The Stones: The Acclaimed Biography. Philip Norman

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СКАЧАТЬ by David Bailey, and they invited me to go along. We’d talked so much that we arrived more than an hour late; the great photographer was fuming, but I just shut my eyes and told myself it wasn’t my fault. I expected Bailey to pose his subjects with a lot of Sixties schmoozing and cries of ‘Super!’. His only instruction to Bill, however, was ‘Stand over here, you cunt.’

      I didn’t get the Keith interview until two months later, in his suite at the top of London’s Carlton Tower Hotel. I came away charmed by his articulacy and humour, and the honesty and directness that were such a contrast with Mick. Thanks to years insulated from reality by thick-eared bodyguards (quite as harmful to the brain-cells as drugs) he was also a bit of a malapropist. When I think of excitement pumping at a Stones concert, I remember Keith’s word for it: ‘andrenaline’.

      Elsewhere I had a somewhat easier time. In 1982, most of the principal supporting characters in the story were still alive – miraculously so in some cases – and all of them agreed to talk to me.

      My very first interviewee, in fact, was Andrew Loog Oldham, the inspired young PR man who moulded the Stones into British pop’s first anti-heroes, who almost singlehandedly created the Mick Jagger we know today, and remains unequalled in the music business (save, perhaps, by Malcolm McLaren) for vision, nerve and outrageousness.

      By then minus the ‘Loog’ and living in New York, Oldham talked to me in his office in Broadway’s Brill Building, amid the shades of great songwriters like Leiber and Stoller, Goffin and King, and Neil Sedaka. We continued the conversation in downtown Chinese restaurants and then intermittently in London, long after my biography was completed and published. People do not always like what I write about them, but Oldham relished my description of him – prompted by the way he ultimately let the Stones slip through his fingers – as having ‘style to the point of self-destruction’.

      Marianne Faithfull in 1982 was just coming out of the long cycle of addiction and self-degradation that had followed her break-up with Mick. I sent a message via her agent asking if she’d see me, and received a polite refusal; then the agent telephoned to say that she’d changed her mind as a result of reading Shout!

      We talked in the Chelsea basement flat where Marianne was living with a punk musician, some years her junior, named Ben E. Ficial. Half-way through the evening, having discovered that I’d never taken cocaine, she insisted I must have a line and sent Ben out to get it. She’d already impressed on me (in the granddame manner that once so fascinated Mick) how ill-mannered it was to refuse drugs other people had paid for and taken trouble to obtain. So I inhaled the stuff while she stood over me, going, ‘Come on … you’ve left a bit!’ like a gym-teacher urging some sluggish pupil up the parallel bars. It did nothing for me but make my senses momentarily feel as if they were toppling sideways, and left a scab inside my nose that stayed for weeks.

      Two of my most crucial informants were living essentially the same lives in the early Eighties as when they’d hung out with the Stones in the mid-Sixties. Christopher Gibbs, Mick’s one-time aesthetic counsellor, still had an antique shop on Chelsea’s King’s Road, where he gave me an eye-witness account of the legendary 1967 Redlands drug-bust. Robert Fraser, tried and imprisoned along with Mick and Keith – but not released quite so speedily – was still London’s most eclectic art-dealer. Sitting in his Mayfair flat, surrounded by original Jim Dines and John Lennons, he supplied an even more chilling description than Keith had done of heroin’s deadly seductive power.

      Some sources had been tapped many times before, like Dick Taylor, Keith’s fellow student at Sidcup Art College, who was in the original Stones line-up, then went on to join an even hairier band, the Pretty Things. ‘I wondered what the spiel would be this time,’ he said after I’d explained at length how different and serious my book would be. Others came my way through the sheer luck every biographer needs. For example, there was Shirley Arnold, the Stones’ fan-club secretary and long-time assistant, who recalled a somewhat different Brian Jones from the amoral, devious, larcenous screw-up of legend. As also did Helen Spittal, a young fan who visited Brian a few days before he mysteriously drowned in his swimming-pool, leaving behind the fog of Kennedyesque conspiracy theory that lingers to this day.

      Tracking down elusive interviewees sometimes became an obsession or, rather, a sickness from which one awoke cured the morning after finally reaching them. I spent months on the trail of Anita Pallenberg, by then separated from Keith. I got a phone-number for her that worked and persuaded her to see me in her suite at London’s Grosvenor House Hotel. But when I rang at the door, a croaky voice through the woodwork informed me she wasn’t well and I’d have to come back another time. Interviewing rock people hardens you to this feeling of so near, yet so far. Several more weeks passed before I was finally cured of Anita-itis. (For others, Keith included, it took longer.)

      In the most bizarre instance of biographer’s luck, I also got to spend a Christmas Day at 3 Cheyne Walk, the Chelsea house Keith had abandoned when the Stones went into tax-exile in France a decade earlier. The wood-panelled eighteenth-century interior retained all its original rock ’n’ roll features, like the shrine to Jimi Hendrix in the first-floor drawing room and an en suite toilet with a bead curtain instead of a door. A few of Keith’s personal possessions were still scattered around the basement, including a right ski-boot and a block of three aircraft seats, torn from their mooring during some long-ago in-flight vandalism. The house’s temporary tenant, writer and painter Molly Parkin, was convinced the house was haunted. Might the restless spirits, I wondered, include a left ski-boot, seeking its lost brother, and a jumbo jet, seeking a lost segment of its first-class cabin?

      Halfway through the project I relocated to New York, where I spent time with, among others, Allen Klein’s nephew Ron Schneider, who ran the Stones’ ‘renaissance’ American tour of 1969, and David Maysles, who filmed the free concert at Altamont, California, that was its bloody aftermath. I spent a further evening with Marianne, this time tête-à-tête, on nothing stronger than Stolichnaya vodka. And, in my greatest-ever stroke of biographer’s luck, I had an hour on the telephone with Mick’s first, most beautiful and most ill-used wife, Bianca.

      I wrote the second half of the book in an artist’s loft in TriBeCa during New York’s hottest summer for decades. There was no air-conditioning, and roaches as big as fat, glossy dates galloped over the bare floorboards. The ‘loft’ (first floor actually) belonged to a sculptress who seemed to have only one subject: the naked human posterior. Sets of buttocks were everywhere, in stone or plaster, some mounted on the wall, some free-standing. In the centre of the main room, impossible to move, stood a tableau of two giant naked wrestlers, fashioned from khaki-coloured clay, balsawood and wire, and locked together in a pose showing off both their buttocks to the optimum.

      I worked at a ratty silver card table, so close to the wrestlers that I could have used the anus of one as a pen-holder. I had no word processor – few writers then did – just a small portable typewriter and a pile of those peculiarly American yellow writing-pads. The cobbled street outside was a rat-run for heavy trucks en route to the Holland Tunnel; every few minutes, the building would shake as another consignment of McDonald’s or Tropicana orange juice thundered by.

      For me, as for most authors, the final job in the writing of every book is polishing up its opening paragraphs. This I did in the old Long Island whaling town of Sag Harbor in midwinter, when the snow turned every street of wooden houses and picket fences into a Norman Rockwell nocturne. I worked in a bedroom decorated in nineteenth-century pioneer style, including a spiky four-poster, and ate each evening in a deserted bar whose owner greeted me with as much ceremony as if I were a party led by King Edward VII. It couldn’t have been a pleasanter contrast with buttocks and trucks in TriBeCa – or, for that matter, going on tour with the Stones.

      The UK edition came out early in 1984 under the Elm Tree imprint. It reached number 6 in the Sunday Times bestsellers and was well reviewed, notably by Pete Townshend, then taking a sabbatical from The Who СКАЧАТЬ