Rolling Stones :: Blog
Behind the Scenes: "Rolling Stones: 50 Years of Satisfaction"
An exclusive behind-the-scenes look at the making of the Rock and Roll Hall of Fame and Museum's new exhibit highlighting 50 years of the Rolling Stones. The exhibit, Rolling Stones: 50 Years of Satisfaction, opens to the public on May 24, 2013, and will span three floors, more than 4,000 square feet and feature hundreds of items -- instruments, clothes, handwritten correspondence, art, photographs and more -- from the Rolling Stones' amazing history as the "World's Greatest Rock and Roll Band."
Watch the video below for a sneak peek at the Rock and Roll Hall of Fame and Museum's new Rolling Stones exhibit.
The Rolling Stones Spend Some "Time" Together with Ed Sullivan
Although Ed Sullivan vowed never again to have the Rolling Stones on his show after their first appearance in 1964 – the same year the impressionable group of twenty somethings first landed on American shores, making a pilgrimage of sorts to Chess Records in Chicago – the popular TV host knew a ratings boom when he saw and heard it. Putting aside his resentment for the "unkempt" appearance of the Stones and the raucous audiences they attracted, Sullivan would welcome the Stones on his program five more times in the Sixties, where they'd perform 17 of their biggest hits. Among the Stones' more memorable appearences was during the January 15, 1967 episode, when the group agreed to play their suggestive new single, though with one small caveat: neither Jagger nor anybody else in the group could utter the song's title and chorus, "Let's Spend the Night Together." Instead, the lyric would be performed as "Let's spend some time together."
Released as a single in January 1967, the Rolling Stones' "Let's Spend the Night Together" was a hit on both sides of the Atlantic, but The Ed Sullivan Show censors were not the only American media to take ...
The Rolling Stones on Tour – and Exhibit
Today the Rolling Stones announced their 2013 tour schedule (see below). Between that Rolling Stones news and the work the Curatorial, Exhibitions and Collections staff have been doing to get ready for Rolling Stones: 50 Years of Satisfaction, a feature exhibit at the Rock and Roll Hall of Fame and Museum opening May 24, I've been immersed in the "world's greatest rock and roll band" for several months. Among other things, the Rock and Roll Hall of Fame exhibit will highlight the Rolling Stones touring during the last half century, years of concerts that have made them one of the best – if not the best – live rock and roll acts in history.
I was lucky to grow up in Detroit, Michigan, at a time when music was everywhere and radio was vibrant and meaningful. That city produced so many extraordinary musicians – Hank Ballard, Jackie Wilson, the MC5, the Stooges, Bob Seger, the entire Motown roster – it’s nearly impossible to comprehend. Detroit gave rise to some of the genre's best. It was there I became captivated by the Rolling Stones.
I first heard the group listening to CKLW, the legendary Canadian AM radio station. Detroit was also ...
Album Notes: The Rolling Stones – Exile on Main St.
I was seven years old when Exile on Main St. was released in 1972. It wasn't until later in the decade that I first heard the album, though I was already a Rolling Stones fan by then. My earliest rock and roll mentors – friends and family, and musicians and writers that I admired – told me Exile was the Stones record to have, so I picked up a used, well-worn copy on vinyl. The dog-eared double LP jacket was ragged and looked like hell; long gone were the dozen postcards that came with the original packaging. However, the scratched wax delivered an electric sound.
Those sounds – like my battered copy's packaging – were gritty, rough, perfectly unpolished. The album was filled with bravado, the songs seemingly shambolic, unrehearsed and the playlist was sprawling, with more than a dozen tracks. The Stones tapped into America's eclectic songbook, borrowing lines from country, blues, soul, swamp and the heyday of the rock and roll era – and it all sounded genuine. The recording of Exile was shrouded in mystique, a model of rebellion amid tales of wild decadence and hedonism at Nellcôte, the French mansion-cum-studio rented by Keith Richards. Even the ...
Preview of "Rolling Stones: 50 Years of Satisfaction" at the Rock and Roll Hall of Fame and Museum
On May 24, 2013, the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio, will unveil a new, two-story retrospective exhibit titled "Rolling Stones: 50 Years of Satisfaction." Among the artifacts to be included in the Rolling Stones exhibit is the original collage art design that would appear in the inner gatefold sleeve of the group's Their Satanic Majesties Request.
Their Satanic Majesties Request was a psychedelic response to the Beatles' Sgt. Pepper's Lonely Hearts Club Band, which was released seven months prior to the Stones' effort in 1967. With psychedelia in full-swing, 1967 proved an eventful year for the Rolling Stones – most infamously following the arrests of Mick Jagger and Keith Richards on drug charges following a police raid during a party at the latter's Redlands home in Sussex. Among those also in attendance, though not detained, was Richards' friend and photographer Michael Cooper.
Throughout the Sixties, Cooper, a fixture on the London art and music scenes, captured many iconic images of artists, including the Beatles, Eric Clapton and Marianne Faithfull. However, arguably his most candid images came from his time with the Stones. (pictured, left: original collage art for Their Satanic Majesties ...
Interview with Marshall Chess
Brothers Leonard and Phil Chess were responsible for creating the preeminent blues label of the fifties and sixties. Polish immigrants who settled in Chicago, the brothers formed Aristocrat Records in 1947 before launching their eponymous label two years later. They assembled an unparalleled roster of blues, R&B and rock and roll artists, including Chuck Berry, Bo Diddley, Willie Dixon, Etta James, Muddy Waters and Howlin' Wolf. While Phil focused on jazz, Leonard honed in on roots music, making Chess the greatest repository of blues music by the late Fifties. It was under Leonard's tutelage that Muddy Waters’ electric blues fomented a revolution that led directly to rock and roll in the person of Chuck Berry.
The reach of the label's music extended far across the Atlantic, where a band of impressionable twentysomethings billing themselves as the Rolling Stones sought to emulate the hard-driving R&B sounds they heard on songs like Waters' "I Can't Be Satisfied," Big Bill Broonzy's "Tell Me Baby" and Berry's "Around and Around" — all songs the group covered when Leonard's son Marshall Chess allowed the band to record at the label's 2120 South Michigan Avenue studio in ...
Rock and Roll vs. Censorship
Given the recent fervor over Russian feminist punk rock collective Pussy Riot's arrest and subsequent sentencing and incarceration after staging a performance art protest in a Russian Orthodox cathedral, the Rock Hall started thinking about how censorship has always been a hot button issue in rock and roll. What’s happening in Russia now is not terribly far removed from repressive reactions to the emergence of rock and roll in the 1950s, and reactions to various other manifestations of the artform throughout its history.
Pussy Riot member Yekaterina Samutsevich said this in her closing statement at the group’s trial: “On the one hand, we expect a guilty verdict. Compared to the judicial machine, we are nobodies, and we have lost. On the other hand, we have won. The whole world now sees that the criminal case against us has been fabricated. The system cannot conceal the repressive nature of this trial.”
The National Coalition Against Censorship (with thanks to Eric Nuzum) notes these milestones in the infamous history of music censorship. Many of these milestones are covered in the Museum’s Don’t Knock the Rock exhibit, a video-driven exhibit about the protests against rock and roll ...
Meshell Ndegeocello Live at the Rock Hall
Since her debut album in 1993, songwriter, vocalist and multi-instrumentalist Meshell Ndegeocello has been creating music on her own terms, simultaneously challenging and engaging listeners by deftly drawing from an eclectic songbook and delivering powerful reflections on race, love, sex, betrayal, power and religion. Her nine albums illustrate a creative versatility and singular aesthetic that has embraced everything from rock to hip hop, R&B to new wave, funk to punk, reggae to jazz. Her work has been met with critical accolades and fan acclaim, and her proficiency on the bass has brought her signature warm, fat, melodic groove not only to her own performances, but also to those of the Rolling Stones, Madonna, Alanis Morrisette, James Blood Ulmer, the Blind Boys of Alabama, Tony Allen, John Medeski, Billy Preston and Chaka Khan. Ndegeocello best characterizes her particular brand of playing: "Genres are for commercial purposes and music is a continuum like everything else. My style is explorative, searching, personal, and it grows and changes as I do."
Born Michelle Johnson in Berlin, Germany, Ndegeocello spent her formative years in Virginia, cultivating her musicality during the late Eighties while working the go-go circuit in Washington, D.C. In the ...
