En el dia de los Santos difuntos quiero saludar a familiares y amigos que han partido de este mundo y hacerlo extensivo a la gente cercana de los amigos de este Foro .Tambien rendir un homenaje en agradecimiento a personas que formaron en vida y seguiran formando parte de la familia Stone. La lista de personas que han contribuido con los STONES y que ya no estan debe ser interminable.
JAMES W. ALEXANDER (1916-1996)
Mississippi-born Alexander was an all-around session musician (bassist, guitarist, singer, drummer and percussionist) and producer who recorded extensively with 1960s and '70s soul artists, such as Sam Cooke, the Bar-Kays, the Soul Stirrers, Mavis Staples and Isaac Hayes. He contributed percussion on I'm Free during the Stones' September 1965 L.A. recordings.
LEE ALLEN (1926-1994)
Born in Tennessee, Allen was a saxophonist who was an integral part of the classic Louisiana R&B recordings of the 1950s by artists such as Fats Domino and Little Richard. He went on to perform with artists like Dr. John, Professor Longhair and the Stray Cats.
The Stones hired Allen for a few of their dates in early October during their 1981 U.S. Tour, to replace Ernie Watts.
Ahmet Ertegün (31 de julio de 1923 - 14 de diciembre de 2006).
Ahmet Ertegün Músico y empresario estadounidense de origen turco, fundador de la compañía discográfica Atlantic Records.
Hijo de un diplomático turco en Estados Unidos, cuando creó el sello Atlantic Records en 1947 abrió un espacio a la producción de la música afroamericana, en especial el soul y el jazz, que se encontraban marginados de las grandes líneas comerciales. Su decisión de entrar en el mundo de la producción nació a raíz de asistir a distintos conciertos de Louis Armstrong y Duke Ellington en Washington. Entre los artistas que acogieron esta oportunidad de darse a conocer y que Ertegün impulso se encontraron, entre otros, Ray Charles, Aretha Franklin, Otis Redding, Wilson Pickett, Charlie Mingus, John Coltrane y Ornette Coleman.
Algunas otras figuras de la música pop y rock estadounidense que promovió bajo su sello Ertegün fueron Led Zeppelin, Phil Collins, Nash & Young y hasta el grupo sueco Abba. Atlantic fue absorbido en 1984 por Warner Music.
Falleció como consecuencia de una caída mientras escuchaba un concierto de los Rolling Stones (otro de los míticos grupos que había producido) en Nueva York mes y medio antes.
RIK GRECH (1946-1990)
Born in France, Grech was a violinist and bassist who was a member of the band Family during the 1960s. That's when he met the Stones and they brought him to record fiddle on Factory Girl. Grech went on to play with Ginger Baker, Blind Faith, Eric Clapton, Traffic, Steve Winwood and many other similarly styled artists. He also played on Gram Parsons's solo albums in the early 1970s. He appears on Ron Wood and Ronnie Lane's 1976 Mahoney's Last Stand project.
KEITH HARWOOD (d. 1977)
Olympic Studios engineer Keith Harwood formed a team with Andy Johns to engineer the Stones in 1974 for their It's Only Rock 'n' Roll album. He then teamed up with Andy's older brother, Glyn, to engineer the next album, Black and Blue. Harwood was a much-in-demand engineer in the mid-1970s, primarily working with British rock acts such as David Bowie, Led Zeppelin, the Pretty Things and Ron Wood. (He had also worked with the Wyman-produced Tucky Buzzard before engineering the Stones.) His last work was engineering the mixing sessions in New York for Love You Live in the spring of 1977. He died soon after and the album was dedicated to his memory.
JOHN LEE HOOKER (1917-2001)
The Mississippi-born, Detroit-recording giant of the blues of the 1950s and '60s, one of the Stones' many heroes, was invited onstage by the Stones at their Atlantic City shows in 1989 to jam on his classic Boogie Chillen. Keith recorded some tracks for a new Hooker album in 1991. Hooker died in June 2001.
NICKY HOPKINS (1944-1994)
Apart from Ian Stewart, if there's one outside artist whose contributions have been the most significant to the Stones' recordings, it's been pianist and keyboardist Nicky Hopkins. Born in London, Hopkins was hanging around the Alexis Korner scene at the same time as the Stones and other musicians. He joined Screaming Lord Sutch's Savages, before winding up as part of the Cyril Davies R&B All-Stars, a short-lived but exciting R&B band. In 1964, Hopkins was then enlisted by groups such as the Who and the Kinks to play on their early albums. By 1967, he had graduated to the Stones, who employed him for his services first on Between the Buttons, and then more substantially on Their Satanic Majesties Request. It was the beginning of a long and fruitful relationship. Already on the following album, Hopkins was gracing Stones songs like No Expectations with delicate, gorgeous piano playing.
Hopkins remained an integral part of the Stones' albums for all their subsequent albums until Black and Blue in 1976. For most of that period, the Stones used Ian Stewart, Billy Preston and Hopkins on keyboards. Although the roles were by no means non-negotiable, usually Preston was employed on soulful, gospelly numbers where an organ was required, Stu played boogie-woogie on fast rock and roll numbers, and Hopkins played on the ballads. His playing graced songs like She's a Rainbow, You Got the Silver, Sway, Loving Cup and Time Waits for No One among many others. Hopkins also often played onstage with the Stones for the period from 1968 to 1973, starting with the Stones' rock and roll circus event, and then joining them for the 1970 European tour.
Though the Stones were the peak of Hopkins' career, he played with other artists as well during that span of time, including most notably the Beatles, Jeff Beck, the Jefferson Airplane, Quicksilver Messenger Service, the Steve Miller Band, Carly Simon, Joe Cocker, John Lennon, George Harrison and Ringo Starr. Significantly, he was also a member of the Jeff Beck Group starting in 1968, along with Rod Stewart and Ron Wood, though the group broke up in 1969. Mick Taylor played on a 1973 Nicky Hopkins solo album.
Hopkins' health problems were the reason for his not wanting to tour with the Stones anymore after the 1973 Australian tour and for the lessening of his work with them in general after 1974. Hopkins did not work on Some Girls. He did work in the late '70s recording with Rod Stewart, Eddie Money, Badfinger, as well as with Bill Wyman. He also appeared as a guest onstage with the Stones at an Anaheim show in 1978, with Bobby Keys.
The Stones rehired Hopkins for parts of Emotional Rescue, and it is likely that some of his playing appears on Tattoo You (possibly the piano on Waiting on a Friend, which was started in 1972). He also worked on Ron Wood's 1 2 3 4 solo album during that period. That marked the end of Hopkins's association with the Stones, however. Afterwards, he went on to play with artists as varied as Meat Loaf, Julio Iglesias, Belinda Carlisle, Paul McCartney, Graham Parker and Izzy Stradlin. He died of a stomach ailment and heart condition.
EVA JAGGER (Fallecida en el año 2000)
JOE JAGGER(Fallecido el 12 de noviembre de 2006 a los 93 años de edad)
JOHNNIE JOHNSON (1924-2005)
Chuck Berry's pianist, who is often credited as a founder of rock and roll because Berry basically transcripted his boogie-woogie playing to the guitar, had his career rehabilitated when Keith enlisted him for his 1986 Chuck Berry Hail! Hail! Rock and Roll project. Keith went on to use him again on his first solo album, and in 1989 he joined the Stones onstage for a show in St. Louis. Keith went on to contribute to a solo album by Johnson in 1991. Johnson joined the Stones onstage again in Houston in 2003.
Johnnie had amazing simpatico. He had a way of slipping into a song, an innate feel for complementing the guitar... I was fascinated by those huge hands, doing such incredibly precise, delicate work. I always compared them to a bunch of overripe bananas. But he could do amazing things with those bananas... In a way, Johnnie reminded me a lot of Ian Stewart. It was Ian who pointed Johnnie out to me, because he was a Johnnie Johnson freak. So it all comes around.
- Keith Richards, 2005
BRIAN JONES (1942-1969)
The Rolling Stones (1964)
England Newest Hitmakers (1964)
12 x 5 (1964)
The Rolling Stones No.2(1965)
The Rolling Stones, Now! (1965)
Out Of Our Heads (1965)
December's Children (And Everybody's) (1965)
Aftermath (1966)
Big Hits (High Tide & Green Grass) (1966)
Got LIVE If You Want It! (1966)
Between The Buttons (1967)
Flowers (1967)
Their Satanic Majesties Request (1967)
Beggars Banquet (1968)
Let It Bleed (1969)
"si alguna vez un hombre vivió genuinamente la vida del rock and roll y caracterizó a los Rolling Stones en todos sus aspectos, mucho antes de que los cinco asumiéramos un estilo, ese fue Brian Jones".
- Bill Wyman
RONNIE LANE (1946-1997)
London-born Ronnie Lane was bassist for the classic British bands the Small Faces and then the Faces in the 1960s and 1970s, both of which he formed, and both of which featured future Rolling Stone Ron Wood (starting in 1969). The Small Faces became clients of Andrew Oldham's in 1967 and during the recording of Their Satanic Majesties Request, Lane and fellow Small Face Steve Marriott sang and contributed to In Another Land, although whether their contributions were kept is not sure. If so, that was Lane's one and only collaboration with the Stones. But his friendship with Bill and Woody in particular ensured that he often collaborated with them.
Lane quit the Faces in 1973 and started a solo career. He then worked with Ron Wood and Pete Townshend but contracted multiple sclerosis in the late '70s. In 1983, a band of musicians came together to form a multiple sclerosis charity called ARMS and toured to acquire money for the cause. They included Joe Cocker, legendary guitarists Eric Clapton, Jeff Beck and Jimmy Page, as well as Bill, Charlie and Ron Wood. In 1985, Bill released the Willie and the Poor Boys project, on which Charlie also participated, whose profits were directed towards the ARMS charity.
MIKE LEANDER (1941-1996)
England born Mike Leander was a producer for Decca in the 1960s and helped Marianne Faithfull's early recording career. In late 1963, early 1964 he was also working with the Andrew Oldham Orchestra, as musical director for demos and recordings of Jagger/Richards songs. Leander was a master of orchestration and when the Stones decided to do their own version of their song As Tears Go By in 1965, which they had given to Marianne to do a year earlier, they re-hired Leander to arrange the strings for it. A year later, they hired Leander again to arrange the horns for the Have You Seen Your Mother Baby? single.
Leander also later wrote the score for the Beatles' She's Leaving Home. In the 1970s, in a big change of direction, Leander launched the career of Gary Glitter, playing a vital role in creating his image and co-writing his songs.
CARLO LITTLE (1938-2005)
Like Mike Avory, Carlo Little was another occasional drummer for the Stones in their drummerless period of 1962/early 1963. Brian favored him, but the others did not think much of him. He went on to become part of Cyril Davies' R&B All Stars and also played in the later 1960s with Screaming Lord Sutch.
Brian was quite enthralled with Carlo. He'd never heard anything like it before. Brian wanted someone flash like Carlo Little because by then Brian was starting to see dollar signs.
- Ian Stewart
KIRSTY MACCOLL (1959-2000)
Singer/songwriter MacColl achieved some level of success as a pop singer in England in the early 1980s before marrying producer Steve Lillywhite. Lillywhite's work with the Stones in 1985 led to MacColl singing backup vocals on the Dirty Work album. Afterwards she resumed her solo career in 1989. She and Lillywhite separated in 1994. She's also sung with artists like Billy Bragg, Talking Heads, Van Morrison, Elvis Costello, the Smiths and the Pogues. She released her last solo album in 2000. She died in December 2000 after being run over by a speedboat while swimming with her family in Mexico.
RON MALO (d. 1992)
Malo was an engineer for Chicago's Chess Studios. He was the engineer for the first sessions the Stones did in the USA, in Chicago in June 1964, recording songs (It's All Over Now, I Can't Be Satisfied, Time Is On My Side, Look What You've Done, Around and Around, Down the Road Apiece, etc.) that wound up appearing on the albums 12 X 5, The Rolling Stones Now! and December's Children. He was also the engineer at Chess when they returned in November 1964 to do more sessions there, and when they came back a third time in May 1965 (resulting in Out of Our Heads songs like Mercy Mercy and That's How Strong My Love Is).
The Stones must have admired Malo because he had worked with many of the blues and R&B greats, such as Bo Diddley, Etta James, Sonny Boy Williamson and Chuck Berry, as well as some jazz greats like Cannonball Adderley. He went on to work with Muddy Waters, Howlin' Wolf, Buddy Guy and John Lee Hooker. In the 1970s, he worked with Billy Joel among others.
STEVE MARRIOTT (1947-1990)
London born singer/guitarist Steve Marriott formed the Small Faces with Ronnie Lane in the mid-1960s. Andrew Oldham eventually signed the Small Faces on, and Marriott and Lane contributed to the recording of his song In Another Land in 1967 because he was too shy to sing for himself and Mick and Keith weren't there. Marriott went on to form Humble Pie with Peter Frampton. Keith played with him when they recorded a remake of Get Off of My Cloud in 1975 with Alexis Korner. Marriott lost his life in a house fire.
JIMMY MILLER (1942-1994)
An American, Miller first started working in music with British musician Steve Winwood in the mid-1960s, mixing songs for the Spencer Davis Group, and then producing the first albums by Winwood's new group, Traffic, Mr. Fantasy (1967) and Traffic (1968). Miller had made a reputation for himself as someone who knew how to get a good drum sound, amongst other things. It was in early 1968 that the Stones hired Miller as a producer, who is credited as such on the Stones' next five albums, Beggars Banquet, Let It Bleed, Sticky Fingers, Exile on Main Street and Goats Head Soup, certainly one of the high periods in the band's output. Miller occasionally also played percussion and drums on Stones' records, for example on Happy. (He also plays the cowbell on Honky Tonk Women.) Miller and the Twins, Mick and Keith, no longer saw eye-to-eye during the making of Goats Head Soup (1972-73) and that's when their association ended.
Although he continued to work with other groups after his separation from the Stones, he never regained the same success. He worked with acts that included Motorhead, the Plasmatics and Johnny Thunders. He died of liver failure.
Jimmy was a drummer... (and) was really into the beat and the percussion and all that, and it shows on some of those records.
- Mick Jagger, 1994
There isn't one producer who can handle the whole thing. You run through them like you run through gas in your car. Jimmy Miller went in a lion and came out a lamb. We wore him out completely... Jimmy was great, but the more successful he became the more he got like Brian... (He) ended up carving swastikas into the wooden console at Island Studios.
- Keith Richards, 1975
JACK NITZSCHE (1937-2000)
Chicago born Jack Nitzsche staked an incredible career as a behind-the-scenes player, producer and arranger for many rock artists, most notably the Rolling Stones.
A keyboardist and percussionist in his own right, Nitzsche moved to Los Angeles in the 1950s where he became a fixture of the musical scene there. After teaming up with Sonny Bono, he started a fruitful association in the early-to-mid 1960s with Phil Spector as an arranger, helping him build the famous Wall of Sound on recordings by the Ronettes, the Crystals, the Righteous Brothers and other artists. Because Andrew Oldham forged a friendship with Phil Spector in early 1964, when the Stones started recording in Los Angeles at the end of the same year, they were inevitably introduced to Jack Nitzsche as well, who became an important collaborator with the Stones for the next few years and occasionally beyond. He worked with them as an arranger and occasional musical contributor, playing keyboards and percussion (e.g. Down Home Girl, Heart of Stone, Play with Fire, Satisfaction and many Aftermath tracks) on the albums The Rolling Stones Now!, Out of Our Heads, December's Children and Aftermath (the albums they recorded primarily in L.A.). His last work of this period with the Stones was in the early sessions for Between the Buttons in August 1966, when he contributed to songs like Let's Spend the Night Together and Yesterday's Papers.
When the Stones started recording in London again (late 1966), their association with Nitzsche ended for the moment, while Nitzsche worked with Buffalo Springfield among others (which led to a long career working with Neil Young). Nitzsche and the Stones met up again in 1968, when Nitzsche was called on to handle the soundtrack for the movie Performance. That led to Nitzsche working with the Stones again, handling the choral arrangements for You Can't Always Get What You Want and playing piano on Sister Morphine in early 1969.
Thereafter Nitzsche specialized in making film soundtracks, but he did team up again with the Stones for the It's Only Rock and Roll album in 1974, contributing keyboards and percussion. His last stint with the Stones was for Emotional Rescue, when they hired him to arrange horns for that album. Jack Nitzsche died of cardiac arrest in August 2000.
The first time I met (the Stones) was when they walked into RCA Studios and the session just stopped because no one had ever seen anyone who looked like that. I'd never met British people before so they had these funny accents. I'd heard their records, which hadn't impressed me, but THEY did. The Rolling Stones were the first rock and roll band I met that were intelligent. They can make conversation with anyone, which on top of all that superstardom must freak people out. Up until then all the rock and rollers I met seemed to be assholes. The Stones were the first ones I saw say fuck you to everybody.
- Jack Nitzsche
Jack Nitzsche was Phil (Spector)'s arranger and a very important part of that whole sound. It was Jack's idea of harmonies and spacing. But it's nice he's singing with Crazy Horse now. He couldn't stand to... to even get him to play the piano you used to have to do a whole Jack number. It's great he's doing it.
- Keith Richards, 1971
GRAM PARSONS (1946-1973)
Though a contemporary and a friend, country rock founder Gram Parsons was greater as an influence on the Stones than as an actual collaborator (see here). Born in Florida, guitarist and vocalist Parsons formed the International Submarine Band in 1966 in his brief university days, before quitting and joining the Byrds in early 1968 and redirecting their sound and helping create the seminal country rock album Sweetheart of the Rodeo. Later in 1968, Parsons met the Stones at the same time as he quit the Byrds, and struck up a friendship with Keith in particular, living at his home in Redlands and singing and exchanging country and country-flavored songs with him.
Parsons never contributed to an actual Stones recording, but he was a major presence over the following years. In early 1969, he formed the first full-fledged country rock outfit called the Flying Burrito Brothers, who recorded and released Wild Horses before the Stones did. By the end of the year, after having recorded two albums, Parsons quit the Burritos and started hanging out with the Stones again, at their tour rehearsals in Los Angeles in the fall of 1969 especially (see Stanley Booth's book The True Adventures of the Rolling Stones for an eyewitness account of this period). Though he didn't record with them, the Stones' country explorations on albums like Let It Bleed, Sticky Fingers and Exile on Main Street were definitely influenced by Parsons' presence. Throughout 1970 and 1971 he hung out with them on tour and during recording sessions. In the summer of 1971, particularly, he lived with Keith at his home in the South of France during the recording of Exile.
In late 1971, early 1972, as the Stones (Mick and Keith particularly) spent time in L.A. overdubbing and mixing Exile, Parsons was there as well, taking the time to write songs for a solo album. Afterwards his path with the Stones diverged. He spent the last year and a half of his life recording two influential solo albums and touring behind one of them, before meeting his death in California after a tequila and morphine overdose. He is now revered as the father of country rock.
JOHN PHILLIPS (1935-2001)
The leader of 1960s folk rockers the Mamas and the Papas never contributed to a Stones recording, but he warrants mention because of his friendship and association with Mick and Keith in 1976-77. Mick produced the recordings for a future John Phillips solo album in the fall of 1976, on which both Keith, Ronnie and Mick Taylor all played heavily. A year later, in the summer of 1977, Keith produced more sessions for Phillips, on which Mick also played again. The album was released as Pay, Pack and Follow in 2001. Philipps died of heart failure in March 2001.
BILLY PRESTON (1946-2006)
Texas born Preston has made a career out of being an excellent session keyboardist (piano, organ, synthesizer), but also enjoyed relative success on his own in the 1970s with a string of mid-sized hits. Preston was a child prodigy who got in the business very young, playing with Ray Charles and Sam Cooke among other people. His biggest break, however, was playing with the Beatles in 1969, recording their ill-fated album and movie Let It Be with them (he also plays on I Want You, featured on Abbey Road), and playing with them on their final rooftop concert in London. That allowed Preston to start his own career with Apple Records at the same time as he started making the rounds in the musical circles, bringing his soul and gospel influences with him to bands like Delaney & Bonnie.
Through most of the 1970s (1970-76), Preston was a player onstage and on record with the Stones, and he appears on all their albums from Sticky Fingers to Black And Blue. He became most visible during the Stones' 1975-76 tour (documented on the 1977 album Love You Live), where the Stones regularly allowed him to play a few of his own songs during their set. One of his stand-outs is certainly his duet with Mick on Melody, featured on 1976's Black and Blue. (His material was slightly later also used, credited or uncredited, on Tattoo You.) During this same period, Preston played with a number of other groups and artists that tended to share the same sessions musician, including Aretha Franklin, Bob Dylan, Stephen Stills, and the three ex-Beatles Lennon, Harrison and Starr.
Preston's career slowed down in the 1980s and 90s, but he has continued to contribute to people's records, including in more recent years people like Joe Cocker, Rod Stewart, Yoko Ono and Me'Shell Ndegeocello. In 1992, Mick recorded his third solo album Wandering Spirit in Los Angeles and hired Billy Preston again, after all these years. Many of the Wandering Spirit players appeared again on the Stones' Bridges to Babylon 5 years later, since the band recorded in Los Angeles. Preston was no exception and his keyboards can be heard on Saint of Me.
Billy Preston died of illness in 2006.
BERT RICHARDS (d. 2002)
DORIS RICHARDS (d. 21-Apr-2007)
IAN STEWART (1938-1985)
In all fairness, Ian should not be merely included among all these other contributors, since he enjoyed a privileged relationship with the Stones' throughout their history until his death. His is definitely the "Sixth Stone".
Born in Pittenham, Scotland, Ian was a figure surrounding the London Alexis Korner scene before Mick and Keith showed up. He was a pianist who specialized in boogie-woogie and R&B from the 1930s and '40s. He had answered an ad Brian had put up to form an R&B band and so had teamed up with him and with another guitarist called Geoff Bradford and a singer called Paul Jones. It was Brian who introduced Ian to electric Chicago blues.
When Mick, Keith and Dick Taylor joined (and Bradford and Jones left), Ian was the one who would often organize the rehearsals. The Stones have often been fond of calling the Stones "Stu's band" because of this fact, and because of his down-to-earth, take-no-bullshit, tell-it-like-it-is personality.
Ian was integral as any other member in the shaping of the Stones' original style and sound. However, when manager Andrew Oldham came along the scene, he kicked out Stu on the grounds that "5 Stones were enough". He nevertheless remained on as pianist for the Stones throughout their entire career until the time of his death, playing on most of their albums and accompanying them on their tours. He was also their undesignated road manager for much of their career, continuing to handle the equipment and carry the others in his van from gig to gig in the early years, and later still also participating in various functions.
The Stones used Stu on record mostly, but not exclusively, for their fast-paced, rock and roll tunes, where his boogie-woogie playing was an integral element to that magic Stones sound. His contributions can be heard from Around and Around (1964) to She Was Hot (1983). Ian contributed to other bands in the 1970s, including Led Zeppelin, and also formed his own outfit with Charlie, Alexis Korner and Jack Bruce in the late 1970s and early 1980s called Rocket 88, playing boogie-woogie R&B. He also played with the Stray Cats.
Ian died suddenly and without warning of a heart attack in December 1985, just after the completion of the Dirty Work album, leaving his fellow Stones quite broken-hearted, and adding to the pessimism regarding the band's future during that time. The Stones played their only concert in a 7-year period at a London club in February 1986 as a tribute to Stu. The Dirty Work album is dedicated to him, and an excerpt of his piano playing closes the album. When the Stones were inducted into the Hall of Fame in January 1989, Mick honored in his acceptance speech 2 people who were not presently with the band, namely Brian Jones and Ian Stewart.
I'm going to miss him a lot. He really helped this band swing, on numbers like Honky Tonk Women and loads of others. Stu was the one guy we tried to please. We wanted his approval when we were writing or rehearsing a song. We'd want him to like it.
- Mick Jagger, 1985
PETER TOSH (1944-1987)
Born in Jamaica, legendary reggae guitarist and vocalist Peter Tosh joined Bob Marley's original Wailers as early as 1962, even though they only started to cut world-wide released records in 1972. He was an integral part of the Wailers sound and attitude, composing and singing as well as playing guitar, and a key component to the quality of the first two (and best) Wailers albums. He left in 1973 to pursue a solo career, his outspoken records pushing for the legalization of marijuana among other things.
Keith had befriended Tosh while living in Jamaica and this led to the Twins deciding to give a record contract to Tosh with Rolling Stones Records and producing his album Bush Doctor in 1978. Both Keith and Mick played on it. This led to Tosh opening for the Stones on tour in 1978, and Mick joined him onstage for the duet on Don't Look Back which they had recorded together.
Tosh continued making many albums, although he never achieved the success of fellow musician Bob Marley. His outspokenness against political oppression in Jamaica led to his getting frequently beaten by Jamaican police and finally assassinated in 1987.
MUDDY WATERS (1915-1983)
The Stones first met their idol Muddy Waters in June 1964 when they recorded at Chicago's Chess Studios. He jammed with them on 2120 South Michigan Avenue, although his guitar doesn't appear on the released version. Both Bill and Charlie recorded Muddy in 1974. The Stones jammed now and then with Waters through the years, notably in July 1978 and November 1981 during their tour stops in Chicago.
ART WOOD (1937-2006)
Un abrazo.
