All language subtitles for ROLLING STONES - Recording of Black and Blue

On December 16th, 1974, the Rolling

Stones officially announced the

departure of Mick Taylor. Taylor had

been brought in after Brian Jones had

faded away. Not that he replaced him.

Jones would forever remain

irreplaceable. He defined the Stone's

early sound. Jones multi-instrumental

brilliance was like rocket fuel for the

band's evolution.

The instruments he used didn't just

decorate the tracks, they transformed

them. Jones had an incredible natural

instinct for choosing the perfect

instrument to elevate a song's mood. In

other words, he could turn a good song

into a great one. Mick Taylor's

technical guitar work had brought depth

and sophistication to the Stone's

compositions. But his departure left not

only avoiding the Stone's music, but

operational difficulties, too. The

sessions for Black and Blue had already

been booked. A world tour was planned.

In Ke's words, Mick had left the group

in the lurch.

It was quite literally days before they

were to start recording for Black and

Blue. Taylor had quit. Mick and Kee

decided to use their next album as a

live audition for Taylor's replacement.

The sessions will be used to rehearse

possible guitarists while at the same

time cutting tracks.

Wayne Perkins, Harvey Mandal, and Ronny

Wood would all record guitar for various

songs on the album. The idea was whoever

gelled best with the band and created

the most interesting guitar got the job.

They needed a guitarist who felt like

family on stage and in the studio. Keith

later joked the Black and Blue album was

just a rehearsal for guitarists.

Ronny Wood, due to his skill, charisma,

and above all chemistry, was chosen to

replace Mick Taylor. Now, for the first

time since Brian Jones left, Keith had a

musical partner he could practice the

art of guitar weaving with.

Brian had practiced an early form of it

with Keith. The two had created a unique

sonic technique. Two guitars playing

rhythm and lead so fluently, it became

difficult to tell who was doing what.

Keef now redefined the technique with

Ronnie. With Brian's guitar playing,

there was an emphasis on being

decorative. used the instrument like an

emotional paintbrush, creating textures

and moods. He wasn't just playing parts,

he was adding sonic colors. Because of

these reasons, Brian could only go so

far with the art of guitar weaving.

Ronny Wood style, however, rooted in

rhythm and groove was tailored for the

art. He was not adding colors. He was

responding to riffs with his own

finishing phrases, an emphasis on

interplay, like a two-way conversation

that could go in any direction. McDall's

guitar work had the sole intention of

elevating the sound rather than coloring

or responding. The result, he would

carry the songs to a climax. The free

guitarist's personality all came out

directly in their playing. Brian

self-absorbed but with innate curiosity.

It enabled him to look at Ke's riffs and

find an emotional tint no one else saw.

McTaylor detached, but a keen observer.

He had no intention to wrestle Keith's

groove, but to uplift it, though with

careful, structured elegance. If Brian

was an impressionist, Mick Taylor was

creating oil paintings. Ronny Wood was

totally grounded, reactive, a

conversationalist.

He didn't come to decorate or uplift

Keep's riffs. He came to connect with

them. He didn't just compliment the

work, he completed it. He carefully

filled any spaces Keith left open with

no intention to outshine. Ronnie was

joining the journey rather than

hijacking it. This year would see

auditions for the future guitarist of

the Stones. A controversial PR move

would go down in history and the Stones

would enter the beginning of a new era

for the band. This is the story of the

Rolling Stones, Black and Blue.

>> Do you ever think what would have

happened if you had graduated from the

London School of Economics and become an

economist?

>> I would have given it up, I should

imagine, in about a year ago.

>> By late 1974, Keith's drug use saw him

watched by law enforcement constantly.

When walking in Rotterdam, he'd notice

policemen in the trees with binoculars.

And as silly as it was, it was also

serious. Keef decided he and Anita

should only venture out at nighttime. He

was now living a cat and mouse game. And

whenever he traveled, he was stopped,

searched, and questioned. With the

sessions for their next album, Black and

Blue Booked, the group suddenly found

themselves in a difficult situation.

With Mick Taylor's unexpected departure,

the shock seemed to bring Mick and Keith

back together. They had been drifting

apart both musically and personally. Now

they had reignited their friendship.

They would be auditioning for a second

guitarist. Thus, they needed to be

present, engaged, and more especially

aligned.

They now wanted full authorship over the

sound. And so, after years of working

with producer Jimmy Miller, they decided

to produce the album themselves. Of

course, they would employ studio

engineers to cover the technical aspects

of mixing. Ben John's would return along

with Phil McDonald who'd worked on most

of the Beatles records and two seasoned

pros Keith Harwood and Lou Han. Glen

John's was delighted the Stones were now

back to recording as a small tight

group. He stated it was like going back

to the beginning of the original team,

only without Brian.

John's looked back on this album as one

of his favorite times with the Stones.

He later stated, "I enjoyed the Black

and Blue sessions immensely. As ever,

for tax reasons, they would not be

recording in England. Instead, the

recording sessions will be split between

three locations. First starting in

Germany, then moving on to Rotterdam to

continue auditions, and finally ending

in Switzerland for mixing and

overdubbing.

As for the music itself, the stone sound

would again be reimagined with a mix of

funk, reggae, and soul all included in

the album. On the 7th of December,

recording for the album officially

began. They actually laid down two songs

at this point. Act together and I got a

letter. Neither will or make the album.

At the same time they're going through

these songs, Keith sends Mick Taylor a

telegram. It reads, "Thank you for the

last 5 years. It's been a pleasure

working with you. In truth, Mick Taylor

had met the same fate as Brian, Charlie,

and Bill in that musical input would not

translate to music royalties. The

difference was he was not about to put

up with it. Not only that, he believed

the Stones were on their way out, dying

on their feet. He later stated, "I

didn't think they'd stay together. The

records were doing well, but the band

was falling apart. It was chaos." Taylor

figured it logical to get out while he

still had a good reputation.

Word went around the musical world he

was starting a new group with cream

singer Jack Bruce. He never did, nor did

he make any significant contribution to

music again.

On the 12th of December, the first song

they begin that will feature on Black

and Blue is Mick's soulful number Fall

to Cry. The song was a rare glimpse at

Mick's other side, a vulnerable father

and misunderstood sovereign. The story

follows a man overwhelmed by life. His

daughter, lover, and friends witness his

sadness, to which they remark, "He's a

fool to cry, albeit in a comforting

way." The recording of the song now

starts the official hunt for the Stone's

second guitarist. The first to be

auditioned was an American named Wayne

Perkins. he'd previously recorded with

Joanie Mitchell and more impressively to

Kee Bob Marley. He and Kee play some

understated guitar on the song. Keef

makes use of the waw wa for the rhythm

and Perkins takes the lead. Keef later

stated he liked his playing, but he had

doubts whether he could fit in. He

wasn't sure Perkins could one live with

them and two get their sense of humor.

The song Gling John's later stated was

one of his favorites. On this day, while

they were recording Mick Taylor's

departure from the group, was officially

announced. 2 days later, they begin on

the next song, a cover titled Cherio

Baby. A reggae song. It was Keith's

Choice, who is still listening

obsessively to the soundtrack of The

Harder They Come. Charlie later stated,

"The reggae influence on the songs on

Black and Blue came primarily from

Keith. Mick though was certainly into

reggae. I had all those records in

France when we moved there and when we

recorded tracks for exile on Main Street

at Keith's house." The story follows a

man's plea for affection from a woman

who's emotionally distant.

The song Ronny was next to audition. He

would be adding guitar. During this

period, Ronny's wife Chrissy was having

an affair with Jimmy Paige and he was

currently staying in LA. He was actually

sick in bed when they contacted him. The

smark in those days made him feel awful.

They contacted him and he booked a

flight over in the next 3 days. Keith

liked Ronny's playing, but his only

minor concern was that Ronny's playing

was too close to his own. Ronnie would

later report seeing others around Munich

auditioning for the part. He even said

he wouldn't saw Eric Clapton who told

him, "I'm a much better guitarist than

you." Ronnie responded, "I know, but

you've got to live with these guys as

well as play with them. There's no way

you can do that."

Next, they began on the second cover

song, Heatwave. Though, this will never

actually be included on the album. It

was originally recorded in 1963 by

Martha and the Vandals. The story is a

simple tale of love induced frenzy. The

narrator overwhelmed by passion

describes the feeling as a heatwave. For

the song Jeff Beck of the Yard Birds was

to audition. Not that he was told it was

an audition. He got a call saying the

Stones would love for you to come and

play some songs with them. Beck believed

he was just helping them out with their

album. Now Mick Taylor had left in short

notice. When he arrived, he didn't see

the group for 2 days. Instead, he

arrived to sing stacks of guitars with

different names on them. This confused

Beck. He later stated he thought, "How

many guitars does Keith need?" After

that, he was broke the news he'd

actually been invited to audition to be

in the group, and the Stones had

cancelled further auditions. They played

together on some tracks, but Beck

declined the offer to be in the Stones.

Firstly, he didn't want to be involved

in the chaos. Secondly, the music wasn't

challenging enough for him. And thirdly,

he didn't think he and Keith would get

on. He later stated, "Keith and I

wouldn't have gone through an album

without punching each other out." Of the

audition, Keith later stated, "He was

not a team man. He was a soloist to the

max." But he also added, "He was one of

the best, man. I was always amazed by

the stuff he did with his tremolo bar."

January 22nd, they begin the next track

titled Crazy Mama. The story follows a

volatile relationship in which the

narrator refuses to be either controlled

or intimidated.

For this track, nobody auditioned. The

guitar parts were covered by Mick and

Keith. Song features Keith's signature

open G tuning and he would also play

bass and piano on the track. The entire

song was written in the studio, lyrics

and all. Mick later stated it had just

came to him. The next song they begin

titled Melody is similar in story to the

previous song. The story follows a man's

volatile relationship with a woman named

Melody. She drinks, disappears with his

best friend and steals everything he

owns. Ronny Wood returned not to add

guitar but backing vocals. In fact,

there was no guitar added. Billy Preston

features on the track playing piano. He

also contributes some vocals with Mick.

Mick later described the track as a

Billy Preston song, adding it was not

really a Rolling Stone song. Lyrics were

improvised in the studio with Jagger

inspired by Preston's presence.

According to Ronnie Wood, Billy Preston

was later angry about the track, feeling

he wasn't recognized for his

contribution.

The next song they begin is titled Hand

of Fate. The story follows a man on the

run after committing murder, possibly in

defense of a woman. As the story

unfolds, it seems he knows his capture

is inevitable. Mick later described it

as a chopped up narrative about a

southern murder. It's better than

singing about ordinary things. He then

finished by saying, "It's about someone

whose woman you take and he decides to

take her back."

Wayne Perkins again played on this

track, taking the solo. Ronny Wood also

added backing vocals.

Now over two months since the sessions

began, on the 30th of March, the Stones

begin recording their next song, Hot

Stuff. Heavily influenced by disco and

funk, the story is simple. It follows a

narrator craving fun and connection. for

the session. Guitarist Harvey Mandal was

next to audition, playing lead alongside

Keith's rhythm. It was actually Mick's

idea to bring him in. Mandal later

stated, "Mick was leaning towards me.

Keith wanted Ron Wood to keep it all

English." Next, they begin on Memory

Hotel, a 7-minute ballad. The story

follows a man who spends a lonely night

at a motel with a woman. It's a metaphor

for something that's gone that can't be

reclaimed. The name is inspired from a

real place called Memory Motel in Long

Island. Mick had stayed there. He wrote

part of the song there and finished it

later. Harvey Mandal and Wayne Perkins

both played guitar on this track. The

final track they begin titled Hey,

Negreita was actually a popular term and

pet name Mick called Bianca. Mick later

said the song was about a southern

American street worker and a poor man

trying to negotiate a price. Ronny Wood

again played on the song. He later

stated he believed after he began

playing the song with the group, the job

was his token. The top contenders for

second guitarist were Ronny Wood and

Wayne Perkins. The only problem was Ron

was still a member of the faces. They

now carefully planned their next move.

On the 14th of April 1975, it was

officially announced Ronnie would be

touring with the Stones, but he was

still in the faces. News was also

circulating Ronnie was becoming closer

with Keith and the two would spend time

at Wood's London home. At this point,

Ronnywood's house was raided by the

police. They didn't find Ronnie, though.

He was still in Munich recording. They

did, however, find cocaine and cannabis.

Keith later stated he believed the

police were after him and Anita and as a

bonus would bust Ronnie.

The end of April, the Stones traveled to

the States in preparation for their

tour. The only issue was due to his drug

convictions, Keith was denied a visa. No

visa meant no Stones tour. Mick was

forced to step in. He went to the US

Embassy in London and spoke to the

American ambassador.

Off the record, the man agreed with

Mick. If Keefe was examined by the

embassy doctor and found to be free of

drugs, the visa would be granted. Mick

came back to Ke with the news. And so it

was time for Keith to return to the

rehab clinic in Switzerland to detox.

When he cleaned up, he took a flight to

London and went straight from the

airport to the US embassy.

He was examined, found to be clean, and

issued a visa. At the soonest

opportunity, Kee stocked up on

substances.

Keef took a flight to New York and

stayed in a hotel while tour plans

began. On the 1st of May, instead of

holding a press conference to announce

their tour, the Stones decided to

perform Brown Sugar on a flatbed truck

driving through the streets of New York.

Leaflets were tossed to the flocking

crowd that detailed their upcoming tour.

The idea was actually suggested by

Charlie Watts and would go down in rock

history.

>> Unbelievable, said one young woman

walking down the street. It's really

them. Without notice or pre- publicity,

the Rolling Stones rolled down Fifth

Avenue towards the Fifth Avenue Hotel

where they were to hold a news

conference. It had to be the first time

the Stones have given a concert from the

back of a flatbed truck and one of the

few they give for free.

>> They ran down the street and saw MC

Jagger.

>> Yeah, I couldn't believe it. I still

don't believe it. Why the hell do they

allow it?

>> You live on Fifth Avenue here.

>> I live on 12th Street.

>> What do you think about this?

>> I think it should not be allowed. It's

against the law.

>> Everybody seem to be enjoying it,

though.

>> I don't think so.

>> No, you didn't enjoy it.

>> Of course not. Do you

>> Did you enjoy it?

>> Yes, sir.

>> I'm very sorry for you.

>> The Stones launched their American tour

June 1st in Baton Rouge, Louisiana.

Until then, they'll be rehearsing

somewhere upstate. The location is being

kept secret for security reasons. As the

Stones tooured across America, the group

released a compilation album titled Made

in the Shade and Mick turned 32 years

old.

When the tour finished, Keith headed to

LA to reunite with Anita. She fell

pregnant shortly afterwards.

They were very excited. I remember Anita

thinking it was a sort of new lease on

life. It brought them together more

obviously for a short period of time at

least. for him. You know, the more the

marrier, really.

>> Mick went on holiday with Bianca to

Ireland, but things weren't going

smoothly. In the later months of the

year, Mick tried to patch things up with

Bianca. She was in a deep depression

over the state of their marriage, and it

came out through passive aggressive

behavior towards Mick.

>> You have to draw a line between dragger

form and drag a person.

>> And I do.

in response to Mick's numerous affairs.

She'd also began having an affair with

the actor Ryan O'Neal.

It had started ever since he began

filming Stanley Cubrick's Barry Lindon

and was therefore spending a lot of time

around London. O'Neal was also at this

time having affairs with three other

famous women.

As the year came to a close in December,

Keith turned 32.

And after months of guesting, Ronnie was

finally named an official member of the

group. At this point, the faces had

broken up and Rod Stewart was putting

his efforts into a solo career.

According to some sources, Rod Stewart

felt it was pointless the faces continue

with Ronnie on constant loan to the

Stones.

As 1976 began, Black and Blue was being

mixed in Atlantic Records. At the same

time, Mick bought another house in

Manhattan. In February, the cover

photograph for the album was shot.

Santael, Florida was chosen for the

location. Picture features a close shot

of Mick, Keith, and Bill Wyman with a

blue sky and sparkling sea in the

background. The back cover features

Charlie Ronnie and when opened fully

displays one fully formed picture.

A month later, Anita gave birth

prematurely to another child, a son they

named Tara. Black and Blue was released

a few weeks later. It was seen by many

as lacking the emotional depth of Exile

or Sticky Fingers or even their previous

album, It's Only Rock and Roll.

To launch and promote the album, a

poster was released showing a woman

bound and bruised sitting on the album

with the caption, "I'm black and blue

from the Rolling Stones, and I love it."

It would go down as one of the most

controversial ad campaigns in rock

history. The intention was to be edgy

and provocative, but many took it as a

glorification of violence against women.

Feminist groups led protests and

demanded its removal. Five women defaced

one of the billboards, writing, "This is

a crime against women in red paint." As

a result, Atlantic Records buckled,

remove the billboards, and scrap the

campaign.

The Stones had started the year with a

potential crisis. No guitarist,

recording sessions for the next album

beginning, and a tour looming. In a

genius move, they used the time they

spent making the album to audition a

replacement for Mick Taylor while laying

down new material. Ronny Wood had

clicked immediately. In truth, Ronnie

had always dreamed of being in the

Stones. His style, his personality, it

made him an easy choice. He could fall

into the position with ease. The Stones,

however, didn't realize how wise a

choice Ronnie was. Mick and Keith would

soon enter their most volatile years.

Lonnie would be the glue that held them

together. His role went far beyond the

duties of second guitar player. He would

be the diplomatic voice. When tensions

came to a head in the 80s with Mick and

Keith refusing to talk to each other

during sessions, Ronnie would even

orchestrate phone calls telling either

man the other wanted to speak to them.

It became almost like his mission to

keep the stone seaorthy in a ship rocked

by ego, addiction, and ambition.

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