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The Rolling Stones in the press: “Exclusive: BEAT Attends Closed Stones’ Session”
ED. NOTE: Once again The BEAT has captured an exclusive story, as we spent three days with The Stones on their recent visit to Hollywood. The Stones were in town for a week-long recording session which was shrouded in double-door secrecy, closed to just about everyone except The BEAT!
Inside the studio, we accompanied musicians and record company men to attend the session and take pictures. We are now able to bring a rare story, photos and report!
We asked where Brian was, and they told us, “Oh, the BEAT can go anywhere,” so several doors—and double-locked steel doors—were opened to us. (Ref. Rolling Stones 1966)
Stones at RCA!
The news spread quickly that the Stones were at RCA. Throughout the week, groups of fans gathered in front of the building—day and night.
But back behind, in the studio itself, “quiet, work sessions” went on. The work required sessions of 17 and 18 hours, stretching into the small hours of the morning.
At RCA, large groups of fans remained camped outside the glass doors—in the company of several armed guards who remained on duty around the clock—throughout the week, while inside the lobby outside the Stones’ studio remained fairly calm. The relative quiet was broken only when one or more of the Stones emerged briefly and walked into the lobby.
Mick came out once to walk across the room and peek in on the goings-on in another session room going on. Later, Charlie came out to make a phone call, and just sat down in a corner and rested quietly with a friend, drinking a Coke. (Ref. Rolling Stones 1966)
Quiet Fatigue
All of the Stones were tired from constant work and intense concentration. The BEAT member watched the Stones look and feel exhausted, yet they found time to smile and joke a little for our camera and fans—but their minds were obviously on finishing the new album.
The Stones use a large number of instruments on this new album, many of which were rather unusual. Exclusively in The BEAT, we have a partial list of some of the instruments which you will be hearing. Among them, listen for a dulcimer, a sitar—there will be a heavy Indian accent on this album, because Brian had been in India—tamboura, harpsichord, a fuzz organ, and a zither. There’s even an ocarina (a sort of ancient flute).
The result has been very definite: a new kind of Stones sound. Brian has been deeply influenced by the music of Ravi Shankar and encouraged the group in that direction.
Have a Coke
Charlie had Nicette retype an order for a case of Coca-Cola to be delivered to the studio—right now!
Probably one of the funniest sights we saw was watching Brian arrive with an enormous fur coat, and later exiting with an equally enormous fur muffler. One of his fans proudly showed us her fantastic scrapbook of Brian and his four companions right down the street.
Tuesday had been the second day of recording for the Stones, and although it had been hectic— it was nothing compared to the days which followed. (Ref. Rolling Stones 1966)
On Wednesday evening, the Stones were still hard at work in their recording studio, as their many fans were back at it trying to locate the studios just outside of town.
One of those fans was a very excited young man, who, in his rush to glimpse a favorite Stone, succeeded in breaking the studio’s glass doors outside. But he slipped, missed, and wound up putting his foot right through the heavy glass barrier instead!
No Pain
Fortunately, he was not seriously injured. Although the door was thoroughly destroyed.
Within moments, Mick was on the lobby intercom asking if the studio could be kept off the news until he had a chance to call financial responsibility insurance. Somehow this too mild pain upset him. The real problem hadn’t been the teenybopper — it was the news coverage. And the financial burden. Mick definitely jaggered!
Early evening was the next to the last day of recording for the Stones, and they all seemed thoroughly tired and weary. Charlie Watts emerged first, munching on a Coke and some peanuts. He looked extremely casual and tired. His driver was waiting for him outside the door, to plant Richie on the fans. Also, the chauffeur had to leave shortly to retrieve Brian — whom he had delivered to one of the popular jazz clubs in town earlier that evening.
Finally, one of the guards on duty volunteered to rescue Charlie and he delivered him safely to his hotel. In the meantime, Brian was returned by the chauffeur in one of the most outfits ever to be seen in Hollywood! It consisted of a polka-dotted Western shirt, satin-backed vest, tie-and-knotted Western-style — a wild ensemble!
He looked very spirited — he was completely beat but his tiredness was softened by that glorious scarf.
Another outrageous dresser that evening was one Mr. Michael Philip Jagger, who turned out in the most dazzling white outfit ever—tied-dye and extremely impressive. One side of the top was dark and the other light — a mirrored image, almost. But Mick was wasn’t very easy; poor Mick was that much the artist. He was still in control but barely focus his eyes on the road!
Glaring Mick
Keith, too, was dressed appropriately for the scene. His outfit reflected the rather mod, subdued subtleness. Probably to keep the screaming glare of Mick’s clothes in balance.
One visitor came to the studio to say hello to the Stones, and chatted briefly with Keith in the lobby. Just before he left he asked if the Stones planned on recording all night, to which Keith cheerfully chirped, “Yep!” — and promptly disappeared into the studio once again.
He was probably the only cheerful Stone in the studio at that point — the rest just too tired to be overly happy about anything.
With the exception of one last sarcastic comment, they proclaimed themselves to be thoroughly “gassed” over the cut.
9 A.M. Finish
At the end of the long week of recording — a week which found the Stones raced back to their hotel just long enough to wash and hastily pack their belongings. Then they were rushed to the airport for their flight to London — where they would immediately begin work again in the studio, now in the final stages of production.
As Stones’ work is never done, so too is each record so much of their time and energy into their work. It was a delight to note the exciting pleasure they took in the finished product with the pride of craftsmen.
As we watched the playback of scenes and Stones’ recording session with them, we were left with the feeling of joy and excitement that only The Stones can give — and left the studio with some wonderful sounds which we’ll be sharing with BEAT readers over the next few issues.
Whether or not this album will be great — about all we could do would be to quote Keith Richard, in his immortal statement: “Yep!!” (Ref. Rolling Stones 1966)
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