After a long break the Rolling Stones returned to the studio to continue work on the 40-odd songs they recorded during their November-December 1982 sessions at Pathé Marconi Studios. This time around (May-August, 1983) the band, along with sound engineer Chris Kimsey, gathered at The Hit Factory, New York City, a new place for the band.
All these musicians gathered on the "Undercover" album track 'Pretty Beat Up', with Chuck Leavell and Bill Wyman playing piano, while Ian Stewart took the organ part. Ron Wood wrote the song, with some support from Mick Jagger and Keith Richards.
On April 28-29, 1983, Alexis Korner and friends celebrated the 25th anniversary of London's Marquee club, the location of the Rolling Stones' first ever live performance on July 12, 1962. For the so-called '1958-1983 Silver Jubilee' concerts Korner, the governor of British blues, recruited some well-known names in British music, including old friends Bill Wyman, Charlie Watts and Ian Stewart.
Other members of the 'Alexis Korner and Friends' ensemble included Georgie Fame (piano), Nico Korner (guitar), Ruby Turner (vocals), Jaki Graham (backing vocals), and a brass section consisting of Dick Heckstall-Smith, Willie Garnett, John Picard, Mel Collins, and Ted Bunting.
Bill Wyman recalls: "At the end of April, Alexis Korner, Charlie, Stu and I rehearsed at the Half Moon pub in Putney for the Marquee's 25th anniversary. Our old mate Georgie Fame joined us along with a great horn section and we played at the Marquee on April 28-29. Among the songs we performed was 'Hoochie Coochie Man', written by Willie Dixon and first recorded by Muddy Waters, who died the following day in Chicago". Alexis Korner himself died of lung cancer on January 1, 1984, aged 55.
Adapted from the following source: Bill Wyman, Rolling With The Stones, Dorling Kindersley Limited, 2002.
On March 25, 1983, Rocket 88, billed as Ian Stewart Band, performed a one-off concert at London's 100 Club. Line-up: Roger Sutton (vocals, bass), Jimmy Roche (guitar), Ian Stewart (piano), Clive Thacker (drums), Willie Garnett (saxophone), Mike Hogh (trombone), Jon Picard (trombone), Olaf Vas (trumpet), Don Weller (saxophone).
Throughout the year the band played some more shattered gigs in and around London, with Charlie Watts on drums during some shows. As it turned out, Stu, Charlie and trombone player Jon Picard were the only original members of Rocket 88's line-up that started out in 1979, underpinning the ad hoc character of the band.
While there were no scheduled Stones activities, Ian Stewart took the opportunity to produce the De Luxe Blues Band's third album, "Urban De Luxe". In January 1983 the band, with sound engineer Mick McKenna, entered the Mobile Sound Limited, Shepperton Sound Stage, London, to record a set of blues, boogie and R&B covers, ranging from Freddy King's 'The Stumble' (with Stu on piano) and Pete Johnson's 'Roll 'Em Pete' to Chuck Berry's 'Promised Land'.
At the time, the De Luxe Blues Band consisted of original band members Bob Hall (piano), Danny Adler (vocals, guitar) and Bob Brunning (bass), together with familiar name and Rocket 88 member George Green (piano). Drummer Micky Waller had left the band, and on the record all drum parts were played by Charlie Watts, credited as Carlo Kilowatts!
Immediately after completing the Rolling Stones' Undercover recording sessions at Pathé Marconi Studios, Ian Stewart joined the Blues Band during live recordings at Richard Branson's The Venue, London (December 18, 1982). It must have been a relief for Stu to leave the Paris tensions behind and to join old pal Paul Jones' band during an R&B packed set.
Stu had been recording with the Blues Band before, most notably on the band's second album, "Ready", resulting in an immediate click with the band. At The Venue, with former Family drummer Rob Townsend replacing Hughie Flint, the band played an energetic set, showcasing Paul Jones' talents on vocals and harmonica. Remember, he could have been a Stone!
Other guest musicians during the show, which got released on the album "Bye Bye Blues" in 1983, included singer Jo-Ann Kelly, Pretty Things frontman Phil May, harmonica player Mark Feltham, the Rumour Horns' John Earle (saxophone) and Dick Hanson (trumpet), and last but not least the founding father of British blues, Alexis Korner. Just another who's who in British music!
Note: this post contains no less than ten hyperlinks. Read them all for full understanding of the British R&B music scene at the time!
Although (or because?) the relationship between the Glimmer Twins wasn't too good at the time, in October 1982 Mick Jagger and Keith Richards decided to rent a small basement studio in Paris in an attempt to write and perform songs for a new studio album in the old style. When afterwards the Rolling Stones entered the familiar territory of EMI's Pathé Marconi Studios the band had some 40-odd songs to work on.
The so-called Undercover recording sessions at Pathé Marconi, with sound engineer Chris Kimsey, lasted from November 11-December 17, 1982, and continued, with intervals, in January-March, 1983. Both Ian Stewart and Chuck Leavell joined the band during the sessions. Stu played piano on some 10 songs, among which a couple of tunes that would make it to the final album, but also on some well-known outtakes like 'Cookin' Up' (aka 'Chainsaw Rocker'), 'Slide On' and Eddie Taylor's 'Looking For Trouble'.
Stu (on piano) and Chuck (on organ) joined forces on another outtake, the fine boogie and stroll tune 'Cook Cook Blues', which stayed in the can until it appeared as the B-side to the 1989 "Steel Wheels" single 'Rock And A Hard Place'. Here's the 1982/83 Pathé take, you can find the 1989 single version anywhere on the net.
Adapted from the following source: Martin Elliott, The Rolling Stones Complete Recording Sessions 1962-2002, Cherry Red Books, 2002.
On May 26, 1982 the Rolling Stones, joined by Ian Stewart on piano and Chuck Leavell on keyboards, embarked on their Tattoo You European tour (Aberdeen, Scotland, May 26 - Leeds, England, July 25). The tour meant Leavell's live debut with the band, whereas it turned out to be the very last one for Stu. Saxophones during the tour were played by Bobby Keys and Gene Barge, another Stones newcomer.
Just like during the 1981 US tour, the main part of the setlist consisted of material from the Stones' last three albums, "Some Girls", "Emotional Rescue", and "Tattoo You". In the rock and roll covers section crowd pleasers 'Going To A Go Go' and 'Twenty Flight Rock' were supplemented with The Big Bopper's 'Chantilly Lace'. Listen to it here.....alright Stu! And here's the Bopper's original version:
During the tour Ian Stewart once again joined George Thorogood and the Destroyers on stage for a couple of times, on one occasion (The Hague, June 3) accompanied by Mick Jagger and Bobby Keys, performing a couple of Chuck Berry tunes. Completely unrehearsed....but rocking!
During the Rolling Stones' 1981 US tour support acts changed from venue to venue, but amongst the regulars were George Thorogood and the Destroyers, a Delaware based blues rock band led by vocalist and guitarist George Thorogood. Ian Stewart joined the band on stage during a couple of shows, among which the famous one at Hampton Coliseum (December 18).
Stu must have felt attracted to the Destroyers because they always, right from their start in 1977, dug deep into the Chess Records back catalogue, performing songs from longtime Rolling Stones heroes and influencers Muddy Waters, Chuck Berry, Bo Diddley, Howlin' Wolf, and many others. In 2011, George Thorogood and the Destroyers paid tribute to the legendary label on their album 2120 South Michigan Ave.
Early 1982 Ian Stewart also entered the studio with the band, to record one of their most well-known albums, "Bad To The Bone" (released September, 1982). Stu played piano and/or organ on almost all album tracks, including the smash hit title track (more than loosely based on Bo Diddley's 'I'm A Man'), Chuck Berry's 'No Particular Place To Go', Jimmy Reed's 'It's A Sin', the Isley Brothers' 'Nobody But Me', and others. If you're interested, listen to the full album right down here.
On November 22, 1981, in the middle of their US tour, the Rolling Stones arrived in Chicago for a three-night run at the Rosemont Horizon. On their night off, several of the Stones hit Buddy Guy's club, the Checkerboard Lounge, to see Muddy Waters and his band (which featured guitarist John Primer and harpist George 'Mojo' Buford at the time).
The Stones entered the room after some five songs into the show. On 'Baby Please Don't Go' we see how the band slowly gets involved into the set. An impromptu blues jam ensued, and before the night was done, Mick Jagger, Keith Richards, Ron Wood, Ian Stewart, Lefty Dizz, Junior Wells, and Guy himself had all appeared on stage with Waters and his band.
Stu didn't play all night, but here's a snippet from a tune in which he accompanies Junior Wells. It's nice to watch the Stones being excited to meet their long-time idol, perhaps the greatest bluesman ever and, of course, one of the major influences which led to the formation of the band back in 1962.
Adapted from the following source: Steve Leggett, Checkerboard Lounge: Live Chicago, 1981, CD/DVD review, Allmusic, 2012.
One of the core pleasures of Stones-watching over the years was the suspense of waiting to see what Mick Jagger would wear on stage. For his first public performances of the 1980s, Jagger favoured sporty, gay-quarterback gear mercilessly co-oordinated in bright pinks and yellows. He put on a slick show, and periodically tore across the stage on to one of a pair of catwalks extending in to the crowd, like a labrador chasing a tennis ball.
Keith Richards and Ron Wood played their guitar parts as one long, joshing by-play, complete with errors, and Charlie Watts effortlessly battered the drums. Stage left, Bill Wyman remained stationary throughout, except to neatly shoot the cuffs of his pale-blue suit, but even he looked like a manic rock star compared to Ian Stewart.
In Philadelphia, Stu walked on in front of 90,000 fans wearing ancient corduroys and a golf shirt straining over his ample midriff while munching a cheese sandwich, which he carefully placed on top of his piano. He then proceeded to play in a classic, jumping-barrelhouse style that sometimes seemed to be from another song, if not another galaxy, to the chosen repertoire [A fine example of this we find on the Stones' rendition of Eddie Cochran's 'Twenty Flight Rock' (see last post), with Stu boogieing along; Cochran's original cuts didn't contain any piano at all!].
At what proved to be one of the last moments, Ian Stewart finally got and/or took the room to perform a full set of concerts with the band he had joined before anyone else still alive. Between numbers, Stu yawned, took down the sandwich, and continued to eat it impassively.
Adapted from the following source: Christopher Sandford, The Rolling Stones Fifty Years, Simon & Schuster, 2012, p.331-332.
On September 25, 1981 the Rolling Stones, joined by Ian Stewart on piano and Ian McLagan on keyboards, embarked on their Tattoo You US Tour (Philadelphia, September 25 - Hampton, December 18). Shortly after tour start the band decided they also needed some brass on stage, and that gap was filled by saxophone players Lee Allen (October 1-4) and Ernie Watts (from October 7 onwards) respectively. Veteran Stones sax man Bobby Keys also played during some selected shows from October 9 onwards.
The main part of the tour's setlist consisted of material from the Stones' last three albums, "Some Girls", "Emotional Rescue" and, of course, "Tattoo You". In the rock and roll covers section Don Raye's boogie woogie tune 'Down The Road Apiece' appeared a few times early on in the tour, as did Bo Diddley's 'Mona'. Smokey Robinson's 'Going To A Go Go', however, was a real crowd pleaser that stayed for the duration, as did Eddie Cochran's classic 'Twenty Flight Rock'.
Stu and Mac played piano, electric piano and organ on almost all songs throughout the set. The tour was documented on the 1982 album "Still Life (American Concert 1981)" and on the live concert film "Let's Spend The Night Together", directed by Hal Ashby, and released worldwide in 1983.
According to a 2006 Sunday Herald article Ian 'Stu' Stewart was the inspiration for Detective Inspector John Rebus, a character created by Scottish crime writer Ian Rankin. In 2007, Rankin even wrote a tribute to one of music's "nearly men", after teaming up with former Arab Strap frontman Aidan Moffat.
Rankin's song, 'The Sixth Stone', appeared on a compilation album that brought together some of Scotland's top writers and musicians. In an interview with the Scotsman, Ian Rankin recalls: "The song's all about Stu's move from Pittenweem to the Route 66. I'm quite interested in people who are on the edge of history - onlookers in big events.
All the way through the sixties he was there in the background but he was always more interested in the golf course than the groupies, drink and drugs. I was fascinated by him as a character, and since you're writing a lyric, why not write about someone involved in the music industry? ". One can find the song's full lyrics in the afore-mentioned Scotsman article.
Once again produced by the Glimmer Twins, with sound engineer Chris Kimsey, "Tattoo You", the Rolling Stones' 16th studio album, was recorded during sessions at Pathé Marconi Studios, Paris (October-November, 1980 and May, 1981) and Atlantic Studios, New York City (April-June, 1981). During the sessions the band recorded two brand new tracks, 'Heaven' and 'Neighbours', while the other songs on the album were based on early song ideas and outtakes from their previous studio albums.
The album got released in August 1981, some 14 months after its predecessor "Emotional Rescue". In a Mojo Magazine special edition author Paul Elliott puts the record in some fine perspective: "Circa "Tattoo You" Jagger/Richards relations were still too frosty for protracted spells of co-writing, and Ron Wood was near-incapacitated from freebase cocaine.
Unsurprisingly then, the album, like its predecessor "Emotional Rescue", relied on more outtakes. This time, though, Chris Kimsey and the band chose wisely: witness 'Tops', in which Mick Jagger comes clean about using his star status to pull, and 'Waiting On A Friend', featuring Sonny Rollins' ace tenor sax. Both are excellent ballads dating from late-'72 sessions in Jamaica, but Bob Clearmountain's crisp mixing renders them box-fresh.
Stones pianist and their sometimes fiercest critic Ian Stewart rated it, averring that the album was filler-less. With the possible exeption of 'Neighbours' - a pot/kettle/black affair on Keith Richards' real-life dispute with noisy folks next door - he might just be right".
On "Tattoo You" Stu plays piano on four tracks: the afore-mentioned 'Neighbours', 'Hang Fire', 'Little T&A', and the R&B-inspired boogie 'Black Limousine'. Other keyboard players on the album include Nicky Hopkins (piano on the 1972 tracks 'Tops' and 'Waiting On A Friend', and piano and organ on the "Emotional Rescue" outtake 'No Use In Crying'), Billy Preston (electric piano and organ on the "Black And Blue"-era 'Slave' jam), Chris Kimsey (piano on 'Heaven') and Mick Jagger (electric piano on 'Worried About You').
Adapted from the following source: Paul Elliott et al., Tattoo You, The Rolling Stones 40th Anniversary Collector's Edition, Mojo Magazine, 2003.
Suggested further reading:
James Hector, The Complete Guide To The Music Of The Rolling Stones, Omnibus Press, 1995.
Note: a lot of album reviews float around on the internet, with varying ratings. But each with its own nuances concerning
individual songs, influences and the context in which the album was
made. You may find them yourselves, if you want to, but here's a starter kit.
Summer 1981 the Rolling Stones started thinking of a new world tour, their first since 1975/76, to follow-up the band's upcoming new studio album, "Tattoo You". As always, it was Ian Stewart's job to find the band a suitable place to rehearse. After some research, Stu selected Longview Farm Studios, located in North Brookfield, Massachusetts and founded by professor Gilbert Scott Markle.
In his 'Diary of a Studio Owner' Markle recalls Stu's visits to the studio, and also the work that had to be done to make the Stones feel comfortable at the premises. The band, with additional musicians David Sancious (first days), Chuck Leavell (for some days until August 24), Ian McLagan (late August onwards), and of course Stu, rehearsed at Longview from August 14 until tour start, September 25.
During their stay at Longview, on September 14, the Stones, billed as Blue Sunday and the Cockroaches, performed a surprise warm-up gig at Sir Morgan's Cove in Worcester, Massachusetts.
During one of his visits to the Stones' office in Rockefeller Center, New York City, Ian Stewart talked to author Bill German about his role and position in the Rolling Stones. You can find an excerpt of the interview right here.
In June 1981 Ian 'Stu' Stewart produced the De Luxe Blues Band's debut album, "A Street-Car Named De Luxe". The album was recorded in England with the Rolling Stones Mobile Unit, with sound engineer Mick McKenna. The De Luxe Blues Band originally started life in 1980 as a pick-up band for American blues performers Eddie Clearwater and Carey Bell for just one show.
Fellow American guitarist/singer and Rocket 88 member Danny Adler had invited pianist and Rocket 88 founding member Bob Hall, drummer Mickey Waller and bass player Bob Brunning to do the gig at London's Dingwall club.
That night the musicians decided to form a permanent band, and were soon to be joined by veteran sax player Dick Heckstall-Smith. In 1994, after five albums and many European tours, Danny Adler decided to return to the States, and the De Luxe Blues Band disbanded.
In 1980, American rockabilly band the Stray Cats, whose style was based upon the sounds of Sun Records artists and other artists from the 1950s, moved from New York City to the UK, word spread around, and soon members of the Rolling Stones, the Who and Led Zeppelin were at their shows.
The band's 1981 debut album "Stray Cats", produced by ex-Rockpile member and roots rock enthusiast Dave Edmunds, was very well-received in the UK, and soon after the band returned to the studio to record a follow-up album, "Gonna Ball". Ian Stewart liked what he heard, and joined the band on the Chuck Berry-inspired 'Rev It Up And Go'.
As Allmusic reviewer Bruce Eder puts it, 'Rev It Up And Go' was an impassioned Chuck Berry homage that also obliquely acknowledged the Beach Boys' service, in making Berry's (and his pianist Johnnie Johnson) riffs work in a uniquely white suburban context.
While the Rolling Stones were mixing and overdubbing tracks for their upcoming new studio album "Tattoo You" at Atlantic Sound Studios, New York City (April-June, 1981), Ian Stewart took some time off to record with a bunch of old friends, most of them well-known from different Rocket 88 line-ups.
On May 3-4, 1981 Stu and friends entered Tonstudio Bauer, Ludwigsburg, West-Germany, to record the album "It's Boogie Time" (released 1982), credited to Bob Hall and Friends. With sound engineer Carlos Albrecht the ensemble recorded some nine tracks, including the twelve-bar blues instrumental standard 'Night Train'.
Line-up for the recording sessions: Bob
Hall, George Green and Ian Stewart (all piano), Danny Adler (guitar), Jack Bruce (bass), Charlie Antolini (drums), Hal Singer and Willie Garnett (saxophones). In a 2012 interview Bob Hall recalls his time with Rocket 88, and with Stu of course.
In March 1981, Rocket 88 performed some university gigs in and around London.
Basic line-up: Alexis Korner (guitar, vocals), Ian Stewart (piano), Bob Hall (piano), George Green (piano), Jack Bruce (bass, vocals), Charlie Watts (drums), Hal Singer (sax), Don Weller (sax), John Picard (trombone), Colin Smith (trumpet).
In September 1980, three months after the release of "Emotional Rescue", Mick Jagger, Keith Richards and sound engineer Chris Kimsey entered Island's Basing Street Studios, London to listen to left-overs from previous albums. Chris Kimsey recalls: "I spent three months going through like the last four, five albums finding stuff that had been either forgotten about or at the time rejected. And then I presented it to the band and I said, hey, look guys, you've got all this great stuff sitting in the can, do something with it".
The next month the Rolling Stones also returned to Pathé Marconi Studios to record some new material. In Paris (October 11-November 12, 1980) the band worked on three songs in particular: 'Slave', a left-over jam from the "Black And Blue" sessions, 'Heaven', with Chris Kimsey on alleged piano, and 'Neighbours', an uptempo boogie with Ian Stewart as a natural on piano.
The subject matter of 'Neighbours' was inspired by Keith Richards having been evicted by his landlord for unsociable behaviour. The song ponders the subject by leaps and bounds under the twin thrust of rocky and raucous guitars and saxophone, the latter protagonized by jazz musician Sonny Rollins, which was overdubbed at a later session. On the final take, which appeared on the band's new album "Tattoo You", the song was reduced to a loud-sounding nothing, with Stu's boogie piano buried deep in the mix.
Adapted from the following source: Martin Elliott, The Rolling Stones Complete Recording Sessions 1962-2002, Cherry Red Books, 2002.
November 1979 until July 1980 proved to be a busy period for Ian Stewart outside the Rolling Stones. Besides touring and recording with Rocket 88, Ronnie Lane, and old friends Brian Knight and Geoff Bradford, Stu also recorded with the Blues Band, with another old pal, Paul Jones (born Pond) on vocals and harmonica.
Bill Wyman recalls: "As Brian Jones celebrated his twentieth birthday on 28 February 1962, the powerful forces that actually formed the Rolling Stones came into play. Brian met a young man named Paul Pond, later to become prominent under the name Paul Jones as a founder-member of Manfred Mann. Paul led a blues group called Thunder Odin's Big Secret. When his guitarist left he asked Brian to join him 'because he was pretty good".
In the following months, while rehearsing with the embryonic Rolling Stones at the Bricklayer's Arms pub, Brian Jones, supported by Stu, tried without success to persuade Paul Pond, who in the meantime also had been singing with Alexis Korner's Blues Incorporated, to join his rehearsal group, but Paul decided that his university studies came first.
Pond then carried on, and worked as a musician, actor, and television and radio presenter, before forming the Blues Band in 1979, a band firmly rooted in rhythm & blues music. The band's first line-up also consisted of Dave Kelly (vocals, guitar), Gary Fletcher (bass), Tom McGuiness (guitar), and Hughie Flint (drums).
During recordings for the band's second album, "Ready", in May and July 1980, Stu joined the band and played piano on some four tracks, among which Willie Dixon's 'Twenty Nine Ways' and a Blues Band original, 'The Cat'. Early 1981 Stu recorded one more track ('Bad Penny Blues') with the band, which still performs across Europe with almost the same line-up.
Adapted from the following sources: Bill Wyman, Stone Alone, Penguin Books, 1990; and various wikipedia pages.
