Let's review some of the historical events that were happening for the Rolling Stones

in the second half of 1965 starting in the summer, and going forward.

Well their album Out of Our Heads was released in July in the US,

going to number one in the country.

Of course at that time.

Satisfaction was on the charts as a single as we've, as we've talked about as well,

had been released in May.

So, particularly speaking in the first half.

But then here comes the album, Out of Our Heads.

Number one on the American charts.

That album is released in its British version in September.

Goes to number two in the UK charts.

In August, Allen Klein,

is appointed co-manager by Andrew Loog Oldham, of the Rolling Stones.

We'll talk a little about, more about Allen Klein in just a minute.

But the, the Allen Klein engagement, or his sort of

entering into the Rolling Stones circle really starts, in August of 1965.

Get Off of My Cloud, is released in September.

And goes to number one in the US.

(I Can't Get No) Satisfaction had gone to number one,

now Get Off of My Cloud has has gone to number one.

The Rolling Stones now have two number one hits in a row.

We already talked about As Time Goes By.

And, and last time, together over the course of 1965.

Four singles, all in the top ten, two of them at number one in 1965.

You can see why it's the year of satisfaction.

Get Off of My Cloud is released in October in the UK, goes to number one.

In the fall, they tour UK and Europe, during September and October of 1965.

They do their fourth US tour in November of '65.

December's Children is released in the US only.

It goes to number four in December you know, just in time for Christmas shopping.

In fact, it's interesting if you look down, well,

you look down a lot of bands album release.

Things but you looked on a Rolling Stones release dates, and

they're, they're very few Christmas seasons when they did not bring out

some kind of record that you know, could be bought as a gift and, and that's a,

that's a great time to kind of get product on the market,

if you want to think of it from a marketing point of view.

December's Children had very, very few, mm, mm, it had very little new music on

it, just things that had been released another forms sort of compile together.

So, I'm counting at the studio their album because a lot of the stuff on the US end,

hadn't been release in this country yet.

And there is, there is actually some new stuff on it.

So, we will count that as an extra studio album, and talk about it in just a minute.

And then by the end of the year, As tears Go By was released as a Single.

As I said before, going to number six.

So, a pretty good second half of the year for the Rolling Stones.

Let's turn our attention now to Allen Klein and why he's an important figure.

We spent a, a, a, devoted an entire video lecture to Andrew Loog Oldham, and

his importance as a manager of the group.

Allen Klein, is maybe a guy who comes in kind of second, when it comes to

thinking about at least the business the Rolling Stones' business interests, and,

and their money and their finances.

because he starts to figure in,

increasingly from this period in August of 1965.

Allen Klein, an American from the east coast, New York, New Jersey background.

And I think Billy, born in 1931 so

a guy a bit older by more than a decade than Andrew Loog Oldham.

And he had a background,

started out working in the music business as a kind of a bookkeeper.

But he got a real ability to understand the ins and

outs of record company contracts.

In fact, one of the things he a very smart man, and

a very good very good with numbers.

He was able to figure out how the record companies were withholding money

from artists, throuhg the complexity of the contract.

So, if you understood how the contract was working, you could figure out

how the record companies were actually depriving artists of, of money they

had rightfully earned, but doing it all through the terms in the contract.

Of course, most artists didn't have attorneys who could look into the contract

and make the, the record companies pay out on these amounts, and so,

most artists basically just went without the money on the record company's pocket,

but Allen Klein figured out how that was done.

And the famous story [INAUDIBLE] about Allen Klein, in fact, it's told in

Andrew Loog Oldham recent book's Stone Free is the story of Bobby Darin.

Now, back in the early 1960s, Bobby Darin was a teen idol.

He was signed with a record company and

Allen Klein somehow met up with Bobby Darin.

And he said to Bobby Darin, how'd you like to make $100,000?

And Bobby Darin said, well, sure.

What have I gotta do?

Allen Klein said, nothing.

Leave it to me.

So, he goes into Bobby Darin's recording contract, and, sure as heck, he finds

a 100,000 dol, at least a $100,000 worth of royalties that Bobby Darin was owed

in that contract, that he would not have otherwise have gotten, had it not been for

Allen Klein's looking into it, and representing him.

So what ended up happening, is that Allen Klein took his piece of that, and

Bobby Darin got his piece of it, and Allen Klein began to develop this reputation as

being the guy, who could go in, on behalf of an artist, and get them their money.

So this is, these were the terms under which Andrew Loog Oldham met Allen Klein.

Who, at the time, as I say, was, was 11, 12 years older than Andrew.

So he was the older guy, more experienced guy in the music business.

Andrew Loog Oldham said there was never any question who was the, the, the senior,

and who was the junior in our relationship.

It was always Allen.

He was always the senior guy.

So, he went on to handle the Stones' finances through some protest [LAUGH] of

Eric Easton.

He thought he was the, the partner but Andrew Loog Oldham.

You know, Andrew Loog Oldham didn't so

much want to be the guy who took care of the money and that kind of thing.

He wanted to be the guy who shaped the talent.

Remember all that stuff about him wanting to be an impresario and,

and and admiring Larry Parnes and

Johnny Jackson, the character from Expresso Bongo, and this kind of thing.

So this, this is really what he wanted to do, so it was great to have a guy

like Allen Klein who could take care of the, the dollars and cents part of things.

If you read Bill Wyman's biography, autobiography Bill Wyman is

complains a lot about not having been able to see any of the money they

were making trying to get money from Allen Klein, having it not show up.

Where is this money, we thought, you know.

There were some money.

And Allen Klein was not only good at finding out how other people had

hidden money in contracts, he also seemed to have been pretty handy at, you know,

no, I wouldn't say hiding the money, but, you know, I mean, there you go.

I mean the guy was was they, they, they, the Rolling Stones were asking for

money, and it wasn't coming.

And so, what exactly is going on there it's unclear.

If one thing is for

sure artist always complained about not getting their money from management,

from record labels, so it's would be unfair to say anything untoward about

Allen Klein except that people complained they weren't getting their money.

Well, anyway they got bad enough, that at some, at, at a certain point in the early

1970s the, the Stones decided to just get out of that relationship entirely.

But there's no doubt about it, that Allen Klein did an awful lot to

advance the careers of the Rolling Stones with his management,

he also got involved in the Beatles at the end, after Brian Epstein passed away

after Apple Records was kind of going downhill, Allen Klein came in.

And so, I, enter he enters the story here for the Rolling Stones, and

we'll, we'll have cause to return to discussing Allen Klein as we go forward,

especially after, as we get into a period in the late 60s and early 1970s,

the tax exile years things like that.

One other thing I wanted to focus on here for just a minute,

is what I call the tour madness around the Rolling Stones.

Once the Rolling Stones started to get really big in the UK and

in Europe, and then in the US,

their shows were frequently, the occasion for some kind of a riot.

[LAUGH] I mean it was so frequent, when they were touring UK and

Europe, that the band would make bets with each other,

at least this is according to Keith Richards.

They would make bets with each other, about how far into their set they'd be

able to get, before the police would make 'em stop.

So, the whole idea was,

they'd never get the whole, only playing like 30 minute sets.

They'd never get the whole 30 minutes out.

I think we'll get to the third song.

No, I'm saying in the second song it's going to go down or whatever.

And they would make these bets, and

whoever would lose would have to pay up at the end it.

And it was kind of a little game that they'd play.

Well, what does that mean?

It meant that it was so typical that they wouldn't be able to play through their set

because the police would shut them down,

that, that the Rolling Stones concerts became synonymous with teen riot.

Wherever they went, there was some kind of of a teen riot.

Well there's a great clip, in one of the Rolling Stones documentaries.

I think it's Crossfire Hurricane, the most recent one.

Where Mick Jagger is on television at the time with you know a couple of

intellectuals social historians or cultural historians or whatever, and the,

the one expert is talking about how when you go to a Rolling Stones concert in

the UK, that the girls are so excited about the Rolling Stones,

that they literally sort of pee themselves, standing in place.

And if you, if you read the, Bill Wyman account of those Stones concerts,

he said it was like, there were like these little rivers going down the aisles,

until you realized the rivers were urine.

And these girls were all just well.

It sounds like a, a pretty wild situation.

And so, that's mentioned in this interview.

But then, that's kind of interesting.

But what's really interesting, is then Mick Jagger, you know, all of like what,

about 22, 23 years old at the time, says well, that's the way it is when we, when

we perform in this country, but frankly when, when we perform in other countries,

it's not armies of teenage girls who are there at the shows, it's armies of guys.

And these young guys, seem to be looking for

some way of striking out at the police.

And there are riots at these shows.

And it isn't that they're rioting at us.

They like us, but they're really not principally there, I think, for the music.

I think what they're there for,

is an opportunity to strike out against authority.

I'm sure they like our music very much, but we're just the catalyst.

What they really want to do is as Keith Richards said, have a go at the police.

And so it turns out that there's this kind of

cultural things happening around the Stones and rebellion.

Very much plays into the image that Andrew has been crafting for

the group, and that the Stones are smart enough and

detached enough as, as young men, to be able to see what's happening around them.

To be able to kind of analyze it a bit, and try to understand it

from a more sophisticated and intellectual point of view.

So this whole idea of the Stones, and aggression, and rioting, and

rebellion you know, we'll come back to talk about the Stones at Altamont in 1969.

And the terrible tragedy of somebody being killed right in front of

the stage while they were performing at Altamont.

And, as terrible as that is, when you think about the stories of

what was happening at some of those concerts in '64 and '65,

you gotta wonder why it took until 1969, for something really tragic to happen.

I mean, it could have happened at anytime, in one of these riots.

And so, all of that, is a, sort of plays into the idea of the Stones as being

trouble makers, as ne'er do wells, of, of leading kids down the wrong path,

as citizens and young in young individuals, and

this kind of thing, and it all plays into the Stones as as, as being the ones,

the bad boys, as opposed to the Beatles being good boys.

What Keith Richards likes to say, is that, you know,

the Beatles were wearing the white hats, the good guys wear the white hats,

the Beatles were wearing the white hats so, they weren't available to us, so

when the other guys got the white hats, the only thing left, are the black hats.

So, we wore, we, we wore the black hats and were happy to do it, but then later,

when he's talking about the drug bust that happened in 1967 and the way they, they

were brought up on charges and actually sentenced to prison sentences that they,

they barely served, but nonetheless they were sentenced.

He said, well, you know, before that happened, the hats might have been black,

but they were more kind of gray.

After we had this run in with the courts, and after they after we

got these sentences, and they sent us to jail, even for a short period of time.

Those hats were then black.

Then we became outlaws.

They made us outlaws.

So, all of this is starting to unfold here,

right in front of people's eyes, at these concerts, as they go along.

And so, this is a Rolling Stones tour craziness and madness.

Well, let's turn to the next album and the next video.

We've been talking about people who are out of their head, so

let's talk about the album.

Out of Our Heads.

The Second Half of 1965, Allen Klein, and Tour Madness

The Music of the Rolling Stones, 1962-1974

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