All language subtitles for ROLLING STONES - Making of Sticky Fingers Part 4

During June and July at Olympic Studios
and later in the fall at Star Groves,

they were working on what will become songs
for exile. Now, Shine a Light was cooked up

in 1968 and 69 with the title Get a
Line on You, but also picked up here

and then in the fall of 70 also in the Sticky
Sessions. Getting a lift from Billy Preston.

Outstanding versions.

Now, this sweet, sweet version of Sweet
Virginia, another one originating earlier,

a different Mick vocal version with other
surprises. Bobb's fine sack solo and Ian with

the boogie woogie. Taylor sings back up here,
but it's very hard to pick him out. There was

a version of All Down the Line. It's thought to
be at Olympic, but I'm not sure which take it is.

I'm seeing that the 2010 Deluxe version has the
backing track with new Mick vocals on it. That

might be it. Mick is the one that would present to
the band to play Shake Your Hips from Slim Harpo.

Carrying on later at Star Groves in the fall,
stop breaking down. With Robert Johnson's version

from 1937, we can say the stones brought justice
here. And in Martin Elliott's book, he mentions

about Mick is playing some rhythm on this. And it
was later that it was Andy John's who got Mick to

add their harmonica, those blasts in his echoing
hoots later on. And they're not on this version,

of course. Good time Woman, also known as
Tumbling Dice later on, was worked on during

the 1970 session at Olympic and Star Groves.
the start of this masterpiece, that chugging

rhythm in another protagonist attracted to a
lady. She's just carefree and living on fun and

sex. A red light woman who likes to party.
This seems to be a common theme with them.

You're going to feel all right. I said baby.

The song Walk with Me Wendy is not exile related.
It was thought to be recorded in the summer,

possibly the fall. It didn't go over to APCO, so
there is somewhat thought to be jammed later in

70 possibly. The Stones own this one. This song
was released on that fully finished outtakes,

the one that was leaked, a song that probably
deep fans will appreciate. Only a Mickg guided

vocal tune with nonsensible rambling. No
reference to Wendy in these lyrics. We hear

how nicely how they develop a tune. You can
hear pieces of several songs in here like I'm

Going Down or Traveling Man. Now, the piano
is a main component and said not to be Nikki,

but maybe Ian or Bobby Whitlock. Midway is
a Keith lead reminisce to give me shelter

slightly and like at some points
how Charlie plays that high hat.

This next March to May 1970
tune made it on Exile Deluxe

in 2010 and heard plenty dancing
in the light. a loving cup feel.

Here's Jeremy Barz giving us a sample of that
2010 version. The top Keith playing open G,

but that's the version from 1970. On the bottom
is Keith's open G. And this is what he added an

overdub in 2010 version. Thanks to Don was as
a champion in taking this one on the song for

the exile release and the bonus tracks. Don
was is a huge fan of the stones and needed

to be pinched and he got to work with them
since 1993. This version is mix singing with

new lyrics as this was originally an instrumental
lyrically. Not much of a stones 70s skill lyrics.

We'll focus now on the 70s instrumental version
they did in 1970. It is on piano and it sounds

like Nikki. Jimmy Miller adds percussion, a
full sounding jam and another song. You can

hear their studio jam developing. You hear Mick
hollering and the buildup at the end is divine.

When I first heard this, it was the baseline that
first stood out. And in Martin Elliott's book,

he mentioned how Don wanted to add some bass
to it, but when he tried to follow along to

Bill's playing, he just couldn't due to Bill's
unique pattern and style. And Don is a basist.

Leather jacket was a Mick Taylor tune played
at Olympic in June. This melodic tune has leads

that are pronounced with acoustic and electric
guitars. It's a polished piece, but it's kind

of repetitive and is screaming for vocals.
This song didn't stay in the Stones Rolodex,

but it picks up on Mick Taylor's debut album in
1979, which took him approximately 3 years to

pull together. CBS Records, they weren't
supportive for Taylor on this promotion.

As Taylor put lyrics to it, we can see that
there's some real personal side words here.

Photographer David Bailey was one of the hippiest
in the 60s in swinging London. David would take

some photos of Mick at this time. During the
sticky sessions, Mick knew he had a task to finish

the get your Yaya's cover shot. So, he reached out
to David to reshoot it. It was done on June 7th.

They shot it at an abandoned runway in North
London. It's about 10 minutes from where Charlie

actually grew up trying to recreate the album
cover for the exhibition. Except you won't have

me leaping about. I don't think it was David
Bailey who we wor with a lot in those days. I

went to this place near where I was used to live
which is Henden and it's on a air uh runway plane

on my runway and an air drone they bought the
donkey along put a drum on it had me dressed

up well actually I was in my stage clothes and
borrowed Mick's hat in one of them I don't know

if they used all them and David was up a ladder
shooting down and then on the floor shooting

up there. That's about it. The donkey supposedly
belonged to a local farmer and was not so pleasant

or easy to work with. They tried two donkeys. The
first one would not move or wear any of the props.

Charlie's jumping was done in several takes. He
had to hop off a platform a few times until the

shot was made. And some people never noticed or
they just forgot what was on Charlie's t-shirt.

The album cover, the sky, was colorized in
postp production to give a twilight color.

June 24th, Mick's Ned Kelly film is open
at the London Pavilion. Bill and Taylor

joins there to see the premiere. Mick and
director Tony Richardson are a no show,

but Mick's parents did attend. Critics bashed
it, and they said the film didn't know whether

to be art or entertainment. aimless, dull,
but kudos to the cinematographer and a few

action scenes. There were some positives. The
words. What's the new album called? Sticky

Fingers. Let's talk about some of the cuts on
it. Some of the things you particularly like,

ones that you felt were interesting to work
with. You got a lot of uh new songs on there.

You've got one song that's got a long jazz
riff in it. Yeah, that was nice. That was a

Can't you hear me knocking? It's a bit like
going home. Do you know what I mean? It was

just a sort of unworked out thing we just did
at the end cuz we didn't know how to end it.

This early take really gives us the
idea what led to the final version.

It has such verocity and explains
the mood and direction that they

were headed. An absolute stunning piece. Mick
is laying out and providing guiding vocals.

Get the Come on. Come on. Come on.

They manufactured this song on the spot. They
all felt this groove. Not done in one take like

many claim. Mick also plays percussion. Jimmy
Miller is playing that percussion instrument

called a wirro. There's no need to introduce
this song. We should remember Quasi Desid Zoru

who insisted on sympathy and you can't always
get and now he's here. Also named as Rocky Dejon

again. They wanted Rocky on this album and
he came in for the second half of this song.

Also, Billy Preston on piano. And towards
the end, we hear the organ. It's not certain

what amp Keith used for this song. Probably a
Fender or maybe a Vox. There's also a Echo used,

a Reox. Keith using the black Les Paul custom
tuned to OpenG. and Mick Taylor on a Walnut Brown

Gibson ES355 for solo. Here you see Taylor using
it when playing in a later years with Jack Bruce.

Now, in the deconstructing part of this song,

we're going to hear Charlie,
Rocky, and also Jimmy.

Heat. Heat.

Bill, he carries his part in this song.

Yeah, you got sat shoes.

Yeah, you got nasty boots.

Y'all got cocaine eyes.

Yeah, you got sleep

on the window.

Mick and Keith backing vocals and
Mick Taylor also. Ain't no stranger

baby. Ain't no stranger. Help
me baby. Ain't no stranger.

Now singing in this song key was
challenging for Mick. So hence the

vocal doubling added to his vocals.
They needed to cover up some issues.

I'm going to take you down.

I got me down.

I'm all around your street now.
Hear me knock all around your town.

Keith with his magic pulled this riff out of the

air. So it goes. The song
just evolved as it played.

He injects some chord changes to this
groove that is tout and unpredictable.

And in the beginning, Taylor plays some
contrasting rhythm in the first part with

that clean sound just in standard tuning.
Simple but impressive chord embellishments.

And we hear all the transitions playing
a melodic story. They flow and they mesh

with Rocky's Latin feel. Taylor bends
those notes and he plays vibr with ease.

We then get Bobby Keys. He says how it was this
song that gave him the start of feeling part

of the band. Not part of the first section of
the song though, but in the studio as he heard

him flowing at the 243 mark. The second part, he
picked up the sacks during the instrumental part

as he felt something. There was no plan to keep
the song going. They thought the song was done.

They didn't think the tape was rolling, but it
was. It was a feel, just a feeling, spontaneity

with Bobby as he picked up that sex and he looked
around. He was not told to do it. He just did it.

He felt it was an open invitation for anyone.
It's what he said. The musical interplay with

all these components was a masterclass
in spontaneity and sophistication.

I'm going to mention something and there's
a point to it and you'll understand why.

Bob Dylan's live album from 1984 called
Real Live is backed up by Mick Taylor

as his guitarist. Recorded two days,
July 5th, July 7th, and on the 5th,

special guest is Carlos Santana on Tombstone
Blues. July 8th, not on the album, was Taylor,

Carlos, Clapton, Ian Mclagen, and Chrissy
Hine. And they all played in Ireland with Bob.

Mick Taylor and Carlos Santana both knew of
each other's work prior to 70. And eventually

in the 70s, Carlos was hanging out with other
British guitarists as he expanded tours in the

UK and Europe. And just a note, they both
played together more after Dylan. And not

to forget December 6th, 1969 at Alimont.
It was Santana that opened and played in

the daytime. Their set was interrupted with
violence. You get now why I mentioned the

Taylor Santana details. That Latin field
gave Taylor his window of opportunity.

Now, there are some that say this song
was planned, a jam, and not improvised.

I can only say that the ending is unusually tight
for an improv ending. So when the song finishes

in the studio, they all go into the control
room. Bobby, he loved it. He felt so good. Well,

maybe I get on this tune anyway. Mick then says
something like, "Well, that was fun and a cool

jam, but don't think it's going to be added."
And Bobby just thought, "Oh god, I'm shut down

on this one." So, as they're listening to
the take, they're surprised to hear the

extended part was recorded. Mick and Keith were
going back and forth with it. And by this time,

Bobby left already and would not know until
later that it was Jimmy Miller that gave his

input to get his stamped approval that this take
was it. As I read more fan forums, some actually

just want the first part of the song and not
the extended jam. And there's always that 2%

This song's interpretation. So many thoughts on
it. A bottom feeder guy and his ex or a lady or a

dealer. satin shoes, plastic boots. She's a woman.
Mick will sing out many shows. Not saying plastic

boots, but Chinese boots. Cocaine eyes, big eyed
when she sees coke. The guy's stalking or look to

get her attention at her home as he's pretty drawn
out. It's him at the door, not a stranger. Hey,

wake up. Let me in. Kicking the habit. I need your
help. Prowling, growling, howling, and knocking.

The song's focus is the riff and jam and less
on the lyrics for me, despite how good they are.

Lick's Live Tour 2003 in New York City. Mick
plays her harmonica for some of the sack solo.

Heat. Heat.

When the album was getting prepared for release
in 71, the legal team realized that this song

and some others were not filed which caused
copyright problems. So they had to sit down

and listen to the acetate pressings for this song.
There was a dilemma and a disagreement and no one

in the office could agree on a line of lyrics. The
lyric was I've got flatted or flattened feet now.

Mick would tell them and insist he didn't
sing that and could not remember the line

on that cut. So, here's a listen. Amazing how it
does sound like that. I've got flattened feet,

isolated vocals, and you hear Yes. I've
got a fight in me now. Hey, down downh.

Aha.

There you go. Heat. Heat.

In 1969, Sticky Fingers was a working title, but
that was for an album named Let It Bleed. The

darkness of Let It Bleed songs didn't match the
Sticky Fingers title. There were so many loose

songs from beggars through the sticky, but a
double album was not considered until exile.

But then again, there was so much legal turmoil
going on that a double album was not considered.

Mick crossed paths with Andy Warhol during
the Stone 64 US tour. Their tastes, artistry,

and personas were compatible, and as time went
on, they would share similar social circles. It

was the 69 time frame when Mick asked Andy to
make a cover for Through the Past Darkly Hits

album. Andy delivered his product, but Mick did
not care for it, and it just ended there. Andy

felt he should have received some payment for his
work, at least for trying. Andy was annoyed and

this final product that he proposed was either
misplaced or it was lost somewhere. It was never

to be found after. Now the time frame supposedly
later in ' 69, Mick meets up with Andy again in

some nightclub in New York City. It was here they
engaged in conversation. Mick explaining the need

for another album cover. got to be certain they
patched things up from their last experience. And

as Andy would say, wouldn't it be fun to put out
blue jeans with a zipper on the cover? Real jeans

and a real zipper. Andy had an art director and
a graphic designer in his factory, Craig Brun.

Craig also had his own business company. Craig
went into print industry in New York in ' 64.

It was him that designed that saying on albums
includes the hit single. First one was on an

Elvis album. He worked with packaging for Chess&M
Mottown and Mercury. He would work with Andy on

the Velvet Undergrounds banana adhesive concept.
Peel slowly and see see what now the velvet's

phallic symbol the banana on the first album was
painted by Warhol Braw was recruited from MGM to

assist and he added the peel to reveal of the pink
banana underneath the peel genius. Who can resist

not seeing was underneath the yellow and black
banana? This started their relationship. Brun

would have several ideas for covers besides
the blue jeans and zippers for the Stones.

Got to give kudos to a website called The
Art of Cover Art by Rachel Kitt. Rachel does

exactly that. She explains and exposes
great album covers. And here's Rachel's

website and information. Craig Braun that
gave her a comment as she had an article

about him and then she got to interview
him and I got the information in the photo

as you see now. When she was interviewing
in his apartment, he explained and showed

some great insights of the alternate covers
that he was concocting. We see here the three

panel fold out of the jeans concept he was
working on with a life-size image. Actually,

this was a good concept as the bottom panel would
go between the zipper and the album to protect it.

And here we see the heat sensitive cover he was
proposing advanced thinking for this time using

contained ink crystals. So when a warm hand
presses against it the warmth will change the

green ink crystals to blue which the bonus
is will leave your fingers embossed in it.

connected concept of a mood ring for those
remembering that. Greg would actually sort

of connect the same concept here
with his George Harrison album.

One other one was a tptic panel of a castle, a
chateau in France. And what that is is a three

panel art showing a scene outside shot of a
castle. You open it and you see the inside of

it displaying all the band and equipment in the
front hall. Another idea was a public execution

of Mick's head cut off and two new ladies in
the middle of the desert reaching for his head.

Brawn had another idea and that was with Marshall
Chess. They had a photographer with a waterproof

camera going underwater taking some shots. I'm
not sure if the stone's heads that were blown

up were in the water or above the water looking
into the pool, but looking at later at the prince,

Marshall then thought how creepy and
dark this was, especially how Brian died.

Ron was high one night and sitting at his glass
desk. He was using bamboo rolling papers. And as

he's sitting there looking at the bamboo rolling
papers and looking at the shape of the package,

it matched an album cover somewhat. Ronn contacts
his illustrator and says to him, "Let's make this

part of a Stones album, Bamboo Rolling Stones, and
have a big single paper with the stones inside."

Great thought, but the jeans and zipper were
already in motion at this point. Marshall Chess

loved the idea. Now, Braun loved the concept also.
And now that you're probably thinking and saying,

"Yeah, I've seen this before." Well, he sent
this over to Lou Adler this concept and it was

part of Chichin Chong's second album do a number
with Chichin Chong and that was implemented. So

Mick liking that zipper idea and the blue jeans
and Andy moving forward on creating a prototype

a mockup of jeans and the real zipper and when you
undo the zipper you'll see some underwear. As Mick

sees more, he starts thinking logistically. The
thought starts emerging on how to plan for this

and what is the cost. But Atlantic was okay with
the cost at that time. Andy asked and got 15,000

for his work so far. Now with Andy and Brawn
moving ahead in motion with this idea, photos had

to be taken. The photos using a Bigshot Polaroid
camera was done by Andy and the models they used,

their names were never written down, but it was
done at the factory 33 Union Square West. Not

only the front side was shot of the models, but
the backside and models in underwear. Billy name

was Craig Brun's assistant, also known as William
Lynwich. Billy is the designer of making Andy's

factory all in silver. He was a lighting designer
and a photographer. He worked at the factory 64 to

1970 and had a brief romance with Andy. Here we
see Billy's photos to help with Velvet's album.

Now, Billy would take some 35 mm photographs
while Andy was taking his Polaroid shots of

these models. The factory contingency like Glenn
O'Brien, Cory Grant, Tippen, Joe Dellesandro,

and some others, but as mentioned, the photos were
never assigned a name. Both Andy and Billy shot

away together. Billy would hand over his photos to
Andy, and we have no idea where these photos are.

So, Glenn O'Brien would later say he was paid $100
by Andy for his photo. Glenn was the underwear

model, Andy's editor for his new startup magazine,
Interview. Corey Tippen was a makeup artist,

costume designer, and a performer. It's been
declared the front and back cover of Sticky

Fingers is him. Now, the models, they were told to
arouse themselves prior to taking the picture. Jed

Johnson lived with Andy for 12 years, and there
was thought it was him on the cover. Here he is

with Cory Tippen in 72 that was taken by Andy.
Cover is a picture of a guy's just this part here.

Andy Warhol designed it. Well, who's crutch it is?
It's got to be mix, right? Describe the cover. I

can't even remember it. What is the cover? So,
I got the phone call and they said, "Corey, come

over now to the factory." The doors opened. Okay.
Andy Warhol is ready for you. You know, he had a

handheld Polaroid around his neck. Obviously,
it's an image that anyone could claim. No one

really knows whose crotch is depicted in the Andy
picture. I always thought it was Joe Doolisandro.

There's another guy that talks about it all the
time. His name's Cory. and I was the person that

led people in and out of the factory. So if
I didn't see you, you probably weren't there.

The Stones were in this similar territory a
few years prior. The end of ' 67 and 1968,

they were planning to launch their own record
label. They were going to call it Mother

Earth. The intention was an independent
label so they can support other artists.

an international operation in
the Stones Manic Street office.

All the Stones has acting producers
and will contain its own staff. The

distribution would be handled by Deca. Charlie
was the one who was designing the logo. It was

announced that Maryanne was going to sign as
the first act on the Mother Earth label. Now,

this project failed to lift
off. Still in its infancy,

the idea of a new label was instead substituted
by the thought of having an entire self-managing

company. With all that chaos going on, Mother
Earth lost focus and energy and priority.

Now, back to Craig Brawn. His specialty was in
gimmick album packaging which totally benefited

record sales. It was not a coincidence that he was
chosen for this project. The polaroids he got from

Andy, the jeans, were more shadows of gray and
not really contrasty of black and white. There's

a newer technique known to get these stand
out more. That is posterization. This process

helps make light and dark tones more vibrant and
creating a higher contrast a comic like Brun did

not want blue jean blue. He wanted black. The
image on the album cover is not a straight off

Polaroid photo. Brun used several techniques
for the creativity of making this cover.

Here we see a poster straightforward but this is
1973 Serpico. Now here's the photo posturized and

this is the effect Brawn was looking for more
drama and contrast just to show you an example

of what he was looking for at that moment. And
Bronn also included another technique called

mezzotint line conversion. This is called a
basketball effect, like a dot matrix to put

it simply. The closer the dots are, the darker
the area. So, plenty of thought and creativity,

especially for 1970, went into his album cover.
Pretty ahead of its time. Inside the cover,

we see Brun used color and on it is Billy name
stamp for Andy. Brawn wanted this to get Andy

his due. And that is what the listener would open
up the album and realize, oh, this is Andy's art.

Now, time to add the zipper, which was part of the
packaging design by Braraw. The working zipper,

the real thing. He would go to the New York City
garment district, which was nearby, to talk to

the VP at Tuloon Zippers. Brawn wanted these for
free. So, he tried to sell his pitch and as they

would cost 5 cents each, and he needed a million
of them. So, that's about $50,000. He told the VP,

"You're going to be known all over the world."
And the VP would say, "Why?" and Brun would say,

'Well, you're giving me four and a half inch
zippers and they're going to be on every one of

the Stones's new album. So, the VP says, "We're
already known." And Brun comes back and says,

"Well, you'll be even known even more bigger."
Mr. Brawn, you don't understand our customers.

They don't buy vinyl records. It's the garment
industry. No, I'm not going for that. So Brun

had to search for more zippers and eventually he
found them at court zippers and the cost for them

were 5 cents less than Talons. Workers who were
making the album and putting it together had to

glue the zippers by hand. So costs did go up for
that. So unbuckle the belt, pull down the zipper,

and you got underwear. Originally, they thought
of a tongue to be there, and Andy had an idea to

place pubic hair instead. There was a myriad of
variations of this cover through many countries.

Some even had different zipper styles. Rolling
Stones records need a quick alternative for Spain,

one that would still apply a visual for Sticky.
We know Spain had an issue and censored the cover.

Spain's General Franco had strict decency laws.
They would ban the crotch but keep the fingers

coming out of a can of sweet and sticky golden
syrup resembling blood. The can called Fowlers's

TAL, a British refined sugar company used for
baking. and Trael is the syrup. Spain would

also censor the song Sister Morphine and have
it replaced with a live version of Let It Rock.

It was designer John Pashache and photographer
Phil Jude. Phil later shooting the Goats Head

Soup cover. Well, they created this new image.
Some would think the image was more obscene than

the crotch shot. The Argentinian album would be
graced with a black opaque bag over it created

by the record company there and everything was the
same inside. In Singapore and Malaysia, the album

was not banned, but it was sold under the counter
and there was no promo display allowed. South

Korea had issues. Also, the Stones tongue logo was
debuted on the lower left corner on the back side

of the album and on the record label. Also, the
inner sleeve would proudly display a 6 and 1/2 in

tongue. When I was 14 years old and I learned how
to silk screen in my graphic arts class in junior

high school, this tongue was my first project to
get that logo onto a shirt and I wore it proudly.

Marshall Chess was traveling in Amsterdam when
the Stones were there for their 70 Europe tour.

October 9th, 1970 to be exact. More on this later,
but he'd stopped at a Shell Oil Gas station, and

he was looking at the logo with nothing written
on it, but he knew what company it was just by the

visual. He needed a logo that will represent the
Stones. No name on it, simple corporate branding.

It was Joe Bergman, the Stone's personal assistant
and office manager that was pivotal in the Stones

chaos time frame. She would push them in a forward
direction in 1970 during the Klein chaos. It was

Joe that reached out to the Royal College of
Art looking for an artist, a recommendation.

She asked for a student that could come up with a
tour poster for their upand cominging plan tour.

the tour to promote get your yaya out. The
time frame of this search was approximately

April 70. John Pash in his last year of school
and considered the resident poster bloke was

recommended. Pash was asked to meet both Mick and
Joe at the Maddox Street office to discuss this.

a fellow student called um Storm Ferguson who was
working with Pink Floyd at the time and he'd asked

uh um a chap George Hardy who was in the same
class as me to draw up the artwork for Dark

Side of the Moon. So I mean I was working on this
the Stones poster and he was he was working on

um the Dark Side of the Moon image which I think's
one of the most iconic pieces of the era as well.

commission that I had from the Rolling Stones was
when I was in my third year at the college and

um the college received a phone call from the
Rolling Stones office asking if they could

um suggest um a suitable student to work on a
tour poster which was going to be the 1970 tour

poster for um Europe. and uh they um suggested
that I go along and uh have a meeting with

uh Jagger Mc Jagger. So it was um which obviously
quite quite an experience. Um so I I went along to

his offices in Maddock Street and um there was
his manager there Joe Bergman and just himself

and we generally talked about um design and
art and uh we both found we had an interest

in sort of 1930s and 40s uh tour posters.
The response when I did the first design

um that I took him to McJagger to hopefully okay
um was a bit lukewarm actually. He uh he said that

uh he thought that um I could do better. Um I
think it was possibly to do with the color and

composition of the the one before. Um but um
I did in the second u finished um poster add

um some more interesting elements. I think Concord
for one was um suddenly appearing in a sort of um

a 1930s4s um uh tour poster if you like. Um but
I think what he liked about it was that it was

getting away from what had been done before. In
other words, it wasn't necessarily a picture of

the band on the road. It was to do with touring.
And I think that was um that was in line with the

basic ideas that we talked about originally.
But um thankfully he he really liked the last

uh version that I did and uh uh it went on to be
printed and uh I think it turned out to be quite a

success for the band and uh it led on to the the
logo commission. There's proof here of a letter

that Pash got in April 29th, 1970 confirming of
the design of the poster for the European tour,

but also asking to create a logo or a symbol which
may be used on note paper at this time. They had a

quick call Mick and Pash and he was asked to meet
Mick this time at his Cheney walk home to discuss

this logo. So Mick mentions how they need a logo
or a symbol to be used on paper like a program or

a press book, a branding image. Now this story
is well known but needed for this presentation.

It was quite a short meeting really, but
he he presented me with a a cutting from a

um it was actually something something he found
in a local um corner shop. It was um Indian um

picture of the Ki goddess. The goddess with with
a sort of pointed tongue that came straight down

and said, "This is the kind of thing that I'm
into. You know, I quite like this." Um and we

talked about it and uh he said, "Well, I'll just
go away and and do something and come back and

we talk some more." So I think it was um almost
really during that meeting that I just suddenly

thought maybe use of a mouth, you know, I just
had uh an idea that that would be something to

base some ideas for for and uh I went away and did
some uh drawings and um which were very similar to

um what we we finished up with, but um just
variations really of angles and uh and uh tones

and so on. And uh he really liked it and uh so
I I finished um finished one up as artwork and I

think he went to show it to the rest of the band
and they said they were very happy with it and

uh and uh I got my £50 which uh was
what I was paid uh paid for doing it.

A lot of the artwork then uh was produced in
black and white and then um on on layers of film.

So the different layers would be nominated um a
color and when it came to printing them it would

then be printed in um red and um black instead of
the two layers of black which is on the artwork.

And he would claim Mick's mouth was not at all an
inspiration, but maybe subconsciously. In 2015,

Mick would say he had an Indian calendar on his
wall. Hindu was huge in the hippie culture in

England. Calendars were all over in grocery
stores. I'm not clear at all on timeline and

have found no concrete evidence when he
finished his draft, but he says it took

about two weeks nonstop and it's copywritten
in 1970, probably late month, December maybe.

Here's one of the crossovers. Both Marshall
Chess and Craig Brawn were childhood friends,

and they were close and
communicating with each other.

Uh, I'm working on the uh the mechanicals, you
know, getting the copy, legal copy, publishing,

and all that stuff. And we're putting together the
album art. I'm putting together I I I brought the

comps. I told you that that Marshall said we're
gonna go with the zipper. So that was it. So we

started putting together these mechanicals.
They were multi-panled, huge, huge, you know,

like 4T by 6 foot. Uh, and um, you know, special
sleeve, the whole thing. And I said, Marshall,

this is their first release. So, is there
a logo? Do they have a logo? And he said,

Mick's got some kid that goes to art school
over there, some art college or something. He

told the kid, "It's not it's not really for
the logo for a record company." He told him,

"You want something for programs or something,
you know?" Yeah. Match pads and stuff. He I said,

"Probably because Mick doesn't want to pay more
than 10 pounds for the logo probably." So I said,

"Uh I said, "So get it for me." He said, "I'm
not going to get between him and this kid

because they've met two or three times and this
kid is working on it and Mick loves this kid."

So I said, "Can you send me is there a sketch
or anything? Do you have?" He said, "Yeah,

they made they gave me this black and white
sketch, but it's not the logo, but it's the

idea just the idea that it's a tongue and lips.
That's that's it." So I said, "Can you send me

that?" So he sends it to me on a thermofax
machine. It was already illegible before he

So I called my studio guy and I said, "Come down."
I said, "This thing that you see, this little

smudge here, this silhouette, I want you to blow
it up 12 in. We're going to try and decipher this.

It's a tongue and lips thing and we're gonna try
and create one because I was in the mouth of the

gun on this thing in terms of getting started with
the production and all the spotlights were on this

first release for the Stones and Ahmed everybody
the whole industry was on it. It was just lit up

like a Christmas tree. So now this image from John
triggered Brawn. He's seen this before. He knew

the illustrator named Allan Aldridge. Allan who
worked on a Beatles illustrated song book in 1969.

Uh there was an airbrush illustrator from England
named Alan Aldrich and he did a book called The

Beatles Illustrated Lyrics. Oh wow. And that came
out about a year and a half before this project.

And I remember that there was a song called Day
Tripper that was illustrated by him. Oh wow. And

I used that for the inspiration really. Oh wow.
You know being being having no design background,

I had to trust, you know, my my taste. Yeah. And
my perception. So here's what that day tripper

looks like. Oh wow. That came out that came out
maybe a year and a half before the album. So I,

you know, I I gave my guys that. I said, "Listen,
let this help you. Highlights on the tongue and

the highlights on the lips and everything." Brun
remembered that on the page for Day Tripper,

there was a picture of a girl licking a ice pop
with lips and teeth and a tongue. Aldridge did

not counter anything about this. The book was well
known at that time. Allan worked on rock and roll

circus. Very interesting timing here. Aldridge
was known to use Hindu art in his work. So,

did he use Cali in his vision of the Beatles
Day Tripper Girl? There's so many unknowns.

So Brawn gets his illustrator down to work on
this logo project. Ronn would get the illustrators

Walter VZ and Tony Demicelli. So I said uh just
let's let's let's see what we can do. So they they

started bringing sketches down to me. They had two
I had two illustrators doing working in tandem on

the thing and I would say no no let's let's let's
make the throat deeper and and put this little

notch in the center of the tongue and so we went
to about six or seven and I said we got it. Ah so

I said so I said put it on into the mechanical
as though it's done. It's finished mechanical.

Wow. I'm send it to London and we're going to get
the Stones and Marshall to okay it. So I call in

this account guy that I had, Mark Finel. I said
I said, "Mark, you're on a mission. It's got to

be a mission possible. The most important thing is
that you don't speak." Brun told a representative

that if they say anything about the logo, just
tell them I don't know. Brun just told me to

bring this to you. Don't even compliment this
logo. Just let them respond and review it. And

as soon as they say it's okay, have them initial
it and get back on that [ __ ] plane. Brawn would

have anxiety thinking of mixed response and not
approving it and cancelling the whole project. So

the meeting happened. The rep called Brawn right
after and said, "I'm coming back. It's okay.

Now, Brun mentions himself
that he got paid $300,000,

but Bronn had to pay all of his team. It was
his company called Sound Packaging Corporation.

So, did Pash create the first image? Bronn
enhanced it and gave it back to Pash,

who created his image again. And when did
Pash add his colors of red and black? I can't

be certain. It just goes back and forth
in my head. When my production guy says,

"What what do we do about the UK?" And because
I said, "I don't want to light this thing up."

Right. So call the production guy at WEIA and tell
him this kid is working on a logo that Mick wants

and they don't use inner sleeves there. They their
their jackets are sleeves. No, that's right. They

call an album jacket a sleeve. So I said, "Tell
them the to to do an insert, you know, with the

tune lineup and the credits on one side and the
logo on the other." And no, the logo and the tune

lineup on one side and the other side. Use the
photograph, this photograph that I put on it. Ah,

so on the other side of the insert. So here's the
logo that I that I did. Yeah, it's beautiful. I

would say I did in collaboration with my people.
Yeah, that's the logo. So here's the stroke of

unfair irony to John Pash. Pash would get 50
for his original logo. And 200 pounds later,

we now come to the third artist, graphic designer
that was involved. Ernie Sephilu claims ownership

to the original design early February 71. Sephilu
graduated art school in ' 69 and he went to New

York City to work for Madison Avenue. He worked
for a small agency and he worked with their top

client, International Paper Company. And he
was on a small project called Dolls Alive.

International Paper Company had a huge 500
salesperson meeting at the Roosevelt Hotel in

New York City. Sephilu's company was responsible
to create the theme for this meeting along with

the entertainment for all. They put together a
rockets show type with singers and dancers. They

would write 10 original songs with the lyrics
about paper. Oh, I'm just wild about paper. I'm

like a child about paper. They would create an
album for this event and Ernie was the one to

create the label design used on this album. They
would press 500 records and hand this out to the

International Paper Company and the salespeople.
Now, this concept won some awards for Ernie.

Now with this on his resume, he moves on to a
bigger one, Norma Levit. Deca was their account.

Ernie worked on the Jesus Christ Superstar album.
After this, he went to sign up with another

agency. He had to show him his credentials.
And after showing Jesus Christ Superstar,

he then said, "Oh yeah, I do have this project
also, Dolls Alive." uh is the first usage that I

did of the tongue of the uh of the lips. And when
I was in this in this meeting showing my work,

the guy that owned the agency was he just sort
of kept looking at this and we're I had all this

work spread out. He kept looking at this and
he said, "You know, I right now I'm doing a

uh I got an assignment to do the Rolling Stones
logo and and we're sort of we've been trying. We

haven't come up with anything." He said, "I really
like these lips," he said. and he took a piece

of paper off his desk and luckily I was the paper
got stuck in with a bunch of other stuff and and I

kept it. But he said, you know, this is right off
his he took a pen. He said, you know, if you take

your lips and you draw a tongue on the outside of
this, I think I could sell this to Marshall Chess,

who's the manager of the Rolling Stones. At this
time, Brun's creative director got seriously ill.

And it was really serendipitous for Ernie with
this timing. and said, "If you could go upstairs

and draw me one with the tongue outside and the
lips like that, I think I could sell this as it."

Yeah. As the um as a logo for the stones. So, I
went upstairs and I sort of took what he did. I

took what I had done a year earlier and I created
I did a rough sketch of this again, which I didn't

get a chance to do, but it was tighter than this.
And I went in and showed it to him. He said,

"Okay, great. You know, wait here. I'm going to
go. I have a meeting." And Ernie says Braun told

him just to wait here in the office while he goes
to Andy's studio nearby. That's where Marshall was

at this time. And he showed Marshall and Marshall
loved it and kept the sketch. This time frame was

around February 71. Came back a couple hours
later and I'm still there. And he goes, "Okay,

man. You got a job. You get 200 bucks and uh you
just designed the logo for this for the stones."

So I was I was really pretty month or two. I just
did this logo on everything that you could think

of because what happened was Craig got the the
merchandising rights for this logo. He gave the

logo to the stones for nothing and he got the
exclusive merchandising rights for one year. So

we did everything shirts, posters. I mean it did
these beautiful foil posters that were diecut in

that shape with foil and white and black which was
a more stylized version of what I had done. But I

actually honestly I like what he did better than
what I did because I think that he gave it mine is

very stiff. Mine is very stiff and kind of stayed
and kind of but original original but kind of

stayed and it doesn't have any the stones are very
animated. You know MC Jagger is a very animated

guy. If you had to describe him in one word it
would be I wanted to do it straight cuz that's

what you do when everything's symmetrical. But I
knew enough to throw it off so that it would catch

your eye. But what John Bashet did so brilliantly
was take it and make it animated. This is more

like this has more movement and more attitude in
my opinion. And what year? This was done uh this

was mine was done at the uh in February of 71 and
his was done I think a few months later. But what

happened was I there's so many headscratching here
as far as timing, who's saying what, who did what,

as they all have similarities in visual and color.
Now Ernie says it was his design that was given to

Pash. Then Pash did his final version. That's
what he says. Ernie has many YouTube videos

on this topic with interviews and he's very
vocal about it. So, we got John Pash a logo

considered the original and it's used for 71 for
the VIP passes at the Marquee 71 show and the UK

and international sleeve design of sticky fingers.
Craig Brawn and his team did the packaging design,

refined the tongue and used it on the US sleeve
design. Ernie Sephilu, part of Brun's company,

he added a version of this tongue logo. It was
used for merchandising like keychains, shirts and

also badges and pins. And it was used under bronze
rock creations rock creation company. This company

was bronze. It was used for merchandise licensing.
That logo that you saw on my sleeve. Yeah. Well,

it was it was early it was it was in early April
and this and the UK version came out in May. Yeah.

But whoever was in charge of like choosing
a default logo between the two of them, they

all wanted this logo that I did, right? They all
wanted it and they used it for everything for the

road, for the tours, for the advertising, all the
merchandising. They sell I don't know $300 million

a year in merchandising that logo to use. And
guess what? I never got a hapony in England. That

means a half a penny. I used to say to people back
then, I said, you know, this logo, this could be

as big as the Playboy logo someday. Right. Right.
The Playboy logo is nothing compared to this logo.

Yeah. Now, I'm not going to go down this rabbit
hole, but there is a tongue logo license and is

under Mousidor Envy, an Amsterdam based company.
It was founded by the Stones to manage their

intellectual property, the logo, trademarks, and
portrait rights. What they did was they would

fight the counterfeits and the fakes and protect
the stones. This is interesting. This is from Bill

Wyman's website. The 3rd of March, John designed
Stone's tongue logo. Brawn did not get paid for

this version of the lips and tongue logo, but
was allowed licensing of the logo through Rock

Creations for 3 years till 74. That's all the
key rings, jewelry, belt buckles, pins, badges,

watches, bags with his licks logo. John sold his
copyrights to the Stones for £26,000 in early

the8s. He did continue after Sticky, making great
contributions to rock and roll and the Stones.

Ernie created a company called
Pacific Eye and Ear. They became

a premier source for album design
concepts, imagery, lettering, logo,

and packaging from 1972 to 86. Ernie would go
on to have a fabulous career. Here you could

see just a few of the showings. His archives
are worth to check out. He did a great job.

And Brun continues, "Greg made album packaging
as a dramatic sensory experience. He also

collaborated with plenty of others. Here you see
some examples of the early '7s work heated to.

So when you compare the three lips and tongue
logos, John, you see had a shorter and wider

tongue, it's not as defined. It was not the go-to
logo, but he said to be the designer of it. Bronn

would have the tongue elongated, added black
shadowing to the highlights, the throat, added

another white highlight on the tongue, and a black
outline around the whole image. Given direction

from Brun, Sephlu would have his alterations done
with a wider mouth and the teeth are more defined.

And inside the mouth shows more black and the
black line going down the middle of the tongue.

It's thicker, always reminding me of tonsils. And
Ernie is also two-dimensional looking, not enough

depth. Regarding Sephilo, he's always questioned
about his varying accounts of the timeline. Now,

the flow of the creation of the tongue, you
would say the Jagger really initiated it,

followed by Pache and Brawn. But if you really
got to come down to it, this creation is Pache,

Bronn, Sephilu, VZ, the Missile, Aldridge, and
Mick. They should be considered contributors to

this collaboration. And nobody remembers
which Cali image was used for Mick. Brun

expanded this Sticky Fingers album from a two
to three-dimensional look. Not just for Sticky,

but for others. He broke barriers,
allowing fans to engage with the product.

In July the 8th and 9th, Mick would work with
Dr. John at his studio sessions at Trident.

This was for his album, The Sun, The Moon,
and Herbs. Mick would sing backing vocals on

this track. Where you at, mule? A typical New
Orleans blues feel. I strain though and cannot

hear Mick. Clapton Car Randall, Graham Bond,
Bobby Keys, Jim Price would play on it also.

Did you have a producer on this album or did
you do that aspect of yourself? Uh, well,

some of the tracks were produced by Jimmy.
Some of them we did ourselves. Some of them

urges engineering on. Jimmy did a lot of work on
it. Didn't do all the tracks. Did you do this one

in the country or did you do the studio? All
over the place. Yeah. Mhm. We did it uh we

did it in the country with a mobile unit. We've
got some of them uh some of them we do Olympic,

some we do in America, some are quite Where did
you work in states? We can say that we um Muscle

Shells. We did three tracks in Muscle Shells a
long while ago which we were going to bring out

as a singer but then we changed our minds which
are Brown Sugar Wild Horses and You Got to Move.

We just saved them for this album. What else? It
was between July 20th and 29th, the Stones made a

formal notification to Deca. They were finished
with their relationship and label considered to

be a Stones Independence Day, but at a cost. They
fulfilled their DECA contractual obligation and

client control publishing with APCO songs from
63 to 70. The Stones would find out painfully

that Klein's contracts left him with the lasting
financial leverage and it was apparent he won out

if it's all right applying yourself to it. You
said that for instance uh motion pictures now you

found that analysis is much more important than I
know about really about movies or acting. I mean,

it would be absurd for me to talk at any length
about either. Is there such a thing as a natural

actor? A person who is observant enough to
Yeah, I should think so. Do you think you're

that sort of a person? I don't know. I might
be. You're working with a group of young people,

aren't you? Yeah. The director, the producer,
everyone has kind of a young approach. Is it a

is there a camaraderie that is very helpful here?
Disorganization. No, I know them sort of thing.

which I'm not sure whether that's helpful or
not because I haven't made enough movies to

know whether it's groovy if you know the director
personally maybe isn't in some ways cuz I can say

ah come on the whole psychedelic thing and the
the uh approach to your kind of music is based

upon love and gentleness and understanding
is it not true I don't think so because this

motion picture and I guess the slash behind it
shows some of the violence that is involved here

right yeah it's violent I don't think our music
is um is very peaceful. We never try to make it

peaceful. Only very occasionally when one feels
in a peaceful sort of frame of mind, which is

very rare. You're frequently in protest against
the harsh qualities of life though, aren't you?

Just protest against things you see in people and
in yourself, you know, that you don't like. You

have to get rid of. Are drugs, marijuana, uh,
LST so forth necessary to the approach to your

way of life? No, completely unnecessary. Are they?
You don't need to take any kind of drugs at all,

but I mean, you can do. Have you you've been
involved kill yourself if you'd like. You've

been involved in in the campaigns for legalization
of marijuana, have you? No, never been involved in

any campaign to legalize anything. Are you in
favor of it? of of legal legalizing marijuana.

I can't see why you should put people in jail
for smoking it. But, you know, there's so many

hassles and problems, but I think I don't really
like laws like you can't do this or that. I mean,

you can't drink at 2:00 or smoke marijuana at 6:00
or sell tinned food on Sundays. Are we Are you

optimistic about the future? Terribly. And about
the future of performance? Terribly. the motion

picture performance MC Jagger and we're in London.
Thank you very much. Thank you. August 3rd is when

Mick's movie performance was released in the US.
It was taking a long while to release. The film

had both British and American sensors. They were
worried about it being X-rated or just to ban it.

They had to edit out some of the scenes. Now,
it was still an X rating in the UK in January

of 71. They ended up having to edit out scenes of
the film and reorder them just to make it work.

Since 1888, a British charity was founded to
help poor children who were seriously sick

or physically handicapped. It was called the
Invalid Children's AIDS Association. So why

am I mentioning this? Instead of attending
the US premiere August 3rd for performance,

Mick attended a public event in Chester Square for
this charity. He was showing support and he also

presented a raffle prize. Going to take a step
back to March 70. It was in March that the Stones

were laying out their 1970 schedule and plans and
confirming the steps to move ahead. A tourist plan

for Europe and they have internal talks about
which cities to go to. They start communicating

with tour managers, booking agents to find
venues and the logistics. Also, at that time,

they were initiating their plans to part ways
with Klein and Teka and make sure the legal side

of this tour is not tainted by them and to build
a new company. In April of 70, they were narrowing

down a draft of tentative cities and venues.
Also, they discussed ticketing, the regulations,

stage setups with the European promoters. In May
of 70, the Stones management officially informs

promoters the dates and the logistics. They decide
July is a good time to start rehearsals and the

set list is a hot topic as they're releasing
Get Your Yaya Out on September 4th, 1970.

In June, the venues are decided, completed,
contract signed. They need a rehearsal time and

location. The tour dates are publicly announced.
And to let the fans know, the primary work was

done locally through press and fan magazines. The
stage and sound system is also organized. In July,

promotional items are organized for the tour.
final rehearsals, hotel equipment being shipped

are all confirmed and in action. They rehearsed
in several locations August 5th to the 29th. One

of the locations was about a half hour south of
London in Mortyn Surrey. The actual rehearsal

locations not really identified 100%. They also
rehearsed in London. That would be in Burmanzi,

London. If you remember in ' 68, they
purchased or they leased a warehouse,

47 Burmanzi Street. They use this during the Let
It Bleed sessions. Here is some footage inside

the rehearsal studio with Brian. This is from
Catching Fire, the story of Anita Palenberg,

late 68. August 27th and 28th in central
London. They would also rehearse at the

LYSM theater. A huge step is hiring Bobby and
Jimmy on horns. They were busy with Derek and

the Dominoes, but that fell apart. And
the logo was not used for the 70 tour.

I feel it's very important to stay in the world
and do things. But on the other hand, death and

dreams are another thing that if I really that's
what I really like to do is just go off there. Off

where? Into death. But you can't do that. It's
very wrong to take to make your own death. Your

death is is when you get it. But it I think it's
a it's a beautiful thing that it's such a relief.

I mean, just imagine if there wasn't any death.
Now, before we go into the European tour, it's

time to bring in the song that's been in the oven
for a bit. Sister Morphine, written in 1968 and

69. Maryanne felt her pop songs and lyric writing
had left her, and after 67, she lost interest.

She did admit she was envious of Mick and Keith
and their progress. She'd wanted an attempt to

make a new song. Now, with Maryanne at this
time, she only tried heroine once. Now, when

she wrote the lyrics, she was not a junkie. In her
autobiography, she would say the lyrics were in

her head. She thought deeply about her feelings,
about what it might be like as an addict.

Sister Morphe. When I sing it, I actually
have a visual in my head and I see it's like

um bits from my own sort of movie in my
mind. I I hear the ambulance. Whenever I

sing the line about the ambulance, I have
this this sort of feeling and this picture

of hearing it and being driven to hospital.
But I obviously couldn't hear it because I

was unconscious. Mick Jagger had this song as
a tune. He was playing it in the house when

we lived together and it had no words. And then
one day I just decided I was going to write it.

You see that my pain is story of a
man who had a terrible car accident

and he's dying. He's in tremendous pain.
The lyrics are being presented to a nurse.

All the other patient say they've never seen a
man with such pain. In her book, she hits the

nail on the head regarding lyric interpretation.
She says, "You have to be careful what you write

down because it's a gateway and whatever it is
you've summed up may come through." It happened

with Mick and Keith. Maryanne started her lyric
writing in Rome, Italy early 68 with Mick, Keith,

and Anita. She was doing her experimentation with
opiates and sedatives. Mick was constantly playing

a riff there he had in his head for the last 6
months on acoustic. He was not sure lyrically

where it could go. The song was in a minor and
those who know about chords know that this chord

leads to a sad and dramatic song. The chord
structure Mick was playing built a story for

Maryanne in her head. She claims that the 17th
century English poet John Milton's lysus story

that had inspired her. a poem about the death of
his friend that drowned when a ship sank in the

Irish Sea in 1637. Maryanne mentions that she was
playing a lot of Velvet Underground continuously

and believe this sunk in on her head for
inspiration drug references and its implications.

What has always stuck in my mind was why use
the word with sister and morphine? The Greek

god Morpheus is the god of dreams or sleep. Does
it mean that it's the nurse? She the sister that

soothes the patient in pain and feeling he's
dying. There's something Edgar Allan Poe about

it. Dark. It's almost romantic in its sadness. But
Sister Morphine, it's not just a gothic drama. It

feels intimate, painful, like someone is quietly
asking for an end. As usual, the lyrics can be

interpreted in several ways, but chalk it up for
Maryanne, hitting this one on the gothic head. One

that is a sombering listen to and not played
at a festive family holiday dinner for sure.

Now let me confirm some fabrication for the line
all the clean white sheets stain red. This was

written in July 68 approximately. It does not have
to do with Anita Palenberg on their Brazil trip

later in December 68 where they thought Anita was
seasick but found out she was pregnant with Marlin

and ending up to have a doctor visit her when they
got to Rio. This line was part of the original

song. Maryanne's lyrics just came out smoothly as
Mick wrote the music. Mick did encourage Maryanne

to keep making albums during the beggar sessions.
Now before some purists insist and say how Mick

says how she wrote a couple of the lines
and not sure which ones, it is generally

believed Maryanne expanded on certain lyrics of
mix. More to follow on these thoughts though.

In July of ' 68, when the Stones were working
on the beggar sessions, Mick took the time out

in LA to gather Charlie, Ry Cudter, Jack Nichi
to record Sister Morphine at Electra Studios.

It was an instrumental version. And note
who is on bass and a mistake often made,

Bill would do overdubs for his bass portion for
the Stones version. And in Rock and Roll Circus,

December 11th and 12th, 1968, Maryanne was to sing
Sister Morphine as a promo, but it was declared

that the song was just too risky to play. So,
Maryanne would sing Something Better instead for

her single. Maryanne and Mick would do the final
vocal overdubs early 69 at Olympic in London.

So, a release single, Something Better in the
Bside Sister Morphe in February of 69. It was

out only for two days. Deca had a panic attack
and it freaked out and pulled it off the shelves.

Maryanne got no explanation or apology and Mick
would visit the head, Sir Edward Lewis, and give

his thoughts. Mick got nowhere. It was found out
that Deca pulled it due to a drug reference. Must

have been secondary complaint as why was it
given an approval for a release and get the

go-ahad? Needless to say, Maryanne not only had a
devastation in November of ' 68 of a miscarriage,

but now this. This single was to be jointly
combined with her greatest hits album that

was going to be released during ' 69. Sister
morphine was put on the aside in some countries

like Holland, Italy and Japan. And again, it
was written out of my direct experience. Um,

and it's the direct experience that gets
me through it because I know I can sing

sister morphine. I wrote it. It belongs
to me. I I it's part of my my stuff.

We have here a version that
the Stones made February or

March in 69 at Olympic. And we get
a lyric difference the second line

which Mick in this early version
pleads please instead of tell me.

I am coming round again.

Oh, I don't think I could wait that long.

This version, you'll clearly hear
Keith taking over with the guitar,

not Mick. We hear Nichi's piano come in on this
second verse. As you'll see on the right side,

a verse that's not included in the studio cut,
but was played here and Maryanne did include it.

All the other patients said
never seen a man with such pain.

Tell me sister M when are you coming round again?

Rye comes in in the scream of the
ambulance and Bill's base. Also,

the scream of the ambulance is sounding in my ear.

Hey, Sister M. How long have I been lying here?

No reverb yet. It's very dry. Some
of mix enunciations are not made yet.

And just when we hear just goes to show
you, we hear Charlie for the first time.

It just goes to show things
are not what they seem.

Hey sister turn my nightmare into dreams

for the sweet cousin line. He does say please
instead of sweet. Mick says, "Lay your cool

hands on my head." Does not say hand. Just
some very subtle differences here. Please

lay your hands on my head. This was
the Stone's first shot at the song,

leaving it unfinished and shelved.

Us deep fans can just shake our head in awe of
this early take. It's not certain who brought

or suggested this song to be resurrected for
Sticky Sessions, but the song's full presentation

and its demeanor fits the package and direction
that they were headed for. The song spans March

70 to March 71 in the timeline. At Olympic in
March to May 1970 is when they open the door to

it again. Mick was working on his vocals.
Keith overdubbing with acoustic. The song

arrangement and structure is given a refinement
and Jimmy Miller starts planning his ideas for it.

In June to July, still at Olympic,
they did similar refinement, editing,

and figuring out how to layer what was
needed, the mixing ideas. In October,

in the fall, the final arrangements and
deciding that this one's a keeper for the

album. January to March in 71, the final stages
of cleanup, mixing, and maintaining the song.

You see the song's first 57 seconds
have Mick and Keith. Then we hear Ry,

the scream of the ambulance. At the 105 mark when
Mick lengthens scream of the ambulance giving us

an enhancement of this mechanical warning horn as
Ry interplays with Mick. At 125 comes Bill and we

hear the chilling line, "Why does the doctor have
no face?" which perfectly captures a druginduced

hallucinatory delirium. Why does the doctor have
your face? One of the best lines of this song. It

gives you such a visual. At 204, I always thought
he was saying, "I'm not trying to scold." Yes,

it's trying to score. Makes sense now, especially
with the reverb at the end. I'm trying to score.

But this displays Jimmy and the band's
brilliance. 212 we get Charlie first bass

drum and he continues on. But let us address
that white elephant at 217 mark. The sound I

really just accepted but I never question.
What is this? Yeah, it's that sound behind

the slide. The one you hear. Yes, that
one. But you can't describe what it is.

It adds another Jimmy Miller superior layer to
this esoteric feel of the song. I found deep in

the heart of geekness. The sound source instrument
is most likely a piano, but it's pulled through

an echo plate reverb. It's called a wet signal.
It's generated by Jack's piano post production.

I talk about the echo plate in my part two. It
gives some eerie sounds and I always had put it

aside. It really is the true sinister injection
of this song. Aside from the eerie ry slide,

the echo play piano reverb is heard clearly at
350 right after cocaine and then continues on.

Sweet cousin cocaine lay a coo hand on the head.

Is this a mixed mistake that
he caught himself at 4:31?

And that outro is wonderful. A
jam and Charlie driving it all.

The song is a masterpiece like they
all are. I'm going to end with some

deconstructing and I think you
will enjoy the sounds of these.

Heat. Heat.

Hey,

hey,

hey.

Heat. Heat.

Heat. Heat.

in my heart little bit.

Tell me sister when I coming around again.

Oh, and I don't think I can wait that
long. And I know in the morning I'll be

there. Yeah. And you can sit around. Yeah. And
you can watch all the clean white sheets stay.

That brings closure to Sticky Fingers part
four. Part five will continue on with the

Europe tour. the recordings in the fall
and a few of the songs left for the album,

the UK tour, the release of the
album. We'll see you next time.

Oh,

heat,

heat.

Heat. Heat.

do

it all around you.