found this radio program, maybe dated end 67 or early 68

[digital.library.unt.edu]

I'm still listening to it but in the first track, during the MJ interview at the Olympic Studios, there is a backing track. Can be the band rehearsing? or just a unidentified music added?

Don't know what the tune is, but I'm just listening to part two: "Jagger and bass guitarist, Bill Wyman, had jammed together in some 1962 recordings by the short lived "Eric Clapton Band",...... the roster included Jimmy Page on second guitar....... on occasions Mick and keith sat in with Alexis Korner's band, Korner' s, pianist was Charlie Watts...!!!!!
Who wrote this crap?


"As we say in England, it can get a bit trainspottery"



Edited 1 time(s). Last edit at 2012-02-15 16:46 by Deltics.

This is a program made by John Gilliland of the KRLA radio station. it was broadcasted in february 69; there are some nice interviews to Mick and Brian.

Here is brian on TSMR: [digital.library.unt.edu]



Edited 1 time(s). Last edit at 2012-02-15 18:51 by straycat58.

Quote
straycat58
This is a program made by John Gilliland of the KRLA radio station. it was broadcasted in february 69; there are some nice interviews to Mick and Brian.

Here is brian on TSMR: [digital.library.unt.edu]

__________________________________

Thanks for posting.

My assessment. The radio show from 1969 itself is mediocre. BUT it contains very, very important content that I certainly have never heard -- about 1967-68 -- don't know whether others have. Namely how much Brian expounds and gives his opinion.

It's all Brian and Mick. No Keith.

And Brian and Mick are not in the same place at the same time. Literally--but also figuratively. They talk about Satanic Majesties quite differently, as we all might imagine would be the case, but to hear them back-to-back is extremely telling, and underscores the radical parting of ways ideologically and musically at that time.

And you can infer the power struggle. Brian makes suppositions and assertions about the direction of the band that are most certainly his own, at this point. But he is speaking for the band.

Again, this is several separate interviews they gave on roughly the same topics.

These recordings are a little frustrating because there's no time bar, so I can't say, queue for Brian at, say, minute 1:16.

The link above is PART 2 of this show. I didn't look for PART 1, but I may eventually. There are 7 Tracks within PART 2.

Here's my reportback of PART 2

Track 1: Beatles (I skipped)

Track 2: Stuff about Sgt Pepper's. Reprise of theme. Narration. Snippet of Brian at Monterrey Pop--Brian reflects the Beatles' opinion at the time that recording--not playing live or touring--is where it's at. That they can reach their fans more authentically through studio work. Very Beatles point of view.

Brian: You see, at the moment our important work is to be done in the studio rather than tracking baseball halls and stadiums and things around the country....people have seen it, and it's questionable what's to be gained by going around again. But there's a hell of a lot to be gained from letting them share our progression, because we are progressing musically very fast.

Common studio version of Ruby Tuesday

Narration mentioning Between Buttons and Flowers

Common studio version of Let's Spend the Night Together

More Brian

Brian: I did a Beatles session the other night, actually, on soprano saxophone...[narration steps all over his words]. Now there are soprano saxophones on the Stones records, a future Beatles record, and it's a funny thing -- you get hold of something and then put on everyone's record. It's great. It's a a very nice recording scene going on in London right now.

Mick from Jan '68 speaks about the Stones sometimes don't see each other for months, and they're in one of those phases now - talks about 1967 where they were "playing a lot and doing lots of things together and it made for some very interesting scenes."

excerpt of Take It Or Leave It

Question on rumor of Stones and Beatles recording an album together.

Brian: It would be--at a certain stage--it would be a very nice thing. We are getting very close, as far as work's concerned. Whether actually....we could...well. we COULD work something out together. From one point of view it might not be a good thing. Because our direction is slightly different from theirs, and the lack of distinction...because of the joining up of the two...might be lost. That's the only thing that could spoil it, I think. But there certainly will be "schemes." We spend an awful lot of time with each other now. And we've got a lot of mutual ideas. As I said, I did this Beatles' session, Mick's done Beatles' sessions and various things. Paul's done a couple of ours--and yknow it's already happening. Yuh. And that's not a bad direction.

Except of We Love You. Very brief mention of the Stones sitting in on All You Need Is Love.

That song is played in full. George Martin talking about the recording of it (nothing new).

Listened to some of Track 3 - songs from Between the Buttons - Mick makes some comments.

Skipped Track 4 - Beatles

Track 5: more Brian at Monterrey Pop

Brian: I'm just here for a very few days, just a little break from recording and everything.

Interviewer mentions the "court case"

Brian: Everything's gonna be all right. But the big job at hand now is to get the LP done. And we're spending an awful lot of time on it this time. It's more of a "production." We've really put some thought into it...because people are still liking our albums, so we're trying to give them something that will take them on a stage further, so they'll take us a stage further.

Excerpt from Satanic Majesties.

Brian speaks about the album in January 1968 - makes a fascinating observation about what precisely is interesting about Satanic Majesties - saying when people look back at it in the future, it will tell them exactly where the Stones were at in that 1967 period--

Brian: It's really, like, sort of "got-together chaos." Because we all panicked a little, even as soon as a month before the release date that we had planned, we really hadn't got anything put together. We had all these great things that we'd done, but we couldn't possibly put it out as an album. And so we just got them together, and did a little bit of editing here and there. Very little actually. We just sort of strung them together with more instruments on top and voices and everything, and they really worked. Because whatever people might think about that album, I think it's very valid as a comment on the Rolling Stones as they were in 1967.

Mick makes short comment on Satanic Majesties - with the best part being

Mick: And we had a lot of problems, and they all came out in the album. Problems on the album and problems on everything. So we just kind of made this album which sounds like sort of an elucidation of a problem.

Brian: We really did have a tough year with one thing or another. Brought about by, well, you could call it persecution if you'd like, or you could call it personal misconduct and the consequences thereof. However you approach it and however it is acceptable to other people to...

Mick: I don't think it's very lasting to us. The music was it's very groovy but I think we can do much more interesting things now.

Excerpt of She's a Rainbow.

I ran out of steam in terms of transcribing, but Mick says their process for Satanic Majesties was exactly the opposite of how he likes to work.

Brian says in another interview it was wonderful, and they actually "need to get back into orbit."

Excerpt of 2000 Light Years

Closes with Brian--

Brian: It's almost a non-album. You know what I mean? [half-sings] Negativity don't pull you through. [says with emphasis] Negativity *don't* pull you through. Really. You gotta get back in there. And sort of, as I say, revolve around the reality that we know is there. We know it's very important to be able to comment on it, and to see it. We can't get so far out...that's just a one-way journey to flipping out. That's no good.

[end]

I skipped
Track6 - Preview
Track7 - Credits
----------------------

The shows dedicated to the Stones are: 30.38.39,46,54

Would be interesting to know the exact dates of all these interviews.



Edited 1 time(s). Last edit at 2012-02-16 15:27 by straycat58.

Quote
straycat58
found this radio program, maybe dated end 67 or early 68

[digital.library.unt.edu]

I'm still listening to it but in the first track, during the MJ interview at the Olympic Studios, there is a backing track. Can be the band rehearsing? or just a unidentified music added?

Mick is interviewed at R.G. Jones rehearsal studio in Morden. The music you hear is of them jamming there, obviously recorded by those doing the interview. Much like Keith Altham did as heard on Surrey Rehearsals.

Quote
Deltics
Don't know what the tune is, but I'm just listening to part two: "Jagger and bass guitarist, Bill Wyman, had jammed together in some 1962 recordings by the short lived "Eric Clapton Band",...... the roster included Jimmy Page on second guitar.......

Got the date wrong there, but he's talking about the Immediate Records album(which is playing in background) in which Andrew got them to overdub drums etc on to some home recordings by Clapton and Page.

[en.wikipedia.org]

Quote
straycat58

Here is brian on TSMR: [digital.library.unt.edu]

He sounds rather wasted there eh!?



Edited 2 time(s). Last edit at 2012-02-16 15:58 by His Majesty.

Brian interview for Beat Mag. July 15, 1967:


BEAT: Can you comment about what’s happening this weekend in Monterey?
BRIAN: Very groovy scene. We’ve been very busy recording. I just came away for a few days and it’s so nice to get on someone else’s scene. It’s a very beautiful scene happening here.
BEAT: A lot of people have been sort of critical of this kind of happening in this country. The uptight people.
BRIAN: They’re frightened of trouble but I don’t expect any trouble, do you? It has been wonderful. I have been walking freely amongst everybody. Yesterday I was walking through and joining rings of kids and fans. You know I’ve never had a chance to do that much before. People are very nice here. I like it.
BEAT: Would you like to see this kind of thing happen all through the world?
BRIAN: We have had one in London and there are going to be more. But of course it should happen. I think it’s wonderful. The new generations expressing itself. This is one way of expressing itself.
BEAT: Do you like what’s happening with the new generation?
BRIAN: Yes, very much. There’s lots of hassles but things always have to get worse before they can get better. There are mistakes on both sides.
BEAT: What about the Stones – what’s happening with them?
BRIAN: We record practically all the time as the Beatles do. We just got about a week off so I came over here with Andrew (Andrew Oldham, Stones manager). The others have sort of split to various places, I think, I’m not quite sure. But nobody seemed to get it together to come over here. I wish they had ‘cause they have missed a very nice scene.
BEAT: What do you think about the Beatles new album?
BRIAN: It’s great. It’s too much. It’s really good. I did a Beatles’ session the other night, actually. On soprano saxophone, of all things. I’ve taken up playing reeds again. I used to play reed instruments. I bought a soprano saxophone the other day and ever since I have been doing sessions on it. There are soprano saxophones on the Stones’ records, future Beatle records. You know, it’s a funny thing – you get hold of something and put it on everyone’s records. It’s great. There’s a very nice recording scene going on right now in London.
BEAT: There have been rumors that the Stones and Beatles are going to record together. Could you comment on that?
BRIAN: It would be at a certain stage. It would be a very nice thing. We are getting very close as far as work is concerned. Whether actually we could – well we could work something out together. From one point of view it might not be a very good thing because our direction is slightly different from theirs. Lack of distinction because of the joining up of the two might be lost. That’s the only thing that could spoil it, I think. There will certainly be schemes. We spend an awful lot of time with each other now. We’ve got a lot of mutual ideas.
BEAT: It certainly would be wild from the standpoint of a combination of sounds. It would seem to me that you would come up with something really unique.
BRIAN: It’s happening already. As I said, I did this Beatle session – mixed on a Beatle session, various things. Paul’s done a couple of ours. You know, it’s already happening.
BEAT: It’s taking that direction, anyway.
BRIAN: Yeah, and that’s not a bad direction.
BEAT: We’re glad to have you in Monterey.
BRIAN: It’s nice to let people know we’re still functioning. Still around – still on the scene – still doing all we can.
BEAT: How long are you going to be over here, Brian?
BRIAN: I’m just going to be here for a very few days. Just a little break from recording and everything.
BEAT: Are there any immediate plans for coming back over after the court stuff is cleared up?
BRIAN: No, not at the moment but everything’s going to be all right. The big job at hand is to get the L.P. done and we’re spending an awful lot of time on it this time. It’s going to be more of a production. We’ve really put some thought into it because people are still liking our albums so we’re trying to really give them something that will take them on a stage further. And, so that they will take us on a stage further. We feel at the moment that our important work is to be done in the studio rather than in baseball halls and stadiums around the country. You see, once you’ve been around the country once or twice people have seen you and it’s a question of what’s to be gained by going around again. But, there’s a lot to be gained by letting them share our progressions because we are progressing musically very fast.
BEAT: You’re in a position to please yourselves more now, aren’t you?
BRIAN: Well to a certain extent that’s always been true. But we can’t really please ourselves. We have too large a public who depend on us to be able to please ourselves.
BEAT: That’s the best costume I’ve seen at the Festival. It’s beautiful – a work of art.
BRIAN: Well, it’s Old English and European stuff.
BEAT: Did you fly here?
BRIAN: Yes, I flew in the other night. I came by New York and Los Angeles. I spent about one hour in New York and five minutes in Los Angeles. Then I was flown straight out here on a jet. The Mamas and Papas, I think, own it or rent it or something.
BEAT: Any schedule after the Festival?
BRIAN: I’ve got a few things to take care of at home so I might be leaving as soon as the festival is over. On the other hand, I might just take in Los Angeles and New York on the way back and look up a few old friends. It’s nice to come over here. I’m glad I came.
BEAT: There’s a Love-in scheduled for Los Angeles soon. Have you heard about this?
BRIAN: It’s such a different scene over here from back home. You have more of a problem or at least it’s more acute over here then we do.
BEAT: Which problem is that?
BRIAN: The whole problem of social change which is going on around the Western world right now. It’s going on in the Eastern world too, but in a different way. We won’t talk about that.
BEAT: Do you think the Pop Festival would look like this or have an atmosphere like this if it had been held on London rather than in California?
BRIAN: Yeah. We’ve had a similar affair in London and there are going to be more. I would like to see these affairs become a regular part of young community life because I think these people here – from what I’ve seen so far – are acting as a community. They have the community spirit, the community feeling. I haven’t seen any signs of any trouble or enmity. It’s very nice. People are showing each other around and it’s very beautiful. I’m glad I came. I’ll have lots of nice things to say when I get back home.


I think this is the same interview and the audio is just an extract.



Edited 1 time(s). Last edit at 2012-02-16 15:52 by straycat58.

Historical note: The comment about the beginning about the Stones being the "Avis" of rock is likely a reference to the popular advertising slogan used by Avis Rent-A-Car at the time:
"We're Number 2--But We Try Harder!" In the case of Avis, Hertz was the number 1 car rental agency. In rock, the number one band at the time was the Beatles.

Quote
loog droog
Historical note: The comment about the beginning about the Stones being the "Avis" of rock is likely a reference to the popular advertising slogan used by Avis Rent-A-Car at the time:
"We're Number 2--But We Try Harder!" In the case of Avis, Hertz was the number 1 car rental agency. In rock, the number one band at the time was the Beatles.

Hah!