ROLLING STONES FLEA MARKET FIND PHOTOS | FOUND TUMBLING THROUGH THE SOUTH IN ’65

Rolling Stones Florida 1965

Brian Jones of the Rolling Stones enjoying the pool at the Manger Motor Lodge in Savannah, GA

Just imagine your luck stumbling across this little gem… 23 original, never-before-seen photos of the Rolling Stones resting unmolested in an unmarked box? Yes, please. That’s exactly what Lauren White found herself staring at when a friendly, unassuming flea market dealer put them before her kindly with a wink and a nudge. Turns out they were taken (photographer unknown…) during the Rolling Stones American tour through Savannah, Georgia and Clearwater, Florida in 1965.

“He obviously didn’t know what he had. To tell the truth, I didn’t either. I obviously knew it was the Stones, but it took about a week of looking them over to realize that this was really a very unique circumstance. After extensive research, I came to find that these are unpublished, never-before-seen photos of one of the most legendary bands in rock ‘n’ roll history. Not only that, they are beautifully composed, candid, raw and perfect in every way. They really convey a band innocent to their destiny.

In a lot of the images, the guys are looking directly into the lens. It’s hard to get boys to be that vulnerable, especially in front of a camera. They are also sort of showing off. I think a girl is the only thing that could convince them to allow those kinds of shots. It’s hard to imagine a dude is evoking these intimate moments, but you never know.” –Lauren White

Mick Jagger Rolling Stones 1965

1965– Mick Jagger of the Rolling Stones poolside in shades, Clearwater, Florida

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THE ROLLING STONES ROCK WARHOL’S EAST HAMPTON PAD | MONTAUK, 1975

Andy Warhol cultural icon, and Mick Jagger of The Rolling Stones – Image by © Ken Regan

It was spring of 1975, and The Rolling Stones were gearing up for their epic Tour Of The Americas (TOTA)– which they would later kick off  in NYC by performing “Brown Sugar” on the back of a flatbed truck driving down 5th Ave. Looking for a place to rest up, rehearse for the tour, and work on songs for their upcoming album, Black and Blue, the boys rented their pal Andy Warhol’s pad (for 5k a month), and got busy being themselves. Let’s just say their presence did not go unnoticed by their buttoned-up neighbors:

“Throughout April sensationally loud music welled through the windows, into the ruts and hollows over the tangled crab-grass of an estate in Montauk, Long Island. Residents of the Ditch Plains trailer park were woken in the night – yapping dogs, even wolves, the loud grief of coyotes. From East Hampton to New York the word spread with the ferocity of a brush fire: The Rolling Stones were rehearsing!”

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June, 1975 — The Rolling Stones, with guest percussionist Ollie E. Brown, outside their rehearsal room at Andy Warhol’s Montauk Church Estate – Image by © Ken Regan. Although the Stones tried to keep a low profile, their fans found their hide away. Andy Warhol remembered, “Mick Jagger really put Montauk on the map. All the motels were overflowing with groupies. Two girls with no hair and black cats on leashes followed them all the way to Montauk. Mr. Winters, the caretaker of the estate, found them hiding in the bushes!”

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June, 1975 — The Rolling Stones, with guest percussionist Ollie E. Brown, outside their rehearsal room at Andy Warhol’s Montauk Church Estate – Image by © Ken Regan. Following Mick Taylor’s leaving the band, Ronnie Wood stepped in to (try and) fill his shoes. Wood was still a member of the Faces while he toured with the Stones on TOTA, and recorded with them on Black and Blue. The Faces wouldn’t officially announce they’re breakup until Dec. 1975, and the Stones announced Wood as an official member of the band in Feb. 1976. “I remember learning 150 of their repertoire (laughs). I gave up trying to remember which key each one was in or the chord sequence to a lot of them. I did a lot of it by feel in the end, you know. Had to, it’s impossible to log all of those songs. It was intense– to get hit with all of those Mick Taylor lines, to echo what Brian had done, then to add my own bluesy input to it all.” –Ron Wood

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Below is a great little read from Montauk Life that recounts the days of Andy Warhol’s move to East Hampton, The Rolling Stones’ legendary visit to the Church Estate that Warhol owned, and other interesting tidbits of that time:

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REBEL TAILOR TOMMY NUTTER | THE LEGENDARY SAVILE ROW STRUTTER

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The flamboyantly natty Savile Row tailor Tommy Nutter with his dogs. “Although tailoring was quite distinct from fashion then, Tommy Nutter changed the way men dressed,” says Dennis Nothdruft, who co-curated the 2011 retrospective (Tommy Nutter: Rebel on the Row) at the Fashion and Textile Museum in London along with tailor Timothy Everest. “And he changed the way Savile Row was seen. Before Nutters it was an exclusive, closed-off world. They didn’t even have window displays. Though, of course, the rest of the row looked upon him as an upstart whose shop was on the wrong side of the street.” (The huge purple candles in the shape of phalluses can’t exactly have endeared him to his neighbors… Another legend, Simon Doonan, was Nutter’s window dresser back in those days.) via

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Tommy Nutter will always be known as the flamboyant bee in Savile Row’s stuffy bonnet. Trained as a traditional tailor, the sexy and innovative Nutter was not happy following the status quo of stuffy Savile Row and literally took matters into his own hands. He created a sensation with his bold, signature look– wide shoulders, unapologetic lapels, bold fabrics & patterns. Nutter soon became the darling of the celebrity and rock ‘n’ roll scene– clothing the likes of The Rolling Stones, Bianca Jagger, Elton John, Eric Clapton, The Beatles,  Vidal Sassoon, Twiggy, David Hockney, and many others. His influence can still be seen today, through the apprentices who worked under him (John Galliano for one), and in the young new designers of today (E. Tautz) who are rediscovering his work. Tommy Nutter has forever left a mark on Savile Row, and defined a moment in time when bigger truly was better.

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Designers like Tom Ford (who favors strong lapels and chunky neckwear) have famously cited Tommy Nutter as an influence. Bianca on Mick Jagger’s arm as he struts in his Tommy Nutter duds– from the book Day of the Peacock by Geoffrey Aquilina Ross that is an incredible visual chronicle of the flashy and flamboyant menswear style from 1963-1973.

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THE ROLLING STONES’ 1972 AMERICAN TOUR | STP– STONES TOURING PARTY

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“Some of my most outrageous nights– I can only believe actually happened because of corroborating evidence.  No wonder I’m famous for partying!  The ultimate party– if it’s any good– you can’t remember it.” 

–Keith Richards 

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Keith Richards & Mick Taylor of The Rolling Stones on stage, 1972 –Image by © Ethan Russell

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The Rolling Stones embarked on their 1972 American tour to support the release of Exile on Main Street– which in and of itself was a push into new territory for the band, both musically and commercially. What followed rewrote the game for The Stones and the music industry, and basically set the stage for a decade of big, balls-out tours that went from being simple promotional vehicles the pop culture events. Nothing like this had been done in Rock ‘n’ Roll prior and all subsequent tours would follow the ’72 tour blueprint for scale, attempted musicality, logistics, legal entanglements, drugs, women, hilarity, hangers-on, and general debauchery.

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Mick Jagger & Keith Richards of The Rolling Stones on the  STP tour, 1972 –Image by © Ethan Russell

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PHOTOGRAPHY OF ROBERT ALTMAN | PAPA WAS A ROLLING STONE

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After attending Hunter College in NYC, Robert Altman apprenticed under none other than Ansel Adams. He then went on to serve as Chief Staff Photographer for Rolling Stone magazine from 1969-1971. Many of Altman’s images became iconic for the brilliant and passionate way he captured those that shaped music history in particular, and the ’60s & ’70s culture at large.

The Sixties: Photographs by Robert Altman is a must own. Oh, and he’s not to be confused with Robert Altman the film director – both epic in their own right.

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Holy Man Jam festival, Boulder, Colorado, August 1970 — Image by © Robert Altman. “I love this photograph. You’ve got the perfection of a very pretty young lady, hands raised, holding a maraca. Right between her is this jubilant face… Another second or two, and her expression may have changed, an arm might have moved in front of an eye, and it’s a whole different photograph. Sometimes photography is alchemy, pure magic. Sometimes it just all comes together.” –Robert Altman

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January, 1970 — Author Ken Kesey at home in Springfield, OR — Image by © Robert Altman. Kesey, author of “One Flew Over the Cuckoo’s Nest” and a master mind of The Sixties was an original and much loved figure, and the focus of Tom Wolfe’s best seller “The Electric Kool-Aid Acid Test.” Sadly Rolling Stone ran this photo as a double page spread when Ken passed the acid test and also passed onto the next great adventure. via

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The Gold Rush Festival, October 4, 1969 – Tina Turner, “The Fan” — Image by © Robert Altman

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THE BROODING BAVARIAN BOMBSHELL | ’60s & ’70s SEX ICON– USCHI OBERMAIER

Keith Richards with German model/actress Uschi Obermaier during the Rolling Stones’ 1975 Tour of the Americas. –Photo by Christopher Simon Sykes/Hulton Archive/Getty Images

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The sexy German model was with the Rolling Stones on their ’75 tour, and bedded both Mick & Keef. Uschi later rated the boys, saying, “Mick is the most charming man in the world, but Keith is the better lover. He just knows the anatomy of women…”

When Anita got word of Keef’s tryst with Uschi, she furiously charged at him, and grabbed him by the hair and screamed, “You f*cking messer, You’ve been messing with this bird!”

Uschi makes it clear that she and Keith loved each other– and that while Anita often lamented over Keef’s lacking libido, Uschi, by her account, had no problem keeping her man in bed for days at a time. “With me, there was never a problem.”

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December 18th, 1968– The Rolling Stones’ Mick Jagger and Keith Richards with Anita Pallenberg in a departure lounge at London’s Heathrow Airport. –Photo by Central Press/Getty Images

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THE ROLLING STONES @ ALTAMONT | WE’RE NOT IN WOODSTOCK ANYMORE…

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Not barely four months after Woodstock, Altamont would prove to be worlds apart from its predecessor. For reasons largely unforeseen, or at least unacknowledged at the time, there was a definite divide in ideology between the American hippies in the crowd, and some of the English rockers onstage– for whom this hippie-trippy way of life was hard to swallow. For some it was simply naive, and to others– it was downright offensive. Pete Townsend in particular left Woodstock with a bad taste in his mouth– “All those hippies wandering about thinking the world was going to be different from that day on… As a cynical English arsehole, I walked through it all and felt like spitting on the lot of them…” Country Joe countered with his personal recollection of Pete at Woodstock. “I saw Townshend pull up in his limo, then do his set, and leave. That’s the sum total of his experience of Woodstock. He played at it but he wasn’t really part of it.”

Look, we all go through life with our own backgrounds, beliefs and expectations that impact our openness to ideas, and color our perceptions of attitudes and events. That being said– Is Townsend really there to “experience Woodstock”, or is he there to put on a great Who show? Whose place is it to dictate that everyone passing through the ’60s has to buy into the damn hippie lifestyle? It clearly wasn’t for everyone. Certainly not for the Rolling Stones.

By 1969, the Rolling Stones were a band with a well-established attitude of monstrous proportions.  They were effin’ rock stars baby, and royalty at that.  The world was their stage– and they saw Stones’ fans as their subjects. There to adore them and feed their egos.  They didn’t come into Altamont with the idea that it would be a lovefest.  Strangely, Mick Jagger was going through a phase of curiosity in Satanism and the occult at that time– but he would be far from prepared for the darkness that would unfold at his feet on that December day.

Altamont and the Charlie Manson murders would effectively usher out the age of the hippie. But was the hippie movement even real outside of the provincial confines of Woodstock and Haight Ashbury? Or, were we all just temporarily clouded by the sweet scent of a movement that was never more than a passing fad or fashion for most?

Photo above of Mick Jagger & Charlie Watts with Hells Angel. — Photograph © Ethan Russell. All rights reserved. From the start, the Altamont festival was a disaster in waiting. The stage was too low, the crowd too close, the Hells Angels too wired on beer and bad acid. Such was the rush to stage the festival that there were no food or drink outlets, and few toilets. –Sean O’Hagan

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THE ROLLING STONES | ROAD WORN, FORLORN & ALMIGHTY GUITAR PORN

When I’m feeling roadworn, forlorn, or the subject of scorn– nothing takes me to my happy place faster than great old pics of guitar porn.  I came across the below Stones’ porn pic sifting through the internets and became mesmerized by the artfully haphazard array of axes.  You can almost smell the sweat, smoke  and stale beer as you gaze at the overturned cans, ash, and listing guitars.

The late ’60s – early ’70s was an epic time for the Rolling Stones, and Rock & Roll as a whole.  It was a time I largely missed (being born in 1970), but feel like I experienced, partially at least, vicariously through my mom.  She was a music junkie, went to Woodstock, worshipped Janis Joplin.

Because of her we had stacks of records, taller than me as a kid, right at my fingertips. Aside from the epic music itself that I soaked-up, the album artwork and liner notes were pure magic, and heavily influential to this day– forever etched into my psyche.  I remember hearing “Paint it Black” crackling on the turntable– the sound of Brian Jones on the sitar lulling me into a sedated state of wonder.  Today I appreciate the Stones more than ever– as through the decades they’ve proven again and again that a band like that only comes around once or twice a generation in terms of musicianship, influence, and longevity.  And the icing on the cake is the epic tales of their early days and ways of excess.

1969 pic of the Rolling Stones’ guitar/bass lineup– appears they were hard on everything then.

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Brian Jones (on his Fender Telecaster) throwin’ some heavy, funk vibe — way pre-Lenny Kravitz. There’d be no Rolling Stones without Jones, who was undoubtedly the most versatile musician ever to bless the band, and easily rivaled Mick Jagger for sex symbol status.  Jones also had a very eclectic taste in guitars– amassing a very enviable collection.

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“YOU’RE WELCOME TO SWIM” #1 — Keith Richards and Brian Jones together in happier times– poolside at the Jack Tar Harrison Hotel in Clearwater, Florida on the day that Keith and Mick wrote “(I Can’t Get No) Satisfaction.”  Today this hotel is the headquarters of The Church of Scientology. Later Keith would “rescue” or “steal” Anita Pallenburg from under Jones’ nose, depending on how you look at it– and added insult to injury when both he and Anita (as well as Mick Jagger) were noticeably absent at his funeral. – image by Bob Bonis

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THE ROLLING STONES’ OTHER MICK | MICK TAYLOR’S SUBSTANCE OVER STYLE

The epic pic, “Flapjacks and a Fag.”  – The Rolling Stones’ Mick Taylor and Keith Richards, Hotel Manchester, September, 1973 — Photo by Laurens Van Houten

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At the wee age of 20 years old, guitarist Mick Taylor (of John Mayall’s Bluesbreakers fame) replaced Brian Jones, in what as that time the greatest rock and roll band in the world– the Rolling Stones.  Well the best was yet to come, as they went on to record the epic musical masterpieces– Let It Bleed, Sticky Fingers and Exile On Main Street.

Then suddenly in ’74, Mick dropped out.  Some say he was kicked out– but Taylor simply had enough of the chaos, drugs, and strain that came with being in the Stones.  Had he stayed, Taylor adamantly believes that the Stones’ life of debauchery would have killed him.

Mick Taylor of the Rolling Stones

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THE WILD LIFE AND UNTIMELY DEATH OF THE REGGAE LEGEND PETER TOSH

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From the desk of Contributing Editor Eli M. Getson-

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Growing up in Chicago during the 1970’s and 80’s I had the opportunity to see some truly epic musicians. Luckily, I looked older than my years, and also had the advantage of a stellar fake ID– so Dr. James Fortier, OBGYN could get into any number of late night haunts, concert halls, and after hours clubs.  I saw a lot of great acts in those days.  However, I contend that no artist I have ever seen, before or since, could hold a candle to Winston Hubert McIntosh, aka Peter Tosh.  Peter, usually arriving to the stage late, would literally stalk the floor with intensity.  He filled up a hall like no other musician I have ever seen– it was like he sucked the oxygen out of the place.  A Peter Tosh concert was a roller coaster ride.  He could appear stoned out of his mind, ranting about legalizing ganja use between songs– and then be completely lucid and take on the role of machete wielding revolutionary giving a political speech on the oppression in the Third World and the evils of apartheid.  Whenever I saw Peter I could not take my eyes off him– he literally scared/fascinated the hell out of me.  And hearing him do a solo version of “Get Up, Stand Up” was a religious experience that hit me like a ton of bricks.

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1983 ~ Peter Tosh Holding a Microphone and Guitar ~ Image by © Lynn Goldsmith/Corbis

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In a lot of ways I think Peter was ahead of his time, and probably is more of a spiritual father to the hip-hop movement than he gets credit for.  To say he grew up hard is an understatement.  Born to parents who were too young to raise him, Peter was raised by his aunt in the Trenchtown ghetto in Kingston, Jamaica.  He taught himself guitar early on by listening to American AM stations from Miami and New Orleans who played the likes of Chuck Berry.  Peter became quite a local celebrity in Kingston in the 1960s singing ska, and was introduced by his musical mentor Joe Higgs to Bob Marley and Bunny Wailer.

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1972, Jamaica ~ L-R: Earl Lindo, Bob Marley, Carlton Barrett, Peter Tosh, Aston “Family Man” Barrett. ~ Image by © Michael Ochs Archives/Corbis

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It was through this fateful hook-up that Peter and Bob became friends and the Wailers were formed.   Through Joe’s teaching, the group learned to harmonize and often sang on the street corners of Trenchtown and at various local sets as they got bigger.  Through their will, guile and talent, the Wailers became Jamaican superstars and caught the attention of a young, British music exec named Chris Blackwell, who signed them and released their first two albums Catch a Fire and Burnin’ in 1973.  I am not sure if Blackwell signed the Wailers solely with the intent of making Bob Marley a star– but after a rather nasty spat over Blackwell’s refusal to record a Tosh solo effort, Peter left the group and began several years of twists and turns.  While Marley became the major Reggae star from Jamaica with his “One Love” message, Peter constantly berated a system he felt was unfair and would be beaten and harassed many times by the Jamaican police, even after he’d attained stardom.

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