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This part will cover Amit Erdigan and Atlantic
Records, Timeline with Maryanne and Mick,

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Star Groves, Stones, Mobile Truck,
Yaya, Muscle Scholes, and Brown Sugar.

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Welcome to the Stones world. My last video I
talked about the two-headed monsters the Rolling

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Stones faced. Gave some details in the Rolling
Stones world. I'm now continuing on one key person

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that is Amit Erdigan. And not many fans realize
how much Amit had done for the music industry.

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It's hard to summarize Atlantic, which Amit was
co-founder of. As a Stones fan, it's important to

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know about him and Atlantic prior. I prefer not
to spend a long hour on this, just to give you a

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little hint of insight, a what, why, how, when,
and short. Early on, Atlantic were the label for

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early RandB mega stars and had a who's who of jazz
musicians. Amett born in Istanbul, Turkey 1923,

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came to the US in 1935. His father was the Turkish
ambassador. He did have a brother who was older by

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7 years, Noui. Now, at 16, Amma was a collector
and would hit up stores to buy jazz and blues

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records. Both AMT and his brother Nouie would
build up a record collection that had 20,000

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records in it. 78s. They were overlooked albums by
the record buying public. That's what they keyed

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on. They would go to jazz and blue shows in the '
40s. The brothers were aware of the horrific human

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rights issues going on with the black Americans.
Being from Turkey, it was easier for them to be

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friendly and get to know the musicians directly.
They would go to shows. They would meet Cab

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Callaway, Duke Ellington, Jelly Roll Morton. They
were able to relate to them. The war was ended.

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His elderly father passed and his family decided
to move back to Turkey, but not the brothers.

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They stayed. Abbott would continue on through
college and then go to Georgetown University

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for graduate school in 1944. He was there for
medieval philosophy and at 23 now he needed

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work. His brother moved to LA and would send him
money to help him out. Amit did have a hobby with

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a do-it-yourself record cutting machine that his
mother bought for him. He decided to go in this

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direction of music. During graduate school, he was
offered jobs from family friends. Turned it down

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though. He wanted to get into the record business.
It was a temporary thing just to help him through

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college. And then he would go back to Turkey.
While he was doing going through graduate school,

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he discovered a quality radio repair shop selling
and fixing radios and selling new and used

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records. The owner of the store decided to get
rid of the repair shop and just keep the record,

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new and used, and then eventually get rid of the
used. And he also put in a radio program where

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independent record owners could come and get their
records played on the radio. Amit became friends

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with him and this is where he learned the record
business, understanding what people were buying

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and why. He friended Herb Abramson. Herb was going
to school for dentistry and he was also an AR guy

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for National Records, a New York label from 45 to
61. So in 46, Abramson left National and founded

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Jubilee Records that fell apart due to the type of
music they had. So Abramson and Amit in 47 decided

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to make their own label together. gospel, jazz,
blues, blues pop by black artists. Back at that

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time, blues music was actually called race music.
Abramson forked up $2500 and Amit gets $10,000

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from a loan from his family dentist. Atlantic was
born September 1947 in New York City. Abramson

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was the president and his wife did all the rest.
Amit was ANR promotion production guy. Amit would

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travel to New Orleans to incorporate that sound,
the boogie, which Atlantic would become known for.

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Things became very tight, not quite moving along
in volumes of their jazz singles, blues, spoken

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word, country, western, children's recordings. In
48, there was a musician strike which crippled all

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the labels. And then TV came on. They had enough
recordings to sell through this troubled year.

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They didn't really have anything in their
catalog that the public was jumping on versus

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their competition like Prestige or Blue Note.
In 1949, they got a break. Stick McGee. Jump

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Blues. This was Brownie McGee's younger
brother. Sticks just put out a single,

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a song on another label, Harlem Records.
Drinking wine, spoin tune. The label though,

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it folded quickly. Aman knew brother Brownie
from his earlier days and said to him,

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"Bring Stick in to our studio. We'll lay down the
song for him." So February 49th, 400,000 copies,

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number two Billboard, and this should be the
consideration of the first rock and roll song,

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not the mid50s. The tune gave a lot of leverage
and opportunity and income allowed them to move

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offices. Amit had other skills too which helped
out the artist songwriting and he assisted the

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artists with this. But Atlantic now needed to
move from singles to LPs, a newer vision. Colombia

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and Bluenote were making 10-in albums. The first
jazz 10-in came from Atlantic 1950. Joe Bushkin,

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I love that piano. Atlantic would do a lot more
10 in till 52. Sydney Bashette, Dizzy Gillespie,

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Sarah Vaughn. It sold well, but not the
top in sales. Now, in February of 53,

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Herb is now drafted to the army. still president
and in 55 comes back from Germany but he brings

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back with a pregnant girlfriend whom he marries.
Herb had some issues within adjusting with the

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team now. They start a new subdivision that Herb
is in charge of Atco Records in 55 focusing on

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rock and roll, pop and soul. He'll keep this
division going for a few years till 1958 and

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he gets bought out. He did get the coasters and
Bobby Darren and he sold his share of Atlantic

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to his first wife Miriam and she became vice
president. Now when Abramson was in the army,

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Amit had his wheel spinning and planning and he
would contact a writer at Billboard magazine named

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Jerry Wexler. Wexler buys in to Atlantic and is
a VP. He pays $2,63 for 13% share. Jerry was the

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one who conceived the phrase rhythm and blues.
Remember in the 40s, black blues pop was called

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race music. Well, Jerry changed it. They would
now become a leading RandB label. And Jerry knew

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how to bridge a crossover career for many of the
artists. Amit and Jerry saw the vision of the 50s.

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They did try to sign Elvis that they offered
Colonel Parker, but they lost a bid to RCA.

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Got to mention a critical pivotal piece in
Atlantic. Tom Dowed. He grew up in Manhattan,

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played various instruments, graduated high school
at 16, and went on to City College of New York.

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while he was working in the evening at Colombia's
physics department. After World War II, he left

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Colombia because his physics work was on the
Manhattan project, which was really classified,

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so he couldn't get his degree. He was brilliant,
was super bright and skilled in physics,

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and registered in the army in 43. and he was
working, as I mentioned, as a special engineer on

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the Manhattan project, a cell that was working on
the building of the atomic bomb. He really wanted

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to finish college when he got out of the army, but
Colombia would not honor and decline any of his

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secret work to push him ahead. He then decided
for a change and to go into the music business

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and engineering. He had been playing in bands,
working part-time as a recording engineer in New

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York studios just to make some money. 4748 he was
freelancing at a small studio and that's where he

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met Herb Abramson. So Abramson was impressed with
how his skills were and Amit Erdigan and Abramson

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brought him in to help engineer sessions for
Atlantic. He joined in 1949. He worked at Atlantic

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and he designed the studios for them. He was the
genius behind the many of Atlantic hits. He's one

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of the first engineers to build and record with an
eighttrack console in 58. This was revolutionary

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as you can now go do backing vocals and record
over mistakes. He left Atlantic in the 60s.

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They would convert many RandB and blues
artists to become big and successful,

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but not in a white audience. This is around 1955.
Ray Charles, Big Joe Turner, Coasters, Drifters,

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Chuck Willis, Ruth Brown, Clovers. Now, brother
Nouie joins them in 1956 to focus on jazz. He got

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to know many contacts in the industry being
he was living in California. They built up

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the jazz presence. Amit started one of the most
important independent record labels in history.

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The respect, the visionary and appreciation
for what Ammon has done needs to be noticed by

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the industry and the music fans. He knew more
than almost everyone in the business. He knew

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what exactly what will sell or not sell. No one
knew more than him about what the musical flavor

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was going to be in the 50s. Here's a little
story of Amit and how great his vision was.

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Abramson was working with Bobby Darren. Bobby
wasn't making any hits that Abramson liked. So

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Bobby created a song. He wrote it at Murray
the Kay's house in 12 minutes. It was called

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Splish Splash. He brought it over to Abramson
and Abramson didn't like it at all. Said,

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"Come to me when you write a good song."
So Bobby would go into the office of Amit

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and Jerry Wexler and present the song.
They loved it and the rest is history.

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Here's a little brief timeline. In 1958,

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Bobby Darren hits Splishplash and Mac the
Knife. He wins two Grammys for Atlantic.

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[Music]

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61. He marries Mika Banu, an interior designer.
65 he moves to pop with Sunny and Sher. 67 they

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would sell Atlantic to Warner Brothers. In
the 60s Atlantic had Artha, Otis Reading,

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Salman Burke, Wilson Picket, Percy Sledge,
Booker T and the MGs, Sam and Dave,

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King Curtis, and others. He brought in Buffalo
Springfield eventually. Collapton Cream Rascals,

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Beeges, Zeppelin, yes, Crosby Stills, Nashing
Young, Blind Faith by the end of the 60s. Now,

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jumping way ahead in 2006 at 83 years old in
October, he was in a coma from a head injury

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that occurred backstage in New York City at
a stone show. He fell. It was a celebration

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for former President and Hillary Clinton on his
60th birthday. He passed in 2006, December 14th.

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I'm going to start the timeline around December
1969 and go to 1971 for this documentary.

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We're going to get to here and see the timeline up
to Sticky Fingers release. Going to be including

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the European tour, Britain tour, and then also
details about the Sticky Fingers album cover,

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the shoots, photographers, and the breakdown of
songs. Now, December 7th, Mick and Joe Bergman,

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they fly to Switzerland to deposit the 69 tour
money, approximately a million dollar into the

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Geneva Bank. This was advised by Rupert Loenstein.
On December 18th in ' 69, Keith is 26 years old.

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Mick and Maryanne went to the Marboral Street
Magistrate's Court. They pleaded not guilty.

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They claimed 173.5 grams of cannabis was planted
by police. Case adjourned continues January 26th.

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Now Mick and Maryanne left together from the
court, but they went their own way. There was a

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little turmoil going on. Maryanne going to see her
new lover, Mario Chafano, an Italian artist. Now,

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per Maryanne, they had a cottage in Birkshshire,
but it shortly went sour when the icing on the

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cake melted when Mick and Maryanne visited the
Earl of Warwick. She went there and she was

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on Mandrex and passed out in the soup. Mick was
humiliated. Mick a few days later discussed with

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Mario the situation. Not a cordial discussion. Two
male egos clashing. Well, Maryanne ended up back

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with Mick, and Mick and Maryanne were basically
done as Mick had to carry her back into the bed.

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January 26, Mick and Maryanne returned to court in

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London. Mick found guilty of cannabis
possession. Maryanne is acquitted.

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Now, around the fall of 1969, Mick had met Marsha
Hunt, and they were building a relationship.

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Marsha had thought Mick was shy and awkward,
which was her attraction to him. Having a baby

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was planned. She thought he was insecure and a
child would ground him for stability. She would

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say they would never plan on getting married duty.
He gets up at 2:00 p.m. Now, Mick had his eye open

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for a estate to live in, but also to record in.
And I'm not sure the exact date of when this was

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occurring and when he actually purchased it. He
wanted a country retreat, a place with privacy and

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also where he could record. He was with Maryanne
and did have thinking that she would be involved.

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Not 100%, but supposedly Mick was introduced to
Star Groves by an agent. He loved the location,

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East Woodh, Hamshshire, England. This home goes
back to the Goddard family owning it from 1565 to

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1830. It was destroyed by a fire in 1840 and in
48 rebuilt again to give it the Victorian Gothic

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style. Mick purchases this home from Sir Henry
Carden for £55,000. [Music] This Gothic mansion

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was a mess and a huge expense to restore. It was
creepy and cold. Mick did not spend a lot of time

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early on, but he got his parents, then his brother
Chris and his girlfriend, then his hairdresser,

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and Brian's old girlfriend, Suki Portierre, to
be the caretakers. Word of mouth was traveling.

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In fact, Glenn John's is the one that told Pete
Townsen about how good Star Grows was to record

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in. There were several bands that jumped on this
recording opportunity. Bob Marley, Deep Purple,

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Iron Maiden, The Who, and Zeppelin. When Zeppelin
did recording there for physical graffiti,

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we know the song, an airplane flying over
while they were recording and the engineer

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Ron Newison said to take it out and Paige says,
"Nah, leave it." That was here at Star Gross.

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The Rolling Stones mobile unit, the truck
they would call it. It would be Ian Stewart to

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think up the idea to get a truck that can mimic a
studio just like Olympic Studio that they were in

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in ' 68. They could record and have all control.
They could go anywhere, any time of the day. Very

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convenient. They used a 16 track 3M tape recorder,
an Ampex 8 track and 24 channel console designed

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by Dick Swatenham. He was the creator of Helios.
They used top equipment like Helios recording and

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is customized in this truck. Dick was the one who
installed the recording equipment. He was also

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the one that designed and built Olympic Studios.
Glenn John's would assist with the truck building.

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The truck can operate 328 ft 100 meters from the
power source and the truck was airond conditioned.

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Now, in January and February, they would work on
editing and mixing of the Live 69 tour recordings,

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focusing on MSG. Mick redid vocals for Stray Cat
and also refined Love in Vain. Extra guitar work

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for Taylor and Keith. It needed some reinforcing
and cleanup. Some of it was not strong enough.

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Street Fighting Man, Love in Vain. The leads were
overdubbed and Keith had to do some minor work on

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Rambler and they would remix and overdub again.
Very light overdubs and Mick re singing background

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vocals also and guitar. They would do from the
MSG tapes at Olympic and Trident in London. The

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Stones really liked their performance in Baltimore
also. Now I have to spill this out. The primary

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source of yayya is from the MSG November 27th
28th 1969. It's not certain what or where,

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but there are small pieces of the Baltimore
Civic Center in November 26 and some of the

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other corrections done at Olympic. Little Queeny
and Honky Tonk Woman are thought of having some

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splicing in from Baltimore show into MSG.
Sympathy may have postour overdubs. Also,

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I'm going to play a little sample from
the Gimme Shelter movie DVD and we'll

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compare it to the Get Your Yaya version.
So, you hear two sets. [Music] I want you

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to let it [Music]

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car.

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[Music] [Applause] [Music]

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down the

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I mean

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I

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no needing breaking I got the chance

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she Hey

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again.

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I've got the chance. [Applause]

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We get to see that footage of me's brothers
in Gimme Shelter when Mick and Charlie they

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watched the footage of Alamont while this
January 70 time frame in London for more

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than 300,000. Now going into the fall of
1970 there is a Soho screening room that

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they all watched a completed film of Gimme
Shelter. There was an eternal discussion

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going on after about who Meredith Hunter wanted
to shoot. doesn't go to almost anything together,

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isn't it? It'll take time. What? 8 weeks. 8 weeks.
Stabbed to death in front of the stage by a member

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of the Hell's Angels. Nothing's confirmed
on that. We were there. We didn't see it,

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but we did see a lot. We want to know now what.
In early February, the big discussions were with

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Rupert, lawyers, accountants, tax adviserss,
and the Stones. They were headed for France.

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A relocation discussion is done and it's
confirmed. They must leave England for France

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to avoid those taxes. The UK, they need to get out
in 71 for 21 months. They were also informed they

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do not own the publishing rights or the master
recordings. It was Alan Klein that owned these.

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A head shaker in realization what a vicious
predicament they were in from Oldm to Klein.

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Also, early February, the M6 motorway,
Birmingham. There's a photo session. It's

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not the Yaya's cover, but photographer Michael
Burkovski took shots for the band. The Mail's

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brothers show this action in Gimme Shelter. As
you could see it here, it was cold and dreary out.

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It was intended for the Yaya's cover with
photographer Michael Bkovsky and assistance.

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Bkovsk's photos were rejected as the tone was
not there and to mix liking. Nothing expressive.

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It was dull. It's a believed Alan Klene got
David or it might have been Sam Cutler. Not

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100% sure who hired him. Mick brought the
concept idea of the mule, the instruments,

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and Charlie on an open empty road. Now, the term
yaya has a few connotations, meaning let it loose,

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having fun, or the same but in a sexual
way. Slang for breasts, get moving along.

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Now from North Carolina, blues artist blind
boy Fuller 1938 in New York. He recorded the

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song Get Your Yaya's Outs. So the Stones,
they would borrow this suggestive expression

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for them. It wasn't just a can of baked beans,
you know, which is like unfortunately alone.

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Record companies treat everything. They get
rid of it, make it, and get rid of it. And

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uh we had three more tracks to that we needed for
an album. And we were I think we were playing in

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Florida and we had to get to San Francisco to do
what turned out to be autumn. And everybody said,

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"Where can we do this? uh we can't we won't be
able to get to New York or LA from where we are

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and then what about that great room that they got
all the soul stuff in. You know, yeah. What's his

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name? What's his name? What's his name? Ah, muscle
shows. The sounds were in Keith's head already

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before he even got there. He states that he really
wanted to go back there and cut some more songs.

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The next thing he knows, he freaking wakes up and
ends up in south of France doing exile. Otherwise,

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he says exile would have been cut at Muscle
Scholes, but politically it wasn't possible.

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He just wasn't allowed in the country at that
time. So, we heard something from Keith and Mick

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about muscle shows. Well, the Stones played
the Palm Beach Pop Festival November 30th.

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In that 1969 tour, they wanted to record. Why not
go to Muscle Scholes, the sound studio? It started

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in 1969, 3614 Jackson Highway. So, not wanting to
go any big city, they had a mission to get there

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for December 2nd, 3rd, and 4th and get in the
studio. Jimmy Miller was supposed to be there,

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but he didn't make it. House producer Jimmy
Johnson stepped in. Prior to the Stones getting to

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Muscle Scholes, AMT was producing and working with
a musician RB Greavves. Take a letter, Maria. And

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this was for Atlantic. So he was at Muscle Scholes
working. So when the Stones came in, the staff

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was working 10:00 a.m. till 6 with RB and then
with the Stones starting at 6 PM. Muscle Scholes

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is known for one of the great rhythm sections,
the house band, the Swampers. In that band, an

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original member, Jimmy Johnson. He played guitar.
He was an engineer and ended up as a producer.

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He helped make muscle shows what it is. Well,
the first session I was not really to to do

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the session. I was first hired just to kind of I
knew where all the body was buried in the studio.

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And so I was going to assist their engineer,
Jimmy Miller, and he he didn't show. He didn't

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show up. And so about eight hours before that,
they told me, "You're gonna do it." And I said,

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"Oh." You know, I was just I was the only one in
the control room. But kind of the reason they were

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here was Keith. He always wanted to come here. He
thought this studio after he got here and started

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where he realized it was probably the best studio
ever been in. The sound was in my head before I

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even got there. And then of course when that
actually lives up to it and beyond, you know,

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then you know you're in rock and roll heaven, man.
And I got into it with Jagger at one point. We got

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nose to nose. He was saying he was hearing a noise
in this left speaker here. And I told him when he

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first got here, I said, "Let me explain something
to you guys." And I I made it real clear. I said,

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"This speaker has got a noise in it, but it's not
going to tape. It's not going on tape. You're just

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hearing it. It's like a crackle." Well, he kept
bitching about it. I mean, after every song,

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finally, at the end, I just stopped right there.
I said, "Hey, buddy." I said, "I want to tell you

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something." I said, "I don't explain to you this
one. I'm going to tell you one more time." And

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then I I went through the whole thing. Me and
him were friends after that. And after that he

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sent me business, he sent me artist, all kinds of
good stuff. So it kind of worked out. We also get

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a character Jim Dickinson from Memphis, a pianist,
a producer, and a genius of all trades. He was not

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a usual hanger at Muscle Scholes crew, but he was
brought in for sessions on occasion and he did the

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job. What I learned from the Stones, first you
got to understand it was December 1969 and I had

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just made the deal with Wexler to take the Memphis
bass rhythm section to Miami to work for Atlantic.

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And we were going to start that in January. This
is this December when the Stones were recording.

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And we were going to begin working for Atlantic
in January. And the Stones, our friend Stanley

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Booth was on the road with the Stones uh working
on their authorized biography. And uh Stanley had

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put together basically my deal with Atlantic
with Wexler. He and Wexler were good friends.

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And uh okay, so Stanley sat on the road with the
Stones. My wife and I had gone down to Auburn.

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We'd seen the tour and we'd, you know, met the
Stones and whatever. And I thought that was it.

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This is as far as that's going to go. I'm, you
know, at home back in Memphis waiting to go to

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Miami. You know, uh phone rings in the middle of
the night at Stanley and he says, "Uh, the Stones

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have got three days at the end of their tour. Can
they they want to record because they're tight.

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They've been touring together, you know, and they
uh uh they want to spend that time recording.

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If they can, could they record in Memphis?
But see, at the time, through the musician,

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American Musicians Union, a uh outofcountry
artist could get either a either a touring

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permit or a recording permit. They couldn't get
both. The Stones, of course, had a touring permit,

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and they had been prevented from recording uh
during this period of time in Los Angeles, and

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Leon Russell was fined by the union, I think, for
trying to put it together. So, they were looking

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for a place they could record under the radar. Of
course, Tennessee is a right to work state anyway.

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Uh but Stanley says, you know, he said, "Why can't
why can't they record in Memphis?" And I said,

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"Safety." Yeah, at the time I really didn't
think there was any studio where they could

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have recorded without somebody knowing who they
were and what they were doing. And Staxs had just

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turned down the Beatles, which was an insurance
problem as I understand it. Uh, so Stanley says,

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"Well, where could they record?" And automatically
I said, "Muscle Scholes." I said, "Nobody will

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even know who they are." And in fact, nobody did.
They stayed at the Holiday Inn. Uh, and Stanley,

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he gets mad on the phone. He says, "Well, I don't
know any of those rednecks down there." He says,

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"How I can't put that together. What should I do?"
I said, "Call Wexler." Cuz Atlantic, of course,

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would working in Muscle Shells exclusively
at that point. So then I don't hear anything

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from Stanley for a while. Then again, the phone
rings in the middle of the night and he says,

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"Be in Muscle Shoes on Thursday. The Stones are
going to record." So I sneak down there in my

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wife's car so nobody will recognize me. and a and
a pull up in the parking lot at the old uh the old

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Muscle Shell Sound Studio out on the highway. Uh
I like to say it was in a coffin factory. David

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Hood corrects me and says it was really only the
warehouse where they stored the coffins, but it

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is across the street from the old graveyard at a
small little uh little building. And I pull up in

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the in the parking lot and there's nobody there.
And wow, this is weird. And I go to the back door

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and I knock on the door and Jimmy Johnson cracks
the door about this far and he says, "Deigginson,

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what the hell do you want?" And I said, "I'm here
for the Rolling Stone session." He says, "Oh man,

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does everybody in Memphis know?" I said, "No,
no, no. Nobody knows. Don't worry." So I come in,

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but nobody's there. And Jimmy says, "Well, come on
in, man." He says, "Their plane just landed at the

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airport. It's the biggest plane that ever landed
in muscle shows and only three people got off

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the stones. Of course, what I didn't know then
was, you know, about half of them hated each

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other. They they wouldn't travel together and
the whole that was part of the whole deal about

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the session was uh they don't unless they're on
tour, they don't ever play together, you know,

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they just so they were they were pumped up, they
were hot, they wanted to record. And also what

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I didn't know, what nobody knew except Wexler was
that their contract with EMI was running out. And

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what they really wanted was to have some material
in the boot to make their deal with. So I come

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into the to the studio and Jimmy and and a couple
other guys that are there and we wait for the the

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Stones to show up. Well, they come in and let's
Who was it? It was Keith and Charlie and Bill.

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on somebody else. Or maybe it was just the three
the first time, but Jagger didn't come in and

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00:35:50,720 --> 00:35:55,680
little Mick didn't come in and and uh Ian Stewart,
their road manager, they were still they were

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traveling some other way. And this is the only way
I got to stay is is through this happening. So,

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uh, Keith had they had just met Graham Parsons
and and he had kind of introduced them to country

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music or at least had gotten me into country
music. So, as luck would have it, I, you know,

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with through Stanley and whatever, uh, Keith
and I sat down at the piano and started doing

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country songs, you know, we're just kind of
jamming and and then here comes Jagger and all

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the rest of them. Anyway, I managed to weasle my
way in to where I was, no matter what you hear,

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I was the only outside person there,
Stanley. And they and Tony, their bagman,

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not Spanish Tony who wrote the book, but a black
guy from Detroit who was carrying the dope. Nobody

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else. They they threw all the people from Muscle
Shows out. And they recorded for three nights.

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Alhammed Erdigan was starting a session the next
day in the daytime, same studio with RB Greavves,

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Take a Message, Maria. And believe me, Ahmed knew
their contract was running out because he was in

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Ahmed. I met Ahmed and and he didn't show up until
Mick in the second wave of of people came in and

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then Ahmed just kind of popped up out of the
woodwork. I don't know where he came from, but

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I met Ahmed Erdigan in the room with the Rolling
Stones and was equally impressed. I mean, he was

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taking up as much room as MC Jagger was, put it
that way. You could tell every hair of his beard

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was exactly the same length. You know, this is a
this is a cool guy doing business right away. So,

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the first night they cut You Got to Move, which
they've been doing in the live show as a duet,

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which just acoustic guitar and Jagger.
So, they're doing it with the whole band.

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And Stanley and I are in the control room
with Jimmy Johnson. They're starting to

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run this thing down and it ain't working.
I mean, it was terrible. And Wyman wasn't

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playing bass. He was playing horser. And it
just wasn't working. And I thought, "Wow,

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this is really going to be a drag. I'm going to
sit here and watch the Stones blow it." You know,

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Stanley had just become romantically involved
with this uh uh younger sister of a high school

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friend of his. was really uh kind of sleazy, but
he wants to go to the hotel, the motel to call

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this chick on the phone. And they had just had a
another one of the uh studios in Muscle Shells had

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just had a drug raid, the sheriffs. And one of
the things that Johnson was afraid of was that

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somebody from this other studio would find out
that the Stones were at Muscle Shell Sounds and,

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00:38:53,440 --> 00:39:00,400
you know, call the cops to reciprocate.
So the they were real paranoid about drugs

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00:39:00,400 --> 00:39:05,760
uh at the studio. So I figured this would be a
good opportunity if he'd go with Stanley that

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he could talk to his girlfriend. I could smoke a
joint. So we're gone maybe 45 minutes an hour tops

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and and what we left was chaos, you know, for
the Stone. We come back and they're listening

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to the first playback and they've got it. and
they had like managed to turn this chaos into

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what was literally a classic Stones performance,
you know, in a matter of 45 minutes. We walk in,

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Charlie Watts got this big grin on his face,
you know, I thought, "Wow, maybe they're not

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going to blow it." So, they start working on the
the second song, which is Brown Sugar. They don't

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get very far and then they call it, you know, for
the first night. Second night they come back to

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work on Brown Sugar. Now Keith has got the music,
the whole music for the song and uh you know the

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00:40:01,120 --> 00:40:14,480
killer riff playing in G- Tuning, but no words, no
title, no nothing. Jagger's got a green steno pad.

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Keith is like as he plays the song, he's
singing what isn't words. this guttural

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sounds and Jagger's writing it down like he's
translating, like he's taking dictation. And

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after he has enough, he kind of wanders off and
scribbles away, turns over. When he gets three

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pages full of lyrics, which took him less than an
hour, that was the song. And you know, I've seen

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some pretty serious songwriters in my day. I've
never seen anything like what McJagger did. Uh he

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was absorbing all of the like colloquialisms and
all the southern stuff that was around him. If you

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think about that song like in the first verse he
says sky dog slave trader. Okay. What's sky dog?

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Sky dog is the nickname that the guys in muscle
shows called Dwayne Almond because he was high

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all the time. And Jagger had heard it. He heard
somebody say Sky Dog and it just Yeah. My own uh

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footnote to rock and roll history comes a little
later, but it's this the same song. So I watch him

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record Brown Sugar and Ian Stewart's their road
manager who is was their piano player for years

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00:41:37,360 --> 00:41:43,600
but wouldn't grow his hair out so they wouldn't
let him, you know, in the band literally. Uh,

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00:41:43,600 --> 00:41:50,400
you look kind of like a um uh what do you call
them at the uh golf course? A caddy. You look

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00:41:50,400 --> 00:41:57,040
kind of like an overdressed caddy. Uh but great
boogie woogie piano player. So I watched him cut

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brown sugar and it and it was uh it was brilliant
and you know the eighth note tomtom ride on on the

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verses that that the beginning of every verse and
Charlie walked in. He didn't even have a pair of

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sticks. He just walked in and picked up the sticks
that were there and sat down and started playing

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the drums. So, he's doing this TomTom ride and
it's rubbing against the bass note that's there,

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you know, and the way you know anybody who's
been in the studio has heard that happen. So,

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they're listening to a playback and
somebody says to Charlie, he says, "Man,

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says your tomto time is rubbing the bass note.
Uh, maybe you better tune it." Charlie says,

347
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"I never tuned me drums." And everybody just kind
of acts like they didn't hear it. And finally,

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Ian Stewart says, "Wait a minute. Wait, you can't
say something like that. I've known you for years.

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You can't just say, "I never tune my drums." So
he says, "I never tune my drums. Why should I tune

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something I'm going to go out there and beat on?"
He says, "I'll hit it a few times. It'll change."

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That's what he did. You know, but to give you
an idea of the mindset that was at work here,

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I did not see Keith Richards hands in three days
moved to the tuning pegs. He simply did not tune

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his guitar. Period. Nor did Charlie tune the
drums. Uh, and every time Jimmy Johnson asked

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um asked Bill Wyman to turn his bass up, he turned
it down. And Jimmy told me later said, "I was

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afraid to keep I thought he was going to turn it
off, you know. I was afraid to keep saying it."

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Keith says that these sessions were as vital to
him as any other that he had done. He wondered

357
00:43:47,840 --> 00:43:54,240
what if. What if some of beggars are Let it
bleed. Those sessions were cut there. They

358
00:43:54,240 --> 00:44:04,000
may have sounded a little more funkier. In 1995,
Rolling Stone magazine interviewed Mick and Mick

359
00:44:04,000 --> 00:44:14,320
would say he would never write the song now. It
was just too raw. Some girls had it share. Also,

360
00:44:14,320 --> 00:44:23,440
the references around slavery and physical abuse
around a plantation and the fact that also sticky

361
00:44:23,440 --> 00:44:32,080
was a heroin album. What was mix intention for
Brown Sugar? Was it exploitation? Was it satire?

362
00:44:32,080 --> 00:44:41,280
Or just historical analysis? The messages of brown
sugar can be tangled and mixed. Some may say, "Oh,

363
00:44:41,280 --> 00:44:48,960
it's simple enough and it's obvious. Slave trade
slave owners who raped their captive females that

364
00:44:48,960 --> 00:44:57,360
they bought in New Orleans off the ships." Mick
says he was rehabbing his hand from an accident

365
00:44:57,360 --> 00:45:04,800
on the Ned Kelly set and sitting in a trailer
in the Australian desert in ' 69. Brown sugar.

366
00:45:04,800 --> 00:45:09,440
Yeah. I was sitting in a field in Australia with
a pair of headphones on plugged into my electric

367
00:45:09,440 --> 00:45:15,280
guitar and writing tune while I was shooting a
movie. Yeah. Very alone in the outback. I mean,

368
00:45:15,280 --> 00:45:22,640
of course, not that alone with the 200 crew.
He had time to dig into writing and not only

369
00:45:22,640 --> 00:45:32,640
that into writing music and Brown Sugar was his
first crack at it. And there are claims Marsha

370
00:45:32,640 --> 00:45:40,480
Hunt is who the song is written for, but really I
could only see the chorus claiming that it's not

371
00:45:40,480 --> 00:45:47,520
romantic lyrics for sure. Marshall was a recipient
of several love letters that Mick would send her

372
00:45:47,520 --> 00:45:56,880
from Australia. And when you look at the chorus
of Brown Sugar, you can see the sexual engaging

373
00:45:56,880 --> 00:46:06,320
with her. But Bill would mention someone else.
Claudia Laneir, one of Ike and Tina's Ikeets. She

374
00:46:06,320 --> 00:46:13,440
was a muse of mix in the late 69. It's possible
it's her. We were very good friends, let me put

375
00:46:13,440 --> 00:46:21,200
it that way. And I also think what helped people
to associate me with Brown Sugar was that Mick

376
00:46:21,200 --> 00:46:28,480
and I were seen around town a lot together. So,
people put two and two together. Here is one of

377
00:46:28,480 --> 00:46:35,680
the earliest insights I know of Mick sharing his
riff and some of the opening and chorus lyrics to

378
00:46:35,680 --> 00:46:47,680
Ike Turner backstage at MSG November 69. This is
a fantastic and great watch to see Ike's reaction

379
00:46:47,680 --> 00:46:56,000
to hearing Brown sugar and how come you taste
so good. He's enjoying that. Keep in mind that

380
00:46:56,000 --> 00:47:25,320
this was premuscle shows. [Music] You're doing all
right. You should have heard me just about [Music]

381
00:47:25,320 --> 00:47:32,560
sugar.

382
00:47:32,560 --> 00:47:35,285
[Music]

383
00:47:35,285 --> 00:47:38,400
[Music]

384
00:47:38,400 --> 00:47:54,000
I'm going to die off [Music] just like the young.
[Music] There's so much debate that's still going

385
00:47:54,000 --> 00:48:03,840
on on the lyrics where Mick used Sky Dog Slaver
or did he use scarred old slaver now? Johnson

386
00:48:03,840 --> 00:48:10,720
and Dickinson say Sky Dog. I got to go with
Scarred and I'll present a few things going

387
00:48:10,720 --> 00:48:18,320
forward here. Mick found out that Dwayne Alman
worked there at Muscle Scholes in the sessions.

388
00:48:18,320 --> 00:48:25,280
As many know, his nickname was Dog due to
his playful and shaggy look as he became

389
00:48:25,280 --> 00:48:31,520
more prolific. And it was Wilson Picket's guys
when they were in the studio that named him

390
00:48:31,520 --> 00:48:40,480
Sky Dog adding the word Sky as he was just
way out there. So we hear Jim Dickinson and

391
00:48:40,480 --> 00:48:46,480
there's also Jimmy Johnson and talk about
Sky Dog and using that instead of scarred

392
00:48:46,480 --> 00:48:56,880
old. In early versions Mick sings scarred and
especially at Altoont he doesn't say Sky Dog

393
00:48:56,880 --> 00:49:07,680
which was just a few days after it was recorded.
Thank you. [Music] And we're going to do one for

394
00:49:07,680 --> 00:49:11,120
you now which we did for you which we haven't
played ever before. We're going to play for

395
00:49:11,120 --> 00:49:26,800
you for the very first time. It's called Brown
Sugar. Yeah. [Music] [Applause] [Music] Hey.

396
00:49:26,800 --> 00:49:34,280
Hey. [Music]

397
00:49:44,560 --> 00:49:55,760
Go save [Music] in the market down in
New Orleans. I know it's doing all right.

398
00:49:55,760 --> 00:50:12,160
You should midnight. [Music] [Applause] [Music]
And Keith recites it too as scarred. Gold coast

399
00:50:12,160 --> 00:50:22,400
slaves found sold in the market in New Orleans.
Scott old slave knows is doing all right here with

400
00:50:22,400 --> 00:50:31,040
the women just around me. Keith is known for
saying that the publishing guy changed it and

401
00:50:31,040 --> 00:50:39,440
transcribed it to scarred instead. He had no idea
what Sky Dog was. Mick would declare that there

402
00:50:39,440 --> 00:50:47,280
were sometimes incorrect lyrics being published
in officially released Stone sheet music.

403
00:50:49,760 --> 00:50:54,560
Now, just for the heck of it, I
got backto back Scarred Old sung

404
00:50:54,560 --> 00:51:06,160
by Mick and then I recorded Sky Dog.
You could hear the differences. Sky

405
00:51:06,160 --> 00:51:12,240
Dog,

406
00:51:12,240 --> 00:51:17,360
there are two verses related to the slavery
and plantation. Now, I'm not telling you

407
00:51:17,360 --> 00:51:23,440
anything new here. Just got to present it. Put
it out here in this documentary. First verse,

408
00:51:23,440 --> 00:51:33,040
the Gold Coast. That's West Africa. And sure,
the slave ship had many on board. And a slaver,

409
00:51:33,040 --> 00:51:39,760
well, it's the middleman who buys and sells
and transports slaves. The whipping women is

410
00:51:39,760 --> 00:51:47,360
a brutal vision that went on. There is no obvious
sexual reference, but many fans will think these

411
00:51:47,360 --> 00:51:55,280
are metaphors for sexual abuse and rape. So take
it what you want. Whipping or sexual rape. The

412
00:51:55,280 --> 00:52:03,760
drums beating. It's a slave drumming, African
drums, war drums, conquering drums. Old English

413
00:52:03,760 --> 00:52:12,240
blood runs hot. Contrast of a proper Englishman
getting lthered up for his sexual desires. The

414
00:52:12,240 --> 00:52:19,600
Englishman's lady is fed up with his sexual antics
now, while she also does have the house boy,

415
00:52:19,600 --> 00:52:26,480
also known as a servant, for her sexual desire.
Someone is screaming around midnight. Simple,

416
00:52:26,480 --> 00:52:32,320
my interpretation, your interpretation. Let me
know if you think differently. With the third

417
00:52:32,320 --> 00:52:40,000
verse being totally off the slavery topic, more
sexuality as a woman having pleasures with young

418
00:52:40,000 --> 00:52:47,600
boys. sweet 16. Then the narrator protagonist
claims he's older than those boys and he has his

419
00:52:47,600 --> 00:52:54,880
pleasures also. So the chorus sexual engaging
and the narrator enjoys it. And with the song

420
00:52:54,880 --> 00:53:02,000
title originally called Black Kitty, you fill
in the word kitty and figure that one out. It's

421
00:53:02,000 --> 00:53:09,200
a man and woman encountering. He does reference a
young girl, so who knows what age. Marsha was 23.

422
00:53:09,200 --> 00:53:17,760
Claudia was 23. Then there's the brown sugar,
heroin slang reference, the song being drugreated,

423
00:53:17,760 --> 00:53:24,240
cooked brown heroin. So many thoughts and
ideas. As we know now, this song hit Mick

424
00:53:24,240 --> 00:53:35,680
hard lyrically and he understood the meaning
from his perspective and he didn't like it.

425
00:53:35,680 --> 00:53:41,200
throwing this in here and thanks to
Martin Elliott with his book, great book,

426
00:53:41,200 --> 00:53:45,920
The Rolling Stones Complete Recording
Sessions, he talks about and pointed out

427
00:53:45,920 --> 00:53:54,720
that Sam and Dave recorded in 1968 song called
Soul Sister Brown Sugar. And in April of 69,

428
00:53:54,720 --> 00:54:02,320
it was released on Atlantic. You can see the
lyrics and how it's outright obvious their

429
00:54:02,320 --> 00:54:09,040
intention. Keep on socking it to me baby all
night long. The song a great stacks funk and

430
00:54:09,040 --> 00:54:17,600
soul. The term brown sugar here is taken
as a compliment for an Africanamean woman.

431
00:54:17,600 --> 00:54:23,920
Mick would also add, "God knows what's on
about that song. It's such a mishmash. All

432
00:54:23,920 --> 00:54:32,880
the nasty subjects in one go. Slavery, dope,
sex, you name it." Keeping in mind blues men

433
00:54:32,880 --> 00:54:45,600
would use food as a sexual metaphor like
sugar, lemon, peaches, jelly, honey.

434
00:54:45,600 --> 00:54:52,880
Mick on vocals, maracas and castinets. Keith lead
and rhythm guitar and acoustic and background

435
00:54:52,880 --> 00:55:02,960
vocals. Mick Taylor lead and rhythm guitar.
Bill on bass. Charlie and I on Piano and Bobby,

436
00:55:02,960 --> 00:55:11,760
Jimmy Miller, Jimmy Johnson, Andy John's, Glenn
John's, assistant by Chris Kimsey, Keith Hardwood,

437
00:55:11,760 --> 00:55:19,920
and Larry Hamby. I'm breaking in now with a little
something different. Present a background song,

438
00:55:19,920 --> 00:55:29,200
an outtake called Traveling Man. Now in March
to May in London Olympic Studios and also Star

439
00:55:29,200 --> 00:55:38,160
Groves, a mix house with the mobile recording
unit using Jimmy Glenn, Andy, Chris Kimy,

440
00:55:38,160 --> 00:55:47,200
and I believe Keith Harwood. They worked on a
song called Traveling Tiger. It's unverified.

441
00:55:47,200 --> 00:55:53,920
But later on in the October time frame, at the end
of the month, which is when they went to Olympic,

442
00:55:53,920 --> 00:56:00,240
they were in Star Groves earlier in the month,
but went back to Olympic and Traveling Man was

443
00:56:00,240 --> 00:56:07,680
put together. Nikki Hopkins is playing on it.
You're seeing right now Jeremy Baress Rolling

444
00:56:07,680 --> 00:56:13,920
Stones guitar cover channel on YouTube,
giving us an insight on Traveling Man.

445
00:56:26,680 --> 00:56:27,680
[Music]

446
00:56:27,680 --> 00:56:36,080
Jimmy Johnson talks about what Keith used as
a guitar and he mentioned it was an SG or a

447
00:56:36,080 --> 00:56:43,920
Teleer for Brown Sugar. I don't find any concrete
confirmation about that. We did see him use the

448
00:56:43,920 --> 00:56:53,440
Dan Armstrong Plexi on top of the pops in 71
and Taylor used on top of the pops his ES345,

449
00:56:53,440 --> 00:56:59,680
but not clear in the studio. It's probably Keith's
Gibson Hummingbird used for the acoustic though.

450
00:56:59,680 --> 00:57:06,320
Anybody has concrete evidence? Bring it on.
Bill the Fender Mustang Stew would add his

451
00:57:06,320 --> 00:57:13,920
typical piano boogie woogie. There are videos out
there of interviews with Jimmy Johnson and Jim

452
00:57:13,920 --> 00:57:23,600
Dickinson. However, I also found some articles
and interviews with Jimmy Johnson. Tapeop.com

453
00:57:23,600 --> 00:57:30,400
was a great source and he gave a good explanation
of some technical details which I'm just going to

454
00:57:30,400 --> 00:57:39,200
lay on you. And the studio was about 25
by 55 ft. They used a Scully 280 A track

455
00:57:39,200 --> 00:57:51,840
1 in brown sugar was 15 IPS. That means 15 in
per second of tape used. And it was all done

456
00:57:51,840 --> 00:58:03,680
in mono. [Music] And what Jimmy did was one roll
of tape per session was used a day, three total.

457
00:58:03,680 --> 00:58:10,080
When he finished, he put one of them into
a vault and next day start with a new fresh

458
00:58:10,080 --> 00:58:18,880
one. Now for microphones on the drums, Charlie
brought in his own drum set. They used a Newman

459
00:58:18,880 --> 00:58:28,960
U47 over the top. It was about nose high to
Charlie. There was also a mic facing downward

460
00:58:28,960 --> 00:58:37,520
to the bass drum kit in front and also a boom
mic placed over the snare. That is why I'm

461
00:58:37,520 --> 00:58:45,760
mentioning this because incredible known sound.
Charlie loved the sound so much he wanted to buy

462
00:58:45,760 --> 00:58:55,840
the microphone but Jimmy Johnson just said no.
For his bass drum, they used a EV 666 electro

463
00:58:55,840 --> 00:59:10,160
voice on a stand placed on the backside of
the drum. His high hat was a Shore SM57.

464
00:59:10,160 --> 00:59:19,280
The console, they used a Universal Audio. It
was tubed, those big huge rotary knobs with

465
00:59:19,280 --> 00:59:27,840
10 inputs. Now, there's some discussions about
the echo, the reverb, the delay, whatever you

466
00:59:27,840 --> 00:59:36,000
want to call it. Jimmy would say that they use the
echo chamber in the console when recording. Now,

467
00:59:36,000 --> 00:59:44,160
there's some beautiful slapback echo and delay
that we hear. Now, here's where the dilemma is.

468
00:59:44,160 --> 00:59:52,880
It's thought that an EMT plate reverb device
was used for Keith's guitar. This EMT 140 was

469
00:59:52,880 --> 01:00:02,800
used since around 1957. [Music] This device,
it sends the audio signal to a large plate that

470
01:00:02,800 --> 01:00:11,520
is suspended in the unit, a metal plate
here. You could see it. And it vibrates.

471
01:00:13,680 --> 01:00:21,040
There are pickups on the plate and that sends
the vibrations as an audio signal. And this

472
01:00:21,040 --> 01:00:28,800
signals mixed in with the original signal.
A lot there. And I'm sure some of you just

473
01:00:28,800 --> 01:00:36,400
don't even want to think about it. Now, Jimmy
Johnson says in interviews they did not get

474
01:00:36,400 --> 01:00:44,160
this unit until a year later. Now, the mic
for guitars, they were two to three inches

475
01:00:44,160 --> 01:00:52,320
from the grill. Taylor had a Shore SM57 on his
Fender Twin. Keith using the Fender Twin. Also,

476
01:00:52,320 --> 01:01:03,840
he had his twin wide open Max. Using an RCA
77DX mic, loud. Jimmy said this mic was the

477
01:01:03,840 --> 01:01:12,880
key. To avoid the distortion though, Jimmy used a
homemade 20 del pad which drops the decibel levels

478
01:01:12,880 --> 01:01:20,640
before it hit the console. So these tools helped
Jimmy out tremendously. Both the 20dB pad and that

479
01:01:20,640 --> 01:01:33,280
RCA70X mic. The amps held up fine. The piano was
miked up. The bass amp miked up with an RCA 44.

480
01:01:33,280 --> 01:01:41,760
Mick did overdubs for the maracas and castinets
at muscle shows and he would use mono headsets.

481
01:01:41,760 --> 01:01:51,600
They used maybe eight tracks. They would transfer
the three tapes in London at the Olympic studio.

482
01:01:51,600 --> 01:01:59,760
They did that so they could do more overdubs.
It's thought some takes were erased in London.

483
01:01:59,760 --> 01:02:06,960
And Jimmy would get credit for engineering on
the album, but not the studio due to the union

484
01:02:06,960 --> 01:02:13,840
and the immigration laws and not having the work
permits. So, they did not want to get busted,

485
01:02:13,840 --> 01:02:20,560
which again is why everything was a hush. Jimmy
said he would sneak off the rough cuts. He did

486
01:02:20,560 --> 01:02:30,000
this at 7.5 IPS mix, not having the overdubs or
sacks. He would play it for folks. Jimmy goes

487
01:02:30,000 --> 01:02:36,480
on and he explains, "For all three songs, they
would start with just the idea. As Mick says,

488
01:02:36,480 --> 01:02:43,840
a mishmash. They were trying to come up with some
lick. Three to four hours of noodling around,

489
01:02:43,840 --> 01:02:51,680
and by hour four, everyone would now fall in place
as one cohesive unit. Charlie and Bill would find

490
01:02:51,680 --> 01:02:58,880
their place. Then by end of hour five, they would
start singing. This is when Jimmy knew he had to

491
01:02:58,880 --> 01:03:07,440
really focus. No producer to tell him what to do
about rolling tapes. He used his own intuition to

492
01:03:07,440 --> 01:03:14,480
produce. And Jimmy said Mick and Keith really
produced it. So by the fifth and sixth hour,

493
01:03:14,480 --> 01:03:21,520
all was falling into place. This is how each day
flowed. After the take, they would ask, "Is that

494
01:03:21,520 --> 01:03:27,760
it?" And Jimmy would say, "You need one more. You
got it in you. And it was usually by the third

495
01:03:27,760 --> 01:03:36,480
take this magic happened. And when it would end
around 1:00 a.m. Jimmy's coworker, Barry Beckett,

496
01:03:36,480 --> 01:03:44,080
he was one of the swampers, keyboardist in fact.
He was outside of the building. And while these

497
01:03:44,080 --> 01:03:50,880
takes around 1:00 a.m. were happening, he said he
could feel the building shake. And Jimmy would say

498
01:03:50,880 --> 01:04:00,400
he never ever experienced this stone's formula
and magic again. Never ever like it since. The

499
01:04:00,400 --> 01:04:05,840
Stones had lawyers down there. Atlantic had
lawyers down there. And on the third day,

500
01:04:05,840 --> 01:04:12,560
Jerry and Amit were there. They worked on the
distribution of the Stones new label in the

501
01:04:12,560 --> 01:04:44,560
US for Atlantic at Florence, Alabama. Let's
give a listen to two of these early takes.

502
01:04:44,560 --> 01:04:44,635
[Music]

503
01:04:44,635 --> 01:04:54,720
[Music] head gun cold in his blood
run hot the house stop know that

504
01:04:54,720 --> 01:05:05,920
he's doing all right you should know
that he's doing all right you should

505
01:05:25,480 --> 01:05:26,480
[Music]

506
01:05:26,480 --> 01:05:35,440
drunk cold in this blood running hot the
house money where going to stop knows

507
01:05:35,440 --> 01:05:48,160
That is doing all right. You should be
a good feel in the morning and all. Oh,

508
01:05:48,160 --> 01:05:56,560
he's doing all right. You should
have heard just about midnight.

509
01:05:56,560 --> 01:06:06,400
You know, I'm going to take going to get

510
01:06:06,400 --> 01:06:13,280
[Music]

511
01:06:13,280 --> 01:06:15,680
it taste so good.

512
01:06:18,320 --> 01:06:35,753
around that I'm feel all right. You should
hear me just around midnight. [Applause]

513
01:06:35,753 --> 01:06:35,760
[Music]

514
01:06:35,760 --> 01:06:40,000
Jimmy Johnson would talk about how Keith
Amp was in a booth and Mick would be in

515
01:06:40,000 --> 01:06:45,920
a back room with baffles around him.
For vocals, there was some leakage,

516
01:06:45,920 --> 01:06:51,280
but he was so close to the mic anyway.
The drums did not have a booth,

517
01:06:51,280 --> 01:06:58,400
just baffles. Charlie would not play too loud
anyway. Still a little bit of leakage. They

518
01:06:58,400 --> 01:07:05,200
didn't get anywhere on the first take. Jimmy
Johnson would marvel at how Mick and Keith

519
01:07:05,200 --> 01:07:11,120
would sing. They were together at the mic,
holding a fifth of bourbon and sharing it.

520
01:07:11,680 --> 01:07:17,680
They sang lead and harmony there. Vitz tracking
vocals that were laid down December 4th, the

521
01:07:17,680 --> 01:07:24,960
last day for all three songs. Jim Dickinson was in
the studio listening to Brown Sugar. He heard the

522
01:07:24,960 --> 01:07:31,600
early takes and then heard the later takes with
the vocals and he and Charlie were sitting in the

523
01:07:31,600 --> 01:07:38,720
control booth during one of the takes and Mick had
sung here and with the women just around midnight

524
01:07:38,720 --> 01:07:45,360
and it changed in later takes it was missing. So
Dickinson told Charlie what's going on earlier

525
01:07:45,360 --> 01:07:51,840
on he's singing here and whip the women. That's
such a great line. Charlie being Charlie he says

526
01:07:51,840 --> 01:07:59,840
why don't you tell him? So Jim goes over to the
intercom and tells Mick and Mick just responds,

527
01:07:59,840 --> 01:08:09,120
"Oh yeah, thanks." And that's the way it was.
Mick Taylor lays down a guitar solo for Brown

528
01:08:09,120 --> 01:08:20,160
Sugar. That's what's used. Mick says Brown Sugar
has the muscle sh sound distorted and funky.

529
01:08:23,360 --> 01:08:28,880
There are plenty outtakes for brown sugar.
I don't know which ones are first, second,

530
01:08:28,880 --> 01:08:34,880
last, but I'm going to put them few out there
for you just so you can get a taste. I'm sure

531
01:08:34,880 --> 01:08:40,320
there's many people out there who haven't heard
some of this. So, it's for you. It's going to

532
01:08:40,320 --> 01:09:03,202
be some random intros and some of the middle
parts, verses, solos. [Music] [Applause] [Music]

533
01:09:03,202 --> 01:09:14,720
[Music] [Applause]

534
01:09:14,720 --> 01:09:23,600
Go save your cotton I feel sold in the
market down in New Orleans. Scott say

535
01:09:23,600 --> 01:09:50,954
know it's doing all right here with
the wh just around midnight. [Music]

536
01:09:50,955 --> 01:09:58,080
[Music]

537
01:09:58,080 --> 01:10:06,320
[Applause]
[Music]

538
01:10:06,320 --> 01:10:29,032
Heat. Heat. [Music]

539
01:10:29,032 --> 01:10:31,692
Heat. [Music]

540
01:10:31,692 --> 01:10:34,352
[Music] Heat.

541
01:10:34,352 --> 01:10:38,240
[Music] [Applause]

542
01:10:38,240 --> 01:10:46,880
Go save you feeling down.

543
01:10:46,880 --> 01:10:59,040
I know he's doing all right.

544
01:11:03,160 --> 01:11:04,160
[Music]

545
01:11:04,160 --> 01:11:14,240
Heat. Heat.

546
01:11:14,240 --> 01:11:30,240
Heat. Heat.

547
01:11:30,240 --> 01:11:30,800
[Applause]
[Applause]

548
01:11:30,800 --> 01:11:55,397
Yeah.

549
01:11:55,397 --> 01:11:55,414
[Music]
[Applause]

550
01:11:55,414 --> 01:11:55,440
[Music] [Applause] [Music]

551
01:11:55,440 --> 01:12:13,440
All right. Yeah. [Music]
[Applause] Heat. [Applause]

552
01:12:13,440 --> 01:12:24,720
Yeah. Heat.

553
01:12:24,720 --> 01:12:36,800
[Music] Heat. [Applause] [Music]

554
01:12:36,800 --> 01:12:45,600
Heat.

555
01:12:45,600 --> 01:12:58,440
[Music]

556
01:12:58,440 --> 01:13:11,280
[Music]

557
01:13:11,280 --> 01:13:16,480
Mick, I think it's one of the first rock and roll
that Mick wrote by himself. off basically all the

558
01:13:16,480 --> 01:13:22,720
way through. I showed Mick this five string
tuning, you know, this and he's great. He went

559
01:13:22,720 --> 01:13:27,600
back and learned it and I was really amazed. But
basically that song was basically all Mick. We

560
01:13:27,600 --> 01:13:35,360
I really just arranged it a little and and got
the sound down on it. December 9th to the 18th,

561
01:13:35,360 --> 01:13:42,480
Stones would be an Olympic studio doing some
work overdubs with Brown Sugar, Wild Horses,

562
01:13:42,480 --> 01:13:51,920
and also You Got to Move and Dead Flowers. They
were also rehearsing for four shows. Two would

563
01:13:51,920 --> 01:14:02,640
be December 14th at the Seville Theater, then two
shows at the Lysum Theater on December 21st. Now,

564
01:14:02,640 --> 01:14:10,080
Bobby and Jim Price, they would be working in 1970
with George Harrison on his album All Things Must

565
01:14:10,080 --> 01:14:17,440
Pass. Harrison doing some work, I believe, with
EMI and eventually going to Trident Studios. And

566
01:14:17,440 --> 01:14:23,920
in August and September, that's where Bobby
and Jim would help him out with some overdubs

567
01:14:23,920 --> 01:14:31,280
of brass. Now, Mick would run into Bobby and
also Jim and bring them on to work on Sticky.

568
01:14:31,280 --> 01:14:37,680
They wanted some brass horns. So that would
be done also in the June summer time frame at

569
01:14:37,680 --> 01:14:45,360
Olympic. I mentioned that so I could add this
to the timeline for December 1970. At Olympic,

570
01:14:45,360 --> 01:14:52,000
December 18th, that was Bobby and Keith's
birthday party and they had a jam session.

571
01:14:52,000 --> 01:14:59,440
Invited was Eric Clapton and Al Cooper to join
on a jam of brown sugar. that version many of you

572
01:14:59,440 --> 01:15:05,520
heard George Harrison was there but he didn't
participate Eric playing the slide guitar and

573
01:15:05,520 --> 01:15:13,360
Bobby playing the sack solo instead of Taylor
playing his lead solo as we hear this so-called

574
01:15:13,360 --> 01:15:21,040
clapton version it has a great intention
vocals for Keith were great throughout the

575
01:15:21,040 --> 01:15:38,000
slide and sack solo going to a quick little
solo by Clapton only kind of So in the long

576
01:15:38,000 --> 01:15:55,032
around [Music]

577
01:15:55,032 --> 01:15:55,532
[Music]
1:15:55.040,1193:02:47.295
Heat up

578
01:16:14,280 --> 01:16:15,280
[Music]

579
01:16:15,280 --> 01:16:30,720
here. [Music] Heat.

580
01:16:30,720 --> 01:16:35,480
[Music]

581
01:16:35,480 --> 01:16:40,240
Heat.

582
01:16:43,320 --> 01:16:44,320
[Music]

583
01:16:44,320 --> 01:17:05,680
And at the 310 mark, some fabulous bad living from
Mick. Then he also says, "Get down on your knees.

584
01:17:08,400 --> 01:17:13,480
Heat. Heat.

585
01:17:13,480 --> 01:17:18,480
[Music]

586
01:17:18,480 --> 01:17:29,680
Heat. Heat.

587
01:17:29,680 --> 01:17:42,560
[Music]

588
01:17:42,560 --> 01:17:55,440
[Music]

589
01:17:55,440 --> 01:18:00,480
And at the end we hear that's
it. And then someone says,

590
01:18:00,480 --> 01:18:11,120
"Was that good?" And that is supposedly
Eric. [Applause] Was that good?

591
01:18:11,120 --> 01:18:17,120
Several days after the Clapton Jam, they would
have Bobby come in and lay down his sack solo,

592
01:18:17,120 --> 01:18:25,680
replacing Taylor's leads. Vocals and overdubs
were done at Olympic for Brown Sugar in April and

593
01:18:25,680 --> 01:18:33,760
then also December. It was not worked on at Star
Groves. I'm not going to be explaining anything

594
01:18:33,760 --> 01:18:42,320
new and amazing here, but just give it a flip side
CT perspective. We first get that wonderful echo

595
01:18:42,320 --> 01:18:50,960
slapback sound in those first chords and into
the single tasteful leads and the castinets.

596
01:18:50,960 --> 01:18:59,120
But pay attention to the first simple crash and
then the pounding bass and then also the drums.

597
01:18:59,120 --> 01:19:08,160
And then at the 22 second mark, the beautiful
well positioned, wellplaced acoustic rhythm.

598
01:19:08,160 --> 01:19:29,209
And the bonus treat right into the second line
of this song is Keith's backing vocal. [Music]

599
01:19:29,209 --> 01:19:44,560
[Applause]

600
01:19:44,560 --> 01:19:54,320
Don't say you kind of feel so in the market.

601
01:19:54,320 --> 01:20:01,520
Then in the chorus, we get that peppering
sweet little taste of Ian with the piano,

602
01:20:01,520 --> 01:20:08,560
which I wish there was more of.

603
01:20:08,560 --> 01:20:16,440
And you think you hear the saxophone,
but it's not in there yet. [Music]

604
01:20:20,880 --> 01:20:24,400
There's this rhythm part right around 131 where

605
01:20:24,400 --> 01:20:29,120
Keith makes a different change of
the chords and the sound to me is

606
01:20:29,120 --> 01:20:40,960
such a key part of the song. It's in the
left channel and then it goes into Bobby

607
01:20:40,960 --> 01:20:51,960
Heat. Heat. Heat. [Applause]

608
01:21:01,600 --> 01:21:15,680
Like a cat walking through the grass nice and
slow. And the castinets just wonderfully placed.

609
01:21:20,280 --> 01:21:21,280
[Music]

610
01:21:21,280 --> 01:21:30,240
And as towards the end of the song, it slides
into the yes and the wos. And the maracas are

611
01:21:30,240 --> 01:21:38,640
icing on the cake here as it fades out. The
symbol crashing of Charlie is just fantastic.

612
01:21:38,640 --> 01:21:47,040
Moroca's coming in around 207 and acoustic is
nice and clear with heavy strumming. The sacks

613
01:21:47,040 --> 01:21:54,480
and the lead guitar sound off each other and
we get the yes at the end. Jimmy was not sure

614
01:21:54,480 --> 01:22:09,280
what this was, but thinks it was Taylor
or Charlie that says, "Yeah, at the end.

615
01:22:09,280 --> 01:22:18,960
[Music]

616
01:22:18,960 --> 01:22:21,600
Now for some deconstructing sounds just to

617
01:22:21,600 --> 01:22:50,894
give you an idea and flavor of the
pieces. [Music] [Applause] [Music]

618
01:22:50,894 --> 01:22:52,720
[Music]

619
01:22:52,720 --> 01:23:23,811
Heat. Heat. [Music] [Applause]
[Music] [Applause] [Music]

620
01:23:23,811 --> 01:23:28,480
[Applause]

621
01:23:28,480 --> 01:23:38,400
No slave ship on V. in a market down in
New Orleans. Scott slave know it's doing

622
01:23:38,400 --> 01:23:46,480
all right here and the women just around midnight

623
01:23:46,480 --> 01:23:58,480
sugar so good. I bet your mama was a tual
queen and all of our friends were sweet 16.

624
01:23:58,480 --> 01:24:09,280
I know but I know that life
just around midnight sugar

625
01:24:09,280 --> 01:24:13,760
baby

626
01:24:13,760 --> 01:24:21,440
sugar just like a young girl yeah

627
01:24:21,440 --> 01:24:41,833
just like a just like a black
girl Yeah. Yeah. [Applause]

628
01:24:41,833 --> 01:24:53,480
[Music]
Heat. [Music]

629
01:25:05,680 --> 01:25:11,040
Gold copper

630
01:25:11,040 --> 01:25:18,400
down in New Orleans

631
01:25:18,400 --> 01:25:29,520
is just around midnight down B
to the how come your tail so good

632
01:25:29,520 --> 01:25:38,560
to the ground your tail so good

633
01:25:38,560 --> 01:25:46,320
the great comp album from Abco got hot rocks
released in 71. There were several record

634
01:25:46,320 --> 01:25:55,920
plants that produced this album in the US. One of
those plants was in Long Island, and by accident,

635
01:25:55,920 --> 01:26:03,200
they were sent the wrong versions for Brown Sugar
and Wild Horses. It was about 2 weeks worth of

636
01:26:03,200 --> 01:26:10,480
time that went by when someone realized it was the
wrong songs. Now, when you look at a vinyl record

637
01:26:10,480 --> 01:26:17,440
and you look towards the middle, you see a label
and outside the label is a sort of a shiny black

638
01:26:17,440 --> 01:26:28,480
area with no grooves in it. That's called the dead
wax. It is in there where the writing of Shelly is

639
01:26:28,480 --> 01:26:39,840
written and then also the date 111871 combination
on side four tells you that you would own that

640
01:26:39,840 --> 01:26:50,560
rare vinyl with the mistake. EPCO is the one
that had and owned the Muscle Shows tapes. So the

641
01:26:50,560 --> 01:26:56,800
engineer for that day who's mastering the tape,
the vinyl pressing, they usually inscribe their

642
01:26:56,800 --> 01:27:03,680
name and that's where Shelly comes in. So go break
out your Hot Rocks double album and see which one

643
01:27:03,680 --> 01:27:11,600
you have. These versions were intended for the
Give Me Shelter documentary. And you'll know this

644
01:27:11,600 --> 01:27:19,000
version because it does not have the sack solo for
Brown Sugar. It has Mick Taylor's leads. [Music]

645
01:27:19,760 --> 01:27:25,760
And Mick, the thing is, Mick, he got to finish
this record. This record's going to be great. It's

646
01:27:25,760 --> 01:27:31,120
going to be a great record. We're going to put
all our resources behind the record. But listen,

647
01:27:31,120 --> 01:27:36,000
the promotion, forget the promotion. We don't
want to spend money on the promotion. We just

648
01:27:36,000 --> 01:27:41,440
have a big [ __ ] party and promote the [ __ ]
out of the party and that'll sell the record.

649
01:27:42,400 --> 01:27:49,840
Okay, enough. This concludes part two
of the making of Sticky Fingers. Part

650
01:27:49,840 --> 01:27:56,720
one was Rolling Stones in a two-headed
monster. So, part three will be coming

651
01:27:56,720 --> 01:28:05,280
up giving you more about the entire album and
the songs also outtakes and then also details

652
01:28:05,280 --> 01:28:19,520
about Sticky Fingers album cover, the shoots,
photographers and their tours. See you then.

653
01:28:21,680 --> 01:28:23,600
Just another mad