Let's take just a minute to consider the big US tour the Stones did

in 1972 after the release of Exile on Main Street.

And it'll also give us a chance to have a look at not only at Overview of their

touring schedule, as we have been studying it over these past few weeks.

But also, we'll take a quick look at some of what's been happening with

them in recording locations over this time just to get.

As we get toward the end of the class, I want to really try to,

to a certain extent,

move back from the trees to see if we can get a better picture of the forest, right?

We've been looking at a lot of things in sometimes very, very fine detail.

Now we want to start stepping back and making sense of all this detail and

see how all that lines up to create a broader kind of picture.

So here's a little bit of detail about the 72 US tour.

It was the Stones' seventh US tour, and it took place during June and July of 1972.

Not too long after they finished that tour in 1972,

they went off to begin work on the album Goat's Head Soup.

And this time,

they're recording in Jamaica from November through December of 1972.

Let's see how that 72 Tour fits in with the history of Stones touring.

Now, as you see these images come up on your screen, of these tours,

let me tell you a little bit about how I put this list together.

My idea was to try to create a kind of a picture of what Stones touring

looks like in this period, Stones gigs look like between '62 and

'72, and maybe a little bit forward from there.

I've chosen to focus on the US tours since those were the biggest of the big tours,

of the biggest crowds, the biggest revenues, the most dates, in many cases.

But, I've also tried to fill in some of the other things that they were doing

to give you a sense of where their overall concert and live gig situation is like.

So we start from July the 12th 1962.

Remember, that's the first gig at The Marquee Club.

After doing gigs, as we talked about,

there was the gig at the Crawdaddy Club and various kinds of things.

The first real British tour they took on took place in September and

November of 1963.

By the time we get to April and May of 1964,

they're already on their fourth British tour.

So they've done four British tours.

Remember, by the time we get to 1964, as we've said a couple of times in this

class, more than a couple actually, the group is really big in the UK.

They're doing these tours.

We're starting to get all the riots and all that kind of thing that goes on, but

then comes in June of 1964, that first American tour.

And by now, we all know the story of that first American tour.

A couple of good gigs, but mostly, it was a disappointment.

But the Stones came back in fall of that year, October, November 1964,

for their second american tour.

And then you see April-May of 1965, the third American tour.

Well, it's of course in the summer of 1965 that I Can't Get No Satisfaction

is released in the US and becomes their breakout number one hit.

So by the time we get to the fourth American tour, October-December of 1965,

the Rolling Stones are clearly a top international rock act.

And then we get to the fifth American tour of June-July 1966.

That's the last American tour.

All of these tours, including the eighth British tour from September to October

1966, and a European tour of March -April 1967, they're all really, I've

grouped them all together here as really being the same kind of tour experience.

They're playing a relatively short set.

We're talking about 25 or 30 minutes, maybe,

if they're able to get through all of it.

Remember, there's the joke about the guys taking bets backstage about how far

they'll be able to get into the set before the police shut them down, right?

But we're talking about very short sets.

We're talking about relatively unsophisticated performance equipment.

Guitar, a single guitar amp just turned all the way up, and PA systems and

vocal support that isn't really very sophisticated, this kind of thing.

That's one era of their tour.

And then you'll see, between that European tour of March-April 1967 and

the sixth American tour of November-December 1969.

See, there's a very big gap there.

It's over two years worth of gap.

And as we talked about before, in that time,

after the Stones were off the road not doing those 30-minute set things anymore.

And the time when they came back on the road, the touring business had changed.

First of all, it was not so much teeny boppers anymore.

It was more like college age kids.

They expected a concert, and groups were infrequently stopped.

The group played all the way through the set, and

a set had to be of some substantial length.

Probably at least 90 minutes, maybe 2 hours.

We've talked about stories of groups like Led Zeppelin playing three or

four hour shows in those early days, 1969, 1970s.

So we're talking about an entirely different thing than running out with

a couple small guitar amps and playing until the police stop you after two or

three songs, right?

Very different kind of world, and that's what's happening in 1969.

That's captured in the video Gimme Shelter,

which I've talked about a couple of times here.

And that's the tour on which that ends with that Altamont incident and

the tragedy from there.

We then see, in August to October of 1970, a European tour,

and then on March of 1971, a Good Bye Britain tour.

But look how much the touring has slowed down.

We talked about how the singles were slowing down, and

the album production was slowing down.

Now, the pace of the business is beginning to change.

it's no longer the same kind of very quickly moving

almost focused on immediate gratification business of the middle '60s.

Now, people are taking more time with the music, not only to listen to it, but

also to make it and to create it.

And then we get to the seventh American tour, June-July of 1972.

That's the one we're talking about this week, and that's the one that's captured

on the video Ladies and Gentleman, the Rolling Stones.

The tour they do in support of Exile on Main Street.

When you look at those two groups of tours together,

you see in the first half of the groups, a career between '62 and '67.

A lot of tours, and a lot of dates clustered together very, very closely.

And then you look at the period between 1969 and 1972, and

you see two American tours and a couple of other tours in between there.

So you can see, things have changed very much, and that gives us a kind of overview

of how things are developing in the career of the Rolling Stones.

Another fun thing to do is to have a look at the studios.

because at the very beginning of the course, I made a big deal about how since

the Rolling Stones recording deal was different.

By virtue of them not signing directly to Decca but by licensing the recordings,

they were not forced to record in the Decca Studios.

For example, the Beatles, as we have mentioned, were signed to EMI.

They had to record in those Abbey Road Studios.

It's become an iconic studio, but the Beatles, a lot of times,

would have preferred to record some place like Olympic or RCA if they could have.

But they couldn't, that wasn't the deal they had.

And so very, very different.

So now, we get to this point.

We can look back and

see, well, gosh, how many different studios did these guys record in?

I haven't even listed them all here.

I've just listed the primary ones to show what kind of a migratory

pattern of recording behavior, right?

So we start out 1963 to 1964.

The majority of the sessions are Regent Studios in London.

Remember that small studio they liked?

It wasn't the most sophisticated one, but they just liked the vibe of that studio,

and they used it an awful lot during those early years.

There were those two visits when they were in the United States.

The Chess Studios in 1964 and

1965 that produced a lot of sessions that they used.

And then there was a stent at the RCA Studios in 1965 through 1966.

I've spent a lot of time talking about in Los Angeles, and

how that in late 1966, recording began to go more and

more back to Olympic where they would do the recording.

But they would still come to LA to mix and finish an album, but

they would just get the tracks recorded in Olympic.

Much more convenient for them.

That Olympic period really comes and goes throughout their career up to the point

we're talking about, but it's mostly constituted in the 1966 to 1970 period.

The other things that are worth noting here is that they visit

the Muscle Shoals Sound Studios in Alabama in 1969, and

they do some recording at Mick's house Stargroves in 1970.

That's when the story about the Rolling Stones mobile unit and

the idea of being able to record at somebody's house starts to come up.

Well, of course, that's very handy for 1971, because so

much of that album was recorded in France at Keith's place using that mobile studio.

And then in late 1972, as I mentioned before,

going a little bit farther than where we're talking about this week,

they end up at Dynamic Sound Studios in Kingston, Jamaica.

And then in late 1973 through 1975,

they do a significant amount of recording at Musicland Studios in Munich, Germany.

So when you look at this period, over 1963 through about 1965,

you really see the Stones moving to a number of different studios.

And with that, there are different engineers and

different kinds of things going on.

So having taken a look at the overall touring picture for

the Stones over the course of the period we're studying here together.

And also, having taken a review of the recording studios that they used,

let's now return to our song closeups.

We've got three more songs to look at from sides three and

four of Exile on Main Street.

Happy, All Down the Line, and Shine a Light.

The 1972 US Tour and an Overview

滚石乐队音乐，1962-1974

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