♦→ The Rolling Stones «Charlie is my Darling» – Ireland 1965
What was once rumor is now fact as ABKCO Films presents a brand new cut, meticulously restored and fully-realized version of this first-ever, legendary but never released film. Shot by Peter Whitehead on a quick tour of Ireland just weeks after «(I Can’t Get No) Satisfaction» hit # 1 on the charts and became the international anthem for a generation, The Rolling Stones Charlie is my Darling – Ireland 1965 is an intimate, behind-the-scenes diary of life on the road with the young Stones. It features the first professionally filmed concert performances of the band and documents the early frenzy of their fans and the riots the band’s appearances inspired.
This new 2012 version of the film with added never-before-seen footage was re-envisioned and restored by director Mick Gochanour and producer Robin Klein, the Grammy Award winning team that brought the classic The Rolling Stones Rock and Roll Circus to the screen. Charlie is my Darling’s dramatic and stunning concert footage — including electrifying performances of «(I Can’t Get No) Satisfaction,» «The Last Time» and «Time Is On My Side» — shows the band developing its musical style by blending blues, R&B and rock-n-roll riffs. Off-the-cuff interviews are juxtaposed with revealing, comical scenes of the band goofing on one another as well as unsuspecting outsiders, and offers an unmatched look inside the day-to-day life of the Stones.
•→ ‘(I Can’t Get No) Satisfaction’ ⇐
♦ ‘2000 Light Years From Home’ ⇓ [1967]
∇ ‘Street Fighting Man’ ⇓ [1968]
∇ ‘Under My Thumb’ ⇓
∇ ‘Shake Your Hips’ ⇓ [1972]
I wanna tell you ‘bout a dance that’s goin’ around,
Everybody’s doin’ it from the grownups down.
Don’t move your head,
Don’t move your hands,
Don’t move your lips,
Just shake your hips.
Do the hip shake, babe . . .
Shake your hip, babe . . .
What you don’t know – Don’t be afraid
Just listen to me – And do what I say.
Don’t move your head . . .
Well, I met a little girl in a country town
She said, «What do you know – There’s Slim Harpo!»
Didn’t move her head,
Didn’t move her hands,
Didn’t move her lips,
Just shook her hips.
Do the hip shake, babe . . .
Shake your hip, babe . . .
Well ain’t that easy!
◊→ ‘Sweet Black Angel’ ↓ [«Exile On Main Street»_1972]
Got a sweet black angel – Got a pin up girl,
Got a sweet black angel – Up upon my wall.
Well, she ain’t no singer and she ain’t no star,
But she sure talk good, and she move so fast.
But the gal in danger – Yeah, de gal in chains,
But she keep on pushin’,
Would ya take her place?
She countin’ up de minutes,
She countin’ up de days,
She’s a sweet black angel, woh,
Not a sweet black slave.
Ten little niggers – Sittin’ on de wall,
Her brothers been a fallin’ – Fallin’ one by one.
For a judges murder in a judges court,
Now de judge he gonna judge her – For all dat he’s worth.
Well de gal in danger – De gal in chains,
But she keep on pushin’
Would you do the same?
She countin’ up de minutes,
She countin’ up de days,
She’s a sweet black angel,
Not a gun toting teacher,
Not a Red lovin’ school mom,
Ain’t someone gonna free her,
Free de sweet black slave . . .
◊→ ‘Let It Bleed’ ⇓ (1995)
Well, we all need someone we can lean on and if you want it, you can lean on me … She said, «My breasts, they will always be open. Baby, you can rest your weary head right on me And there will always be a space in my parking lot when you need a little coke and sympathy» Yeah, we all need someone we can dream on and if you want it, baby, well you can dream on meYeah, we all need someone we can cream on and if you want to, well you can cream on me I was dreaming of a steel guitar engagement when you drunk my health in scented jasmine tea
But you knifed me in my dirty filthy basement with that jaded, faded, junky nurse Oh what pleasant company We all need someone we can feed on and if you want it, well you can feed on me
Take my arm, take my leg, oh baby don’t you take my head Yeah, we all need someone we can bleed on Yeah, and if you want it, baby, well you can bleed on me
Yeah, we all need someone we can bleed on
Yeah, yeah, and if you want it, baby, why don’cha bleed on me
All over Ahh, bleed it alright, bleed it alright, bleed it alright – You can bleed all over me
Bleed it alright, bleed it alright, you can be my rider – You can cum all over me
Bleed it alright, baby, bleed it alright, bleed it alright – You can cum all over me
Bleed it alright, baby cum all over me
◊→ ‘Midnight Rambler’ ⇓
∇ ‘Like A Rolling Stone’ ⇓ [B. Dylan]
φ ‘Sister Morphine’ ↓ (1997)
Here I lie in my hospital bedTell me, Sister Morphine, when are you coming round again?
Oh, I don’t think I can wait that long
Oh you see that I’m not that strong The scream of the ambulance is sounding in my ears
Tell me, Sister Morphine, how long have I been lying here? What am I doing in this place?
Why does the doctor have no face? Oh, I can’t crawl across the floor Ah,
Can’t you see, Sister Morphine, I’m trying to score … Sweet cousin cocaine, lay your cool cool hands on my head Ah come on, Sister Morphine, you better make up my bed
‘Cause you know and I know in the morning I’ll be dead
You can sit around and you can watch all the clean white sheets stained red.
Θ ‘Harlem Shuffle’ ⇓ (1998)
You move it to the left – And you go for yourself – You move it to the right – Yeah if it takes all night
Now take it kinda slow – With a whole lot of soul – Don’t move it too fast – Just make it last
You scratch just like a monkey – Yeah you do real cool
You slide it to the limbo – Yeah how low can you go?
Now come on baby – Don’t fall down on me now – Just move it right here to the Harlem shuffle
Yeah yeah yeah to the Harlem shuffle – Yeah yeah yeah to the Harlem shuffle
Hitch hitch hike baby Across the floor – I can’t stand it no more
Now come on baby – Now get into your slide – Just ride ride ride – Little pony, ride!
Yeah yeah yeah do the Harlem shuffle – Yeah yeah yeah do the Harlem shuffle
Do the Monkey shine
Yeah yeah yeah shake a tail feather baby – Yeah yeah yeah shake a tail feather baby
Yeah yeah yeah do the Harlem shuffle – Yeah yeah yeah do the Harlem shuffle
Yeah like your mother told you how
Yeah yeah yeah do the Harlem shuffle – Yeah yeah yeah do the Harlem shuffle
◊→ ‘Gimme Shelter’ ⇓ [1998]
Oh, a storm is threat’ning my very life today
If I don’t get some shelter – Oh yeah, I’m gonna fade away
War, children, it’s just a shot away . . .
Ooh, see the fire is sweepin’ our very street today
Burns like a red coal carpet – Mad bull lost your way
War, children, it’s just a shot away
It’s just a shot away . . .
Rape, murder! It’s just a shot away …
The floods is threat’ning my very life today
Gimme, gimme shelter or I’m gonna fade away
War, children, it’s just a shot away
It’s just a shot away . . .
I tell you love, sister, it’s just a kiss away
It’s just a kiss away . . .
Kiss away, kiss away
∇ ‘Beast Of Burden‘ ⇓ [1998]
I’ll never be your beast of burden
My back is broad but it’s a hurting
All I want for you to make love to me
I’ll never be your beast of burden
I’ve walked for miles my feet are hurting
All I want is you to make love to me
Am I hard enough? Am I rough enough? Am I rich enough?
I’m not too blind to see
I’ll never be your beast of burden
So let’s go home and draw the curtains
Put on music on the radio
Come on baby make sweet love to me
Am I hard enough? Am I rough enough? Am I rich enough?
I’m not too blind to see
Oh little sister
Pretty, pretty, pretty, pretty, pretty girls
Uh you’re a pretty, pretty, pretty, pretty, pretty, pretty girl
Pretty, pretty, such a pretty, pretty, pretty girl
Come on baby please, please, please
I’ll tell ya
You can put me out on the street
Put me out with no shoes on my feet
But, put me out, put me out
Put me out of misery, yeah
All your sickness I can suck it up
Throw it all at me
I can shrug it off
There’s one thing baby I don’t understand
You keep on telling me
I ain’t your kind of man
Ain’t I rough enough? Ain’t I tough enough?
Ain’t I rich enough, in love enough
Ooh, ooh please
I’ll never be your beast of burden . . .
Never, never, never, never, never, never, never be
♦→ ‘Wild Horses’ ⇓ [«Stripped»]
Childhood living is easy to do – The things you wanted I bought them for you
Graceless lady you know who I am – You know I can’t let you slide through my hands Wild horses couldn’t drag me away . . . I watched you suffer a dull aching pain – Now you decided to show me the same
No sweeping exits or offstage lines could make me feel bitter or treat you unkind Wild horses couldn’t drag me away . . . I know I dreamed you a sin and a lie – I have my freedom but I don’t have much time
Faith has been broken, tears must be cried – Let’s do some living after we die
Wild horses couldn’t drag me away – Wild, wild horses, we’ll ride them some day . . .
¤ The History of the Rolling Stones ⇓
• Formation
British rock band The Rolling Stones formed in 1962 in London, England. The initial line-up consisted of vocalist Mick Jagger, guitarist Keith Richards, guitarist Brian Jones, bassist Dick Taylor, drummer Tony Chapman and pianist Ian Stewart, with Bill Wyman and Charlie Watts forming the rhythm section.
• First Singles and Album
In 1962, the group played an eight-month residency at a London club, which caught the attention of their first label. This led to the release of their first singles, “Come On,” and “I Wanna Be Your Man.” These charting singles allowed The Rolling Stones to book shows outside of London and eventually resulted in their 1964 self-titled debut. The Rolling Stones album featured mostly R&B cover tunes, and one Jagger- and Richards-penned track, “Tell Me (You’re Coming Back).”
• Second and Third Albums
Their sophomore effort, 12 x 5, also came out in 1964 and contained their first UK hit, “It’s All Over Now.” This was followed by a commercially successful album entitled, The Rolling Stones No. 2 in 1965.
• Satisfaction
Their next record, Out of Our Heads, included many more original compositions than their previous work. Its most popular single, “(I Can’t Get No) Satisfaction,” was the band’s first international hit. 1966’s Aftermath was The Rolling Stones’ first album to feature songs written only by Jagger and Richards. Notable tracks were “Have You Seen Your Mother, Baby, Standing in the Shadow?” and “Paint It, Black.”
• Alleged Drug Use and More Albums
In 1967, the band released Between the Buttons, which spawned the tunes, “Let’s Spend the Night Together” and “Ruby Tuesday.” That same year, a tabloid newspaper targeted the Rolling Stones in an article that sparked the interest of the authorities to their alleged drug use. Jagger, Richards and Jones were later charged with drug offenses. This was followed by the more psychedelic album, Their Satanic Majesties Request, which included the single, “In Another Land.”
• «Beggars Banquet» and a Circus
1968 saw the release of the single, “Jumpin’ Jack Flash” and the album, Beggars Banquet. This more bluesy record produced the single, “Sympathy for the Devil.” Two circus-themed concerts starring John Lennon, The Who and the Rolling Stones themselves were also filmed that year, and would later be released as the movie, “The Rolling Stones Rock and Roll Circus.”
• Brian Jones’ Death
The next year, Brian Jones left the band due to his drug problems, and was replaced by Mick Taylor. Less than a month later, on July 3rd, 1969 Jones was found drowned in his swimming pool. Just two days later, the Stones performed at London’s Hyde Park, and debuted the single, “Honky Tonk Women.”
• Gimme Shelter
That December, the album Let It Bleed, featuring the song, “Gimme Shelter,” was released. The group also played the infamous Altamont Free Concert, footage of which appeared in the 1970 documentary, “Gimme Shelter.” The live album, Get Yer Ya-Yas Out! The Rolling Stones in Concert, also came out that year.
• Rolling Stones Records
1971’s Sticky Fingers was their first record on their own label, Rolling Stones Records. It marked Taylor’s first release with the band and generated the hits, “Wild Horses” and “Brown Sugar.” The next year, the record, Exile on Main Street, hit number one on the charts. It was followed by Goats Head Soup, a less successful effort that still had a hit with the song, “Angie.”
• Ronnie Wood
Despite the success of the 1974 album, It’s Only Rock ‘n’ Roll, Mick Taylor quit the Rolling Stones. The first album featuring his replacement, Ronnie Wood, was 1976’s Black and Blue. While trying to finish their next live album, 1977’s Love You Live, Keith Richards faced drug charges that delayed the recording sessions.
• «Miss You» and Mounting Tensions
In the late 70s, the Stones began to experience poor sales and reviews. The faster-paced rock and roll of their 1978 album, Some Girls, reignited their popularity, especially with the help of the single, “Miss You.” However, mounting tensions between Jagger and Richards affected the recording of their next effort, 1980’s Emotional Rescue.
• Touring
The huge American tour that followed the release of the 1981 album, Tattoo You, was later documented in the 1983 film, “Let’s Spend the Night Together.” Their European tour of the following year saw the addition of another member to the Stones’ line-up, piano player Chuck Leavell.
• Solo Work, Another Death, Another Replacement
After the release of the 1983 album, Undercover, solo projects increased tensions between Jagger and Richards. As a result, 1986’s Dirty Work contained many more Richards-penned tracks than usual. Nevertheless, the pair reconciled after the death of Ian Stewart and the Stones released Steel Wheels in 1989. Bill Wyman retired shortly thereafter.
• More Music and More Shows
The Grammy-winning Voodoo Lounge would be Darryl Jones’ first album as Wyman’s replacement. This was followed by the 1997 album, Bridges to Babylon, which received mixed reviews. A Bigger Bang was released in 2005, with shows from the ensuing tour recorded and eventually seen in the 2008 film, “Shine a Light.”
• Legacy
Their unique sound and lively shows have made the Rolling Stones one of the biggest rock bands of all time. They have been going strong since the 1960s and their music will surely continue to do so for a very long time.
♦ Life_Keith Richards’ memoir ⇓
∴
⇐»This is me, Keith Richards, and what you’ve got is the audio version of «LIFE«, my autobiography. Thanks a lot for listening; I’m grateful to my friend Johnny Depp for doing this. Summer I slept for many years on average twice a week, and this means that I’ve been conscious for at least three lifetimes. Well, that is so but believe it or not I remember everything. So get ready for the ride… It starts with the band; it starts at a moment when I was in deep trouble [. . . ?] when everything, Rolling Stones and all, looks as if it was gonna come to a sticky end on a country road in Arkansas. I used all my nine lives long ago, but here I am, I’m still playing and I’m still rocking and still rolling, and I survived to tell you this tale and I hope you’ll enjoy it.»
∞ Two excerpts from chapters … 3 & 5 
Brian, after figuring out how much it would cost, called up Jazz News, which was a kind of «who’s playing where» rag, and said, «We’ve got a gig at…» «What do you call yourselves?» We stared at one another. «It?» Then «Thing?» This call is costing. Muddy Waters to the rescue! First track on The Best of Muddy Waters is «Rollin’ Stone.» The cover is on the floor. Desperate, Brian, Mick and I take the dive. «The Rolling Stones.» Phew!! That saved sixpence.
Alexis Korner’s band was booked to do a BBC live broadcast on July 12, 1962, and he’d asked us if we’d fill in for him at the Marquee. The core Stones, Mick, Brian and I, played our set list: «Dust My Broom,» «Baby What’s Wrong?» «Doing the Crawdaddy,» «Confessin’ the Blues,» «Got My Mojo Working.» You’re sitting with some guys, and you’re playing and you go, «Ooh, yeah!» That feeling is worth more than anything. There’s a certain moment when you realize that you’ve actually just left the planet for a bit and that nobody can touch you. Don’t matter. They can´t even bust you. Not that you’re thinking of getting busted. But you’re elevated because you’re with a bunch of guys that want to do the same thing as you. And when it works, baby, you’ve got wings…
* * *
… But effects are not my thing. I just go for quality of sound. Do I want this sharp and hard and cutting, or do I want warm, smooth «Beast of Burden» stuff? Basically you go: Fender or Gibson?
In «Satisfaction» I was imagining horns, trying to imitate their sound to put on the track later when we recorded. I’d already heard the riff in my head the way Otis Redding did it later, thinking, this is gonna be the horn line. But we didn’t have any horns, and I was only going to lay down a dub. The fuzz tone came in handy so I could give a shape to what the horns were supposed to do. But the fuzz tone had never been heard before anywhere, and that’s the sound that caught everybody’s imagination. Next thing I know, we’re listening to ourselves in Minnesota somewhere on the radio, «Hit of the Week,» and we didn’t even know Andrew had put the thing out! At first I was mortified. As far as I was concerned that was just the dub. Ten days on the road and it’s number one nationally! The record of the summer of ’65. So I’m not arguing. And I learned that lesson –sometimes you can overwork things.
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