559. The Rolling Stones: Satanic Majesties of Sixties Rebellion (Part 2)

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The Rest Is History 1h 5m 3 speakers 8 chapters transcribed
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What led to the police raid on Keith Richards' Redlands estate in 1967?

Tom Holland 0:27
There's a big knock at the door. Eight o'clock. Everybody's just sort of gliding down slowly from the whole day. Freaking about. Everyone has managed to find their way back to the house. TV is on with the sound off and the record player is on. Strobe lights are flickering. Mary Ann Faithfull has just decided that she wanted a bath. and has wrapped herself up in a rug, and is watching the box. Bang, bang, bang, this big knock at the door, and I go to answer it. Oh, look, there's lots of little ladies and gentlemen outside. He says, read this.
Dominic Sandbrook 1:19
unmistakable tones there of Keith Richards, of course. And he was being interviewed in Rolling Stone on the 19th of August, 1971, about one of the most notorious episodes, really from the 1960s, one of the kind of iconic moments. And it is the evening of the 12th of February, 1967. The scene is Keith Richards' country house at Redlands in Sussex, And the man at the door is Chief Inspector Gordon Dineley of the West Sussex Constabulary. And Dominic, he's come basically to search the house and to arrest as many Rolling Stones as he possibly can, hasn't he? Make an example of them.
Narrator / Host (mostly Dominic Sandbrook) 1:59
Yes, so this is the queue for one of the most famous trials in post-war British history. It's a very funny story, sort of trashy comic, and it's a brilliant window, I think, to the cultural life of Britain in the late 1960s. So last time we looked at the rise of the Rolling Stones and the way they became folk devils in early 60s Britain. And today we're going to focus on the Rolling Stones in the last three years of the 60s. So we have the Redlands drugs case, a huge story at the time in Britain, front page news day after day. We have the tragic fate of Brian Jones, who is set up as this sort of doomed protagonist last time. And we have probably the two most celebrated concerts the Rolling Stones ever gave.
Narrator / Host (mostly Dominic Sandbrook) 2:39
Two of the most celebrated rock concerts of all time, their appearance at Hyde Park and their appearance at the Altamont Raceway in 1969. There will be a lot of drugs involved. And perhaps surprisingly, given that this is an apparently trivial story about a rock band who are still in their mid-twenties, there'll be an awful lot of death.
Dominic Sandbrook 2:58
So we're in February 1967, 1967, the summer of love of psychedelia. So not natural territory for the Stones, certainly as they promote themselves, one might argue. And this will be a bit of the context for the story we're about to tell, isn't it? So what's the broader political context?
Narrator / Host (mostly Dominic Sandbrook) 3:15
So the mood has changed since the early 60s. When we set up the Stones last time, we talked about the sort of affluent society, a lot of money sloshing around in 1963, 64. It's the end of 13 years of Toryism. Harold Wilson's Labour government are now in office, but they have kind of got into trouble. They've been in for three years or so. They're in a bit of a mess economically. There's a growing sense of anxiety about the state of the nation and about kind of social and cultural change, I think. So the mood of the 60s, it's never one thing. It's kind of shifted. For the Stones, life seems to be, superficially, it seems to be good. They've had six British number ones, four American number ones, very famous songs, Satisfaction, Get Off My Cloud, Paint It Black, and Ruby Tuesday. They've been to the United States three times, triumphant tours. They've been twice to Australia and New Zealand. They've been often to Europe.
Narrator / Host (mostly Dominic Sandbrook) 4:05
There is a slight sense, I think, by 1967, I think you're dead right, that they are out of time, that their music has, you know, the sort of the blues-edged music with which they came to prominence in 1964. It's no longer what people want in 1967. Yeah, what the kids are grieving are sitars. They want sitars. They want people laughing uncontrollably for no reason at the end of a track.

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