Word: albums
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Dates: during 1960-1969
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Another temptation Schlatter & Co. are unable to resist is the chance to cash in on a pile of merchandising arrangements. A new Laugh-In magazine is selling at the rate of 300,000 a month. The first Laugh-In record album has sold 125,000 copies in three weeks. A rather third-rate Laugh-In comic strip is running in 60 newspapers. Soon there will be Laugh-In jogging outfits, Laugh-In water pistols, Laugh-In graffiti wallpaper and Laugh-In fortune cookies...
...last the music of the Rolling Stones has been enshrined where some of their less charitable listeners have always felt it belonged: on a lavatory wall. The cover of the Stones' latest-and as yet unreleased-album is a photo of a graffiti-covered wall above an unpleasant-looking toilet. The name "The Rolling Stones" appears plainly, as do the title of the album, Beggars' Banquet, and the names of the tunes it contains. Scrawled in smaller letters are sly references by the Stones to themselves and their friends, as well as such phrases as "God rolls...
...nobody's surprise, London's Decca Records concluded that the cover was "in dubious taste," and refused to distribute the album on its release date two months ago, thus holding up sales that probably would have amounted to $1,000,000. Decca may have been thinking of rival EMI's problem in 1966 when its U.S. subsidiary, Capitol Records, had to recall 500,000 copies of a Beatles album because of the cover. It showed the Beatles, in butcher smocks, laden with chunks of raw meat and the decapitated bodies of dolls...
Boycotted in Chicago. At least one thing can be said for the cover. It suits the spirit of the music inside. The album bristles with the brand of hard, raunchy rock that has helped to establish the Stones as England's most subversive roisterers since Fagin's gang in Oliver Twist.* It also stands in notable contrast to their previous album, Their Satanic Majesties Request, which ventured into the realm of electronic wizardry and psychedelic fantasy charted by the Beatles in Sgt. Pepper. Since that was an alien idiom for the Stones, they sounded pretentious and boring...
...with a widespread mood in the pop world, Beggars' Banquet turns back to the raw vitality of Negro rhythm-and-blues and the authentic simplicity of country music. This is home ground for the Stones and, among white groups, they are all but unbeatable on it. But the album still will not please listeners who lack a taste for musical graffiti. How could it, with songs like the slow, bluesy Stray Cat, addressed to a 15-year-old girl ("Bet your mama don't know you can bite like that")? Or the driving, syncopated Street Fighting Man ("Comes...