Original subtitles

Looking for

like me. Yeah. Looking for looking for someone like me.

Looking for looking for someone like me.

This was a challenging time period for me for documenting and confirming many topics. There's no

specific book or material out there to assist with complete facts all lined up and with confidence.

Pulling this together was fun and informative. There may be some fans out there who have their

own information and thoughts on events or details. This is all about open forum and discussions.

Also, I and others want to see comments and sharing info. So, there is somewhat a timeline

of this period, but pinpoint accuracy that can be debatable. I found some times and dates just being

inconsistent. So, what I will say is enjoy and absorb what I pulled together from many sources

who I'm thankful for to give us deeper insight to what you may not know. To gather some facts

and information, I've listened to many of the hundreds of podcasts and YouTube presentations

out there about sticky fingers. Some are real good, some are just there, but kudos to them to

promote the stones. And those of you new to my channel, my goal is to go down even more deeper

deeper level and bring you the visuals. Some of it is known, some of it will not be. Take in

what you can. For anybody skeptical, if you don't like what I'm presenting, just move on. All good.

But if you do enjoy something, please, this is the first time I'm asking, please give it a like

or a comment. The task of pulling this together is gargantuan amount of time, personal hours of mine.

With the sticky finger sessions starting December 69 through the 1970 year, it would be

Mick Taylor's first full album as a stone. And for the Brian Jones fanatics, this had to be strange

to witness and feel. With Brian contributing multi-layers of instruments and talents. Now,

with this creating a new era, it would be engulfed as a guitar band. Now, Sticky would premiere their

new groove along with a country twist. And this album would approach flawlessness, a perfect

diamond for a Stones fan. 24year-old John Landau of Rolling Stone magazine in April of 71. He would

go on record with a high expectation and a closed mind saying, "Sticky fingers. It does not really

sound like they are doing what they want to do. The high point of this album are not that high."

Well, Landau did go on to be an overall success in his career, but not with that comment. When

I was turned on to the Stones in 1975 at 14 years old, it was the older neighborhood kids

that would tell me, "You have to be patient and let the Stones albums creep into you with many

listens." And that's how I approached every album. And they grew and grew and they haven't stopped.

You got the move.

Now finishing up the trilogy from Muscle Scholes. You got to move. This is a divine

tune from the churches, early 1900s or earlier. No one knows who pulled this one together,

but it was just passed down. Describing that it's God who determines one's

ultimate gospel fate. This was sang by many different versions and words.

There was a recording in the 40s by the Willie for several others through the 40s.

The original Blind Boys of Alabama sang this.

This one is from Reverend Gary Davis with a slight gospel bluesy flavor and different lyrics.

God, get ready. You got to move. Sam Cook had an early version recording in the 50s,

then again in ' 64 with a soulful feel. You got to move.

I said you got to move. What is a really fun fact when Sam was touring at this time it was

Billy Preston, 16-year-old Billy assisting him on piano and organ. And then you keep in mind that

197576 Stones tour, Billy was playing it again. Fred McDow was born in 1904, Rossville. Playing

around 14 years oldish, self-taught. In his late teens, Fred would learn how to play slide using

his pocket knife. He then would graduate to a polished ribbone and then onto the glass slide.

In the late 20s, he moved to Como, Mississippi, playing at local house parties and picnics. So,

he was a farmer, but he was also a well-known Delta Blues with a Hill Country sound, but he

didn't have any recordings. Fred, in September of 59, would take a walk through the woods of his

neighbor's house, Lonnie Young. He was carrying his guitar. It was at the Young's farm that Alan

Lomax was recording them for their drum ensemble. For those of you who don't know, Alan Lomax and

his father Allan started in 1933 with his dad. Allan would spend six decades working to promote

world folk music. He records so many of these early bluesmen and women. In 47, he had the first

portable tape recorder that made hi-fi recordings when he was in Mississippi. He taped Delta church

services and prisoners while they were working. His fifth time in Mississippi in the 50s,

he would compile an 18 volume LP series for Colombia. He would travel abroad and in the US.

So here walks in Fred to the young session with Allan there. Allan had no idea what this farmer

in overhauls was going to do for him. He listened. Then Lomax and Fred would go back to Fred's porch

and farm and record. Fred would become one of the world's most famous bluesmen. Fred's slide style

was so unique. It would sing along with his voice, making a sweet, balanced sound. He is probably

best known for his style of guitar playing, an old style which he learned from an uncle

years ago. Tuning his guitar to an open cord, he sometimes uses a glass bottle neck to slide

up and down the strings. With that bottleneck, he can make his guitar say anything he does.

He record his version of You Got to Move in 1965 using Reverend Gary Davis's lyrics,

but make it his own. His own style and sound, his interpretation.

His song sections are seven bars long. Different than the typical 12 bar blues. It's played in open

D focusing on the one chord. It was D G D A D. In the studio, Keith is playing a 12 string in open

C. And in some interviews, Taylor is mentioning that Keith was playing the National Resonator.

But we do know Keith played the National Resonator when performing live in Open D. And

Mick Taylor in the studio was playing rhythm on a 54 telly and then he switches to slide.

We're down in Alabama. We're down in muscle shows. I've got to cut some Fred McDow stuff.

If I'm ever I'm going to do it, it's got to be here, you know. And probably

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

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

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

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

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

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

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

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

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

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

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

you know, call the cops to reciprocate. So the they were real paranoid about drugs.

uh at the studio. So I figured this would be a good opportunity if we go with Stanley that he

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

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

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

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

Watts got this big grin on his face, you know. I thought, "Wow, maybe they're not going to blow it.

You got to move. You got to move. You got to move. You got to move.

Get ready.

Fred's song was 3 minutes and 21 seconds. Stones 2 minutes and 33 seconds. When I

heard the Stones version's lyrics, I would think there were more words to it than what

we see here. Simple and brilliant. We're listening to the haunting slow bass drum

of Charlie with some snapping of the high hat. This gives a ghostly pain in the song.

Here we know about the dueling of the guitars with Keith and Taylor.

You know, you know,

Love this part. This little slide that Keith does.

You got to be moved by all of this in unison.

Vocally chilling. Chorus is even more goosebumps.

When the law

get ready, you got the moon. It may be high. It may be low.

You may be rich child, you may be poor, but when

get ready.

Here's Jeremy Barz showing us the action and how

it's played. Top is Keith and the bottom is Taylor.

When we hear the completed version and all the ingredients thrown in the pot,

it's perfection. Bill is playing an electric piano. Towards the end,

just no bass. They would play You Got to Move 22 times live during the 69 tour.

Not counting rehearsals or sound checks, they did rehearse it when in LA for the tour. It was

a standout on the tour as it would be just Mick and Keith on stage. So going into muscle shows,

they were prepared or they should have been prepared as they could not get it together at

first as Jim mentions. Now, supposedly Fred knew of the Stones covering his version and was happy

they did. And to expose his music, Fred would pass July 72 of Cancer at 66 years old. Sticky Finger's

first original pressing would not have Fred on the credits. Reverend Gary Davis's manager,

Manny Greenhill, he fought for this song to be recredited to Fred and Davis. And it was

You got to move. You got to move. You got to move. You got to move.

Yes.

Wild Horses, part three of the Muscle Scholes trilogy. Mick on vocals and percussion.

Keith electric guitar acoustic 12 string open G and backing vocals. McTail electric an acoustic

with a Nashville tuning. Bill on bass, Charlie drums and Jim Dickinson on piano tac piano.

This one was done in muscle shows as I mentioned in Olympic in December and

February and there's talks about Trident Studios also for this one. Engineers are

Glenn and Andy John's Jimmy Johnson and both Chris Kimy and Keith Hardwood are assistants

produced by Jimmy Miller. I'm not talking much about Jimmy during this time frame,

but he picks up where he left off and applies his expertise. If you need more insight on

Jimmy and getting started, watch my beggar's banquet document. It's all explained there.

But the the third night, of course, was the be literally the major beginning of my career was was

Wild Horses. And Wild Horses, Keith had a little more of the song. He had the whole chorus and he

had some kind of mumbling words. It It was a lullabi as he initially wrote it to Marlon,

his son, who had his first son, had just been born. He didn't want to go on the road. That's

what the song was about. And Jagger rewrote it. It took a little longer than he did with Brown Sugar,

but the same kind of thing. It was just amazing to watch his mind, you know, in his hand write

it as fast as he could. And he changed the song. It's about Mary and Faithful and whatever. I don't

want to get into that. But as they start running the song down, the way they the way they actually

worked was Jagger would stand on the floor with a handheld microphone, of course, everybody's

wearing earphones, and run the song down to the band until the band got the chord progression

in the arrangement. Then he'd go into the control room with Jimmy Johnson and work on the individual

instrument sounds, very business-like, and the band would play the song instrumentally, which

was a big help, you know, to putting the parts together in the song. So as they start the song,

song's in G. Starts on a B minor. Start running the song down. He and Stuart gets up from the

piano and starts rolling up cords and packing up equipment like they're getting ready to leave.

And I'm standing there with with Wexler, who is by now showed up. He shows up for the third day

of the session. And uh Shagger comes over to where we're standing. He says, "Oh, well, I assume now

we need a keyboardist." And Wexler inappropriately says, "Baby, we could call Barry Beckett." I said,

"Jerry, I don't think that's what he means." So I start trying to play. You know, first I

get the chords from Keith. And then I start and he's drastically out of tune. So I sit down at

the concert grand piano and I played a couple of chords and I realized this is never going to work.

And you can't go, "Hey Keith, baby E, this is E. Let's tune it up, pal." That's not going to work.

So I thought, well, maybe the Horitzer sometime you can kind of cheat the horitzer and get in the

cracks, you know. No, well, it's just not going to work. In the back of the studio, there was this

old tac piano. It's upright piano with dead rusted and coated strings and tacks in the felts, you

know, for the Ricky Ticky uh pizza parlor sound. Nobody ever uses it. They got stuff stacked up on

it. The Stones got their dope stashed in the piano and Tony the Bang Man is laying back there asleep

on a couch right by this tack piano. So I thought, well, you know, I bet nobody has tuned that piano

in 10 years and this is my only chance. It's the only thing left in the studio that might be in

tune with Keith Richards. So, I go back to the tac piano and I start plinking around and Tony wakes

up and moves the dope, which was a a nice little vignette, you know, moment in the whole thing,

the whole story. But I find an octave and a half of this this piano that's out of tune enough to

fit with Keith Richards. And it's really simple because the dead strings, there's no harmonics,

there's no overtones. It, you know, it's easier to work. So, I'm back there plinking away on this

chord chart that Keith has given me and I start to realize it's wrong. And again, I I can't point

this out. You know, it's not going to work. So, uh, as I'm struggling with it, Wyman comes back

over to me and he said, "Where'd you get them, mate?" And I said, "I got them from Keith."

He said, "I'll pay no attention to him. He has no idea what he's doing." And then he said, "What's

to me has become an immortal line." I've quoted it over and over. He says, "He only knows where

he put his fingers yesterday," which is a perfect definition of rock and roll guitar playing,

you know. Uh, so we work out the Now he Keith had just learned or thought he had learned to make a

Nashville chord chart which is in numbers, you know, rather than symbols. And what he had done

was his song's in G, but it begins on B minor. And he'd call B minor one. So the whole the whole

chart was up a minor third, you know, which is harmonically kind of interesting, but not what

you'd call right, you know. So Wyman and I worked out the chord chart and as I start playing it,

you know, little Mick Mick Taylor was like 19 and hadn't said a word in three days, you know.

Uh he's picked up a a Nashville high-rung guitar with like all high strings and he's plinking away

over there and he can't figure it out either. So he comes over, grabs my chord chart and walks

off with it. I thought, well, okay. and I just started blinking away. You know, they still think

the Stones to this day think I'm a country country piano player. I knew two country licks, two Floyd

Kramer licks I learned in school in Texas. And I had basically learned them because I thought

they were funny. And I had some little stuff that I did on country sessions for Stan Kessler, but it

wasn't like really playing, you know, but that's what they wanted. So, I'm back there. I'm in my

little Floyd Kramer lick, you know, and uh Mick goes in the control room to set the, you know,

the tones like I said. And after about 30 or 45 minutes and we're struggling with the song, I

mean, they are barely playing the song and Charlie Watts would stop for long periods of time. You can

hear it in the master and then come back in at weird moments. Uh it it was a struggle. And so,

uh, mix in the control room, I hear the the click of the talk back in the earphones and he says,

"Hey, Keith, what do you think about the piano?" And I think, "Okay, here it comes." You know,

this is it. Send the hillbilly home, you know. And Keith, God bless him. He says, "It's the only

thing I like." All right. So, I played my other Floyd Kramer leg and which turned into what they

called the solo. Believe me, I was not trying to play a solo. I was trying to get to the next

thinking chord because I knew nobody else knew what it was. Keith had this tune, Wild Horses,

but I don't think that was really finished. Had a chorus, but that was about it. So, that was all

written on the spot. It was just an idea and it had to go to the bathroom for a little while just

to sort of figure it out and then say, "Okay, I'm ready." back in and and then take you know master

shows studio is in this rather interesting place being there does inspire you to do it slightly

differently wild horses is a sort of country song and I remember we used Jim Dickinson he played tac

piano the MO brothers had showed up uh documentary filmmakers the the third night to start this well

they they'd already shot the stones in New York they were going to follow the stones to Altoont

which was the next day they left muscle shells and flew to Altoont. I have never been sorry I didn't

make the trip but uh so the Mazels and they they were like they they shot around with available

light you know that but I knew that stuff wasn't going to stick. They set up lights for two shots

and those two shots are in the movie Give Me Shelter. One one is uh Mick and Jimmy Johnson

sitting behind the console listening to Brown Sugar and the other is me and Keith sitting on

the couch in front of the console listening to u to Wild Horses as after they get the vocals and

they're doing rough mixes and it's uh you know it's dawn by now the third night and uh things

are pretty relaxed you know and uh I see the maze setting up these lights for this shot, you know,

and I went to drama school. I know what the lights are about, you know, so I thought, well, this this

couch just aimed right at the couch, you know, and as luck would have it, I had the last joint. So,

I put it behind my ear and I sat down on the couch and before you know it, here comes Keith, you

know, and he sits down beside me on the couch and they play back Wild Horses and I'm in they turn

on the lights and I'm in the movie. It was a year and a half, two years later before I saw the final

cut and realized that I hadn't made it. But I did I did I look like I'm there to change the tire,

but uh but I am nonetheless in the movie, you know, and it did uh it did absolutely jumpstart

my career. So what laughingly referred to as my career, but I I still I had no idea for like 10

years or more why Ian Stewart had not played the song, you know, which really that was the secret,

you know, that was where I made the move. I was in New York having a a meeting with Keith. Actually,

the way you have a meeting with Keith, if you go and you check into a hotel and you wait days,

you know, and then always in the middle of the night, the phone rings and somebody comes and

gets you and takes you to some other undisclosed location and you meet with Keith. So, I was in

New York trying to meet with Keith about the as yet unproduced Robert Johnson movie Love in Vain,

which I was going to do the music and he was going to get the credit basically. Uh,

and I'm waiting Plaza Hotel. I'm in the bar of the Plaza Hotel with Ian Stewart. And I said,

man, by no means is this, uh, you know, am I complaining in any way because my miserable career

is based on that song. Why didn't you play Wild Horses? He said, "Minor chords, mate." Since I

don't play minor chords. I am a bougie wooji piano player, he says. And I do not play minor chords.

When I'm performing on stage with the lads, he calls them. And a minor chord occurs, I lifts me

hands in protest. So that's the the whole reason for my career is he didn't want to play that B

minor. God bless him. There's plenty of drama and details about this tune. A lot of information,

but I'm going to first start off going back to July of 69. Now, despite Mick saying in 1995,

the song is not about Maryanne, in Maryanne's book, which is a great resource. Mick was

filming Ned Kelly and a troubled Maryanne was down in Australia with him. She fell

into a coma after a botched suicide attempt, overdosing on barbituates in her hotel room.

She was in a coma for 120 hours and hospitalized. Mick realizing he got serious issues with her. He

would step into his sentimental and romantic mode. After she awakens, he mentions to her that he has

something he wants her to hear. He knew that she knew about his Marsha Hunt romance. Mick walks

to the stereo in the room and he puts on a tape. He takes her hand while kneeling in front of her

and looked her into the eyes while she hears the following. Graceless lady, you know who I am. You

know I can't let you slide through my hand. She hugged him and she cried, but she knows that those

lyrics cannot mend their problems. So, we hear a lot about attack piano. I can't just accept

hearing that term without knowing what it is. It's a piano that has thumbtacks or small nails

that are inserted into the piano's felt hammers or in the cloth between the felt and strings.

It was popular in the early days in western ragtime or even vaudeville bars and saloons.

It gave a truly unique sound that was brighter, a tiny sound instead of the felt hitting the string.

Keith's tune and riffs and chords and the key lyric, but with some of mix verses also added,

which is what one of their best masterful twin collaborations would be. It just flows together.

Childhood living

is easy to do.

The things you wanted.

I bought them for you.

Couldn't drag me away.

Wild horses.

We'll ride them someday.

Wow.

couldn't drag me away. Nick adding some lyrics

for Maryanne and quickly adding new ones. They would do several takes.

Now, on the last day at Muscle Shows, both Amit and Jerry Wexler would arrive to the

studio. After all the vocal overdubs were completed, everyone would go back to the

Holiday Inn for a farewell breakfast. It was here that the actual Atlantic and Rolling

Stones deal was negotiated and confirmed. At breakfast, Jim Dickinson and Bill were

sitting in a booth waiting to be served, and the waitress would ask if they were in a band,

and Bill would politely say yes. and the waitress just disroed and took their order. Muscle shows

proved to be one of the most historic sessions in Stone's history. From there, they would depart

from the local airport and head to San Francisco and face one of the worst days in their career.

Oh, baby. You feeling all right? Oh, it feels pretty good up here now. A

bit warmed up a bit. It's warmed up a bit. We're going to do something. You

want to hear a sad sad song? This is a sad sad song. Try the living.

It's easy to do

the things you wanted.

I bought them for you.

Wild Horse is probably one of the best collaborations between Mick and me. We

were doing overdubs in Mick's house in the country. For some reason, I remember leaving

the studio and then I had to drive like 200 miles or something. I was just cruising all the way. But

I remember leaving that session. I was still like, "Wow." Now, here comes a twisty part.

What you're viewing right now is from a YouTube channel showing a purchased journal that was

owned and written by Graham Parsons. Here it is. Written lyrics and chords to wild horses. No date

shown. Mick wanted Graham to add to the master some pedal steel using sneaky Pete Kleinowl.

He was a member of the Flying Burrito Brothers where Graham was lead singer. Now,

what I'm going to play for you now is taken from March 1973. I'm going to let Graham

explain and talk about the Wild Horses saga, the background in a Flying Burritos version.

Keep in mind the stones and Graham were still shaking from Alimont. The first time I heard

it was the night after Alimont and to well we were all you know just shaking from the whole

experience and they were leaving the next day or at least Mick was to uh take his suitcase of money

to Switzer one night and uh and he said I want you to hear this song man cuz I think it's something

that you might be interested in. He played me wild horses and brown sugar and I I really dug it. They

recorded them in Muscle Scholes about a week or two before and I dug it and it was a couple of

months later I got a call from him and he said, "Uh, if I send you the master, will you put a

steel guitar on it?" And I said, "Sure, I will." and he sent me the master and I got Denny Cordell

to produce it and we went into the record plant and I got Leon Russell in there and somebody came

in with some sort of strange dust and things just went haywire. the engineer forgot where he was and

things like that and uh so they didn't use that that track and I asked Mick if we could put it on

our next album if we didn't release it as a single and he thought about it and said all right and

then they didn't release it I think for almost a year after that. I don't know why it's a beautiful

song. So the pedal steel was put down but the stones didn't go for it. sleeping it seems.

Oh, off the stage last

could make me feel bitter

but treat you unkind.

But the burrito brothers would make their own version. There was so much speculation at the

time when the burritos released their version. It's May 1970 on their second album. They released

their version of Wild Horses. Beautifully done. Because of this, there was all the

speculation about did Graham write this Mick and Keith, even though it would say Jagger Richards.

You drag me away.

The burritos version, of course, a bit deeper country vibe, but you got to love that pedal

steel that they did. And the second album, Burrito Deluxe, was never finished fully the way they

wanted it as Graham was on his way out. Also, Chris Hillman of the Burritos didn't like Wild

Horses. Here you see there's a very raw unofficial bootleg song from Ultra Rare Tracks Volume 2

from 1989. It's said to be Keith and Graham, but looking at this description of the song,

we know more of Graham being in San Francisco at this time frame, not at Muscle Scholes and

not noodling around with Keith. thoughts. It could be something done at Nelcott later.

Putting this one out here also. mixed brother Chris Jagger. He would say Graham wrote it.

This was in February 2013 in Uncut magazine. Chris was supposed to work on a project with the Flying

Burrito brothers, but it never completed. Now, there is thought Graham wrote this and

gave it to Keith. As I think of the story of Graham and his relationship with his sister,

Little Avis. And here's another twist. Graham had a heavy responsibility to take care of his sister

after deaths of his parents. Their dad passed in 1958 of suicide. Graham was 12 and his sister

Little Avis, sevenish. Parents were alcoholics and they had heavy depression. And Graham's real

name was Ingram Cecil Connor III. His mom would remarry after the dad committed suicide to a man

named Parsons who adopted him and sister Avis. Now Graham's mom's family. They were extremely

wealthy in the citrus fruit business. Now mom Avis died at 41 in 1965 of cerosis of the liver.

And after that, Graham attended Harvard for a year. But he was a trust fund kid,

so money was never an issue, which is why I tell this story. Graham went

out and formed the International Submarine Band in 66 in Boston.

He'd go on to the birds.

and 69 to 70 he came in with the burritos. But in between Graham and Keith, they're tied at

the hip since 1968. Now, something that's pretty cool, Graham was pioneering a style called cosmic

American music, which fuses together country, rock, and soul, and gospel. And Graham started

this with the birds with Sweetheart of the Rodeo and carried it on and that genre exploded. Now

with Graham hanging out with Keith and feeling guilty of not taking care of little Avis and

both having a tragic life that followed both of them. So, if you look at the wild horses lyrics

and the thoughts that Graham wrote this, it's kind of a big brother cradling little sister.

And it was pretty amazing that was written in his journal. Graham didn't really need the credit or

cash or ego to take this tune and the credit for it. It's very possible they both were too

screwed up in deciding who really wrote it or the Stones and Graham both sides agreed to a quiet

agreement. So with all these pieces and moving parts for Wild Horses, we still don't know 100%.

And we do know Graham had recommended artists to play on the prior album Let It Bleed. It would be

great to know the real bottom line, even with all the statements provided by Mick and Keith on who,

what, and where. And I don't think this one should be declared 100% by anyone, but a collaboration.

There's just way too much ambiguity due to the multiple inspirations involvements declared.

Then again, I don't lose sleep over this. I just play the song over and over. Some things

are just best to leave it alone. Oh, and one Keith note. In his interview with Howard Stern in 2023,

Keith says it was inspired for leaving his son for the tour. He started on a 12 string acoustic

feeling guilty and in life says it's about the missing of his home. 1993. Both of them say it's

not wanting to be on the road away from loved ones, which seems to be a pattern for the album.

Now going to the deconstruction, the isolation of all the parts,

breaking down the sounds. Starting off with Charlie. He's not needing to exert himself.

We then get guitars.

We're completely knocked out with his style. No one has heard this yet. The song in G with

A and B minor chords. The song can bring a tear to my eye as I hear this musical poetry.

There's a fellow on YouTube, John McClennon, who I enjoy watching his videos, and he shows

that Keith has a 12 string trick. He believes that the low E is dropped to

a D. The string is not removed that low E. The strings are tuned to an open E.

And a cable is put on the bottom strings. That's called a partial co at the third fret. You hear

Keith's part with the 12 strings. Sweet and flowing chords. and just underrated. The lead's

done tasteful and it presents its own story. Keith is also playing the electric guitar on this.

Heat. Heat. N.

Heat.

Heat.

for you. And then we have Mick. Grace lady,

you know who I am.

You know I can't let you

slide through my hands.

and Keith and Mickes

couldn't drag me away.

Why wild horses

couldn't drag me.

I'm not so familiar with all the versions

that are out there. There's so many. And which take is which

I know

I won't see

you drag me away.

I for

in this version at the end we get to hear someone saying let's hear it.

So, we did hear Graham say it was Mick that gave him the master tapes for Wild Horses. Any others

will say Keith did. Could it be one or the other or both? Keith being much closer to Graham though,

but I doubt Graham would really forget who gave them one of the burrito's greatest songs. Someday

horses

couldn't drag me away.

Why? Wild horses.

We're right there.

I'm not sure what track it was, but Keith would drive to Star Groves

from his Redlands home in southern England to record some overdubs.

Now, Keith would show up so late that everyone was gone already. As a track would roll on one song,

Keith would wait for his overdub entry point and end up nodding off and then he wakes up

when it was finished. I'm taking information from Chris Jagger's book. It was engineer Jeremy Gee

that experienced this with Keith. After Keith wakes up at the song's end, Keith would tell

Jeremy to roll the track back, then repeat the process all the way until 4:00 a.m. Then Keith

drives back to Redlands on his own, and Jeremy would go to bed. This is how it would go down.

Jeremy would assist Chris later on in his debut album in 1973 with the Stones mobile truck and

at Star Groves. Chris would be caretaker of Star Groves and host the bands to record there

and Alexis Corner. It all sounded great to me as they ran through the many tunes I was familiar

with from records and tape. the low spark of the high heel boys. Mick was relaxed about it all,

so I took it all in my stride, too. Though, of course, it was quite a new experience

for me. After the gig, we dropped off at a at a dilapidated terrace house in Chelsea, Edith Grove,

then an unfashionable part of town, where Mick rented a room. Brian and Keith lived there, too.

lads loose in the big city having a whale of a time always broken on the scrge from visiting

girlfriends or whoever walked through the door but as now I'm going to share this one story

his Chris Jagger about Zeppelin they adored the home Chris mentions one time jamming with Robert

Plant Robert playing the drums and Chris picks up Jimmy Pa's sweet cherry red Gibson. There was an

open tuning and he's playing it loud in the hall. Jimmy opens up the door and walks in and he sees

this. Jimmy didn't say anything and Chris Jagger says probably because he was just jamming with

Robert. After that, Jimmy did move all his gear to a separate room. This was during the Houses of the

Holy Sessions. Now, after that, Zeppelin wanted to save some money, so they found Headley Graange,

but rented the mobile truck. Apparently, Headley Graange had no heat, but they saved money.

In my Sticky Fingers part two documentary regarding the plane flying over while they

were recording at Star Groves, I stand corrected. It was during the

Houses of the Holy and it was Eddie Kramer as the engineer. Robert Plant was saying no, leave it.

Mick and Keith are sending TXLEXes to Alan Klein's New York City offices demanding

the money. They have not received anything since January and should be getting 8,000.

These TX's would be continuing on to Klein asking for their money as they

didn't hear any word as of May. So they sent another TX telling Klene they're on

to him with his delay tactics and see this is a hostile sign an agreement now or he should

be expecting proceedings to start and later in May another TX to save all of us time and money

they say please give us our copyrights back by August 1st 70 as promised send us these

documents by June 15th. Mick and Keat's back taxes, well, they were £57,000 each.

They also found out that Brian would have debts of 191,000 and assets were 33,000 when he passed.

And in the UK, May 20th, some of the Stones attend the opening of the Let It Be Beatles movie. Chris

Kimy was an assistant engineer for Glenn John's at Olympic only, working mostly on Sticky's Olympic

vocals. Chris had mentioned how for some reason Glenn could not do the vocals, so a nervous Chris

took it over, but he would settle down quickly and do the job right. I mentioned Chris in more

detail in my beggars documentary as he started in ' 67 as a tape operator, audio connector,

ran the tape machines and logged and he kept track of overdubs. It was here when he graduated.

Now, the equipment used at Olympic for Keith was similar to what he used on tour in ' 69

and muscle shows. Dan Armstrong Plexi Les Paul custom black beauty. The Les Paul black custom

with the moon painting. 59 Les Paul with Bsby Firebird 7 Flying V National Steel Guitar.

The Martin D1220 12 string, Harmony 1270 12 string, Gibson Hummingbird,

Gibson J200. They used Fender twin reverbs or Ampec VT 22. Taylor used the Gibson SG 59 Gibson

Les Paul white Fender telly, a Gibson ES 355 TDSV. You would use an effects pedal for echo,

slight fast echo, a Watkins WM copycat echoplex. This was used in Can't You hear me knocking and a

few others. Bill the custom Dallas tuxedo base and a few Fender competition Mustangs. He used

highwatt and ampeg amps. Charlie the black swirled wretch. Now, by the March time frame of 70,

Maryanne was in a drug spiral with heroin. She was on a negative vibe ride, and Amit was right.

Depressed and unstable, low with self-esteem and pouring it on Mick. Mick would escape to Marsha

Hunt's place in St. John'swood. Maryanne would be homeless, going in and out of friends homes.

She was out of the music scene, lost custody of her child and a mess. Andrew's immediate records

ended, finalized. They go bankrupt. Financial issues. Five years in the business. And in April,

the Flying Burrito brothers release Burrito Deluxe album with Wild Horses. In April 10th,

Paul McCartney makes the public announcement he's leaving the Beatles.

What was going on in the world while the Stones were recording

and touring in 1970? As you can see in their global lists, destruction,

war, killing, and just some unrest. Now for some positive events that are listed here.

now with the release of Sticky Fingers in 1971, which we'll get to. From my perspective,

71 is one of the best years in rock and roll music. And not just for the obvious albums,

it has some spectacular music as you see here from these albums. The amount of creativity and

dedication of music that was being presented to the world is just simply amazing. There

are so many great albums. I cannot show them all. If you see some you don't know,

I advise you to go search on YouTube for them and give them a listen.

Song number four, side two, Dead Flowers, was actually started at Olympic on December

15th and carried on into April at Olympic. Funny fact, with Alan Klene owning Dead Flowers rights,

the story goes, as written in Rolling Stone, a 2008 article for the movie The Big Labowski's 10th

anniversary, Alan Klein had asked for $150,000 from music producer of the film T-Bone Brunette.

That was because T-Bone was using Towns Vanzance version in the movie and T-Bone would plead with

Klene to please come down with that amount. He then told Klene to come and watch an early

version of the Can you change the channel? [ __ ] you, man. If you don't like my [ __ ] music,

get your own [ __ ] cab. I had a really pull up to the side and kick your ass out,

man. Come on. I had a rough night and I hate the [ __ ] Eagles, man.

out of a [ __ ] out of. So while Klene was watching, Klene stood up and said to T-Bone,

"That is it. You can have this song. That was beautiful." It was right after saying this scene,

Klein loved hearing this line from the dude that he hated the Eagles. Now Glenn Fry from

the Eagles would meet up one day with the dude Jeff Bridges and he laid into

him. Jeff doesn't remember it at all, but it made him real uncomfortable. Then we would get

many people thinking and not knowing that the Stones rode dead flowers and they would think

Towns Vanzant recorded it. He did it live in 1994. No studio cut. It was his version

that Klene originally had the issue with in the last scene. Mick on vocals and acoustic

guitar showing here playing at the Paradisio in Amsterdam in 1995. Simple D A chord progression.

Lyrics change from Rose Pink Cadillac to Long Pink Cadillac. And you won't be away

with a needle and another girl to take my pain away.

you want to take me down. It's known there's a song that sounds just a slight similar,

very slight, but the song title has some similarity. Did they know of this? I would

say probably, but who knows? It was from Blind Willie McTel's 1933. The song called Lay Some

Flowers on My Grave. Nothing related lyrically except for the flowers on my grave reference.

Where's Mick coming from lyrically on this? I would say it is the end of a relationship

and the protagonist moves on and predicts the post happenings of a bitter and condescending

lady who believes she has the know-it-all, the attitude and arrogance and doing extremely well

for herself. The protagonist stays in his own drug infiltrated lifestyle and bitter

towards Suzy or is it Lucy and the needle in the spoon line? Maybe it's just from

Keith and his observation of him. The beauty here is how Mick just creates only two verses

into this spectacular visionary story with a final conclusion. And then it seems like

at the bottom line is how the protagonist knows he'll have the last word for a failed

relationship. He will outlast her and have the decency to still be putting roses on her grave.

Mick gives a little comment after playing it.

I felt like a hillbilly for a minute there. Just a minute ago.

So, guess what? Got to bring back from rumors that dead flowers can be tied to Graham

Parsons. In the book Hickory Win written by Ben Fong Torres, a music journalist,

he talks about Gretchen in Florida. She was writing to Graham while he was there in

England with the Stones. Gretchen was the only one caring for Graham in the family. She was

also sending him care packages. She was worried about him and his state of mind and his health.

It's more of a myth that came about that Gretchen was sending Graham flowers which

would die by the time they got there in the mail. A myth post Sticky Fingers release.

Well, when you're sitting there in your silk poster

chairs talking to some rich folks that you know

I hope you won't see me in my ragged company.

Take me down. Heat. Heat. Heat.

Heat. Heat.

Heat. Heat. Heat.

Heat. Heat.

Heat.

Heat.

Heat. Heat.

I'm going to jump to March 71. where a radio DJ Tom Big Daddy Donnu of Kan San Francisco was hired

out by the Rolling Stones label for publicity promo to interview of Mick and we also get to hear

Charlie. This was put on an LP probably for other stations to use. Um certain kinds of folk music I

personally like. Well, in the new LP, I think you get into uh areas that are relatively new to the

Stones. Um things that you've touched on before but expand now. Uh the country things. There's

one country song. We usually do one country song. I suppose this country song is a bit sort

of exactly a country song than the other more than the others I've done. It's pretty straight country

music. I think you sound like you come from Georgia on it. He got that down. And uh there's

uh that good cheap imitation or a good expensive imitation. It better be expensive. Carry on.

Well, when you're sitting there in your

silk up poster chair talking to some rich folk that you know.

Well, I hope you won't see me in my ragged company where you know I could never be alone.

Take me down, little Suzy. Take me down.

I know you think you're the queen of the underground.

And you can send me dead flowers every morning.

Send me dead flowers about the mail.

Send me dead flowers to my wedding

and I won't forget to put roses on your grave.

There's a song called Dancing in the Light, which you have heard as Don Was was a champion

in taking on the song. That was released in 2009 for the Exile re-release. In this version, Mick

is singing with new added lyrics, though. Now, lyrically, not much of a stone skilled lyrics.

I'm running in the rain. You're dancing in the light. I'm waiting for the train that never well.

What I rather focus on is the version they made in April 70.

It has Stu playing piano, which you might think could be Nikki. Jimmy Miller adding percussion,

a full sounding jam where you can hear how they develop. You can hear Mick hollering.

There is just a real slight sound of a loving cup in here for me. The buildup at the end is

divine. When I first heard this, it was the baseline at first stood out.

In Martin Elliott's book, he mentions that Don was wanted to add some new bass to it,

but he could just not follow Bill's unique playing pattern and the style.

Another tune called As Now. Song's pretty much unverified and I cannot find much on this tune,

but it's in the log. Also a song called Rocket, so cannot give anything more than just that.

some school boy.

In an interview with Nina Antonia, it is mentioned and known that they needed that

one more song promised to Deca. In the studio, Jimmy Miller mentions how at the end of a mixing

session for tapes that they were giving Alan Klein, Mick would say he has a song for them,

a masterpiece. He would ask Jimmy if he could fix up a mic. I'm going to try an acoustic song. So,

they mike it all up for Mick. Mick lays down [ __ ] blues, also known as school boys blues.

There may be more than one take. I'm not 100%. I explained this plenty in the other documentary.

Mick would say if Deca released it, then the Stones would promote it on Top of the Pops.

Driving Sister Fanny was worked on first in ' 69, one of Taylor's first contributions.

It is to be known that some more guitar overdubs were worked on and thoughts of vocals. So,

it was not a song that would fit in Let It Bleed, but yes to sticky.

I couldn't find the version for 1970. There is one version I like and want to

share it just a bit. It's from Izzy Stratlin from his 92 tour. Not sure where in the UK,

Japan, Australia. Izzy has his ties with the Stones and such a fantastic artist. His solo

work with Zuju Hounds is recommended. Rick Richards, guitarist with Georgia Satellites,

is playing with him along with Duff McKagan. It's damn cool. Rock

say

now for the original version of driving sister Fanny, there's an artist that is on congas. His

name is John Tivven. John was born in 55 in New Haven, Connecticut. Some list him playing

guitar on the song. It's still possible. He was a journalist for Rolling Stone and Melody Maker,

a talented musician and producer. His tie is in knowing Nikki, working together prior,

and also Jimmy Miller. Tiffan would work later on with Mick Taylor, Bobby Keys, and Nikki. and

Tiffen would play with the Jim Carroll band as a guitarist and organist. So look him up. So he is

somewhere in there with Jive and Sister Fanny. May 4th, the 6th, and the 7th at Olympic, Glenn John's

would work with producer Norman Dron on a very special session. Norman was with Chess Records and

had an idea. He wanted to bring together British blues and rock musicians with the great Howellin

Wolf. Norman had interest of getting some of the old-timers revitalized by mixing them with younger

musicians who were influenced by them. This was the first done on the collaboration album in 1969,

Father and Sons. Great title and also lineup. It was recorded at Chess Studios in Chicago.

This one started thanks to Bloomfield and Paul Butterfield. Wanted to have a charity concert

with Muddy Waters. And Norman was at the Fillmore West at an Electric Flag concert. Don't know who

they are? Look them up. Mike Bloomfield was backstage with Clapton and introduced the two.

Norman asked Eric if he had any desire to make an album and play with Howell and Wolf. Clapped and

salvated. But just one caveat. Nobody's asked Wolf yet. Wolf thought it was a horrible idea.

And when told about it who would be there, he was not even sure who the hell they all were. Also,

he was kind of ill. He had some heart arrhythmia issues and not so keen on traveling at that time.

Wolf knew Norman and trusted him though and his idea eventually doctor says it was better for him

to go do this session than go on his own down to Mississippi and do some gigs. So when Eric heard

Yubert Sumland was being left behind, Yubert was Wolf's guitarist, Eric would say, "No, Yubert, and

he won't show." They organized a session to Eric's schedule. Norman started at chess as a janitor,

then engineer, then producer at chess in the 60s. He knew the chess sound. Glenn threw him out of

the control room the first day. As the band was doing their sessions and playing the cover songs,

Norman would not agree with the sound and play the songs on a turntable and sometimes at the

wrong speed, not even realizing it. So Glenn could not take it anymore and he just said,

"Get out of here." Eric organized his team and wanted Charlie, Bill, and Ian. First day, Charlie

couldn't make it and Bill didn't want to play without Charlie. So, the team had to pull a quick

audible and they called up Claus Vorman Ringo to join in. Now, Norman wanted Clapton to take all

these leads on the guitar, but Clapton knew and he bowed down to Yubert. And in the studio, he would

give Yubert the nod to go play the leads. When all were in the studio music room, they would look to

Wolf for the lead role. But Wolf would say, "That man Norman in the control room, he's the producer.

Look to him. He knows what he wants." But Wolf and others at first were somewhat out of sync. No real

connection. And Wolf was uncomfortable. Klaus Vorman would say how when Wolf took the mic off

the stand while singing, he would walk up to the musicians, bend down real close, looking everyone

in the face, and sang his ass off. Such power and magic. Clapton said for the first days he was

scared of Wolf as he was not saying anything to anyone enough that he asked Norman if she should

really return back for the other days. Ian did play piano, but when Norman got back to Chicago,

he asked Steve Lynwood to do some piano overdubs. Now Wolf was drinking heavy and he wasn't taking

his meds. The breakthrough connection was when Eric asked Wolf to show him how to play Little Red

Rooster and see the changes. So Wolf grabbed an F-h Hall beat up old acoustic guitar and he showed

and taught Eric his way. Wol said, "Somebody's got to do it when I'm gone." Everyone just froze. But

this broke the ice. Eric knew the song well already, but Wolf was grabbing Eric's wrist,

sliding it up and down on the neck. And you say you play it here, then you play it there.

I'm just showing you how it go. You know, now how you and you would take it right now. You play it

that way. You sure you wouldn't let Why don't you play acoustic on it with us? If you play,

see, if you played with us, Wolf, then we'd be able to follow you better. Like,

like you were doing it right then, man. There. That's how we should record it.

I can follow you. I can see what you're doing. Really, man? You just sit there and

do it. All right. Let Let everybody get together and we'll try to make it. Okay,

let's try. If I can do it without you. Oh, man. Come on. God bless you. It ain't got

nothing to do with counting up and and and uh and I change on and you know when you say one

two there were times when Keith was in the control room while Wolf was in there also and

Keith would just listen to Wolf tell stories. Mick was there also and Norman wanted Mick to

be involved so he gave him some percussion and maracas tambourines and even a triangle.

Now this album was released August 71. Most of you have seen this in the US and Canada

under Chess Records and Rolling Stones Records in the UK. Awesome. Actually,

it was uh kind of like meeting an elephant. He was just so big and overwhelming. And then the

other thing is that you realize you just met like one of the most gentle and knowledgeable

elephants that you were likely to meet. I mean the first time I met him uh 1965

where we insisted that they put him on this TV show called Shindu and uh sticks out his

hand and says love the stuff you've been doing with my stuff you know and you're

going pass the test that and then he became a very good friend especially to Bill Wyman.

Looking at this show list, can you tell what song I'm going to do next? Actually,

the bottom yellow marquee club should give it away. I have a bias for the Stone Slower tunes

as it gives me plenty of depth and room to hear the plane clearly and crisp and those vocals. This

is one of them and one of the real lucky times we get to hear them play this live at the marquee.

The way Mick sings this, I could feel him in this soulful song. I'm just so locked in somewhere.

They say Mick does not like this song. And you could see it in his performance in the marquee

when he introduced this. Just because he wasn't jumping around, I don't think he hated this song.

and Bobby playing the sack solo instead of the organ. Standard tuning played in G. All five

are in with this tune. I got the blues. Keith on backing vocals. Bobby Keys and Jim Price

step in with those fabulous horns. A first step of bringing that horn section and bringing that soul.

Every night you get away with me.

I

have prayed that your name.

Oh, the God who will bring you to life.

Won't drag you down with a beauty.

It's written in Bobby Keys's book, How Much Mick Was Really Getting Influenced by Otis

Reading and Wilson Picket and Bobby trying to influence him more and get into it. Now,

I'm going to play a 1965 Otis song, and we could hear some real influence

from this song. Steve Craropper playing a guitar. I can only play a short piece,

but you could look it up and give it a listen. I've been loving you too long. I've been

too long. Some folks have a hard time with the copying. I don't I don't care if he's

imitating Otis at all. Here in 1999 in San Jose, Mick banters about it and mentions Otis.

Thank you very much. We're going to slow it down a little bit for you. Going to

chill out a little bit and uh do a song for you. This is like a soul ballad that

we do. It's a bit like in Otus Red Star. It's called I Got the Blues.

Stones wanted a gospel feel for the song. They got it through networking and I believe

Jimmy Miller. They plucked Billy Preston for the session. They want him to play the Hammond organ.

There's not much needed to say how much he injects the feeling into this song and how powerful it is.

I have to go with what many say already that Mick is placing those Maryanne feelings into

this perfect timing around them going in separate ways. Very obvious words and pretty romantic. But

we need to remember this is a song about Mick feeling blue and it's not a blues progression.

Unfortunately, I don't have the isolated deconstructed pieces

for this song. One I really wish I did. Now,

we're going to do we're going to do this sort of soul tune for you. Very, very slow one.

We're going to try and play as slow as we possibly can cuz that's the way it's supposed to be.

As I stand by your flame, I get burned once again. Here's just a bit from Jeremy Perez Blake.

sharing now a soulful version. Solomon Burke. He made this one. It's on an album,

Make Do With What You Got in 2005, produced by Don W. Now, Solomon played with the Stones in 2002,

the Licks tour at the Wilturn Theater in LA and sang as a guest on Everybody Needs Somebody to

Love. So, three years later, he built it out. I Got the Blues on his own. Very cool. And it

looks like Solomon had a planning of caping Mick, but Mick sort of got embarrassed as you could see.

Then comes the serious kickass at the Fonda Theater in 2015. When

you think of Mick performing this and thinking it was for Maryanne,

kind of makes you appreciate more and shed a tear that he's thinking of her. set a song for you.

Thank you. Thank you very much. I keep on saying this and I'll continue as many do

also realize what makes the Stone stand out as being on the top. Look at all their songs.

They stand alone, unique, represents something special. Their product represents the changing,

constant changing of their environment and music talents. Every song has its

own chapter in the Stones book. There might be some sister songs related tied together,

but the Stones have the formula. The formula to be masters at originality. Like their album prior,

every song is pure brilliance. As Keith would say about Sticky Fingers,

there were changes in the air. It was a new era and we had to make our mark. Which leads me to

the next song which stands on its own pedestal like the others and it proves their pedigree.