Tim Anderson

“For the Stones were taking a definite chance. Despite the overwhelming ticket demand and the avalanche of media interest in them, they were going on the road with essentially the same kind of show they had done in 1969. What nobody could forecast was how the kids would react to it. The Stones would do a classic rock and roll set, composed of twelve or fifteen separate and distinct numbers, each with a beginning, middle, and an end, starting out hard and fast, calming in the middle, then all-out rocking at the end designed to leave the audience up and dancing when it was over. When the set ended, so did the show. The Stones rarely did encores. They worked like stars . . . come out, hit ‘em hard, zonk ‘em, then run to the limos before the cheering stops, out of the building and on to the plane. Strictly 1966 Beatles-type stuff that made the distance between the musician and the customer unbridgeable. In the spirit of P. T. Barnum, the Stones always left ‘em wanting more. But”
― Robert Greenfield, S.t.p.: A Journey Through America With The Rolling Stones

“A year before the Stones’ tour, while Peter Rudge was in America shepherding the Who through a tour, he began making inquiries about rock and roll PR firms. Everywhere he went, he heard the name Gibson-Stromberg. Rock writers in countless cities proudly pulled up their shirts to reveal Gibson-Stromberg t-shirts. Rock moguls like Denny Cordell (Shelter Records), David Geffen (Asylum Records), who at one point was going to handle the tour by himself, and Peter Asher (James Taylor’s manager) sung the praises of Gibson-Stromberg. As did Chris O’Dell. So when Rudge brought the Who to L.A., he decided to check their operation out, something which made both Gibson and Stromberg happy. Far out, they thought, we’re gonna get the Who. Another group to add to their bulging stable of the top seventy rock acts.”
― Robert Greenfield, S.t.p.: A Journey Through America With The Rolling Stones

“Rudge exits and Chris O’Dell sweeps in. She is a straw-thin lady with wide surprised eyes and blond, stuck-out Orphan Annie hair who is secretary to Marshall Chess, president of Rolling Stones Records.”
― Robert Greenfield, S.t.p.: A Journey Through America With The Rolling Stones

“The Strip is America’s main street of hype and promotion, where Dick Clark and Phil Spector are acros the-street neighbors, and Tower Records, which bills itself as “the largest record store in the known world,” is the closest thing to a true community center L.A. has.”
― Robert Greenfield, S.t.p.: A Journey Through America With The Rolling Stones