By Peter Fornatale
On July 12, 1962, London's Marquee membership debuted a brand new act, a blues-inflected rock band named after a Muddy Waters track - The Rolling Stones. They have been a hard-edged band with an inherent ability for the dramatic, styling themselves because the devil's solution to the sainted Beatles.A younger, green manufacturer named Andrew Loog Oldham first heard the band at a consultation he recollects with 4 phrases: 'I fell in love.' although surprising with such simple practices as blending a recording, he made an excellent choice - he pitched the band to a studio that had handed at the Beatles. Afraid to make an identical mistake two times, they signed the Stones, and commenced a history-making career.This is only one of the 50 vintage tales that make up 50 Licks. Many are never-before instructed, a few are from unique interviews - together with with elusive bassist invoice Wyman - and all are illustrated and instructed via the folks who lived them.Half a century on, the Rolling Stones are nonetheless the best band operating. And this can be the ebook to commemorate their remarkable success in rock tune.
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Extra info for 50 Licks: Myths and Stories from Half a Century of the Rolling Stones
149-165. 21. Personal conversation with the author, Clarens, 4 April 1990. With Music Empowered « » enough, Furtwangler also caught the attention of Bruno Walter—nine years his senior and well on his way to international fame as one of Germany's brightest conductors. Walter, who had succeeded Felix Mottl at Munich in 1911 after a brilliant success at the Vienna Court Opera, became something of a friend and advisor to Furtwangler, a fact Furtwangler always acknowledged despite some unfortunate changes in their relationship later.
Here he came under the tutelage of yet another formidable musician. Hans Pfitzner was both a fine conductor and one of the bestknown living composers in Germany at that time. He was 17 years older than Furtwangler, and he possessed the kind of professional breadth from which Furtwangler could draw copiously. As a composer, Pfitzner was preoccupied with two themes concerning all German intellectuals at the time, not the least of whom was Furtwangler. First, he was intensely concerned with the relationship between an artist and his work and the place this relationship has in the world at large.
With the simplest movements of his hands and arms, he created a Svengali-like spell over the orchestra and the audience alike, conjuring sounds of unearthly beauty and unbearable excitement. Listeners invariably went wild at the conclusion of his performances, especially of the large-scale romantic works. Emerging conductors of that time later scorned many of the maestros of their youth, but one conductor upon whose greatness they all agreed was Nikisch. Even Toscanini begrudgingly mentioned him when he talked about conductors he admired.