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Richards and Jagger speak only during concert tours and recordings. For the business contacts needed at Rolling Stones, they specially hired employees. And during the tour they stay in separate cabinets and barely speak out of the scene
In Blues School
Years later in the great autobiography "Life" Keith remembers these times : "We were just him and I. Nobody had to prove anything to anyone." They were still only buddies, sharing a cheap and cold apartment and a passion for the Blues. Richards was playing the guitar, Jagger was trying to sing and play the harmonica. Over the years, old friends have started pouring their buckets in public, and their conflict has reached unimaginable proportions.
And this is not surprising, because according to the usual stereotype, Richards remained a good old Keith while Jagger became an unbearable ego rock celebrity, ready to put aside loyalty and artistic ideals at all. moment, just to stay on top. Maybe this stereotype would be overturned, one of Jagger's biographies entitled "Rebellious, Rockman, Bum, Bastard"?
And perhaps because Richards and Jagger have become so different, the Stones have survived, becoming the most important team in the history of rock?
Because in the early 1960s, there were boys like them in London and the surrounding area. They despised the bloody version of rock 'n' roll that dominated the contemporary charts. They went to niche clubs where you could hear black bluesmen; they had their CDs, which required a lot of West in a non-globalized world (Richards ordered them directly to the Chicago Chess label). And they made pilgrimages to Alexis Korner, a guru of the white blues, through which most of the most important British musicians of this generation spent the school – from Richards and Jagger to Eric Clapton
a lot of talent from Dartford. And similar predispositions to acquire celebrity. This is not one of the recordings of Stones, but Animals of the Rising Sun of Animals has turned out to be the greatest success story, coming directly from of the black musical tradition. And the singer of this group Eric Burdon did not sing worse than Jagger. And he's still singing. Only his always fascinating voice can only be heard in small clubs. And the musicians are in conflict with him, who after the successful trial was allowed to use the same animal sign – they visited Poland twice in the 21st century. However, almost nobody paid attention to it
Because only the Stones survived. By the mid-1960s, they were already superstars. Or maybe rather super anti-stars. The symbol of the second wave of "the British musical invasion", "bad boys", the competition and an alternative to Beatles beaten. In the modest lives of young musicians, huge amounts of money, celebrity, fascinating women and all the possible stimulants appeared almost overnight. And scandals heated by the tabloids and the musicians themselves, who like to provoke the British conservatives.
In the early 1960s, boys like them were in London and the surrounding area on clusters. They despised the bloody version of rock 'n' roll that dominated the contemporary charts.
Engine and Anchor
During the first visit to the USA, two friends went to the concert of their idol James Brown. After the performance, they were invited into the king's locker room, where they saw Brown's band musicians polishing the leader's shoes and running for cigarettes for him. Brown treated them as slaves. Jagger is remembered from the scene. Over the next few decades, he focused on total control of the group. Which was in fact inevitable after the death of guitarist Brian Jones who also had leadership ambitions (a moment previously thrown out of the band). And as Richards went deeper and deeper into the world of all kinds of drugs. The fact that he survived the 1970s is almost a miracle. Mick, of course, did not avoid them either, but even in this area, he controlled much better.
Jagger wanted to make (and did) a successful Stones business. For a long time, Richards only cared to play what he wanted to do, and he was usually successful too. And his taste has not changed especially since his youth, when, as he wrote in the autobiography, "no one even thought of recording CDs," while Keith copied in the Marquee Club pieces of his beloved Howlin's Wolf. But Jagger did not come out of the gray Dartford to be a club musician. He wanted to be a big star. Even if the price of success would be to sacrifice the ideals juveniles.
Controversial experiments, the pursuit of fashion was justified by the need to develop an artistic team. Richards was not looking for new designs because he liked the ones he loved. He still wanted to play Muddy Waters, although the music had changed, sending back the blues on which Stones grew up, to no avail. It was Jagger who had to do with the fact that the children's era of flowers was ending, and with the paperwork and keep the Rolling Stones alive. He was then the driving force of the Stones, and the ancient – but mostly absent – spirit of an anchor friend. Perhaps even the spiritual leader of the team giving him credibility. However, thanks to Jagger's hard work and determination, Richards did not have to deal with non-musical aspects of his career and the Stones survived the turn of the 1970s and 1980s.
Richards then comes out of l & # 39; abyss. And he was interested in what was going on in his team. And when he started asking, he heard from Jagger, who was used to Jagger's dominance: "Shut your mouth, Keith." Mick felt good as a boss, general manager. Once he took power, he had no intention of giving back. He began to worry about the staging of the concerts. Large inflatable dolls, dance bands and even waders appeared on stage. Everything had to be big, brilliant and effective. Richards chased the following circus performers, trying not to completely lose the previous intimate atmosphere. But it was too late.
Half, as long as he could play his music. However, he has also begun to change. The singer demanded a more modern material, so the Stones recorded even disco songs that Mick had heard in fashionable clubs. The other members of the group started to respond with laughter to Jagger's irritating whims. In secret, they called him "Brenda" and laughed in his face. And when Mick asked, "Who the hell is Brenda?", They said, "Aaa, that bitch." In the end, Mick discovered everything. When he recorded, causing the biggest crisis in the band's history, his first solo album was titled "She's the Boss."
Mick and Keith are simply the best duet performers. They complement each other not only as composers, but also as personalities. The huge differences between them that have destroyed their friendship for many years have fueled their work. ]
Richards ridiculed the album: "Nobody has questioned this album further than the fourth issue." And the deteriorating relationship with Jagger called the singer syndrome. If such a condition exists, Jagger seems to be a perfect example. He always took care of attention, appearing in fashionable places in the company of fashionable people. When he runs in New York clubs with Andy Warhol and Truman Capote, Richards sets up in Jamaica to play rock and roll with local musicians away from noise and show business, and to be unconscious. For the first time in the history of the group, negotiations between friends took place through intermediaries
Only that Richards' solo exploits did not hit anyone on their knees. Mick and Keith are just the best in a duet. They complement each other not only as composers, but also as personalities. The huge differences between them destroying their friendship for many years fueled their work.
In the eyes of devotees, Richards became the incarnation of rock and roll, while Jagger's actions were seen as a betrayal of rebel ideals. Richards saw a man totally dedicated to music, Mick suspected that it was only about fame, money and honors. When he received the title of British nobility in 2003, Richards ridiculed him by saying, "This is not the Rolling Stones."
Steadfast vs. Celebrity
Keith is often seen as an example of rock constancy, proof that you can make a great career, staying true to ideals and not giving up. Only this firmness of Richards has a flaw: it is easy and luxurious. Keith did not have to worry about anything, not even of himself. "For ten years, I was in first place on the most reliable list at death.I was very disappointed when I fell out of the leading position" – said the guitarist in a conversation with "New Musical Express". He claims that he survived because the medications he was taking were still of the highest quality. He does not add that he should probably be less picky if Jagger did not betray ideals, taking care of the Stones' incomes.
Yes, he became a celebrity. And an entrepreneur who converts music into money. Only, maybe, he gave the music more than Richards to the fact. Precisely because he sacrificed idealism, he did not look back, he simply advanced like a ram. "You do not want me to end up as an aging athlete who tells me in the pub how he won the cup in 1964," he says. And it is precisely the pursuit of constant change in art, an expression of the rebellious spirit.
Perhaps Keith Richards' Rolling Stones of Dreams would have avoided several musical incidents, they would not be accused of selling a juvenile rebellion. But people would not come to see them in the stadiums.
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