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Autographed in person by: Mick Jagger, Keith Richards, Mick Taylor, Nicky Hopkins, Billy Preston ,Bill Wyman, and Charlie Watts

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The Rolling Stones are an English rock band formed in London in 1962. The first stable line-up consisted of bandleader Brian Jones (guitar, harmonica, keyboards), Mick Jagger (lead vocals, harmonica), Keith Richards (guitar, vocals), Bill Wyman (bass), Charlie Watts (drums), and Ian Stewart (piano). Stewart was removed from the official line-up in 1963 but continued to work with the band as a contracted musician until his death in 1985. The band's primary songwriters, Jagger and Richards, assumed leadership after Andrew Loog Oldham became the group's manager. Jones left the band less than a month before his death in 1969, having already been replaced by Mick Taylor, who remained until 1974. After Taylor left the band, Ronnie Wood took his place in 1975 and continues on guitar in tandem with Richards. Since Wyman's departure in 1993, Darryl Jones has served as touring bassist. The Stones have not had an official keyboardist since 1963, but have employed several musicians in that role, including Jack Nitzsche (1965–1971), Nicky Hopkins (1967–1982), Billy Preston (1971–1981), Ian McLagan (1978–1981), and Chuck Leavell (1982–present).

The Rolling Stones were at the forefront of the British Invasion of bands that became popular in the United States in 1964 and were identified with the youthful and rebellious counterculture of the 1960s. Rooted in blues and early rock and roll, the band started out playing covers but found more success with their own material; songs such as "(I Can't Get No) Satisfaction" and "Paint It Black" became international hits. After a short period of experimentation with psychedelic rock in the mid-1960s, the group returned to its "bluesy" roots with Beggars Banquet (1968), Let It Bleed (1969), Sticky Fingers (1971), and Exile on Main St. (1972). It was during this period they were first introduced on stage as "The Greatest Rock and Roll Band in the World."^[1][2]

The band continued to release commercially successful albums through the 1970s and early 1980s, including Some Girls (1978) and Tattoo You (1981), the two best-sellers in their discography. During the 1980s, the band infighting curtailed their output and they only released two more underperforming albums and did not tour for the rest of the decade. Their fortunes changed at the end of the decade, when they released Steel Wheels (1989), promoted by a large stadium and arena tour, the Steel Wheels/Urban Jungle Tour. Since the 1990s, new material has been less frequent. Despite this, the Rolling Stones continue to be a huge attraction on the live circuit. By 2007, the band had four of the top five highest-grossing concert tours of all time: Voodoo Lounge Tour (1994–1995), Bridges to Babylon Tour (1997–1998), Licks Tour (2002–2003) and A Bigger Bang (2005–2007).^[3] Musicologist Robert Palmer attributes the endurance of the Rolling Stones to their being "rooted in traditional verities, in rhythm-and-blues and soul music", while "more ephemeral pop fashions have come and gone".^[4]

The Rolling Stones were inducted into the Rock and Roll Hall of Fame in 1989 and the UK Music Hall of Fame in 2004. Rolling Stone magazine ranked them fourth on the "100 Greatest Artists of All Time" list and their estimated record sales are above 250 million. They have released 30 studio albums, 23 live albums and numerous compilations. Let It Bleed (1969) marked the first of five consecutive No. 1 studio and live albums in the UK. Sticky Fingers (1971) was the first of eight consecutive No. 1 studio albums in the US. In 2008, the band ranked 10th on the Billboard Hot 100 All-Time Top Artists chart. In 2012, the band celebrated its 50th anniversary. They still continue to release albums to brisk sales and critical acclaim; their most recent album Blue & Lonesome was released in December 2016 and reached No. 1 on the UK Album Charts and No. 4 in the U.S. and won a Grammy Award for Best Traditional Blues Album. The group also continues to sell out venues, with their No Filter Tour ongoing since September 2017.

History

Early history

Keith Richards and Mick Jagger became childhood friends and classmates in 1950 in Dartford, Kent.^[5][6] The Jagger family moved to Wilmington, Kent, five miles (8.0 km) away, in 1954.^[7] In the mid-1950s, Jagger formed a garage band with his friend Dick Taylor; the group mainly played material by Muddy Waters, Chuck Berry, Little Richard, Howlin' Wolf and Bo Diddley.^[7] Jagger met Richards again on 17 October 1961 on platform two of Dartford railway station.^[8] The Chuck Berry and Muddy Waters records Jagger was carrying revealed a shared interest. A musical partnership began shortly afterwards.^[9][10] Richards and Taylor often met Jagger at his house. The meetings moved to Taylor's house in late 1961 where Alan Etherington and Bob Beckwith joined the trio; the quintet called themselves the Blues Boys.^[11]

In March 1962, the Blues Boys read about the Ealing Jazz Club in Jazz News newspaper, which mentioned Alexis Korner's rhythm and blues band, Blues Incorporated. The group sent a tape of their best recordings to Korner, who was favourably impressed.^[12] On 7 April, they visited the Ealing Jazz Club where they met the members of Blues Incorporated, who included slide guitarist Brian Jones, keyboardist Ian Stewart and drummer Charlie Watts.^[12] After a meeting with Korner, Jagger and Richards started jamming with the group.^[12]

Jones, no longer in a band, advertised for bandmates in Jazz Weekly, while Stewart found them a practice space;^[13] together they decided to form a band playing Chicago blues. Soon after, Jagger, Taylor and Richards left Blues Incorporated to join Jones and Stewart. The first rehearsal included guitarist Geoff Bradford and vocalist Brian Knight, both of whom decided not to join the band. They objected to playing the Chuck Berry and Bo Diddley songs preferred by Jagger and Richards.^[14] In June 1962 the addition of the drummer Tony Chapman completed the line-up of Jagger, Richards, Jones, Stewart and Taylor. According to Richards, Jones named the band during a phone call to Jazz News. When asked by a journalist for the band's name, Jones saw a Muddy Waters LP lying on the floor; one of the tracks was "Rollin' Stone".^[15][16]

1962–1964: Building a following

Jones, Jagger, Richards, Stewart, and Taylor played a gig billed as "the Rollin' Stones" on 12 July 1962, at the Marquee Club in London.^[17][18][a] Shortly afterwards, the band went on their first tour of the UK, which they called a "training ground" tour, because it was a new experience for all of them. Their material included the Chicago blues as well as Chuck Berry and Bo Diddley songs.^[21] The band's original rhythm section did not include bassist Bill Wyman, who joined in December 1962, or drummer Charlie Watts, who joined in January 1963.^[22][23] By 1963 they were finding their musical stride as well as popularity.^[24] In 1964 two unscientific opinion polls rated the band as Britain's most popular group, outranking even the Beatles.^[25] The band's name was changed shortly after their first gig to "The Rolling Stones".^[26][27] The group's then acting manager, Giorgio Gomelsky, secured a Sunday afternoon residency at the Crawdaddy Club in Richmond, London, in February 1963.^[28] He claimed this triggered an "international renaissance for the blues".^[29]

In May 1963, The Rolling Stones signed Andrew Loog Oldham as their manager.^[30] His previous clients, the Beatles, directed the former publicist to the band.^[31][18] Because Oldham was only nineteen and had not reached the age of majority—he was also younger than anyone in the band—he could not obtain an agent's licence or sign any contracts without his mother co-signing.^[31] By necessity he joined with booking agent Eric Easton^[32] to secure record financing and assistance booking venues.^[33] Gomelsky, who had no written agreement with the band, was not consulted.^[34] Initially, Oldham tried applying the strategy used by Brian Epstein, the Beatles' manager, and have the band members wear suits. He later changed his mind and imagined a band which contrasted with the Beatles, featuring unmatched clothing, long hair, and an unclean appearance. He wanted to make the Stones "a raunchy, gamy, unpredictable bunch of undesirables" and to "establish that the Stones were threatening, uncouth and animalistic".^[35] Stewart left the official line-up, but remained road manager and touring keyboardist. Of Stewart's decision, Oldham later said, "Well, he just doesn't look the part, and six is too many for [fans] to remember the faces in the picture."^[36] Later, Oldham reduced the band members' ages in publicity material to make them appear as teenagers.^[37]

Decca Records, which had declined to sign a deal with the Beatles, gave the Rolling Stones a recording contract with favourable terms.^[38] The band got three times a new act's typical royalty rate, full artistic control of recordings and ownership of the recording master tapes.^[39][40] The deal also let the band use non-Decca recording studios. Regent Sound Studios, a mono facility equipped with egg boxes on the ceiling for sound treatment, became their preferred location.^[41][42] Oldham, who had no recording experience but made himself the band's producer, said Regent had a sound that "leaked, instrument-to-instrument, the right way" creating a "wall of noise" that worked well for the band.^[40][43] Because of Regent's low booking rates, the band could record for extended periods rather than the usual three-hour blocks common at other studios. All tracks on the first Rolling Stones album, The Rolling Stones, were recorded there.^[44][45]

Oldham contrasted the Rolling Stones' independence with the Beatles' obligation to record in EMI's studios, saying it made them appear as "mere mortals ... sweating in the studio for the man".^[46] He promoted the Rolling Stones as the nasty counterpoint to the Beatles by having the band pose unsmiling on the cover of their first album. He also encouraged the press to use provocative headlines such as: "Would you let your daughter marry a Rolling Stone?"^[47][48] By contrast, Wyman says, "Our reputation and image as the Bad Boys came later, completely there, accidentally. ... [Oldham] never did engineer it. He simply exploited it exhaustively."^[49] In a 1972 interview, Wyman stated, "We were the first pop group to break away from the whole Cliff Richard thing where the bands did little dance steps, wore identical uniforms and had snappy patter."^[50]

A cover version of Chuck Berry's "Come On" was the Rolling Stones' first single, released on 7 June 1963. The band refused to play it at live gigs,^[51] and Decca bought only one ad to promote the record. With Oldham's direction, fan-club members bought copies at record shops polled by the charts,^[52] helping "Come On" rise to No. 21 on the UK Singles Chart.^[53] Having a charting single gave the band entree to play outside London, starting with a booking at the Outlook Club in Middlesbrough on 13 July, sharing the billing with The Hollies.^[54][b] Later in 1963 Oldham and Easton arranged the band's first big UK concert tour as a supporting act for American stars including Bo Diddley, Little Richard and the Everly Brothers. The tour gave the band the opportunity to hone their stagecraft.^[40][56][57] During the tour the band recorded their second single, a Lennon–McCartney-penned number entitled "I Wanna Be Your Man".^[58] The song was written and given to the Stones when John Lennon and Paul McCartney visited them in the studio as the two Beatles liked giving the copyrights to songs away to their friends. It reached No. 12 on the UK charts.^[59] The Beatles 1963 album, With the Beatles, includes their version of the song.^[60] On 1 January 1964, the Stones' "I Wanna Be Your Man" was the first song ever performed on the BBC’s Top of the Pops.^[61] The third single by the Stones, Buddy Holly's "Not Fade Away", reflecting Bo Diddley's style, was released in February 1964 and reached No. 3.^[62]

Oldham saw little future for an act that lost significant songwriting royalties by playing songs of what he described as "middle-aged blacks", limiting the appeal to teenage audiences. Jagger and Richards decided to write songs together. Oldham described the first batch as "soppy and imitative".^[63] Because the band's songwriting developed slowly, songs on their first album The Rolling Stones (1964; issued in the US as England's Newest Hit Makers), were primarily covers, with only one Jagger/Richards original—"Tell Me (You're Coming Back)"—and two numbers credited to Nanker Phelge, the pen name used for songs written by the entire group.^[64] The Rolling Stones' first US tour in June 1964 was "a disaster" according to Wyman. When we arrived, we didn't have a hit record [there] or anything going for us."^[65] When the band appeared on the variety show The Hollywood Palace, that week's guest host, Dean Martin, mocked both their hair and their performance.^[66] During the tour they recorded for two days at Chess Studios in Chicago, meeting many of their most important influences, including Muddy Waters.^[67][68] These sessions included what would become the Rolling Stones' first No. 1 hit in the UK, their cover version of Bobby and Shirley Womack's "It's All Over Now".^[69]

The Stones followed the Famous Flames, featuring James Brown, in the theatrical release of the 1964 film T.A.M.I. Show, which showcased American acts with British Invasion artists. According to Jagger, "We weren't actually following James Brown because there was considerable time between the filming of each section. Nevertheless, he was still very annoyed about it ..."^[70] On 25 October the band appeared on The Ed Sullivan Show. Because of the pandemonium surrounding the Stones, Sullivan banned them from his show.^[71] However, he booked them for an appearance in the following year.^{[72][73][failed verification]} Their second LP, 12 X 5, which was only available in the US, was released during the tour.^[74] During the early Stones' releases, Richards was typically credited as "Richard".^[75][76][77] The Rolling Stones' fifth UK single, a cover of Willie Dixon's "Little Red Rooster"—with "Off the Hook", credited to Nanker Phelge, as the B-side—was released in November 1964 and became their second No. 1 hit in the UK.^[62] The band's US distributors, London Records, declined to release "Little Red Rooster" as a single. In December 1964, the distributor released the band's first single with Jagger/Richards originals on both sides: "Heart of Stone", with "What a Shame" as the B-side; the single went to No. 19 in the US.^[78]

1965–1967: Height of fame

The band's second UK LP, The Rolling Stones No. 2, was released in January 1965 and reached No. 1 on the charts. The US version, released in February as The Rolling Stones, Now!, reached No. 5. The album was recorded at Chess Studios in Chicago and RCA Studios in Los Angeles.^[79] In January and February that year the band played 34 shows for around 100,000 people in Australia and New Zealand.^[80] The single "The Last Time", released in February, was the first Jagger/Richards composition to reach No. 1 on the UK charts;^[62] it reached No. 9 in the US. It was later identified by Richards as "the bridge into thinking about writing for the Stones. It gave us a level of confidence; a pathway of how to do it."^[81]

Their first international No. 1 hit was "(I Can't Get No) Satisfaction", recorded in May 1965 during the band's third North American tour. Richards recorded the guitar riff that drives the song with a fuzzbox as a scratch track to guide a horn section. Nevertheless, the final cut was without the planned horn overdubs. Issued in the summer of 1965, it was their fourth UK No. 1 and their first in the US where it spent four weeks at the top of the Billboard Hot 100. It was a worldwide commercial success for the band.^[81][82] The US version of the LP Out of Our Heads, released in July 1965, also went to No 1; it included seven original songs, three Jagger/Richards numbers and four credited to Nanker Phelge.^[83] Their second international No. 1 single "Get Off of My Cloud" was released in the autumn of 1965,^[73] followed by another US-only LP, December's Children.^[84]

The album Aftermath, released in the late spring of 1966, was the first LP to be composed entirely of Jagger/Richards songs;^[85] it reached No. 1 in the UK and No. 2 in the US.^[86] On this album Jones' contributions expanded beyond guitar and harmonica. To the Middle Eastern-influenced "Paint It, Black"^[c] he added sitar; to the ballad "Lady Jane" he added dulcimer and to "Under My Thumb" he added marimbas. Aftermath also contained "Goin' Home", a nearly 12-minute-long song that included elements of jamming and improvisation.^[87]

The Stones' success on the British and American singles charts peaked during the 1960s.^[88][89] "19th Nervous Breakdown"^[90] was released in February 1966, and reached No. 2 in the UK^[91] and US charts;^[92] "Paint It, Black" reached No. 1 in the UK and US in May 1966.^[62][89] "Mother's Little Helper", released in June 1966, reached No. 8 in the US;^[92] it was one of the first pop songs to discuss the issue of prescription drug abuse.^[93][94] "Have You Seen Your Mother, Baby, Standing in the Shadow?" was released in September 1966 and reached No. 5 in the UK^[95] and No. 9 in the US.^[92] It had a number of firsts for the group: it was the first Stones recording to feature brass horns and the back-cover photo on the original US picture sleeve depicted the group satirically dressed in drag. The song was accompanied by one of the first official music videos, directed by Peter Whitehead.^[96][97]

January 1967 saw the release of Between the Buttons, which reached No. 3 in the UK and No. 2 in the US. It was Andrew Oldham's last venture as the Rolling Stones' producer. Allen Klein took over his role as the band's manager in 1965. Richards recalled, "There was a new deal with Decca to be made ... and he said he could do it."^[98] The US version included the double A-side single "Let's Spend the Night Together" and "Ruby Tuesday",^[99] which went to No. 1 in the US and No. 3 in the UK. When the band went to New York to perform the numbers on The Ed Sullivan Show in January, they were ordered to change the lyrics of the refrain of "Let's Spend the Night Together" to "let's spend some time together".^[100][101]

In early 1967, Jagger, Richards and Jones began to be hounded by authorities over their recreational drug use, after News of the World ran a three-part feature entitled "Pop Stars and Drugs: Facts That Will Shock You".^[102] The series described alleged LSD parties hosted by The Moody Blues attended by top stars including The Who's Pete Townshend and Cream's Ginger Baker, and alleged admissions of drug use by leading pop musicians. The first article targeted Donovan (who was raided and charged soon after); the second instalment (published on 5 February) targeted the Rolling Stones.^[103] A reporter who contributed to the story spent an evening at the exclusive London club Blaise's, where a member of the Rolling Stones allegedly took several Benzedrine tablets, displayed a piece of hashish and invited his companions back to his flat for a "smoke". The article claimed this was Mick Jagger, but it turned out to be a case of mistaken identity; the reporter had in fact been eavesdropping on Brian Jones. Two days after the article was published Jagger filed a writ for libel against the News of the World.^[104][103]

A week later on 12 February, Sussex police, tipped off by the paper, which had been tipped off by his chauffeur^[105] raided a party at Keith Richards' home, Redlands. No arrests were made at the time, but Jagger, Richards and their friend art dealer Robert Fraser were subsequently charged with drug offences. Andrew Oldham was afraid of being arrested and fled to America.^[106][107]