Andrés Caicedo entrevista a Andrew Loog Oldham
Además de cinéfilo, Andrés Caicedo era un melómano consumado. En un encuentro casual, el escritor caleño terminó entrevistando al ex mánager de uno de sus grupos preferidos, los Rolling Stones.
El azar maravilloso me deparó el encuentro con Andrew Loog Oldham por una calle de Bogotá, a principios de diciembre de 1976. Yo iba en un bus y lo reconocí en esa figura pálida, pelirroja, desgarbada; inmediatamente me bajé y fui a su encuentro. Me presenté como un gran admirador de los Stones y él me dijo “Sí, quién no”, y al otro día elaborábamos la entrevista en el Bar Inglés del Hotel Hilton, en donde Andrew consumió generosas dosis de whisky y cerveza. Él vive con la actriz colombiana Esther Farfán, y por aquellos días pensaba regresar a Londres: no sé si ya lo hizo. El texto que sigue es un fragmento de la entrevista (parte del libro que preparo sobre los Rolling Stones). —A. Caicedo
¿Cuando decidiste apadrinar a los Rolling Stones ya se había terminado tu carrera como cantante?
Mi carrera como cantante terminó a los catorce años.
¿Entonces qué fue eso de la Andrew Oldham Orchestra, que produjo elepés hasta 1967?
Más que un grupo, aquello fue una organización productora. Produjo –algunas eran canciones mías– discos de Jeanne and The Redheads, arreglos de temas de televisión y dos antologías de los Rolling Stones. En aquellos días yo escribí para ellos, o ayudé a escribir, “As Tears Go By” y “I’d Much Rather Be with the Boys”. Hay que añadir, también, que el nombre Nanker Phelge, autor de tantos blues de los Stones, fue el seudónimo por el que optamos cuando la composición era de todos. Brian tenía participación en aquello.
¿Cómo los conociste a ellos?
En un bar.
Pero en qué circunstancias.
Yo venía con dos amigos irlandeses, bastante fornidos, y a Keith le cayó en gracia el color rojo del pelo de nosotros tres. Pudo haber sido pelea fija, pero resultó siendo amistad. Yo trabajaba en publicidad, tenía mi propia agencia y ellos se sabían un grupo tremendamente bueno. Éramos de la misma edad y necesitaban un mánager que impulsara cosas, y claro, yo me interesé mucho.
¿La imagen de canallas del rock’ n’ roll que han conservado los Rolling Stones fue en origen una cosa preconcebida, quiero decir, de manipulación publicitaria, o estaba dentro de la naturaleza de cada uno de ellos?
Supongo que todos somos unos canallas en este negocio, y los Rolling Stones son los únicos que han sabido asumirlo. Ahora, tampoco yo los llamaría canallas. Keith puede ser duro y hasta rudo, pero es ante todo travieso. Le gusta la diversión, no le importa el peligro. Ahora, yo sabía que su imagen propia era todo lo contrario de la que estaban transmitiendo los Beatles.
¿Pero cómo se puede explicar que una superestrella como Keith Richards, que se supone ha alcanzado ya un “estatus” de seguridad en la vida, tenga aún que andar armado? Es el Stone que más veces ha sido arrestado por posesión de armas… y Mandrax…
Keith era exactamente igual a los trece años. De allí a acá no ha cambiado un ápice, que yo sepa.
El primer número estrenado fue “Come on”, ¿no es verdad? De Chuck Berry.
Sí.
¿En esa primera época (1963) tú pensabas que los Stones llegarían a ser tan importantes como los Beatles? ¿El que los Beatles compusieran para ellos “I Wanna Be Your Man” fue idea tuya? ¿De quién?
Oh, hay muchas preguntas allí. En primer lugar, no era problema de llegar a ser tan importantes como los Beatles. Ellos tenían su propio fenómeno, y fue creado por jovencitos de la clase media baja. La de los Stones siempre fue “funky music”, música de la calle. Hubo más sentido de la diversión, elevaron el dominio y el fracaso a niveles poéticos, aunque la organización administrativa siempre corrió bien.
Los Stones eran muchachos capitalinos, de los muelles y de los sectores peligrosos de Londres. Los Beatles eran chicos de provincia que llegaron a conquistar la capital. Ahora, siempre fuimos mejores en la escena. Puede que yo encuentre mayores motivos de diversión en la producción de los Beatles, porque no conozco todas sus canciones desde el estudio. Pero en la escena, los Stones han sido mejores. Además, la comparación casi que no se puede hacer. Los Beatles son cuatro individuos en algunos casos, sin nada en común. Después de trece años, los Rolling Stones siguen siendo un grupo. “I Wanna Be Your Man” se produjo porque, viniendo de Lennon y McCartney, podía llegar a ser un éxito. Fue una idea de todos.
¿Por qué Ian Stewart no quedó integrado oficialmente al grupo?
Tú necesitas un piano en el estudio, pero no necesariamente en la escena. Yo conozco a Ian Stewart desde hace mucho tiempo. Además, era el más feo de todos.
Pero Bill Wyman también es feo.
Pero su fealdad está más de acuerdo con la imagen del grupo. Además, él impresionó mucho a Mick y a Keith, cuando llegó al primer ensayo con tremendo amplificador.
¿“Tell me” fue el primer número escrito por Jagger y Richards?
Sí. Eso se estrenó en 1964. Claro que antes existía “As Tears Go By”, cantado por Marianne Faithfull, y a comienzos del mismo año “It Should Be You” y “Will You Be My Lover Tonight?”, para George Bean, “That Girl Belongs to Yesterday”, para Gene Pitney, y “Shang a Doo Lang”, para Adrienne Poster.
¿Brian Jones nunca pensó en componer?
Él componía. Podía aprender a tocar cualquier instrumento en menos de veinte minutos. “Paint it Black” no hubiera podido hacerse sin él. Y mucho de Between the Buttons y Aftermath. El muchacho tenía talento, pero a la vez muchos problemas que entorpecían su expresión.
¿Aftermath es un elepé marcado por la experiencia de la droga?
Si es así, entonces fue una experiencia buena.
¿Ya estaba agotado Brian Jones en 1967? ¿Era él mucho más débil que Keith Richards o fue que abusó mucho más de las drogas?
Puede que estuviera enfermo, pero no diría “agotado”. Y si las drogas lo enfermaron fue, en todo caso, físicamente. Lo que tenía era una especie de bloqueo mental, una gran frustración cuando empezó a entrever un concepto de música completamente distinta a la que los Stones hacían. Algo de eso quedó en su elepé de grabaciones en Joujouka: The Pipes of Pan (1972).
Andrew Loog Oldham, roll with the Stones
Andres Caicedo interview with Andrew Loog Oldham
In addition to moviegoer, Andrés Caicedo was a consummate music lover. In a chance meeting, the writer Cali finished interviewing the former manager of one of his favorite bands, the Rolling Stones.
Chance brought me wonderful meeting with Andrew Loog Oldham on a street in Bogota in early December 1976. I was on a bus and I recognized in that figure pale, red-haired, lanky and immediately got off and went to meet him. I introduced myself as a big fan of the Stones and he said "Yes, who is not", and the next day elaborábamos the interview at the English Bar at the Hilton Hotel, where Andrew consumed liberal doses of whiskey and beer. He lives with Colombian actress Esther Farfan, and in those days thought back to London I do not know if you already did it. The following text is an excerpt of the interview (part of the book prepared on the Rolling Stones). -A. Caicedo
Why did you decide to sponsor the Rolling Stones had already finished your singing career?My singing career ended at age fourteen.
So what was that about the Andrew Oldham Orchestra, which produced LPs until 1967?More than one group, that was a producing organization. Were produced, some of my songs, albums Jeanne and The Redheads, television themes arrangements and two anthologies of the Rolling Stones. In those days I wrote to them, or helped write, "As Tears Go By" and "I'd Much Rather Be With The Boys". One must add, also, that the name Nanker Phelge, author of many blues of the Stones, was the pseudonym by which we choose when the composition was all. Brian had an interest in that.
How do you meet them?In a bar.
But in what circumstances.I came with two Irish friends, quite sturdy, and Keith fell to grace the red hair of us three. It could have been fixed fight, but turned out to be friendship. I worked in advertising, I had my own agency and they knew an awfully good group. We were of the same age and needed a manager who will drive things, and of course, I became very interested.
Does the rogue image of rock 'n' roll that have preserved the Rolling Stones was originally a preconceived thing, I mean, manipulative advertising, or was in the nature of each?I guess we are all scoundrels in this business, and the Rolling Stones are the only ones who have managed to take it. Now, I do not call them bastards. Keith can be harsh and even rude, but above all naughty. I like fun, does not mind the danger. Now, I knew his self-image was the opposite of which were broadcasting the Beatles.
But how can we explain that a superstar like Keith Richards, who is supposed to have reached a "status" of security in life, have yet to be armed? Stone is the most times has been arrested for possession of weapons ... and Mandrax ...Keith was exactly thirteen. From there to here has not changed a bit, to my knowledge.
The first number released was "Come on", is not it? Chuck Berry.Yes.
What that first season (1963) you thought the Stones would become as important as the Beatles? Does the Beatles compose for them "I Wanna Be Your Man" was your idea? Who?Oh, there are many questions there. First, it was no problem to become as important as the Beatles. They had their own phenomenon, and was created by youngsters from the lower middle class. The Stones' was always "funky music", music of the street. There was more sense of fun, raised the failure domain and poetic levels, although the administrative organization always ran well.
The Stones were young capital's, docks and dangerous areas in London. The Beatles were young provincial who came to conquer the capital. Now, we were always best at the scene. I may find more reasons fun in the production of the Beatles, because I know all their songs from the studio. But in the scene, the Stones have been better. In addition, the comparison almost can not do. The Beatles are four individuals in some cases, with nothing in common. After thirteen years, the Rolling Stones remain a group. "I Wanna Be Your Man" came about because, coming from Lennon and McCartney, could become a success. It was an idea of all.
Why Ian Stewart was not formally incorporated the group?You need a piano in the studio, but not necessarily at the scene. Ian Stewart I know for a long time. Moreover, it was the ugliest of all.
But Bill Wyman is also ugly.But his ugliness is more in line with the group's image. In addition, he impressed Mick and Keith, when he reached the first test with tremendous amplifier.
¿"Tell me" was the first issue written by Jagger and Richards?Yes, that was released in 1964. Of course, before there was "As Tears Go By," sung by Marianne Faithfull, and early in the year "It Should Be You" and "Will You Be My Lover Tonight?" For George Bean, "That Girl Belongs to Yesterday"for Gene Pitney, and "Shang a doo Lang" to Adrienne Poster.
¿Brian Jones never thought of composing?He composed. Could learn to play any instrument in less than twenty minutes."Paint it Black" would not have been possible without him. And much of Between the Buttons and Aftermath. The boy had talent, but also many problems that hindered its expression.
¿LP Aftermath is an experience marked by the drug?If so, then it was a good experience.
Did Brian Jones was exhausted in 1967? Was he much weaker than Keith Richards or was that much abused drug?Maybe he was sick, but would not say "exhausted". And if the drugs he was ill, in any case, physically. What I had was a sort of mental block, a lot of frustration when he began to glimpse a completely different concept of music to the Stones did. Some of it was in Joujouka LP recordings: The Pipes of Pan (1972).
Andres Caicedo interview with Andrew Loog Oldham
In addition to moviegoer, Andrés Caicedo was a consummate music lover. In a chance meeting, the writer Cali finished interviewing the former manager of one of his favorite bands, the Rolling Stones.
Chance brought me wonderful meeting with Andrew Loog Oldham on a street in Bogota in early December 1976. I was on a bus and I recognized in that figure pale, red-haired, lanky and immediately got off and went to meet him. I introduced myself as a big fan of the Stones and he said "Yes, who is not", and the next day elaborábamos the interview at the English Bar at the Hilton Hotel, where Andrew consumed liberal doses of whiskey and beer. He lives with Colombian actress Esther Farfan, and in those days thought back to London I do not know if you already did it. The following text is an excerpt of the interview (part of the book prepared on the Rolling Stones). -A. Caicedo
Why did you decide to sponsor the Rolling Stones had already finished your singing career?My singing career ended at age fourteen.
So what was that about the Andrew Oldham Orchestra, which produced LPs until 1967?More than one group, that was a producing organization. Were produced, some of my songs, albums Jeanne and The Redheads, television themes arrangements and two anthologies of the Rolling Stones. In those days I wrote to them, or helped write, "As Tears Go By" and "I'd Much Rather Be With The Boys". One must add, also, that the name Nanker Phelge, author of many blues of the Stones, was the pseudonym by which we choose when the composition was all. Brian had an interest in that.
How do you meet them?In a bar.
But in what circumstances.I came with two Irish friends, quite sturdy, and Keith fell to grace the red hair of us three. It could have been fixed fight, but turned out to be friendship. I worked in advertising, I had my own agency and they knew an awfully good group. We were of the same age and needed a manager who will drive things, and of course, I became very interested.
Does the rogue image of rock 'n' roll that have preserved the Rolling Stones was originally a preconceived thing, I mean, manipulative advertising, or was in the nature of each?I guess we are all scoundrels in this business, and the Rolling Stones are the only ones who have managed to take it. Now, I do not call them bastards. Keith can be harsh and even rude, but above all naughty. I like fun, does not mind the danger. Now, I knew his self-image was the opposite of which were broadcasting the Beatles.
But how can we explain that a superstar like Keith Richards, who is supposed to have reached a "status" of security in life, have yet to be armed? Stone is the most times has been arrested for possession of weapons ... and Mandrax ...Keith was exactly thirteen. From there to here has not changed a bit, to my knowledge.
The first number released was "Come on", is not it? Chuck Berry.Yes.
What that first season (1963) you thought the Stones would become as important as the Beatles? Does the Beatles compose for them "I Wanna Be Your Man" was your idea? Who?Oh, there are many questions there. First, it was no problem to become as important as the Beatles. They had their own phenomenon, and was created by youngsters from the lower middle class. The Stones' was always "funky music", music of the street. There was more sense of fun, raised the failure domain and poetic levels, although the administrative organization always ran well.
The Stones were young capital's, docks and dangerous areas in London. The Beatles were young provincial who came to conquer the capital. Now, we were always best at the scene. I may find more reasons fun in the production of the Beatles, because I know all their songs from the studio. But in the scene, the Stones have been better. In addition, the comparison almost can not do. The Beatles are four individuals in some cases, with nothing in common. After thirteen years, the Rolling Stones remain a group. "I Wanna Be Your Man" came about because, coming from Lennon and McCartney, could become a success. It was an idea of all.
Why Ian Stewart was not formally incorporated the group?You need a piano in the studio, but not necessarily at the scene. Ian Stewart I know for a long time. Moreover, it was the ugliest of all.
But Bill Wyman is also ugly.But his ugliness is more in line with the group's image. In addition, he impressed Mick and Keith, when he reached the first test with tremendous amplifier.
¿"Tell me" was the first issue written by Jagger and Richards?Yes, that was released in 1964. Of course, before there was "As Tears Go By," sung by Marianne Faithfull, and early in the year "It Should Be You" and "Will You Be My Lover Tonight?" For George Bean, "That Girl Belongs to Yesterday"for Gene Pitney, and "Shang a doo Lang" to Adrienne Poster.
¿Brian Jones never thought of composing?He composed. Could learn to play any instrument in less than twenty minutes."Paint it Black" would not have been possible without him. And much of Between the Buttons and Aftermath. The boy had talent, but also many problems that hindered its expression.
¿LP Aftermath is an experience marked by the drug?If so, then it was a good experience.
Did Brian Jones was exhausted in 1967? Was he much weaker than Keith Richards or was that much abused drug?Maybe he was sick, but would not say "exhausted". And if the drugs he was ill, in any case, physically. What I had was a sort of mental block, a lot of frustration when he began to glimpse a completely different concept of music to the Stones did. Some of it was in Joujouka LP recordings: The Pipes of Pan (1972).
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