Chronicle 1967 Charlie Watts & Mick Jagger (1967): A new direction for the Rolling Stones Charlie: Our scene is really the recording scene. Producing and writing and playing - trying to keep ahead of the rest. This is much more exciting than the show-business aspect. Mick: We're at a funny stage. We are just making records and have time to gather our thoughts. It's impossible to do that when you're dashing around all over the place, worried about getting to gigs and things. I don't really know whether it's a good thing or not. I know I didn't enjoy last year very much. I enjoyed the things I did but I didn't enjoy things so much as a whole. It's true we didn't sell so many discs in England during 1966 as in the previous year, but neither did the other groups. As far as abroad goes, America is okay and we broke the Italian and German markets in 1966. We haven't quietened down. It's madder now than ever before. We couldn't possibly go on doing ballrooms and cinema appearances all the time. All the groups seem to be cooling off in this respect.

Mick Jagger (1967): A Rolling Stones circus (The Rolling Stones will perform q)uite soon. What I want to do is have a show for young people which is not just pop stars comign on stage singing their latest recordings. I want it to include all kinds of acts- a stage show - except at the end we'll go round on a revolving stage, leaping about fro an hour to make up for the Palladium. Oh, and the ice creams will all have acid in them - that's my brother's idea! I suppose we could take an elephant on stage and break that up! Astrid Lundstrom: Stone dynamics (I was) immediately aware of the split in the band: Mick and Keith together, and Brian, Bill and Charlie on the other side. I found it frustrating to be with somebody who was able to be that passive. I felt Bill should be more outspoken, not put up with as much as he did, and I told him so. He said he tried but didn't get very far. February 5, 1967: Mick Jagger issues a press statement announcing he will sue the British newspaper News of the World for alleging he revealed using drugs.

(Brian Jones had been mistaken for Mick Jagger.) Keith Richards: A winter Sunday at Redlands There's a big knock at the door. Everybody is just sort of gliding down slowly from the whole day of sort of freaking about. Everyone has managd to find their way back to the house. TV is on with the sound off and the record player is on. Strobe lights are flickering. Marianne Faithfull has just decided that she wanted a bath and has wrapped herself up in a rug and is watching the box. Bang bang bang, this big knock at the door and I go to answer it. Oh look, there's lots of little ladies and gentleman outside. He says, Read this, and I'm going, Wha? wha? All right. We were just gliding off from a 12-hour trip. You know how that freaks people out when they walk in on you. The vibes were so funny for them. I told one of the women with them they'd brought to seach the ladies, Would you mind stepping off that Moroccan cushion? Because you're ruining the tapestries. We were playing it like that. They tried to get us to turn the record player off but we said, No.

We won't turn it off but we'll turn it down. As they went, as they started going out the door, somebody put on Dylan's Rainy Day Women really loud. Everybody must get stoned. And that was it. Keith Richards: The 1967 bust and Morocco (W)e had just started to turn on to acid. Yeah, we had picked it up in America in ‘66, on that last tour in the summer and we came home and just laid back and started to get it on. We had been working for a long time without stopping, without thinking, for along time. For three years. The bust ended it. We knew it was going to be heavy... The English are very strange. They're tolerant up to a point where they're told not to be. You get to a point up there where somebody turns around and swings a little finger. They've had it in their hands so long, the power. They haven't been fucked since Cromwell, man. First they don't like young kids with a lot of money. But as long as you don't bother them, that's cool. But we bothered them. We bothered 'em because of the way we looked, the way we'd act.

Because we never showed any reverence for them whatsoever. Whereas the Beatles had. They'd gone along with it so far, with the MBEs and shaking hands. Whenever we were asked about things like that we'd say, Fuck it. Don't want to know about things like that. Bullocks. Don't need it. That riled 'em somewhere... After the bust everyone's reaction was to get out of England. Although the bust happened in February we weren't charged then. They just took some substances. We weren't even arrested. For a while it was hoped that the lawyers could get the whole thing dropped. In the meantime everybody thought the best idea was to get the fuck out of England so nothing else could happen. We decided to go to Morocco. March 1, 1967: Keith Richards and Anita Pallenberg drive from Barcelona to Marbella, Spain, and start their relationship. Mick Jagger: Drugs I was thinking about this the other day, and I don't really think I was suited to heavy drug behavior, to be perfectly honest. But I don't mind talking about it. It's hard to believe that you did so many drugs for so long. That's what I find really hard.

And I didn't really consider it. You know, it was eating and drinking and taking drugs and having sex. It was just part of life. It wasn't really anything special. It was just a bit of a bore, really. Everyone took drugs the whole time, and you were out of it the whole time. It wasn't a special event... All these drugs had tremendous influence on behavior. I think half of starting to take drugs in that early period was to kind of place yourself outside of normal society. March 4, 1967: Anita Pallenberg flies back to Toulouse to see Brian Jones; Keith Richards and his driver Tom Keylock ferry to North Africa and drive to Tangier, Morocco, where they meet friends, including Robert Fraser, Christopher Gibbs and Michael Cooper. Keith Richards: Getting together with Anita By then I'd given up on Brian. I was disgusted with the way he treated Anita Pallenberg and the way he behaved. I knew there wasn't any possibility of any long-term friendship lasting between Brian, me and Mick. But then Anita had had enough. Besides we were really into each other...

(W)ith Brian being in between Anita and I for 10 days we both realized there was something more to it than just a bit of a laugh on the journey... March 22, 1967: Keith Richards and Anita Pallenberg fly back to London, where the latter goes back home with Brian Jones. Mick Jagger (1967) & Keith Richards: Warsaw Mick: I wanted the kids in Poland to have the chance to listen to us. The kids get their records from western European countries, and they hear us on the radio. I'd love to go to Leningrad too. Keith: Like in Poland, in Warsaw in ' 67. Nearest thing to that Long Beach riot (1965) I ever saw... We get there, behind the Iron Curtain, do the whole bit, all very uptight. There's army at the airport. Get to the hotel which is very jail-like. Lots of security people about, a lot like America. And it gets even more like America as it goes along. We're invited by the Minister of Culture, on a cultural visit, and we're playing in the Palace of Culture. We get there to do our gig. We go on.

Honksi-de-boyski, boysk. Zee Rolling Stones-ki. And who's got the best seats in the house right down front? The songs and daughters of the hierarchy of the Communist Party. They're sitting there with their diamonds and their pearls... and their fingers in their ears. About 3 numbers, and I say, Fuckin' stop playing, Charlie. You fuckin' lot, get out and let those bastards in the back down front. So they went. About 4 rows just walked out. All the mamma and daddy's boys. Outside, they've got water cannons... All the cops had white helmets and the big long batons... There were 2000 kids that couldn't get in because of the sons and daughters. They wouldn't have had a riot there if they'd let the kids in. Only later I found out Poland is one of the most corrupt countries in the world. There can't be many bands that have played behind the Iron Curtain. April 14-17, 1967: The Rolling Stones end their European tour with their first ever concerts in Switzerland (Zurich), The Hague in the Netherlands, and Greece (Athens).

Bill Wyman: Athens We had another madness in Greece in early '67. They put us in the Panathinaikos Football Stadium, with the crowds in seats and 3 rows of police, so they weren't allowed to leave the seats. Of course as soon as we started they all poured onto the pitch, running and tackling the cops and they stopped the show about 3 times. And the police were beating them with batons, really viciously. Tom Keylock was with us because he worked for Keith and we had all these big bunches of flowers we were going to distribute but we couln't get them to the crowd. So Keylock says I'll do it. He took two armfuls and jumped offstage and ran and had a fight with the police; they broke his nose or wrist. The rest all left for England, while I stayed for a holiday and got stuck there, because two days later there was the military coup - that's probably why the police were so uptight. And then we didn't tour until Hyde Park and America in 1969.

April 18-April 23, 1967: Keith Richards and Anita Pallenberg spend time in Rome, Italy, where she is filming Barbarella. Brian Jones holidays with Keith Richards' ex-girlfriend, Linda Keith in England. April 24-May 9, 1967: Keith Richards, Anita Pallenberg and Brian Jones all meet up in Cannes, France for the premiere of A Degree of Murder. Brian and Anita have a talk and Brian leaves the film festival early. April 23, 1967: Bill Wyman and Astrid Lundstrom are able to fly back to London from Athens, after being unable to leave because of a political coup in Greece. May 7, 1967: Brian Jones, along with Ringo Starr, the Beach Boys, the Moody Blues and others, attend a concert by the Jimi Hendrix Experience at the Saville Theatre in London, England. May 9, 1967: Keith Richards flies back to London and spends time with Mick Jagger discussing their court appearance the following day. They spend the night at Redlands.

May 10, 1967: In London, Mick Jagger and Keith Richards are formerly charged for drug possession and allowing premises to be used for cannabis use, respectively. They elect trial by jury. Simultaneously, Brian Jones is busted for possession of drugs (cocaine and hashish) at his London apartment, along with his friend Prince Stash. Keith Richards: Brian's bust It started coming down heavy for Brian when he got busted for drugs. After that in the next year Brian was out of it. By then it looked like the police were just out to get Brian. May 11, 1967: Mick Jagger joins the Beatles on their recording of Baby You're a Rich Man at Olympic Sound Studios in London. Paul McCartney: Brian Jones' sax solo To our surprise (Brian) brought along a sax. I remember him turning up in this big Afghan coat at Abbey Road and he opened up a sax case and we said, We've got a little track here, and so he played sax on it... (I)t's a funny sax solo - it isn't amazingly well played but it happened to be exactly what we wanted, a ropey sax, kind of shaky. Brian was very good like that.

June 9-13, 1967: The Rolling Stones do more work on their next single and album, working on Dandelion, Citadel and We Love You among other songs at Olympic Sound Studios in London. Keith Richards (in court, June 29, asked if he was embarrassed and found it normal that there was a "young woman wearing only a rug" during the police search): Not at all... We are not old men. We're not worried about petty morals. Mick Jagger: The 1967 trial I was deathly scared (during the trial). I was much more frightened than Keith. I broke into tears when they said we had to go to jail. I'm like that... June 29, 1967: Brian Jones flies to Rome, Italy, where Anita Pallenberg is filming, to try and win her back. June 30, 1967: Mick Jagger and Keith Richards are granted bail and released from jail under conditions, pending their appeals. The Who announce they are releasing a single of Rolling Stones covers to offer moral support.

July 2, 1967: The London Times features an influential editorial by William Rees-Mogg in defence of Mick Jagger, entitled Who Breaks A Butterfly on a Wheel?. July 2-22, 1967: The Rolling Stones continue recording sessions at Olympic Sound Studios in London for the We Love You single and Their Satanic Majesties Request, working on On with the Show, The Lantern, In Another Land and 2000 Light Years from Home among others. John Lennon and Paul McCartney record background vocals on We Love You, Dandelion and Sing This All Together. Keith Richards: Making Satanic Majesties I don't know (that we were trying to copy the Beatles). I never listened any more to the Beatles than to anyone else in those days when we were working. It's probably more down to the fact that we were going through the same things. Maybe we were doing it a little bit after them. Anyway, we were following them through so many scenes. We're only just mirrors ourselves of that whole thing. It took us much longer to get a record out for us, our stuff was always coming out later anyway. I moved around a lot.

And then Anita and I got together and I lay back for a long time... There was a time in '67, when everybody just stopped, everything just stopped dead. Everybody was trying to work it out, what was going to go on. So many weird things happened to so many weird people at one time. America really turned itself round, the kids.... coming together... The only thing I can say, from the Stones' point of view, is that it was the first album we ever made off the road. Because we stopped touring; we just burned up by 1966. We finished Between The Buttons, you know, Let's Spend the Night Together, and boom, we stopped working for like a year and a half. And in that year and a half, we had to make another album. And that was insane - on acid, busted, right? It was like such a fractured business, a total alien way of working to us at the time. So it kind of reflects.

Bill Wyman: "In Another Land" I went to the studio one night and when I arrived at the studio Glyn (Johns) said, The session's canceled, so I said, Oh, what a drag, 'cause it was quite a drive for me, about a 45 minute drive. And he said, Well... got any songs you want to mess around, try and demo and things? Nicky Hopkins was there on keyboards. I'm not sure whether Charlie was there or not. I can't remember. And I said, Yeah, 'cause I'd been messing with this song. It was a bit... what I thought was kind of spacy, you know... a bit kind of Satanic Majesties-like. And psychedelic in a way. And he said, We'll have a go at it and I just used those players and next door, in the other studio, were the Small Faces who were recording. And Steve Marriott came in and Ronnie Lane and they sang with me 'cause I just didn't want to sing. So I used that tremolo effect on the voice 'cause I was really uptight about my singing - which I still am.

And we just used effects and we tried all kinds of things and it came out quite nice and I went home sort of reasonably satisfied, with an experiment, if you like. And next day I got to the studio and we were just chatting about what we were going to do tonight and Glyn said, Hey, hang on, he said to Mick and Keith and Brian. He said, Hang on, have a listen to this, and put the tape on, played them a rough mix. They said, That's really good, what is it? He said, Bill. He did it yesterday. And so they all liked it and they thought it fitted in so we put it on the album. Mick Jagger & Keith Richards: The trial's aftermath Mick: The trial wore me out. It wore my bank balance out. Cost a fortune. The whole thing is sort of a game between different lawyers. Nothing happened. I mean, they put us through a lot of hassle and took a lot of bread off of us... Keith: (The trial) kind of said, OK, from now on it's heavy. Up till then (pop music) had been show biz, entertainment, play it how you want to, teenyboppers.

At that point you knew they considered you to be outside - the're the ones who put you outside the law. Like Dylan says, To live outside the law, you must be honest. They're the ones that decide who lives outside the law. I mean, YOU don't decide, right? You're just living. I mean your laws don't apply to me, nobody says that, because you can't. But they say it. And then you have to decide what you're going to do from then on. August 1-9, 1967: Keith Richards joins Anita Pallenberg in Rome again; Brian Jones vacations in Marbella, Spain; Mick Jagger and Marianne Faithfull holiday in Ireland; Bill Wyman and Astrid Lundstrom spend time with the Wattses at their estate. Ian Stewart: Getting rid of Andrew Oldham At some stage (the band) realized that Andrew (Oldham)'s ideas on producing were only ideas he'd got from them in the first place. There must have been some sort of bust-up with Andrew 'cause all of a sudden they really wanted to get rid of him. Before they started Satanic Majesties a lot of time was booked at Olympic.

Andrew was supposed to be there as producer. And he was there only in a literal sense. We went in and played a lot of blues just as badly as we could. Andrew just walked out. At the time I didn't understand what was going on. They were probably a bit fed up with Oldham wanting to be the record producer and not really producing. He's a brilliant guy, actually, Andrew. And if it were not for him, I don't think the Stones would've gotten to where they are now. They WOULD have made it no matter what. I mean, there would have been a group exactly like the Rolling Stones and they would have been as good as the Rolling Stones, whether Brian and I existed on the face of this earth or not. But they would've probably, if not for the careful handling of the group by Andrew, burned themselves out in two or three years by playing too much. Andrew was very careful about the exposure and image of the group. He only slipped up when he tried to be a record producer.

Bill Wyman (1990): Stone alone Although I was strongly against drugs for myself, I was put in a vulnerable position by the pushers who were constantly around the band - in the studios, on the tour in dressing-rooms, hotels, planes, cars... I had to keep aware because if the cops did bust us I would have been thrown in jail together with the rest of them, as would Charlie. And who would believe that we weren't involved?... I accepted that if I was in the band, it was something that had to be tolerated. But they wouldn't lift a finger to help me in my family situation... So the "separatism" built up... I hardly socialized with the others for ten years from about 1967. Mick Jagger: Finishing Satanic Majesties I was happy (when the album was finished). I breathed a sigh of relief because we had finally finished it. It's just there to take it or leave it... I'm very conscious of the fact that it doesn't reflect (our arrests) in any of the songs. That they aren't all about policemen as they could well have been...

October 1967: The Rolling Stones film promotional film clips for She's a Rainbow and 2000 Light Years from Home in London. October 30, 1967: Brian Jones appears in court in London for his trial. He is found guilty of cannabis possession and allowing his premises to be used for the smoking of cannabis, and jailed for 12 months and fined. He spends the night at Wormwood Scrubs prison. Mick Jagger and Keith Richards fly to New York to mix and master Their Satanic Majesties Request. Mick Jagger & Keith Richards: Satanic Majesties Mick: Satanic Majesties had interesting things on it, but I don't think any of the songs are very good. It's a bit like Between The Buttons. It's a sound experience, really, rather than a song experience. There's 2 good songs on it: She's A Rainbow, and 2000 Light Years from Home. The rest of them are nonsense... I think we were just taking too much acid. We were just getting carried away, just thinking anything you did was fun and everyone should listen to it. The whole thing we were on acid...

Satanic Majesties was the mood of the time. You can't play or write outside the mood of the times, unless you live on a mountain... In those times it was flowers, beads and stars on your face, that's what it was. In fact, I'm rather fond of that album, and I wouldn't mind doing something like that again... (W)e were just obviously out to lunch. I'm saying this because I just heard it recently and realized how much I liked it. What surprised me was the comedic feeling and all the jokes and things we'd never dream of doing now. Keith: It's so unbelievable. It was so weird to make an album and not be on the road that it was totally UNLIKE recording. I liked a few songs, like 2000 Light Years, Citadel and She's a Rainbow, but basically I thought the album was a load of crap. That album was made under the pressure of the court cases and the whole scene that was going on in London at that time. December 12, 1967: Brian Jones appears in court in London for his appeal, which Mick Jagger attends. The defence provide medical testimony that he has become suicidal.

His prison sentence is quashed, and he is given 3 years probation under condition of treatment, and fined. December 13, 1967: Brian Jones is driven to hospital by his chauffeur, after being found unconscious in his appartment following drug and alcohol over-use. He returns to the Priory clinic. Their Satanic Majesties Request: The Rolling Stones: Amazon.ca: Music By P Magnum on Sept. 15 2002 Format: Audio CD The much maligned Their Satanic Majesties Request is The Rolling Stones obvious response to The Beatles Sgt. Pepper's album. The band dived headfirst into the psychedelic sounds of 1967's Summer of Love and the album sounds like no other in their catalog. Despite the criticism and attempt to keep pace with the Beatles (including the original 3-D cover), the album contains some excellent songs. The album opens up strong with the overture "Sing This All Together" with it's horns and sound effects and then slides right into the grinding guitar of "The Citadel". Bill Wyman's only lead vocal on a Stone's album is "In Another Land" and upon listening to it you can hear why it was his first and last.

He has a tremendously thin voice and he makes Ringo Starr sound like Pavarotti. "2000 Man" is fast-paced and along with "2000 Light Years From Home" are the best songs on the album. The reprise of "Sing This All Together" is a major misstep and is a really bad song, but they pick up again with the flowery "She's A Rainbow". This album has taken an undue amount of heat, but as the years have passed, it should be looked at for what it is, a solid foray into the psychedelic arena by one of the best bands of all-time. 2 people found this helpful. Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again. By LeBrain HALL OF FAMETOP 500 REVIEWER on May 17 2011 Format: Audio CD It would be lazy for me to compare this album to contemporaries of the band. It would also be lazy to use the old outdated "p" adjective to describe this music.

However I can think of numerous other adjectives: challenging, rewarding, inventive, chaotic, grimy, majestic. Their Satanic Majesties Request takes some of the exploration that The Rolling Stones had done on Between The Buttons (think "Ruby Tuesday") and turns that on its head. Mix in ample supplies of chemicals and a total fearlessness, and a belief that what they were doing was total brilliance, and what you get is Their Satanic Majesties Request. This album surely must have convinced parents that Satan himself was possessing the hi-fi. Light on guitar, rhythm and blues, TSMR is still among the best Stones albums if you can penetrate its purple smokey haze. Doing so will reveal an album constructed in layers, and peeling back these layers will release melodies and playing that will keep you enthralled for years as you keep coming back to this album. Is that Mick asking, "Where's that joint?" "She's A Rainbow" is a perfect pop song, as brilliant as "Ruby Tuesday" if not moreso due to Charlie Watts' relentlessness. "2000 Man" is as catchy as anything else the Stones produced, with neat lyrics that must have seemed so foreward-thinking in the 60's.

I do think that Ace Frehley's version of the song is an improvement by simplifying things and heavying up the guitar, but this is still a great song. While every song has melodies and instrumentation coming out the wazoo, it surely is "Sing This All Together (See What Happens)" that is the centrepiece of this bizarre journey into the unknown. 8 1/2 minutes long, and never really going anywhere, some might consider this a waste of vinyl. Read more › 2 people found this helpful. Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again. By A Customer on May 30 2004 Format: Audio CD Yes this collection has taken a huge beating from the critics stick but it is truly a time capsule in itself. This is the first self produced effort by the Stones having fired Loog Oldham and though the songwriting seems stressed the sound is awsome.Brian Jones erupts on this album exploring no less than 15 instruments all the while suffering 2 nervous breakdowns,2 drug busts and having his chick stolen by own band member Keith.

The new production and studio freedom does bring out some different beats by Watts. All in all it was a benchmark for the band which ultimatly transformed them into the sado/freak group we found on singles like J.J.Flash and the Beggars Banquet album. One person found this helpful. Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again. By Bruddah Haole on Feb. 15 2002 Format: Audio CD Not just a collection of tunes (whether good or bad), TSMR is an "album". A forgotten gem amid the high quality Stones catalog. There is more to this album than "2000 Light Years..." and "She's A Rainbow". What about "The Lantern" and "2000 Man"!? You can actually hear on Beggar's Banquet some influences from "2000 Man". It's got a classic tempo (beat? rhythm?), and Kiss also did a remake of the song to boot. "The Lantern", like "In Another Land" is dreamy, druggy and a subtly catchy tune with repeated listens.

And "Citadel" is a classic Stones Riff-horse in a flower-power disguise. Overall, is it "Exile On Main Street"? No. But it's not as disappointing as "Dirty Work" either. It is a great album to put on and play at home as it all seems to tie together in a weird sort of cacaphonic way. Better than most "psychedelia-flavored" corporate pop of the '67-'68 season. Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again. By Daniel C. Butler on March 30 2002 Format: Audio CD Listen...if you've NEVER, EVER purchased a Stone's cd in your life, don't buy this one quiet yet! No other album they've ever put out sounds anything like Satanic Majesties and does not reflect the Stones general sound. So if you've never listened to any of their albums, and you listend to this and for whatever reason didn't like it, more than likely you would never bother w/ the Stones again and you would be missing out some other really great music.

If you already own some Stones cds than by all means I would reccomend you to pick up this one. Satanic Majesties Request is not a bad album at all! I was born almost 20 years after its release (mid-80s) so if I can listen to and actually like it, im sure someone else more familar with psychedelica would love it! It does sound sorta dated (most psychedelic albums do) but thats kinda the fun part. Satanic Majesties has this real rockin edge (esp. Citadel) that the Beatles Sgt. Pepper's lacks. The Sgt. Pepper's album was..~Deep~ this isn't. It got negitive reviews because it wasn't ~mind-expanding~ but I don't think something has to be mind expanding to *sound* good. The best songs are Citadel, 2000 Man (which is probley the best and most underrated on here!) 2000 Light Years and She's A Rainbow.

Sing This All Together (See What Happens) has hardley any lyrics and details an acid trip, I guess...not a bad track overall:) There's a few songs like Sing This All Together and In Another Land, that im pretty sure would almost be illegal today for somebody (my age) to be caught listening too, but I don't care! On With the Show, and The Lantern which make absoulty no sense, but are just fun to hear. Read more › Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again. Amazon.com: Customer Reviews: Their Satanic Majesties Request Their Satanic Majesties Request 4.2 out of 5 stars 313 5.0 out of 5 starsA childhood favourite ByTuvshin_9595on May 22, 2016 In 1998, I was 13 years old and just discovering the Rolling Stones and the Beatles. I had borrowed a tape of this album and used to just listen to it non-stop on my walkman. It was simpler days at that time. I had no internet access.

All I had access to was books to read about the Stones and to listen to the actual music. It was mystical. This album I mean. It had sounds, effects that I had never heard before. I grew up listening to this album and I do love this album. It was part of my life growing up and discovering the world. Researching into the history of sound recording, the history of rock music etc. I had always related this album to Sgt. Pepper. I mean the similarities are there (the album cover for example and the whole experimentation etc). Musically, the two albums couldn't be more different. Now that the internet is a part of everyday life, I recently started reading about Majesties Request and found that people are not as fond of this albums as I. And reading further into it, the recording sessions were kind of messy and stretched out over a long period. This is in contrast to Sgt. Pepper, when the Beatles committed full time into the studio. Nevertheless, I hear none of that. All I hear is my childhood. Love every song Rolling Stones History Tell a Friend The Rolling Stones History Formed in 1962, The Rolling Stones have become one of the world's most recognized and enduring bands.

Mick Jagger and Keith Richards first crossed paths at Dartford Maypole County Primary School. A decade later the two had become avid fans of blues and American R&B, and shared a mutual friend in musician Dick Taylor. Jagger and Taylor were jamming together in Little Boy Blue and the Blue Boys. Richards would soon join the group and become expelled from Dartford Technical College for truancy. Meanwhile in another part of town. . . .Cheltenham's Brian Jones had begun a career in truancy to practice the sax. By the time Jones had reached sixteen, the future Stone had fathered two illegitimate children and skipped town to Scandinavia, where he began to pick up guitar. Jones eventually drifted to London where he spent some time with Alexis Korner's Blues, Inc., then made the move to start up his own band. While working at the Ealing Blues Club with a loose version of Blues, Inc. and drummer Charlie Watts, Jones began jamming with Jagger and Richards on the side. Jagger would front the new band. Jones, Jagger and Richards, along with drummer Tony Chapman, cut a demo tape that was rejected by EMI. Chapman left the band shortly after to attend Art College.

By this time Blues, Inc. had changed their name to the Rolling Stones, after a Muddy Waters song. The Rolling Stones' first show occurred on July 12, 1962 at the Marquee. In January of 1963, after a series of personnel changes, Bill Wyman and Charlie Watts rounded out the Stones' line-up. A local entrepreneur, Giorgio Gomelsky, booked the group for an eight month stint at his Crawdaddy Club. The highly successful run at the Crawdaddy attracted the attention of manager Andrew Loog Oldham, who signed them as clients. With the Beatles quickly becoming a sensation, Oldham decided to market the Stones as their wicked opposites. In June of 1963, the Stones released their first single, a Chuck Berry tune, "Come On." The group performed on the British TV show "Thank Your Lucky Stars," where the producer told Oldham to get rid of "that vile-looking singer with the tire-tread lips." The single reached #21 on the British charts.

After proving themselves with a series of chart topping hits, Jagger and Richards began writing their own songs using the pseudonym "Nanker Phelge." "Tell Me (You're Coming Back)" became the band's first U.S. Top Forty hit. January of 1965 was the year the Stones broke another # 1 in the U.K. with "The Last Time" and broke the top ten in the U.S. with the same tune. The band's next single, "(I Can't Get No) Satisfaction," held the # 1 spot for four weeks and went on to become probably their most famous. The Stones released their first album of all-original material in 1966 with "Aftermath." The impact of the release was dulled, due in part, to the simultaneous release of the Beatles' "Revolver" and Bob Dylan's "Blonde on Blonde" - a good year for rock and roll. The following year, the Stones were back in the limelight when the group performed "Let's Spend The Night Together" on the "Ed Sullivan Show." Amid threats of censorship, Jagger mumbled the title lines of the song.

Some claim Jagger sang "Let's Spend Some Time Together." With the release of the Beatles' "Sgt. Pepper," it seemed every band began to gauge themselves against the landmark recording - including the Stones. In December of '67, the Stones released "Their Satanic Majesties Request" - panned as an "ambitious mess." The following year the Stones went back to their roots with the release of "Jumping Jack Flash." The song landed them a # 3 hit. "Beggar's Banquet" was hailed as the band's finest achievement. On June 9, 1969, Brian Jones announced he was leaving the group saying: "I no longer see eye to eye with the others over the discs we are cutting." Within a week, Jones was replaced by Mick Taylor (ex-John Mayall guitarist). Plans Jones had made to start his own band were cut short when on July 3, 1969, he was found dead in his swimming pool. After the death, at a concert in London's Hyde Park, Jagger read an excerpt from a poem by Shelley and released thousands of butterflies over the park.

More tragedy was about to strike the group when the Stones gave a free "thank-you America" concert at California's Altmont Speedway. A young black fan, Merideth Hunter, was stabbed to death by members of the Hell's Angels motor cycle gang. The Stones had hired the gang - on the advice of the Grateful Dead - as security for the event. The murder was captured on film by the Maysles brothers in their documentary "Gimmie Shelter." As a result of public outcry, "Sympathy for the Devil" was dropped from the set-list for the next six years. The band had actually been playing "Under My Thumb" when the murder occurred. In 1970, the Stones formed their own record label - Rolling Stones Records and released "Sticky Fingers," which reached # 1 in 1971. The album also introduced fans to the Andy Warhol designed "lips and lolling tongue logo." That same year Jagger married Nicaraguan fashion model Bianca Perez Morena de Macias. After the release of "Goats Head Soup," Mick Taylor left the group and was replaced by Faces guitarist Ron Wood .

The Stones had auditioned a number of top session men, many of whom appeared on the "Black and Blue" LP, after which the group chose Wood. After settling commitments Wood still had with Rod Stewart and the Faces, he officially joined the Stones in 1976. In March, 1977, Richards and his common-law wife, Anita Pallenberg were arrested in Canada for possession of heroin. The arrest jeopardized the future of the Stones - but Richards was given a suspended sentence and subsequently kicked his habit in 1978. One of the Stones' busiest years came in 1981 with the release of "Tattoo You." The album cruised at # 1 for nine weeks and produced such Stones classics as "Start Me Up" and "Waiting On a Friend." The tour for the album produced a live album, "Still Life," and a concert film - Hal Ashby's "Let's Spend the Night Together." The eighties began to take their toll on the group after a series of less than phenomenal releases.

Though each of the group's next two releases, "Undercover" and "Dirty Work," featured one Top Twenty hit, the group was beginning to do little more than go through the motions. The relationship between Jagger and Richards began to drift and the group would not see a studio for the next three years. During this time, Jagger released his 1984 solo album, "She's the Boss," which earned the singer platinum success. His next effort, "Primitive Cool" in 1987, didn't even break the Top 40. It was at this point that Richards, who had long stated that he would never make the solo leap and resented Jagger for making albums outside of the Stones, released 1988's "Talk is Cheap." The feud was on. Jagger and Richards took shots at each other in the press and in song. Richards' single "You Don't Move Me," was aimed at his longtime songwriting partner. The antidote came when the songwriters traveled to Barbados to begin work on a new Rolling Stones album. The result would be the critically acclaimed "Steel Wheels" in 1989.

The success of the "Steel Wheels" tour spawned the group's fifth live album, capturing the spirit of the Rolling Stones which many had believed was gone. Nearly three decades after the group was formed, the Stones forged ahead into the nineties. The early half of the nineties saw Stones solo albums from Richards and Jagger, but it was apparent that fans were more interested in the two artists as a team. In '94, two years after bassist Bill Wyman's departure, the group released "Voodoo Lounge." The critically hailed album was the first under the group's new multi-million dollar deal with Virgin Records. The deal also gave Virgin the rights to some of the Stones most well known works including "Exile on Main Street," "Sticky Fingers," and Some Girls." The album won the Stones a 1994 Grammy Award for Best Album. In 1996, the group released "The Rolling Stones Rock and Roll Circus." The film brought together bands like the Who, Jethro Tull, Taj Mahal John Lennon, Eric Clapton, Mitch Mitchell of the Jimi Hendrix Experience, Marianne Faithful and of course the Rolling Stones.

Recorded over two days in December, 1968, the film was kept in the archives because the Stones felt their performance left much to be desired - especially after the show the Who had put on. Nevertheless, the Stones "Circus" is an important document as well as a window to a time when, as the liner notes proclaim, "for a brief moment it seemed that rock 'n' roll would inherit the earth" - David Dalton, 1995. Source: The Rolling Stone Encyclopedia of Rock And Roll In 1997 The Stones released Bridges To Babylon & embarked on another extremely successful world tour, which came to an end in September 1998. In November 1998 we saw the release of yet another live Stones album, entitled No Security. Then, in January 1999 the Stones began yet another tour in Oakland, California, which is set to take them across the US playing arena sized venues & eventually land them back in Europe in May 1999. In June 1999 they will finally play the UK (Edinburgh, Sheffield & London), shows that were cancelled on the B2B Tour due to Britain's tax laws.

So, as you can see, 37 years after the band began they are still going strong & without a doubt will continue to roll right into the Millenium! Back To The Rolling Stones.net Information on this site is for information purposes only. Nothing on this site is to be construed as an endorsement by any celebrity or personality, unless explicitly identified, for this site or for any information here. This site is in no way affiliated with The Rolling Stones. It is a fan appreciation site. The Rolling Stones and the Occult – Global Truth Global Truth | July 5, 2015 The credit for the origination of today’s blatantly Satanic “heavy metal rock,” goes to the English group, the Rolling Stones. Their rise to fame was closely connected with that of the Beatles. The Stones, as they were called, were widely characterized as the counterparts to the Beatles. “The Stones” were “mean,” “dirty” and “rebellious,” whereas the Beatles were the well-groomed “Fab Four.” Though seemingly competitors, they were merely two sides of the same operation. The Stones’ first hit record was actually written by the Beatles, and it was Beatle member George Harrison who set up the arrangements for their first recording contract.

Following the same game plan as the Beatles, in the spring of 1963 the Rolling Stones appeared on one of England’s most popular family television shows, Thank Your Lucky Stars. Only this time, the reaction by the middle-aged viewers was quite different from that to the Beatles. Hundreds of angry letters were sent, with a typical letter stating “It is disgraceful that long-haired louts such as these should be allowed to appear on television. Their appearance was absolutely disgusting.” The program, however, had exactly the planned effect. Rolling Stones’ manager Andrew Oldham was elated at the response. He told the group, “We’re going to make you exactly opposite to those nice, clean, tidy Beatles. And the more the parents hate you, the more the kids will love you. Just wait and see.”(Tony Sanchez, Up and Down WIth the Rolling Stones, p.17) In 1964, the Rolling Stones appeared on the Ed Sullivan Show, as the Beatles had done earlier. This time though, the coast-to-coast audience beheld the spectacle of the television studio being ripped to shreds by Stones fans.

Sullivan said on the air afterward, “I promise you, they will never be back on our show.” The publicity, however, was exactly what was wanted. Within a few months, the group’s records were selling millions of copies. The plan was now to use both the Beatles and the Rolling Stones as the means to transform an entire generation into heathen followers of the New Age, followers which could mold into the future cadre of a Satanic movement and then deploy into our schools, law enforcment agencies and political leadership. In his book, The Ultimate Evil, investigator-author Maury Terry writes that between 1966 and 1967, the Satanic cult, the Process Church, “sought to recruit the Rolling Stones and the Beatles.” During this period, Terry reports that a photo of Rolling Stones leader Mick Jagger’s longtime girlfriend, Marianne Faithfull, appeared in an issue of The Process Magazine. The picture shows her supine, as if dead, clutching a rose. Terry’s book goes on to implicate the Process Church cult in the Charles Manson and Son of Sam multiple murders.

It was the former lawyer for the Process Church, John Markham, who recently ran the frameup trial against Lyndon LaRouche. A key link between the Rolling Stones and the Process Church is Kenneth Anger, a follower of the “founding father” of modern Satanism, Aleister Crowley. Anger, born in 1930, and a child Hollywood movie star, became a devoted disciple of Crowley. Crowley was born in 1875 and was called the “Great Beast.” He was known to practice ritual child sacrifice regularly, in his role as Satan’s high priest or “Magus.” Crowley died in 1947 due to complications of his huge heroin addiction. Before dying, he succeeded in establishing Satanic covens in many U.S. cities including Hollywood. Anger, like Crowley, is a Magus, and appears to be the heir to Crowley. Anger was seventeen years old when Crowley died. In that same year, 1947, Anger was already producing and directing films which, even by today’s standards, reek of pure evil.

During 1966-1967, when the Process Church is reported to be recruiting in London, Anger was also on the scene. Author Tony Sanchez describes that Rolling Stones’ Mick Jagger and Keith Richard, and their girlfriends Marianne Faithfull and Anita Pallenburg, “listened spellbound as Anger turned them on to Crowley’s powers and ideas.”(Tony Sanchez, Up and Down WIth the Rolling Stones, p.155) While in England, Anger worked on a film dedicated to Aleister Crowley, called Lucifer Rising. The film brought together the Process Church, the Manson Family cult, and the Rolling Stones. The music for the film was composed by Mick Jagger. Process Church follower Marianne Faithfull went all the way to Egypt to participate in the film’s depiction of a Black Mass. The part of Lucifer was played by a guitarist of a California rock group, Bobby Beausoleil. Beausoleil was a member of the Manson Family, and Anger’s homosexual lover. A few months after filming under Anger’s direction in England, Beausoleil returned to California to commit the first of the Manson family’s series of gruesome murders.

Beausoleil was later arrested and is now serving a life sentence in prison along with Manson. Having lost his star performer, Anger then asked Mick Jagger to play Lucifer. He finally settled upon Anton La Vey, author of The Satanic Bible and head of the First Church of Satan, to play the part. The film was released in 1969 with the title Invocation To My Demon Brother. In London, Anger had succeeded in recruiting to Satanism the girlfriend of one of the Rolling Stones, Anita Pallenberg. Pallenberg had met the Rolling Stones in 1965. She immediately began sexual relations with three out of the five members of the group. Anger, commenting on Anita, said, “I believe that Anita is, for want of a better word, a witch…The occult unit within the Stones was Keith and Anita…and Brian. You see, Brian was a witch too.” One of the group’s friends, Tony Sanchez, writes of Pallenberg in his book, Up and Down with the Rolling Stones, “She was obsessed with black magic and began to carry a string of garlic with her everywhere–even to bed–to ward off vampires.

She also had a strange mysterious old shaker for holy water which she used for some of her rituals. Her ceremonies became increasingly secret, and she warned me never to interrupt her when she was working on a spell.”(Tony Sanchez, Up and Down WIth the Rolling Stones, p.159) He continues, “In her bedroom she kept a huge, ornate carved chest, which she guarded so jealously that I assumed it was her drug stash. The house was empty one day, and I decided to take a peep inside. The drawers were filled with scraps of bone, wrinkled skin and fur from some strange animals.”(Tony Sanchez, Up and Down WIth the Rolling Stones, p.159) Jagger wearing his satanic Kaballa beads Hollywood is run by mysticism who practice blood sacrifice Crowley style they like black and red In 1980, the seventeen-year-old caretaker of Keith Richard’s New England estate was found shot to death in Anita Pallenberg’s bed. The death, ruled a suicide, was with Pallenberg’s gun. Richard’s house was located near the East Coast headquarters of the Process Church.

According to an article in the English newspaper Midnite, a Connecticut police officer, Michael Passaro, who had responed to the “suicide” reported “strange singing” from the woods a quarter mile from the Richard’s mansion. The newpaper continues, “There have been several bizarre satanic rituals in the area over the past five years. A local reporter attributed the outbreak of occultism to ‘rich people taking Acid.'” In 1967, reflecting their ongoing association with Anger and the Process Church, the Rolling Stones released their first rock album openly celebrating the Devil, titled, Their Satanic Majesties Request. A few months earlier, the Beatles had released their first album dedicated to the promotion of psychedelic drugs, Sargeant Pepper’s Lonely Hearts Club Band. The album contained a fantasized version of an LSD trip, called “Lucy in the Sky with Diamonds”, or L.S.D. for short. It became a top seller. Clearly, the Beatles’ album was dedicated to Satanist Aleister Crowley.

It was released 20 years, nearly to the day, after Crowley’s death in 1947, and its title song began with the lyrics, “It was twenty years ago today…” The album’s cover featured a picture of Crowley. One month after the album’s release, the Beatles shocked the world by announcing, publicly, that they were regularly taking LSD. Beatle member Paul McCartney, in an interview with Life magazine said, “LSD opened my eyes. We only use one-tenth of our brain.” They also publicly called for the legalization of marijuana. . Source : Their Satanic Majesties Request - The Rolling Stones - Listen to Free Music by The Rolling Stones on Pandora Internet Radio more The Rolling Stones By the time the Rolling Stones began calling themselves the World's Greatest Rock & Roll Band in the late '60s, they had already staked out an impressive claim on the title. As the self-consciously dangerous alternative to the bouncy Merseybeat of the Beatles in the British Invasion, the Stones had pioneered the gritty, hard-driving blues-based rock & roll that came to define hard rock.

With his preening machismo and latent maliciousness, Mick Jagger became the prototypical rock frontman, tempering his macho showmanship with a detached, campy irony while Keith Richards and Brian Jones wrote the blueprint for sinewy, interlocking rhythm guitars. Backed by the strong yet subtly swinging rhythm section of bassist Bill Wyman and drummer Charlie Watts, the Stones became the breakout band of the British blues scene, eclipsing such contemporaries as the Animals and Them . Over the course of their career, the Stones never really abandoned blues, but as soon as they reached popularity in the U.K., they began experimenting musically, incorporating the British pop of contemporaries like the Beatles , the Kinks , and the Who into their sound. After a brief dalliance with psychedelia, the Stones re-emerged in the late '60s as a jaded, blues-soaked hard rock quintet. They had always flirted with the seedy side of rock & roll, but as the hippie dream began to break apart, they exposed and reveled in the new rock culture. It wasn't without difficulty, of course.

Shortly after he was fired from the group, Jones was found dead in a swimming pool, while at a 1969 free concert at Altamont, a concertgoer was brutally killed during a Stones' show. But the Stones never stopped going. For the next 50-plus years, they continued to record and perform, and while their records weren't always blockbusters, they were never less than the most visible band of their era -- certainly, none of their British peers continued to be as popular or productive as the Stones. And no band since has proven to have such a broad fan base or such far-reaching popularity, and it is impossible to hear any of the groups that followed them without detecting some sort of influence, whether it was musical or aesthetic. Throughout their career, Mick Jagger (vocals) and Keith Richards (guitar, vocals) remained at the core of the Rolling Stones. The pair initially met as children at Dartford Maypole County Primary School. They drifted apart over the next ten years, eventually making each other's acquaintance again in 1960, when they met through a mutual friend, Dick Taylor, who was attending Sidcup Art School with Richards .

At the time, Jagger was studying at the London School of Economics and playing with Taylor in the blues band Little Boy Blue & the Blue Boys. Shortly afterward, Richards joined the band. Within a year, they had met Brian Jones (guitar, vocals), a Cheltenham native who had dropped out of school to play saxophone and clarinet. By the time he became a fixture on the British blues scene, Jones had already had a wild life. He ran away to Scandinavia when he was 16 and had already fathered two illegitimate children. He returned to Cheltenham after a few months, where he began playing with the Ramrods . Shortly afterward, he moved to London, where he played in Alexis Korner 's group, Blues Inc. Jones quickly decided he wanted to form his own group and advertised for members; among those he recruited was the heavyset blues pianist Ian Stewart . As he played with his group, Jones also moonlighted under the name Elmo Jones at the Ealing Blues Club. At the pub, he became reacquainted with Blues, Inc., which now featured drummer Charlie Watts, and, on occasion, cameos by Jagger and Richards .

Jones became friends with Jagger and Richards , and they soon began playing together with Taylor and Stewart ; during this time, Mick was elevated to the status of Blues, Inc.'s lead singer. With the assistance of drummer Tony Chapman, the fledgling band recorded a demo tape. After the tape was rejected by EMI, Taylor left the band to attend the Royal College of Art; he would later form the Pretty Things . Before Taylor's departure, the group named itself the Rolling Stones, borrowing the moniker from a Muddy Waters song. The Rolling Stones gave their first performance at the Marquee Club in London on July 12, 1962. At the time, the group consisted of Jagger , Richards , Jones, pianist Ian Stewart , drummer Mick Avory, and Dick Taylor, who had briefly returned to the fold. Weeks after the concert, Taylor left again and was replaced by Bill Wyman , formerly of the Cliftons. Avory also left the group -- he would later join the Kinks -- and the Stones hired Tony Chapman, who proved to be unsatisfactory. After a few months of persuasion, the band recruited Charlie Watts, who had quit Blues, Inc.

to work at an advertising agency once the group's schedule became too hectic. By 1963, the band's lineup had been set, and the Stones began an eight-month residency at the Crawdaddy Club, which proved to substantially increase their fan base. It also attracted the attention of Andrew Loog Oldham, who became the Stones' manager, signing them from underneath the Crawdaddy Club's Giorgio Gomelsky. Although Oldham didn't know much about music, he was gifted at promotion, and he latched upon the idea of fashioning the Stones as the bad-boy opposition to the clean-cut Beatles . At his insistence, the large yet meek Stewart was forced out of the group, since his appearance contrasted with the rest of the group. Stewart didn't disappear from the Stones; he became one of their key roadies and played on their albums and tours until his death in 1985. With Oldham's help, the Rolling Stones signed with Decca Records, and that June, they released their debut single, a cover of Chuck Berry 's "Come On." The single became a minor hit, reaching number 21, and the group supported it with appearances on festivals and package tours.

At the end of the year, they released a version of Lennon -McCartney's "I Wanna Be Your Man" that soared into the Top 15. Early in 1964, they released a cover of Buddy Holly 's "Not Fade Away," which shot to number three. "Not Fade Away" became their first American hit, reaching number 48 that spring. By that time, the Stones were notorious in their homeland. Considerably rougher and sexier than the Beatles , the Stones were the subject of numerous sensationalistic articles in the British press, culminating in a story about the band urinating in public. All of these stories cemented the group as a dangerous, rebellious band in the minds of the public, and had the effect of beginning a manufactured rivalry between them and the Beatles , which helped the group rocket to popularity in the U.S. In the spring of 1964, the Stones released their eponymous debut album, which was followed by "It's All Over Now," their first U.K. number one. That summer, they toured America to riotous crowds, recording the Five by Five EP at Chess Records in Chicago in the midst of the tour.

By the time it was over, they had another number one U.K. single with Howlin' Wolf's "Little Red Rooster." Although the Stones had achieved massive popularity, Oldham decided to push Jagger and Richards into composing their own songs, since they -- and his publishing company -- would receive more money that away. In June of 1964, the group released their first original single, "Tell Me (You're Coming Back)," which became their first American Top 40 hit. Shortly afterward, a version of Irma Thomas ' "Time Is on My Side" became their first U.S. Top Ten. It was followed by "The Last Time" in early 1965, a number one U.K. and Top Ten U.S. hit that began a virtually uninterrupted string of Jagger - Richards hit singles. Still, it wasn't until the group released "(I Can't Get No) Satisfaction" in the summer of 1965 that they were elevated to superstars.

Driven by a fuzz-guitar riff designed to replicate the sound of a horn section, "Satisfaction" signaled that Jagger and Richards had come into their own as songwriters, breaking away from their blues roots and developing a signature style of big, bluesy riffs and wry, sardonic lyrics. It stayed at number one for four weeks and began a string of Top Ten singles that ran for the next two years, including such classics as "Get Off My Cloud," "19th Nervous Breakdown," "As Tears Go By," and "Have You Seen Your Mother, Baby, Standing in the Shadow?" By 1966, the Stones had decided to respond to the Beatles ' increasingly complex albums with their first album of all-original material, Aftermath. Due to Brian Jones' increasingly exotic musical tastes, the record boasted a wide range of influences, from the sitar-drenched "Paint It, Black" to the Eastern drones of "I'm Going Home." These eclectic influences continued to blossom on Between the Buttons (1967), the most pop-oriented album the group ever made. Ironically, the album's release was bookended by two of the most notorious incidents in the band's history.

Before the record was released, the Stones performed the suggestive "Let's Spend the Night Together," the B-side to the medieval ballad "Ruby Tuesday," on The Ed Sullivan Show, which forced Jagger to alter the song's title to an incomprehensible mumble, or else face being banned. In February of 1967, Jagger and Richards were arrested for drug possession, and within three months, Jones was arrested on the same charge. All three were given suspended jail sentences, and the group backed away from the spotlight as the summer of love kicked into gear in 1967. Jagger , along with his then-girlfriend Marianne Faithfull , went with the Beatles to meet the Maharishi Mahesh Yogi; they were also prominent in the international broadcast of the Beatles ' "All You Need Is Love." Appropriately, the Stones' next single, "Dandelion"/"We Love You," was a psychedelic pop effort, and it was followed by their response to Sgt. Pepper's, Their Satanic Majesties Request, which was greeted with lukewarm reviews. The Stones' infatuation with psychedelia was brief.

By early 1968, they had fired Andrew Loog Oldham and hired Allen Klein as their manager. The move coincided with their return to driving rock & roll, which happened to coincide with Richards ' discovery of open tunings, a move that gave the Stones their distinctively fat, powerful sound. The revitalized Stones were showcased on the malevolent single "Jumpin' Jack Flash," which climbed to number three in May 1968. Their next album, Beggar's Banquet, was finally released in the fall, after being delayed for five months due its controversial cover art of a dirty, graffiti-laden restroom. An edgy record filled with detours into straight blues and campy country, Beggar's Banquet was hailed as a masterpiece among the fledgling rock press. Although it was seen as a return to form, few realized that while it opened a new chapter of the Stones' history, it was also the end of their time with Brian Jones. Throughout the recording of Beggar's Banquet, Jones was on the sidelines due to his deepening drug addiction and his resentment of the dominance of Jagger and Richards .

Jones left the band on June 9, 1969, claiming to be suffering from artistic differences between himself and the rest of the band. On July 3, 1969 -- less than a month after his departure -- Jones was found dead in his swimming pool. The coroner ruled that it was "death by misadventure," yet his passing was the subject of countless rumors over the next two years. By the time of his death, the Stones had already replaced Jones with Mick Taylor , a former guitarist for John Mayall's Bluesbreakers. He wasn't featured on "Honky Tonk Women," a number one single released days after Jones' funeral, and he contributed only a handful of leads on their next album, Let It Bleed. Released in the fall of 1969, Let It Bleed was comprised of sessions with Jones and Taylor, yet it continued the direction of Beggar's Banquet, signaling that a new era in the Stones' career had begun, one marked by ragged music and an increasingly wasted sensibility. Following Jagger 's filming of Ned Kelly in Australia during the first part of 1969, the group launched its first American tour in three years.

Throughout the tour -- the first where they were billed as the World's Greatest Rock & Roll Band -- the group broke attendance records, but it was given a sour note when they staged a free concert at Altamont Speedway. On the advice of the Grateful Dead , the Stones hired Hell's Angels as security, but that plan backfired tragically. The entire show was unorganized and in shambles, and it turned tragic when the Angels killed a young black man, Meredith Hunter, during the Stones' performance. In the wake of the public outcry, the Stones again retreated from the spotlight and dropped "Sympathy for the Devil," which some critics ignorantly claimed incited the violence, from their set. As the group entered a hiatus, they released the live Get Yer Ya-Ya's Out! in the fall of 1970. It was their last album for Decca/London, and they formed Rolling Stones Records, which became a subsidiary of Atlantic Records. During 1970, Jagger starred in Nicolas Roeg's cult film Performance and married Nicaragua model Bianca Perez Morena de Macias; the couple quickly entered high society.

As Jagger was jet-setting, Richards was slumming, hanging out with country-rock pioneer Gram Parsons . Keith wound up having more musical influence on 1971's Sticky Fingers, the first album the Stones released through their new label. Following its release, the band retreated to France in tax exile, where they shared a house and recorded a double album, Exile on Main St. Upon its May 1972 release, Exile on Main St. was widely panned, but over time it came to be considered one of the group's defining moments. Following Exile, the Stones began to splinter in two, as Jagger concentrated on being a celebrity and Richards sank into drug addiction. The band remained popular throughout the '70s, but their critical support waned. Goats Head Soup, released in 1973, reached number one, as did 1974's It's Only Rock 'n' Roll, but neither record was particularly well received. Taylor left the band after It's Only Rock 'n' Roll, and the group recorded their next album as they auditioned new lead guitarists, including Jeff Beck .

They finally settled on Ron Wood , former lead guitarist for the Faces and Rod Stewart , in 1976, the same year they released Black n' Blue, which only featured Wood on a handful of cuts. During the mid- and late '70s, all the Stones pursued side projects, with both Wyman and Wood releasing solo albums with regularity. Richards was arrested in Canada in 1977 with his common-law wife Anita Pallenberg for heroin possession. After his arrest, he cleaned up and was given a suspended sentence the following year. The band reconvened in 1978 to record Some Girls, an energetic response to punk, new wave, and disco. The record and its first single, the thumping disco-rocker "Miss You," both reached number one, and the album restored the group's image. However, the band squandered that goodwill with the follow-up, Emotional Rescue, a number one record that nevertheless received lukewarm reviews upon its 1980 release. Tattoo You, released the following year, fared better both critically and commercially, as the singles "Start Me Up" and "Waiting on a Friend" helped the album spend nine weeks at number one.

The Stones supported Tattoo You with an extensive stadium tour captured in Hal Ashby's movie Let's Spend the Night Together and the 1982 live album Still Life. Tattoo You proved to be the last time the Stones completely dominated the charts and the stadiums. Although the group continued to sell out concerts in the '80s and '90s, their records didn't sell as well as previous efforts, partially because the albums suffered due to Jagger and Richards ' notorious mid-'80s feud. Starting with 1983's Undercover, the duo were conflicted about which way the band should go, with Jagger wanting the Stones to follow contemporary trends and Richards wanting them to stay true to their rock roots. As a result, Undercover was a mean-spirited, unfocused record that received relatively weak sales and mixed reviews. Released in 1986, Dirty Work suffered a worse fate, since Jagger was preoccupied with his fledgling solo career. Once Jagger decided that the Stones would not support Dirty Work with a tour, Richards decided to make his own solo record with 1988's Talk Is Cheap.

Appearing a year after Jagger 's failed second solo album, Talk Is Cheap received good reviews and went gold, prompting Jagger and Richards to reunite late in 1988. The following year, the Stones released Steel Wheels, which was received with good reviews, but the record was overshadowed by its supporting tour, which grossed over 140 million dollars and broke many box office records. In 1991, the live album Flashpoint, which was culled from the Steel Wheels shows, was released. Following the release, Bill Wyman left the band; he published a memoir, Stone Alone, within a few years of leaving. The Stones didn't immediately replace Wyman , since they were all working on solo projects; this time, there was none of the animosity surrounding their mid-'80s projects. The group reconvened in 1994 with bassist Darryl Jones, who had previously played with Miles Davis and Sting , to record and release the Don Was-produced Voodoo Lounge. The album received the band's strongest reviews in years, and its accompanying tour was even more successful than the Steel Wheels tour.

On top of being more successful than its predecessor, Voodoo Lounge also won the Stones their first Grammy for Best Rock Album. Upon the completion of the Voodoo Lounge tour, the Stones released the live "unplugged" album Stripped in the fall of 1995. Similarly, after wrapping up their tour in support of 1997's Bridges to Babylon, the group issued yet another live set, No Security, the following year. A high-profile greatest-hits tour in 2002 was launched despite the lack of a studio album to support, and its album document, Live Licks, appeared in 2004. A year later, the group issued A Bigger Bang, their third effort with producer Don Was. In 2006, Martin Scorsese filmed two of the group's performances at New York City's Beacon Theatre. The resulting Shine a Light, which included guest appearances from Buddy Guy , Jack White , and Christina Aguilera , was released in theaters in 2008. The accompanying soundtrack reached the number two spot on the U.K. charts. Following Shine a Light, the Stones turned their attention toward their legacy.

For Keith Richards , this meant delving into writing his autobiography Life -- the memoir was published to acclaim in the fall of 2010 and generated some controversy due to comments Keith made about Mick -- but the Stones in general spent time mining their archives, something they'd previously avoided. In 2010, they released a super deluxe edition of Exile on Main St. that contained a bonus disc of rarities and outtakes, including a few newly finished songs like "Plundered My Soul." This was followed in 2011 by a super deluxe edition of Some Girls that also contained unheard songs and outtakes. That same year, the Stones opened up their Rolling Stones Archive, which offered official digital releases of classic live bootlegs like 1973's The Brussels Affair. All this was a prelude to their 50th anniversary in 2012, which the group celebrated with a hardcover book, a new documentary called Crossfire Hurricane, and a new compilation called GRRR!. The Stones also played a handful of star-studded concerts at the end of the year and in the first half of 2013, several of which featured guest spots from the long-departed Mick Taylor .

These live shows culminated with a headlining spot at Glastonbury and two July 2013 concerts at Hyde Park; highlights from the Hyde Park shows were released that July and, later in the year, there was a home video/CD release of the concert called Sweet Summer Sun: Live in Hyde Park. Over the next few years, the Stones played concerts regularly -- a highlight was a March 2016 concert in Havana, Cuba -- and slowly worked on an album that was teased in September 2016, the same week their London/Decca works were released as the box set The Rolling Stones in Mono. On October 6, the band announced the December 2 release of Blue & Lonesome, a collection of Chicago blues covers that would be their first studio album in 11 years. ~ Stephen Thomas Erlewine

Question: Which people (besides the Rolling Stones) appeared on the cover of "Their Satanic Majesties Request", a 1967 album by The Rolling Stones?
Answer: The Beatles