Category Archives: Rock music

Rock bands and music

Dom Pipkin at Kino-Teatre, St Leonards 8/7/16

Hastings music scene, Live reviews, Rock music, , , , , , ,

My review originally appeared in the Hastings Independent 22/7/16

With its shopfront facade and trendy gallery-cum-foyer you could be forgiven for thinking there’s something nice but not particularly unique about St Leonards Kino Teatre; but step inside the main auditorium and you are immediately transported into a beautiful dome-ceilinged 1913 cinema that’s been given a pleasing shabby-chic makeover. Just for tonight, however, it’s transformed into a legendary New Orleans piano bar with Dom Pipkin (“piano from London, soul from New Orleans” as his website has it) giving a captivating solo performance of high-octane rhythm and blues piano.

After support from Chasing Shadows, a vocal-guitar duo with an engaging acoustic set of Americana-tinged covers and originals, Pipkin takes the stage and begins a whirlwind tour of New Orleans classics; name-checking the likes of Professor Longhair, Jellyroll Morton, Fats Domino and Dr John.

Playing blues and jazz from the age of 12 Dom Pipkin has now established himself as one of Europe’s top interpreters of New Orleans piano and has built up an impressive musical CV. Past collaborations include projects with Ray Davies, Palamo Faith and Talking Heads’ David Byrne. As well as solo shows, he also performs regularly with his own band Dom and the Ikos, but tonight it’s just Dom and his piano. He combines powerfully dexterous piano playing with a nicely empathetic vocal delivery that suits a range of styles and assists in making the songs his own, whether it’s pounding rhythm and blues, elaborate jazz or soulful gospel.

On top of the obvious well-known classics like Blueberry Hill, Ain’t That A Shame and Iko Iko together with some less well-known historical gems from the New Orleans jazz and blues scene, we also get some real surprises, too. Chas and Dave’s Ain’t No Pleasing You is transported from the east-end boozers and re-imagined as a stomping New Orleans boogie woogie. Cottonfields, which let’s be honest most of us only know via the Beach Boys, is taken right back to its glorious Lead Belly blues heritage. Pipkin is also happy to share his knowledge of the songs and their origins and I certainly came out knowing a lot more about the history of the New Orleans scene and its colourful characters than when I went in.

A talented, energetic performer with an obvious deep love of his subject matter and respect for its history, Dom Pipkin and his piano make for a hugely entertaining evening.

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Diggeth at The Carlisle, Hastings 15/7/16

Hastings music scene, Live reviews, Rock music, , , , , ,

The Carlisle pub in Hastings is the town’s premier rock venue, hosting a range of up and coming bands, more established (yet not major league) acts as well as various tributes to some of the big name bands (usually all free). After a trawl around Hastings old town with an old friend, we made it into the Carlisle just as the night’s headline band, Diggeth took to the stage. If you’re not familiar with a band already it’s sometimes a bit of a hit and miss affair: you are never going to like everything after all. But this band immediately grabbed my attention.

Diggeth are a Dutch three-piece who’ve been around for about a decade now. Loud, crunching bass, powerful drumming, some great guitar riffs and those austere slightly Germanic-sounding, slightly American-sounding vocals that Dutch rock singers can pull off so well. But, very importantly, they had some really, really good songs, too. It’s all original material but pays enough dues to heavy metal and hard rock heritage to give some of the songs the immediate air of sounding like would-be classic rock staples. In fact it’s a sure sign of musicians making an impact on their audience if a band that you’ve never heard of before, play you songs that you’ve never heard of before and get you enthusiastically humming and moving along to them while at the same time still sounding fresh and original.

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In terms of influences the band cite AC/DC to Metallica to Michael Schenker to Slayer, as well as many more. I was certainly impressed enough by Diggeth to fork out a fiver for their CD – Kings of the Underworld, released in 2014. No souvenir purchase that’s soon forgotten about this: I’ve played it at least half a dozen times in the three or four days since I bought it. Songs like the title track ‘Kings of the Underworld’ and ‘See You in Hell’ have already become memorable classics to my ears and this is a band I’m certainly pleased to have stumbled across.

https://www.facebook.com/Diggethmusic/#

Visit to the legendary Sun Studio, Memphis

Music culture & history, Rock music, , , , , , ,

In the history of rock ‘n’ roll there can’t be many more important places on the planet than this modestly-sized building on the outskirts of Memphis. 706 Union Avenue, Memphis, Tennessee is the home of Sun Studio, where Sam Phillips established his Memphis Recording Service back in 1950 with the aim of giving a recording outlet to black blues musicians like Howlin’ Wolf and BB King; where Ike Turner and others recorded what is now commonly held up to be the first rock ‘n’ roll record: ‘Rocket 88’ in 1951; where a young Elvis Presley walked in to cut a one-off disc, supposedly for his mother; where Elvis, Carl Perkins, Jerry Lee Lewis and Johnny Cash all recorded their early singles; and the place which indisputably can proudly claim to be the birthplace of rock ‘n’ roll.

Sam Phillips moved the Sun operation to a larger nearby facility in 1959, which somehow never quite managed to repeat the pioneering and magical success of the original, and by the 1970s 706 Union Avenue was being used as a hairdressers. In 1987, though, the building, along with the next- door diner, was reopened as a studio and tourist attraction and is now listed as a historic national landmark.

Sun studio run daily tours and a free shuttle bus service can ferry you between downtown Memphis, Elvis Presley’s Graceland and Sun Studio. The old diner is now a gift shop-cum-cafe and the tour first takes you upstairs to a compact but magical display of period artefacts; including studio equipment, instruments and other historic memorabilia. A tour guide talks you through the history and plays snatches of music, including that very first Elvis recording: ‘My Happiness’.

And then it’s down to the actual studio, first passing the reception area, once staffed by Sam Phillips’ assistant, Marion Keisker: a pivotal figure in the history of rock ‘n’ roll, and the one who first spotted Elvis’s talent. But like too many women in the music business, one who’s name often doesn’t not get the recognition it deserves.

reception

The studio, itself, has been recreated using authentic equipment and instruments from the era and, in spite of it’s post-Sun uses as a hairdressing salon and everything else, the original studio soundproofing that Phillips and Keisker applied by hand is still there to this day.

sudio tour

The tour guide ends the tour by bringing out an original studio microphone from the control room, one that Elvis and Jerry Lee and Johnny had all sung into at the start of their careers. He tells us it was donated by Sam Phillips on condition that it wasn’t just locked away in a glass case but that visitors could pose and have their photographs taken with it. You can’t get a better photo-opportunity than that and it’s a great end to a magical tour of a historic site.

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Related posts:

Visit to the birthplace of British rock ‘n’ roll – the 2i’s coffee bar, Soho

Visit to the Hendrix Flat, 23 Brook Street, London

Elvis songs before Elvis – the origins of six iconic Presley classics

Jerry Lee Lewis at London Palladium

Rocking the EU Vote: Could Brexit screw British rock bands?

Music culture & history, Music news, Rock music, , , ,

A guest article from me on Peter Cook’s Human Dynamics blog.

Peter Cook - Speaker, Writer and Consultant's avatarPeter Cook - Speaker, Author

A Guest Post from Darren Johnson

Rock Fanatic and former Chair of the London Assembly for the Green Party

Darren Johnson and another Johnson ... not related Darren Johnson, Rock Fanatic with Queen and another Johnson … not related

Younger voters have been overwhelmingly pro-EU. And in spite of concerns that younger people are less likely to vote, less likely to be registered or be at Glastonbury for the referendum and failed to apply for a postal vote, it seems that younger music fans are pretty much like the rest of their generation when it comes to recognising the benefits of Britain’s membership of the EU. But what of older rock fans? I’ve both heard some pretty alarming sentiments expressed amongst fellow music fans of our generation. In some ways that’s not surprising. Opinion polls are showing that while there is a massive lead for remaining in the EU amongst the 18-39 age group, when it gets to…

View original post 1,162 more words

The Blockheads at St Mary in the Castle, Hastings 19/6/16

Hastings music scene, Live reviews, Rock music, , , , , ,

Ian Dury’s days as frontman may have been tragically cut short by cancer back in 2000, but the band he helped form lives on. Still featuring original members, Chas Jankel, Norman Watt-Roy, Micky Gallagher and John Turnbull, vocals these days are handled by Dury’s former driver-cum-minder, Derek “The Draw” Hussey. Hussey’s striking appearance (long white hair, pin-striped jacket, silk scarves and small round specs with the peace sign emblazoned on each lens..) initially suggests a stage presence more charismatic than it really is. But his sardonic, laid-back delivery kind of works. The totally unique and utterly irreplaceable Ian Dury was always going to be one very hard act to follow but musically the band are as hot as ever. That trademark blend of rock ‘n’ roll, new wave, funk and music hall is there as much as ever.

We get the big hits of course: What A Waste, Billericay Dickie, Sex & Drugs & Rock & Roll, Reasons To Be Cheerful and, of course, Hit Me With Your Rhythm Stick. But we also get songs like Express Yourself from their most recent album: “Same Horse, Different Jockey” from 2013. Musically and lyrically these channel a similar vibe to the Ian Drury days, even if they are never going to be as memorable.

With many bands it’s the lead guitarist who is leaping around on stage and drenched from head to toe in sweat by the end of the evening. With The Blockheads, however, it’s bass supremo, Norman Watt-Roy, who has this honour. This is testimony to what a superbly energetic bass player he is but also to how integral his playing is to the band’s overall sound. Also noteworthy are the keyboard skills of Mick Gallagher and Chas Jankel, especially when the two play together. This is a band that may have been tragically robbed of its original lead singer but musically they have not lost a thing.

A word, too, on the venue. Hastings is blessed with a fantastic selection of live venues. However, for those who regularly pass by this one, perched high in front of West Hill on the seafront, but have yet to venture inside, St Mary in the Castle is well worth a visit. The nineteenth century church was deconsecrated in the 1950s, saved and eventually restored as an arts venue in the 1990s and now has a good varied programme of live music and other events. It makes for a quite spectacular setting for gigs.

http://www.theblockheads.com/

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Ronnie Spector at The Stables, Milton Keynes 13/6/16

Live reviews, Rock music, , , , ,

Ronnie Spector, the golden voice of the fabulous Ronettes (along with her late sister Estelle and cousin Nedra) is currently on a solo tour of Britain in support of her new album. The album, English Heart, gives a classic New York-born Ronnie Spector makeover to a number of British 60s beat-era staples.

It’s a complete show tonight, more than just a performance: personal reflections from Ronnie, excerpts from vintage video clips and interviews and songs, of course, performed by Ronnie (still in great voice) with fabulous-sounding backing singers and a fabulous-sounding band.

Taking to the stage in the Stables after her backing band and female backing singers get everyone geared up with a frenetic cover of ‘Rebel Rebel’, Ronnie Spector kicks things off with a sumptuous ‘Baby I Love You’. It’s followed up by songs from different stages from her long career. The Ronette’s ‘Walking In The Rain’, a version of life-long admirer, Brian’s Wilson’s ‘I Can Hear Music’, and songs like ‘Because’ (a Dave Clark Five cover) and ‘I’ll Follow The Sun’ (a Beatles cover) from her new album. After an unforgettable ‘Be My Baby’ she’s back on stage for an encore, paying tribute to Amy Winehouse (who was another devoted Ronnie Spector admirer) with a heartfelt cover of Winehouse’s own ‘Back To Black’.

The show is a happy, joyous celebration of Ronnie Spector’s life and career in music. She mentions obliquely at one point about spending “seven tough years” in California and having to come back to New York to start all over again. But what she doesn’t reveal on stage was that this was at the hands of her talented, but troubled, abusive and ultimately (much later) murderous ex-husband, Phil Spector, who kept her prisoner in her own home, prevented her from singing in public and denied her any access to the music she loved. She doesn’t dignify him by mentioning him by name tonight but her first-hand account is available for all who want to hear it. Knowing all this, and being incredibly moved by it, meant that for me tonight was always about more than just the music, wonderful though that is.

Septuagenarian Ronnie Spector, shimmying around the stage in lipstick and high heels with her enormous, enormous back-combed hair singing words like ‘baby I love you’ and ‘be my baby’. A feminist icon? You bet she is. She retook control of her life, retook control of her career and, several decades on, she is still on stage doing what she loves, exactly where she belongs. Meanwhile, her abusive, bullying, murderous ex-husband is behind bars, exactly where he belongs. Ronnie Spector we love you.

http://www.ronniespector.com/

RONNIE SPECTOR CD ALBUM FNLS_2

Review: Mott The Hoople Fan Convention 11/6/16

Glam rock, Live reviews, Music culture & history, Rock music, , , , , , , , ,

Hereford: the place where it all started for Mott The Hoople back in the 60s and the venue for the 2016 Mott The Hoople Fan Convention. For a band I’d been following since my teenage years back in the 80s (although they’d already long packed up by then) this was something I decided I just couldn’t afford to miss. There’s music, of course, but there’s also Q and A sessions with key figures associated with the band, there’s a fundraising charity auction of Mott memorabilia (proceeds to the Alzheimer’s Society), there’s film screenings and there’s lots (and lots) of opportunities for fans to mingle and chat with both each other and with MTH personnel, both band members and crew. Apart from the time the musicians were actually up on stage, there’s a complete and very refreshing absence of any ‘them and us’ attitudes. And so it wasn’t just in the Q and A sessions you could get first-hand insights into life on the road with Mott The Hoople, you could also get plenty of those just sitting in the bar and chatting, too.

But the music of course, was what brought people together in the first place and the music this weekend had some pretty special moments. First up is local punk band Terminal Rage. There was always a ‘punk-before-punk’ side to Mott anyway, particularly in the early days. But of special interest to Mott fans is that this band features the younger brother of Dale Griffin (MTH drummer who tragically died from Alzheimer’s this year) following in his brother’s footsteps at the drum-stool. Griffin leaves his kit and takes centre stage for one song to sing Bowie’s Starman as a moving tribute to his two musical heroes who died within a week of week of each other this year: David Bowie and his brother Dale.

Fellow Hastings resident, Mick Bolton, who toured as part of Mott The Hoople for a period in the early 70s, is next up on stage for an eclectic mix of numbers, including some pounding rock’n’roll boogie-woogie piano, to Jupiter – from Holst’s The Planets suite, to  a self-composed song originally written as possible material for Mott The Hoople in mind. Circumstances intervened and it was never used by the band but it does capture the vibe of mid-70s Mott the Hoople very nicely and it’s great to hear it performed.

Bolton is then joined on stage by guitarist Luther Grosvenor (who, of course, went by the gloriously rock’n’roll pseudonym of Ariel Bender during his period in MTH) and an ad-hoc band assembled for the occasion. Grosvenor is marking his retirement from live gigging with a special performance tonight. This is the first time that Grosvenor and Bolton have performed on stage together since 1974 and we get a short but explosive set, revisiting key songs from Grosvenor’s long career. Simon Savage (who will return to the stage later in the evening as front-man for the tribute act, Wott The Hoople) provides some great vocals and interacts well with Grosvenor on stage. Notable song highlights include Spooky Tooth’s Better By You Better By Me (the original version of the track that saw Judas Priest up in court on that ludicrous charge where they were accused of encouraging their fans to kill themselves) and a glorious, wonderful, celebratory version of The Golden Age of Rock ‘n’ Roll. A point that was touched on earlier in the day during the Q & A was how Mott The Hoople’s first guitarist, Mick Ralphs, and his replacement, Ariel Bender (AKA Luther Grosvenor) were at opposite ends of the spectrum in their style of guitar playing and in their on-stage personality. Both the modest, unassuming but technically brilliant Ralphs and the explosively bonkers Bender were an essential part of Mott The Hoople’s history. Although sadly, and I would say unjustly, left out of the 2009 and 2013 reunion shows it’s wonderful to have the latter’s contribution celebrated here tonight. Grosvenor gives a heartfelt, emotional thank you to everyone who’s supported him over the years but I do wonder what he’s going to do in retirement. I can’t quite see him digging an allotment. So if he can be persuaded to do the odd bit of gigging here and there I think it would be glorious to see him back on stage with Simon Savage again.

Next up is Herefordshire-based The Troy Redfern Band. His brand of melodic blues rock is normally just the thing I’d be lapping up. But as I indicated earlier, the weekend was always about far more than just watching bands. So I took time out in the bar area: chatting to fellow Hoople fans (one of whom I discovered also shared my love of Fairport Convention and Sandy Denny) chatting to Bob Griffin about having Dale as both an older brother and a musical mentor, chatting to original keyboard player, Verden Allen (who wasn’t performing but still came along to be part of it all) about his experiences of the two reunion shows, chatting to Luther Grosvenor and joining the impromptu lobby to encourage him not to make his retirement quite so final, chatting to Mick Bolton about making the move from Lancashire to London as a young man (something we both did) and many similar conversations besides (as well as a plethora of the inevitable selfies, of course).

It was then back to the front of the stage for the tribute act Wott The Hoople to take part in a joyful, if slightly drunken celebration (certainly on my part by this stage) of Mott The Hoople’s music. A nice touch was getting Stan Tippins up (the original band’s vocalist from the pre-Ian Hunter days, turned MTH tour manager and occasional backing vocalist). They encored with Tippins singing the harmonies on a spectacular All The Young Dudes. A fantastic end to a fantastic day.

Forty-two years after their original demise Mott The Hoople is still a band that’s loved, celebrated and cherished by its many fans – and rightly so.

Thanks to Phil John and everyone else who worked to make this such a memorable event.

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Related reviews:
Ian Hunter at Shepherd’s Bush 2014
Ian Hunter at Minehead 2016
Mick Ralphs at Minehead 2015
Mick Ralphs at Minehead 2016
Mick Bolton at Hastings 2016

AC/DC at The Olympic Stadium, London 4/6/16

Live reviews, Rock music, , , , , , , , , , ,

After successfully purchasing two tickets for this AC/DC gig the minute they went on sale last December I was gutted to later learn that a number of dates were being pulled because of Brian Johnson’s hearing problems, but also mystified to read in the announcement that they hoped to resume the tour “likely with a guest vocalist.” Just how was that going to work out?

A huge amount of controversy ensued about the way Brian Johnson had been treated, about whether the band was right to carry on and if (in the light of also losing founder, Malcolm Young, and drummer, Phil Rudd) the dignified thing was to call it a day once and for all and put the AC/DC name to rest. The subsequent rumours and then confirmation that it was to be Axl Rose replacing Johnson for the remainder of this tour merely stoked the controversy even further.

And now, as I’m standing in the Olympic Stadium watching the Axl Rose-fronted AC/DC, I’m reminded of something that my dad said to me at the time of Bon Scott’s death when I was just 13: “They might find another singer but no-one is ever going to sound as dirty as Bon Scott.” That’s not to berate Brian Johnson, who was a hugely powerful vocalist who delivered some brilliant rock anthems and who embodied the spirit of AC/DC for well over three decades. But he had a different style of vocal delivery to his predecessor and as I’m listening to Axl Rose belting out the likes of Hell Ain’t A Bad Place To Be, Dirty Deeds Done Dirt Cheap and High Voltage I can’t help feeling he’s absolutely nailing those old Bon Scott tunes and bringing back some of that elusive “dirtiness” that my dad was always looking for. Perhaps, especially given I’d seen a brilliant AC/DC set at Wembley Stadium last year with Brian Johnson still at the helm, I’d probably have liked a few more Scott era classics in the set-list but that’s a minor quibble. Rose handles both the Scott and Johnson material with aplomb.

Musically, the band are as together as ever: blinding solos from Angus Young, crunching rhythm from Stevie Young (Malcolm’s successor), ever reliable bass-lines from Cliff Williams and powerhouse drumming from Chris Slade. The effects are all present and correct, too: the over the top lighting show, the crazy video shorts, the clanging bell, the firing cannons…

I’m genuinely pleased that I approached this gig in a spirit of optimism and open-mindedness. Axl Rose would certainly never have been my immediate thought for a replacement frontman for AC/DC. But he and the rest of the band gave us a night to remember. A credible band with a credible lead singer delivering a truly astonishing show. Long live AC/DC.

Setlist:
Rock or Bust
Shoot to Thrill
Hell Ain’t a Bad Place to Be
Back in Black
Got Some Rock & Roll Thunder
Dirty Deeds Done Dirt Cheap
Rock ‘n’ Roll Damnation
Thunderstruck
High Voltage
Rock ‘n’ Roll Train
Hells Bells
Given the Dog a Bone
If You Want Blood (You’ve Got It)
Sin City
You Shook Me All Night Long
Shot Down in Flames
Have a Drink on Me
T.N.T.
Whole Lotta Rosie
Let There Be Rock
Highway to Hell
Riff Raff
For Those About to Rock (We Salute You)

 

http://www.acdc.com/

 

Previous review:

AC/DC at Wembley

Brian Wilson at The London Palladium 20/5/16

Live reviews, Rock music, , , , , , ,

The Beach Boys’ Pet Sounds remains one of the most iconic records of all time and demonstrated just how far the rock’n’roll sounds of the early 60s beat era groups could evolve in such a short space of time. It celebrates it’s 50th anniversary since its release this month so what better way to celebrate my own 50th birthday than going to to see Brian Wilson perform Pet Sounds in full.

The first half of the show sees Wilson, his touring band and special guests run through a whole slew of Beach Boys classics: Heroes and Villains, California Girls, I Get Around, Surfer Girl, Wild Honey and many more. The sound is lush and full. Original Beach Boy, Al Jardine, demonstrates what amazing shape his voice is still in more than half a century after first appearing on Beach Boys records. Former Beach Boys touring guitarist, Blondie Chaplin, also provides some nifty lead guitar work.

The charismatic stage presence of some performers dominates every moment of their live show, regardless of who happens to be sharing the stage with them. For the introspective and softly spoken, Brian Wilson, however, you certainly don’t get that. Although billed as a solo tour it’s very much a band performance and he’s clearly happy to let a number of his colleagues share the limelight. But as he sits at his grand piano you do get a real sense of Wilson’s presence being the creative glue that holds the whole thing together.

After a short break the second set resumes with the band performing the whole of the Pet Sounds album in full. Pet Sounds contains some of the most memorable songs of the slower, more reflective side of the Beach Boys (as opposed to the “girls and cars” side): Wouldn’t It Be Nice, Sloop John B, I Just Wasn’t Made For These Times, Caroline No… The album is rightly celebrated for its lush soundscapes and its hugely ambitious range of instrumentation and musical textures. And I’m struck tonight by just how much love and attention has gone into replicating those sounds of fifty years ago here on stage tonight: the horns, the percussion, the glockenspiel.

For the encore Brian and the band return to the stage for a magnificent Good Vibrations, followed by an energetic and hugely enjoyable run-through of party hits like Help Me Rhonda, Barbara Ann and Surfin’ USA.

For that most American of musicians from that most American of bands, Britain has always had a soft spot Brian Wilson. Indeed, when Pet Sounds first came out it was much better received over here than in the States. And for all his natural awkwardness on stage it’s clear that Wilson does have a special love for performing to London audiences and that mutual love is on display, once again, tonight.

Setlist:

Our Prayer
Heroes and Villains
California Girls
Dance, Dance, Dance
I Get Around
Shut Down
Little Deuce Coupe
Little Honda
In My Room
Surfer Girl
Don’t Worry Baby
Wake the World
Add Some Music to Your Day
Do It Again
One Kind of Love
Wild Honey
Funky Pretty
Sail On, Sailor
Wouldn’t It Be Nice
You Still Believe in Me
That’s Not Me
Don’t Talk (Put Your Head on My Shoulder
I’m Waiting for the Day
Let’s Go Away for Awhile
Sloop John B
God Only Knows
I Know There’s an Answer
Here Today
I Just Wasn’t Made for These Times
Pet Sounds
Caroline, No
Good Vibrations
All Summer Long
Help Me, Rhonda
Barbara Ann
Surfin’ U.S.A.
Fun, Fun, Fun
Love and Mercy

http://www.brianwilson.com/

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Review: The Rolling Stones ‘Exhibitionism’ at The Saatchi Gallery

Music culture & history, Rock music, , , , , , ,

I’ve been to a few rock music archive exhibitions over the years and thought I knew the score. A room or two of old programmes, concert posters and record covers, a few old stage costumes here and there, perhaps a guitar or two and then you’re ushered into a room to watch an video that you could probably have found at home doing a quick search on Youtube.

With Exhibitionism, however, The Stones have set the bar extremely high and in the process of taking over The Saatchi Gallery have utterly rewritten the template for what a successful rock memorabilia exhibition should look like. At £24 per ticket it’s not exactly cheap but for any Stones fan, or indeed any follower of rock history, it represents excellent value for money. Room after room after room is laid out with absolutely fascinating archives that go way beyond the old “concert posters and record sleeves in glasses cases” approach. It’s beautifully themed and gives a fascinating insight into the life of one of the world’s most iconic rock n roll bands over the past five and a bit decades. There’s a recreation of the Edith Grove flat that Mick Jagger, Keith Richards and Brian Jones shared in the early days, gloriously capturing all the hideous squalor of sixties bedsit-land. There’s a recreation of the recording studio where they recorded some of their classics and there are huge and extensive displays of guitars and other instruments, meticulously archived original recording contracts and legal documentation and a fascinating display of stage costumes through the decades. I was struck by how pristine and smart the bands sixties suits still look compared to how bedraggled and tatty some of Mick Jagger’s nineties stage outfits now appear. Clearly, they don’t make em like they used to.

For me, however, one of the most poignant moments was walking into the room set out as an exact replica of the Stones backstage area: the admin, the technical gizmos, Mick Jagger’s make-up tent… For a minute it really felt like you had walked in on something very, very private that few get to see.

Allow at least ninety minutes to properly take in all of the exhibition. If you are so inclined you can then spend an exorbitant amount of money in the gift shop but I consoled myself with a £3.99 branded re-usable Exhibitionism shopping bag. A little souvenir of an exhibition that has set a new global standard in rock ‘n’ roll archives.

http://www.saatchigallery.com/current/rolling_stones.php

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