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Rolling Stones songs: The Under Assistant West Coast Promotion Man
Yeah I’m sitting here thinking just how sharp I am/ I’m a necessary talent behind every rock and roll band…
More about ‘The Under Assistant West Coast Promotion Man’ by The Rolling Stones
*By Marcelo Sonaglioni
Satire on the Strip: The Rolling Stones Take a Swing at the Suits
Long before Allen Klein stepped in to take over managerial duties, tensions were already boiling over between Andrew Oldham and Eric Easton, the Stones’ original handlers. In the middle of this behind-the-scenes power shuffle, Mick Jagger sharpened his pen and delivered one of the band’s most biting tracks: The Under Assistant West Coast Promotion Man.
What makes the song hit even harder is its razor-sharp blend of sarcasm and cynicism. Jagger wasn’t just venting frustration—he was crafting a character. The titular “under assistant” wasn’t some abstract industry archetype, but a thinly veiled jab at a very real figure lurking behind the glitz of the American promo circuit. With its sneering tone and swaggering rhythm, the song pulls no punches. It’s a rock ‘n’ roll roast dressed as a B-side, giving fans a rare look at the Stones as satirists just as much as songwriters.
Laughs, Toupées, and Tour Tales: The Stones Fire Back in Style
With The Under Assistant West Coast Promotion Man the Rolling Stones turned a slice of their real-life American tour experience into sharp-edged satire. Delivered in the first person, the lyrics become all the more biting—this wasn’t just fiction, it was a cleverly masked roast.
Lines like “Well I promo groups when they come into town / Well they laugh at my toupee, they sure do put me down” pack an extra punch once you realize they’re aimed at a very real person: George Raymond Sherlock. He was the London Records promo man who tagged along during their first U.S. tour—described by Bill Janovitz as a jittery guy with a George Hamilton tan and teased hair. Ouch. At first, the Rolling Stones weren’t too thrilled about having a chaperone shadowing them during their time on the West Coast. George Sherlock, the promo man assigned to tag along, rubbed them the wrong way—enough for Mick Jagger to pen a biting song poking fun at his presence.
These were the men with inflated egos, meaningless titles, and laughable toupees—walking clichés who believed proximity to talent made them important. The Stones saw right through the act and decided to call it out, Mick Jagger slipping into the role of one such character with biting irony.
Ironically, as time went on, the band’s attitude toward Sherlock mellowed. They eventually got used to him and didn’t seem to mind his company after all. But by then, the satirical sting of The Under Assistant West Coast Promotion Man had already been laid down on vinyl.
By exaggerating the persona of the clueless promo guy, the band turned stereotype into satire. It’s not just a jab—it’s a full theatrical performance, capturing how some behind-the-scenes figures saw themselves as gatekeepers while offering nothing of artistic value. The Stones, of course, weren’t buying it. Yet, irony of ironies, Sherlock went on to work with icons like Janis Joplin, Pink Floyd, and The Doors. But at that moment, he was immortalized as a punchline in a Stones tune born from lived experience and razor wit.
Biting B-Side with a Backstory
Before it gained its cult status, “The Under Assistant West Coast Promotion Man” first snuck into the world as the B-side to the Rolling Stones’ explosive hit “(I Can’t Get No) Satisfaction” in the U.S. While “Satisfaction” roared up the charts, its lesser-known flip side offered fans a satirical gem rooted in real experience and sharp observation.
Adding to its quirky charm, this track was the final song credited to Nanker Phelge—a shared pseudonym the Stones occasionally used. “Nanker” referred to a ridiculous face the band members would pull to crack each other up, while “Phelge” came from Jimmy Phelge, a former roommate of Keith Richards whom he once described as “the most disgusting person ever.” Somehow, the name fit the offbeat vibe of the song perfectly.
From Chess Studios to Nanker Phelge: A Rolling Stones Snapshot
The track was recorded at the legendary Chess Studios in Chicago, a sacred space for blues royalty. Surrounded by the legacy of Muddy Waters and Howlin’ Wolf, the Stones laid down a tune that echoed with playful rebellion rather than raw blues, but still carried the influence of the studio’s spirit.
Early pressings of Out Of Our Heads featured an extended version of the song, with extra lyrics at the end, giving it even more bite. This longer take also found its way onto the 1985 compilation Rolling Stones Singles Collection – The London Years, preserving the snarky B-side for future generations to discover and appreciate.
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