Part V

Mick Jagger, The Rolling Stones

And The Yobbo Revolution

by

R.E. Prindle

Rolling Stones: Mick, Brian up front.

Rolling Stones: Mick, Brian up front.

…they’re just war babies with the bell bottom blues.

==Robert Christgau

Along about 1968 Jagger among the Stones, at least, became disenchanted with his and their new manager Allen B. Klein of notorious fame.

By 1968, counting 1963 as the beginning of their labors the Stones had been working hard. Jagger and Richards had emerged as successful songwriters giving them a financial advantage over fellow stones, Jones, Wyman and Watts. By that time the band was said to have earned millions but had virtually nothing to show for it except for a heroin habit and several cases of VD. When one says heroin habit one reduces disposable income considerably.

The Stones last effort Their Satanic Majesties Request seemed to indicate a loss of direction. Their initial impetus had been expended. The impetus that began in 1963 had then played out. The good part of the Sixties was over and the bad part had begun with the ’66 release of the Doors first album containing the appropriately named song The End. The Rock scene had turned dark while turning the volume up.

The Stones knew dark so they quickly reinvented themselves as a Dark band turning out Beggar’s Banquet in 1968. Out there on the buying end of rock and roll I groaned. The new Stones were born as the Hounds of Hell emerging from a drug fueled Freudian unconscious. Just what the world didn’t need.

While Jagger and Richards engaged the world with their follies the other three members had to suffer enduring the ignominy in silence. Richards would go on to astound the world with his drug offenses. While Jagger himself descended into darkness as a Satanist carrying his inamorata Marianne Faithfull along with him.

While both deny other than a titillating passing interest in Satanism the facts imply a more serious involvement.

Stones:  Brian, Odd Man Out

Stones: Brian, Odd Man Out

These years that should have been bright were the beginning of dark times, darker than the Communo-Nazi era for the world. Deny it if he can, Jagger was a leader on the downward path.

Undeniably the Fifties and Sixties were a trying period but which decade of the century hadn’t been? Fear of both Communism and the A-Bomb, not to mention the Neutron Bomb, kept people tense. There was a disturbing lack of balance in which TV, newspapers, and magazines presented developments. Nevertheless the beginning of the post-war period was one of astounding advances in knowledge both in Science and the Liberal Arts. Huge layers of ignorance were sheared away. For instance the knowledge of geological tectonic plates that demonstrated how the planet evolved was, shall I say, earth shaking.

In 1950 the highest an object had been was measured in feet; the atmosphere hadn’t been penetrated. Seven years later the Soviets put the Sputnik in orbit. Telstar went up in July 1962 to tremendous astonishment and acclaim opening the way to the future and the fabulous prosperity of the late Sixties and the Seventies.

Medicine cured syphilis and all venereal diseases, killing and disabling diseases were gone and even TB and polio were ended. At the beginning of the Fifties a child had to ponder being debilitated by both as a probable occurrence. The diet was improved immensely and made more varied. But, as life improved the psyche grew darker, dissatisfaction with virtual perfection was endemic. Murder and crime increased dramatically. Charlie Whiteman in his UT tower, Richard Speck’s ritual murder of the Chicago nurses. While the good genie let many good things out the bottle at the same time a cloud of darkness followed. The country chose to embrace the darkness rather than the light.

During the Sixties Satanism was on the rise. We all know there is no existing entity called Satan but Satanism is a fact of the psyche. First truly released by Freud in 1900 Satanism had been emerging as a social force. A 1966 cover of Time Magazine asked the question Is God Dead? This sparked a fair controversy at the time. That same year, less conspicuously and metaphorically saw the birth of the Son of Satan, Andy, in the book Rosemary’s Baby by the Jew Ira Levin followed by the movie of the same name directed by the Jew Roman Polanski. Rosemary’s Baby was followed by a spate of Satanic novels and movies. The shift from God’s Son, Jesus, to Andy was quite noticeable but we were slow to comprehend.

The Satanic movement had been building since the middle of the nineteenth century when the Frenchman, Eliphas Levy, reorganized the occult along modern lines. The Golden Dawn brought Satanism into prominence in the English speaking world. The Golden Dawn was captured by the pervert Aleister Crowley who guided Satanism through the first half of the century. He died in 1946. A druggie and sex fiend, his sex magic in the Sixties was joined by that of the Jewish sex madman, Wilhelm Reich, also a notable Freudian. Reich had even had his books burned by the US government but like a phoenix his sexual ideas rose from the flames during the Sixties. ( See the movie WR, The Mysteries Of The Organism, read organism as Orgasm. This movie is not for the weak of mind.)

The magical crowd had coalesced in the beginning of the Sixties. In England it was led by the Satanic Process Church that emigrated to the US, LA based, and back to England. In the US the chief Satanist was the San Francisco based Anton Lavey with his acolyte in Los Angeles, Kenneth Anger. It is to be noted that the sex magician Charles Manson was associated with all these people in one form or another.

Jagger and his consort Marianne Faithfull were drawn into the flames through their friend in London, Groovy Bob Fraser who seemed to be the clearing house for all strange in London. He introduced Mick and Marianne to Kenneth Anger while they found their own way to the Process Church. Mick was recruited by the Crowleyian Satanist and filmmaker Donald Cammell. Cammell’s father had been a Crowleyian having writing a biography of him. Cammell’s mind thus had been corrupted from childhood.

Cammell starred Jagger and Keith’s girlfriend Anita Pallenberg in his ’68 movie Performance. Pallenberg was a long gone cutie deeper into Satanism than probably anyone in the crew.

Mick had become acquainted with the fashion photographer David Bailey in late ’62 or early ’63. Anthony Burgess published his Satanic novel A Clockwork Orang in 1962.

In ’62 and ’63 Jagger was a nobody, a student at the London School of Economics while doubling as frontman for the unknown Rolling Stones, or Rollin’ for the purists. The two apparently bonded on sight as the two bought the movie rights to A Clockwork Orange. This strange situation has never been explored. As far as we know Mick had no money or anything really to recommend him to Bailey who was a very successful photographer and the model for Fellini’s movie Blowup. Yet while a student and singer for a grungy R&B band Bailey took him under his wing, or perhaps Andrew Loog Oldham that inveterate man about town introduced himself to Bailey, then introduced Bailey to Mick with whom he was palling. It would seem that Andrew first discovered A Clockwork Orange in mid-62 talking it up with Bailey and Mick. Andrew and Bailey saw Mick as the hero of the book, Alex, leader of his band called The Droogs. The idea of the Droogs exerted a fascination over the minds of Andrew, Bailey and Mick and through Bailey and Mick the Warhol crowd of NYC. As a photog for English Vogue Bailey would have had an intro to New York and the American Vogue.

For those who aren’t aware, Vogue Magazine is a huge global presence. There are many ‘local’ editions of the magazine published for Germany, France, Russia, Italy and even Japan. It is really extraordinary. I subscribe to the English edition and buy Italian, Parisian, German and the occasional Japanese copy from a news dealer in my own city. Globalism takes on a real meaning.

In reading Stone’s histories there is no mention of Jagger being absent from London in 1963 but Bailey scooped him up and took him to New York, presumably at his own expense or perhaps that of Vogue to shop for a movie maker for their book.   Bailey who was very up on things may have thought that Andy Warhol would be interested; in fact Warhol did make a movie that purports to be based on Clockwork Orange but you couldn’t prove it by me. But, in 1963 Warhol was not yet that famous or his vacuous movies. Bailey must have had his nose to the ground with the sensitivity of a bloodhound. Where Mick got the money for his share of the rights and trip to what is now known as The Big Bagel isn’t clear.

In New York Mick met the Dark, if not Satanist, Andy Warhol with whom he banded as quickly and tightly as he had Bailey. Because of this the Stones would always be big in the Village.

Interestingly Mick’s girlfriend during this period was Bailey’s top model Jean Shrimpton’s sister, Chrissie Shrimpton.

Things fell out, Mick gravitated to the adultress, Marianne Faithfull. The two were arrested at the famous drug bust at Keith’s Redlands in 1967.

Apparently Mick et al. thought they were immune to the laws and mores of the time concerning drugs so that Mick took the arrest and subsequent conviction as a grievous insult. It confirmed and hardened his devotion to Satan while solidifying his revolutionary aims. He thought the ‘kids’ would be able to bring down the State.

Thus in 1967 they recorded and released the record album titled Their Satanic Majesties Request. Smarting horribly- for all practical purposes Marianne’s life was ruined. In combination with a succession of injurious events that would follow, Marianne’s psyche would never recover. She had been holding the burning match to see how close to her fingers it got before she was burned, she now knew.

Still in reaction to the arrest, following Satanic Majesties, Mick decided to make a film. This became the long lost Rock And Roll Circus. The movie only has historical significance as it was never released at the time. Rights were held by Allen Klein so after his death in 2009, under his son Jody’s direction ABKCO released it for the first time. Psychologically it places where Mick was in 1968.

The American Satanist Kenneth Anger had a huge shoulder to shoulder tattoo of the name L-U-C-I-F-E-R on his chest to show his dedication to the Commander In Chief. At the end of Rock And Roll Circus as the band plays Sympathy For The Devil we see Mick groveling on the stage as though to the Master. He wiggles out of his shirt rising to his knees to display a Lucifer tattoo on his bare chest. Whether real or a transfer isn’t clear. I hope the latter.

In 1968, at least, Jagger had dedicated himself to Satan. While Marianne has since repudiated Satanism claiming the fascination was a passing fancy it seems clearly to have been more than that.

That aside, to be borne in mind as we move along. Mick, who is no dummy, had been quickly learning the ropes of the record business since his introduction in 1963. As he wasn’t getting enough money to indulge his fantasies, finances became his chief concern.

The Stones were first managed and promoted by the nineteen year old Andrew Loog Oldham. Oldham was the right man to put the Stones on the road. Unfortunately for himself Andrew was at the flighty if not to say flaky stage of life so that he found it expedient to sign the Stones to the American desperado or operator, Allen Klein. Klein was the big talking type so endemic to the industry who promised the moon while actually being able to pry money from the labels not that much ever got back to the artists. While first being pleased with Klein’s services getting money out of him was a problem so that Jagger quickly became disaffected with him. In 1968 he began the search for a money man who would work in the Stones’ interests.

This was a critical period for Jagger and the band. Their first rush of creativity ended about 1966 as the songwriters went dry and the band quit touring. The transition from the sixties to the seventies actively took place between ’66 and ’67. In fact that was the Sixties, the rest of the decade was a long slow fade. The artists most identified with the sixties didn’t make the transition to the seventies and beyond. The Stones before ’68’s Beggar’s Banquet were a quintessential 60s’ band. Beggar’s Banquet eased them toward the seventies.

So at this transitional period that must have been cause for great anxiety the band had little to show for their sixties output other than a certain notoriety that was however global and second only to the Beatles.

In his search for a money man Jagger asked his friend Chrissie Gibbs for his help. Gibbs was a central figure in the Groovy Bob Fraser circle. Fraser’s place was a central gathering place for the crowd including the American Satanist Kenneth Anger and the Warhol crowd.

Fraser himself was an art dealer who associated himself with the upcoming Pop Art Movement. Thus he was the center of all that was hip and modern.

Gibbs knew of an investment banker by the name of Prince Rupert Loewenstein. Rupert was an actual hereditary Prince who prefaced his name with that title. According to Rupert’s memoirs, A Prince Among Stones, Rupert knew Gibbs in only the most casual manner, Gibbs was not exactly a member of the aristocracy as he is presented.

Rupert And Keith

Rupert And Keith

Rupert is a bit of an enigma. He says, in his memoir, that he had never heard of the Stones when Gibbs mentioned them. In the context of the times the Stones were rock musicians who are as a class not welcome in polite society and even some not so polite society, yet Rupert said to this very casual acquaintance that he would look into it. Then, as he tells it, he learned who or what the Rolling Stones were and that all three principals of the group had been arrested on drug charges a year earlier along with Robert Fraser the art dealer and a true member of the aristocracy although now declasse. Rupert even says that he agreed wholeheartedly with the judge.

Just as a point of reference, when I opened my record shop in 1967 the insurance agents would not even sell me insurance while the AAA agent cancelled my auto insurance. I could obtain no amenities and only grudgingly services. So, it is extremely strange that Rupert knowing the actual unsavory history of the Stones jeopardized his standing in respectable circles in the City and society to associate himself with them. And I mean associate, he actually toured with the band. If he didn’t know the kind of people he was with he certainly learned then.

Now, no one associated with rock and roll had any social standing especially the Stones as the bad boys of rock. Then all the creeps and drug dealers who being around the record scene especially attached themselves to the Stones and believe me that crowd was well beyond unsavory. Robert Greenfield’s book S.T.P. will give you some examples but the flavor of these people doesn’t come through in print.

As I read Rupert’s autobiography, he died a year or so ago, I find a distaste for Stones from beginning to end. Even the title of his memoir, A Prince Among Stones, is a put down of the Stones. Rupert obviously disdained the Stones. So, one asks why he would choose to represent them? And that’s only the beginning of the mystery.

Having accepted the assignment as they used to say on Mission Impossible he had to familiarize himself with bushels of documents and assorted records. Before he could even confront Klein he had to spend a year trying to understand the documentation. Klein was a tough cookie who didn’t play by any rules. You grappled with him. I’m not sure that the Stones to this day know what Rupert did for them.

Here’s the point: The Stones are said to have no money with which to pay him, we are told that they were stone broke. Didn’t mean that they didn’t have a great stash but, you know, they were broke. This was a serious time for the band. Get this: Rupert worked three years gratis with no guarantee of ever making a dime. That any of us should have luck of that kind. Further he learned that there was no way the Stones were going to get any money out of Klein without very expensive litigation. But, there were exceptions as we shall see. The Stones entire career from 1963 to the end of the contract in 1971 that Andrew had saddled them with belonged to Klein. Never fire your manager when he holds your life in his hands.

Any career they would have to make money would begin in 1971. The intellectual properties Jagger and Richards’ had created would provide them with an income apart from the band although the publishing was sold to Klein by Andrew. But the full intellectual properties would begin only with Exile On Main Street.   And of course by then the big boom in record sales was underway. Even at the end of the sixties the record business was small potatoes. The stadium era was on the horizon.

From Rupert’s point of view the only real potential for money for him would come from the Stones’ touring. The Stones would do some non-stop touring beginning in 1971. The ’69 US tour was Rupert’s introductory tour during which he learned how inefficient and criminal touring was..

Until Rupert reorganized touring, the road had not been profitable for the Stones. No money at all.   So Rupert began his management career on the off chance that the Stones would stay together, actually a fairly long shot, and he could mount some extravaganzas and monitor expense to make the road profitable. Little he knew that he was catching the really big one.

If you sit and think about this a little it will blow your mind the chances that Rupert was taking especially with a heroin addict of the status as Keith. I mean we’re talking the Master of Flake with Keith- no offense intended. The man blew millions that Rupert was setting up in recording contracts when Keith was arrested with a jug of heroin in Toronto. Keith was not in this alone, there were three other Stones plus Mick as well as Rupert who had bet his life on the Stones. Can you imagine how crushed Rupert was when he had to call all the bidders and advise them of Keith’s gaffe. Keith cost Rupert a couple million too.

This is amazing, the pre-’68 money had been so badly managed that the Stones owed more tax money that it appeared that the band could ever pay off; especially when every new dollar would be taxed at ninety percent. What were the Brits thinking? As I understand it the Stones have never paid the debt off, or tried. So Rupert compelled them to leave England for a more tax friendly climate. As we are repeatedly told they were broke one wonders how they expected to finance their life in France. Mick and Keith were OK because as Robert Greenfield tells us in his book Ain’t It Time We Said Goodbye: The Rolling Stones On The Road To Exile just before the Stones left England Klein sent Mick and Keith each a check for 800 and some odd thousand dollars. That is nearly a million each. I don’t know whether BMI paid royalties quarterly or half yearly but Mick and Keith should have gotten a check of comparable size quarterly, semi-annually or annually. For the next decade or two probably double that. No sympathy here.

Andrew These Days

Andrew These Days

Wyman and Watts both bought handsome residences on the Riviera so one wonders where that money came from while Exile was being recorded. They settled on the Riviera where they spent a fortune recording Exile On Main Street. Over half a million dollars. And while Exile sold well still only over seven hundred and some thousand copies on its first release; not enough copies to surpass recording costs so they received nothing for the LP initially. Still Rupert hung in there, drug stories or no.

As the only hope for the Stones to make money, apart from intellectual right for Mick and Keith, was touring and thereby justify Rupert’s decision to throw in his lot with them Rupert set about to make touring as profitable as possible. He was in for some surprises as he had to come into contact with the Underworld, Mafia to you and me. I don’t see how he or they ever thought that there would be the truly big money of the last tours especially in North America but luck and the times were with him and them.

The Stones, about whom hung an air of vulgarity, were never a top selling recording band, mediocre at best but Jagger was a top performance artist while Keith was and is revered as a guitarist and personality. The nature of the tour also evolved so that under the guidance of Rupert major companies such as Chrysler sponsored tours contributing up front money while toward the end promoters ponied up a couple hundred million to manage the tours. The expense of putting on the show was the Stones but the mechanics of lining up venues and retailing the tickets was off their hands.

If you can stay together the intellectual property or ‘brand’ can become extremely valuable providing a payoff as time goes on. The Stones may be unique in the size of the payoff but many performers have been on the road for decades and are still out there, viz. Bob Dylan.

Still given all the imponderables, one is astonished that a respectable investment banker would take such a huge risk on his future. Not only had the principals been arrested and convicted, actually sent to jail, on a drug charge but they were involved with the revolutionary movement, indeed, other revolutionaries considered them one of them. Jagger wrote revolutionary and agitprop songs. As the seventies were characterized by revolutionary upheavals throughout the Western world including European outfits like the Baader-Meinhoff Gang and the Italian Red Guards and the infamous Carlos as well as the criminal and destructive American group, The Weathermen it would have been desirable to have some inconspicuous means of communication. Historically a means has been itinerants who had a reason to travel about such as the entertainers like the Stones and Bob Dylan. Cultural exchanges in governmental usage.

I think it quite possible, although I have no hard evidence that when Rupert was investigating the Stones at Chrissie Gibbs request he may have contacted the security agencies of England who seeing an opportunity to put an operative above suspicion in the Stones organization recruited Rupert.

As an intelligence agent in the Stones’ organization Rupert could maintain contact through his Europe wide aristocratic friends while dealing through the Stones with the revolutionaries who, at the very least, hung around the Stones. I suspect that Mick and Keith were more than sympathetic to them.

Eric Burdon of The Animals as a solo artist was arrested by the German police on suspicion of aiding the revolutionaries. Eric pleads innocence of course but the rock crowd as a group was sympathetic to the revolutionaries while the lyrics themselves were frequently openly revolutionary. Police suspicion would not have been misplaced.

In Eugene Oregon where I had my record store at the time, revolutionary zanies functioned quite openly, at least as far as I was concerned, infesting the foothills of the Cascades where they had built bunkers to store weapons, ammunition and food against the Day which was thought imminent. As a record store owner they assumed that naturally I too was a revolutionary. The Black Panthers for instance extorted money from me. I was caught in the middle as the authorities assumed naturally that I was too. It was tricky as I was then walking a tightrope between two hostile sides.

Thus Rupert otherwise inexplicably declassed himself while undertaking to represent a bankrupt band that was hopelessly in debt to the Inland Revenue. A debt he knew could never be paid off and never has been. In fact his first act regarding the ones was to advise them to leave England for more tax friendly shores.

When Rupert moved the band from England they ceased being a specifically English band becoming a band without a country or a true global band. As a global band it is probable that Allen Klein even though Jewish was strictly of a US geographic mentality whereas Rupert being Europe based with friends in each country was better able to deal with different tax laws, mores, etc. As a businessman he was better prepared to set up the business organization that the Stones needed.

It must be borne in mind that when the band left England on the cusp of the big boom of the seventies they became a multi-million dollar corporations with rather intricate financial problems. Klein had the reputation of a buccaneer; he could squeeze the pips but he couldn’t command respect, Rupert could.

So, the success of the Stones after ’68 depended in a great part on the superb financial management of Rupert, as well as his ability to deal with a lunatic like Keith. Rupert had no sooner got the band established in France than Keith got them thrown out of the country for, let’s not put a gloss on it, criminal behavior. Keith was handling large amounts of heroin while providing, as it were a safe haven for the Marseilles criminal drug element. Finally Keith and Anita turned a young girl, possible with violence, which resulted in the Stones having to flee France. That made two countries they could no longer perform in, at least for a while, France and England.

I’m sure Rupert smacked his forehead, wrung his hands and asked the universe, what the hell is going on? Keith and Mick must have been born under good signs as Rupert stayed on.

Allen Klein

Allen Klein

Having established a basis for prosperity Rupert then set about dealing with the first key problem, Allen Klein. Although broke the Stones initiated an expensive , read multi-million lawsuit against the wily Klein. Americans operate on the principle that possession is nine tenths of the law so getting anything out of Klein would be a small miracle. Without numbers to go on any accurate notion of what happened is impossible but as both sides were into the lawsuit for millions over eighteen years it would seem the results when they finally signed off were profitable for each.

So, having serendipitously acquired a supremely competent money man in Prince Rupert Loewenstein the financial future of the Stones was secured. They would become perhaps the richest band in history.

A Review:

Allen Klein

The Man Who Bailed Out The Beatles

Made The Rolling Stones

And Transformed Rock And Roll

 

Goodman, Fred:  Allen Klein, The Man Who Bailed…etc., 2015, Houghton Mifflin Harcourt

Loewenstein, Prince Rupert:   A Prince Among Stones, 2013, Bloomsbury

Oldham, Andrew Loog:  Stoned, 2000, 2001 Vintage Edition

Oldham, Andrew Loog:  2Stoned, 2002, 2003 Vintage Edition

Oldham, Andrew Loog:  Stone Free, 2012, Escargot Books

 

Allen Klein:  A Real Orphanage Face

Allen Klein: A Real Orphanage Face

I anticipated what I hoped would be a revealing account of the infamous Allen Klein.  I have been sorely disappointed by this hagiography.  Bailed out the Beatles, made the Stones and transformed rock and roll?  Whew!  Where’s his statue so I can reverence it.  Since Allen died in 2009, his son, Jody, has shaken up his father’s empire.  Jody has dipped into the archives to let out the two Stones’ movies Charley Is My Darling and Rock and Roll Circus to his credit.  They can now be seen and appreciated.  He probably has done much else that I am not aware of but would undoubtedly approve.

Fred Goodman’s white wash of Allen is disappointing.  Jody did call Fred and offer him the job so this must be a work of hire.  Perhaps Jody wanted a hagiography of sorts which is what he got or perhaps Fred was so daunted by the job he swallowed his teeth.  Having accepted the assignment Jody led Fred out to the warehouse and showed him several pallets of documents.  That would make me shiver too.

 

When Rupert Loewenstein accepted Jagger and the Stones as clients after the Stones rejected Allen he spent two or three years studying all their contracts and documents which were voluminous although not several pallets.  And he did it without pay.

Something tells me that Fred never touched those pallets.  If he didn’t study the documents one thing is certain:  he read the three books of the Stones’ manager Andrew Loog Oldham carefully.  It was Oldham who sold the Stones to Klein.  Apparently none of these people understood the nature of intellectual properties because, if we are to believe, none of them realized that the developing rock catalogs would be worth anything down the road.  Even Oldham who is billed as prescient let the Stones’ masters that belonged to him as the producer go to Klein for less than a peanut.

The president of Decca Records, Edward Lewis, sensing the Oldham was having difficulties offered to buy the masters for 800K, K as in thousands, much less than even a million that would be a low ball.  Oldham didn’t want to sell to Decca but needing money offered to them to Klein for 750K.  The biggest bastard in the valley snapped them up.  They have since proved to be worth tens and tens of millions of dollars over the years.  Of course, Andrew would have had to wait and his blood was running too hot for that.

A few years later when he realized the masters might be worth a billion or more he has spent his life begging Allen for a larger settlement.

Andrew Oldham’s three books are Stoned, 2Stoned and Stone Free.  They make good reading although 2Stoned is a rehash and expanded version of Stoned.  There is a French condensation of both books into one but the translation is laughable as Andrew was much too colloquial for French.  Fun to have though if you get a thrill out of mere possession.  I’m not exactly guilty but I don’t object.  It’s there on my shelf.

While Fred gives an overly long synopsis of Andrew’s life, probably because he needed a little filler and certainly didn’t have what It took to tackle those pallets, Andrew tells his own life better.  Fred seems to have based his researches on Andrew’s brief life of Allen as contained in Stone Free.  Stone Free might be sub-titled Brief Lives of the Notable Rockers.  A great collection and grand background.  Fred follows Klein’s Life closely.

Fred’s book was obviously written after Rupert’s: A Prince Among Stones. Published in 2013 but Fred shows no evidence of having read it and he didn’t use it.  To read Fred’s account Allen was a greater prince than Rupert even though the facts as we know them read differently.

Allen who was Jewish, was born in 1931 in the city of Newark, New Jersey, a city that has produced several notable Jews including the novelist Philip Roth.  Allen’s mother died when he was only a few months old so he never knew her.  He briefly lived with his maternal Jewish grandmother but his paternal grandmother objected because his mother’s parents weren’t Jewish enough.  His father unable to care for Allen and his sisters placed them in an orphanage.  This fact explains much about Allen’s adult attitudes.  I was in an orphanage but a municipal orphanage rather than a religious one.  Jewish orphanages seem to have been rather cushy places.  The groupie Catherine James lived in one that appears to have been a ‘country club.’   Allen’s Newark orphanage (often called Children’s Homes) had only thirty inmates and let me tell you that removes a lot of stress.

Mine had a hundred twenty or thirty most of which were bigger bastards then Allen could have been.  The Catholic orphanage down the street that we visited as a group every so often was as close to hell on earth that any kid would want to get.  Still orphans are pariahs in the community so I’m sure Allen’s small place left an indelible impression on him.

When he grew up and entered the record business, notable for the quality of its bastards, Allen billed himself as the biggest bastard in the valley.  He was undoubtedly at war with everyone including himself.

Once in the record business he saw the easy marks and they were English.  The American record people were uncommonly intense bastards while the British were mannerly bastards so someone like Allen, the biggest bastard, pretty much reversed the British Invasion traveling to England and scooping up some impressive bands and artists.  I mean, Mickie Most!  He was already a legend to anyone who read the record covers.

He cut his teeth on Sam Cooke as the first artist he bilked- that is robbed.  Somehow he managed to steal Cooke’s face, that is his whole musical career and hence life, lock, stock and barrel.  Sam Cooke died under mysterious circumstances.  As might be expected Fred clears Allen of any suspicions accepting the story that a hooker he was with did the deed.  Well, maybe, she caught with his pants around his ankles unable to maneuver properly; on the other hand Andrew Oldham who is fairly reliable at calling spades spades says that Cooke was badly beaten and the hooker couldn’t have done that.  That doesn’t implicate Allen necessarily, him being in the record business.  Sam certainly knew a few bastards, may have been one himself, who could make Allen look like a crass beginner.

Nevertheless Allen got all the goodies bar none and for perpetuity.  After having viewed Cooke’s body he was satisfied the hooker did it.  Those intellectual properties just keep on paying and paying.  Poor Sam.  Allen probably could have stopped there but the biggest bastard wanted the biggest bands- the Stones and the Beatles and he did realize that orphan’s dream.

Allen had the typical manager’s attitude toward his clients’ money, pp. 57-58

Theatrical producer, Lawrence Myers, a British business manager and an accountant by training, met Klein several months before Cooke’s death and credited Allen with altering the course of his own career.  “Allen taught me something without which I wouldn’t have the lifestyle I do today,” said Myers.  “Don’t take twenty percent of an artist’s income- give them eighty percent of yours.  The difference between Allen and I is that I actually told them what was going to happen.  And Allen certainly didn’t.  They found out sometime later.”

Obviously being a ‘business manager’ was a license to steal.  If Allen gave all his artists 80% of 20% son Jody has inherited well.  As a ‘business manager’ all checks were collected by Allen and once in his pocket were the devil to get out.  However after all was said and done, after taxes, fees, expenses and commissions there wasn’t that much left over to be divided five ways.  Even if the manager was honest, and few are, he, as an individual was taking a minimum of one fifth.  In the case or Colonel Parker and Tony Defries nearly all.  There wasn’t that much left over to be divided five ways.

Consider:  The tax rate in England for ordinary income was 90%.  That means that after all expenses were deducted, perhaps fifty percent or more out of a million, a half million at best might be left over.  Ninety percent of half million is four hundred fifty thousand dollars leaving fifty thousand dollars to be split five ways.  That is at most ten thousand dollars each.  While the Stones minds were confused because they were earning millions and getting peanuts.  Didn’t compute in their minds.

So while from 1963 to 1968 if the group earned ten million dollars and that’s a lot of money they were only entitled to a mere good living in after tax dollars.  Not flush at all.  At the time I don’t think the Stones realized that.

Without knowing the exact amount of money Klein was handling perhaps the Stones were making unreasonable demands for cash.  For Klein it was a stroke of good luck when the drug addled Andrew sold him the Stones masters from 1963-71 for what to him was pocket change.  Those masters are the basis of what Klein made from the Stones.  And it was a legitimate purchase.  They have no complaints against Klein on that score as Andrew owned the rights and could sell them to who he chose.

Nevertheless Klein did not deal openly with Jagger and the group so Jagger, by far the businessman of the group, began to look for help elsewhere.  A Hippie about town he knew named Chrissie Gibbs had a passing acquaintance with the investment banker Rupert Loewenstein, introduced him to Jagger, then he inexplicably agreed to represent an uncouth rock group of whom he says he had never heard.  This is even more remarkable in that the Stones had been arrested and convicted on drug charges in 1967 the year before the staid and respectable Rupert took them on.  It was on the front pages with pictures.

Reminded of William Rees-Moggs editorial in the London Times that Rupert had read, he writes in his memoirs that, oh yes, he did remember that but endorsed the conviction entirely.  He still agreed to represent them.  What do you think of that?

Analyzing a mountain of paperwork Rupert probably came to the conclusion that the Stones’ past was a lost cause and only the future earnings counted.  The only hope for big money lay in performing.  As the way touring was conducted at the time was less than cost effective Rupert had to reinvent it.  He had to eliminate as much of the thieving and inefficiency as possible.  This is actually pretty strange.

Why he felt equal to this with absolutely no guarantees is beyond me; according to his memoirs at this time the Stones were not only broke but in debt to the Inland Revenue for more than they could ever hope to pay as matters stood.  Well, OK, Rupert was super prescient.   You have no idea how criminal the record business is or was at the time.  Think about leopards.  The business is a shadow of itself today since the internet recreated the single while destroying the LP market.

Rupert was lucky in that Jagger was essentially a performance artist who would make Yoko Oko turn several shades of green.  But that is part of the Stones’ story.

Rupert and Klein got into a twenty year legal battle that as the saying goes made the lawyers rich.

Rupert And Keith

Rupert And Keith

However as the Stones left Klein’s stable Allen’s dream of managing the Beatles, at least three of them, came true.  Allen got John, Ringo and George while Lee Eastman got McCartney.

Once Klein got the money it was very difficult to get it out of him although he took a sort of paternal interest in the artists.  Of course if you are robbing them it is only proper to give then an allowance now and then.  Fred goes out of his way to demonstrate, or at least claim, Klein’s honesty, white washing him entirely although as one evidence of dishonesty Klein actually went to jail for a couple of months for failure to report income.

In the record business in order to get their records exposure, companies have to allow for so many demonstration albums- promos or demos as they were called.  I owned a small chain of stores back in the day so I would be given sets of albums of a new release for in store play.  The promo men had boxes of copies for all the radio stations and other uses.  As should be obvious there is a certain play in there to sell demos.

George Harrison, a client of Klein’s put together the charity play, The Concert For Bangladesh.  That was a charity release, box set of three records, for relief of the starving of Bangladesh.  Any of them starving at the time of the concert were dead by the any money reached Bangladesh.  Klein’s deal was that he pressed the records and packaged them, obviously he had the masters, sending the completed copies to the companies for distribution.  He then pressed, according to Andrew in Stone Free, literally truckloads of copies that he disposed of as promos.  Now these were sixty foot semis were talking about.

The things that happened in the record business is incredible.  When the Kiss solo albums were released Neil Bogart of Casablanca seriously overestimated the demand pressing up two million copies of each in advance.  Supposedly two truckloads, 200,000 copies, where hi-jacked on I-5 on their way North.  As unbelievable as it may sound it was suggested that I was the responsible party.  I’m sure those copies were insured.

It was not a crime for Allen to sell the records but, unfortunately, he failed to report the income and that is an IRS offense.  Bad, bad.

Andrew These Days

Andrew These Days

Andrew offers this take on the situation, Stone Free p. 360:

Allen’s karma finally caught up with him in 1979 when he was convicted on charges of US Federal tax evasion.  Klein had sold literally truckloads of albums that were accounted for on the books as “promos” (albums distributed free of charge for radio stations and press for which the label is not obligated to pay artist royalties.  His actual felony was pocketing the income from those sales without reporting it to the Internal Revenue service.  But Let’s tote up who Klein screwed in the affair, his country, which was entitled to tax him; the Beatles, both collectively and individually…UNICEF…and thousands of starving childre

Perhaps this was a sensitive issue for Jody because Fred carefully steps around the issue claiming a penny ante sharing between himself and his hapless promotion man.  The jail sentence says something else.

Actually it got Klein into more hot water than two months for a tax dodging charge. By the time of Bangladesh Klein was one of the most hated men in records by fans.  His reputation was just terrible.  Calling him a mere crook wouldn’t begin to cover what the fans thought.

A.J. At Work

A.J. At Work

A.J. Weberman got wind of the scam.  For those who don’t know, Alan J. Weberman was the first ‘garbologist.’  He was so interested in what Bob Dylan was doing he used to collect his garbage from the cans set out on the sidewalks of New York and sort through it carefully.  He was trying to prove Dylan was a heroin addict among other things.  So, he was a self-styled policeman of the industry.

Having got wind of the sale of the promos, he not only arranged picketing of Klein’s office but actually invaded it.  By the time he got through, Klein’s battered reputation was beyond repair.  Fred avoids all that even though a great story.

Allen also failed to back Harrison in his lawsuit over his supposed plagiarizing the song He’s So Fine with his song My Sweet Lord.

Andrew Oldham handles that story well in his biography of Allen in Stone Free p. 361:

Quote:

A falling out with Lennon followed (John would vent many of his feelings towards Klein in his song “Steel and Glass”).  but the ultimate betrayal came when Allen sued his own former client, Harrison for copyright infringement.  To Allen, this was probably as simple as getting the attention of an artist he felt was off the reservation- a counter-insurgency- if you will.  Like so many songs before it, George’s “My Sweet Lord” was patently based on the spiritual “Oh Happy Day”, a song long in the public domain and hence not subject to copyright.  Unfortunately, another song derived from “Oh Happy Day”, the Chiffons’ “He’s So Fine’ was protected, prompting the publisher, Bright Tunes, to launch proceedings against Harrison.

Klein, naturally, was enraged, and happily assisted Harrison in preparing his defense.  But as his relationship with the former Beatles crumbled, Klein looked for ways of bringing George back in line.  He took himself out and purchased Bright Tunes for himself- and kept the lawsuit alive.  A degree of justice prevailed as the Judge slammed Klein for switching sides…

Unquote.

That’s a perfect example of the record business.  If Harrison had employed the same solution, buying Bright Tunes, Klein would have howled foul.  Artists are supposed to function with a different morality.  That’s the record business.

The thing is there are no original songs, every song is derived from another or several. I don’t know why the Courts accept the suits.  There is no way the Judges can make an informed decision unless they happen to be musicologists.

As Fred obviously read Andrew as above and had other information or could get it from his employer Jody, there is no reason to shield Allen’s terrible reputation.  The guy was totally unscrupulous.  Probably better than his counterpart Morris Levy of Roulette or Tony Defries who managed David Bowie or the king of con men himself, Colonel Parker who robbed the King himself- Elvis.

To conclude:  I can only recommend the book to the dedicated Stones or Beatles enthusiast.  There is no depth or breadth to the book.  Allen’s roster of clients, most of whom are still living do not seen to have been interviewed by Fred.  He doesn’t even seem to have talked to Andrew who knew and was intimate with Allen the longest.  Heck, Fred didn’t even bother to interview his own employer, Jody Klein.

I mean Jody must have had something to say about his father.  Even the pictures ae somewhat limited.  Fred could have gotten a picture of the orphanage that created the ‘biggest bastard in the valley.’  Allen’s whole career can be placed in the context of his life in the orphanage.  Four years old to nine, whew!- the most formative years of a boy’s life.

I was in from eight to ten and that was bad enough.  You learn a lot about bastards in the orphanage so when Allen Klein bills himself as the biggest bastard in the valley he is saying a little more than something.

A Review: A Prince Among Stones by Rupert Loewenstein
by
Review by R.E. Prindle

Loewenstein, Prince Rupert: A Prince Among Stones: That Business With The Rolling Stones And Other Adventures, 2013, Bloomsbury

Some will rob you with a six gun,
Others use a fountain pen.
-Pretty Boy Floyd, The Outlaw

Now comes the very welcome autobiography of the Rolling Stones eminence gris, financial expert, Rupert Loewenstein, a moments surcease from the excesses of Spanish Tony Sanchez, Marianne Faithfull and Keith. A respite from biographers Christopher Anderson, Philip Norman, A.E. Hotchner and the other sexually obsessed writers. A pause in the hothouse atmosphere of Mick’s groovy sexual liaisons, temporary and otherwise. Rupert keeps his dick in his pants.

When in 1968 the Stones realized that the inexperience of their youthful years was cracking down to destroy their dreams, their hopes had been concealed and buried in truckloads of contracts and documents they couldn’t read and would never understand. Enter Rupert the investment banker from The Square Mile, well mannered and ‘with it’ in ways Rockers could ever understand much less emulate. But Mick tried.

Entangled by the youthful inexperience of their first manager seconded by his partner Eric Easton and outright robbed by fountain pen wielding Allen B. Klein, Mick Jagger turned to Rupert Loewenstein as a thirsting man in the Sahara desert. As despised rock and rollers Jagger was turned down by the lawyers and accountants he pleaded with to salvage the Stones situation.

Christopher Gibbs, friend of Bob Fraser, approached Rupert as an old Etonian and asked his help. Rupert considered and accepted.

After reading internet reviews of Rupert’s book the general consensus seems to be a general rejection. The fact that Rupert took the first sixty pages to explain his origins and give some background offended the majority of reviewers who expected him to begin with glowing accounts of Mick and Keith. As Rupert’s technique was to place himself in his environment, so markedly different from the rest of us, most reviewers interpreted his method as mere name dropping.

I enjoyed the pages and thought Rupert’s technique quite skillful. As his explication narrowed down to his first encounter with Mick as he stepped over his prone drugged out form at a party I became aware of who Rupert was and how he arrived at the crossroads of his life.

At that point he was an owner of the small merchant banking firm of Leopold Joseph & Sons, both Leopold and his sons having departed the firm. Here he had a comfortable, respectable life with, as future developments would show, an opportunity for substantial wealth. An enviable situation actually.

But Rupert, apparently, craved excitement, so for reasons that escape me he took on the task of rescuing the Stones. Did I say crazy? Closer to what I meant but had too much discretion to say. At the time Rupert accepted the mission the Stones were penniless all their money controlled by Klein; they had no means to pay Rupert anything including his expenses. As incredible as it may seem Rupert worked for not only nothing but at his own expense including many trips to New York and back for three long years until he could squeeze some money out of Allen Klein. I mean, what luck for the Stones, my jaw just dropped.

The Stones had thousands and thousands of documents and papers Rupert had to familiarize himself with and this is all boring, very intricate stuff. It took Rupert a couple years alone of study before he felt competent to confront the thug Klein; and then, eighteen years of legal squabbles ensued as Klein fought to hold his ill gotten gains.

In the meantime, as Rupert learned the complexities of the music business and touring he had to find ways to make the ongoing projects profitable. He succeeded in making the perennial money loser, touring, into a cash cow.

Rupert is always understated but his efforts for the Stones in a very corrupt business were astonishing. From being penniless Jagger now has several hundreds of millions of dollars.

While discussing these financial affairs Rupert is more than discreet. One has an idea of what he did for the Stones but nothing in the way of useful details. This was Rupert’s life that so far as I’m concerned he is certainly within his rights to discuss, even revealing, some more pertinent details in his dealings with Klein.

Mick, who can explain Mick, had the effrontery to chide Rupert for, in his eyes, revealing the Stones’ finances. Revealing the Stones’ finances! Who is Mick kidding? The Stones are an untraded public company. They have imposed themselves on their public, us, and what they do is our business. Our dollars have made them very wealthy men. We’re entitled to financial reports. Does Mick have any idea of what havoc he has caused to society and we members of the public, this member, by his reprehensible shenanigans?

Personally I think it astonishing that Rupert would have associated himself with a guy who would get up on forty foot inflatable dick in front of sixty thousand people a time and shout ‘Yahoo!’ What kind of guy would do that?

In many ways that was only the beginning of Stones’ offensiveness in the seventies. One has to understand the homosexual situation of the sixties and seventies in which Mick played a leading role. Hidden at the bottom of developments was the 1962 novel by Anthony Burgess, A Clockwork Orange. The story involves a near societal mutation of thug violence. The film rights were immediately snapped up by a combine of David Bailey, Andrew Oldham and Andy Warhol.

The original plan was to star Mick as the protagonist Alex. The movie did not come together until 1971 but then under different owners although Warhol did make an earlier version. The book’s type of violence was part and parcel of Warhol’s Factory whose members apparently took the book’s protagonists, the Droods, as their model. That combined with their homosexuality.

Mick was close to both David Bailey, the fashion photographer who describes Mick and his mate, and Warhol. As the book was a sort of revolutionary text the movie was even more so. For those prone to violence the movie serves as a primer. Yobbos in action.

Andy Warhol was also working toward the homosexual revolution that succeeded in 1969 in the Christopher Street rebellion at the Stonewall Inn in New York City. Between the book and the Stonewall the lid was off unconscious violence and homosexuality. Alex of Clockwork Orange was portrayed as an androgynous character not unlike Mick.

Thus the 1970s songs and tours took on a violent homosexual character leaning heavily toward psychotic sado-masochism. Always pushing the envelope Mick over did it with his 1976 release Black And Blue. Black And Blue was a very sick record. Of course it was only part of a very sick period fueled by the homosexual revolution. Appearing in 1976, it was after a series of albums by the sado-masochistic Negro band The Ohio Players. The OP had released a series of objectionable record covers that caused no adverse reaction as they were Negroes. Their LPs Pleasure, Pain and Angel had covers more excessive than Black And Blue. Women were dominatrices, hung from chains, the Pleasure cover shows a woman stabbing a man in the spine during intercourse. This all passed without comment but Mick apparently didn’t realize that Negroes have a ticket to ride but White Boys don’t.

Unlike The Ohio Players the Stones didn’t have the rocks to put their picture of female torture and overt sado-masochism on the outside of the cover concealing it instead within the gate fold. Perhaps Mick was realizing his Clockwork Orange fantasy identity.

To add insult to injury the Stones compelled their label to erect a gigantic Billboard of the centerfold across from the Hyatt House on Sunset Boulevard in LA. The outrage was instantaneous. The outrage was so intense that Mick and the Stones were compelled to back down. The billboard was taken down while the photo was removed from the inner cover replaced by a photo of the band.

One can only imagine the effect the incident had on Rupert and his fellow merchant bankers back in London. The repercussions at all levels were horrendous.

In fact Mick owes me for that one. At that time I was in the record business in Portland, Oregon, running a large six thousand square foot store. I had a huge presence on TV and radio through advertisements thus making me an ideal target for protests. Oddly devotees of porn like Lesbians decided to target my store. A committee in combat boots stormed into my store handing me an ultimatum to not only remove Black And Blue from my racks but a long list of record covers they thought demeaned women. Interestingly The Ohio Players several covers or any records by Negro groups for that matter were not on the list. No White person was going to criticize any Negro for anything. They had immunity. The Stones however where White, objectionable and fair game. As was I.

The Lesbos put their heads together to come up with a media event that they could exploit for maximum publicity. Andy always said that any publicity was good publicity but I beg to disagree with him. They conceived the notion that if they came into my store and slashed the covers of their two hundred objections that would make the paper, TV and radio. They were complicit with my employees. As the store was open till ten they chose a late hour to do their slashing. Well done, but beyond my notice until one of the Lesbos in my employ pointed the albums out to me several days later.

Of course, as I had no idea who did it, similar incidents were always happening, I pulled the damaged covers to be sent back to the manufacturers hoping that it wouldn’t happen again. There was no reason for me to complain to the police because as a record dealer I was outside the protection of the law, the police would have laughed at me. As the evil deed had received no response the Lesbos published their manifesto in their paper. Naturally enough I didn’t read lesbian publications so no response from me.

The gay crowd had their agents in the police department and the Daily Oregonian, the local rag. Unfortunately for the Lesbos as I didn’t advertise in the Oregonian it was forbidden to either mention myself or my store hence that venue was closed. Oddly enough the Lesbos used to police to try to stir me.

Now, I was in the record business. It was universally believed that every record store was dealing drugs. There were TV shows depicting it. Therefore it was believed that I was one of the biggest drug masterminds in the world. I was actually followed by police agents in London on vacation. As it happened I was there when they made a major marijuana bust so I was given attention as it was apparently thought I was there to supervise the operation. It was an interesting time. I hope I don’t have to tell you what a fantastically absurd suspicion this was. I mean, you know, it was believed that all you had to do was ask for a certain record and the clerk would slap a lid of grass on the counter for you. I mean, with a counter full of weed nothing would have been easier than a bust. But logic….

The cops had been irritants for some time so when I got a phone call saying that they wanted to help me, I say, What kind of setup is this? The sergeant or whatever begins insultingly saying that ordinarily the police didn’t care what my kind of people did to each other but this slashing of record covers was one toke over the line. Wow. It was exceptionable wasn’t it? What other things hadn’t they investigated that’s what I wanted to know but got no answer.

Quite honestly I’d dismissed the incident, didn’t remember it and thanks, but no thanks. The Lesbos were back to square one, no media event. Time passed as they revolved the situation in their drug addled minds.

Now, not only was the newspaper riddled with gays, as was my store by the way, but so was the no. 1 TV station in town on which I was a very heavy advertiser, both its radio and TV outlets. Homos and Lesbos ran the place. Time has now flown as Time will and we’re into 1977. More objectionable covers have appeared especially Ronnie Montrose’s first with the abstract painting that resembled perhaps a woman’s crotch but given the homosexual dominance of the industry by 1978 it could have been a man’s rear; the record was called Jump On It if I remember correctly. All the sexual double entendres used for decades, remember the tune Baby, Let Me Bang Your Box? Piano was meant, box being musical slang for piano as well as…(blush) you know. The Naughty Lady Of Shady Lane, for instance who was only three years old. You just have a dirty mind, that’s all.

I was known for touting the artistic merits of the covers so getting together with their sisters at K… it was determined to do a short news feature in which I was to be induced to speak out and then they would go for the Montrose cover and get me for porno. I had no objection to their filming in my store but not having been born yesterday I wasn’t going to be drawn into the trap. I refused to speak on camera so that blew the second attempt for a media event. On to take three.

What else? The Lesbos would stage a demonstration outside the store, placards and all. However they once again made some gross miscalculations. They did get the top DJ in town also at K… and also a homosexual to announce that the demonstration would take place at noon at my store. I heard it on the radio on my way to work and was grossly offended. But, you know, too bad wasn’t it?

It was true that because of my massive radio and TV presence through advertising, and I mean massive, I was the ideal target. However many if not most people considered the demonstration as a publicity stunt which I failed to grasp at the time so didn’t turn it to my advantage and ignored it. As it would have been free advertising none of the radio and TV stations would cover the demonstration and the Oregonian certainly ignored it.

Frustrated that no media attended their media event the Lesbos decided to invade my store. A screaming horde of combat booted demons rushed in climbing on record racks, waving their signs, and with them came all the thieves and shop lifters within range of the excitement. Oddly enough many shoppers considering the ruckus a stunt went calmly about their shopping.

It took the helpful police an hour to get there and two hours to restore order. Obviously no arrests were made by the ‘helpful’ police. As Dylan sang: The cops don’t need you and, man, they expect the same. I have no idea how much money the Lesbos cost me, but they owe along with Mick. Once they realized there would be no media event their interest subsided. By that time half of 1977 was shot.

The next time Mick says that songs don’t incite a revolution smile knowingly.

Whatever was happening to me passed unnoticed as I was out on the edge of nowhere. Except for this account of the story the incident has been unrecorded. I hope the Lesbos feel rewarded. But for Rupert his world was changed dramatically on February 27th of that same year, 1977. Keith was busted for intent to distribute heroin in Toronto. The bust was as close to absolute disaster as the Stones ever came. It must also have sent a shiver down Rupert’s spine as he realized how fragile a business the Stones were.

Rupert passes over this stuff casually with a little light hearted banter but the seriousness of this ‘media event’ causes him to issue a nearly audible sigh of resignation. Rupert had spent months lining up bids from every major label for when the recording contract with Atlantic expired.

Mick gave Rupert a call to tell him the disastrous news. You can almost feel the heartbreak as Rupert resigns himself to call each and every label to ask if the bust affected their offers. It did. All signed off but…Atlantic. Ertegun stayed in but Rupert’s bargaining power went into the vein, so to speak. The Stones were only worth what Ertegun would offer. Millions down the tube. Rupert doesn’t tell us what percentage he was working on but we can assume that Keith’s bust cost him plenty.

You don’t read the story that way in Keith’s auto; he may not even still have figured it out.

That was a very serious consequence for Rupert to which I am sure Keith has given no thought ever to the possible collateral damages caused by his actions. In his drugged out haze Keith was not even aware that Rupert could no longer justify his involvement with a bunch of yobbos like the Stones. In the first place anyone associated with Rock was socially unacceptable. I as a record store owner was persona non grata in my social arena. If Rupert had held on to his social status to this point I’m sure he found that certain invitations were no longer forthcoming. Indeed, his fellows at Leopold Joseph made him choose between them and the Stones. Rupert was forced to sell out.

One feels a sort of sinking feeling in his writing as he acknowledges that Keith had sabotaged the chances of both him and the Stones. One can only hope he came out with a couple hundred million otherwise he was woefully under compensated. Rock was a world he could never have understood.

Rupert saw the Stones as a business venture without any regard of the Stones’ relationship to the expectations of their fans. Thus when he negotiated more than substantial sums for the use of Stones’ songs in advertising that was a very good business decision but a potentially disastrous situation with the fan base who saw such financial arrangements as a complete betrayal of their anti-commercialism. Rupert was frustrated that the Stones had a hard time seeing it his way.

Besides he didn’t know who the Stones were or, seemingly so. The Stones were always a minority appeal band. When Andrew Oldham cast them as the ultimate yobbo band he was limiting their appeal to a certain segment of society. In the contemporary world where modern communications allow mind sets to come into contact and maintain communications not only locally but globally mind sets were able to blast their presence into a million or millions through communications. Thus though a small percentage of the overall global population even a perversion such as sado-masochism could appear in millions, seemingly a large connected body. Effects such as this is what Warhol was doing and through associates such as Jagger and David Bailey acting globally.

While the Stones may have sold a couple two or three million globally of their records, while substantial economically, it was not that significant culturally. Beyond the yobbo mentality the Stones had little appeal. The Black And Blue album did not expand their audience but constricted it.

Of course Mick moved the band beyond mere rock and roll by making the Stones the Ringling Bros., Barnum and Bailey circus of rock. The show was the thing. Rupert himself usually refers to Mick as a great showman. Faint praise indeed. But, once again even though the shows generated hundreds of millions it was to an already sympathetic or curious audience. Preaching to the converted so to speak.

I think that Rupert was originally blinded by the light of the Stones publicity not realizing that he wasn’t representing a universal phenomenon but a mere yobbo fragment of the population. The money was there however. I hope he valued his services accordingly.

The last half of the book meanders with very little useful information save that Rupert negotiated with unnamed buyers to sell the Stones lock, stock and barrel much as Halston sold his name, soul and product to a major corporation.

What Rupert’s motivation was except for a huge bundle of cash isn’t clear. Perhaps in some devious way he was seeking to avenge Keith’s betrayal and cause the Stone’s the pain they caused him. In any event the idea was too novel for Keith and Mick or they were two wary so the deal didn’t go down.

Perhaps there was big money in it for Rupert so that when he lost the opportunity he lost interest in the Stones. It was shortly after the deal folded that he retired severing his relationship with the group whose fortunes he had guided quite successfully for forty years.

Rupert never satisfactorily explained why he decided to abandon his respectable merchant banking career to take up a gypsy existence with the Stones. You may be sure that if I had the choice between owning a record store or being a merchant banker I would definitely have gone into banking. Anything really. You can always buy records.