1
00:00:00,200 --> 00:00:03,720
Speaker 1: Stone's Touring Party is a production of iHeartRadio.

2
00:00:04,960 --> 00:00:09,680
Speaker 2: Welcome to Hollywood. It's May nineteen seventy two. The Rolling

3
00:00:09,720 --> 00:00:12,280
Speaker 2: Stones tool up and down the Sunset Strip in their

4
00:00:12,280 --> 00:00:20,480
Speaker 2: big black Mercedes limousine, a not uncommon occurrence. The radio

5
00:00:20,560 --> 00:00:24,640
Speaker 2: blasts their new song, Tumbling Dice. This is impressive considering

6
00:00:24,680 --> 00:00:28,400
Speaker 2: the song wasn't technically released yet, but Mick Jagger and

7
00:00:28,480 --> 00:00:30,760
Speaker 2: Keith Richards had wanted to hear what it sounded like

8
00:00:30,800 --> 00:00:34,040
Speaker 2: on this the primary medium for music discovery in the

9
00:00:34,040 --> 00:00:39,560
Speaker 2: early seventies, FM bantwaves after months obsessing over every single

10
00:00:39,720 --> 00:00:42,879
Speaker 2: sound on their new record, Exile on Main Street. They

11
00:00:42,920 --> 00:00:45,040
Speaker 2: were well aware that most people would first hear the

12
00:00:45,120 --> 00:00:48,240
Speaker 2: lead single in their cars attuned to their favorite station.

13
00:00:49,240 --> 00:00:52,320
Speaker 2: This was, after all, the fruits of their very laborious

14
00:00:52,400 --> 00:00:55,840
Speaker 2: labors that have begun in France one year earlier. First

15
00:00:55,840 --> 00:00:59,960
Speaker 2: impressions were important in the seventies. Singles lived or died

16
00:01:00,160 --> 00:01:03,120
Speaker 2: by the radio. If it sounded good on crappy mono

17
00:01:03,200 --> 00:01:08,080
Speaker 2: car speakers, it would sound good on anything. Brian Wilson

18
00:01:08,120 --> 00:01:10,800
Speaker 2: had a similar test when assembling final mixes for his

19
00:01:10,880 --> 00:01:13,720
Speaker 2: Beach Boys hits in the mid sixties. So did Barry

20
00:01:13,760 --> 00:01:17,200
Speaker 2: Gordy and the quality control squad at Motown. But those

21
00:01:17,280 --> 00:01:19,520
Speaker 2: guys just rigged up a car speaker in a conference

22
00:01:19,600 --> 00:01:22,760
Speaker 2: room and took a listen. The Stones went one step

23
00:01:22,800 --> 00:01:25,559
Speaker 2: further by actually taking their rough mixes to a local

24
00:01:25,600 --> 00:01:28,680
Speaker 2: station and persuading the stun DJ to give it a spin.

25
00:01:29,520 --> 00:01:32,920
Speaker 2: In truth, very little persuasion was needed, and so when

26
00:01:32,920 --> 00:01:35,759
Speaker 2: the Stones wanted to hear their playbacks, the whole city

27
00:01:35,880 --> 00:01:39,880
Speaker 2: knew it. The band always had a special relationship with

28
00:01:39,959 --> 00:01:43,160
Speaker 2: Los Angeles. Well, it may be is Neil Young once

29
00:01:43,200 --> 00:01:46,440
Speaker 2: sang an uptight city in the smog La has also

30
00:01:46,520 --> 00:01:49,400
Speaker 2: always been a Stones town as far back as the

31
00:01:49,400 --> 00:01:52,640
Speaker 2: band's first tour of America in nineteen sixty four. The

32
00:01:52,640 --> 00:01:55,640
Speaker 2: city of Falling Angels has always welcomed the Rolling Stones

33
00:01:55,640 --> 00:01:59,040
Speaker 2: as one of their own hell They're recorded satisfaction here,

34
00:02:00,040 --> 00:02:03,240
Speaker 2: with a hip underground deaf m radio stations constantly blasting

35
00:02:03,280 --> 00:02:06,360
Speaker 2: the Stones. Their music has literally become the soundtrack of

36
00:02:06,400 --> 00:02:09,280
Speaker 2: the city, and so is most definitely here that the

37
00:02:09,280 --> 00:02:15,840
Speaker 2: Stones belong. Technically, however, there's still an exile, although of

38
00:02:15,880 --> 00:02:20,800
Speaker 2: a native speaker, rough approximation of the English language and cocaine,

39
00:02:20,880 --> 00:02:23,800
Speaker 2: which soon becomes the drug of choice is the excruciating

40
00:02:23,840 --> 00:02:27,240
Speaker 2: process of mixing the album begins. It's much easier to

41
00:02:27,240 --> 00:02:30,000
Speaker 2: procure here in southern California than it was in the

42
00:02:30,040 --> 00:02:33,919
Speaker 2: south of France. LA doesn't feel like home, But then

43
00:02:34,639 --> 00:02:37,359
Speaker 2: for those who were born and raised in England, how

44
00:02:37,440 --> 00:02:41,280
Speaker 2: could it? Those words come courtesy of legendary rock journalist

45
00:02:41,400 --> 00:02:45,720
Speaker 2: Robert Greenfield. The previous June, he'd spent several weeks at Villeneka,

46
00:02:46,160 --> 00:02:49,000
Speaker 2: Keith Richard's rented home in southern France, where the band

47
00:02:49,080 --> 00:02:52,760
Speaker 2: were living as tax exiles. He chronicled the experience and

48
00:02:52,800 --> 00:02:55,920
Speaker 2: a cover story for Rolling Stone Magazine, which he later

49
00:02:55,960 --> 00:02:59,280
Speaker 2: expanded into the book Exile on Main Street, A Season

50
00:02:59,280 --> 00:03:02,640
Speaker 2: in Hell with the Rolling Stones. At the time, the

51
00:03:02,680 --> 00:03:06,000
Speaker 2: bands were just beginning sessions for their gritty double Discopus,

52
00:03:06,240 --> 00:03:10,600
Speaker 2: Born of Decadence and Depravity in Keith's sweltering basement. Now

53
00:03:10,639 --> 00:03:13,880
Speaker 2: they doubled down on both by decamping to Hollywood, where

54
00:03:13,919 --> 00:03:17,160
Speaker 2: Greenfield cross passed with them again shortly before the STP

55
00:03:17,360 --> 00:03:20,919
Speaker 2: tour was due to kick off. Preparations were well underway

56
00:03:20,919 --> 00:03:23,359
Speaker 2: for the biggest rock production the world had ever known,

57
00:03:24,080 --> 00:03:26,320
Speaker 2: but before they could hit the road, they needed to

58
00:03:26,360 --> 00:03:28,880
Speaker 2: actually finish the album they were supposed to be promoting.

59
00:03:29,880 --> 00:03:33,840
Speaker 2: This task was complicated by the perfectionistreak and the blizzard

60
00:03:33,840 --> 00:03:38,720
Speaker 2: of cocaine. Also, Keith's crippling heroin addiction threatened the tour

61
00:03:39,280 --> 00:03:42,480
Speaker 2: and his life. In addition to Greenfield and has never

62
00:03:42,520 --> 00:03:45,520
Speaker 2: before heard tapes of the Stones in their seventies exile,

63
00:03:45,720 --> 00:03:48,520
Speaker 2: Eric Glory, will also be joined by his friend and

64
00:03:48,560 --> 00:03:52,560
Speaker 2: fellow STP tour mate Gary Stromberg, the band's pr sprimo,

65
00:03:52,640 --> 00:03:56,760
Speaker 2: who's represented a whole jukebox of the twentieth century's greatest artists.

66
00:03:57,360 --> 00:04:00,320
Speaker 2: My name's Jordan Runtogg and this is the Stone Owns

67
00:04:00,320 --> 00:04:07,840
Speaker 2: touring party. At the end of nineteen seventy one, the

68
00:04:07,880 --> 00:04:10,840
Speaker 2: Stones had traded the faded glamour of the French Riviera

69
00:04:11,240 --> 00:04:14,640
Speaker 2: for the faded glamour of old Hollywood. They settled in

70
00:04:14,640 --> 00:04:18,080
Speaker 2: the so called Golden Triangle of ultra rich la hillside

71
00:04:18,200 --> 00:04:22,080
Speaker 2: enclaves that included Beverly Hills, bel Air and Holmby Hills.

72
00:04:22,960 --> 00:04:25,400
Speaker 2: Daily life there doesn't hold a candle to the debauched

73
00:04:25,480 --> 00:04:27,919
Speaker 2: madness they just left behind in the south of France,

74
00:04:28,279 --> 00:04:31,600
Speaker 2: but you could hardly call it ordinary. Mick his new

75
00:04:31,640 --> 00:04:34,960
Speaker 2: wife Bianca, and their baby daughter Jade, are ensconced in

76
00:04:35,000 --> 00:04:38,719
Speaker 2: a thirty room mansion that had formerly belonged to Marion Davies,

77
00:04:39,000 --> 00:04:42,599
Speaker 2: the silent film star and longtime mistress of newspaper Psion

78
00:04:42,720 --> 00:04:47,240
Speaker 2: William Randolph Hurst. For listeners seeking a visual, imagine the

79
00:04:47,279 --> 00:04:50,040
Speaker 2: Home and The Godfather, where the studio executive wakes up

80
00:04:50,040 --> 00:04:53,279
Speaker 2: with a horsehead in his bed. It's the same place.

81
00:04:55,920 --> 00:05:00,839
Speaker 2: The vibe is southern California Gothic, and the atmosphere is spooky.

82
00:05:02,000 --> 00:05:05,520
Speaker 2: Paths choked with vines and underbrush lead past an artificial

83
00:05:05,560 --> 00:05:09,480
Speaker 2: waterfall that was long gone dry. There's barely any sign

84
00:05:09,560 --> 00:05:13,080
Speaker 2: of human life. The only sound around is the whisper

85
00:05:13,080 --> 00:05:22,440
Speaker 2: of a sprinkler outside. Needless to say, it made an

86
00:05:22,440 --> 00:05:25,400
Speaker 2: impression on Robert Greenfield when he came to interview Mick.

87
00:05:26,279 --> 00:05:30,000
Speaker 3: It's right out of Sunset Boulevard. You know, the pool

88
00:05:30,200 --> 00:05:33,000
Speaker 3: had the leaves in it and hadn't been cleaned. I mean,

89
00:05:33,040 --> 00:05:36,560
Speaker 3: we were like in a deserted mansion, right. Tool was

90
00:05:36,680 --> 00:05:40,320
Speaker 3: funky and it was just him and Bianca man and

91
00:05:40,360 --> 00:05:43,560
Speaker 3: then Keith living in a completely different way with Anita

92
00:05:43,720 --> 00:05:44,680
Speaker 3: usually pregnant.

93
00:05:45,160 --> 00:05:48,160
Speaker 2: He loved it. He was happy Keith and his partner

94
00:05:48,160 --> 00:05:50,760
Speaker 2: Anita Pallenberg were holed up a short drive away on

95
00:05:50,880 --> 00:05:54,760
Speaker 2: Stone Canyon Road with their young son Marlin. Their departure

96
00:05:54,760 --> 00:05:58,280
Speaker 2: from France had been, to put it mildly stressful. The

97
00:05:58,279 --> 00:06:01,880
Speaker 2: French authorities, having noticed the disturbing number of known drug

98
00:06:01,920 --> 00:06:05,280
Speaker 2: dealers who frequented Villain Nelcott, began to suspect Keith of

99
00:06:05,360 --> 00:06:08,440
Speaker 2: drug trafficking in addition to a host of other crimes,

100
00:06:08,480 --> 00:06:11,279
Speaker 2: both real and imagined. In the end, he was more

101
00:06:11,400 --> 00:06:14,000
Speaker 2: or less forced to flee the country before the law closed.

102
00:06:14,000 --> 00:06:18,200
Speaker 2: In Hollywood, no doubt, proved a welcome refuge. But according

103
00:06:18,240 --> 00:06:21,080
Speaker 2: to Greenfield, the paul that hung over the last days

104
00:06:21,080 --> 00:06:23,119
Speaker 2: in France followed them to their new home.

105
00:06:23,640 --> 00:06:25,800
Speaker 3: Now they come to La and I was with them

106
00:06:26,080 --> 00:06:28,839
Speaker 3: in La. I mean this is of interest to me

107
00:06:29,000 --> 00:06:31,520
Speaker 3: in terms of their out touring this album.

108
00:06:32,440 --> 00:06:33,200
Speaker 2: And I'll say it.

109
00:06:33,400 --> 00:06:36,839
Speaker 3: You'll know it had a lot of darkness in that album, man,

110
00:06:37,160 --> 00:06:39,520
Speaker 3: you know, darkness on the edge of town. There's a

111
00:06:39,680 --> 00:06:43,240
Speaker 3: lot of darkness in that album. And it wasn't just

112
00:06:43,320 --> 00:06:45,920
Speaker 3: in the recording at Nelcutt. It was even in La.

113
00:06:47,440 --> 00:06:50,320
Speaker 2: They settled in the Sunset Sound Studios that December to

114
00:06:50,360 --> 00:06:53,640
Speaker 2: polish up the ragged nelcut tracks with fresh vocals and

115
00:06:53,680 --> 00:06:56,839
Speaker 2: a host of overdubs from first rate Hollywood session players

116
00:06:56,880 --> 00:07:00,440
Speaker 2: like Billy Preston and Doctor John. It was here the

117
00:07:00,520 --> 00:07:03,040
Speaker 2: Keith's reign as the chaotic commander of the exile on

118
00:07:03,080 --> 00:07:06,440
Speaker 2: mainStreet sessions came to an end, as Jagger reclaimed his

119
00:07:06,520 --> 00:07:09,279
Speaker 2: usual role as first stone and shepherd of the songs

120
00:07:09,320 --> 00:07:13,280
Speaker 2: through to completion. Partially this was because Mick was better

121
00:07:13,320 --> 00:07:16,880
Speaker 2: suited to the business of refining, with his organizational skills

122
00:07:16,920 --> 00:07:20,160
Speaker 2: and analytical mind honed by a blizzard of white powder.

123
00:07:20,680 --> 00:07:24,560
Speaker 2: But also Keith's heroin addiction continued to worsen, and by

124
00:07:24,600 --> 00:07:27,560
Speaker 2: the time final mixes were being assembled in March nineteen

125
00:07:27,640 --> 00:07:31,120
Speaker 2: seventy two, he'd flown to a drug treatment center in Switzerland.

126
00:07:32,120 --> 00:07:34,800
Speaker 2: This was for the best, both for obvious reasons and

127
00:07:35,080 --> 00:07:37,840
Speaker 2: also because the album might never have been finished otherwise.

128
00:07:39,120 --> 00:07:42,360
Speaker 2: Mick and Keith's mixing process when something like this. The

129
00:07:42,400 --> 00:07:44,640
Speaker 2: pair chose a song they liked, then chose the take

130
00:07:44,720 --> 00:07:47,760
Speaker 2: they liked, and then they each did a mix. Then

131
00:07:47,800 --> 00:07:50,160
Speaker 2: they'd fight over which one was the best. With producer

132
00:07:50,240 --> 00:07:54,080
Speaker 2: Jimmy Miller and engineer Andy Johns acting as referees. These

133
00:07:54,120 --> 00:07:58,520
Speaker 2: fights could be brutal, sometimes lasting for days or even weeks. Then,

134
00:07:58,720 --> 00:08:02,280
Speaker 2: when the dust settled, repeat the process.

135
00:08:03,440 --> 00:08:07,000
Speaker 3: Exiler mainStreet is an album made under the influence of

136
00:08:07,040 --> 00:08:10,480
Speaker 3: heroin and mixed under the influence of cocaine. They mixed

137
00:08:10,520 --> 00:08:13,000
Speaker 3: for months. That's when they would go nuts. I mean,

138
00:08:13,040 --> 00:08:16,080
Speaker 3: that's when Keith and micked it. Another part of their genius.

139
00:08:16,120 --> 00:08:19,080
Speaker 3: I mean the way these guys could hear listening to

140
00:08:19,160 --> 00:08:23,080
Speaker 3: something they had heard ten million times and still not

141
00:08:23,320 --> 00:08:29,920
Speaker 3: satisfied the level of depth, perception, orally wanting it to

142
00:08:29,960 --> 00:08:33,880
Speaker 3: be perfect. Nobody gets this about them, you know, the

143
00:08:33,960 --> 00:08:35,680
Speaker 3: level of craft that they had.

144
00:08:35,760 --> 00:08:40,320
Speaker 2: In some cases, they would call through fifteen or even

145
00:08:40,400 --> 00:08:43,920
Speaker 2: twenty five hours of material just for one song, as

146
00:08:43,960 --> 00:08:46,560
Speaker 2: Mick and Keith tried in vain to determine which was

147
00:08:46,600 --> 00:08:51,080
Speaker 2: the perfect performance. Once as the deadline loomed, they stayed

148
00:08:51,120 --> 00:08:54,319
Speaker 2: awake for some thirty one hours straight to remix everything

149
00:08:54,360 --> 00:08:58,440
Speaker 2: from scratch. For Charlie Watts, the effort was worth the results.

150
00:08:59,120 --> 00:09:02,040
Speaker 2: Here he is talking the Robert Greenfield in nineteen seventy three,

151
00:09:02,600 --> 00:09:05,400
Speaker 2: courtesy of the Northwestern University Archives.

152
00:09:05,640 --> 00:09:07,360
Speaker 4: Making records is real work.

153
00:09:08,760 --> 00:09:11,600
Speaker 5: It's not much Joe, Well, oh, it's great joy because

154
00:09:11,800 --> 00:09:13,520
Speaker 5: you know you can hear it back and it's just

155
00:09:14,160 --> 00:09:14,880
Speaker 5: right perfection.

156
00:09:15,840 --> 00:09:19,120
Speaker 2: But Bill Wyman was painfully aware of the economic costs

157
00:09:19,160 --> 00:09:20,600
Speaker 2: as well as the psychic ones.

158
00:09:21,200 --> 00:09:22,920
Speaker 4: But we have enormous over its.

159
00:09:22,960 --> 00:09:25,199
Speaker 6: I'm making records because we spend so much time and

160
00:09:25,280 --> 00:09:28,120
Speaker 6: travel in every single No, if there's one note wrong,

161
00:09:28,320 --> 00:09:29,000
Speaker 6: we won't do it.

162
00:09:29,640 --> 00:09:32,640
Speaker 3: And they could never get the mix right on Tumbling Dice.

163
00:09:33,000 --> 00:09:36,760
Speaker 3: They kept remixing it. I was in the studio with them,

164
00:09:36,760 --> 00:09:39,959
Speaker 3: and you know, the famous mixing wants to snares the crap.

165
00:09:40,559 --> 00:09:43,319
Speaker 3: You know, it just sounds like that's spins lids, that

166
00:09:43,440 --> 00:09:48,079
Speaker 3: spin lids, you know, like, dude, the indist expression is

167
00:09:48,160 --> 00:09:50,560
Speaker 3: gano enough already?

168
00:09:50,600 --> 00:09:50,800
Speaker 7: Man.

169
00:09:51,480 --> 00:09:54,040
Speaker 2: One day they found themselves at an impasse over which

170
00:09:54,080 --> 00:09:56,880
Speaker 2: song to pick as a single. Mick thought all down

171
00:09:56,920 --> 00:10:00,960
Speaker 2: the line had chart potential, but engineer Andy John's he

172
00:10:01,080 --> 00:10:03,840
Speaker 2: just couldn't hear it on the radio. Well do you

173
00:10:03,840 --> 00:10:06,439
Speaker 2: want to hear it on the radio, Mick asked, As

174
00:10:06,480 --> 00:10:08,760
Speaker 2: was so often the case. The Stones knew a guy,

175
00:10:09,240 --> 00:10:11,560
Speaker 2: so they piled into their limos and took off down

176
00:10:11,559 --> 00:10:12,480
Speaker 2: the Sunset Strip.

177
00:10:12,800 --> 00:10:15,120
Speaker 3: They took it to a radio station, so they could

178
00:10:15,160 --> 00:10:18,120
Speaker 3: sit outside in the limo and just think. This is

179
00:10:18,160 --> 00:10:20,840
Speaker 3: the point. They wanted to know how it would sound

180
00:10:21,480 --> 00:10:27,000
Speaker 3: on a car radio. I don't know who came up

181
00:10:27,000 --> 00:10:29,760
Speaker 3: to I think Mick or Keith the guy would have

182
00:10:29,760 --> 00:10:31,080
Speaker 3: been honored to play the mix.

183
00:10:40,080 --> 00:10:42,400
Speaker 2: A consensus still hadn't been reached by the time the

184
00:10:42,440 --> 00:10:45,120
Speaker 2: song was over, so they called up the station and

185
00:10:45,160 --> 00:10:49,280
Speaker 2: had them played again. Just any band can listen to

186
00:10:49,280 --> 00:10:52,760
Speaker 2: playbacks on the radio. The Stone's arrival in town had

187
00:10:52,920 --> 00:10:56,280
Speaker 2: LA station managers falling all over themselves to curry favor.

188
00:10:56,840 --> 00:10:59,800
Speaker 2: Doing the band a solid by broadcasting an unreleased track

189
00:11:00,440 --> 00:11:02,040
Speaker 2: seemed like a win win for everyone.

190
00:11:06,080 --> 00:11:08,439
Speaker 3: Here's the way it worked back then, km E T

191
00:11:09,040 --> 00:11:14,400
Speaker 3: and KOs. You had two hip, not underground SMA station

192
00:11:14,520 --> 00:11:19,400
Speaker 3: progressive playing albums, playing the Stones. The Stones are in

193
00:11:19,520 --> 00:11:23,040
Speaker 3: LA and we're competing with another station. We're going to

194
00:11:23,080 --> 00:11:26,240
Speaker 3: play more Stones than they do. Believe me, they were sensitive.

195
00:11:26,440 --> 00:11:27,600
Speaker 3: They listened to the radio.

196
00:11:28,040 --> 00:11:31,079
Speaker 2: The Stones needed the radio arguably more than the radio

197
00:11:31,160 --> 00:11:35,080
Speaker 2: needed the Stones. For pr Supremo Gary Stromberg, it was

198
00:11:35,120 --> 00:11:37,280
Speaker 2: a crucial tool in breaking new songs.

199
00:11:38,080 --> 00:11:41,520
Speaker 8: FM stations had just come into popularity in the late sixties,

200
00:11:42,040 --> 00:11:44,720
Speaker 8: in terms of the ability to promote careers and the

201
00:11:44,760 --> 00:11:47,800
Speaker 8: way it was. Part of the business that I had

202
00:11:47,960 --> 00:11:50,440
Speaker 8: was that it was record promotion and the way you

203
00:11:50,480 --> 00:11:55,280
Speaker 8: could get albums played because the AM stations were only

204
00:11:55,320 --> 00:11:58,520
Speaker 8: playing three minute singles. The way you promoted albums was

205
00:11:58,559 --> 00:12:00,880
Speaker 8: you could go to these FM stations and you could

206
00:12:01,240 --> 00:12:03,559
Speaker 8: bring that whoever was the dis jockey at the time,

207
00:12:04,080 --> 00:12:07,840
Speaker 8: whatever drug that h his preference, and you could take over.

208
00:12:08,200 --> 00:12:10,520
Speaker 8: I mean I would literally sit with dis jockeys on

209
00:12:10,679 --> 00:12:13,959
Speaker 8: KMET and k LOS. I won't name names, but if

210
00:12:14,000 --> 00:12:16,360
Speaker 8: you walked out there with a good enough amount of cocaine,

211
00:12:16,400 --> 00:12:18,440
Speaker 8: they would just let you play whatever you want and

212
00:12:18,480 --> 00:12:20,120
Speaker 8: there was no time limits. You know, you could play

213
00:12:20,120 --> 00:12:23,280
Speaker 8: an whole album if you kept providing drugs. So I've

214
00:12:23,440 --> 00:12:27,720
Speaker 8: launched a lot of artists careers on FM radio thanks.

215
00:12:27,440 --> 00:12:29,600
Speaker 9: To my good quality cocaine.

216
00:12:30,800 --> 00:12:32,839
Speaker 2: But at the moment, the Stones didn't have an album

217
00:12:32,880 --> 00:12:36,000
Speaker 2: to promote. Six weeks before the American tour was due

218
00:12:36,000 --> 00:12:39,360
Speaker 2: to kick off, Excell on Main Street was still incomplete.

219
00:12:40,240 --> 00:12:42,959
Speaker 2: Mick and Keith remains mired in the mixing, listening to

220
00:12:43,160 --> 00:12:45,920
Speaker 2: endless versions of the songs they'd heard literally a thousand

221
00:12:46,000 --> 00:12:49,719
Speaker 2: times with the deadline way in the rearview mirror and

222
00:12:49,800 --> 00:12:52,800
Speaker 2: Atlantic Records chief ahm at Urtigan breathing down his neck.

223
00:12:53,200 --> 00:12:55,959
Speaker 2: Rolling Stone Records president Marshall Chess was about to have

224
00:12:56,040 --> 00:12:59,840
Speaker 2: a coronary. His father, Leonard, had co founded Chess Records,

225
00:13:00,040 --> 00:13:02,760
Speaker 2: the legendary Chicago R and B label where the likes

226
00:13:02,800 --> 00:13:05,400
Speaker 2: of Chuck Berry and Bo Diddley cut three sides in

227
00:13:05,440 --> 00:13:08,760
Speaker 2: three hours. These guys were taking weeks just to mix

228
00:13:08,840 --> 00:13:12,360
Speaker 2: one song. It just didn't compute. I mean they were late.

229
00:13:12,960 --> 00:13:17,640
Speaker 2: This is like Dude Tour started mid June. This is

230
00:13:18,040 --> 00:13:21,120
Speaker 2: like second weekend May. The album's not pressed yet. They

231
00:13:21,240 --> 00:13:22,400
Speaker 2: wouldn't let go.

232
00:13:23,080 --> 00:13:26,880
Speaker 3: Okay, So now we're sitting in this living room, Andy Johns,

233
00:13:26,960 --> 00:13:33,760
Speaker 3: Keith Mick, Bob Marshall, they play it. It's like I

234
00:13:33,880 --> 00:13:36,920
Speaker 3: heard it and this sounds the same to me. I can't.

235
00:13:37,120 --> 00:13:40,240
Speaker 3: I don't have those kind of years. And after it's

236
00:13:40,240 --> 00:13:42,920
Speaker 3: the same deal. Like Mix says, yeah, if you just so,

237
00:13:42,960 --> 00:13:44,679
Speaker 3: here's what we need to do, and he gives Andy

238
00:13:44,800 --> 00:13:47,320
Speaker 3: like a shopping list, you know, like just turn this

239
00:13:47,480 --> 00:13:50,560
Speaker 3: down and you know that track we want, and Marshall

240
00:13:50,600 --> 00:13:54,800
Speaker 3: says something like lunatics. He just says it kind of

241
00:13:54,840 --> 00:13:58,760
Speaker 3: to him say, it's like he has no control over them.

242
00:13:59,160 --> 00:14:03,160
Speaker 3: He's under pressure like crazy from Ahmed Ahmitt went to

243
00:14:03,200 --> 00:14:08,560
Speaker 3: Marshall's bar Mitzvah. Marshall's known Omeda's whole life. Am It's

244
00:14:08,640 --> 00:14:11,000
Speaker 3: losing his mind in New York Atlantic's hole.

245
00:14:11,360 --> 00:14:12,880
Speaker 2: You know this is it. It's a big.

246
00:14:12,720 --> 00:14:17,200
Speaker 3: Release and this was on a Saturday and Marshall listened

247
00:14:17,200 --> 00:14:21,240
Speaker 3: to this old school flew to New York on Monday

248
00:14:22,040 --> 00:14:26,800
Speaker 3: with the Masters with the final track. And they must

249
00:14:26,880 --> 00:14:30,400
Speaker 3: have gone crazy into production because the album was out,

250
00:14:30,600 --> 00:14:34,760
Speaker 3: you know, once the tour began. And maybe maybe it

251
00:14:34,840 --> 00:14:37,960
Speaker 3: was earlier in May, but it was way beyond any

252
00:14:38,120 --> 00:14:39,520
Speaker 3: kind of sane deadline.

253
00:14:41,680 --> 00:14:45,320
Speaker 2: Released in early May nineteen seventy two, Exile on Main

254
00:14:45,360 --> 00:14:48,280
Speaker 2: Street was certified gold in the US within two days

255
00:14:48,280 --> 00:14:51,120
Speaker 2: of hitting shelves and quickly reached the top spot on

256
00:14:51,240 --> 00:14:53,840
Speaker 2: charts all over the world. This was typical to the

257
00:14:53,880 --> 00:14:57,280
Speaker 2: point of tedious as far as the Stones were concerned. However,

258
00:14:57,360 --> 00:15:01,400
Speaker 2: the bewilderment agreed the album was something new instead of melody.

259
00:15:01,800 --> 00:15:04,800
Speaker 2: Exile in Main Street deals in mood and the moods

260
00:15:04,800 --> 00:15:08,800
Speaker 2: decidedly bad. Weariness seemed etched into the grooves as the

261
00:15:08,840 --> 00:15:13,080
Speaker 2: band grappled with their literal and metaphysical exile. For fans

262
00:15:13,120 --> 00:15:15,280
Speaker 2: who'd looked to the Stones to provide a soundtrack to

263
00:15:15,320 --> 00:15:17,720
Speaker 2: their lives for the better part of a decade, it

264
00:15:17,800 --> 00:15:20,680
Speaker 2: was difficult to relate. These people hadn't spent a summer

265
00:15:20,720 --> 00:15:22,920
Speaker 2: living in the south of France as a tax dodge,

266
00:15:23,440 --> 00:15:27,160
Speaker 2: Heroin hadn't yet become shockingly prevalent on the streets, and

267
00:15:27,320 --> 00:15:30,360
Speaker 2: with watergates still a few months on the horizon, generational

268
00:15:30,400 --> 00:15:34,280
Speaker 2: malaise hadn't yet gone mainstream. The songs spread across the

269
00:15:34,320 --> 00:15:37,920
Speaker 2: sprawling double disc were dispatches from the abyss about as

270
00:15:37,960 --> 00:15:40,880
Speaker 2: welcoming as a long path leading into a dark forest

271
00:15:40,880 --> 00:15:44,280
Speaker 2: at dusk. In short, it doesn't exactly grab you off

272
00:15:44,320 --> 00:15:47,280
Speaker 2: the bat. Instead, it demands to be taken as a

273
00:15:47,320 --> 00:15:51,600
Speaker 2: total experience rather than a series of songs. Perhaps because

274
00:15:51,600 --> 00:15:54,680
Speaker 2: of this, the lead single, Tumbling Dice, underperformed on the

275
00:15:54,760 --> 00:15:59,800
Speaker 2: hit parade, despite their fastidious radio testing. Today, Exile and

276
00:15:59,800 --> 00:16:02,760
Speaker 2: Mass place in the pantheon of rock classics as well

277
00:16:02,800 --> 00:16:06,240
Speaker 2: as Sure Look. Back in nineteen seventy two, no one

278
00:16:06,240 --> 00:16:14,800
Speaker 2: seemed sure if it was a masterpiece or a mess.

279
00:16:12,840 --> 00:16:15,720
Speaker 3: I recently had a conversation where I was informed that

280
00:16:15,800 --> 00:16:19,440
Speaker 3: it was more critically praised than I thought. But I

281
00:16:19,600 --> 00:16:23,040
Speaker 3: found my recollection as people were confused by it as

282
00:16:23,080 --> 00:16:28,000
Speaker 3: an album. The album may have sold, but it wasn't

283
00:16:28,400 --> 00:16:32,239
Speaker 3: the masterpiece that it has since become. I have witnessed

284
00:16:32,240 --> 00:16:37,680
Speaker 3: this incredible phenomenon that later generations chose to embrace this

285
00:16:38,400 --> 00:16:41,680
Speaker 3: as The Stone's greatest album. I would say at the time,

286
00:16:42,000 --> 00:16:45,160
Speaker 3: no one perceived it that way. It's let it bleed,

287
00:16:45,280 --> 00:16:49,720
Speaker 3: sticky fingers, but you know, this is what time does.

288
00:16:49,800 --> 00:16:53,120
Speaker 3: It's really interesting. It seemed through a different filter. No

289
00:16:53,160 --> 00:16:56,880
Speaker 3: one considered it their masterpiece. When it appeared, there were

290
00:16:56,960 --> 00:17:01,560
Speaker 3: respect Lenny Ka, lead guitarist for Patty's, a former record

291
00:17:01,560 --> 00:17:05,320
Speaker 3: counter clerk in Granwich Village, Okay, he reviewed it for

292
00:17:05,440 --> 00:17:08,840
Speaker 3: Rolling Stone because Lenny was a rock critic among all

293
00:17:08,840 --> 00:17:10,399
Speaker 3: the other things he did, and he gave it a

294
00:17:10,440 --> 00:17:12,639
Speaker 3: respectful review, but it confused people.

295
00:17:13,480 --> 00:17:16,159
Speaker 2: Lenny's review of what he calls the Rolling Stones that

296
00:17:16,160 --> 00:17:20,119
Speaker 2: they're most dense and impenetrable, opens with a somewhat tepid endorsement.

297
00:17:20,720 --> 00:17:22,760
Speaker 2: There are songs that are better, there are songs that

298
00:17:22,800 --> 00:17:25,360
Speaker 2: are worse. There are songs that will become your favorites,

299
00:17:25,480 --> 00:17:27,720
Speaker 2: and others you'll probably lit the needle for when their

300
00:17:27,720 --> 00:17:30,920
Speaker 2: time is due. Will allowing that there's some quote fine

301
00:17:31,040 --> 00:17:33,600
Speaker 2: music on the four sides, he declared that the great

302
00:17:33,640 --> 00:17:36,800
Speaker 2: Stones album of their mature period is probably yet to come.

303
00:17:37,480 --> 00:17:40,680
Speaker 2: The British publication Melody Maker, on the other hand, proclaimed

304
00:17:40,680 --> 00:17:43,680
Speaker 2: that the Stones best album to date, and a reviewer

305
00:17:43,680 --> 00:17:46,280
Speaker 2: for the record, Mirrau, echoed the sentiment, writing that the

306
00:17:46,320 --> 00:17:50,119
Speaker 2: Stones have quote reached the definite peak and favorably framed

307
00:17:50,119 --> 00:17:52,840
Speaker 2: Exiles a sort of evil inverse of the Beatles' White

308
00:17:52,880 --> 00:17:56,480
Speaker 2: Album in terms of stylistic scope, and The New York Times,

309
00:17:56,600 --> 00:17:59,040
Speaker 2: who could scarcely be bothered to review a rock record

310
00:17:59,160 --> 00:18:02,560
Speaker 2: less than a decade before, had perhaps the most intriguing comment.

311
00:18:03,359 --> 00:18:06,040
Speaker 2: Exile on Main Street has enough rock music of all

312
00:18:06,080 --> 00:18:09,199
Speaker 2: shades and styles to make anyone happy, wrote Don Heckman.

313
00:18:09,800 --> 00:18:12,160
Speaker 2: The Stones are looking inward now, and if they help

314
00:18:12,200 --> 00:18:15,199
Speaker 2: you understand something about yourself, that just might be the

315
00:18:15,240 --> 00:18:18,800
Speaker 2: most revolutionary act of all. But a better review came

316
00:18:18,840 --> 00:18:22,880
Speaker 2: from a much harsher critic, Stone's Roady Ian Stewart, who

317
00:18:22,920 --> 00:18:25,680
Speaker 2: was never won for idle praise it's a.

318
00:18:25,600 --> 00:18:27,960
Speaker 4: Bit I think it was. At the same time, I

319
00:18:28,000 --> 00:18:28,679
Speaker 4: quite like it.

320
00:18:35,640 --> 00:18:38,879
Speaker 2: Nearly a year after the notorious recording sessions in the

321
00:18:38,920 --> 00:18:42,800
Speaker 2: sweltering basement of Keith Richard's villa in the French Riviera,

322
00:18:42,960 --> 00:18:45,840
Speaker 2: the Rolling Stones spent the spring of nineteen seventy two

323
00:18:45,920 --> 00:18:49,800
Speaker 2: in Los Angeles making final preparations for their North American tour.

324
00:18:50,720 --> 00:18:53,960
Speaker 2: For them, it was a long time coming. Given the

325
00:18:54,040 --> 00:18:57,520
Speaker 2: many privileges of being a Rolling Stone, playing live was

326
00:18:57,560 --> 00:19:01,600
Speaker 2: easily their favorite. It was their life flood, according to

327
00:19:01,680 --> 00:19:04,440
Speaker 2: Robert Greenfield, was what they were born to do.

328
00:19:04,960 --> 00:19:08,040
Speaker 3: A Marshall Chess once said to Missa Marshall, why are

329
00:19:08,040 --> 00:19:08,840
Speaker 3: they still doing this?

330
00:19:09,200 --> 00:19:09,560
Speaker 2: He said?

331
00:19:09,640 --> 00:19:12,320
Speaker 3: The only time they feel live is when they're on stage.

332
00:19:13,920 --> 00:19:14,840
Speaker 3: You gotta like that.

333
00:19:15,520 --> 00:19:18,720
Speaker 2: As far as Keith Richards was concerned, playing live was

334
00:19:18,720 --> 00:19:19,840
Speaker 2: the whole point.

335
00:19:20,040 --> 00:19:23,840
Speaker 10: Without the road, I wouldn't enjoy it like I mean,

336
00:19:24,119 --> 00:19:25,200
Speaker 10: I enjoy record.

337
00:19:25,280 --> 00:19:28,480
Speaker 6: I enjoy recording it, but to be in a studio

338
00:19:28,640 --> 00:19:30,360
Speaker 6: isn't the.

339
00:19:30,440 --> 00:19:31,199
Speaker 10: End of it for me.

340
00:19:31,400 --> 00:19:31,639
Speaker 7: You know.

341
00:19:31,840 --> 00:19:35,040
Speaker 4: I dig to do it for a while, but.

342
00:19:37,119 --> 00:19:38,120
Speaker 10: I wouldn't have any.

343
00:19:37,920 --> 00:19:39,840
Speaker 4: Reason to go in a studio if I didn't go

344
00:19:39,920 --> 00:19:40,320
Speaker 4: on the road.

345
00:19:40,840 --> 00:19:45,000
Speaker 10: Yeah, I wouldn't feel any necessity to go in a studio.

346
00:19:45,040 --> 00:19:47,119
Speaker 4: If I hadn't been on the road the best that

347
00:19:47,240 --> 00:19:48,800
Speaker 4: work at me, you might not be include.

348
00:19:49,400 --> 00:19:53,120
Speaker 10: I don't think any any of us could. They definitely can't.

349
00:19:54,000 --> 00:19:56,320
Speaker 10: They become the world's worst rock and roll band if

350
00:19:56,359 --> 00:19:56,960
Speaker 10: they don't.

351
00:19:56,720 --> 00:19:57,240
Speaker 7: Go on the row.

352
00:19:57,400 --> 00:20:01,719
Speaker 3: They're the last connection, you know. I mean, they started

353
00:20:01,760 --> 00:20:06,480
Speaker 3: playing in sixty three, Stu driving them in a Volkswagen bus,

354
00:20:06,520 --> 00:20:09,359
Speaker 3: I think, and they'd play Church Hall's and they'd go

355
00:20:09,440 --> 00:20:12,960
Speaker 3: from one village to another. And that's why they're different

356
00:20:13,000 --> 00:20:18,160
Speaker 3: from the Beatles. They began on the road, and they've

357
00:20:18,200 --> 00:20:22,200
Speaker 3: spent their lives and career on the road. It's kind

358
00:20:22,200 --> 00:20:24,280
Speaker 3: of like Dylan, he don't want to stay home. He

359
00:20:24,320 --> 00:20:27,560
Speaker 3: wants to play. And so this is what they do

360
00:20:27,600 --> 00:20:29,679
Speaker 3: and they're still doing it, but no one else is.

361
00:20:29,880 --> 00:20:30,760
Speaker 3: That's the point.

362
00:20:32,480 --> 00:20:35,840
Speaker 2: Their upcoming kickoff in Vancouver would be the culmination of

363
00:20:36,000 --> 00:20:38,879
Speaker 2: months of around the clock work from a small army

364
00:20:38,920 --> 00:20:42,680
Speaker 2: of creative and technical experts, all hell bent on making

365
00:20:42,720 --> 00:20:45,560
Speaker 2: this the most all inspiring musical event of the year,

366
00:20:46,400 --> 00:20:50,160
Speaker 2: if not the decade. The chief architect of the tour

367
00:20:50,359 --> 00:20:54,399
Speaker 2: was one Edward Herbert Beresford, Monk, known as Chip to

368
00:20:54,480 --> 00:20:58,919
Speaker 2: his friends, Chipmunk get it, the grown worthy nickname Belize

369
00:20:59,040 --> 00:21:03,800
Speaker 2: is brilliance for ambling stages and theatrical environments. After cutting

370
00:21:03,800 --> 00:21:06,879
Speaker 2: his teeth in Greenwich Village folk clubs, where Bob Dylan

371
00:21:06,920 --> 00:21:09,240
Speaker 2: wrote the lyrics to A Hard Rain's Gonna Fall on

372
00:21:09,320 --> 00:21:13,320
Speaker 2: his IBM's galectic typewriter, he worked his way through Harlem's

373
00:21:13,320 --> 00:21:17,000
Speaker 2: Apollo Theater, the Newport Jazz and Folk festivals, and nineteen

374
00:21:17,080 --> 00:21:20,680
Speaker 2: sixty seven's Monterey Pop Festival, which launched the careers of

375
00:21:20,760 --> 00:21:24,320
Speaker 2: Janis Joplin, Jimmy Hendrix, and The Who. Chip's own career

376
00:21:24,359 --> 00:21:27,840
Speaker 2: when sky high. Thanks to his involvement in Woodstock, in

377
00:21:27,840 --> 00:21:30,760
Speaker 2: addition to building the stage and assembling the lighting, he

378
00:21:30,880 --> 00:21:33,000
Speaker 2: was drafted at the eleventh hour to serve as at

379
00:21:33,040 --> 00:21:36,520
Speaker 2: de facto MC of the event, introducing the acts and

380
00:21:36,720 --> 00:21:40,080
Speaker 2: occasionally warning people to lay off the brown acid gone around.

381
00:21:41,359 --> 00:21:44,679
Speaker 2: By the dawn of the seventies, his grand theatrical visions

382
00:21:44,680 --> 00:21:47,359
Speaker 2: had earned him a reputation as the Albert Spear of

383
00:21:47,480 --> 00:21:50,439
Speaker 2: Rock the Stones, naturally one of the best. When it

384
00:21:50,480 --> 00:21:54,920
Speaker 2: came to assembling their stage, Chipmunk was the obvious choice.

385
00:21:56,840 --> 00:22:01,879
Speaker 3: We can't talk about this tour without Chipmunk Edward Herbert

386
00:22:01,920 --> 00:22:07,200
Speaker 3: Beresford Monk the Third, the third Chip Monk. Chip was

387
00:22:07,240 --> 00:22:10,960
Speaker 3: a technical and practical genius. There was nothing he could

388
00:22:10,960 --> 00:22:13,159
Speaker 3: not do with his hands. I mean he.

389
00:22:14,680 --> 00:22:15,760
Speaker 9: Is a mad scientist.

390
00:22:16,640 --> 00:22:20,440
Speaker 3: Chip is thinking on a level that ordinary humans don't

391
00:22:20,480 --> 00:22:24,280
Speaker 3: get to. So Chip, this is like the fantasy of

392
00:22:24,320 --> 00:22:31,119
Speaker 3: his life. Actually, he has been given unbridled license to

393
00:22:31,320 --> 00:22:33,320
Speaker 3: spend as much money.

394
00:22:33,160 --> 00:22:35,359
Speaker 9: On the staging of the show.

395
00:22:35,520 --> 00:22:38,800
Speaker 8: On the physical stage physical staging of the show.

396
00:22:39,480 --> 00:22:42,359
Speaker 2: Chip pulled out all the stops for the stones to

397
00:22:42,520 --> 00:22:45,160
Speaker 2: ensure good sounds, even for those in the cheap seats.

398
00:22:45,400 --> 00:22:48,720
Speaker 2: He commissioned ten thousand pounds hydraulic lifts for either side

399
00:22:48,760 --> 00:22:52,680
Speaker 2: of the stage, which hoisted gargantuan speaker cabinets some eighteen

400
00:22:52,800 --> 00:22:57,160
Speaker 2: feet to spread the music evenly across the arena. Above this,

401
00:22:57,400 --> 00:23:00,879
Speaker 2: straddling the stage, was a forty foot lawung metal lighting

402
00:23:00,920 --> 00:23:05,720
Speaker 2: bridge sporting fifty lamps with the whole rainbow of multicolored gels,

403
00:23:05,760 --> 00:23:09,439
Speaker 2: all controlled with enough cables to fill ten supermarket cards.

404
00:23:10,160 --> 00:23:13,160
Speaker 2: But Ship's crowning achievement was the sixteen by forty foot

405
00:23:13,200 --> 00:23:16,640
Speaker 2: mirror suspended over the stage, which bounced light from six

406
00:23:16,760 --> 00:23:20,520
Speaker 2: fifteen hundred watts spotlights flanking the stones from the sides

407
00:23:20,560 --> 00:23:24,879
Speaker 2: and behind the effects simultaneously backlit and front lit the

408
00:23:24,920 --> 00:23:29,520
Speaker 2: band in pale light, casting them in hyper real, dreamlike sharpness.

409
00:23:30,280 --> 00:23:32,560
Speaker 2: Chip was certain that this innovative approach would be the

410
00:23:32,600 --> 00:23:36,600
Speaker 2: future of rock concerts, but not so much. Many were

411
00:23:36,600 --> 00:23:39,119
Speaker 2: worried that the fragile mirror would shatter at some point

412
00:23:39,160 --> 00:23:42,879
Speaker 2: during the fifteen thousand mile journey, ensuring a seven thousand

413
00:23:42,920 --> 00:23:47,320
Speaker 2: dollars loss and possibly seven years of bad luck. Thankfully,

414
00:23:47,359 --> 00:23:50,680
Speaker 2: it survived, but proved so unwieldly that such an effect

415
00:23:50,760 --> 00:23:55,320
Speaker 2: was barely used again. And then there was the stage itself.

416
00:23:55,960 --> 00:23:59,320
Speaker 2: The surface on which Michael Phillip, Jagger and co conforted

417
00:23:59,359 --> 00:24:04,320
Speaker 2: and contorted themselves nightly was comprised of six massive plywood pieces.

418
00:24:04,880 --> 00:24:07,720
Speaker 2: These were struck after each gig and trucked from city

419
00:24:07,720 --> 00:24:12,120
Speaker 2: to city in two huge vans. When assembled, the flooring

420
00:24:12,160 --> 00:24:15,359
Speaker 2: depicted a pair of two fire breathing sea serpents and

421
00:24:15,480 --> 00:24:19,080
Speaker 2: twined on a sea of white. Because why not.

422
00:24:21,960 --> 00:24:26,040
Speaker 3: The stage is that, I'm sure, to that point in time,

423
00:24:26,320 --> 00:24:29,679
Speaker 3: the largest stage. Now they're not going to play on

424
00:24:29,760 --> 00:24:33,359
Speaker 3: the stage of the arena. We bring in our own stage.

425
00:24:33,840 --> 00:24:38,400
Speaker 3: They assemble this stage with individual sections that were immense,

426
00:24:38,720 --> 00:24:41,800
Speaker 3: and they formed a dragon and you couldn't really see it.

427
00:24:42,400 --> 00:24:45,160
Speaker 3: I mean it was flat. Nobody in the house could

428
00:24:45,160 --> 00:24:47,760
Speaker 3: see it unless you're in the balcony the upper nobody's

429
00:24:47,760 --> 00:24:51,240
Speaker 3: in the good seats could see. The stage cost a fortune.

430
00:24:51,840 --> 00:24:54,679
Speaker 2: While Chipmunk attended to the nuts and bolts matters of

431
00:24:54,760 --> 00:24:58,880
Speaker 2: rock tours, Gary Stromberg concerned himself with building something less

432
00:24:58,920 --> 00:25:03,240
Speaker 2: tangible but equally crucial, buzz. As a co founder of

433
00:25:03,280 --> 00:25:06,800
Speaker 2: Gibson and Stromberg, one of LA's most prominent PR firms,

434
00:25:07,160 --> 00:25:11,000
Speaker 2: he'd represented some of rock's biggest names, including Elton John,

435
00:25:11,200 --> 00:25:14,400
Speaker 2: the Doors, Crosby Stills, A Nash, and Three Dog Night.

436
00:25:15,200 --> 00:25:18,560
Speaker 2: As such, Gary and his partner Bob Gibson came just

437
00:25:18,600 --> 00:25:20,080
Speaker 2: as recommended as Chipmunk.

438
00:25:20,520 --> 00:25:23,440
Speaker 8: We just were a very lucky little company that grew

439
00:25:23,760 --> 00:25:27,600
Speaker 8: significantly in the late sixties and early seventies, and we

440
00:25:27,600 --> 00:25:30,520
Speaker 8: were representing pretty much the who's who of rock and

441
00:25:30,560 --> 00:25:33,720
Speaker 8: roll at that time. Almost everybody from England that was

442
00:25:34,080 --> 00:25:37,359
Speaker 8: of note other than the Beatles, from Pink Floyd on down,

443
00:25:37,760 --> 00:25:39,040
Speaker 8: and we were sailing along.

444
00:25:39,040 --> 00:25:40,240
Speaker 9: Our company was really doing good.

445
00:25:41,560 --> 00:25:44,320
Speaker 2: The Gibson and Stromberg office on the Sunset Strip was

446
00:25:44,320 --> 00:25:47,640
Speaker 2: a hub for musical hopefuls just dying to one day

447
00:25:47,680 --> 00:25:51,320
Speaker 2: find their faces plastered on the oversized posters outside the

448
00:25:51,359 --> 00:25:55,399
Speaker 2: Tower Record Shop just across the street. Kids swarmed their

449
00:25:55,440 --> 00:25:58,399
Speaker 2: front door, and their phone lines were regularly clogged with

450
00:25:58,520 --> 00:26:01,720
Speaker 2: calls doobiously claiming the from John Lennon or some other

451
00:26:01,800 --> 00:26:05,480
Speaker 2: member of the rock elite. Once a guy in a

452
00:26:05,520 --> 00:26:09,600
Speaker 2: full wetsuit, flippers, weighted belt, rubber feet and goggles walked

453
00:26:09,600 --> 00:26:11,600
Speaker 2: into the front door and asked if they knew of

454
00:26:11,640 --> 00:26:15,520
Speaker 2: any bands looking for underwater drummers not this week, and

455
00:26:15,720 --> 00:26:19,960
Speaker 2: the reply desperate or drug induced. Either way. Gary had

456
00:26:19,960 --> 00:26:23,480
Speaker 2: no time for such shenanigans. He was busy strategizing for

457
00:26:23,520 --> 00:26:26,840
Speaker 2: the STP tour. His challenge was to not only sustain

458
00:26:26,880 --> 00:26:29,800
Speaker 2: the public's interest over a two month period, but make

459
00:26:29,840 --> 00:26:33,080
Speaker 2: it build and build with each passing tour date until

460
00:26:33,119 --> 00:26:36,240
Speaker 2: culminating in a full blown frenzy during the Stones final

461
00:26:36,280 --> 00:26:38,680
Speaker 2: four shows in New York City at the end of July.

462
00:26:39,560 --> 00:26:41,840
Speaker 2: The only way to achieve this was a full on

463
00:26:42,000 --> 00:26:45,680
Speaker 2: media blitz. This meant features or cover stories in all

464
00:26:45,720 --> 00:26:49,919
Speaker 2: the major magazines, rather than favoring the usual rock mags.

465
00:26:50,359 --> 00:26:54,639
Speaker 2: Priority was given to mainstream publications like Life, Time, Newsweek

466
00:26:54,640 --> 00:26:58,560
Speaker 2: and Esquire outlets who previously ignored bands like the Stones

467
00:26:58,960 --> 00:27:01,560
Speaker 2: other than the occasion snide remark about the length of

468
00:27:01,640 --> 00:27:05,040
Speaker 2: their hair. Their coverage told the world that the Stones

469
00:27:05,119 --> 00:27:08,919
Speaker 2: tour wasn't just music news, but a bonafide cultural moment.

470
00:27:10,240 --> 00:27:12,800
Speaker 2: Needless to say, this was a plumb assignment, and the

471
00:27:12,920 --> 00:27:16,840
Speaker 2: jockeying among writers was brutal. Big names are floated and

472
00:27:16,920 --> 00:27:20,600
Speaker 2: bid on like a livestock auction, and then unceremoniously dropped

473
00:27:20,600 --> 00:27:24,920
Speaker 2: by magazine editors. The Saturday Review considers sending beat scribe

474
00:27:24,960 --> 00:27:27,919
Speaker 2: William S. Burrows, but then the writer of Naked Lunches

475
00:27:27,960 --> 00:27:31,679
Speaker 2: subbed out for fellow iconoclass Terry Southern, author of the

476
00:27:31,720 --> 00:27:35,439
Speaker 2: scandalous comic novels Candy and The Magic Christian, both of

477
00:27:35,440 --> 00:27:39,640
Speaker 2: which had been recently made into films featuring Ringo Starr Truman.

478
00:27:39,680 --> 00:27:43,040
Speaker 2: Capote's name is being tossed around by Rolling Stone Magazine.

479
00:27:43,800 --> 00:27:46,520
Speaker 2: The fact that he's openly contemptuous of rock and rolls

480
00:27:46,560 --> 00:27:53,120
Speaker 2: of little concern. Truman is atmosphere theater, and perhaps most importantly, prestige. Heck,

481
00:27:53,160 --> 00:27:55,840
Speaker 2: even Teddy Kennedy's name was joked about within the halls

482
00:27:55,840 --> 00:27:59,680
Speaker 2: of Gibson and Stromberg. The more ludicrous the idea, the better.

483
00:28:03,119 --> 00:28:06,760
Speaker 3: Probably more writers on that tour, oh yeah, than in

484
00:28:06,800 --> 00:28:07,800
Speaker 3: the history of rock and.

485
00:28:07,800 --> 00:28:11,639
Speaker 9: Roll, name writers, big extraordinary. You're journalists.

486
00:28:11,640 --> 00:28:14,240
Speaker 8: To try to understand the power of the Rolling Stones,

487
00:28:14,280 --> 00:28:17,480
Speaker 8: you just have to look at Capoti and Terry Southern,

488
00:28:17,560 --> 00:28:20,840
Speaker 8: and Warhol and Hefner, all these people that wanted to

489
00:28:20,920 --> 00:28:24,720
Speaker 8: just be close, to be in the reflected glory of

490
00:28:24,760 --> 00:28:27,040
Speaker 8: these guys was just insane.

491
00:28:27,760 --> 00:28:31,239
Speaker 2: Even guitarist Mick Taylor recognized that some unusual folks were

492
00:28:31,240 --> 00:28:34,400
Speaker 2: hopping on the bandwagon metaphorically and literally.

493
00:28:35,320 --> 00:28:37,440
Speaker 11: Yeah, it was a bit like radical sheep.

494
00:28:37,560 --> 00:28:37,840
Speaker 4: Really.

495
00:28:37,880 --> 00:28:40,200
Speaker 11: I mean, on the sixty nine tour, you wouldn't have

496
00:28:40,200 --> 00:28:45,520
Speaker 11: had Truman Capoti on the plane, and when Terry Southern,

497
00:28:45,800 --> 00:28:49,240
Speaker 11: you know, writing journalistic documentaries on our tour.

498
00:28:50,320 --> 00:28:54,560
Speaker 3: So obviously things have changed a lot. We were front

499
00:28:54,600 --> 00:28:59,160
Speaker 3: page news in every city. The story was Rolling Stones

500
00:28:59,160 --> 00:28:59,720
Speaker 3: in Detroit.

501
00:29:00,000 --> 00:29:01,120
Speaker 9: Well, it was part of the plan.

502
00:29:01,240 --> 00:29:03,960
Speaker 8: We were trying to do that, but it just gained

503
00:29:04,000 --> 00:29:06,440
Speaker 8: its own momentum. It took on a life of its own.

504
00:29:06,800 --> 00:29:10,200
Speaker 8: From a media standpoint, cover of Life magazine. I mean,

505
00:29:10,240 --> 00:29:11,680
Speaker 8: it doesn't get any bigger than that.

506
00:29:11,840 --> 00:29:16,120
Speaker 3: And the acknowledgment was subtlely subtext. These are great artists,

507
00:29:16,840 --> 00:29:22,320
Speaker 3: these are important people. Mick Jagger is a figure of significance.

508
00:29:22,600 --> 00:29:23,000
Speaker 2: John F.

509
00:29:23,080 --> 00:29:25,560
Speaker 3: Kennedy was on the cover of a Life magazine. You

510
00:29:25,640 --> 00:29:27,480
Speaker 3: got my point. That's the level.

511
00:29:28,480 --> 00:29:31,320
Speaker 2: Going on tour with the Stones was no ordinary assignment.

512
00:29:32,000 --> 00:29:34,680
Speaker 2: Lobbing a list of thoughtful questions that Micke and Keith

513
00:29:34,880 --> 00:29:37,600
Speaker 2: just wasn't going to cut it. Instead, it was more

514
00:29:37,680 --> 00:29:40,800
Speaker 2: like being embedded on a political campaign or in a

515
00:29:40,840 --> 00:29:45,360
Speaker 2: war zone. The ability to hang was paramount, and as such,

516
00:29:45,600 --> 00:29:48,480
Speaker 2: Robert Greenfield seemed like a no brainer to include. He

517
00:29:48,560 --> 00:29:51,120
Speaker 2: was a veteran of the Stone's English tour the previous year,

518
00:29:51,480 --> 00:29:53,720
Speaker 2: and had spent several weeks living with Keith Richards in

519
00:29:53,760 --> 00:29:57,040
Speaker 2: the French Riviera while profiling and for Rolling Stone Magazine,

520
00:29:57,080 --> 00:29:59,239
Speaker 2: which in less than five years had gone from being

521
00:29:59,280 --> 00:30:02,640
Speaker 2: a San Francisco startup to the international rock and roll bible.

522
00:30:03,040 --> 00:30:06,000
Speaker 2: Greenfield's entree to the Stones camp is both a testament

523
00:30:06,000 --> 00:30:09,120
Speaker 2: to his talent and also the tight knit music community

524
00:30:09,120 --> 00:30:09,600
Speaker 2: of the era.

525
00:30:10,640 --> 00:30:13,120
Speaker 3: I mean the way I came to them. I was

526
00:30:13,160 --> 00:30:16,840
Speaker 3: in London working for Rolling Stone Magazine. My editor was

527
00:30:16,880 --> 00:30:19,760
Speaker 3: Andrew Bailey, who's a great friend of mine until this day.

528
00:30:20,640 --> 00:30:23,960
Speaker 3: The music business was so small in London then you

529
00:30:24,000 --> 00:30:27,239
Speaker 3: could have lunch with anybody and change your life. I

530
00:30:27,320 --> 00:30:30,760
Speaker 3: swear and Andrew set all this up. We had lunch

531
00:30:30,800 --> 00:30:36,640
Speaker 3: with Georgia Joe Bergman as she was called then. Andrew

532
00:30:36,680 --> 00:30:39,480
Speaker 3: and I were like, he was the music business guy

533
00:30:39,520 --> 00:30:41,400
Speaker 3: and I was the hippie. And so that worked for

534
00:30:41,480 --> 00:30:43,760
Speaker 3: Rolling Stone in London at that point. We covered the

535
00:30:43,800 --> 00:30:47,120
Speaker 3: waterfront together and I said to her, and this is

536
00:30:47,600 --> 00:30:50,360
Speaker 3: shocking in retrospect, you know, man, I just want to

537
00:30:50,360 --> 00:30:53,520
Speaker 3: hang out on the tour, and that's what I did.

538
00:30:53,560 --> 00:30:55,200
Speaker 3: I mean, no one ever saw me take notes, and

539
00:30:55,560 --> 00:30:57,400
Speaker 3: she was up for it. I mean I didn't understand

540
00:30:57,440 --> 00:31:00,160
Speaker 3: that they were using rolling Stone to sell themselves and

541
00:31:00,280 --> 00:31:02,520
Speaker 3: the a. I just it was all in adventure and

542
00:31:02,560 --> 00:31:06,880
Speaker 3: I wanted to write about them. And on that tour

543
00:31:06,960 --> 00:31:11,800
Speaker 3: we took public trains and it was just another world.

544
00:31:12,320 --> 00:31:15,600
Speaker 2: Greenfield bonded with Keith through breaking and entering, you know,

545
00:31:15,840 --> 00:31:16,600
Speaker 2: the usual way.

546
00:31:17,120 --> 00:31:20,200
Speaker 3: Anita and young baby Marlin and they're late for they

547
00:31:20,200 --> 00:31:22,760
Speaker 3: don't travel with the rest of us and needed to Mike.

548
00:31:22,920 --> 00:31:25,880
Speaker 3: But Keith was always late. But got there and they

549
00:31:25,880 --> 00:31:28,280
Speaker 3: were in another world and there was no talking to him.

550
00:31:28,400 --> 00:31:30,640
Speaker 3: It just didn't you knew, you could not say hey,

551
00:31:30,680 --> 00:31:32,880
Speaker 3: how you do it? It was not happening, you know.

552
00:31:33,560 --> 00:31:36,720
Speaker 3: And so we get to this awful disc disco. It

553
00:31:36,800 --> 00:31:39,720
Speaker 3: was a disco man and it was called the Big Apple,

554
00:31:39,920 --> 00:31:43,080
Speaker 3: another bad name in Brighton, England, which is you know,

555
00:31:44,120 --> 00:31:48,960
Speaker 3: incongruous to say the least. And we arrived there and

556
00:31:49,200 --> 00:31:54,680
Speaker 3: we're it's it's it's as cold as it could only

557
00:31:54,720 --> 00:31:59,720
Speaker 3: have been in England in March before central heating. I mean,

558
00:32:00,320 --> 00:32:03,160
Speaker 3: it just was wet and dank and cold. And we

559
00:32:03,200 --> 00:32:05,360
Speaker 3: get in there. It's on the ground floor. The basement

560
00:32:05,560 --> 00:32:09,080
Speaker 3: is where the dress the dressing rooms are locked. Okay,

561
00:32:09,760 --> 00:32:13,680
Speaker 3: well rolling stones. Time waits for no one. They're not

562
00:32:13,720 --> 00:32:16,800
Speaker 3: going to stand in the corridor. And Keith starts to

563
00:32:16,960 --> 00:32:22,280
Speaker 3: riff about Marlin, my baby's cold. He's coughing like in

564
00:32:22,320 --> 00:32:25,160
Speaker 3: two seconds, like this poor kid is gonna get pneumonia.

565
00:32:25,720 --> 00:32:30,600
Speaker 3: Keith just keeps building this melodrama. Everybody else probably would

566
00:32:30,600 --> 00:32:33,480
Speaker 3: have stood there, not Keith is like this is he's

567
00:32:33,520 --> 00:32:34,680
Speaker 3: taking this personally.

568
00:32:34,760 --> 00:32:35,080
Speaker 2: Okay.

569
00:32:35,640 --> 00:32:40,600
Speaker 3: Next thing, I know, as always minding my own business,

570
00:32:40,720 --> 00:32:45,040
Speaker 3: just standing there. Keith is at the door, and I

571
00:32:45,040 --> 00:32:47,160
Speaker 3: don't know if it was the famous knife that he

572
00:32:47,200 --> 00:32:50,160
Speaker 3: always carried under his outfit, you know, the I don't

573
00:32:50,160 --> 00:32:52,320
Speaker 3: know if it was a scimitar of his knife. He's

574
00:32:52,360 --> 00:32:58,200
Speaker 3: famous for this, and he's doing his best to unscrew

575
00:32:58,280 --> 00:32:58,920
Speaker 3: the latchet.

576
00:32:59,040 --> 00:32:59,520
Speaker 2: The top.

577
00:33:00,200 --> 00:33:03,080
Speaker 3: Well, I don't know this is coming from Brooklyn or

578
00:33:03,320 --> 00:33:06,760
Speaker 3: just you know. It never was a juvenile. The link went.

579
00:33:06,840 --> 00:33:09,960
Speaker 3: But next thing I know, I think I probably have

580
00:33:10,000 --> 00:33:12,040
Speaker 3: a Swiss army knife because I was a hippie.

581
00:33:12,240 --> 00:33:13,040
Speaker 2: You had to have one.

582
00:33:13,400 --> 00:33:15,640
Speaker 3: And I'm working on the other latch, and we are

583
00:33:15,800 --> 00:33:18,200
Speaker 3: under and we're doing good. We're not talking. You don't

584
00:33:18,200 --> 00:33:20,360
Speaker 3: even look at me. It's like I think he still

585
00:33:20,360 --> 00:33:22,440
Speaker 3: thinks I'm a roadie. My job is to help him

586
00:33:22,440 --> 00:33:23,320
Speaker 3: take the door off.

587
00:33:23,360 --> 00:33:23,800
Speaker 2: Okay.

588
00:33:24,040 --> 00:33:26,440
Speaker 3: So Keith gets his latch off, you know, and a

589
00:33:26,520 --> 00:33:30,680
Speaker 3: door starting to go sideways, and I get my latch off,

590
00:33:30,920 --> 00:33:33,400
Speaker 3: and the two of us pick up the door and

591
00:33:33,560 --> 00:33:37,120
Speaker 3: throw it. It's a heavy English wooden door. We throw

592
00:33:37,440 --> 00:33:40,960
Speaker 3: and okay, everybody, nobody says a word. All the stones

593
00:33:41,040 --> 00:33:44,720
Speaker 3: women are there, Aster and you know, Bianca's watching and Anita.

594
00:33:45,160 --> 00:33:47,840
Speaker 3: Nobody says, hey, hey, you know what, this might not

595
00:33:47,840 --> 00:33:50,320
Speaker 3: be a great idea, you know. So we've thrown the

596
00:33:50,360 --> 00:33:53,520
Speaker 3: door in the carter and now we're inside the dressing room.

597
00:33:54,080 --> 00:33:57,480
Speaker 3: And about ten minutes later, here comes the quote unquote

598
00:33:57,520 --> 00:34:02,200
Speaker 3: promoter like, dude, you are ready. He have muddied your

599
00:34:02,280 --> 00:34:06,440
Speaker 3: name forever. His assistant comes running through the door with

600
00:34:06,560 --> 00:34:09,360
Speaker 3: a ring of keys in her hand, and she looks

601
00:34:09,400 --> 00:34:13,120
Speaker 3: around at the doors in the court and nobody makes

602
00:34:13,160 --> 00:34:16,640
Speaker 3: eye contact. It's like yeah, and everybody's talking to each

603
00:34:16,680 --> 00:34:18,279
Speaker 3: other all of a sudden, Yes, what do you think

604
00:34:18,360 --> 00:34:20,880
Speaker 3: was that you have? And she just turned around and

605
00:34:20,960 --> 00:34:25,160
Speaker 3: left and there was no There were no consequences.

606
00:34:25,760 --> 00:34:28,440
Speaker 2: His method for bonding with Mick took a much different form.

607
00:34:29,000 --> 00:34:31,080
Speaker 2: Less to do with petty crime man, more to do

608
00:34:31,120 --> 00:34:32,160
Speaker 2: with emotional abuse.

609
00:34:32,560 --> 00:34:35,840
Speaker 3: The thing I'll say about Mick and everybody who really

610
00:34:35,880 --> 00:34:39,840
Speaker 3: ever encountered him has gone through this. It was totally

611
00:34:39,880 --> 00:34:43,360
Speaker 3: civil all through the tour until the Roundhouse, which was

612
00:34:43,400 --> 00:34:48,040
Speaker 3: the final gig. Two shows, and between the shows came

613
00:34:48,080 --> 00:34:51,440
Speaker 3: over to me and said, uh, you have no idea

614
00:34:51,480 --> 00:34:55,040
Speaker 3: what's going on this tour? Do you? Man? So what

615
00:34:55,040 --> 00:34:57,520
Speaker 3: do you mean? He said, you've been stoned as all

616
00:34:57,560 --> 00:34:59,839
Speaker 3: of it you had, and he just slagged me off.

617
00:35:00,040 --> 00:35:04,440
Speaker 3: You know, well again I keep quoting my age. At

618
00:35:04,120 --> 00:35:09,480
Speaker 3: that point, I'm twenty four, you know, and I didn't

619
00:35:09,520 --> 00:35:11,480
Speaker 3: say anything, you know, I said, what am I going

620
00:35:11,560 --> 00:35:14,719
Speaker 3: to do? Argue with Mick Jagger between shows at the

621
00:35:14,840 --> 00:35:16,960
Speaker 3: end of the tour. And then I wrote this article,

622
00:35:17,040 --> 00:35:20,080
Speaker 3: Goodbye Great Britain. You know, they were leaving to go

623
00:35:20,120 --> 00:35:22,480
Speaker 3: into tax Exi House and the story came out and

624
00:35:22,960 --> 00:35:24,920
Speaker 3: the first time I ever had anything in the back

625
00:35:24,960 --> 00:35:27,279
Speaker 3: of the magazine, a feature, and it was you know,

626
00:35:27,360 --> 00:35:31,080
Speaker 3: people responded because I had access. I was with them,

627
00:35:31,120 --> 00:35:34,399
Speaker 3: they through public They flew British Air to come back

628
00:35:34,400 --> 00:35:37,480
Speaker 3: from Glasgow and Keith refused to let his dog be

629
00:35:37,560 --> 00:35:40,480
Speaker 3: taken off the plane. I mean, they just the drama

630
00:35:40,840 --> 00:35:44,680
Speaker 3: was constant. It's just they generated the drama. And so

631
00:35:46,160 --> 00:35:49,040
Speaker 3: by having written that article, you know, I kind of

632
00:35:49,360 --> 00:35:53,200
Speaker 3: established that I could be trusted, I guess, and that

633
00:35:53,239 --> 00:35:56,759
Speaker 3: I could write I think. And then I was at

634
00:35:56,760 --> 00:35:59,440
Speaker 3: the con Film Festival and I got word from Andrew

635
00:35:59,520 --> 00:36:02,040
Speaker 3: that Marshall Chess had arranged for me to do the

636
00:36:02,120 --> 00:36:04,399
Speaker 3: Rolling Stone interview with Keith Richards. That was a big

637
00:36:04,440 --> 00:36:07,920
Speaker 3: deal back then. Whoa cover of the Rolling Stone, you know,

638
00:36:08,040 --> 00:36:10,480
Speaker 3: And so that led to my living there for a

639
00:36:10,520 --> 00:36:14,000
Speaker 3: couple of weeks. And actually the next time I had

640
00:36:14,040 --> 00:36:17,759
Speaker 3: seen Mick after the slagging off, and there was no

641
00:36:18,160 --> 00:36:19,439
Speaker 3: conversation about it.

642
00:36:19,560 --> 00:36:20,880
Speaker 2: I had passed the test.

643
00:36:21,160 --> 00:36:23,920
Speaker 3: You had to stand up to him for him to

644
00:36:24,800 --> 00:36:27,400
Speaker 3: want you to be part of the Stone's storing party.

645
00:36:27,520 --> 00:36:31,759
Speaker 3: It's interesting, right, It's a very un English kind of attitude.

646
00:36:32,440 --> 00:36:35,120
Speaker 3: But he was so brilliant. He was a brilliant manipulator.

647
00:36:35,800 --> 00:36:38,839
Speaker 3: He just could get what he wanted from anybody.

648
00:36:38,719 --> 00:36:42,160
Speaker 2: At first blush. This approach seems to border on sociopathic,

649
00:36:42,640 --> 00:36:45,920
Speaker 2: a tactic not terribly dissimilar to cult leaders who grind

650
00:36:46,000 --> 00:36:49,080
Speaker 2: their followers down as a twisted way to test their loyalty.

651
00:36:49,880 --> 00:36:52,919
Speaker 2: But the Stones were vulnerable. They learned this the hard

652
00:36:52,920 --> 00:36:56,400
Speaker 2: way throughout the sixties, when constant persecution by the press

653
00:36:56,400 --> 00:36:59,640
Speaker 2: and police nearly sent them to prison. As the poet

654
00:36:59,680 --> 00:37:02,640
Speaker 2: Laurie Keith Richards once said, I never had a problem

655
00:37:02,680 --> 00:37:06,080
Speaker 2: with drugs. I had a problem with cops. In order

656
00:37:06,120 --> 00:37:09,440
Speaker 2: to protect themselves on tour, trust in their handlers was

657
00:37:09,600 --> 00:37:11,279
Speaker 2: absolutely vital.

658
00:37:11,200 --> 00:37:13,359
Speaker 3: So you know what's also interesting about them. They were

659
00:37:13,440 --> 00:37:17,400
Speaker 3: so accustomed to being taken care of in a way

660
00:37:17,640 --> 00:37:21,840
Speaker 3: different from the Beatles. See, the Beatles were separate early

661
00:37:22,239 --> 00:37:26,120
Speaker 3: living separately, that they had always been taken care of.

662
00:37:26,400 --> 00:37:30,960
Speaker 3: Here's the point. By nineteen seventy two, they had literally

663
00:37:31,120 --> 00:37:35,359
Speaker 3: been on the road since nineteen sixty four, maybe sixty three,

664
00:37:35,920 --> 00:37:38,759
Speaker 3: So this was they were happy to have. They knew

665
00:37:38,800 --> 00:37:41,000
Speaker 3: who was taking care of them. There wasn't inner circle,

666
00:37:41,000 --> 00:37:44,719
Speaker 3: It's no doubt about it. That's another part of their genius.

667
00:37:45,320 --> 00:37:48,719
Speaker 3: They knew how to insulate themselves. They knew who to trust,

668
00:37:48,920 --> 00:37:51,080
Speaker 3: and once you were of no use to them anymore,

669
00:37:51,400 --> 00:37:52,600
Speaker 3: they were pros.

670
00:37:53,000 --> 00:37:56,560
Speaker 2: It was also necessary to guard against their less savory habits,

671
00:37:56,960 --> 00:37:58,400
Speaker 2: namely drugs.

672
00:37:58,920 --> 00:38:02,160
Speaker 3: In order to know what they were doing, you had

673
00:38:02,160 --> 00:38:07,120
Speaker 3: to be in the room using with them. And that's

674
00:38:07,160 --> 00:38:09,040
Speaker 3: the way it always was. They had lived on the

675
00:38:09,120 --> 00:38:11,000
Speaker 3: road for so long, and this is part of their

676
00:38:11,000 --> 00:38:15,319
Speaker 3: persona that even in the public eye, even on a

677
00:38:15,360 --> 00:38:19,800
Speaker 3: public tour, they knew how to protect themselves and keep

678
00:38:19,840 --> 00:38:22,920
Speaker 3: things secret on the tour, which is such a small,

679
00:38:23,320 --> 00:38:27,839
Speaker 3: insidious village. Yeah, they were geniuses. To Mick and Keith

680
00:38:27,960 --> 00:38:29,000
Speaker 3: both this.

681
00:38:29,080 --> 00:38:31,480
Speaker 2: Became clear to Gary from his first meeting with Mick

682
00:38:31,640 --> 00:38:34,800
Speaker 2: when he received his brief as the Stones new PR manager.

683
00:38:35,360 --> 00:38:39,239
Speaker 8: We met at the house, the Maryon Davies House, and

684
00:38:39,440 --> 00:38:42,359
Speaker 8: a very clear image of what that was like. I

685
00:38:42,400 --> 00:38:46,920
Speaker 8: walked into this place and I was told to the

686
00:38:46,960 --> 00:38:49,960
Speaker 8: dining room was where we would beat And this dining

687
00:38:50,000 --> 00:38:53,040
Speaker 8: room had this long table that probably held twenty people

688
00:38:53,840 --> 00:38:54,480
Speaker 8: at the table.

689
00:38:54,520 --> 00:38:56,760
Speaker 9: And I sat down at the head of the table.

690
00:38:57,360 --> 00:39:00,799
Speaker 8: And after a few minutes in walk Jagger and he

691
00:39:00,920 --> 00:39:03,120
Speaker 8: sat didn't come close to where I was.

692
00:39:03,200 --> 00:39:05,279
Speaker 9: He went to the other head of the table.

693
00:39:05,320 --> 00:39:08,759
Speaker 8: Which I think was totally a power move, and he

694
00:39:08,840 --> 00:39:11,080
Speaker 8: sat at the head of the table twenty feet away

695
00:39:11,080 --> 00:39:13,920
Speaker 8: from me, or maybe more than that, and we had

696
00:39:13,920 --> 00:39:15,120
Speaker 8: this conversation and he.

697
00:39:15,080 --> 00:39:17,080
Speaker 9: Was very, very reserved.

698
00:39:19,560 --> 00:39:22,960
Speaker 8: It just surprised me of how calculated he seemed to be.

699
00:39:23,000 --> 00:39:25,759
Speaker 8: He knew exactly what he wanted. Most of all, he

700
00:39:25,840 --> 00:39:30,120
Speaker 8: was concerned about protecting him and his image. Would I

701
00:39:30,160 --> 00:39:33,080
Speaker 8: be good at doing protecting him and his image. Not

702
00:39:33,200 --> 00:39:36,600
Speaker 8: that I needed to protect anything, he was well in

703
00:39:36,640 --> 00:39:39,439
Speaker 8: control of that, but to protect it, to not let

704
00:39:39,560 --> 00:39:42,000
Speaker 8: harm come to them in the media. In other words,

705
00:39:42,000 --> 00:39:44,439
Speaker 8: you don't have to create anything. It's going to be there,

706
00:39:44,800 --> 00:39:48,399
Speaker 8: but just don't fuck it up, don't make any mistakes. Yeah,

707
00:39:48,480 --> 00:39:50,480
Speaker 8: I remember thinking, Wow, this is going to be fun.

708
00:39:51,239 --> 00:39:54,759
Speaker 2: Indispensable though he became Gary. Actually missed the first few

709
00:39:54,840 --> 00:39:56,200
Speaker 2: dates of the STP tour.

710
00:39:56,880 --> 00:40:01,000
Speaker 8: My partner and I our initials are GNS Company. We

711
00:40:01,000 --> 00:40:05,360
Speaker 8: were known as Guzzle and Snort. Gibson was a drinker

712
00:40:05,520 --> 00:40:08,880
Speaker 8: and I was a drug user. And so Gibson was

713
00:40:08,920 --> 00:40:10,400
Speaker 8: going to cover the first part of the tour and

714
00:40:10,440 --> 00:40:11,520
Speaker 8: I was going to cover the second.

715
00:40:11,560 --> 00:40:12,640
Speaker 9: We done, we'd bite it up.

716
00:40:12,680 --> 00:40:16,120
Speaker 8: So my job was when the tour opened, was to

717
00:40:16,160 --> 00:40:19,120
Speaker 8: do the planning, to you know, find the right writers

718
00:40:19,160 --> 00:40:22,560
Speaker 8: and to lay out the plan for the tour. While

719
00:40:22,600 --> 00:40:24,239
Speaker 8: he was going to go up and cover the first date.

720
00:40:24,600 --> 00:40:27,200
Speaker 8: And after that first Vancouver date he called me and said,

721
00:40:27,239 --> 00:40:30,120
Speaker 8: I can't do this. There's just everybody's high. They're all

722
00:40:30,120 --> 00:40:32,520
Speaker 8: getting using drugs and stuff. He said, you're much better

723
00:40:32,520 --> 00:40:34,399
Speaker 8: suited than this and me. So he came back home

724
00:40:34,400 --> 00:40:36,040
Speaker 8: and I went up to I think it was San

725
00:40:36,040 --> 00:40:37,640
Speaker 8: Francisco's where I first joined it.

726
00:40:37,680 --> 00:40:39,200
Speaker 9: So I missed the opening of the tour.

727
00:40:40,000 --> 00:40:43,120
Speaker 2: Music and drugs were inextricably linked in the early seventies.

728
00:40:43,560 --> 00:40:46,080
Speaker 2: It's an uncomfortable fact, but it would be dishonest to

729
00:40:46,080 --> 00:40:50,200
Speaker 2: suggest otherwise. Drugs simply were the currency of the community,

730
00:40:50,600 --> 00:40:54,800
Speaker 2: almost on par with songs. For Gary Stromberg, they played

731
00:40:54,800 --> 00:40:57,320
Speaker 2: a not insignificant role in making his reputation.

732
00:40:58,080 --> 00:41:00,359
Speaker 8: Let me start by saying that that, unlike any other

733
00:41:00,400 --> 00:41:03,399
Speaker 8: business that I know of, it was kind of a

734
00:41:03,440 --> 00:41:06,439
Speaker 8: badge of honor to be a drug addict in my time,

735
00:41:06,800 --> 00:41:07,000
Speaker 8: you know.

736
00:41:07,040 --> 00:41:09,680
Speaker 9: And I think my business was largely built on.

737
00:41:11,280 --> 00:41:13,520
Speaker 8: My reputation as a drug addict and a guy who

738
00:41:13,560 --> 00:41:16,239
Speaker 8: could hang with my artists. I should describe what my

739
00:41:16,280 --> 00:41:19,360
Speaker 8: office looked like. It was set up like a living room.

740
00:41:19,800 --> 00:41:21,360
Speaker 8: There was a big sign over the front door that

741
00:41:21,400 --> 00:41:28,160
Speaker 8: said Mental Ward, and there were no desks. There were

742
00:41:28,160 --> 00:41:30,840
Speaker 8: only couches and a big coffee table. It was like

743
00:41:30,880 --> 00:41:33,840
Speaker 8: a big living room. And on the coffee table in

744
00:41:33,880 --> 00:41:38,640
Speaker 8: the center of the room was a crystal bowl, like

745
00:41:38,680 --> 00:41:41,200
Speaker 8: a fruit bowl, you know, they would hold fruit, only

746
00:41:41,280 --> 00:41:44,080
Speaker 8: it was filled with cocaine. And the rules in my

747
00:41:44,160 --> 00:41:46,920
Speaker 8: office were if you came to do business with me

748
00:41:47,200 --> 00:41:49,759
Speaker 8: in my company, you could help yourself. You could take

749
00:41:49,760 --> 00:41:51,960
Speaker 8: as much as you wanted, but there was no to

750
00:41:52,040 --> 00:41:56,920
Speaker 8: go orders you couldn't leave with anything, and my office became,

751
00:41:56,960 --> 00:41:59,759
Speaker 8: as you could imagine, very popular because people could hang

752
00:41:59,760 --> 00:42:02,440
Speaker 8: out there and get high, but they couldn't leave with anything.

753
00:42:02,480 --> 00:42:04,920
Speaker 8: So as a consequence, it led to a lot of

754
00:42:04,960 --> 00:42:08,080
Speaker 8: business for me. It was the rate of exchange in

755
00:42:08,120 --> 00:42:11,480
Speaker 8: the world of rock and roll in that era was drugs.

756
00:42:11,800 --> 00:42:13,520
Speaker 9: It was just simply put in drugs.

757
00:42:14,440 --> 00:42:16,920
Speaker 2: Discussing the substance abuse of the era is a tricky

758
00:42:16,960 --> 00:42:20,960
Speaker 2: thing because it doesn't translate in the twenty first century sensibilities.

759
00:42:21,920 --> 00:42:24,680
Speaker 2: Viewed from the vantage point of half a century, it's

760
00:42:24,760 --> 00:42:28,960
Speaker 2: easy to dismiss such wanton self destruction as remarkably irresponsible

761
00:42:29,640 --> 00:42:34,440
Speaker 2: or hopelessly naive. According to Gary Now, forty years sober

762
00:42:34,480 --> 00:42:36,920
Speaker 2: and the rock star in the recovery community, it was

763
00:42:36,960 --> 00:42:40,160
Speaker 2: simply a product of the time, a toxic blend of

764
00:42:40,200 --> 00:42:41,520
Speaker 2: ignorance and innocence.

765
00:42:42,160 --> 00:42:45,520
Speaker 8: We were rebelling in my generation, and drugs were part

766
00:42:45,600 --> 00:42:49,200
Speaker 8: of the you know, sticking in the man's face. The

767
00:42:49,320 --> 00:42:51,560
Speaker 8: idea was that the you know that government was lying

768
00:42:51,560 --> 00:42:55,399
Speaker 8: to you. Drugs weren't dangerous, they were fun. So there's

769
00:42:55,440 --> 00:42:58,080
Speaker 8: an expression in my recovery program, you know that it

770
00:42:58,160 --> 00:43:00,600
Speaker 8: starts off with fun. And that it's fun with problems

771
00:43:00,680 --> 00:43:03,840
Speaker 8: and it's just problems. And that's what happened for me.

772
00:43:03,920 --> 00:43:06,200
Speaker 8: It just became real problematic in my life.

773
00:43:06,280 --> 00:43:08,560
Speaker 3: It is really the context of the times, and it's

774
00:43:08,560 --> 00:43:12,520
Speaker 3: also ignorance. People didn't know what the consequence.

775
00:43:12,520 --> 00:43:15,239
Speaker 9: You don't of course, there were no consequences.

776
00:43:14,520 --> 00:43:16,279
Speaker 3: When you're twenty six. You don't know what you're going

777
00:43:16,360 --> 00:43:17,640
Speaker 3: to look like when you're sixty two.

778
00:43:18,080 --> 00:43:19,759
Speaker 9: And they were lying to us about everything, and.

779
00:43:19,719 --> 00:43:24,640
Speaker 3: It was another age. I'll say this over and over. Hey,

780
00:43:25,040 --> 00:43:28,320
Speaker 3: there was no Internet. You couldn't look it up. Man,

781
00:43:28,480 --> 00:43:31,840
Speaker 3: it wasn't on Wikipedia. What are the effects of heroin?

782
00:43:32,080 --> 00:43:35,480
Speaker 3: That's not find outable unless you were shooting up.

783
00:43:35,880 --> 00:43:38,200
Speaker 8: The first exposure I had to drugs was a movie

784
00:43:38,200 --> 00:43:41,719
Speaker 8: called Reefer Madness. It told you would go insane and

785
00:43:41,800 --> 00:43:43,400
Speaker 8: murder people if you smoke pot.

786
00:43:44,719 --> 00:43:47,520
Speaker 2: You could say this attitude towards substances extended to the

787
00:43:47,600 --> 00:43:51,480
Speaker 2: STP tour. Hedonism was very much in fashion, and to

788
00:43:51,520 --> 00:43:54,839
Speaker 2: borrow a phrase from Keith, being restrained was a no no.

789
00:43:55,600 --> 00:43:59,040
Speaker 3: I mean the astonishing thing we haven't discussed this yet,

790
00:43:59,080 --> 00:44:01,080
Speaker 3: and Garret could talk about it, we could talk about

791
00:44:01,600 --> 00:44:04,600
Speaker 3: was the amazing level of drug use on the nineteen

792
00:44:04,600 --> 00:44:05,279
Speaker 3: seventy two So.

793
00:44:06,840 --> 00:44:10,000
Speaker 9: Yes, is that your only comment?

794
00:44:10,200 --> 00:44:12,800
Speaker 8: Yeah, well that's absolutely true. Yeah, I mean there was

795
00:44:12,840 --> 00:44:15,240
Speaker 8: an astonishing Monde. I mean, we had our own doctor

796
00:44:15,320 --> 00:44:19,520
Speaker 8: there who was maintaining these guys and abling it was

797
00:44:19,560 --> 00:44:21,760
Speaker 8: an enabler. It was the first time in my career

798
00:44:21,880 --> 00:44:26,040
Speaker 8: that getting high was is more important than the work

799
00:44:26,040 --> 00:44:27,960
Speaker 8: that I had to do. In that tour, I would

800
00:44:27,960 --> 00:44:31,000
Speaker 8: just staying high because they were, and I just fancied

801
00:44:31,040 --> 00:44:33,400
Speaker 8: myself being one of them, which was really not the

802
00:44:33,440 --> 00:44:36,000
Speaker 8: reason I was there. I was there to do the

803
00:44:36,000 --> 00:44:38,880
Speaker 8: pr stuff, which I was able to do and still

804
00:44:39,960 --> 00:44:42,440
Speaker 8: get as high as I wanted to be. So just

805
00:44:42,480 --> 00:44:44,640
Speaker 8: to be able to hang with guys who could consume

806
00:44:44,760 --> 00:44:47,799
Speaker 8: like I was consuming was very appealing to me. And

807
00:44:47,840 --> 00:44:50,400
Speaker 8: I loved Keith because of that. I mean he just

808
00:44:50,400 --> 00:44:53,240
Speaker 8: there was no boundaries, there was no limits. He would

809
00:44:53,239 --> 00:44:56,239
Speaker 8: go until you know, there was no more left, or

810
00:44:56,280 --> 00:44:58,279
Speaker 8: he was, you know, unconscious.

811
00:44:58,480 --> 00:44:59,600
Speaker 9: What do you think fueled that?

812
00:45:00,239 --> 00:45:01,239
Speaker 2: Do you just love it?

813
00:45:01,360 --> 00:45:04,560
Speaker 8: Or oh yeah, just loved it. Being out of controlling.

814
00:45:04,600 --> 00:45:06,319
Speaker 8: That's part of who he was.

815
00:45:06,760 --> 00:45:09,080
Speaker 9: He was the ball in a pinball machine. He would

816
00:45:09,160 --> 00:45:11,440
Speaker 9: just be knocked from flipper to flipper.

817
00:45:11,800 --> 00:45:14,640
Speaker 3: So Gary Stromberg, who I've known for fifty years, said

818
00:45:14,680 --> 00:45:17,400
Speaker 3: to me once, Bob Keith has the greatest move to

819
00:45:17,400 --> 00:45:19,120
Speaker 3: a coke spoon I've ever seen. I said, what are

820
00:45:19,160 --> 00:45:21,759
Speaker 3: you talking about? He said, Bob, he can walk through

821
00:45:21,800 --> 00:45:24,840
Speaker 3: a crowded because he always had that a gold snorter,

822
00:45:25,520 --> 00:45:29,560
Speaker 3: no spoon, a spoon, a silver spoon, yes, hanging from

823
00:45:29,600 --> 00:45:32,160
Speaker 3: a chain on his neck, so he could walk across

824
00:45:32,160 --> 00:45:32,759
Speaker 3: a crowded room.

825
00:45:32,840 --> 00:45:33,040
Speaker 7: That well.

826
00:45:33,040 --> 00:45:35,560
Speaker 3: People would hold it up sometimes, he said, take a hit,

827
00:45:35,719 --> 00:45:37,239
Speaker 3: keep moving and not spill a draw.

828
00:45:38,280 --> 00:45:41,560
Speaker 8: People would throw stuff on the stage and Keith would

829
00:45:41,680 --> 00:45:45,560
Speaker 8: consume hills and stuff that were in vials without ever

830
00:45:45,680 --> 00:45:47,000
Speaker 8: asking any questions.

831
00:45:47,280 --> 00:45:48,120
Speaker 9: He would just do it.

832
00:45:48,239 --> 00:45:52,560
Speaker 8: The guy could live spontaneously and just roll with whatever

833
00:45:52,600 --> 00:45:54,880
Speaker 8: you threw, like pick up on something on stage and

834
00:45:54,880 --> 00:45:58,040
Speaker 8: take it and just see where it took you. And

835
00:45:58,080 --> 00:46:00,759
Speaker 8: that I don't think I've ever seen anybody that was

836
00:46:00,920 --> 00:46:02,920
Speaker 8: willing to risk it on that level.

837
00:46:03,440 --> 00:46:05,640
Speaker 2: Suffice it to say, Mick and Keith had there are

838
00:46:05,680 --> 00:46:08,640
Speaker 2: different views on drug use. During the nineteen seventy two tour,

839
00:46:09,440 --> 00:46:12,480
Speaker 2: this added to the growing schism between the two. Keith

840
00:46:12,480 --> 00:46:14,400
Speaker 2: aspoused excess.

841
00:46:14,080 --> 00:46:15,840
Speaker 6: But the only way to do it too, like that

842
00:46:16,040 --> 00:46:17,680
Speaker 6: is to be as well as you can be and

843
00:46:18,360 --> 00:46:23,719
Speaker 6: think about anything else so you can think, you know.

844
00:46:23,760 --> 00:46:27,520
Speaker 2: I mean, well, Mick preached moderation, at least publicly.

845
00:46:28,040 --> 00:46:29,360
Speaker 4: I think that's completely wrong.

846
00:46:29,960 --> 00:46:33,080
Speaker 5: I mean I disagree fundamentally, and I think the thing

847
00:46:33,160 --> 00:46:36,640
Speaker 5: is to be as straight as possible, really absolutely.

848
00:46:36,680 --> 00:46:38,960
Speaker 4: I think to get to get as high as possible

849
00:46:39,040 --> 00:46:41,520
Speaker 4: play is completely wrong for me.

850
00:46:41,719 --> 00:46:44,920
Speaker 5: I'm not saying I stayed completely straight all throughout the

851
00:46:44,960 --> 00:46:47,480
Speaker 5: two but I did make a certain When I say straight,

852
00:46:47,520 --> 00:46:49,080
Speaker 5: I mean not fucked up in my head?

853
00:46:49,480 --> 00:46:51,840
Speaker 4: Why not say that I was. I mean I wouldn't

854
00:46:52,040 --> 00:46:54,200
Speaker 4: take a beer, you know, or I wouldn't, you know,

855
00:46:54,320 --> 00:46:57,040
Speaker 4: get a bit drunk some nights, you know, a little bit,

856
00:46:57,160 --> 00:46:57,319
Speaker 4: you know.

857
00:46:57,400 --> 00:46:59,719
Speaker 5: But I never went on the stage, so I never

858
00:46:59,719 --> 00:47:02,640
Speaker 5: want to stage loaded once.

859
00:47:02,640 --> 00:47:07,440
Speaker 4: Which means doctor out of control app control impossible. How

860
00:47:07,480 --> 00:47:08,800
Speaker 4: that I don't control.

861
00:47:09,600 --> 00:47:13,520
Speaker 8: Tour couldn't have happened if it wasn't for the chemicals

862
00:47:13,560 --> 00:47:16,919
Speaker 8: that supported them. I mean that large part was responsible

863
00:47:16,960 --> 00:47:19,520
Speaker 8: for the overall group energy that took place at a

864
00:47:19,560 --> 00:47:21,520
Speaker 8: tour like that. I don't think it exists if there

865
00:47:21,600 --> 00:47:24,640
Speaker 8: wasn't pharmaceutical intervention of some sort.

866
00:47:24,440 --> 00:47:27,560
Speaker 3: I mean, Gary's got a great point about that chemicals

867
00:47:27,680 --> 00:47:32,719
Speaker 3: may have helped enable it, but if you snort blow,

868
00:47:32,760 --> 00:47:36,200
Speaker 3: you don't become Mick Jagger, you know, like he had

869
00:47:36,239 --> 00:47:38,000
Speaker 3: the energy of an insane person.

870
00:47:38,920 --> 00:47:41,680
Speaker 2: It became clear after days or even just hours of

871
00:47:41,719 --> 00:47:43,960
Speaker 2: hanging around with the stones that they were made of

872
00:47:44,000 --> 00:47:47,000
Speaker 2: stronger stuff. It's a shame that Darwin never had a

873
00:47:47,080 --> 00:47:48,400
Speaker 2: chance to meet Keith Richards.

874
00:47:48,800 --> 00:47:50,759
Speaker 8: One of the things that I was very impressed was

875
00:47:50,760 --> 00:47:54,360
Speaker 8: with their physical prowess, how strong these guys were, that

876
00:47:54,400 --> 00:47:57,800
Speaker 8: they were able to endure what they especially Keith, what

877
00:47:57,960 --> 00:48:00,759
Speaker 8: he subjected his body to, and yet was always, like

878
00:48:00,880 --> 00:48:02,879
Speaker 8: Bob said, he was always he never missed a show.

879
00:48:02,920 --> 00:48:05,600
Speaker 8: And how strong they were. And one night we were

880
00:48:05,640 --> 00:48:09,520
Speaker 8: on the plane, the private plane, and and Mick and

881
00:48:09,640 --> 00:48:12,520
Speaker 8: Keith were both standing in the aisle talking to somebody.

882
00:48:12,880 --> 00:48:15,440
Speaker 8: And you know where the the the luggage racks are

883
00:48:15,480 --> 00:48:18,040
Speaker 8: above the thing. Both of them were holding on to

884
00:48:18,160 --> 00:48:20,960
Speaker 8: the luggage rack and they were like hanging like they

885
00:48:20,960 --> 00:48:24,160
Speaker 8: were just by one arm, and they were hanging there.

886
00:48:24,239 --> 00:48:27,360
Speaker 8: And the doctor who was accompanied us on the tour's

887
00:48:27,640 --> 00:48:30,120
Speaker 8: talking and I'm pointing out that look at look at

888
00:48:30,160 --> 00:48:32,000
Speaker 8: the way they're they're thinking. He says, you know what

889
00:48:32,040 --> 00:48:34,960
Speaker 8: that is and I said no, He said, they are simians.

890
00:48:35,360 --> 00:48:40,799
Speaker 8: They He said, you know, they're basic body types. And

891
00:48:40,920 --> 00:48:43,759
Speaker 8: one of the types is am. I forgot what he

892
00:48:43,840 --> 00:48:48,680
Speaker 8: called it, but it's a long torso no ass, long arms.

893
00:48:48,840 --> 00:48:51,200
Speaker 9: And he said, they're like the apes, brilliant.

894
00:48:51,280 --> 00:48:54,080
Speaker 8: And he said, and they are the strongest of the

895
00:48:54,239 --> 00:48:55,160
Speaker 8: human species.

896
00:48:55,239 --> 00:48:59,839
Speaker 9: Are these these body types? And he was absolutely right on.

897
00:49:00,440 --> 00:49:02,879
Speaker 8: And if you'll notice a lot of the English rock

898
00:49:02,920 --> 00:49:06,040
Speaker 8: stars have that same kind of body type brought through it.

899
00:49:06,160 --> 00:49:06,879
Speaker 9: His point was.

900
00:49:06,840 --> 00:49:11,120
Speaker 8: That these are very simian like animals, right, they are

901
00:49:11,160 --> 00:49:15,359
Speaker 8: capable of enduring a lot more than their normal human is.

902
00:49:15,760 --> 00:49:19,120
Speaker 2: Bob is a similar story of witnessing Keith's superhuman consumption

903
00:49:19,239 --> 00:49:20,359
Speaker 2: habits while on the road.

904
00:49:20,680 --> 00:49:22,919
Speaker 3: So we're in Denver. The party goes on till three

905
00:49:22,960 --> 00:49:26,560
Speaker 3: am because it's after the show. Party doesn't start till midnight,

906
00:49:26,640 --> 00:49:30,200
Speaker 3: three am whatever. And as I said, your only responsibility

907
00:49:30,200 --> 00:49:34,640
Speaker 3: in the morning was to bring your luggage to the lobby.

908
00:49:35,160 --> 00:49:38,279
Speaker 3: So I'm down early. I don't know why drop off

909
00:49:38,280 --> 00:49:43,080
Speaker 3: the luggage and I don't know what behooved me. I

910
00:49:43,120 --> 00:49:47,160
Speaker 3: stick my head in the bar. It's eleven am two

911
00:49:47,280 --> 00:49:51,480
Speaker 3: guys in the bar, Keith and Bobby Keith. Now I

912
00:49:51,560 --> 00:49:55,080
Speaker 3: know how loaded everybody was the night before I come in.

913
00:49:55,960 --> 00:49:58,320
Speaker 3: They're sitting at the bar at eleven o'clock and I said,

914
00:49:59,120 --> 00:50:02,840
Speaker 3: the fuck are you doing here? Keith is drinking that

915
00:50:03,280 --> 00:50:06,360
Speaker 3: was invented on the tour and saw Solito at the

916
00:50:06,440 --> 00:50:10,719
Speaker 3: Trident drinking at tequila sunrise and Keith holds up the

917
00:50:10,719 --> 00:50:15,240
Speaker 3: glass because the grenadine rises. You know, it's orange juice

918
00:50:15,239 --> 00:50:18,160
Speaker 3: and tequila and grenadine on ice for those who haven't

919
00:50:18,200 --> 00:50:22,800
Speaker 3: had one. Very nice and very pretty, very beautiful, very visual.

920
00:50:23,280 --> 00:50:28,919
Speaker 3: Keith holds up the glascense Vitamin C mad like, oh,

921
00:50:29,000 --> 00:50:30,239
Speaker 3: you're doing something good.

922
00:50:30,880 --> 00:50:32,120
Speaker 2: This is your breakfast.

923
00:50:32,760 --> 00:50:35,080
Speaker 3: And then they got on a plane and I never

924
00:50:35,080 --> 00:50:38,040
Speaker 3: saw Keith sleep on a plane. I never saw Keith sleep.

925
00:50:38,320 --> 00:50:41,000
Speaker 3: He also and I have to say this, and Keith

926
00:50:41,120 --> 00:50:44,840
Speaker 3: never missed a show in his entire career.

927
00:50:46,000 --> 00:50:48,800
Speaker 2: For Mere Mortals to compete with the band's intake was

928
00:50:48,840 --> 00:50:49,720
Speaker 2: a fool's.

929
00:50:49,400 --> 00:50:51,600
Speaker 3: Errand it's been a moment of insight for me for

930
00:50:51,719 --> 00:50:54,360
Speaker 3: Gary to say that, you know, he became a rolling

931
00:50:54,360 --> 00:50:58,760
Speaker 3: stone on the tour. See, that was Gary's first time around,

932
00:50:58,960 --> 00:51:03,000
Speaker 3: first hit, but living at Nell Cutt, I really saw

933
00:51:04,040 --> 00:51:07,239
Speaker 3: that if you got too close, you caught fire. You

934
00:51:07,280 --> 00:51:09,680
Speaker 3: could not be keith, you could not be mad. So

935
00:51:09,760 --> 00:51:13,120
Speaker 3: I never I'm alive today in talking because I never

936
00:51:13,280 --> 00:51:16,480
Speaker 3: tried to be one of the boys or girls or

937
00:51:16,520 --> 00:51:19,319
Speaker 3: boys and girls. I was always working.

938
00:51:22,520 --> 00:51:25,560
Speaker 2: For those seduced by the romantic visions of sex, drugs

939
00:51:25,560 --> 00:51:27,920
Speaker 2: and rock and roll while flying high with the world's

940
00:51:27,920 --> 00:51:31,759
Speaker 2: greatest group. Consider the story of Danny Seymour, a twenty

941
00:51:31,760 --> 00:51:34,520
Speaker 2: eight year old cinematographer and sound man who served as

942
00:51:34,560 --> 00:51:37,399
Speaker 2: part of the documentary crew accompanying the STP tour.

943
00:51:39,080 --> 00:51:43,320
Speaker 3: Danny was a lovely guy. Danny bought himself a thirty

944
00:51:43,360 --> 00:51:46,920
Speaker 3: eight foot boat and went off sailing. I believed to

945
00:51:47,360 --> 00:51:52,000
Speaker 3: kick to get clean. They found the boat, they never

946
00:51:52,080 --> 00:52:00,800
Speaker 3: found Danny. Nobody knows. I mean the repercussions of this tour,

947
00:52:02,200 --> 00:52:05,200
Speaker 3: the level of damage that people did to themselves.

948
00:52:05,280 --> 00:52:07,600
Speaker 8: Yeah, it took a long time for me to personally

949
00:52:07,640 --> 00:52:10,360
Speaker 8: recover from the amount of drugs that I had taken

950
00:52:10,360 --> 00:52:13,000
Speaker 8: on that tour, and I think that was pretty much

951
00:52:13,400 --> 00:52:22,360
Speaker 8: case for a lot of those guys.

952
00:52:32,480 --> 00:52:35,000
Speaker 2: So the album was done and plans were well underway

953
00:52:35,000 --> 00:52:37,280
Speaker 2: for the biggest rock tour the world had ever seen.

954
00:52:37,920 --> 00:52:41,719
Speaker 2: There was, however, one small problem. Keith Riches was in

955
00:52:41,760 --> 00:52:44,320
Speaker 2: no shape to do much of anything, much less sweat

956
00:52:44,360 --> 00:52:46,200
Speaker 2: his way through two hours of rock and roll each

957
00:52:46,280 --> 00:52:49,200
Speaker 2: night for six weeks. He was to use the most

958
00:52:49,200 --> 00:52:54,760
Speaker 2: evolved phrase of the time, not doing well with fixes

959
00:52:54,800 --> 00:52:57,960
Speaker 2: administered every three to four hours as heroin habit was

960
00:52:57,960 --> 00:53:01,000
Speaker 2: costing him one hundred dollars daily are about seven hundred

961
00:53:01,000 --> 00:53:04,720
Speaker 2: and twenty five dollars today. The band's ability to generate

962
00:53:04,800 --> 00:53:07,400
Speaker 2: vast amounts of money by touring the world was contingent

963
00:53:07,400 --> 00:53:10,320
Speaker 2: on Keith's health. They can't start without him, and a

964
00:53:10,400 --> 00:53:13,480
Speaker 2: drug bust would jeopardize the tour, leaving them even deeper

965
00:53:13,480 --> 00:53:16,000
Speaker 2: in the hole, So he and Anita are both sent

966
00:53:16,040 --> 00:53:19,840
Speaker 2: to a detox clinic in Switzerland. Expectations were not high.

967
00:53:20,400 --> 00:53:22,840
Speaker 2: The Stones lawyer advises Keith that this might be a

968
00:53:22,840 --> 00:53:26,000
Speaker 2: good time to work out his will. He's twenty nine

969
00:53:26,080 --> 00:53:30,120
Speaker 2: years old. Rehab as we know it today didn't exist.

970
00:53:30,880 --> 00:53:35,600
Speaker 2: The only real intervention was death. Keith and Anita arrive

971
00:53:35,640 --> 00:53:38,640
Speaker 2: in Switzerland that spring with so much luggage that arrangements

972
00:53:38,719 --> 00:53:40,480
Speaker 2: must be made for a truck to deliver it to

973
00:53:40,480 --> 00:53:44,440
Speaker 2: their hotel. It's decided that the couple will take turns detoxing,

974
00:53:45,000 --> 00:53:48,600
Speaker 2: with Keith going first, while Anita, heavily pregnant and weeks

975
00:53:48,600 --> 00:53:51,440
Speaker 2: away from giving birth, we'll look after their two year

976
00:53:51,480 --> 00:53:55,719
Speaker 2: old son, Marlon. As Keith's withdrawal symptoms begin to kick in,

977
00:53:56,160 --> 00:53:59,759
Speaker 2: he becomes nauseated and limp, his skin turning cold and

978
00:53:59,800 --> 00:54:03,000
Speaker 2: aade of green. He's in no shape to make it

979
00:54:03,040 --> 00:54:05,400
Speaker 2: down the stairs, much less get into a car for

980
00:54:05,440 --> 00:54:08,960
Speaker 2: a lengthy ride to the clinic. An ambulance has quickly summoned.

981
00:54:09,760 --> 00:54:13,359
Speaker 2: Anita asks the drivers to be discreet. She doesn't want

982
00:54:13,360 --> 00:54:16,279
Speaker 2: Marlon to see his corpse like Daddy being carried out

983
00:54:16,320 --> 00:54:19,839
Speaker 2: on a stretcher and panic. So the attendants put Keith

984
00:54:19,880 --> 00:54:22,279
Speaker 2: on a chair and drape a blanket over him and

985
00:54:22,320 --> 00:54:24,640
Speaker 2: carry him down the stairs like a sultan through some

986
00:54:24,680 --> 00:54:28,200
Speaker 2: imperial palace. It's probably for the best that Keith is

987
00:54:28,200 --> 00:54:32,920
Speaker 2: barely conscious, his head lulling from side to side. Against

988
00:54:32,920 --> 00:54:35,479
Speaker 2: all odds, Keith has somehow made it from his house

989
00:54:35,520 --> 00:54:39,680
Speaker 2: in Los Angeles to a clinic of Avey's Switzerland. Somehow

990
00:54:39,800 --> 00:54:43,200
Speaker 2: he's managed to survive yet another serious bout of heroin use.

991
00:54:43,680 --> 00:54:46,440
Speaker 2: This one began at Nelcote, but became far worse in

992
00:54:46,600 --> 00:54:50,000
Speaker 2: la Someone made of lesser stuff might have fallen by

993
00:54:50,000 --> 00:54:54,239
Speaker 2: the wayside, not Keith. The good news is that Keith

994
00:54:54,360 --> 00:54:57,600
Speaker 2: Richards is still alive. The bad news is when he

995
00:54:57,640 --> 00:55:02,120
Speaker 2: wakes up tomorrow morning, his detok will begin. At the clinic,

996
00:55:02,360 --> 00:55:05,239
Speaker 2: Keith finds himself playing the Jack Nicholson role and one

997
00:55:05,239 --> 00:55:08,920
Speaker 2: flew over the cuckoo's nest. A wounded rebel in confinement

998
00:55:09,880 --> 00:55:13,319
Speaker 2: against doctor's orders. He lights a cigarette in his room,

999
00:55:13,520 --> 00:55:16,279
Speaker 2: but his fingers are shaky and he immediately drops it

1000
00:55:16,320 --> 00:55:19,120
Speaker 2: on the bed. He beats out the flames with his

1001
00:55:19,200 --> 00:55:22,760
Speaker 2: bare hands. After this, he walks out into the hallway

1002
00:55:22,800 --> 00:55:26,400
Speaker 2: to smoke like everyone else. One day, he finds himself

1003
00:55:26,440 --> 00:55:29,719
Speaker 2: seated next to a catatonic patient. He sticks a cigarette

1004
00:55:29,719 --> 00:55:32,400
Speaker 2: in the frozen man's mouth and lights it, joking to

1005
00:55:32,440 --> 00:55:35,160
Speaker 2: an assistant that guy goes through two packs a day.

1006
00:55:36,000 --> 00:55:39,279
Speaker 2: Though a sense of humors returned, he's still weak. He

1007
00:55:39,320 --> 00:55:42,240
Speaker 2: once falls asleep in the middle of signing travelers checks

1008
00:55:43,120 --> 00:55:46,959
Speaker 2: in a touching display of interband loyalty. Stone's bassist Bill

1009
00:55:47,000 --> 00:55:49,680
Speaker 2: Wyman calls to offer support in any way he can

1010
00:55:50,640 --> 00:55:53,920
Speaker 2: though deeply appreciated, He's immediately talked out of flying the

1011
00:55:53,960 --> 00:55:56,840
Speaker 2: Switzerland for a visit, chiefly because no one at the

1012
00:55:56,880 --> 00:55:59,959
Speaker 2: facility has yet realized that mister Keith, as he's known,

1013
00:56:00,440 --> 00:56:03,480
Speaker 2: is actually a rock star. The sight of two Stones

1014
00:56:03,520 --> 00:56:06,279
Speaker 2: together might tip someone off, and a media circus would

1015
00:56:06,320 --> 00:56:10,600
Speaker 2: surely ensue. When Keith is finally recognized out in the

1016
00:56:10,600 --> 00:56:13,399
Speaker 2: hallway for a smoke, it's by a seventeen year old

1017
00:56:13,480 --> 00:56:19,280
Speaker 2: kid who's absolutely delighted Keith, where's Mick, He asks, Uh,

1018
00:56:19,280 --> 00:56:22,920
Speaker 2: He's not here, man. Keith replies, I'm trying to get

1019
00:56:22,960 --> 00:56:25,799
Speaker 2: my act together. I'm trying to get it straight. The

1020
00:56:25,880 --> 00:56:28,520
Speaker 2: kid tells Keith he also plays guitar and runs to

1021
00:56:28,520 --> 00:56:31,239
Speaker 2: get his instrument. Soon enough, the two of them are

1022
00:56:31,239 --> 00:56:34,000
Speaker 2: playing together, with Keith doing his best to teach him

1023
00:56:34,000 --> 00:56:46,200
Speaker 2: a Stone song through shaky, if not sticky fingers. Anita's

1024
00:56:46,239 --> 00:56:48,600
Speaker 2: detox was more difficult due to the fact that she

1025
00:56:48,719 --> 00:56:52,640
Speaker 2: was heavily pregnant. A visit to an obstetrician beforehand got

1026
00:56:52,680 --> 00:56:55,800
Speaker 2: slightly awkward when it became clear that the doctor had

1027
00:56:55,840 --> 00:56:58,760
Speaker 2: no idea who he was dealing with. He took notes

1028
00:56:58,800 --> 00:57:01,520
Speaker 2: and asked all the usual quest quessians do you drink?

1029
00:57:01,760 --> 00:57:04,920
Speaker 2: Do you have much coffee? Are you taking any prescription medication?

1030
00:57:05,680 --> 00:57:09,600
Speaker 2: Anita replied in her German accented English, It's a little

1031
00:57:09,640 --> 00:57:13,799
Speaker 2: more complicated than that, you see, I'm on heroin. The

1032
00:57:13,840 --> 00:57:17,959
Speaker 2: doctor dropped his pen. She went into premature labor after

1033
00:57:18,040 --> 00:57:21,280
Speaker 2: just a day and a half of detoxification. There were

1034
00:57:21,320 --> 00:57:24,240
Speaker 2: great fears that the baby would be born addicted to heroin.

1035
00:57:25,000 --> 00:57:27,680
Speaker 2: According to most of the medical literature on the subject,

1036
00:57:28,000 --> 00:57:30,920
Speaker 2: these infants go through withdrawal as soon as they're separated

1037
00:57:30,960 --> 00:57:35,720
Speaker 2: from their mothers. They shake, twitch, fuss, and sweat, some

1038
00:57:35,760 --> 00:57:39,760
Speaker 2: of problems eating. In severe cases, they even suffer seizures.

1039
00:57:40,640 --> 00:57:43,480
Speaker 2: The traditional form of treatment for reducing these symptoms is

1040
00:57:43,520 --> 00:57:46,720
Speaker 2: to administer a tinture of opium so the newborn can

1041
00:57:46,760 --> 00:57:50,840
Speaker 2: slowly be weaned off the drug through some miracle that

1042
00:57:50,880 --> 00:57:54,520
Speaker 2: no one can explain. On April seventeenth, nineteen seventy two,

1043
00:57:55,200 --> 00:57:57,920
Speaker 2: two days after Tumbling Dice is released as the first

1044
00:57:57,960 --> 00:58:01,520
Speaker 2: single off of Exile on Main Street, Anita Pallenberg gives

1045
00:58:01,560 --> 00:58:04,520
Speaker 2: birth to a baby girl who's not addicted and so

1046
00:58:04,680 --> 00:58:07,080
Speaker 2: does not have to suffer through the agony of neonatal

1047
00:58:07,120 --> 00:58:12,320
Speaker 2: abstinence syndrome. She does, however, have Anita's large dark eyes.

1048
00:58:13,240 --> 00:58:23,120
Speaker 2: They call her Dandelion. To Keith, she's perfect and so

1049
00:58:23,440 --> 00:58:26,280
Speaker 2: for not the first nor the last time, Keith Richards

1050
00:58:26,320 --> 00:58:29,600
Speaker 2: found himself on the brink of death and survived as

1051
00:58:29,600 --> 00:58:33,080
Speaker 2: he's wont to do. Everyone knows the old joke. We

1052
00:58:33,120 --> 00:58:35,000
Speaker 2: have to start worrying about what kind of world we're

1053
00:58:35,040 --> 00:58:38,560
Speaker 2: going to leave for Keith Richards. He flies back to

1054
00:58:38,600 --> 00:58:40,720
Speaker 2: Los Angeles at the end of May to rehearse for

1055
00:58:40,760 --> 00:58:43,320
Speaker 2: the STP tour do to kick off in just a

1056
00:58:43,360 --> 00:58:49,160
Speaker 2: matter of days. Robert Greenfield was there.

1057
00:58:49,280 --> 00:58:52,200
Speaker 3: So the most amazing I ever saw that band, And

1058
00:58:52,320 --> 00:58:54,120
Speaker 3: I guess I saw him a lot. I saw him

1059
00:58:54,120 --> 00:58:57,600
Speaker 3: all through England, you know, saw him a lot before

1060
00:58:57,640 --> 00:59:00,080
Speaker 3: the tour began. In La I went to see them

1061
00:59:00,080 --> 00:59:03,920
Speaker 3: at Sir and that studio.

1062
00:59:03,600 --> 00:59:05,800
Speaker 9: Instrumental right the street.

1063
00:59:05,720 --> 00:59:08,640
Speaker 3: Right on the Sunset strip, And there are two, in

1064
00:59:08,720 --> 00:59:12,480
Speaker 3: my memory, very long and narrow rehearsal studios, one on

1065
00:59:12,520 --> 00:59:14,520
Speaker 3: the left, one on the right, So the one on

1066
00:59:14,560 --> 00:59:17,040
Speaker 3: the left, Little Feet was in and the one on

1067
00:59:17,080 --> 00:59:20,920
Speaker 3: the right was the Stones And basically they were playing

1068
00:59:20,960 --> 00:59:24,640
Speaker 3: through pig nose apps and Charlie was not. I don't

1069
00:59:24,640 --> 00:59:25,960
Speaker 3: think he had a drum kit. I think it was

1070
00:59:26,000 --> 00:59:28,320
Speaker 3: playing on a pad or something. You know, it was

1071
00:59:28,400 --> 00:59:33,320
Speaker 3: like seeing the rolling Stones in a finished basement. They

1072
00:59:33,360 --> 00:59:38,600
Speaker 3: were so incredible and I don't know somehow that gets

1073
00:59:38,640 --> 00:59:39,680
Speaker 3: lost in the mixed.

1074
00:59:43,800 --> 00:59:48,240
Speaker 2: Even Keith, indestructible yet momentarily fragile, was bolstered by what

1075
00:59:48,320 --> 00:59:48,680
Speaker 2: he heard.

1076
00:59:49,120 --> 00:59:51,440
Speaker 6: Yeah, the band is still getting better, you know, which

1077
00:59:51,480 --> 00:59:56,400
Speaker 6: is an amazing thing really after that lung of playing together,

1078
00:59:56,560 --> 01:00:00,840
Speaker 6: because it isn't It's never just a length of time

1079
01:00:01,040 --> 01:00:03,480
Speaker 6: that you play together and makes a bang that usually

1080
01:00:03,480 --> 01:00:05,920
Speaker 6: a dang gets sort of fed up. You know, you

1081
01:00:06,080 --> 01:00:08,000
Speaker 6: get to stay over somewhere and on that, which the

1082
01:00:08,080 --> 01:00:10,600
Speaker 6: role says did at one point, but they managed to

1083
01:00:10,680 --> 01:00:14,360
Speaker 6: overcome it. And you know, when we've been turned for

1084
01:00:14,520 --> 01:00:19,120
Speaker 6: four years, three four years and non stuff, you know,

1085
01:00:21,360 --> 01:00:25,680
Speaker 6: you know, you can push so hard for so long

1086
01:00:25,720 --> 01:00:29,080
Speaker 6: that you can get absolutely pissed up. But I think

1087
01:00:29,120 --> 01:00:31,880
Speaker 6: we've done just the right amount of work and the

1088
01:00:31,960 --> 01:00:32,720
Speaker 6: right amount.

1089
01:00:32,480 --> 01:00:34,680
Speaker 4: Of recording to keep ourselves.

1090
01:00:35,880 --> 01:00:37,320
Speaker 6: Interested in what we're doing.

1091
01:00:37,400 --> 01:00:37,600
Speaker 1: You know.

1092
01:00:39,320 --> 01:00:42,880
Speaker 3: It's also the dynamic between Mick and Keith that you

1093
01:00:42,960 --> 01:00:47,440
Speaker 3: see on stage. Nick and Keith working off one another,

1094
01:00:47,560 --> 01:00:50,600
Speaker 3: with Charlie in the middle, and the dynamic of that

1095
01:00:50,760 --> 01:00:54,160
Speaker 3: on stage, especially in small arenas without all the fruit

1096
01:00:54,200 --> 01:00:59,240
Speaker 3: through no scenery, no big lighting, no nothing. Whoa you know,

1097
01:00:59,320 --> 01:01:04,520
Speaker 3: it's too into these the Glimmer Twins, these two brothers

1098
01:01:05,400 --> 01:01:09,520
Speaker 3: who love and hate one another. That's real theater.

1099
01:01:11,760 --> 01:01:14,640
Speaker 2: The trials and tribulations of Nolka would play themselves out

1100
01:01:14,640 --> 01:01:17,080
Speaker 2: on stage every night of the STP tour in the

1101
01:01:17,080 --> 01:01:20,320
Speaker 2: summer of nineteen seventy five to the joy and yes

1102
01:01:20,520 --> 01:01:24,880
Speaker 2: satisfaction of thousands of fans. This should be the happy ending,

1103
01:01:25,440 --> 01:01:28,080
Speaker 2: the greatest rock band in the world, happy and healthy.

1104
01:01:28,400 --> 01:01:32,040
Speaker 2: Working through the setlist for their American victory lap, but

1105
01:01:32,120 --> 01:01:35,880
Speaker 2: a larger problem lingered. There was a subtle hint in

1106
01:01:35,920 --> 01:01:39,720
Speaker 2: their list of tunes. Sympathy for the Devil was conspicuously absent.

1107
01:01:41,280 --> 01:01:43,480
Speaker 2: They were playing the song on Altamo when a scuffle

1108
01:01:43,520 --> 01:01:47,080
Speaker 2: broke out between the Hell's Angels, extensively acting as security

1109
01:01:47,120 --> 01:01:50,040
Speaker 2: on the stones behalf and nineteen year old Meredith Hunter

1110
01:01:50,960 --> 01:01:54,040
Speaker 2: from the stage. Makes sense the disturbance. We always have

1111
01:01:54,160 --> 01:01:56,680
Speaker 2: something very funny happening when we start that number, he

1112
01:01:56,880 --> 01:02:00,560
Speaker 2: arreily told the crowd. A few songs later, the gang

1113
01:02:00,600 --> 01:02:04,320
Speaker 2: stabbed Hunter to death. To play the song this time

1114
01:02:04,360 --> 01:02:07,400
Speaker 2: around almost felt like tempting fate with an evil incantation.

1115
01:02:08,480 --> 01:02:12,360
Speaker 2: Best to avoid for the audience sake and the band's own.

1116
01:02:14,000 --> 01:02:16,080
Speaker 2: The Angels were not happy about taking the fall for

1117
01:02:16,160 --> 01:02:18,720
Speaker 2: the crime. Hey, they were just doing the job the

1118
01:02:18,720 --> 01:02:21,640
Speaker 2: Stones hired them to do. Word on the street was

1119
01:02:21,680 --> 01:02:26,000
Speaker 2: they wanted retribution in the form of Jagger's head. No

1120
01:02:26,040 --> 01:02:27,840
Speaker 2: one was sure if the Angels had really put a

1121
01:02:27,920 --> 01:02:30,440
Speaker 2: hit out on him, but he moved like a mark man.

1122
01:02:31,840 --> 01:02:35,480
Speaker 2: The fear colored the entire tour. Would Jagger be killed?

1123
01:02:36,240 --> 01:02:39,040
Speaker 2: The Stones insisted that the tour go on as scheduled.

1124
01:02:39,760 --> 01:02:42,360
Speaker 2: Jagger he didn't have much of a choice.

1125
01:02:42,440 --> 01:02:44,760
Speaker 4: I mean, either I stopped her. Oh I didn't, you know,

1126
01:02:45,040 --> 01:02:46,200
Speaker 4: I mean it was as simple as that.

1127
01:02:49,080 --> 01:02:52,560
Speaker 2: Rumors of the Hell's Angels murderous plot spread far and wide.

1128
01:02:53,160 --> 01:02:57,200
Speaker 2: Cruel reminders turned up when Jagger least expected like the

1129
01:02:57,280 --> 01:03:01,560
Speaker 2: devil in disguise, people said.

1130
01:03:01,360 --> 01:03:04,080
Speaker 4: Well, you know, aren't you worried? You know, Wabsite has

1131
01:03:04,200 --> 01:03:05,040
Speaker 4: really got me one.

1132
01:03:05,080 --> 01:03:08,240
Speaker 5: And we decided to do the tour run out and

1133
01:03:08,920 --> 01:03:11,000
Speaker 5: we were driving and we were parting a parking lot

1134
01:03:11,040 --> 01:03:12,320
Speaker 5: and these four girls came.

1135
01:03:12,200 --> 01:03:15,120
Speaker 4: Up, you know, young girls, and these chicks came up and see,

1136
01:03:15,720 --> 01:03:17,720
Speaker 4: just heard you're going on tour. Great.

1137
01:03:18,560 --> 01:03:20,920
Speaker 5: So then they said aren't you afraid of being shut

1138
01:03:21,920 --> 01:03:23,880
Speaker 5: So that really freaked me out, you know, at least.

1139
01:03:23,800 --> 01:03:26,120
Speaker 4: Like fifteen year old girls when say that, you know,

1140
01:03:27,080 --> 01:03:29,000
Speaker 4: so I said, yeah.

1141
01:03:28,840 --> 01:03:56,400
Speaker 7: I am.

1142
01:03:56,600 --> 01:03:56,920
Speaker 2: Stone.

1143
01:03:56,960 --> 01:03:59,920
Speaker 1: Story Party has written in Hosted by Jordan Runt Up Kids,

1144
01:04:00,240 --> 01:04:02,840
Speaker 1: is produced by Noel Brown and Jordan Brunton, edited in

1145
01:04:02,840 --> 01:04:05,480
Speaker 1: the sound design by Noel Brown and Michael Alder June.

1146
01:04:05,600 --> 01:04:08,600
Speaker 1: Original music composed and performed by Michael Alder June and

1147
01:04:08,680 --> 01:04:11,600
Speaker 1: Noel Brown, with additional instruments performed by Chris Suarez, Nick

1148
01:04:11,680 --> 01:04:15,000
Speaker 1: Johns Cooper, and Josh The Vintage Rolling Stones audio courtesy

1149
01:04:15,000 --> 01:04:17,920
Speaker 1: of the Robert Greenfield Archive at the Charles Darring McCormick

1150
01:04:18,000 --> 01:04:22,160
Speaker 1: Library of Special Collections in Northwestern University Libraries. Stone's Touring

1151
01:04:22,160 --> 01:04:30,000
Speaker 1: Party is a production of iHeart Radio. For more podcasts

1152
01:04:30,000 --> 01:04:33,560
Speaker 1: from iHeart Radio, visit the iHeartRadio app, Apple Podcasts, or

1153
01:04:33,560 --> 01:04:35,080
Speaker 1: wherever you get your favorite shows.