Keith Richards Life Pdf
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As lead guitarist of the Rolling Stones, Keith Richards created the riffs, the lyrics, and the songs that roused the world. A true and towering original, he has always walked his own path, spoken his mind, and done things his own way. Now at last Richards pauses to tell his story in the most anticipated autobiography in decades. And what a story!
Listening obsessively to Chuck Berry and Muddy Waters records in a coldwater flat with Mick Jagger and Brian Jones, building a sound and a band out of music they loved. Finding fame and success as a bad-boy band, only to find themselves challenged by authorities everywhere. Dropping his guitar's sixth string to create a new sound that allowed him to create immortal riffs like those in 'Honky Tonk Woman' and 'Jumpin' Jack Flash.' Falling in love with Anita Pallenberg, Brian Jones's girlfriend.
Arrested and imprisoned for drug possession. Tax exile in France and recording Exile on Main Street. Ever-increasing fame, isolation, and addiction making life an ever faster frenzy. Through it all, Richards remained devoted to the music of the band, until even that was challenged by Mick Jagger's attempt at a solo career, leading to a decade of conflicts and ultimately the biggest reunion tour in history.
In a voice that is uniquely and unmistakably him-part growl, part laugh-Keith Richards brings us the truest rock-and-roll life of our times, unfettered and fearless and true. Richards' rich voice introduces the audiobook edition of LIFE and leads us into Johnny Depp's performance, while fellow artist Joe Hurley bridges the long road traveled before Richards closes with the final chapter of this incredible 23-hour production, which includes a bonus PDF of photos.
Keith Richards (born 18 December 1943) is an English musician, songwriter, and founding member of the rock band the Rolling Stones ranked by Rolling Stone magazine as the '10th greatest guitarist of all time.' Richards was born in Kent, England.
He first met Mick Jagger as his neighbor until 1954 when the family moved. Years later he met Jagger on the train and rekindled their friendship. They began singing in a small band together, 'Little Boy Blue and the Blue Boys.' Richards has sung lead, or co-lead on most Rolling Stones songs. He is said to own over 3000 guitars. In addition to singing, Richards also produces records for other musicians. Richards's autobiography, Life, was released October 26, 2010.
He also collaborated with his artist daughter, Theodora, on the autobiographical children's book Gus and Me: The Story of My Granddad and My First Guitar. James Fox was born in Washington, D.C., in 1945. He worked as a journalist in Africa, and later at the 'Sunday Times' in London. He is the author of the bestselling 'White Mischief.
Advertisement But “Life” — which was written with the veteran journalist James Fox — is way more than a revealing showbiz memoir. It is also a high-def, high-velocity portrait of the era when rock ’n’ roll came of age, a raw report from deep inside the counterculture maelstrom of how that music swept like a tsunami over Britain and the United States. It’s an eye-opening all-nighter in the studio with a master craftsman disclosing the alchemical secrets of his art. And it’s the intimate and moving story of one man’s long strange trip over the decades, told in dead-on, visceral prose without any of the pretense, caution or self-consciousness that usually attend great artists sitting for their self-portraits. Die-hard Stones fans, of course, will pore over the detailed discussions of how songs like “Ruby Tuesday” and “Gimme Shelter” came to be written, the birthing process of some of Mr. Richards’s classic guitar riffs and the collaborative dynamic between him and Mr. But the book will also dazzle the uninitiated, who thought they had only a casual interest in the Stones or who thought of Mr.
Richards, vaguely, as a rock god who was mad, bad and dangerous to know. The book is that compelling and eloquently told. Credit Patricia Wall/The New York Times Mr. Richards’s prose is like his guitar playing: intense, elemental, utterly distinctive and achingly, emotionally direct. Just as the Stones perfected a signature sound that could accommodate everything from ferocious Dionysian anthems to melancholy ballads about love and time and loss, so Mr. Richards has found a voice in these pages — a kind of rich, primal Keith-Speak — that enables him to dispense funny, streetwise observations, tender family reminiscences, casually profane yarns and wry literary allusions with both heart-felt sincerity and bad-boy charm. Songwriting, Mr.
Advertisement Of the years of living dangerously, when he was zonked out on heroin, Mr. Richards recalls that he slept with a gun under his pillow; turned his 7-year-old son, Marlon, into his minder on the road; and forced all his band mates to live on “Keith Time,” in which 2 p.m. Recording sessions had a way of becoming 1 a.m. Dates the following day. He writes candidly about how everything began to revolve around “organizing the next fix” — elaborate stratagems, which at one point included buying doctor and nurse play sets at FAO Schwarz — and the difficulties of getting and staying clean.
Keith Richards (with Mick Jagger behind) at a 1994 concert. Credit Douglas C. Pizac/Associated Press Why did he become an addict in the first place? “I never particularly liked being that famous,” Mr. Richards says. “I could face people easier on the stuff, but I could do that with booze too.
It isn’t really the whole answer. I also felt I was doing it not to be a ‘pop star.’ There was something I didn’t really like about that end of what I was doing, the blah blah blah. That was very difficult to handle, and I could handle it better on smack. Mick chose flattery, which is very like junk — a departure from reality. I chose junk.” During the worst of his years on heroin, Mr. Richards writes, Mr. Jagger stepped up and dealt with the day-to-day business of running the band but was reluctant to relinquish his increased control once Mr.
Richards returned to action. He writes that Mr. Jagger had begun to treat the rest of the band as “basically hirelings,” and he describes the sense of hurt and betrayal he felt when he read in an English newspaper that Mr. Jagger, then intent on a solo career, had described the Stones as a “millstone” around his neck. Richards also mocks Mr.
Jagger (whom he jokingly began referring to as “Brenda” or “Her Majesty”) as a social climber and swollen head, and says that Mr. Jagger “started second-guessing his own talent” and chasing after musical trends.
But while this book’s passages about Mr. Jagger have made lots of headlines, especially in England, they are not all that different from the volleys of accusations the two have exchanged over the years, and Mr. Richards adds that deep down he and Mr. Jagger remain brothers. It’s really less a case of “North and South Korea,” he says, than “East and West Berlin.” Mr. Richards’s verbal photos of other colleagues and acquaintances are razor-sharp as well.
Keith Richards Life Documentary
He describes Hugh Hefner as “a nut” and “a pimp,” and Truman Capote as a “snooty” whiner. He writes that Chuck Berry was his “numero uno hero” (from whom Richards says he stole “every lick he ever played”) but “a big disappointment” when he met him in person. In another chapter he writes that success turned his former band mate Brian Jones “into this sort of freak, devouring celebs and fame and attention.” In the course of “Life,” Mr. Richards discusses his clashes with the police and his much-chronicled court appearances, as well as all the other headlines generated by the tabloids over the years. But the most insistent melodic line in this volume has nothing to do with drugs or celebrity or scandal.
It has to do with the spongelike love of music Mr. Richards inherited from his grandfather and his own sense of musical history, his reverence for the blues and R&B masters he has studied his entire life (“the tablets of stone”), and his determination to pass his own knowledge on down the line. One of this galvanic book’s many achievements is that Mr. Richards has found a way to channel to the reader his own avidity, his own deep soul hunger for music and to make us feel the connections that bind one generation of musicians to another. Along the way he even manages to communicate something of that magic, electromagnetic experience of playing on stage with his mates, be it in a little club or a huge stadium. “There’s a certain moment when you realize that you’ve actually just left the planet for a bit and that nobody can touch you,” Mr.
Richards writes. “You’re elevated because you’re with a bunch of guys that want to do the same thing as you. And when it works, baby, you’ve got wings.” You are, he says, “flying without a license.”.