Stones: Acclaimed Biography, The

  His guitar, allied with the life of a Dartford Teddy boy, became the final, irresistible temptation to play truant. In 1958, he was expelled from Dartford Technical School. A sympathetic teacher suggested there might be one last hope in the art college in the neighbouring dormitory town of Sidcup.

  Sidcup Art College sounds immeasurably grander than it ever was. It existed, in fact, to give just such last chances to those whose inglorious school careers had fitted them for nothing better than what was then belittingly called ‘commercial art’. Sidcup’s art college was remarkably similar to the one in Hope Street, Liverpool, which – also in 1958 – admitted a similar habitual truant named John Lennon.

  For Keith, Sidcup Art College was a first introduction to authentic blues music, never captured on a Woolworth’s Embassy label. A group of students – including Dick Taylor – would meet in an empty room next to the principal’s office, and play Little Walter and Big Bill Broonzy songs among the drawing boards and paste pots. It was from one of them Keith acquired his first electric guitar, swapping it for a pile of records in a hasty transaction in the college ‘bogs’.

  So far as Dick Taylor was concerned, Keith Richards was just an incorrigible and hilarious distraction from the business of studying graphic design. ‘When I think of Keith at college, I think of dustbins burning. We used to get these baths of silk-screen wash, throw them over the dustbins and then throw on a match. The dustbins used to explode with a great “woomph”.

  ‘We were all popping pills then – to stay awake without sleep more than to get high. We used to buy these nose inhalers called Nostrilene, for the benzedrine, or even take girls’ period pills. Opposite the college, there was this little park with an aviary that had a cockatoo in it. Cocky the Cockatoo we used to call it. Keith used to feed it pep pills and make it stagger around on its perch. If ever we were feeling bored, we’d go and give another upper to Cocky the Cockatoo.’

  One morning, on his railway journey from Dartford to Sidcup, Keith happened to get into the same dreary commuter carriage as Mike Jagger, en route to the London School of Economics. They recognized each other vaguely from Wentworth County Primary School and a subsequent meeting when Mike had a holiday job selling ice cream outside Dartford Library. This meeting might have been as casual as the previous ones were it not that Mike had under his arm a pile of import blues albums he had got from America by mail order. Keith noticed the sacred names of Chuck Berry and Little Walker, and, with some incredulity, asked the striped-scarfed LSE student if he liked that kind of music, too.

  Chatting further, they discovered they had a common friend in Dick Taylor. Dick had already mentioned to Keith that he was rehearsing with a group sworn to play nothing but blues and r & b. By the time their train reached Sidcup, it was half-arranged that Keith Richards should come along and try rehearsing with Little Boy Blue and the Blue Boys.

  He brought with him his semi-solid Hofner cutaway guitar and what seemed to the others a stunning virtuosity. Sitting on the stairs at home, he had managed to master nearly all Chuck Berry’s introductions and solos, even the swarm of notes running through the Berry classic Johnny B. Goode that created an effect like two guitars at once. He understood that even this complex break, like two guitars in unison, required something more than simply playing notes fast. ‘Keith sounded great – but he wasn’t flash,’ Dick Taylor says. ‘When he came in, you could feel something holding the band together.’

  Keith’s arrival, even so, did not advance the fortunes of Little Boy Blue and the Blue Boys. They continued to practise as before, with no thought of any audience beyond Dick Taylor’s mum – no inkling that r & b music was a secret vouchsafed to anyone in Britain but themselves. The nearest they came to a public performance was playing together for a snapshot outside the Taylors’ back door. The snap shows Dick and Keith with their guitars parodying Chuck Berry’s duck walk, and Mike Jagger, in his student’s button-up cardigan, striking a dramatic pose against the background of drainpipe and pebbledashed council house wall.

  Music in that era forged many friendships between personalities that might otherwise have remained polar opposites. It had happened three years earlier between cynical, trouble-prone John Lennon and cautious, conservative Paul McCartney in Liverpool. It happened now, when Keith Richards, the ‘Ted’ from a council flat on the wrong side of Dartford, started to go around with Mike Jagger, the economics student from middle-class Denver Road.

  Though the LSE in 1961 was not the political hotbed it later became, a mild radicalism was as de rigueur among its students as the prevailing ‘bohemian’ look. For Mike Jagger it was to be little more than a look, expressed in his new leather tie and knitted cardigan. Just the same, armed with new words like ‘capitalism’ and ‘proletariat’, he seemed intent on rejecting his careful upbringing and sliding down to the class his mother so abhorred.

  At the LSE, he dropped the ‘Mike’, which now seemed redolent of bourgeois young men with sports cars. ‘Mike Jagger’ would henceforward be a creature only in the memory of his earliest friends. It was Mick Jagger who hung around with Keith Richards, talking in broad Cockney and affecting some of Keith’s chaotic nonchalance and street-tough recklessness.

  The mimicry was not completely one-sided. Keith on occasion could become thoughtful, self-effacing, even shy. It was as if each provided the other with a role he had desired but never dared assume before. Dick Taylor noticed what was to become a regular interchange of identities. ‘One day, Mick would become Keith. But then on another day, Keith could go all like Mick. You never knew which way round it would be.

  ‘But from then on, Mick and Keith were together. Whoever else came into the band or left, there’d always be Mick and Keith.’

  Before Alexis Korner and his wife Bobbie went to bed in their flat in Moscow Road, Bayswater, they would be careful to leave the kitchenette window slightly ajar at the bottom. Next to the window was a table positioned in such a way that the late-arriving or unexpected guest could enter by rolling sideways across it. When Alexis and Bobbie got up next morning, four or five sleeping figures might be peacefully disposed under the table, against the cooker legs or among the food bowls of the Korners’ several cats.

  The sleepers were American blues musicians on tour, for whom Alexis and Bobbie Korner provided refuge and hospitality in an otherwise bewildering land. Big Bill Broonzy, Muddy Waters, T-Bone Walker, the guitar giants so often visualized by Mick Jagger and Keith Richards in their windy and harsh Chicago heaven, might be sitting barely twenty miles from Dartford in that Bayswater kitchenette, eating the Southern-style ham hocks that Bobbie Korner had learned to cook.

  Alexis Korner’s antecedents were as richly cosmopolitan as the syllables of his name suggest. His father was Austrian, a former cavalry officer, and his mother was Greco-Turkish. By his father’s first marriage he had a Russian step-grandmother. He himself was born in Paris and spent his early childhood in Switzerland and North Africa. There was something more than a little Moroccan in his dark skin and tightly curled hair, and the vibrant, husky voice which only accidental circumstance was to bend into the brogue of suburban West London.

  His father, the former cavalry officer, was an autocratic, distant figure, vaguely connected with high finance and – Alexis later thought – international espionage. ‘I know he lost a lot of money in the Twenties, when Britain went off the gold standard, and he couldn’t live as well as he had before. He was also supposed to have had something to do with the scandal surrounding the Zinoviev Letter. I’m sure he’d done something pretty major to earn the gratitude of the British government. When war broke out in 1939, we were living in England; my father could have expected to be interned as an enemy alien. Instead, he got his naturalization papers as a British subject virtually overnight.’

  One Saturday in 1940, Alexis, a pupil of St Paul’s School, went from his home in Ealing to nearby Shepherd’s Bush market to indulge in the boyish pastime of pilfering from the stalls. His haul that morning incl
uded a record by the blues pianist Jimmy Yancey. ‘From that moment,’ he remembered later, ‘I only wanted to do one thing. I wanted to play boogie-woogie piano.’

  When he attempted to do so on the family piano, his father would come along in a fury and slam down the lid. Nor was the elder Korner any better pleased when Alexis brought home his first guitar. ‘My father used to say the guitar was a “woman’s instrument”. He imagined it in operettas, tied with pink ribbon.’

  Two years’ military service brought relief from this parental prejudice. Alexis served with the British Army in West Germany and – as well as playing football for his regiment – became a part-time announcer over the Forces’ radio network. He could saturate himself, not only in the music played to British troops, but also in the far more exciting output of AFN, the American Forces Network. As surreptitiously listening German boys already knew, AFN broadcast the very best in jazz and swing and even types of black music not available to civilians back home in the States. So the blues took root, on NATO bases and, later, in local clubs, amid pornographic bookshops, strip joints and mud-wrestling pits.

  Back in London, working in the shipping firm owned by his mother’s Greek family, Alexis gravitated naturally to that first postwar ‘younger generation’, which haunted the Soho cellars, avid for politics and traditional jazz. ‘We were elitist – and highly political. We used to speak quite seriously in those days of founding a “fourth class”. There’d be the upper class, the middle class, the working class and us. That was how the blues came into it. When we heard a Leadbelly song or a Woody Guthrie song, we knew we were listening to a powerful political protest.’

  The principal jazz bandleaders of the period did what they could to bring blues to the larger Dixieland audience. Humphrey Lyttelton, trumpeter, Old Etonian and friend of royalty, had brought Big Bill Broonzy to Britain as early as 1953. Ken Colyer, most pure of all the jazz and folk purists, featured some of the greatest American bluesmen at his London club, Studio 51, just off Leicester Square.

  Chris Barber remained the music’s most passionate, consistent champion – the only one, in Korner’s words, to ‘put his money where his mouth was’ and plough actual cash into keeping blues alive. Barber, in the early Fifties, had been the moving spirit behind a formal conservation body, the National Jazz League. The league flourished, acquiring sufficient capital to buy its own Soho club, the Marquee in Wardour Street.

  Alexis Korner joined the Barber band as banjoist during Lonnie Donegan’s absence on National Service. When Donegan returned and Rock Island Line became a hit, Korner was well placed, had he desired, to participate in the nine days’ skiffle wonder. He almost joined another successful skiffle group, the Vipers, signed up at the 2 I’s coffee bar by a then obscure EMI-label executive called George Martin. Instead, he formed his own group, bowing to commercial pressure with the word ‘skiffle’ only for its first extended-play record. Thereafter, the group was to be known as Alexis Korner’s Blues Incorporated.

  The first band in Britain to play nothing but blues was a curious amalgam of fervent fantasy wedded to unlikely and incongruous human shapes. Its chief member, after Korner himself, was Cyril Davies, a fifteen-stone panel beater from South Harrow, a virtuoso on blues harmonica and twelve-string guitar, whose every waking moment was clouded by chagrin that he had not been born a black man. On saxophone there was Dick Heckstall-Smith, who in aspect and manner bore a passing resemblance to Lenin. On double bass there was the future bass guitar maestro, Jack Bruce. The drummer – when Alexis could persuade him to sit in – was a sad-faced boy called Charlie Watts. ‘I’d met Charlie at the Troubadour in Brompton Road, and always liked his playing. I’d said to him, “If I ever form a blues group, would you come in as drummer?” But he’d only do it part-time. He was too busy, studying commercial art in Harrow.’

  It was Korner’s plan from the beginning to start his own club, as Ken Colyer and other musicians had, to protect their chosen music from the jibes or hostility of rival factions. Soho cellars or pub backrooms in those days could be hired for a few shillings a night. Alexis Korner’s first such venture, grandly styled the London Blues and Barrelhouse Club, was a room at the Round House pub in Wardour Street. The residency was sometimes interrupted by disputes between Korner and Cyril Davies, which led one or other to storm off and play in some rival club like the Troubadour.

  As Blues Incorporated became more established, they started to receive bookings further and further outside London. One night, towards the end of 1961, Alexis found himself playing the blues to a rapturous crowd at a municipal hall in the genteel spa town of Cheltenham, Gloucestershire.

  After the performance, a boy came up to Alexis in the pub across the road and talked to him earnestly – but with evident authority – about the blues and bluesmen. The boy was short but broadly built, and looked well-to-do in his smart Italian suit, white tab-collar shirt and Slim Jim tie. He spoke in a soft, well-mannered voice, lisping slightly. He said his name was Brian Jones. He was a musician himself, playing saxophone semi-professionally in a rock group called the Ramrods. What he really wanted to do, he told Alexis, was play Delta-style slide guitar with a band like Blues Incorporated. Alexis said – as Alexis always did – that if Brian Jones ever came to London, he was welcome to sleep on the Korners’ kitchen floor.

  In March 1962, tired of battling against the prejudice of the Soho jazz crowd, Alexis Korner decided to see how a new blues club would go in his own West London suburb, Ealing. The venue was a small room under the ABC teashop, just across the road from Ealing Broadway station. The first session, March 17, was announced by a small display ad in the New Musical Express.

  The ad caused astonished excitement twenty miles away in Kent, among a self-defeatingly modest group called Little Boy Blue and the Blue Boys, to whom it still had not occurred that anyone else in Britain shared their musical fixation. The following Saturday, crammed into Alan Etherington’s father’s Riley ‘Pathfinder’ car, they set out for Ealing to investigate the extraordinary possibility that other people were playing the blues, to an audience, for money.

  TWO

  ‘WELL, THE JOINT WAS ROCKIN’ …’

  It truly was happening, in a poky downstairs room between the ABC bakery and a jeweller’s shop: their secret music, the contraband repertoire of Muddy Waters, Otis Spann and the Chicago bluesmen, translated from inconceivable distance to deafening propinquity by the oddest imaginable group of men. Blues Incorporated performed, like jazz musicians, with almost professorial seriousness. Alexis Korner, curly-haired and moustachioed, in a white business shirt and tie, occupied the foreground with his Spanish guitar, seated on a chair. Cyril Davies stood next to him, sucking and coaxing the blues ‘harp’ with a breathy passion that made his pleated trousers wobble. Their audience stood around the tiny recessed stage in equal formality, nursing half pints of beer. As ‘Squirrel’ ended his harp solo, snatched the silver slide from his mouth and mopped his streaming brow, he received a round of polite applause like a speaker at a temperance meeting.

  The instant success of the Ealing club proved to Alexis what he had always suspected – that the blues music, for some reason, had its most devoted following in suburban West London. After the second or third night at Ealing, something even more satisfactory happened. Alexis had brought Blues Incorporated away from Soho partly to escape the hostility of the traditional jazz faction. Now, the very clubs that had rejected him were starting to lose business, as more and more of their customers made the long Saturday night trek to Ealing. Even the purist National Jazz League could not ignore the commercial possibilities implied. Harold Pendleton, manager of the league-owned Marquee Club, came out to Ealing to hear Blues Incorporated, and afterwards offered Korner – whom he had previously not admired – a regular Thursday night engagement at the Marquee.

  The band, at that time, had no regular vocalist. ‘I’d sing lead – or Squirrel would,’ Korner later remembered. ‘But we didn’t really believe in words. We were
instrumentalists. The words just got in the way.’

  Each Saturday night audience, in any case, was filled with young men, eager to exchange their world of Magicoal electric fires and Bournvita cocoa for the blues shouter’s world of tin tenements and dance-hall queens. Anyone who wanted to sing with Blues Incorporated was welcome to try, though Alexis knew from long experience that the results were generally terrible. Then one night, a 6 foot 7 inch, sandy-haired and pink-faced youth got up and sang in a voice so black and raw, it was like having Chicago there in the room. The boy’s name was ‘Long’ John Baldry. He became Blues Incorporated’s first featured singer at the Ealing club on Saturdays and on Thursdays at the Marquee.

  A few days after the first Ealing session, Alexis Korner received a letter with a Dartford postmark enclosing a small spool tape. The letter, from someone called Mick Jagger, solicited Korner’s opinion of three songs by a group named Little Boy Blue and the Blue Boys. The material offered was Reelin’ and Rockin’, Bright Lights Big City, and Around and Around. The tape was subsequently lost; all Korner could ever remember of it was that it sounded ‘absolutely terrible’.

  The tape served a useful enough purpose, introducing Little Boy Blue himself to an established musician, known for unusual kindness towards musical beginners. Mick Jagger received the same invitation as everyone else to Ealing, to join Blues Incorporated on the bandstand for what singers, too, called a ‘blow’. So, the next Saturday, taking all his courage, Jagger stepped on to the little stage, with its grubby tarpaulin canopy, and sang in public for the very first time.

  He did so looking every inch the LSE student in his white poplin shirt, half-unknotted tie and chunky ‘bohemian’ cardigan, glancing nervously behind him as the dignitaries of Blues Incorporated began to vamp the – for them – absurdly simple chords of Chuck Berry’s Around and Around. He himself has only a hazy recollection of standing there, half drunk, off key, forgetting his words and almost paralysed with fright. ‘The thing I noticed about him wasn’t his singing,’ Alexis Korner said. ‘It was the way he threw his hair around. He only had a short haircut, like everyone else’s. But, for a kid in a cardigan, that was moving quite excessively.’