All language subtitles for ROLLING STONES - Making of Sticky Fingers Part 3

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.