University Daily Kansan
Thursday. October 11. 1973
5
Caution Controls Jagger as His Myths Die
By MARTIN WALKER
The Manchester Guardian
LONDON-Before going to see Mick Jagger recently I talked with a friend who used to work for him. "Beware of the court of King Mick," my friend said. "See him on vacation, or leave so, he doesn't have to act and the courtiers don't have a smile and laugh at you."
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So I am jammed in between the British Broadcasting Corp. and Paris Match, The London Evening News is there and I watch Jagger finishing off some fried liver and
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Arround a mouthful of bread and butter he asks someone to telephone David Bowie and tell him not to bother to come to the party if he can't get there until after midnight.
FIRST QUESTION. He once told the Archbishop of Canterbury that we were on the verge of a spiritual regeneration of the priate before no knowledge. Are we still?
"Sensuality has taken over. We were, all felt it, back then," *68* "Yeah, well it was there, and it doesn't seem to have gone very far. Other things..."
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One had heard intelligent radical friends in American curse Jagger for not living up to his responsibilities. There was a time, they argued, when he could have sung a revolution. When he had the charm and the power and the psychic importance to radicalize young America and get it to the barricades.
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One hadn't taken them seriously. But at Madison Square Garden in New York in late 1972,
1969, after his American press agents had bilked him as a "New Prince of Darkness," and one saw him grin and leer and beat the stage floor with his belt as his lips lapped around the song—"rape... murder. it's awful away"一one's disbelief was suspended.
"THAT WAS just a media thing. The American media, they took it up. You know how they dabble over there. Dabble dabble. They did that. It was just .nasty," he says now.
What is his concept of evil? "It's a good job, really get on that. On it, I can put it into words, but OK, it's evil if you put a bomb in a show for no reason.
For a political cause? "Well, does the end justify the means? It could be evil. I wouldn't have dropped the bomb on Hiroshima even if it would shorten the war. It would, where was it? President, did even more damage. It's down to individual cases."
What about reports that he had given money to the Black Panthers? 'I'm not sure.'
Would he give money to causes, to a Black African Liberation Movement? "I'm not
IT IS THE same when journalists ask him
it about his sex life and subtly put questions
that mean, "Is your beautiful young wife
unhappy? Do you care? Admire her,
but not joke."
One realizes that Jagger has done more interviews than the average journalist. He plays each card, each flap of the curtain, each shift of the dark glasses like a master.
Karman Staff Photo by CARL DAVAZ 'King Mick'
The image now is Jagger the musician. That's what he always has been, he protest. Ask him about audiences or a generation of teenagers who were born in 1963 or 1964 when he was playing
'Goats Head Soup' Album Good; Stones Experiment with Ballads
Kansan Reviewer
By BILL WEBER Karen Rentinger
The new album by the Rolling Stones, "Goats Head Soup," is a good album. How could an album be made with Jaguar and Gigar or tunes played by the Stones and their friends be otherwise?
It's hard to decide how many people are associated with the band. Many people look upon the Stones as Jagger's band. Other people would argue that Richard is just a cool kid, and he writes, writes and performing, and that the Stones could be considered to be led by two people.
HOWEVER, the contributions of all the strong musicians in the band are forceful and compelling. To add to the five full-time Stones on "Goats Head Soup," there are the horns of Bobby Keys and Jim Price. Also, Nicky McCarthy and John Miles play piano for the band for at least five years.
The most unnoticed member is Jimmy Miller. He's been responsible for their recorded sound since the days of "Honky Tonk Woman."
With the additions of Billy Preston on keyboard and Jim Horn on saxophone, the band was given a new song to the band that wrote and recorded "Goats Head Soup". It's easy to see the powerful capabilities involved in the album. In this new version, they also use such force behind it is a disappointment.
Richard also has earned his place in the Rock and Roll Hall of Fame with his rhythm patterns. As expected, he has come up with some fine, new riffs on "Goats Head."
IT'S ALWAYS a treat to hear new vocals by Jagger. He is the perfect rock and roll singer. It's been proven before. When the Stones stale their style of music from people like Buck Stone, Ritchie Richard, one protester said he was good at rock style to deserve his own recognition.
The album gets off to a fine start with "Dancing with Mr. D," a song developed around Richard's best rhythm pattern on the album. It's evident that the Stones have been listening to some Dr. John music. Listening, mind you, not copying.
THE STONES don't start copying until the next song. Many people have tried to capture the Clapton wah-wah guitar style, although none as blatantly as Rolling Stone Mick Taylor on "One Hundred Years Ago." He would be wise to stick with his own style.
wren is in many ways just as strong and distinct as Clapton's.
The album contains three ballads an unusual phenomenon for a Stones album. The material consists of a melodic piano of Hopkins and a beautiful double sax melody line in which Keys and Horn trade the lead. However, absurd lyrics and a repetitious chorus offset the good sound.
The other two ballads, 'Angie' and 'The other attained, except for the strings which aided the
The band and the string section aren't coordinated very well.
"SILVER TRAIN," "Star Star" and "Heartbreak" represent the magic that typifies the Stones. The songs rock. What more can be said about them?
This is what the Stones have produced to satisfy their multitude of fans for another year or two. Luckily, the album is strong enough to bring their fans to a climax. It will be enough to bring them all the orgasm that they know the Stones are capable of doing.
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as an unknown in tiny clubs and pubs.
It is an era he loves to remember. I used to see him at the railway tavern in North London, and we talked about that. With so much animation that he blew the automatic gun at me.
Pairs Match is hammering on the door for its turn and we talk a little about Alamont, a free concert near San Francisco, 300,000 people in the winter open air and a man is killed by the Hell's Angels before Jagger's eyes. Then "The Prince of Darkness" stole limp and unsure, his makeup starting to run, pleading helplessly with people to cool it.
HE HAD KNOWN it long before, but his audience, and my radical friends, learned only then that the singer's power stops when the music fades.
People said the youth nation which was born at Woodstock was murdered at Altamont, and certainly that concert was a graveyard of myths. But the prime victim was Jagger himself. He hates to talk of it, he says. "You can't tell what he is anything, more than a performer."
"But I do feel sad—don't put words into my mouth—but, yes definitely sad that the spiritual thing, the change of '88 does not seem to have gone anywhere. . ."
His voice trails off. He made a record in that year with the belligerent title, "street fighting man." It sounded brave and it sounded like a battle hymn, but the words were a message of weakness, of monarchism. It was all true, he accepted to sine for a rock and roll band."
THE IMAGE he portrays now is that of victim, more sinned against then sinning, a victim of journalists and their needs and their psychological cravings for stars who were also heroes and perhaps even marrys.
There is no blame attached when one says that Jagger helped to build his own myths, that he has visibly revelled in his roles. Who could have ignored the beguiling siren of a god?
At 30, and a father, Jagger is conscious of age, although he denies having slowed up on
stage and mutters that some people are old at 27 but that others . . .
But this must have been a lurking fear since the very first screams 10 years ago. Once there, a star must start to wonder how long it will last, and what fragments will there be to shore against his ruin. He has a wife, a child and money, and he is still part of the finest rock and roll band in the world. But now, he sees in his public mirror a singer, a craftsmans of rock. It is not age, but caution that controls him.
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