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While the Beatles always had George Martin around to clean up their act, the Rolling Stones had Andrew Loog Oldham to coarsen theirs.

Jon Landau

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Jon Landau
Age: 77
Born: 1947
Born: May 14
Composer
Journalist
Music Critic
Record Producer
Talent Manager
the United States of America
Stones
Clean
Around
Always
Andrew
Beatles
Martin
Rolling
George

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I saw rock n' roll future and its name is Bruce Springsteen.
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Joni Mitchell seems destined to remain in a state of permanent dissatisfaction - always knowing what she would like to do, always more depressed when it's done.
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The early Bob Dylan was compulsively drawn to the conflict between stability and the search for immortality.
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The Rolling Stones have been the best of all possible worlds: they have the lack of pretension and sentimentality associated with the blues, the rawness and toughness of hard rock, and the depth which always makes you feel that they are in the midst of saying something. They have never impressed me as being kitsch.
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Sly Stone doesn't make good albums: only good records. His style is so infinite and revolves around so many crucial aspects that it has only come together perfectly on a handful of his singles.
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Carole King's second album, 'Tapestry,' has fulfilled the promise of her first and confirmed the fact that she is one of the most creative figures in all of pop music. It is an album of surpassing personal-intimacy and musical accomplishment and a work infused with a sense of artistic purpose. It is also easy to listen to and easy to enjoy.
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As a performing group, the Beatles began by playing old rock favorites, for dancing, to tough audiences in Liverpool and Hamburg. When they began writing seriously, they discovered that they couldn't compose in the early American rock tradition.
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Bob Dylan may be the Charlie Chaplin of rock n' roll. Both men are regarded as geniuses by their entire audience. Both were proclaimed revolutionaries for their early work and subjected to exhaustive attack when later works were thought to be inferior. Both developed their art without so much as a nodding glance toward their peers.
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The Rolling Stones are constantly changing, but beneath the changes they remain the most formal of rock bands. Their successive releases have been continuous extensions of their approach, not radical redefinitions, as has so often been the case with the Beatles.
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'Sing It Again Rod' touches all the solo bases since Stewart's departure from the Jeff Beck Band, wherein he cut his teeth on American audiences for $75 a week plus expenses, and wisely ignores his generally inferior work with the Faces.
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Elton John can be a master of the sleight of hand. The arrangements make it seem like there are substantial melodies underneath the tracks - but almost nothing demands repeated listenings. Similarly, he always sounds like he's singing up a storm, but his voice glosses over the material, reducing most things to an uninteresting sameness.
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One gets the impression that Elvis Presley does what his business advisors think will be most profitable. My advice to them: Put Elvis Presley in the studio with a bunch of good, contemporary rockers, lock the studio up, and tell him he can't come out until he's done made an album that rocks from beginning to end.
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When the Beatles cut old rock n' roll, they were recording music still in their performing repertoire, and besides, they never thought of the music as old.
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The only criticism heard with any frequency of Elton John's first American album, 'Elton John,' was that the production was too grandiose. The melodies were superb, and lyrics frequently very good, and the performances flawless.
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The Rolling Stones are violence. Their music penetrates the raw nerve endings of their listeners and finds its way into the groove marked 'release of frustration.'
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There is a 'patrician arrogance' to James Taylor that accounts in part for his popularity while it at the same time explains the critical resistance to his work.
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It didn't matter that Charlie Chaplin may not have been a great director or a great anything else. He made great movies.
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To her audience, Janis Joplin has remained a symbol, artifact and reminder of late Sixties youth culture. Her popularity never derived from her musical ability, but from her capacity to link her fantasies of freedom and immortality with ours.
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The Beatles never sounded intimidated by their idols. They never interpreted old rock they simply played it as well and as joyfully as they knew how. On 'Rock 'n' Roll,' John Lennon does nothing but interpret old rock.
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Bob Dylan was the source of pop music's unpredictability in the Sixties. Never as big a record-seller as commonly imagined, his importance was first aesthetic and social, and then as an influence.
Jon Landau