Their first stable line-up consisted of vocalist Mick Jagger, guitarist Keith Richards, multi-instrumentalist Brian Jones, bassist Bill Wyman, and drummer Charlie Watts.

[8] On 7 April, they visited the Ealing Jazz Club, where they met the members of Blues Incorporated, who included slide guitarist Brian Jones, keyboardist Ian Stewart, and drummer Charlie Watts.

"[49] In a 1971 interview, Wyman stated, "We were the first pop group to break away from the whole Cliff Richard thing where the bands did little dance steps, wore identical uniforms and had snappy patter.

[54][b] Later in 1963, Oldham and Easton arranged the band's first big UK concert tour as a supporting act for American stars, including Bo Diddley, Little Richard, and the Everly Brothers.

[64] Oldham saw little future for an act that gave up the chance to get significant songwriting royalties by only playing the songs of what he described as "middle-aged blacks", thus limiting their appeal to teenage audiences.

[100][101] During their North American tour in June and July 1966, the Stones' high-energy concerts proved highly successful with young people, while alienating local police who had the physically exhausting task of controlling the often rebellious crowds.

[109] A reporter who contributed to the story spent an evening at the exclusive London club Blaise's, where a member of the Rolling Stones allegedly took several Benzedrine tablets, displayed a piece of hashish, and invited his companions back to his flat for a "smoke".

", in which conservative editor William Rees-Mogg surprised his readers by his unusually critical discourse on the sentencing, pointing out that Jagger had been treated far more harshly for a minor first offence than "any purely anonymous young man".

[144] The Rolling Stones were scheduled to play at a free concert for Blackhill Enterprises in London's Hyde Park, two days after Jones' death; they decided to go ahead with the show as a tribute to him.

[155] Other tracks include "You Can't Always Get What You Want" (with accompaniment by the London Bach Choir, who initially asked that their name be removed from the album's credits after apparently being "horrified" by the content of some of its other material, but later withdrew this request), "Midnight Rambler", as well as a cover of Robert Johnson's "Love in Vain".

[190] The sessions for Goats Head Soup also produced unused material, most notably an early version of the popular ballad "Waiting on a Friend", which was not released until the Tattoo You LP nine years later.

Ultimately, he received a suspended sentence and was ordered to play two charity concerts to benefit the Canadian institute for the blind in Oshawa;[215] both shows featured the Rolling Stones and the New Barbarians, a group that Wood had put together to promote his latest solo album, which Richards also joined.

[218] Although the Rolling Stones remained popular through the early 1970s, music critics had begun to grow dismissive of the band's output, and record sales failed to meet expectations.

The album also included "Continental Drift", which the Rolling Stones recorded in Tangier, Morocco, in 1989, with the Master Musicians of Jajouka led by Bachir Attar, coordinated by Tony King and Cherie Nutting.

[246] After Wyman's departure, the Rolling Stones' new distributor/record label, Virgin Records, remastered and repackaged the band's back catalogue from Sticky Fingers to Steel Wheels, except for the three live albums.

The same month, the band licensed the exclusive rights to sell the new four-DVD boxed set Four Flicks, recorded on their recent world tour, to the US Best Buy chain of stores.

In response, some Canadian and US music retail chains (including HMV Canada and Circuit City) pulled Rolling Stones CDs and related merchandise from their shelves and replaced it with signs explaining why.

[285] The band's first new album in almost eight years, A Bigger Bang, was released on 6 September 2005 to positive reviews, including a glowing write-up in Rolling Stone magazine.

12 June 2007 saw the release of the band's second four-disc DVD set: The Biggest Bang, a seven-hour film featuring their shows in Austin, Rio de Janeiro, Saitama, Shanghai, and Buenos Aires, along with extras.

[372] In August 2021, it was announced that Watts would undergo an unspecified medical procedure and would not perform on the remainder of the No Filter tour; the longtime Stones associate Steve Jordan filled in as drummer.

"Angry", the album's first single and music video (starring actress Sydney Sweeney), was also released during the Q&A, with the song also landing on the EA Sports FC 24 soundtrack.

'"[6] Charlie Watts, a traditional jazz drummer,[405][406] was also introduced to the blues through his association with the pair, stating in 2003, "Keith and Brian turned me on to Jimmy Reed and people like that.

[410] Despite the Rolling Stones' predilection for blues and R&B numbers on their early live set lists, the first original compositions by the band reflected a more wide-ranging interest.

[415] Beginning with Jones and continuing with Wood, the Rolling Stones have developed what Richards refers to as the "ancient art of weaving" responsible for part of their sound—the interplay between two guitarists on stage.

Starting out as a purist blues combo that fronted a bad-boy image while recording the occasional Lennon/McCartney pop tune and string-laden ballad to help secure their popularity, the Stones deftly moved through a number of guises in the '60s and '70s while remaining essentially the same band at its core.

When arena-rock reigned, the Stones became an excessive live act whose decadence was on par with Led Zeppelin; when David Bowie and glam became the hippest thing in England, Mick Jagger lathered on the mascara and campy posturing.

By the time of 1978's Some Girls, the Stones absorbed the energy of New York City's punk and disco scenes so completely that it reinvigorated the band's career, spawning their final (to date) No.

[404] They pioneered the "raw, blues-based sound" that came to define hard rock[437] and has been viewed as the musical "vanguard of a major transfusion" of various cultural attitudes, making them accessible to youth in Britain and the rest of the world.

[450] In a review of the band's 2020 acoustic rendition of "You Can't Always Get What You Want" for Global Citizen's One World: Together At Home on-line and on-screen concert, Billboard stated that they are "still the masters of delivering unforgettable live performances.

"[451] On their enduring appeal and reinvention, Rich Cohen of The Wall Street Journal wrote in 2016: The Stones have gone through at least five stylistic iterations: cover band, '60s pop, '60s acid, '70s groove, '80s New Wave.