t Get No) Satisfaction by The Rolling Stones that would eventually establish them as cultural icons alongside their rivals, The Beatles.
It marked one of the earliest uses of a guitar fuzz pedal and opened up new avenues of rock and roll music. Otis Redding and the Miracles both used it later and still revere it today; marking an important point in Jagger-Richards songwriting partnership known as Glimmer Twins.
The European Years
After an impressive tour in the United States, The Rolling Stones embark on their European summer trek, performing to packed stadiums across 14 shows that include their first concert in Liverpool since 1968 and two shows at London’s Hyde Park.
The tour kicks off in Sweden amid an anxious atmosphere. Security forces conduct extensive checks of 17 pieces of luggage brought along. Brian Jones remains shaken from his Redlands bust, so Scotland Yard seeks to break up his band. Compounding this issue with Anita’s departure as an influential member is making him difficult to manage effectively.
Under immense pressure, The Rolling Stones deliver an unforgettable performance at two shows in Warsaw that make history – this being the first time a Western rock band performs in an Eastern European country! Attending Soviet officials are shocked and pledged that such events “would never occur in Moscow!”
The American Years
The Rolling Stones had reached an enviable creative peak. Their recent releases of Beggars Banquet, Let It Bleed and Sticky Fingers quickly followed one another; Exile on Main Street followed in 1972 and they enjoyed tremendous touring success.
The band began exploring American blues by recording in esteemed studios such as Chess Studios in Chicago and RCA Studios in Los Angeles, and recording Howlin’ Wolf’s “Little Red Rooster,” reaching number one in both Britain and America before being banned due to sexually suggestive lyrics.
At this point, The Stones had further expanded their musical repertoire with releases like All Down the Line (psychedelic) and country-influenced It’s Only Rock ‘n’ Roll (UK number two; U.S. number one) albums as well as December’s Children (both UK number two; US number one). Furthermore, stage props like giant phallus or Jagger swung himself from above the audience were being utilized onstage more regularly.