Mick Jagger

Their options had been further reduced by using up four potential singles at once on an EP (extended play) record: Chuck Berry’s ‘Bye Bye Johnny’, the Coasters’ ‘Poison Ivy’, Barrett Strong’s ‘Money’ and Arthur Alexander’s ‘You Better Move On’, the latter always introduced by Mick as ‘our slow one’ and sung in atypically soulful, even plaintive mode, though its underlying message was still ‘piss off’. Produced in small 45-RPM format, with a glossy picture sleeve, EPs were as important a UK market as albums, and had their own separate chart. The Stones’ first not only went straight to the top of this but also made No. 15 on the singles charts.

The obvious solution was to give up covering other artists’ songs and write their own, as the two main Beatles did with such spectacular success. Thanks to John Lennon and Paul McCartney, songwriting was no longer the sacred preserve of Moon-and-June-rhyming Tin Pan Alley hacks, but something at which all young British pop musicians, however untrained, were entitled to have a shot. If it worked, it was insurance against that seemingly inevitable day when the pop audience tired of them as performers and they could fall back on writing full-time. Even Lennon and McCartney, at their America-conquering apogee, drew comfort from that safety net.

Until now, Mick had never for one moment visualised himself as a songwriter, let alone as one half of a partnership that would one day rival Lennon– McCartney’s. The idea came from Andrew Oldham and was not motivated by a desire to advance Mick. The fact was that, while Oldham’s management-PR side remained absorbed in the daily challenge of maintaining the Stones’ disreputability, his would-be Phil Spector side was growing bored by working in the recording studio with just a ‘covers band’ – and resentful of having to pay copyright fees and royalties to the composers whose songs were covered.

In February, he had informed Record Mirror that by autumn he would be ‘Britain’s most powerful independent record producer’. Since the Stones alone did not justify his assuming that title, he was actively scouting round for other artists to shape in the recording studio à la Spector – and had already found one. This was Cleo Sylvestre, who had auditioned as a back-up singer with the Stones eighteen months earlier, then gone on to have a platonic love affair with Mick which he took with so much the greater seriousness. Mick, in fact, recommended her to Oldham as a potential talent, even though he was still too upset by their break-up to be friends with her.

Oldham recorded Cleo singing the old Teddy Bears’ hit ‘To Know Him Is to Love Him’, which had been Phil Spector’s first writing and producing success. The B-side was an instrumental entitled ‘There Are but Five Rolling Stones’, played by the Stones but grandiosely credited to ‘The Andrew Oldham Orchestra’. Cleo’s pop-singing career failed to take off, but she went on to an award-winning career as an actress, notably with a one-woman show about Mary Seacole, the Crimean War’s ‘black Florence Nightingale’.

The domestic arrangements at 33 Mapesbury Road – and Brian’s absence in Windsor – meant that the songwriters within the Stones more or less had to be Mick and Keith. Likewise, Keith’s skill at playing hypnotic chords – as on ‘Not Fade Away’ – and Mick’s verbal fluency dictated which of them would write the lyrics and which the tune. Both agreed it was a good idea, but were too much intimidated by the competition all around to sit down and try. Oldham exerted every fibre of PR persuasiveness to change their minds, insisting that it could not be that difficult – witness the speed at which John and Paul had dashed off ‘I Wanna Be Your Man’ that afternoon at Ken Coyler’s club – and spinning extravagant visions (hugely underestimated, it would turn out) of the publishing royalties they could earn. Even that could not tempt Mick to have a go.

Finally, one November night in 1963, Oldham resorted to simple coercion, locking the pair in the flat’s kitchenette, having previously removed all food and drink from it, then going off to spend the evening with his mother in Hampstead. If they wanted to eat that night, he shouted, they’d better have written a song when he came back. Returning a couple of hours later, he opened the front door quietly, tiptoed halfway upstairs and heard them hard at work. He went down again, slammed the door, and shouted ‘What have you got?’ A resentful, hungry Mick – those lips long-unstoked – ‘told me they’d written this fucking song and I’d better fucking like it’.

That first effort, unconsciously reflecting Oldham’s pressure, was entitled ‘It Should Be You’ and sounded enough like a real song to make them try again – and again. Fortuitously, the Stones were just leaving on a third national tour – this one including British pop’s only other ex–college student, Mike Sarne – which provided live models to copy and hours of boredom, backstage or in Stu’s van, when thinking up tunes and lyrics came as a positive relief. In a short time, Mick and Keith had accumulated around half a dozen songs, the most promising of which they recorded as rough demos at Regent Sound during quick trips back to London. The whole batch showed a romantic, even feminine side to the composers which made them quite unsuitable as Stones tracks, some indeed being specifically targeted at female artists: ‘My Only Girl’, ‘We Were Falling in Love’, ‘Will You Be My Lover Tonight?’ To hold their copyrights and receive any royalties they might earn, Oldham set up a publishing company called Nanker Phelge Music, a name as deliberately grotesque as the Beatles’ Northern Songs company was quietly traditional. A Nanker was Brian Jones’s name for his Lucky Jim facial contortions while Phelge was the Edith Grove flatmate who used to ‘gob’ so colourfully up the walls.

Oldham’s search for artists to cover these first Jagger– Richard songs was confined to the lower reaches of British pop and even there met with only modest success. ‘Will You Be My Lover Tonight?’ was recorded by a mutual friend of Oldham and the Stones named George Bean and released on Decca in January 1964, sinking without a trace. ‘Shang a Doo Lang’, an unashamed knock-off of the Crystals’ ‘He’s Sure the Boy I Love’, went to a sixteen-year-old newcomer named Adrienne Posta and was produced by Oldham with Spectoresque Wall of Sound effects. By far the most prestigious catch was Gene Pitney, a major American name whose fondness for London pop low life had led him to play back-up percussion at the boozy ‘Not Fade Away’ session. Pitney, it so happened, needed a follow-up to his recent massive hit with Bacharach and David’s ‘24 Hours from Tulsa’. Oldham persuaded him to make it Jagger and Richard’s ‘My Only Girl’, retitled ‘That Girl Belongs to Yesterday’. Though Pitney substantially rewrote the song, Mick and Keith’s credit survived when it made the UK Top 10 and even sneaked into the US Hot 100.

Adrienne Posta was the daughter of a wealthy furniture manufacturer who intended to make her a pop star by hook or by crook. When Decca released Adrienne’s version of Jagger and Richard’s ‘Shang a Doo Lang’ in early March, Oldham persuaded Mr Posta to hold a launch party at his flat in Seymour Place, Bayswater. The party was to witness a momentous meeting, though not the one Oldham originally had in mind. Deciding it was time Keith Richard ‘started going out with something other than a guitar’, Oldham asked his girlfriend Sheila Klein to bring along someone for Keith. She chose a friend with the happily coincidental name of Linda Keith, a former assistant at Vogue who had progressed to modelling.

Launch parties for records were unusual in 1964, and an impressive posse of Swinging London insiders turned up to wish Adrienne’s single Godspeed and partake of her father’s hospitality. They included Peter Asher from the singing duo Peter and Gordon, the latest act to benefit from Lennon– McCartney songs. Asher brought his actress sister Jane and her boyfriend, Paul McCartney, who lodged at the Asher family home in Wimpole Street, Marylebone. With them came an old Hampstead friend of Oldham’s named John Dunbar and his seventeen-year-old girlfriend, Marianne Faithfull.

The name that always seemed too perfect for the young woman it adorned – ‘Faithfull’ with two l’s, suggesting a double portion of innocent steadfastness – was not a publicist’s invention, as many people later assumed. Marianne’s father was an academic named Robert Glynn Faithfull who served with British intelligence during the Second World War, then went on to receive a doctorate in psychology from Liverpool University. Nothing about this seemingly quintessential English rose hinted at a background that was also more exotically foreign than any of the crucial people in Mick’s life had been, or would be.

Her mother, Eva, was an Austro-Hungarian aristocrat, Baroness Erisso, whose family, the Sacher-Masochs, dated back to Emperor Charlemagne. Eva’s great-uncle Leopold von Sacher-Masoch was the author of the nineteenth-century novel Venus im Pelz in which he gave his own name, ‘masochism’, to pleasure derived from self-inflicted pain. Brought up in Hapsburg grandeur, Eva had become an actress and dancer with the Max Reinhardt company in Vienna during the 1930s and, but for the war, might have followed Reinhardt to America and a career in Hollywood. Instead, she married the British intelligence officer Robert Faithfull and settled with him in Britain, where Marianne, their only child, was born in 1946.

The couple separated in 1952 and the Austrian baroness relocated to – of all places – Reading, the unexciting Berkshire town best known for Huntley & Palmer’s biscuits and Oscar Wilde’s Ballad of Reading Gaol. Here she acquired a small house in the poorest district and worked variously as a shop assistant, coffee-bar server and bus conductress while still managing to imbue her daughter with a sense of patrician superiority. Marianne was educated on semi-charity terms at a Catholic convent school, St Joseph’s, under a regime so strict that the girls had to bathe in underslips to avoid the sin of looking at their own nude bodies.

She grew up to be a stunning combination of beauty and brains, mistily innocent-looking, yet with a voluptuous figure; shyly and refinedly spoken, yet with an inquiring intellect and a rich mezzo-soprano singing voice. She had no doubt that life would lead her into the theatre or music – possibly both – and by the age of sixteen was already working as a folk singer around Reading coffee bars. Early in 1964, she visited Cambridge to attend an undergraduates’ ball, and met Andrew Oldham’s friend John Dunbar, then studying fine arts at Churchill College. Oldham was looking to expand his managerial empire beyond the Stones, and asked Dunbar if he knew any girl singers. ‘Well, actually, yes,’ Dunbar replied.

At Adrienne Posta’s launch party, the other female guests wore butterfly-bright ‘dolly’ dresses with the new daringly short skirts. Marianne, however, chose blue jeans and a baggy shirt of Dunbar’s that was sexier than the most clinging sheath. Tony Calder, standing near the door with Mick, Oldham, Chrissie Shrimpton and Sheila Klein, still remembers her entrance: ‘It was like someone turned the sound down. It was like seeing the Virgin Mary with an amazing pair of tits. Andrew and Mick both said together, “I want to fuck her.” Both their girlfriends went, “What did you say?” Mick and Andrew went, “We said we want to record her.”’

Marianne at this point thought the Rolling Stones were ‘yobbish schoolboys . . . with none of the polish of John Lennon or Paul McCartney’. By her own later account, she wouldn’t have noticed Mick if he hadn’t been in the throes of yet another row with Chrissie, ‘who was crying and shouting at him . . . and in the heat of the moment, one of her false eyelashes was peeling off’. The person who most interested her was Andrew Oldham, especially when he came over (‘all beaky and angular, like some bird of prey’), brusquely asked his friend John Dunbar for her name – no female equality for years yet! – and, on learning it genuinely was Marianne Faithfull, announced that he intended to make her a pop star.

Within days, to her amazement, Marianne had a contract with the Stones’ label, Decca, and an appointment to record a single with Oldham as her producer. The A-side was to have been a Lionel Bart song, ‘I Don’t Know How (To Tell You)’, but when she tried it out it proved totally unsuited to her voice and to the persona her Svengali intended to create. Instead, Oldham turned to his in-house team of Jagger– Richard, giving them precise instructions as to the kind of ballad he required for Marianne: ‘She’s from a convent. I want a song with brick walls all round it, high windows and no sex.’

Though the result bore a joint credit, Tony Calder remembers its conception to have been entirely Mick’s, working with session guitarist Big Jim Sullivan. The monologue of a lonely, disillusioned older woman – harking back to Alfred Lord Tennyson’s ‘Lady of Shallot’ and foreshadowing the Beatles’ ‘Eleanor Rigby’ – it was a glimpse of the sensitivity and almost feminine intuition Mick was known to possess but so rarely showed. The original title, ‘As Time Goes By’, became ‘As Tears Go By’ to avoid confusion with pianist Dooley Wilson’s famous cabaret spot in the film Casablanca.

With hindsight, Marianne would consider ‘As Tears Go By’ ‘a Françoise Hardy song . . . Europop you might hear on a French jukebox . . . “The Lady of Shalott” to the tune of “These Foolish Things”’. She still concedes that for a songwriter so inexperienced it showed remarkable maturity – clairvoyance even. ‘It’s an absolutely astonishing thing for a boy of twenty to have written a song about a woman looking back nostalgically on her life. The uncanny thing is that Mick should have written those words so long before everything happened . . . it’s almost as if our whole relationship was prefigured in that song.’

For this second recording session, Marianne travelled up from Reading to London chaperoned by her friend Sally Oldfield (sister of the future Tubular Bells wizard, Mike). Oldham’s production stuck to the ‘high brick walls and no sex’ formula, toning down her usually robust mezzo-soprano to a wispy demureness, counterpointed by the mournful murmur of a cor anglais, or English horn. Mick and Keith watched the proceedings and afterwards gave the two girls a lift back to Paddington station by taxi. On the way, Mick tried to get Marianne to sit on his lap, but she made Sally do so instead. ‘I mean, it was on that level,’ she recalls. ‘“What a cheeky little yob,” I thought to myself. “So immature.”’

Within a month, ‘As Tears Go By’ was in the UK Top 20, finally peaking at No. 9. British pop finally had a thoroughly English female singer, or so it appeared, rather than just would-be American ones. And the media were confronted with a head-scratching paradox: two members of a band notorious for dirtiness, rawness and uncouthness had brought gentility – not to say virginity – into the charts for the very first time.

The success of ‘As Tears Go By’ might have been expected to start a wholesale winning streak for the Jagger– Richard songwriting partnership that would finally benefit their own band rather than ill-assorted outsiders. But, strangely, having their name on a No. 9 hit acted more like a brake. Mick had no idea where the song had come from and, after weeks of racking his brains with Keith, began to despair of writing anything else a fraction as good.

Certainly, when the Stones’ first album appeared, on 17 April, it was still far from clear that they had a would-be Lennon and McCartney in their ranks. Recorded at Regent Sound in just five days snatched from the Ronettes tour, this was almost completely made up of the cover versions from which Oldham had struggled to wean them – Chuck Berry’s ‘Carol’, Bo Diddley’s ‘Mona (I Need You Baby)’, Willie Dixon’s ‘I Just Want to Make Love to You’, James Moore’s ‘I’m a King Bee’, Jimmy Reed’s ‘Honest I Do’, Marvin Gaye’s ‘Can I Get a Witness?’, Rufus Thomas’s ‘Walking the Dog’, Bobby Troup’s ‘Route 66’. The only Jagger– Richard track thought worthy of inclusion was ‘Tell Me (You’re Coming Back)’, an echoey ballad in faintly Merseybeat style. The album, in fact, was like a Stones live show (much as the Beatles’ first one had been), its immediacy heightened by Regent Sound’s primitive equipment and Andrew Oldham’s anguished eye on the clock. At the session for ‘Can I Get a Witness?’, Mick realised he couldn’t remember all Marvin Gaye’s words, and neither could anyone else present. A hurried phone call had to be made to the song’s publishers on Savile Row for a copy of the lyrics to be hunted out and left in reception. The usefully athletic vocalist ran a half mile from Denmark Street to collect them, then back again. On the track he is still audibly breathless.

The album was entitled, simply, The Rolling Stones – in itself an act of extreme Oldham hubris. The Beatles’ first album had followed custom in bearing the name of a hit single, ‘Please Please Me’, and even their ground-breaking second, With the Beatles, still had a whiff of conventionality. But Oldham did not stop there. In defiance of Decca Records’ entire marketing department, he insisted that The Rolling Stones’ front cover showed neither name nor title – just a glossy picture of the five standing sideways with heavily shadowed, unsmiling faces turned to the camera. Mick was first, then dapper Charlie, a squeezed-in Bill and barely recognisable Keith, with Brian – the only one in their old stage uniform of leather waistcoat and shirtsleeves rather than varicoloured suits – symbolically at the back and out of line.

On its reverse, the cover returned to wordy normality, with track listings, studio credits and a pronouncement that seemed like yet more Oldham hubris: ‘The Rolling Stones are more than a group – they are a way of life.’ Little did even he imagine that, almost half a century later, at the BAFTA film awards, an audience of the world’s most glamorous people would still be hungering to lead it.

Advance orders for The Rolling Stones exceeded 100,000 as against only 6,000 for the Beatles’ album début, Please Please Me. Better still, as it climbed the UK album chart to No. 1 it passed With the Beatles, finally on the decline after six months in the Top 20. The Stones, Oldham crowed delightedly, had ‘knocked the Beatles off’ in their home market. Now for America.

CHAPTER SIX (#ulink_4ca3539f-4ebc-54ee-b7bb-9d9a4fb171d2)

‘We Spent a Lot of Time Sitting in Bed, Doing Crosswords’ (#ulink_4ca3539f-4ebc-54ee-b7bb-9d9a4fb171d2)

For any British band, the supreme challenge, and greatest thrill, is to ‘crack’ America. And few have failed quite so comprehensively as the Rolling Stones on their first US tour, in June 1964. The country would notice Mick soon enough, for better or worse, but during most of this initial three-week visit he was a barely distinguishable face among five, taking his equal share of disappointment and humiliation.

The Stones were not only following the triumphal footsteps of the Beatles four months earlier; they were also well to the rear in the so-called British Invasion of other UK bands who had stampeded after John, Paul, George and Ringo across the Atlantic and into the US charts. On the American edition of their first album, they were billed as ‘England’s Newest Hitmakers’, bracketing them with ‘soft’ pop acts they despised, such as Gerry and the Pacemakers, Billy J. Kramer and the Dakotas and the Dave Clark Five.

When the Beatles had arrived in New York in February, it was with an American No. 1 single, ‘I Want to Hold Your Hand’. But the Stones could offer no such impressive calling card. Their Beatle-bestowed UK hit, ‘I Wanna Be Your Man’, had been released on the London label, Decca’s US affiliate, but then abruptly withdrawn because its B-side was called ‘Stoned’, which in America meant drunk. It had then been rereleased, coupled with ‘Not Fade Away’, but even in a market supposedly ravenous for all British bands had barely scraped into Billboard magazine’s Top 50.

Thanks to Andrew Oldham, their transatlantic hosts had been primed to welcome them like a new strain of herpes. ‘Americans, brace yourselves!’ warned the flash circulated to newspapers and broadcast media by the Associated Press. ‘In the tracks of the Beatles, a second wave of sheepdog-looking, angry-acting Britons is on the way . . . dirtier, streakier and more disheveled than the Beatles . . .’ The Fab Four had flown off, carrying the whole nation’s hopes and even prayers like Neville Chamberlain bound for Munich or a Test cricket team for Australasia. Before the Stones left Heathrow Airport on 1 June an MP in the House of Commons expressed fears that they might do real harm to Anglo-American relations.

Even with this advance word-of-badmouth, it proved impossible for Oldham to whip up any major media coverage on the American side. Turndowns came from the NBC and CBS TV networks and, most slightingly, from The Ed Sullivan Show, which had clinched the Beatles’ conquest by beaming them to a national audience of more than 70 million. Paradoxically, the splashiest print coverage came from a quarter not normally interested in dirtiness and scruffiness – Vogue magazine. Diana Vreeland, the legendary editor of Vogue’s American edition, agreed to publish a David Bailey photograph of Mick that every British magazine had rejected, despite never having heard of him or his band. ‘I don’t care who he is,’ she told Bailey. ‘He looks great, so I’ll run it.’

While calling the Stones ‘scruffier and seedier than the Beatles’, Vogue summed them up more pithily than any UK publication thus far, and with a hint of ladylike moist gussets that probably did Mick’s image more good in the long run than NBC, CBS and Ed Sullivan put together: ‘To the inner group in London, the new spectacular is a solemn young man, Mick Jagger, one of the five Rolling Stones, those singers [sic] who will set out to cross America by bandwagon in June. For the British, the Stones have a perverse, unsettling sex appeal, with Jagger out in front of his teammates. To women he’s fascinating, to men a scare . . .’

Since the Beatles’ reception by three thousand banner-waving fans, spilling over observation terraces and buckling plate-glass windows, the arrival of British pop bands at New York’s John F. Kennedy Airport had become a routine story to the city’s media. For the Stones, London Records laid on a markedly cut-price version of the now-familiar procedure, enlisting a few dozen teenage girls to scream dutifully as the band descended the aircraft steps after their economy-class flight, hiring a couple of Old English sheepdogs to represent kindred spirits, and providing a cake for Charlie Watts’s twenty-third birthday. At the press conference which followed, there was surprise, even some disappointment, when they proved to be politer and better spoken than most of the invaders who had come before. Who was the leader? one reporter asked. ‘We are . . . all of us,’ Mick lisped in his best LSE accent, without a frisson of Cockney.

The Beatles had spent their first New York landfall with their manager and considerable retinue in interconnecting luxury suites at the top of Manhattan’s grandest hotel, the Plaza, at Fifth Avenue and Central Park. The Stones spent theirs at the far-from-grand Hotel Astor in Times Square, bunking two to a poky room with their retinue (i.e., roadie Ian Stewart). To save money – an urgent consideration throughout the tour – Oldham slept on the office sofa of his friend and role model, Phil Spector.

Once his charges had checked into the Astor (which, miraculously, offered no objection), Oldham managed to feed the British press a story that, in true Beatle style, they had caused riots in midtown Manhattan and were imprisoned in their hotel by shrieking mobs. Unfortunately, agency photos which arrived home at the same time showed them exploring the Times Square district without a single hysteric in sight.

That is not to say that they went unnoticed. They had come to a land where every ‘manly’ man, from President Lyndon Johnson downwards, had hair cropped as close to the scalp as a convict’s but for a little toothbrushlike crest. The Beatles had been let off their hair because of some vague correlation with British classical theatre – Laurence Olivier as Richard III or Hamlet. But Rolling Stone hair meant only homosexuality, which – save in certain enlightened parts of Greenwich Village – was regarded as even more unnatural and detestable than it was in Britain. What should have been a magical first experience of New York for Mick and the others was marred by the typically forthright comments of passing New Yorkers: ‘Ya fuckin’ faggot!’ or ‘Look at that goddamn faggot!’ The fact that to English ears faggot still meant a rissole, or meat patty, did not make the experience any pleasanter.

The city’s welcome grew several degrees warmer after they met up with Murray ‘the K’ Kaufman, the WINS radio deejay who had generated huge publicity for his show, and himself, by hooking onto the Beatles back in February. Now he adopted the Stones in the same way, escorting them to nightspots like the Peppermint Lounge – where the Twist had been born and was now in its death throes – and introducing them to useful New York music-biz cronies like Bob Crewe, songwriter and producer to the Four Seasons.

The Stones privately thought Murray the K a ludicrous figure, but he did do them one huge favour. It happened at a party at Crewe’s apartment, in a gloomy Central Parkside pile known as the Dakota where, sixteen years later, the Beatles’ story would come to a horrific full stop. During the evening, Murray gave Andrew Oldham an R&B single, ‘It’s All Over Now’, written by Sam Cooke’s guitarist Bobby Womack and recorded by Womack and his three brothers as the Valentinos. It would be a perfect song for the Stones to cover, the deejay insisted. And the rights could be picked up here in New York from Womack’s manager, an accountant-turned-pop impresario named Allen Klein.

For Mick and Keith, the main point of being in New York was to visit the Apollo Theater, Harlem’s famous showplace for black music, which had launched the careers of Billie Holiday, Ella Fitzgerald, Aretha Franklin and Stevie Wonder among many others. Harlem was still a no-go area for unaccompanied whites, so they had to ask Ronnie Spector of the Ronettes – on whom Keith still had a huge crush – to be their guide. Because of the difficulty of getting cabs back to Midtown late at night, which, anyway, they couldn’t afford, they had to sleep on the floor at Ronnie’s mother’s apartment in Spanish Harlem. In the morning, she would cook them bacon and eggs, and they would thank her with punctilious good manners.

To add to the thrill, it happened to be James Brown Week at the Apollo. Known as ‘the Godfather of Soul’, Brown had a mesmerising stage act that combined R&B and soul with Barnum-esque showmanship: backed by his vocal group the Famous Flames, he never stopped moving for a second, boogieing as if on an invisible Travelator (two decades before Michael Jackson’s Moonwalk), hurling himself onto his knees or into the splits, finally suffering a make-believe seizure, when two minders would rush from the wings, wrap him in a cloak and half carry him away. Four or five of these operatic cardiac arrests would be simulated before the curtain finally fell.

Such was Mick’s awe of the Godfather that he never had covered any of Brown’s great showstoppers: not ‘Papa’s Got a Brand New Bag’, or ‘Please Please Please’ or even ‘It’s a Man’s Man’s World’, much as he might applaud the sentiment. Now, in the Apollo’s marijuana-scented dark, he took careful note of every dance move Brown made, to be practised later in front of a full-length mirror. When Ronnie sneaked him and Keith into Brown’s dressing room, he beheld an almost monarchical figure, surrounded by servants and sycophants, who took care of business as assiduously as he did music, watched every penny and imposed strict discipline on his musicians, fining anyone who was late or went onstage with dirty shoes. Here, too, were important lessons for the future.

From New York, the Stones flew to Los Angeles to make their one nationwide TV appearance. This was not on a prestigious show like Ed Sullivan’s, but Hollywood Palace, a mixed-bag variety programme emceed that week by Dean Martin. When they turned up at the studio, the producer was aghast that they weren’t in matching suits and, unavailingly, offered them money to go out and buy some. They did not meet the great ‘Dino’ himself during rehearsals, when a stand-in was used; only during transmission did they realise they had been set up as stooges to their host’s boozy humour. ‘Now here’s something for the youngsters,’ Martin announced with an air of intense long-suffering. ‘Five young musicians from England . . . the Rolling Stones. I’ve been rolled a few times when I was stoned myself. I dunno what they’re singin’ about, but here they are . . .’ A few moments of Mick singing ‘I Just Want to Make Love to You’, and their tuxedo-clad host was sniping at them again. ‘The Rolling Stones! Aren’t they great? [Exaggerated eye roll] People talk about these long-haired groups but it’s really an optical illusion. They just have smaller foreheads and higher eyebrows.’

The tour that followed had been planned by the American agency GAC, seemingly with some of the same malevolence. There was a good opening show in San Bernardino, California, where a capacity crowd roared enthusiastic response to the name check their home town received in Mick’s version of ‘Route 66’. After that, a series of economy-class internal flights took the band on a transcontinental wander far off Route 66: San Antonio, Minneapolis, Omaha, Detroit, Pittsburgh and Harrisburg. Their support was the American balladeer Bobby Vee, whose backing musicians wore matching mohair suits, collars and ties just like the ones they themselves had lately escaped. At some stops, they found themselves appearing at state fairs in company with carnival midways, rodeos and circus acts, including a baby elephant and a troupe of seals. Thanks to wildly uneven advance publicity, audience sizes varied between a rapturous two or three thousand and an apathetic few dozen among whom the dominant element were homophobic red-necked cowboys.

The Stones’ heyday as arrogant kings of the American road were still far in the future. Surrounded by gun-toting, crop-headed and resentful police, they all did their utmost not to step out of line. In one cheerless, raw-brick dressing room, Mick and Brian were drinking rum and Coca-Cola while Keith, atypically, made do with plain Coke. A policeman walked up and screamed at them to empty their glasses down the toilet. When Keith protested, the cop drew his gun. Also in contrast with later trans-American journeys, Keith would recall, ‘it was almost impossible to have sex . . . In New York or LA you can always find something, but when you’re in Omaha in 1964 and you suddenly feel horny, you’ve had it.’

The itinerary, however, included something of importance far outweighing these petty – and short-lived – setbacks. In Chicago, Oldham had booked the Stones to lay down some tracks (hopefully including their next British single) at Chess Records, the mythic label on which Chuck Berry, Muddy Waters, Willie Dixon and just about every other major R&B and blues giant had transfigured Mick’s prim boyhood. Other than counselling him, against all his instincts, to become wicked, it was probably the greatest service his Svengali ever did him.

This nonpareil black music label had in fact been started by two white men, Polish immigrants named Leonard and Phil Chess, who had changed their surname from Czyz. Leonard’s twenty-two-year-old son, Marshall, had worked for the company since the age of thirteen and, during a spell in the postroom, used to send off albums to an unknown blues fanatic in England named Mike Jagger. Normally, Chess did not allow outsiders to record in its studio – especially young, white, British ones – but Marshall knew about the blues scene in London, so he persuaded his father and uncle to make an exception for them.

The band spent two days in Chess’s studios at 2120 South Michigan Avenue, working with the label’s most-sought-after engineer, Ron Malo. (Having delivered them there, Oldham had the good sense not to put on airs as their producer, but stayed discreetly in the background.) Malo treated the awestruck young Britons like musicians as legitimate as any others; their response was to work hard and harmoniously, finishing fourteen tracks during the two day-long sessions.