A History of Rock Music in 500 Songs

Episode: Song 176: “Sympathy for the Devil” by the Rolling Stones, Part One: A Man of Wealth and Taste
Host: Andrew Hickey
Release Date: August 1, 2024

Introduction

In this episode of A History of Rock Music in 500 Songs, host Andrew Hickey delves into the intricate web of business maneuvers and personal dynamics that shaped the Rolling Stones during a pivotal period in their career. Titled “Sympathy for the Devil” by the Rolling Stones, Part One: A Man of Wealth and Taste, Hickey explores the influence of Alan Klein, a shrewd businessman, whose strategies profoundly impacted the band's trajectory and the broader music industry.

Alan Klein: Businessman Extraordinaire

Background and Early Ventures

Andrew Hickey begins by reintroducing Alan Klein, a key figure previously discussed in episodes covering Sam Cooke. Klein, originally a trainee accountant auditing music companies, discovered rampant exploitation of artists by record labels. This revelation spurred him to establish his own auditing firm, aiming to reclaim misappropriated funds for artists.

Andrew Hickey [00:03]: “Klein's first truly major artist to be represented this way was Sam Cooke, and the deal he made for Cook is a perfect example of his strategy.”

Klein’s initial success lay in renegotiating unfair contracts, especially for artists who derived most of their income from live performances rather than record sales. His approach often favored himself more than the artists or labels, as he secured substantial commissions while ostensibly benefiting his clients.

Sam Cooke’s Contract: A Masterclass in Strategy

Klein's negotiation with Sam Cooke exemplifies his cunning tactics. Understanding Cooke's unique position as a self-sufficient artist who didn’t rely heavily on RCA’s promotional machinery, Klein crafted a deal where Cooke's earnings were channeled through a company owned by Klein. This arrangement allowed Cooke to benefit from dividends taxed at a lower capital gains rate, while Klein secured a preferential commission.

Andrew Hickey [05:32]: “If the company was owned by Cook, he explained to Cook, it would be seen as Cook getting the income and he'd have to pay an enormous amount of tax. But if Klein owned the company, he could pay Cook all the money except Klein's commission as preferred stock.”

This maneuver not only maximized Klein's profits but also set a precedent for future dealings with other artists, embedding his influence deeply within the music industry's financial structures.

Klein's Expansion: The British Invasion

Entering the British Scene

With a solid foundation in the U.S., Klein set his sights on the burgeoning British rock scene, notably aiming to capitalize on the Beatles' success. His first British client was The Dave Clark Five, whose significant earnings in the U.S. were threatened by the UK's high marginal tax rates. Klein devised a financial strategy to mitigate their tax burden by investing their earnings in preferred stocks, ensuring sustained income over two decades while extracting his commission upfront.

Andrew Hickey [10:38]: “The Dave Clark Five were the first British band to capitalize on the Beatles' success in the US, and for a short period, they were the only band who seemed like serious rivals to them.”

Strategic Relationships and Manipulations

Klein's influence rapidly expanded as he attracted major British acts, including The Animals, Herman's Hermits, Donovan, The Kinks, and Lulu. By renegotiating their contracts to secure higher royalties and funneling their earnings into his controlled entities, Klein maintained a steady revenue stream while profoundly shaping these bands' financial landscapes.

The Rolling Stones and Klein's Influence

Initial Contact and Negotiations

The Rolling Stones, on the rise in both the UK and the U.S., became Klein's next target. The meeting between Klein and the Stones' management marked a significant turning point. Initially presented with an offer from RCA to break their contract with EMI for a substantial fee, Klein recognized the opportunity to embed himself deeper into the band's operations.

Andrew Hickey [16:10]: “The Rolling Stones had made the top 30 with 'It's All Over Now,' and Klein saw an opportunity to leverage this for his gain.”

Restructuring Management

Klein successfully maneuvered to become the Stones' business manager by exploiting internal conflicts within the band's management. Aligning himself with Andrew Lou Goldham, the Stones' artistic director, Klein displaced Derek Easton, leading to legal battles that he navigated with ease.

Andrew Hickey [21:47]: “Klein had become Oldham's business manager and had pushed Derek Easton out of the organization he had founded and been a partner in.”

Contractual Mastery

In renegotiating the Stones' contract with Decca, Klein orchestrated a deal that provided a lucrative one-year contract with a hefty advance, cleverly routing the funds through his own company, Nankerfeldge Music USA. This ensured that Klein reaped significant financial rewards while the Stones remained bound to agreements that favored his interests.

Andrew Hickey [26:35]: “The new agreement, arranged by Klein, saw the group on a 9% royalty and paid a one and a quarter million dollars advance for a contract that would only last a single year.”

Internal Struggles and Musical Evolution

Brian Jones’ Insecurities

Amidst these business dealings, internal tensions emerged within the Rolling Stones. Brian Jones, the band's founder and original leader, struggled with his diminishing role and creative contributions. His inability to craft hit songs and his growing reliance on alcohol intensified conflicts with other band members, particularly Mick Jagger and Keith Richards.

Andrew Hickey [29:02]: “Jones was starting to see that he was dispensable in the studio.”

Creative Tensions and Songwriting

As the Stones began to produce more original material, the pressure to continually release hits strained the band's cohesion. Richards expressed frustration over production decisions made under Oldham's direction, highlighting a disconnect between artistic desires and commercial demands.

Andrew Hickey [31:11]: “Get Off Of My Cloud was a reaction to the record company's demands for more Leave Me Alone and it was an attack from another direction.”

Aftermath: A Musical Milestone

Despite the turmoil, the Stones released Aftermath, their first album composed entirely of original songs. The album showcased significant musical growth, heavily influenced by Brian Jones' multi-instrumental talents. Tracks like "Mother's Little Helper" and "Paint It Black" demonstrated the band's evolving sound and thematic complexity, marking a departure from their earlier works.

Andrew Hickey [45:26]: “Aftermath is as a whole the group's first album as a statement and musically it's leaps ahead of anything the group had done before.”

Conclusions and Implications

In this episode, Andrew Hickey paints a comprehensive picture of the Rolling Stones' ascent amidst savvy, and often unscrupulous, business strategies orchestrated by Alan Klein. The interplay between financial manipulation and personal strife not only shaped the band's music and legacy but also reflected broader trends in the music industry's treatment of artists. As the Stones navigated these challenges, their resilience and creative prowess underscored their enduring impact on rock music.

Andrew Hickey [47:16]: “By the middle of 1966, it seemed like Brian Jones had found a new role in the Rolling Stones and was now more relevant than ever. But as we'll find out in Part two in a couple of weeks, nothing could be further from the truth.”

Notable Quotes

• Andrew Hickey [00:03]: “Klein's first truly major artist to be represented this way was Sam Cooke, and the deal he made for Cook is a perfect example of his strategy.”
• Andrew Hickey [05:32]: “If the company was owned by Cook, he explained to Cook, it would be seen as Cook getting the income and he'd have to pay an enormous amount of tax..."
• Andrew Hickey [10:38]: “The Dave Clark Five were the first British band to capitalize on the Beatles' success in the US..."
• Andrew Hickey [16:10]: “The Rolling Stones had made the top 30 with 'It's All Over Now,' and Klein saw an opportunity to leverage this for his gain.”
• Andrew Hickey [26:35]: “The new agreement, arranged by Klein, saw the group on a 9% royalty and paid a one and a quarter million dollars advance..."
• Andrew Hickey [31:11]: “Get Off Of My Cloud was a reaction to the record company's demands for more Leave Me Alone and it was an attack from another direction.”
• Andrew Hickey [45:26]: “Aftermath is as a whole the group's first album as a statement and musically it's leaps ahead of anything the group had done before.”
• Andrew Hickey [47:16]: “By the middle of 1966, it seemed like Brian Jones had found a new role in the Rolling Stones and was now more relevant than ever..."

Final Thoughts

Andrew Hickey's exploration of Alan Klein's influence on the Rolling Stones offers a revealing look into the often unseen forces that shape musical legacies. Through meticulous research and engaging narration, Hickey underscores the delicate balance between artistic integrity and the relentless pursuit of commercial success. As listeners await Part Two, the stage is set for deeper insights into the complexities that continued to define the Rolling Stones' journey.

For more detailed insights and access to transcripts, visit 500songs.com.