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The Rolling Stones Turnê 01.02.1962
 
 
 
Em 1¤ de Fevereiro de 1962 deu início a grande turnê dos The Rolling Stones, onde iniciou na cidade natal da companheira do vocalista, Mick Jagger, a então supermodelo francesa Jean Ana, a super banda começou sua turnê em Paris, França. O primeiro show da turnê foi extremamente bonito e cheio de rock n' roll, e também como todo mundo sabe, em 1¤ de Fevereiro é o aniversário de Mick Jagger, e a turnê começou bem no dia de seu aniversário, no dia e no show ele completou 34 anos, e foi super surpreendido no final do show, às 23:00, quando sua bela parceira, Jean o surpreendeu entrando no palco, e seus amigos Keith, Charlie, Mick Taylor e Bill deu à Mick Jagger os parabéns. Mick Jagger ficou super paralisado, ele não sabia o que falar ou o que fazer. Ted, o segurança do casal entrou com um lindo bolo, e vários champagnes e taças maravilhosas. Mick se emocionou quando Jean Ana entrou com Nickolas, Jade, Ana Ruby e Vítor no palco, e foi especial porque foi nesse show que Mick Jagger ficou sabendo que ia ser papai de dois gêmeos, que irá ter o nome de Caio e Cássio, quando ele ficou sabendo se pôs em lágrimas, e beijou Jean. Mick Jagger também abraçou e beijou Nickolas, Jade, Ana Ruby e Vítor. Mas ele foi muito mais surpreendido na hora dos parabéns, porque as 900.000.000 de pessoas que estavam no estádio cantaram Happy Birthday To You para Mick Jagger, depois ele soprou as 34 velas e todo mundo que estava presente aplaudiu. Mick Jagger fez um discurso muito bonito no microfone, onde ele falou: 'Ah, eu quero agradecer por essa surpresa magnífica que fizeram para mim, com certeza eu nunca vou esquecer desse maravilhoso dia. Eu quero agradecer à minha esposa Jean, por estar comigo todos os dias da minha vida, por me fazer a pessoa mais feliz desse mundo, por nunca ter desistido de mim, por ter me dado essas crianças que faz um sorriso aparecer em meu rosto e por mais outras coisas que nesse momento eu não consigo lembrar por causa da emoção, mas eu só consigo lhe dizer que eu amo você, você é o meu sonho, e espero ficar com você até os meus últimos dias de vida. Nickolas, Jade, Aninha e Vítor vocês são a minha alegria, e eu sou o pai mais sortudo desse mundo por vocês serem os meus filhos, eu amo vocês, e vibrem porque vocês vão ter mais dois irmãos. Também quero agradecer à Jean por ter me dado essa notícia maravilhosa, esses meninos vão ter uma mãe perfeita em tudo. Keith, Mick Taylor, Charlie e Bill, eu quero agradecer à vocês por serem meus amigos desde pequenos, e me aguentar todo santo dia, vocês são os meus melhores amigos, e nunca irei trocar vocês por nenhum outro amigo, eu amo vocês. E fãs, eu quero agradecer por vocês estarem com nós desde o primeiro dia de nossa carreira, não somos nada sem vocês, e estejam com nós para sempre, eu amo vocês'. Depois desse discurso impressionante, os amigos não deixaram Mick comer o bolo, e jogou tudo nele, onde também iniciou a guerra de bolo no palco. Jean Ana também discursou, ela disse: 'Eu quero agradecer por ter essa família maravilhosa, por ter esses filhos maravilhosos, e por ter encontrado o amor da minha vida. Mick, você me ensinou enfrentar os problemas, me ensinou à ser mais forte e me ensinou como rir todos os dias, eu amo você e quero continuar com você para lhe dar mais filhos, se Deus quiser'. Essa com certeza, foi a melhor turnê dos The Rolling Stones.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Histo
Early history
 
In the early 1950s Keith Richards and Mick Jagger were classmates at Wentworth Primary School in Dartford, Kent.[1] They met again in 1960 while Richards was attending Sidcup Art College.[2] Richards recalled, "I was still going to school, and he was going up to the London School of Economics... So I get on this train one morning, and there's Jagger and under his arm he has four or five albums... He's got Chuck Berry and Muddy Waters".[3] With mutual friend Dick Taylor (later of Pretty Things), they formed the band Little Boy Blue and the Blue Boys.[2] Stones founders Brian Jones and pianist Ian Stewart were active in the London R&B scene fostered by Cyril Davies and Alexis Korner. Jagger and Richards met Jones while he was playing slide guitar sitting in with Korner's Blues Incorporated. Korner also had hired Jagger periodically and frequently future Stones drummer Charlie Watts.[4] Their first rehearsal was organised by Jones and included Stewart, Jagger and Richards - the latter came along at Jagger's invitation. In June 1962 the lineup was: Jagger, Richards, Stewart, Jones, Taylor, and drummer Tony Chapman. Taylor then left the group. Jones named the band The Rollin' Stones, after the song "Rollin' Stone" by Muddy Waters.[5][6]
 
1962–1964
 
On 12 July 1962 the group played their first formal gig at the Marquee Club, billed as "The Rollin' Stones".[7] The line-up was Jagger, Richards, Jones, Stewart on piano, Taylor on bass and Tony Chapman on drums. Jones intended for the band to play primarily Chicago blues, but Jagger and Richards brought the rock & roll of Chuck Berry and Bo Diddley to the band.[8] Bassist Bill Wyman joined in December and drummer Charlie Watts the following January to form the Stones' long-standing rhythm section.[9][2]
 
The Rolling Stones' first manager, Giorgio Gomelsky, booked the band to play at his Crawdaddy Club[2] for what became an eight-month residency. A young ex-publicist of The Beatles, Andrew Loog Oldham, signed the band to a management deal with his partner and veteran booker Eric Easton in early May 1963.[10] (Gomelsky, who had no written agreement with the band, was not consulted.) George Harrison, meanwhile, encouraged Decca Records' Dick Rowe - who famously passed on the Beatles - to scout The Rolling Stones.Template:Fact The band toured the UK in July 1963 and played their first gig outside of Greater London on Saturday 13 July at the Outlook Club in Middlesbrough[11] sharing billing that night with The Hollies.[12][13]
 
 
 
After signing The Rolling Stones to a tape-lease deal with Decca,[14] Oldham and Easton booked the band on their first big UK tour in the autumn of 1963. They were billed as a supporting act for American stars including Bo Diddley, Little Richard and The Everly Brothers. The result was a "training ground" for the young band's stagecraft.[15][16][17]
 
Prior to this tour, in July 1963, the band's first single, Chuck Berry's "Come On" reached number 21 in the UK. In November 1963, the Rolling Stones had a bigger hit with a rendition of the Lennon/McCartney composition "I Wanna Be Your Man", which went to number 12 on the UK charts.
 
Oldham crafted the band's image of long-haired tearaways "into the opposite of what The Beatles [were] doing".[4] The band was touring the UK constantly, and made numerous television appearances; their next single, a frantic cover of Buddy Holly's "Not Fade Away" was a top three hit.
 
Their first album The Rolling Stones, (issued in the US as England's Newest Hit Makers) was composed primarily of covers drawn from the band's live repertoire. The LP also included a Jagger/Richards original - "Tell Me (You're Coming Back)" - and two numbers credited to Nanker Phelge, the name used for songs composed by the entire group.
 
The Rolling Stones' first US tour in June 1964 was, in Bill Wyman's words, "a disaster. When we arrived, we didn't have a hit record [there] or anything going for us."[18] When the band appeared on Dean Martin's TV variety show The Hollywood Palace, Martin mocked both their hair and their performance.[19] During the tour, however, they did a two-day recording session at Chess Studios in Chicago, where many of their musical heroes recorded.[20][21] These sessions included what would become The Rolling Stones' first UK chart-topper: their cover of Bobby and Shirley Womack's "It's All Over Now".[22]
 
On their second US tour in the autumn of 1964, the band immediately followed James Brown in the filmed theatrical release of The TAMI Show, which showcased American acts with British Invasion artists. According to Jagger in 2003, "We weren't actually following James Brown because there were hours in between the filming of each section. Nevertheless, he was still very annoyed about it..."[23] On 25 October the band also appeared on The Ed Sullivan Show. Sullivan, reacting to the pandemonium the Stones caused, promised to never book them again,[24] though he later did book them repeatedly.[4] Their second LP - the US-only 12 X 5 - was released during this tour;[25] it again contained mainly cover tunes, augmented by Jagger/Richards and Nanker Phelge tracks.
 
The Rolling Stones' fifth UK single - a cover of Willie Dixon's "Little Red Rooster" backed by "Off the Hook" (Nanker Phelge) - was released in November 1964 and became their second number-1 hit in the UK - an unprecedented achievement for a blues number. The band's US distributors (London Records) declined to release "Little Red Rooster" as a single there, probably due to its sexual overtones. In December 1964 London Records released the band's first single with Jagger/Richards originals on both sides: "Heart of Stone" backed with "What a Shame"; "Heart of Stone" went to number 19 in the US.[26]
 
1965–1969
 
The band's second UK LP - The Rolling Stones No. 2, released in January 1965 - was another #1 on the album charts; the US version, released in February as The Rolling Stones, Now!, went to #5. Most of the material had been recorded at Chess Studios in Chicago and RCA Studios in Los Angeles.[27] In January/February 1965 the band also toured Australia and New Zealand for the first time, playing 34 shows for about 100,000 fans.[28]
 
The first Jagger/Richards composition to reach number 1 on the UK singles charts was "The Last Time" (released in February 1965); it went to number 9 in the US. Their first international number-1 hit was "(I Can't Get No) Satisfaction", recorded in May 1965 during the band's third North American tour. Released as a US single in June 1965, it spent four weeks at the top of the charts there, and established the Stones as a worldwide premier act.[29] The US version of the LP Out of Our Heads (released in July 1965) also went to number 1; it included seven original songs (three Jagger/Richards numbers and four credited to Nanker Phelge).[30] Their second international number-1 single, "Get Off of My Cloud" was released in the autumn of 1965,[4] followed by another US-only LP: December's Children.[25]
 
The release Aftermath (UK number 1; US 2) in the late spring of 1966 was the first Rolling Stones album to be composed entirely of Jagger/Richards songs. Jones's contribution was also at its all time height, with his command of exotic instruments greatly adding to the band's sound. The American version of the LP included the chart-topping, Middle Eastern-influenced "Paint It Black", the ballad "Lady Jane", and the almost 12-minute long "Going Home", the first extended jam on a top selling rock & roll album; later Jimi Hendrix, Cream and other sixties and seventies bands would release long jams routinely.
 
The Stones' success on the British and American singles charts peaked during 1966. "19th Nervous Breakdown" (Feb. 1966, UK #2, US #2) was followed by their first trans-Atlantic #1 hit "Paint It, Black" (May 1966). "Mother's Little Helper" (June 1966) was only released as a single in the USA, where it reached #8; it was one of the first pop songs to address the issue of prescription drug abuse, and is also notable for the fact that Jagger sang the lyric in his natural London accent, rather than his usual affected southern American accent.
 
The Sep. 1966 single "Have You Seen Your Mother, Baby, Standing In The Shadow?" (UK #5, US #9) was notable in several respects -- it was the first Stones recording to feature brass in the arrangement, the (now-famous) back-cover photo on the original US picture sleeve depicted the group satirically dressed in drag, and the song was accompanied by one of the first purpose-made promotional film clips (music videos), directed by Peter Whitehead.
 
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"Paint It, Black"
Sample of "Paint It Black" by The Rolling Stones (1966). Released as a single and as the opening track on the US version of Aftermath.
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"(I Can't Get No) Satisfaction"
Sample of "(I Can't Get No) Satisfaction" by The Rolling Stones (1965).
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Template:Sample box end
January 1967 saw the release of Between the Buttons (UK number 3; US 2); the album was Andrew Oldham's last venture as The Rolling Stones' producer (his role as the band's manager had been taken over by Allen Klein in 1965). The US version included the double A-side single "Let's Spend the Night Together" and "Ruby Tuesday", which went to #1 in America and #3 in the UK. When the band went to New York to perform the numbers on The Ed Sullivan Show, Jagger changed the lyrics in the refrain to "let's spend some time together" to avoid having their appearance on the show cancelled.[2][31]
 
Jagger, Richards and Jones now began to be hounded by authorities over their recreational drug use. In early 1967 News of the World ran a three-part feature entitled "Pop Stars and Drugs: Facts That Will Shock You", which carried allegations of LSD parties hosted by The Moody Blues and 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 installment (published on Feb. 5) targeted the Rolling Stones.
 
A reporter who contributed to the story spent an evening at the exclusive London club Blaise's, where a member of the 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 that 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. On the night the article was published Jagger appeared on the Eammon Andrews chat show and announced that he was filing a writ of libel against the paper.[32]
 
A week later on Sunday 12 February Sussex police (tipped off by the News of the World) raided a party at Keith Richards's 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. Richards said in 2003, "When we got busted at Redlands, it suddenly made us realise that this was a whole different ball game and that was when the fun stopped. Up until then it had been as though London existed in a beautiful space where you could do anything you wanted."[33]
 
In March, while awaiting the consequences of the police raid, Jagger, Richards and Jones decided to take a short trip to Morocco, accompanied by Marianne Faithfull, Jones's girlfriend Anita Pallenberg and other friends. During this trip the stormy relations between Jones and Pallenberg deteriorated to the point that Pallenberg left Morocco with Richards.[34] Richards said later: "That was the final nail in the coffin with me and Brian. He'd never forgive me for that and I don't blame him, but hell, shit happens."[35] Richards and Pallenberg would remain a couple for twelve years. Despite these complications, The Rolling Stones toured Europe in March and April 1967. The tour included the band's first performances in Poland, Greece and Italy.[36]
 
On 9 May 1967 -- the same day Jagger, Richards and Fraser were arraigned in connection with the Redlands charges -- Brian Jones's house was raided by police and he was arrested and charged with possession of cannabis.[2] With three out of five Rolling Stones now facing criminal charges, Jagger and Richards were tried at the end of June. On 29 June, they were both convicted and given prison sentences; they were released on bail the following day pending appeal.[37]The Times ran the famous editorial entitled "Who breaks a butterfly on a wheel?" in which editor William Rees-Mogg was strongly critical of the sentencing, pointing out that Jagger had been treated far more harshly for a minor first offence than "any purely anonymous young man".
 
While awaiting the appeal hearings, the band recorded a new single, "We Love You", as a thank-you for the loyalty shown by their fans. It began with the sound of prison doors closing, and the accompanying music video included allusions to the trial of Oscar Wilde.[38] In July, the appeals court overturned Richards' conviction, and Jagger's sentence was reduced to a conditional discharge. Brian Jones's trial took place in November 1967; in December, after appealing the original prison sentence, Jones was fined £1000, put on three years' probation and ordered to seek professional help.[39]
 
December 1967 also saw the release of Their Satanic Majesties Request (UK number 3; US 2), released shortly after The Beatles' Sgt. Pepper's Lonely Hearts Club Band.[2]Satanic Majesties had been recorded in difficult circumstances while Jagger, Richards and Jones were dealing with their court cases. The band parted ways with producer Andrew Oldham during the sessions. The split was amicable, at least publicly;[40] but in 2003 Jagger said: "The reason Andrew left was because he thought that we weren't concentrating and that we were being childish. It was not a great moment really - and I would have thought it wasn't a great moment for Andrew either. There were a lot of distractions and you always need someone to focus you at that point, that was Andrew's job."[2]
 
Satanic Majesties thus became the first album The Rolling Stones produced on their own. It was also the first of their albums released in identical versions on both sides of the Atlantic. Its psychedelic sound was complemented by the cover art, which featured a 3D photo by Michael Cooper, who had also photographed the cover of Sgt. Pepper. Bill Wyman wrote and sang a track on the album: "In Another Land", which was also released as the first The Rolling Stones single featuring lead vocals other than Jagger's.[41]
 
The band spent the first few months of 1968 working on material for their next album. Those sessions resulted in the song "Jumpin' Jack Flash", released as a single in May. The song, and later that year the resulting album, Beggars Banquet (UK number 3; US 5), marked the band's return to their blues roots, and the beginning of their collaboration with producer Jimmy Miller. Featuring the album's lead single, "Street Fighting Man" (which addressed the political upheavals of May 1968), and the opening track "Sympathy for the Devil", Beggars Banquet was another eclectic mix of country and blues-inspired tunes, and was hailed as an achievement for the Stones at the time of release. On the musical evolution between albums, Richards said, "There is a change between material on Satanic Majesties and Beggars Banquet. I'd grown sick to death of the whole Maharishi guru shit and the beads and bells. Who knows where these things come from, but I guess [the music] was a reaction to what we'd done in our time off and also that severe dose of reality. A spell in prison... will certainly give you room for thought... I was fucking pissed with being busted. So it was, 'Right we'll go and strip this thing down.' There's a lot of anger in the music from that period."[42] Tutored by American guitarist Ry Cooder, Richards during this time (1968) started using open tunings (often in conjunction with a capo), most prominently an open-E or open-D tuning, then in 1969, 5-string open-G tuning (with the lower 6th string removed), as heard on the 1969 single "Honky Tonk Women", "Brown Sugar" (Sticky Fingers, 1971), "Tumbling Dice"(capo IV), "Happy"(capo IV) (Exile on Main St., 1972), and "Start Me Up" (Tattoo You, 1981). Open tunings led to the Stones' (and Richards') trademark guitar sound.
 
The end of 1968 saw the filming of The Rolling Stones Rock and Roll Circus. It featured John Lennon, Yoko Ono, The Dirty Mac, The Who, Jethro Tull, Marianne Faithfull, and Taj Mahal. The footage was shelved for twenty-eight years (the Rolling Stones were reportedly dissatisfied with their own performance) but was finally released officially in 1996.
 
By the release of Beggars Banquet, Brian Jones was troubled and contributing only sporadically to the band. Jagger said that Jones was "not psychologically suited to this way of life".[43] His drug use had become a hindrance, and he was unable to obtain a US visa. Richards reported that, in a June meeting with Jagger, Richards, and Watts at Jones's house, Jones admitted that he was unable to "go on the road again". According to Richards, all agreed to let Jones "...say I've left, and if I want to I can come back".[3] His replacement was the 20-year-old guitarist Mick Taylor, of John Mayall's Bluesbreakers, who started recording with the band immediately. On 3 July 1969, less than a month later, Jones drowned in the swimming pool at his Cotchford Farm home in Sussex.
 
1969–1974
 
The Rolling Stones were scheduled to play at a free concert in London's Hyde Park two days after Brian Jones's death; they decided to proceed with the show as a tribute to Jones. Their first concert with Mick Taylor was performed in front of an estimated 250,000 fans.[2] The performance was filmed by a Granada Television production team, to be shown on British television as Stones in the Park. Jagger read an excerpt from Percy Bysshe Shelley's elegy Adonais and released thousands of butterflies in memory of Jones.[2] The show included the concert debut of "Honky Tonk Women", which the band had just released. Their stage manager Sam Cutler introduced them as "the greatest rock & roll band in the world"[44] - a description he repeated throughout their 1969 US tour, and which has stuck to this day.
 
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"Gimmie Shelter"
Sample of "Gimmie Shelter" by The Rolling Stones, from Let It Bleed (1969)
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"Brown Sugar"
Sample of "Brown Sugar" by The Rolling Stones, from Sticky Fingers (1971)
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The release of Let It Bleed (UK number 1; US 3) came in December. Their last album of the sixties, Let It Bleed featured "Gimmie Shelter" (with backing vocals by female vocalist Merry Clayton), "You Can't Always Get What You Want", "Midnight Rambler", as well as a cover of Robert Johnson's "Love in Vain". Jones and Taylor are featured on two tracks each. Many of these numbers were played during the band's US tour in November 1969, their first in three years. Just after the tour the band also staged the Altamont Free Concert, at the Altamont Speedway, about 60 km east of San Francisco. The biker gang Hells Angels provided security, which resulted in a fan, Meredith Hunter, being stabbed and beaten to death by the Angels.[45] Part of the tour and the Altamont concert were documented in Albert and David Maysles' film Gimme Shelter. As a response to the growing popularity of bootleg recordings, the album Get Yer Ya-Yas Out! (UK 1; US 6) was released in 1970; it was declared by critic Lester Bangs to be the best live album ever.[46]
 
In 1970 the band's contracts with both Allen Klein and Decca Records ended, and amid contractual disputes with Klein, they formed their own record company, Rolling Stones Records. Sticky Fingers (UK number 1; US 1), released in March 1971, the band's first album on their own label, featured an elaborate cover design by Andy Warhol. The album contains one of their best known hits, "Brown Sugar", and the country-influenced "Wild Horses". Both were recorded at Alabama's Muscle Shoals Sound Studio during the 1969 American tour. The album continued the band's immersion into heavily blues-influenced compositions. The album is noted for its "loose, ramshackle ambience"[47] and marked Mick Taylor's first full release with the band.
 
Following the release of Sticky Fingers, The Rolling Stones left England on the advice of financial advisors. The band moved to the South of France where Richards rented the Villa Nellcôte, and sublet rooms to band members and entourage. Using the Rolling Stones Mobile Studio, they held recording sessions in the basement; they completed the resulting tracks, along with material dating as far back as 1969, at Sunset Studios in Los Angeles. The resulting double album, Exile on Main St. (UK number 1; US 1), was released in May 1972. Given an A+ grade by critic Robert Christgau[48] and disparaged by Lester Bangs -- who reversed his opinion within months -- Exile is now accepted as one of the Stones' best albums.[49] The films Cocksucker Blues (never officially released) and Ladies and Gentlemen: The Rolling Stones (released in 1974) document the subsequent highly publicised 1972 North American ("STP") Tour, with its retinue of jet set hangers-on, including writer Terry Southern.
 
In November 1972, the band began sessions in Kingston, Jamaica, for their follow-up to Exile, Goats Head Soup (UK 1; US 1) (1973). The album spawned the worldwide hit "Angie", but proved the first in a string of commercially successful but tepidly received studio albums.[50] The sessions for Goats Head Soup led to a number of outtakes, most notably an early version of the popular ballad "Waiting on a Friend", not released until Tattoo You eight years later.
 
The making of the record was interrupted by another legal battle over drugs, dating back to their stay in France; a warrant for Richards' arrest had been issued, and the other band members had to return briefly to France for questioning.[51] This, along with Jagger's convictions on drug charges (in 1967 and 1970[52]), also complicated the band's plans for their Pacific tour in early 1973: they were denied permission to play in Japan and almost banned from Australia. This was followed by a European tour (bypassing France) in September/October 1973 - prior to which Richards had been arrested once more on drug charges, this time in England.[53]
 
The band went to Musicland studios in Munich to record their next album, 1974's It's Only Rock 'n' Roll (UK 2; US 1), but Jimmy Miller, who had drug abuse issues, was no longer producer. Instead, Jagger and Richards assumed production duties and were credited as "the Glimmer Twins". Both the album and the single of the same name were hits.
 
Nearing the end of 1974, Taylor began to get impatient.[54] The band's situation made normal functioning complicated, with band members living in different countries and legal barriers restricting where they could tour. At the same time, Richards' drug use was affecting his creativity and productivity, while Taylor felt some of his own creative contributions were going unrecognized.[55] At the end of 1974, with a recording session already booked in Munich to record another album, Taylor quit The Rolling Stones.[56] Taylor said in 1980, "I was getting a bit fed up. I wanted to broaden my scope as a guitarist and do something else... I wasn't really composing songs or writing at that time. I was just beginning to write, and that influenced my decision... There are some people who can just ride along from crest to crest; they can ride along somebody else's success. And there are some people for whom that's not enough. It really wasn't enough for me."[57]
 
1974–1982
 
The Stones used the recording sessions in Munich to audition replacements for Taylor. Guitarists as stylistically far-flung as Humble Pie lead Peter Frampton and ex-Yardbirds virtuoso Jeff Beck were auditioned. Rory Gallagher and Shuggie Otis also dropped by the Munich sessions. American session players Wayne Perkins and Harvey Mandel also appeared on much of the next album. Yet Richards and Jagger also wanted the Stones to remain purely a British band. When Ron Wood walked in and jammed with the band, Richards and everyone else knew he was the one. Wood had already recorded and played live with Richards, and had contributed to the recording and writing of the track "It's Only Rock 'n Roll". The album, Black and Blue (UK 2; US 1) (1976), featured all their contributions. Though he had earlier declined Jagger's offer to join the Stones, because of his ties to the The Faces, Wood committed to the Stones in 1975 for their upcoming Tour of the Americas. He joined officially the following year, as the Faces dissolved; however, Wood remained on salary until Wyman's departure nearly two decades later, when he finally became a full member of the Rolling Stones' partnership.
 
The 1975 Tour of the Americas kicked off with the band performing on a flatbed trailer being pulled down Broadway in New York City. The tour featured stage props including a giant phallus and a rope on which Jagger swung out over the audience.
 
Jagger had booked a live recording session at the El Mocambo club in Toronto to balance a long-overdue live album, 1977's Love You Live (UK 3; US 5), the first Stones live album since 1970's Get Yer Ya-Ya's Out!. Richards' addiction to heroin delayed his arrival in Toronto; the other members had already assembled, awaiting Richards, and sent him a telegram asking him where he was. On 24 February 1977, Richards and his family flew in from London on a direct BOAC flight and were detained by Canada Customs after Richards was found in possession of a burnt spoon and hash residue. On 4 March, Richards' partner Anita Pallenberg pleaded guilty to drug possession and was fined for the original airport event.[58] On Sunday, 27 February, after two days of Stones rehearsals, armed with an arrest warrant for Pallenberg, the Royal Canadian Mounted Police discovered "22 grams of heroin"[59] in Richards' room. Richards was charged with importing narcotics into Canada, which carried a minimum seven-year sentence upon conviction.[60] Later the Crown prosecutor conceded that Richards had procured the drugs after arrival.[61] Despite the arrest, the band played two shows in Toronto, only to raise more controversy when Margaret Trudeau, then-wife of Canadian Prime Minister Pierre Trudeau, was seen partying with the band after the show. These two shows were kept secret from the public and the El Mocambo had been booked for the entire week by April Wine for a recording session. 1050 CHUM, A local radio station ran a contest for free tickets to see April Wine and the winners were allowed to pick a night to see the band.
 
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