Tell Me :
Talk
"These photos are in front of The Ritz in New York City. Keith saw a bunch of
shows there in 1981 (Chuck Berry, Jimmy Cliff), but the one I'm thinking this
is from is Steel Pulse. According to this 1981 issue of Beggars Banquet, it
was May 17 of that year.
The photos were probably taken by paparazzo David McGough or maybe paparazzo
Ron Gallella. Keith (and Mick) would often flip the bird to those guys, not
to be vindictive, but to prevent the photos from being sold to newspapers or
magazines. ("Decency standards" were different back then.)"
Thanks to Bill German for explaining theses photos.
Mick and Keith had a funny sort of relationship with the paparazzi back then
because they'd see them around so much. Sometimes they'd be happy to see 'em
and sometimes not. And usually, they'd say something like, "Okay, David, one
shot," so if he clicked more than that, Mick or Keith would flash their middle
finger, believing it would ruin the sellability of the shot. (Almost all of
these middle-finger photos have surfaced only recently on the web. They
weren't in newspapers or magazines back then, except maybe the Playboy gossip
section.)
Bill
Ok in this version of the story, Charlie punches him and 'silently walks away'
+++++++++++++++++++++++++ JOVAN +++++++++++++++
The 1981 Tour also was an early milestone for the rock tour industry by selling
advertising rights to Jovan Musk. Jovan paid $1 million to put their name on
Rolling Stones tickets. This attracted considerable attention in the business
media, as Jovan's image of a pleasant fragrance was at complete odds with the
Stones' bad boys image. But the Stones behaved well on tour, and rock tour
corporate sponsorships soon became the norm. - wiki
Edited 1 time(s). Last edit at 2018-09-26 12:30 by exilestones.
Keith playing the Blues in F.
True on all counts, but I am convinced that esp. in the case of the Stones, Clapton, some others that they earned their respect fair and squarer. But admiring and appreciating the music, but more so by learning it; and playing it authentically. And eventually often bettering it by writing their own colorations of it.
I;m not so sure ( I really don't know) how Page, Plant and Led Zep would have been seen back then.
This is Chicago, November 24, 1981. That's Sugar Blue on the left, who'd play Miss You with them that night.
Mathijs
Talk about your favorite band.
For information about how to use this forum please check out forum help and policies.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: September 14, 2018 02:57
"These photos are in front of The Ritz in New York City. Keith saw a bunch of
shows there in 1981 (Chuck Berry, Jimmy Cliff), but the one I'm thinking this
is from is Steel Pulse. According to this 1981 issue of Beggars Banquet, it
was May 17 of that year.
The photos were probably taken by paparazzo David McGough or maybe paparazzo
Ron Gallella. Keith (and Mick) would often flip the bird to those guys, not
to be vindictive, but to prevent the photos from being sold to newspapers or
magazines. ("Decency standards" were different back then.)"
Thanks to Bill German for explaining theses photos.
Mick and Keith had a funny sort of relationship with the paparazzi back then
because they'd see them around so much. Sometimes they'd be happy to see 'em
and sometimes not. And usually, they'd say something like, "Okay, David, one
shot," so if he clicked more than that, Mick or Keith would flash their middle
finger, believing it would ruin the sellability of the shot. (Almost all of
these middle-finger photos have surfaced only recently on the web. They
weren't in newspapers or magazines back then, except maybe the Playboy gossip
section.)
Bill
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: September 18, 2018 00:46
.
Edited 2 time(s). Last edit at 2018-09-21 02:26 by exilestones.
Edited 2 time(s). Last edit at 2018-09-21 02:26 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
Elmo Lewis
()
Date: September 20, 2018 20:26
I love these great pictures!
Re: Stones 1981-1982 Wardrobes
Posted by:
Palace Revolution 2000
()
Date: September 20, 2018 20:52
Quote
exilestonesKEITH AT THE RITZ in New York City, May 1981
In response to my inquiries, Bill German writes:
Yes, that's Keith in front of The Ritz. You can even see part of the marquee.
That's Jane Rose walking behind him. As for the "bodyguard" you asked about,
I don't think either of those guys were bodyguards. The guy in the 3-piece
suit was probably his limo driver from back then. And the guy in the T-shirt
(in the above post), although he looks familiar to me, is probably just a fan.
Bill
Thanks to Bill German for all of his help with these photos and others. Bill
German was on the scene back in the day covering the Rolling Stones for us,
up close and personal as only a true fan could. Bill's adventures from inside
the Stones camp are told though his book "Under Their Thumb" by Bill German.
Bill's book is on sale at: [www.amazon.com]
Bill German: Lucky beggar at the banquet...
THANKS to the fanzine he pasted together in his bedroom, Bill German spent
17 years as a member of the Rolling Stones’ chaotic inner circle. Here he
reveals all to Music Editor Charlotte Heathcote.
By Charlotte Heathcote
Bill German and Keith Richards enjoying an issue
of the highly regarded Beggar's Banquet fanzine.
When the teenage Bill German launched his amateur Rolling Stones fanzine
Beggars Banquet in 1978, it was the beginning of an amazing relationship with
his rock heroes.
The earliest issues were bashed out on a borrowed typewriter, sneakily
photocopied at school and then sold for 25c each.
Despite taking a loss, the 16-year-old’s dedication slowly saw him breaking
more juicy Stones stories than the professional music press and winning 1,000
subscribers.
As the band arrived at press parties or nightclubs the New York-based student
would thrust the latest issue into their hands or leave a copy at their hotels.
He had no idea whether the band were reading his labour of love until he handed
a copy to Keith Richards as he walked into the Savoy Hotel and he told Bill:
“I like readin’ ’em on the can!”
At another gig, Ronnie Wood said: “I’ve got this one, where’s the next one?”
It transpired that the fanzine had become the best way for the Stones to keep
tabs on each other.
At a nightclub, Ronnie told a friend: “Bill’s magazine is how I know what the
other Stones are up to,” while Mick Jagger joked to a photographer: “This kid
knows what we’re doing before we do!”
The band were so impressed that in 1983 Beggars Banquet became the band’s
official newsletter and its circulation rocketed to 20,000.
The downside of this official status was that the band could now pull any
stories that cast them in a negative light.
When Mick was the only member to miss a party in Mexico Bill was forbidden to
report it since on the evening in question he had been cheating on seven-
months-pregnant Jerry Hall.
Nor could he use a photo of Bill Wyman with a girlfriend in case his other two
girlfriends saw it.
However, over the years, Bill gradually built up a warm rapport with Keith
Richards and Ronnie Wood.
By the mid-Eighties, he felt: “Keith and Woody were the brothers I’d never had.
They were generous and welcoming way beyond the call of duty, letting me hang
out with them and watch how they made records.
“My favourite moments were watching them jam in Ronnie’s kitchen playing Buddy
Holly or Beatles songs.”
He also landed exclusive interviews in which, for example, Keith spoke frankly
about his heroin addiction.
Bill is clearly protective of Keith: “He’s a very well-read and intelligent
person, not just this drugged-out guy who slurs his words.”
One night at Ronnie Wood’s house, the guitarist put on a Pretenders video,
telling Bill: “I found out recently that I shagged Chrissie Hynde.”
He’d had no idea until, weeks later, she mentioned the liaison to him.
Bill’s relationship with Mick Jagger was more unpredictable since as Keith
and Ronnie put it: “Mick Jagger is a nice bunch of guys.”
It didn’t help that when he visited Mick’s New York home he spilled his
glass of orange juice on his 16th-century Persian rug.
“I am so sorry, please don’t tell Jerry,” said Bill, mortified by the sight
of Mick on his hands and knees, blotting up the mess.
However, Bill didn’t incur Mick’s wrath until he reported that the singer
had only performed at Live Aid due to emotional blackmail.
Getting within two inches of Bill’s face, so close that Bill could see the
dusting of cocaine around his nostrils, Mick snarled:
“I don’t like what you wrote about Live Aid! It’s not true! That’s not why
I did it!”
A few weeks later, however, Bill took delivery of Mick’s Christmas gift of
a bunch of poinsettias.
By the mid-Eighties the Stones were imploding. Mick was preoccupied with
launching a solo career as the rest of the band looked on helplessly.
“Being in the Stones is the only thing I know how to do,” said Keith unhappily
and he and Ronnie vented their frustration in aggressive lyrics like I Wanna
Fight and Knock Yer Teeth Out. On stage Keith would eke out a guitar intro so
that Mick missed his cue.
In a shareholders’ meeting Mick referred to Charlie Watts as “my drummer”.
After the meeting, Charlie knocked on Mick’s hotel door, punched him in the jaw
and silently walked away.
It took dollar signs to get Mick back on board, namely the $65million the band
pocketed for the 1989 Steel Wheels tour but by then the Rolling Stones were
more of a brand than a band.
“As a fan it depressed me to learn how many decisions – when and where to
record, when and where to perform – were determined not by artistic
inspiration but by lawyers and accountants,” says Bill.
Amazingly, even the band’s wives and children would have to pay if they
wanted tickets to see the band.
Bill attributes this to Mick’s London School of Economics education:
“It isn’t about the money itself. He just loves to look at the Forbes
magazine list every year and see that the Stones are the number one
money-makers.”
He wearily adds: “If I wrote that the Stones massacred a Mexican village
it wouldn’t be as bad as something that could elevate their tax bracket.”
Bill’s book is so densely packed with nuggets of information and comical
insights that its appeal extends beyond the hardcore fanbase.
Integral to its charm is the fact that no matter how close he got to the
band he always saw himself as an outsider.
This held true whether he was watching the band play covers at the tiny 100
Club in London’s Oxford Street with Eric Clapton, Jeff Beck and Pete Townshend,
going on an all-night bender with Ronnie and Rod Stewart or partying with Kate
Moss, Naomi Campbell and Eric Clapton at Keith Richards’s 50th birthday
celebrations.
“I didn’t want to be one of the band,” says Bill.
“The people who start to think they’re one of them often wind up being carried
off in handcuffs or caskets.”
It helped that Bill avoided drugs throughout his time with the Stones.
Nonetheless by the early Nineties, he was increasingly disillusioned. Having
dropped out of journalism college, he was earning a pittance from the fanzine
(in 1993 he pocketed £14,000).
Bill has barely spoken to Ronnie or Keith in a decade, describing them as
“long-lost uncles” but he accepts that it’s the price he needs to pay to
lead a normal life.
Now working as a writer and journalist he remains a fan of the band but admits:
“After you’ve been with the Rolling Stones it’s very hard to get them out of
your system. Nothing I do will ever be as exciting.”
[www.express.co.uk]
Ok in this version of the story, Charlie punches him and 'silently walks away'
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: September 21, 2018 02:36
Here's a couple of early issues of the Beggar's Banquet fanzine
covers from 1981 before it became the official Rolling Stones fanzine.
I asked Bill German if the back issues are still available. Here is what he said:
"Beggars Banquet back issues are still available, but my Beggars Banquet Online
web site is currently down (and might not be revived). The company that was
the site's server went out of business recently, so that automatically made
the site go dead. The site itself (i.e., the graphics and navigation) was
really ancient, so I'd have to give it a full workup if I want put it back
online.
But as far as the back issues, I still offer sets of 20 issues for only $30.
(So yes, only a buck and a half each, with free shipping to anywhere in the
U.S.) The 20 issues are all from the "official" years, meaning between 1984
and 1996, and cover events like the Dirty Work sessions, the Talk Is Cheap,
Steel Wheels and Urban Jungle tours, and all the solo activity (and weddings!)
that took place in the 1980s. Anyone (in the U.S.) can order the issues by
sending $30 to my Paypal account: mailroom@beggarsbanquetonline.com "
covers from 1981 before it became the official Rolling Stones fanzine.
I asked Bill German if the back issues are still available. Here is what he said:
"Beggars Banquet back issues are still available, but my Beggars Banquet Online
web site is currently down (and might not be revived). The company that was
the site's server went out of business recently, so that automatically made
the site go dead. The site itself (i.e., the graphics and navigation) was
really ancient, so I'd have to give it a full workup if I want put it back
online.
But as far as the back issues, I still offer sets of 20 issues for only $30.
(So yes, only a buck and a half each, with free shipping to anywhere in the
U.S.) The 20 issues are all from the "official" years, meaning between 1984
and 1996, and cover events like the Dirty Work sessions, the Talk Is Cheap,
Steel Wheels and Urban Jungle tours, and all the solo activity (and weddings!)
that took place in the 1980s. Anyone (in the U.S.) can order the issues by
sending $30 to my Paypal account: mailroom@beggarsbanquetonline.com "
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: September 26, 2018 03:04
The 1981 Tour also was an early milestone for the rock tour industry by selling
advertising rights to Jovan Musk. Jovan paid $1 million to put their name on
Rolling Stones tickets. This attracted considerable attention in the business
media, as Jovan's image of a pleasant fragrance was at complete odds with the
Stones' bad boys image. But the Stones behaved well on tour, and rock tour
corporate sponsorships soon became the norm. - wiki
Edited 1 time(s). Last edit at 2018-09-26 12:30 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: September 26, 2018 12:29
What Do Rolling Stones Jovan Have in Common? A Contract
By Joanne Ostrow
December 7, 1981
Chuck Mangione may trumpet the merits of Memorex. Earth, Wind & Fire may dance
through a TV endorsement of Panasonic. But the Rolling Stones "tie-in" with
Jovan, one of the big-three fragrance marketers, is making a different kind of
noise.
Jovan's corporate image-makers have assessed the promotional possibilities in
Mick Jagger's swagger and launched a multimillion dollar deal, the first
national rock 'n' roll sponsorship of major proportions. Locally, WWDC-AM-FM
and Woodward & Lothrop have been cashing in on Jumpin' Jack's flash in advance
of concerts scheduled for tonight, Tuesday and Wednesday nights.
J. Walter Thompson advertising executives began discussions with the group's
business managers in June to find an exclusive sponsor who would pay, not for
a product endorsement, but simply the association of a name with the rock
group. When Jovan was signed, Advertising Age called the liaison "a coup of
immeasurable proportion" for the firm.
For a reported $3 million, Jovan bought exclusive rights as sponsor, entitling
the company to concert tickets--worth almost more than money, to judge by
scalper's prices--which in turn enable Jovan to barter for mentions on radio
stations in some 150 markets. Additionally, Jovan's name appears on every
ticket--some 2 million by the time the tour is over.
Promotional giveaways sporting Jovan's name include the usual jerseys, jackets,
T-shirts and posters, plus some innovative twists. A tie-in through major
retailers offers an "official Jovan 1981 Rolling Stones American Tour Poster"
for $1 with any $5 purchase of a Jovan product. The poster depicts the
"official" tour logo: the Stones' familiar red lips-and-tongue design emerging
from the "o" in Jovan. Use of the logo by radio stations or chain store clients
of Jovan is permitted only through the end of the year.
The target of Jovan's campaign is the 16- to 34-year-old audience. The
psychology of sponsorship: a product becomes hip by association.
Listen to the ad men. Jovan thinks of itself as "bold and daring," a phrase
that surfaces repeatedly in conversation with David Miller, the company's
director of advertising. "The Rolling Stones are considered provocative,
sensual, iconoclastic, and we don't shrink from that. We've always been a
fragrance for people who aren't afraid to do things a little differently," he
says. "We made a whole fragrance based on an animal note Musk Oil back in
1971."
James Vail, a 26-year-old account executive for J. Walter Thompson in Chicago,
stood in line for Stones concert tickets in Seattle three years ago and never
got them. Now, having engineered the Jovan deal as tour project director, he
figures Stones fans will make the connection between music and sponsor,
expressing their gratitude for ticket freebies--and, perhaps subconsciously,
for Jagger in general--the next time they pass a cologne counter.
"Jovan's image matches the Stones' almost identically," Vail contends. "They're
young, aggressive, their products are controversial, innovative." A bluejeans
manufacturer would have been "too downscale," he says. Beer would have been
perfect, he says, and Schlitz came close to signing a deal, but "the spirit of
the company wouldn't have been in synch."
(A Schlitz spokeswoman said the company is already involved with several music
groups, including Kool and the Gang, the Commodores, and Mickey Gilley, and
when JWT, also the Schlitz agency, presented the opportunity, the brewer
declined to sponsor the Stones as "an internal business decision.")
Vail says he's confident about the "dice-rolling" he's done on Jovan's part.
Particularly compared with some rock groups, the Stones are a good bet. So far
they've played 30 concert dates without a miss. Taking risks, he suggests, is a
matter of Jovan's "bold, daring" image that he believes has paid off since its
start in 1968: the company anticipates $150 million in sales this year.
In Washington, radio station competition for tie-in promotional perks was
reportedly strong, with the concert scheduled for the end of an important
ratings-sweep period. WWDC (which is also represented by JWT) was given the
privilege of calling itself the "official" Stones radio outlet in town, in
exchange for a certain number of on-air plugs and advertisements. The
"official" distinction, of course, is calculated to flag the station's 18- to
34-year-old target audience.
Frank Burns, WWDC director of advertising, made a five-page presentation to
Jovan, outlining not only how often but also how creatively the station would
promote the sponsor. And WWDC has been bombarding listeners with Jovan plugs
since the tour's September start. "Every time a DJ plays a Stones song, they
make a conversational mention," Burns says. As the "official" station, WWDC was
able to buy 600 concert tickets with which to lure listeners through contests
and giveaways.
Jovan gave WWDC (DC101) tickets to concerts in every city on the tour. The
station has paid air fare, hotel accommodations and $101 spending money to
winners of various promotional contests.
Rick Fowler, director of advertising and promotion for competitor WRQX-FM,
feels his station's unofficial status hasn't hurt. He and 15 staffers plus
friends stood in line at the Cap Centre the night tickets went on sale and
bought "hundreds" for on-air giveaways. With WWDC currently holding a slim lead
in the Arbitron ratings, the January ratings book may reflect the outcome of
the Stones' promotional gambit.
By Joanne Ostrow
December 7, 1981
Chuck Mangione may trumpet the merits of Memorex. Earth, Wind & Fire may dance
through a TV endorsement of Panasonic. But the Rolling Stones "tie-in" with
Jovan, one of the big-three fragrance marketers, is making a different kind of
noise.
Jovan's corporate image-makers have assessed the promotional possibilities in
Mick Jagger's swagger and launched a multimillion dollar deal, the first
national rock 'n' roll sponsorship of major proportions. Locally, WWDC-AM-FM
and Woodward & Lothrop have been cashing in on Jumpin' Jack's flash in advance
of concerts scheduled for tonight, Tuesday and Wednesday nights.
J. Walter Thompson advertising executives began discussions with the group's
business managers in June to find an exclusive sponsor who would pay, not for
a product endorsement, but simply the association of a name with the rock
group. When Jovan was signed, Advertising Age called the liaison "a coup of
immeasurable proportion" for the firm.
For a reported $3 million, Jovan bought exclusive rights as sponsor, entitling
the company to concert tickets--worth almost more than money, to judge by
scalper's prices--which in turn enable Jovan to barter for mentions on radio
stations in some 150 markets. Additionally, Jovan's name appears on every
ticket--some 2 million by the time the tour is over.
Promotional giveaways sporting Jovan's name include the usual jerseys, jackets,
T-shirts and posters, plus some innovative twists. A tie-in through major
retailers offers an "official Jovan 1981 Rolling Stones American Tour Poster"
for $1 with any $5 purchase of a Jovan product. The poster depicts the
"official" tour logo: the Stones' familiar red lips-and-tongue design emerging
from the "o" in Jovan. Use of the logo by radio stations or chain store clients
of Jovan is permitted only through the end of the year.
The target of Jovan's campaign is the 16- to 34-year-old audience. The
psychology of sponsorship: a product becomes hip by association.
Listen to the ad men. Jovan thinks of itself as "bold and daring," a phrase
that surfaces repeatedly in conversation with David Miller, the company's
director of advertising. "The Rolling Stones are considered provocative,
sensual, iconoclastic, and we don't shrink from that. We've always been a
fragrance for people who aren't afraid to do things a little differently," he
says. "We made a whole fragrance based on an animal note Musk Oil back in
1971."
James Vail, a 26-year-old account executive for J. Walter Thompson in Chicago,
stood in line for Stones concert tickets in Seattle three years ago and never
got them. Now, having engineered the Jovan deal as tour project director, he
figures Stones fans will make the connection between music and sponsor,
expressing their gratitude for ticket freebies--and, perhaps subconsciously,
for Jagger in general--the next time they pass a cologne counter.
"Jovan's image matches the Stones' almost identically," Vail contends. "They're
young, aggressive, their products are controversial, innovative." A bluejeans
manufacturer would have been "too downscale," he says. Beer would have been
perfect, he says, and Schlitz came close to signing a deal, but "the spirit of
the company wouldn't have been in synch."
(A Schlitz spokeswoman said the company is already involved with several music
groups, including Kool and the Gang, the Commodores, and Mickey Gilley, and
when JWT, also the Schlitz agency, presented the opportunity, the brewer
declined to sponsor the Stones as "an internal business decision.")
Vail says he's confident about the "dice-rolling" he's done on Jovan's part.
Particularly compared with some rock groups, the Stones are a good bet. So far
they've played 30 concert dates without a miss. Taking risks, he suggests, is a
matter of Jovan's "bold, daring" image that he believes has paid off since its
start in 1968: the company anticipates $150 million in sales this year.
In Washington, radio station competition for tie-in promotional perks was
reportedly strong, with the concert scheduled for the end of an important
ratings-sweep period. WWDC (which is also represented by JWT) was given the
privilege of calling itself the "official" Stones radio outlet in town, in
exchange for a certain number of on-air plugs and advertisements. The
"official" distinction, of course, is calculated to flag the station's 18- to
34-year-old target audience.
Frank Burns, WWDC director of advertising, made a five-page presentation to
Jovan, outlining not only how often but also how creatively the station would
promote the sponsor. And WWDC has been bombarding listeners with Jovan plugs
since the tour's September start. "Every time a DJ plays a Stones song, they
make a conversational mention," Burns says. As the "official" station, WWDC was
able to buy 600 concert tickets with which to lure listeners through contests
and giveaways.
Jovan gave WWDC (DC101) tickets to concerts in every city on the tour. The
station has paid air fare, hotel accommodations and $101 spending money to
winners of various promotional contests.
Rick Fowler, director of advertising and promotion for competitor WRQX-FM,
feels his station's unofficial status hasn't hurt. He and 15 staffers plus
friends stood in line at the Cap Centre the night tickets went on sale and
bought "hundreds" for on-air giveaways. With WWDC currently holding a slim lead
in the Arbitron ratings, the January ratings book may reflect the outcome of
the Stones' promotional gambit.
Re: Stones 1981-1982 Wardrobes
Posted by:
HouseBoyKnows
()
Date: September 27, 2018 15:46
HouseBoy has returned . . .
Capital Centre Landover MD 7 DEC 1981 - Part 2
Re: Stones 1981-1982 Wardrobes
Posted by:
Palace Revolution 2000
()
Date: September 27, 2018 16:16
I don't think I have seen Landover pics.
On some nights of the tour Jagger would not wear the whole football get-up; but I don't think I've ever seen him with that sharp crease in his pants. Very copol.
HouseBoy has taken incredible shots.
On some nights of the tour Jagger would not wear the whole football get-up; but I don't think I've ever seen him with that sharp crease in his pants. Very copol.
HouseBoy has taken incredible shots.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: September 30, 2018 00:51
Great pics, HouseBoyKnows! Thanks
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: October 1, 2018 03:41
Quote
Rockman
This image captured before a 1981 show with Willie Dixon.
Re: Stones 1981-1982 Wardrobes
Posted by:
Palace Revolution 2000
()
Date: October 1, 2018 07:38
Quote
exilestonesQuote
RockmanThis image captured before a 1981 show with Willie Dixon.
Keith playing the Blues in F.
Re: Stones 1981-1982 Wardrobes
Posted by:
KeithNacho
()
Date: October 1, 2018 13:32
No sign of arthritis in his fingers
Re: Stones 1981-1982 Wardrobes
Posted by:
Stoneage
()
Date: October 1, 2018 13:52
Sometimes I wonder what these old blues masters, neatly dressed in suits, coats and hats, thinks of these thin white rock stars with ripped shirts, kajal, blow-dried hair, whisky bottles and earrings.
... Seems like different worlds to me. I can't help thinking about Spinal Tap...
... Seems like different worlds to me. I can't help thinking about Spinal Tap...
Re: Stones 1981-1982 Wardrobes
Posted by:
KeithNacho
()
Date: October 1, 2018 14:18
Thanks to those white thin and (by then) young rock stars, many people like me was introduced to blues music, and that is the reason i know who are people like willie Dixo , Muddy Waters, John Lee Hooker, Howling Wolf....etc - and that is the reason i have some LP, CDs...etc of them. As well as other country, soul and reggae artists
Re: Stones 1981-1982 Wardrobes
Posted by:
Palace Revolution 2000
()
Date: October 1, 2018 16:06
Quote
KeithNacho
Thanks to those white thin and (by then) young rock stars, many people like me was introduced to blues music, and that is the reason i know who are people like willie Dixo , Muddy Waters, John Lee Hooker, Howling Wolf....etc - and that is the reason i have some LP, CDs...etc of them. As well as other country, soul and reggae artists
True on all counts, but I am convinced that esp. in the case of the Stones, Clapton, some others that they earned their respect fair and squarer. But admiring and appreciating the music, but more so by learning it; and playing it authentically. And eventually often bettering it by writing their own colorations of it.
I;m not so sure ( I really don't know) how Page, Plant and Led Zep would have been seen back then.
Re: Stones 1981-1982 Wardrobes
Posted by:
Mathijs
()
Date: October 5, 2018 13:15
Quote
exilestonesQuote
RockmanThis image captured before a 1981 show with Willie Dixon.
This is Chicago, November 24, 1981. That's Sugar Blue on the left, who'd play Miss You with them that night.
Mathijs
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: October 7, 2018 02:53
The above image captured before a 1981 show with Willie Dixon on the right.
WOW! Thanks for the great information. Any guesses on the other two people?
Quote
Mathijs
This is Chicago, November 24, 1981. That's Sugar Blue on the left, who'd play Miss You with them that night.
Mathijs
Quote
Palace Revolution 2000
Keith playing the Blues in F.
WOW! Thanks for the great information. Any guesses on the other two people?
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: October 7, 2018 16:52
SUGAR BLUE
wiki+
Corrections welcomed.
Born James Whiting, 16 December 1949, New York City, New York, USA.
Born into a showbusiness family, Sugar Blue began playing harmonica as a child
and by his mid-teens was an accomplished and assured performer. His mother was
a singer and dancer who worked at the famous Apollo Theater. He spent his
childhood among the musicians and show people who knew his mother, including
the great Billie Holiday, and decided that he wanted to be a performer.The
music that surrounded him early in life was mostly jazz. He was particularly
drawn to tenor saxophonists Dexter Gordon and Lester Young. He played the
saxophone and dabbled on other instruments, like the guitar, violin and
flute, but “the harmonica spoke to me,” Blue said.
He moved to Paris in the 1970s, also on Slim’s advice, becoming part of the
American jazz and blues scene there.
He sat in with acknowledged blues masters and held his own, leading to
invitesto appear on record with artists such as Victoria Spivey, Louisiana Red,
Johnny Shines, and Washboard Bill. In the mid-70s Whiting spent some time in
Europe, playing in Paris and also appearing on several Rolling Stones’
albums, including Some Girls (1978), Emotional Rescue (1980) and Tattoo You
(1981).
Sugar Blue - According to Ronnie Wood, Blue was found by Mick
Jagger busking on the city streets. Another story says that Blue was not
discovered by the Rolling Stones, busking in the Paris Metro. A business
associate of Mick Jagger’s heard Blue play at a party and later gave his phone
number to Jagger.
“Mick called me,” Blue said. "It was this guy with a very heavy cockney
accent," Blue says. "Now, I had heard Jagger speak before so I thought my
friends were putting me on, but I went out to the studio anyway and there was
Jagger. He brought me into the studio and I was like, 'Wow, far out.' We
started playing and the rest is rock 'n' roll history."
“I thought it was my friends 'pulling my leg' (playing a joke). I thought,
‘Sure, right, whatever.’ But I thought, what the hell, I’ll go find out anyway.”
""Harmonica player Sugar Blue played a big part in the success
of “Some Girls,” offering the now iconic solo in “Miss You” as well
as tasty licks in the controversial song, “Some Girls.” "
This led to him playing on several of the tracks, "Send It to Me", "Down In
The Hole", "Miss You", "Some Girls" and "Black Limousine."
Sugar Blue rehearsed with the Rolling Stones in Woodstock, New York before the
Stones 1978 tour. He later played live with the New Barbarians at Knebworth
in 1979 and with the Rolling Stones in Chicago 1981 and on the Steel Wheels Tour.
The blues harmonica player Sugar Blue is perhaps best and least known for his
contribution to rock ‘n’ roll — the defiant and despondent solo he played on
the Rolling Stones hit “Miss You.” That point was made by Blue’s own brother
and his reaction to the song, which was a No. 1 hit in 1978.
“I knew the song was a monster hit,” said Blue, who was playing and living in
Paris at the time, “when my little brother, who was living in the heart of
Harlem, called me and told me ‘It’s the jam!’ My little brother was nothing
but Motown, period. He had no idea it was me on the song. He said, ‘Man, you
have to hear this harmonica player!’ I was just laughing my [butt] off.”
The Rolling Stones instantly fell in love with his sound. Sugar Blue was
offered the session spot indefinitely, but he turned it down, opting instead
to return to the States and put his own band together rather than became a
full-time sideman.
Blue's decision to return home, despite his growing renown as a session player,
was spurred by his desire to work with and learn from the masters of blues
harmonica. Thus he came to Chicago and proceeded to sit in with the likes of
Big Walter Horton , Carey Bell , James Cotton and Junior Wells . Blue went on
to spend two years touring with his friend and mentor Willie Dixon as part of
the Chicago Blues All Stars before putting his own band together in 1983. With
his own band, Blue's star continued to rise. He received the 1985 Grammy Award
for his work on the Atlantic album, Blues Explosion, recorded live at the
Montreux Jazz Festival.
He recorded on Dixon's Grammy-winning Hidden Charms album in 1989, has
performed on festival stages with classic artists like Muddy Waters, B.B. King
, Art Blakey and Lionel Hampton and has also set his sights on television and
the big screen. He sat in with Fats Domino, Ray Charles, and Jerry Lee Lewis
for the Cinemax special, Fats Domino and Friends, and has appeared on screen
and in the musical score of Alan Parker's acclaimed 1987 thriller Angel Heart,
starring Robert De Niro.
Blue has played and recorded with musicians ranging from Stan Getz to Frank
Zappa to Johnny Shines to Bob Dylan.
Sugar Blue settled in Chicago where he became a regular on the
local blues club circuit.
When asked to describe his sound, Sugar Blue replied, "My sound is something
that I’ve developed through the years after listening and being influenced by
many great musicians from Lester Young to Sonny boy Williamson and from Chuck
Berry to Jimi Hendrix.
"My Hope is that the Music will continue to evolve with an understanding of the
importance the originators infused it with, because as Mr. Dixon said, The
Blues are the roots, the rest are the fruits!"
This versatile artist is held in high regard by musicians from diverse
genres.
Sugar Blue — he took the nickname from the Sidney Bechet song “Sugar Blues”
Credits:
[www.seattletimes.com] By Hugo Kugiya
The Encyclopedia of Popular Music by Colin Larkin
Wiki
[www.sugar-blue.com]
[blues.gr]
[www.nj.com]
[www.heraldpalladium.com]
[www.songfacts.com]
wiki+
Corrections welcomed.
Born James Whiting, 16 December 1949, New York City, New York, USA.
Born into a showbusiness family, Sugar Blue began playing harmonica as a child
and by his mid-teens was an accomplished and assured performer. His mother was
a singer and dancer who worked at the famous Apollo Theater. He spent his
childhood among the musicians and show people who knew his mother, including
the great Billie Holiday, and decided that he wanted to be a performer.The
music that surrounded him early in life was mostly jazz. He was particularly
drawn to tenor saxophonists Dexter Gordon and Lester Young. He played the
saxophone and dabbled on other instruments, like the guitar, violin and
flute, but “the harmonica spoke to me,” Blue said.
He moved to Paris in the 1970s, also on Slim’s advice, becoming part of the
American jazz and blues scene there.
He sat in with acknowledged blues masters and held his own, leading to
invitesto appear on record with artists such as Victoria Spivey, Louisiana Red,
Johnny Shines, and Washboard Bill. In the mid-70s Whiting spent some time in
Europe, playing in Paris and also appearing on several Rolling Stones’
albums, including Some Girls (1978), Emotional Rescue (1980) and Tattoo You
(1981).
Sugar Blue - According to Ronnie Wood, Blue was found by Mick
Jagger busking on the city streets. Another story says that Blue was not
discovered by the Rolling Stones, busking in the Paris Metro. A business
associate of Mick Jagger’s heard Blue play at a party and later gave his phone
number to Jagger.
“Mick called me,” Blue said. "It was this guy with a very heavy cockney
accent," Blue says. "Now, I had heard Jagger speak before so I thought my
friends were putting me on, but I went out to the studio anyway and there was
Jagger. He brought me into the studio and I was like, 'Wow, far out.' We
started playing and the rest is rock 'n' roll history."
“I thought it was my friends 'pulling my leg' (playing a joke). I thought,
‘Sure, right, whatever.’ But I thought, what the hell, I’ll go find out anyway.”
""Harmonica player Sugar Blue played a big part in the success
of “Some Girls,” offering the now iconic solo in “Miss You” as well
as tasty licks in the controversial song, “Some Girls.” "
This led to him playing on several of the tracks, "Send It to Me", "Down In
The Hole", "Miss You", "Some Girls" and "Black Limousine."
Sugar Blue rehearsed with the Rolling Stones in Woodstock, New York before the
Stones 1978 tour. He later played live with the New Barbarians at Knebworth
in 1979 and with the Rolling Stones in Chicago 1981 and on the Steel Wheels Tour.
Knebworth 1979 - Sugar & RonThe blues harmonica player Sugar Blue is perhaps best and least known for his
contribution to rock ‘n’ roll — the defiant and despondent solo he played on
the Rolling Stones hit “Miss You.” That point was made by Blue’s own brother
and his reaction to the song, which was a No. 1 hit in 1978.
“I knew the song was a monster hit,” said Blue, who was playing and living in
Paris at the time, “when my little brother, who was living in the heart of
Harlem, called me and told me ‘It’s the jam!’ My little brother was nothing
but Motown, period. He had no idea it was me on the song. He said, ‘Man, you
have to hear this harmonica player!’ I was just laughing my [butt] off.”
The Rolling Stones instantly fell in love with his sound. Sugar Blue was
offered the session spot indefinitely, but he turned it down, opting instead
to return to the States and put his own band together rather than became a
full-time sideman.
Blue's decision to return home, despite his growing renown as a session player,
was spurred by his desire to work with and learn from the masters of blues
harmonica. Thus he came to Chicago and proceeded to sit in with the likes of
Big Walter Horton , Carey Bell , James Cotton and Junior Wells . Blue went on
to spend two years touring with his friend and mentor Willie Dixon as part of
the Chicago Blues All Stars before putting his own band together in 1983. With
his own band, Blue's star continued to rise. He received the 1985 Grammy Award
for his work on the Atlantic album, Blues Explosion, recorded live at the
Montreux Jazz Festival.
He recorded on Dixon's Grammy-winning Hidden Charms album in 1989, has
performed on festival stages with classic artists like Muddy Waters, B.B. King
, Art Blakey and Lionel Hampton and has also set his sights on television and
the big screen. He sat in with Fats Domino, Ray Charles, and Jerry Lee Lewis
for the Cinemax special, Fats Domino and Friends, and has appeared on screen
and in the musical score of Alan Parker's acclaimed 1987 thriller Angel Heart,
starring Robert De Niro.
Blue has played and recorded with musicians ranging from Stan Getz to Frank
Zappa to Johnny Shines to Bob Dylan.
Sugar Blue settled in Chicago where he became a regular on the
local blues club circuit.
When asked to describe his sound, Sugar Blue replied, "My sound is something
that I’ve developed through the years after listening and being influenced by
many great musicians from Lester Young to Sonny boy Williamson and from Chuck
Berry to Jimi Hendrix.
"My Hope is that the Music will continue to evolve with an understanding of the
importance the originators infused it with, because as Mr. Dixon said, The
Blues are the roots, the rest are the fruits!"
Sugar Blue, Taj Mahal , Muddy Waters & B.B.KingThis versatile artist is held in high regard by musicians from diverse
genres.
Sugar Blue — he took the nickname from the Sidney Bechet song “Sugar Blues”
Credits:
[www.seattletimes.com] By Hugo Kugiya
The Encyclopedia of Popular Music by Colin Larkin
Wiki
[www.sugar-blue.com]
[blues.gr]
[www.nj.com]
[www.heraldpalladium.com]
[www.songfacts.com]
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: October 14, 2018 17:14
The Rolling Stones play one of the biggest concerts ever staged in Ireland.
Denis O'Regan photo
70,000 fans paid £12 to see The Stones in 1982 play at Slane
Castle, County Meath. In glorious sunshine hundreds of balloons were released
into the air as the band open their set with ‘Under My Thumb’ taken from the
album ‘Aftermath’. Two days before his 39th birthday, Mick Jagger struts his
stuff on stage as Keith Richards, Ron Wood, Billy Wyman and Charlie Watts
crank out the tunes.
Support acts on the day were The J Geils Band, The Chieftains, and George
Thorogood and the Destroyers.
This was the second concert to be held at Slane Castle. In 1981 Thin Lizzy were
the first band to headline the venue with support from U2, Hazel O’Connor,
Rose Tattoo, Sweet Savage, The Bureau, and Megahype.
This footage was shown as part of an RTÉ News report broadcast on 24 July 1982.
VIDEO: [www.rte.ie]
Will someone please capture this video?
Thanks
ExileStones
PhotoMedia@live.com
Denis O'Regan photo
70,000 fans paid £12 to see The Stones in 1982 play at Slane
Castle, County Meath. In glorious sunshine hundreds of balloons were released
into the air as the band open their set with ‘Under My Thumb’ taken from the
album ‘Aftermath’. Two days before his 39th birthday, Mick Jagger struts his
stuff on stage as Keith Richards, Ron Wood, Billy Wyman and Charlie Watts
crank out the tunes.
Support acts on the day were The J Geils Band, The Chieftains, and George
Thorogood and the Destroyers.
This was the second concert to be held at Slane Castle. In 1981 Thin Lizzy were
the first band to headline the venue with support from U2, Hazel O’Connor,
Rose Tattoo, Sweet Savage, The Bureau, and Megahype.
This footage was shown as part of an RTÉ News report broadcast on 24 July 1982.
VIDEO: [www.rte.ie]
Will someone please capture this video?
Thanks
ExileStones
PhotoMedia@live.com
Re: Stones 1981-1982 Wardrobes
Posted by:
Palace Revolution 2000
()
Date: October 14, 2018 17:20
I will be sad to see this thread crawl past pg. 57 (which of course it will do) because right now when I open it, the first thing I see is Keith giving me the finger. 
Re: Stones 1981-1982 Wardrobes
Posted by:
HouseBoyKnows
()
Date: October 15, 2018 16:51
Here's a few more from the HouseBoy 1981 tour archives . . . .
Capital Centre Landover MD 7 DEC 1981 - Part 3
Re: Stones 1981-1982 Wardrobes
Posted by:
Chris Fountain
()
Date: October 15, 2018 17:14
No Doubt -Hampton will surface.
Re: Stones 1981-1982 Wardrobes
Posted by:
Chris Fountain
()
Date: October 15, 2018 17:54
Yeah no doubt Hampton, VA will appear
Re: Stones 1981-1982 Wardrobes
Posted by:
HouseBoyKnows
()
Date: October 15, 2018 20:53
I have photos from the 2nd night at Hampton forthcoming. The first night was video taped, as we all know, so I did not bring my camera.
HBK
HBK
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: October 19, 2018 12:59
.
Edited 1 time(s). Last edit at 2019-06-17 16:55 by exilestones.
Edited 1 time(s). Last edit at 2019-06-17 16:55 by exilestones.
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: October 23, 2018 03:52
ROTTERDAM
Mick Jagger by Jan Slob
Mick Jagger by Jan Slob
Re: Stones 1981-1982 Wardrobes
Posted by:
exilestones
()
Date: October 29, 2018 19:36
Rolling Stones, Ireland, 1982: ‘The Hells Angels ate Choc-Ices’
From the Archive of the Irish Times
Rolling Stones at Slane Castle, Saturday, July 24th, 1982.
Photo: Peter Thursfield
Lord Henry Mount Charles: ‘1982 was magic’
About the Rolling Stones’s 1982 concert, Slane Castle owner Lord Henry Mount Charles said Ireland had never seen anything like it before.
“The weather was beautiful, the show was magic. Mick Jagger came down the Thursday before the show and had dinner in the castle and the production crew slept in the drawing room of the castle the night before the show. It had an almost gypsy-like quality about it.”
Some 70,000 music fans paid £12 each for a ticket in 1982. Thousands arrived the night before to camp out wherever they could find a pitch around the village. Fans complained of being charged £5 for a six-pack of beer and £1 for a can of Coke, with one newspaper report at the time remarking that “every kind of huckster, three-card-trick man and itinerant salesman had a stall in Slane”.
The day of the concert, July 24th, saw brilliant sunshine, with those who weren’t sprayed by two massive water hoses taking advantage of the lack of security to swim in the River Boyne.
After the warm-up acts, which included the Chieftains, the Rolling Stones bounded on, with Mick Jagger proclaiming: “It’s great to be back in Dublin. After 16 years, it’s very nice of you to come, so let’s spend the night together.” Jagger showed a hazy knowledge of Irish geography and also of the band’s own history. They had last played Ireland in 1965.
Aerial view of the 80,000-strong crowd at the Rolling Stones in Slane, July 1982.
Photo: Tom Lawlor
Concert report, Slane, 1982, by Maev Kennedy
They were a pretty audience. They brought their babies and some of them brought their mammies.
In the interminable gaps between the live music they shinned over the 10-foot fence to leap into the Boyne and every mother’s son and daughter of them was decently clothed. Some stripped down to pants, some modestly leaped in fully clothed.
A ferocious, savage, vicious, terrifying gang of Hell’s Angels, from the badlands of Waterford, sat in a reeking huddle on the grass, shunned by 20 yards by the rest of the crowd. Hunched menacingly in their colours, they were eating Choc-Ices.
The crowd got younger all the way into the centre. Half way down were the 20-year-olds, sprawled out on rugs with their wine, in plastic bottles as per instructions, and their dope. The worst crime they committed was to fall sound asleep in the hot sun, and some slept right through the Stones.
Only in the first 10 rows, damped down by fire hoses and at one ecstatic moment sprayed with fire hose by Mick Jagger HIMSELF was there that wild dangerous electric excitement the media associates with huge rock concerts. They leaped and shrieked and held up imploring arms.
“You’re all right!” Mick Jagger yelled at them. “You’re not too bad yourself!” they shouted back.
Up at the top of the hill, up at the top of a 60 foot pine tree, a lunatic fan leaped up and down hysterically.
“It’s great to be back in Dublin,” Jagger assured them. Nobody had the heart to correct him.
By the last chords of the opening Under My Thumb a steady stream of denim was pouring up the slopes and out the gate. They’d waited 10 hours to see the Rolling Stones, and they’d seen the Rolling Stones; they knew exactly what they were going to play, so they left, perfectly happy.
People kept comparing the Stones concert to the Pope’s visit, but nobody ever left a Papal gig before the Last Blessing.
From the Archive of the Irish Times
Rolling Stones at Slane Castle, Saturday, July 24th, 1982.
Photo: Peter Thursfield
Lord Henry Mount Charles: ‘1982 was magic’
About the Rolling Stones’s 1982 concert, Slane Castle owner Lord Henry Mount Charles said Ireland had never seen anything like it before.
“The weather was beautiful, the show was magic. Mick Jagger came down the Thursday before the show and had dinner in the castle and the production crew slept in the drawing room of the castle the night before the show. It had an almost gypsy-like quality about it.”
Some 70,000 music fans paid £12 each for a ticket in 1982. Thousands arrived the night before to camp out wherever they could find a pitch around the village. Fans complained of being charged £5 for a six-pack of beer and £1 for a can of Coke, with one newspaper report at the time remarking that “every kind of huckster, three-card-trick man and itinerant salesman had a stall in Slane”.
The day of the concert, July 24th, saw brilliant sunshine, with those who weren’t sprayed by two massive water hoses taking advantage of the lack of security to swim in the River Boyne.
After the warm-up acts, which included the Chieftains, the Rolling Stones bounded on, with Mick Jagger proclaiming: “It’s great to be back in Dublin. After 16 years, it’s very nice of you to come, so let’s spend the night together.” Jagger showed a hazy knowledge of Irish geography and also of the band’s own history. They had last played Ireland in 1965.
Aerial view of the 80,000-strong crowd at the Rolling Stones in Slane, July 1982.
Photo: Tom Lawlor
Concert report, Slane, 1982, by Maev Kennedy
They were a pretty audience. They brought their babies and some of them brought their mammies.
In the interminable gaps between the live music they shinned over the 10-foot fence to leap into the Boyne and every mother’s son and daughter of them was decently clothed. Some stripped down to pants, some modestly leaped in fully clothed.
A ferocious, savage, vicious, terrifying gang of Hell’s Angels, from the badlands of Waterford, sat in a reeking huddle on the grass, shunned by 20 yards by the rest of the crowd. Hunched menacingly in their colours, they were eating Choc-Ices.
The crowd got younger all the way into the centre. Half way down were the 20-year-olds, sprawled out on rugs with their wine, in plastic bottles as per instructions, and their dope. The worst crime they committed was to fall sound asleep in the hot sun, and some slept right through the Stones.
Only in the first 10 rows, damped down by fire hoses and at one ecstatic moment sprayed with fire hose by Mick Jagger HIMSELF was there that wild dangerous electric excitement the media associates with huge rock concerts. They leaped and shrieked and held up imploring arms.
“You’re all right!” Mick Jagger yelled at them. “You’re not too bad yourself!” they shouted back.
Up at the top of the hill, up at the top of a 60 foot pine tree, a lunatic fan leaped up and down hysterically.
“It’s great to be back in Dublin,” Jagger assured them. Nobody had the heart to correct him.
By the last chords of the opening Under My Thumb a steady stream of denim was pouring up the slopes and out the gate. They’d waited 10 hours to see the Rolling Stones, and they’d seen the Rolling Stones; they knew exactly what they were going to play, so they left, perfectly happy.
People kept comparing the Stones concert to the Pope’s visit, but nobody ever left a Papal gig before the Last Blessing.
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