Tragically, no one knows who took these photos - they are from May 1965 - the Stones 3rd tour of America - in Clearwater Florida, Georgia, or both.
There's so much intimacy reflected in these images, they'd had to have been shot by someone they all knew and trusted.
Could it have been a talented photographer female friend of the band, by any chance?
I pasted some-----not all------images below.
2 more extraordinary shots --- sidebar: check out Keith sprawled facedown with his pants unbuckled -- I've long suspected he tended to crash/flop out like this well before heroin.
And finally....Brian
I would love to do a story on this photographer. If anyone knows who he or she is, please contact me. Thanks!
I've started a Facebook Page for my burgeoning company, Living Archives. For now the Page is extremely informal, playful, and free-form as I test out Facebook's capabilities. Click hereto visit Living Archives on Facebook. And once there, hit the LIKE button!
LIVING ARCHIVES - About
Susan Doran's multimedia archives consultancy. Brings static archives to life. Special emphasis: 20th century American social, cultural history, and musical history. Based in San Francisco. ________________________________ LIVING ARCHIVES is a multiplemedia archives and storytelling consultancy with 2 focal points: (1) corporate and organizational archives & history—offering organizational archival asset audit and inventories, creating & implementing strategies to bring static archives to life through the design of compelling, interactive, multimedia digital experiences that transform company archives into "origin stories" for customers and constituents, and catalyze ongoing measurable brand engagement (2) multimedia documentary, oral history, and digital storytelling—focusing on 20th century American social, cultural, and musical history FEATURED PROJECTS __________________ University of California Santa Cruz – McHenry Library Special Collections Department - Grateful Dead Archive Contributed to 2-pronged strategy of creating archival tools and systems meeting needs of a diverse user base, ranging from scholarly researchers to casual fans. Prepared archival arrangement and description of 300+ item literary archive; created finding aids with extensive arrangement notes and manuscript description metadata; researched complex issues of provenance and attribution. Prepared 200-piece artifact collection for accession (now on exhibit at the Rock and Roll Hall of Fame), including cataloging, metadata confirmation and arrangement. . . . . . . . . . . . . . . . Producer, Audio Documentary, "The Night Before Altamont" (in production) Producer, Multimedia Documentary, "Altamont 360" (pre-production) Production Assistant, "Captured Memories," film documentary of American civilians held in prisoner-of-war camps in the Philippines by the Japanese during World War II, 2011
Rambling Jack Elliott, Robert Cray, Mother Jones, Francis Scott Key, Herman Melville, Claudius - Roman Emperor, Chuck D, AND Sam Mendes----it was also my father's 83rd bday!
He played 18 holes of golf in Vermont with a pack of his pals. then he and my mother met up with 2 of my brothers/sisters-in-law at a local la
ke [in NH] for swimming, etc, then festive lavish BBQ at parents' house, topped by my mother's famous strawberry shortcake for dessert.
When I called was put on speaker phone -- we sang HBD with many part harmony -- my father even joined in he was having so much fun, and loves to sing. Things like this I miss about being on the East Coast sometimes.
This is my father last October in a costume shop in Haight Ashbury--I love that he's always **game** for anything, and tho he's a very strong and quite opinionated person, he almost never complains about people, life, situations, the world, or is negative. And always up for FUN!
happy birthday to Lou Reed - who turned 70 today - a beautiful dirge seems fitting today __________________________________________________________________
we were in a small cafe...you could hear the piano play it was very nice....oh babe...it was paradise [most licentious lip lick in history 0:48-52] you're right and I'm wrong oh babe I'm going to miss you now that you're gone...one sweet day
Elton John - "I Need You To Turn To"
Paul Buckminster did the arrangement and orchestration for this song, as well as others on Elton John's eponymous 1970 album.
Arguably one of the Rolling Stones' most beautiful songs, from Sticky Fingers (1971). Life was breathed into "Moonlight Mile" by Mick Taylor and Mick Jagger in an overnight session--its genesis being a short guitar piece Keith Richards had been toying around with, and which he was calling "Japanese Thing"--and enhanced by Paul Buckmaster's string arrangement. One of my favorite Buckmaster contributions--perhaps because it's one of his more understated efforts.
1972 - Harry Nilsson singing "Without You," written by Badfinger's Pete Hamm, and with Paul Buckmaster's rather florid string arrangement. I can appreciate the song overall, but it aches Nilsson/Buckmaster histrionics.
Incidentally, in contrast, here's Badfinger's original--more guitary, piano-y Beatlesesque--version of "Without You."
More 1972: Carly Simon wrote this rather sappy anthemic song with James Taylor, string & woodwind orchestration by Paul Buckmaster. A stellar line-up of LA and other studio musicians were brought in for this album's recording sessions (including: Dr. John, Robbie Robertson, Bucky Pizzarelli, Jim Keltner, Jim Gordon, Bobby Keys, Klaus Voormann)
Buckmaster added strings and orchestra to Terrapin Station, coming in right around minute 4:04 and running another 12 minutes.
Understated for Buckmaster, sometimes seeming to work rather well with where the Dead was at, at that time--I'd long wondered how much of the bombastic and cinematic effects on this song were due to Buckmaster vs. how much Buckmaster was honoring and supporting the band's then-direction musically and lyrically.
A little research surfaced this anecdote from Bill Kreutzmann, indicating his opinion of Buckmaster's strings, and the context around them:
"Mickey had a cool timbale part that he recorded, with Garcia adding interplay on guitar. But Olsen had another idea. Without telling anyone in the band, he erased Mickey's part entirely and then hired a string section to fill out that passage instead. I was pissed off about it, but Mickey was deservedly outraged. Outraged. ... it was a very stupid thing to do. Mickey wasn't going to be had that easily, though, and so he and Garcia – who sided with Mickey – redid their part. Olsen wasn't going to give up either, so he made sure the strings remained in the final mix. The recorded version of 'Terrapin Station' is probably my least favorite version because of that. It sounds really grandiose, like somebody's ego is playing those strings."
Of the strings, choir, horns, and overall production, Jerry Garcia said Keith Olsen "put the Grateful Dead in a dress," adding, "It made me mad. He and Paul Buckmaster had an erroneous rhythmic sense; they changed it from a dotted shuffle to a marching 4/4 time." Phil Lesh said "The orchestral and choral sweeteners added to the title sequence by Olsen and Buckmaster were a classic example of gilding the lily," which I take to mean adding gratuitously to something that was naturally more beautiful.
Performances of Terrapin in early 1977: (a) most certainly do not suffer from the lack of Buckmaster's strings, and yet (b) are not entirely at odds with the underlying essence of the studio version, suggesting perhaps Buckmaster may have been successful in his job to shed light and not to master?
hear: Terrapin as encore - Capitol Theatre, April 27, 1977
Saw another article, today, about Sinead O'Connor's demise.
Ignored the article, but remembered how striking "nothing compares 2 u" was when it first came out. That brilliant opening
It's been 7 hours and 15 days (since you took your love away)
I go out all night and sleep all day (since you took your love away)
Since you've been gone I can do whatever I want.
I can see whomever I choose.
But the point of this post isn't Sinead O'Connor, or her wonderful interpretation of this song.
It's that I've never heard Prince's original version of it. Since he wrote it, there must at least be a rough mix somewhere. It must exist somewhere.
Found this. It's live, and it's passable, I guess -- but far more recent than I want.
I want a recording of Prince's take on this, pre-Sinead--before it was publicly received. Closer to the time when he conceived it, when there may've been fresh emotional resonance.
In the same way Dylan was influenced by Jimi Hendrix's interpretation of "All Along the Watchtower" (Dylan says after Hendrix covered it, Dylan always performed the song following Hendrix's interpretation because he says he liked it better than his own). Similarly, Prince may have been impacted by O'Connor. Doubtful, but time and critical reception to the song certainly has.
I can appreciate the above, as a musical performance...but it's unremarkable emotionally.
Wish Prince didn't so closely guard his work, and let some stuff slip out of the vault.
Wonder what it'd be like to work on Prince's musical [and individual] archive...? I'd love to do it. It's something I'll be working toward. Probably around 10-15 years from now.
Here's one of my [many] favorite Prince songs.
Minute 3:24: his break from falsetto--until that point the protagonist is beseeching, but also reasonable, in control--at 3:24 the unleashed primal screams are epic and soul-ripping.
That emotional--and musical, stylistic--contrast is one of the best things I've ever heard. Otis Redding was capable of that marked contrast too--but he'd ease in, ramp up, then tear into it--rather than go from 0 to 60, as Prince does.
