With more force than the Stones probably had struck out [LAUGH] at the authorities.
We'll see that in just a minute.
But before we do that, I want to talk a little bit about what was happening in
late 1966 and early 1967 with other groups and, and other music.
Because we are entering the period as we get into early 66, 67 and
then, through the rest of the year, sort of making our way towards
Their Satanic Majesty's Request, that big album, that, where the stones are growing
increasingly to head into psychedelia and these experimental tendencies.
That we've been seeing in aftermath and that we'll talk about in
Between the Buttons are going to get going to get amplified more and more and
there's going to be more of that kind of thing going on.
So just to give the, the little bit of a, a picture of what else was happening and
means that they were part of, The Rolling Stones were part of a movement by a lot of
musicians to take their musician more, to take their music more seriously.
To act more like artists than as craftsman.
You know, the thing about a craftsman is a craftsman doesn't worry
about producing the same quality of product over and over and over again.
It's not a weakness, it's a strength.
But an artist who produces the same work over and
over and over again is seen as derivative.
Or recomposing the same symphony, or repainting the same painting, or
recomposing the same poem, that's considered a weakness.
So you always want try to do something new to push the boundaries of art.
This is the artist mentality.
We see this plenty in music of a lot of other groups.
We've mentioned The Beach Boys we've mentioned The Beatles.
And we certainly see this happening in the release.
So let's just sort of get a little bit of a timeline of what else was going on.
The Beatles had released Revolver at the end of the summer in 1966 and
early 1967 they released a double A-side, Penny Lane and
Strawberry Fields and those really are the kind of first indications of
what's going to be happening with Strawberry Fields.
Both of those tracks or what's going to be happening with Sgt.
Pepper, both of those tracks would have been on Sargent Peppers had it not been
for the fact that they had to get some singles out and they couldn't wait for
the album to be finished so they, they put those out as a double A-side.
Paul's Penny Lane and John's Strawberry Fields, Penny Lane going to
number one in the U.S., number two in the U.K. Strawberry Fields to
number eight in the U.S. number two in the U.K. of February of 1967.
We also have the Beach Boys.
Getting in even before the Beatles in October of 1966 with the track,
Good Vibrations, which went to number one in both the US and the UK and
was easily the most experimental pop single.
You know, effort to have that kind of success, number one on both sides of
the Atlantic and the whole second half of it is basically kind of cut and
paste kind of almost modern music in a certain kind of sense.
So that to set the bar.
For people like the Rolling Stones who would,
who wanted to play in that game as well.
Right, so when we start to look at this music as we get in to 1967,
we've got to realize that the Beatles and the Beach Boys were, were both really kind
of pushing things as, as in terms of making their music more artistic and more.
More serious minded, right?
So let's just keep that in mind.
To, to finish out this video though, let me say a little bit about why I'm choosing