TSY has printed a small batch of our collaboration with Devyn Haas, back by popular demand– Spooky 1! Printed on 6oz Ring-Spun 100% Cotton tee, with an old school fit / feel.
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 After extensive research, I came to find that these are unpublished, never-before-seen photos of one of the most legendary bands in rock ‘n’ roll history.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
1965– Mick Jagger of the Rolling Stones poolside in shades, Clearwater, Florida
“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
Keith Richards & Mick Taylor of The Rolling Stones on stage, 1972 –Image by © Ethan Russell
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.
Mick Jagger & Keith Richards of The Rolling Stones on the STP tour, 1972 –Image by © Ethan Russell
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
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.”
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
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
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.
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.
“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
The epic pic, “Flapjacks and a Fag.” — The Rolling Stones’ Mick Taylor and Keith Richards, Hotel Manchester, September, 1973 — Photo by Laurens Van Houten
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
Anita Pallenberg, Keith Richards and Gram Parsons at Joshua Tree © MICHAEL COOPER
Gram Parsons and Keith Richards first met back in 1968. Gram was with the Byrds; touring Europe to promote their landmark Sweetheart of the Rodeo record. When Gram told Keith the band was headed to South Africa, Keith was like– “Man, we don’t go there.” The sanctions and the embargo were on. So Gram quit the Byrds, right there and then. Gram, with nowhere to stay, crashed with Keith in London and fed his friend a steady diet of classic Country music– which would seep its way into the Stones’ sound soon enough.
As a songwriter, Gram worked very much like I do, which is knock out a couple of chords, start to spiel and see how far it can go. Rather than sitting around with a piece of paper and a pen, trying to make things fit neatly together, if you just get on the microphone, things come to you. Lines come to you that you wouldn’t dream of, because they have to come to you in a split second. Gram liked to do that. But he would also work very hard — harder than I ever did — on honing it down. It’s difficult for me to pick one of his songs as a favorite. ‘Sin City’, on the Flying Burrito Brothers’ first album, is great. I love ‘I Can’t Dance’, on GP. But you’ll never get a full portrait of him from one or two songs.
Keith Richards at Joshua Tree © MICHAEL COOPER
In 1969, Keith Richards, Gram Parsons, and Anita Pallenberg took a trip (quite literally, I’m sure) to the Joshua Tree National Park. (The amazing photos of that epic trip were taken by Michael Cooper.) Joshua Tree was a place Gram Parsons was quite fond of. He’d spend days there on LSD getting lost, chasing UFOs, whatever. Tragically it was there that it all ended for Gram.
The drugs and drinking — he was no better or worse than the rest of us. He just made that one fatal mistake — taking that one hit after he cleaned up, still thinking he could take the same amount. And it was too f*cking much. But he didn’t get into dope because of us. He knew his stuff before he met us. I think he was just getting into his stride when he died (In ‘73 Gram Parsons fatally overdosed from a lethal combo of morphine and alcohol). His actual output — the number of records he made and sold — was pretty minimal. But his effect on country music is enormous. This is why we’re talking about him now. But we can’t know what his full impact could have been.
Anita Pallenberg at Joshua Tree © MICHAEL COOPER
In the summer of ’71, The Rolling Stones, seeking shelter from their UK tax woes, exiled to the South of France. Keith Richards set up house with Anita Pallenberg and their son Marlon in Villa Nellcôte— a 16 room waterfront mansion that once served as Gestapo headquarters for the Nazis during WWII. The infamy continued with it now best remembered among rock fans as the grand flop-house where Exile On Main Street was recorded.
French photographer Dominique Tarle chronicled perhaps the most notorious house party ever, and had full access to goings-on over a period of six crazy months. He later recounted to the New York Times– ”They built a studio in the basement of Keith’s house because the band knew it would be easiest for Keith,” says Dominique Tarlé, who had an all-access pass inside the villa for six months. “Engineers and technicians slept over, illegal power lines from the French railway system juiced their instruments, and when the temperature hit 100, they rehearsed with their pants off. A carnival of characters paraded through– Terry Southern, Gram Parsons, John Lennon, even a tribal band from Bengal… dope dealers from Marseille; petty thieves, who stole most of the drugs and half the furniture; and hangers-on, all of them there to witness what was happening.”