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Keith Richards  

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What can I say of Keith Richards that hasn't been said yet, the legendary guitarist and creative backbone of the rolling stones. I was privileged to attend a concert of the his and let me tell you that it was worth every penny spent. Even though I was only able to get seats almost all the way to the back of the venue it didn't matter as the vibe, this amazing musician was putting out could be felt from miles away.

We got to experience all the classic songs and I must add even though Keith is getting up there in years, I think he is like fine wine as he gets better and better as the years go by, never missing a beat and displaying tons of the energy.

In conclusion, I must say getting to witness one of this man's concerts should be on everyone's bucket list as we are probably the last generation that will get to experience this type greatness at it's finest.

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Keith Richards says The Rolling Stones are planning 2024 tour

"We're all in good fettle," he says

Keith Richards has confirmed that The Rolling Stones are planning to hit the road in 2024 in support of their first album of original material in 18 years, ‘Hackney Diamonds.’

The Rolling Stones last performed live in the summer of 2022 on their 60th anniversary Sixty tour, which took in 14 shows across Europe including Liverpool’s Anfield Stadium and two nights at London BST Hyde Park .

With their creative juices flowing, The Stones immediately hit the studio following the conclusion of the tour with esteemed Ozzy Osbourne producer Andrew Watt.

The resulting album, ‘ Hackney Diamonds ’, is released on Friday 20th October and it boasts the Planet Rock playlisted anthem ‘Angry’ and the Lady Gaga and Stevie Wonder collaboration ‘Sweet Sounds of Heaven.’

In a wide-ranging new interview with the BBC to promote ‘Hackney Diamonds’, Keith Richards said The Rolling Stones will take the album on tour next year, "if everybody is still standing."

"We're all in good fettle," Richards explained. "We're not looking at each other and saying, 'time's up'.”

Asked if he will ever consider retirement, Richards, who turns 80 in December, replied: "My answer is I'm not Nostradamus. Of course it's going to end some time, but there's no particular rush.

"We're having great fun doing this.”

Elsewhere in his interview with the BBC, Richards was asked whether his arthritis has affected his guitar playing.

"Funnily enough, I've no doubt it has, but I don't have any pain, it's a sort of benign version," he replied. "I think if I've slowed down a little bit it's probably due more to age.

"And also, I found that interesting, when I'm like, 'I can't quite do that any more,' the guitar will show me there's another way of doing it. Some finger will go one space different and a whole new door opens.

"And so you're always learning. You never finish school, man."

Rock stars honoured with statues, including Keith Richards:

Marc bolan statue in barnes, london.

In September 2002, a bust of legendary T. Rex singer Marc Bolan was unveiled at the location of the car crash that claimed his life aged 29. The T. Rex Action Group (TAG) launched Marc Bolan's Rock Shrine in 1997 (the 20th anniversary of his passing) with a memorial stone, and five years later the bronze sculpture of Bolan was revealed. It was paid for exclusively by T-Rex Action Group founder Fee Warner, sculpted by Canadian sculptor Jean Robillard, and unveiled by Bolan's son Rolan Bolan. The sculpture features lyrics from Tyrannosaurus Rex's 1968 song 'Child Star.'

Brian Johnson statue in Namur, Belgium

AC/DC vocalist Brian Johnson was immortalised in statue form in the Belgian city of Namur on 16th April 2023. The life-size statue made from Belgian Blue Stone commemorates Brian Johnson's first ever AC/DC concert, which took place at the city's Palais Des Expositions on 29th June 1980 four months after the death of Bon Scott. The fan-funded statue was the brainchild of AC/DC aficionados Michel Remy, Mike Davister and Georges Boussingault with support from the local radio station RTBF Classic 21. On the day of its unveiling, Brian Johnson said: "I'd like to say a very special thank you to all the donors and fans in Namur. It's a very special place for me. It was the first might I sang with AC/DC, and I was a very nervous boy. So that memory will stay with me forever, and now that you've built this statue, honestly, I'm not worthy of it. I thank you and I'll take it in good grace. I'll never forget what you've done for me."

Freddie Mercury statue at Lake Geneva

The iconic Freddie Mercury statue overlooking Lake Geneva in Montreux. Standing three metres high, the Irena Sedlecka sculpture was unveiled five years after Freddie's death by Montserrat Caballé and Freddie's mother Jer.

A close up of the incredible Freddie Mercury statue in Montreux.

Mick Jagger and Keith Richards statues

Rolling Stones frontman Mick Jagger and guitarist Keith Richards were honoured with statues in their hometown of Dartford, Essex on 9th August 2023. The bronze sculptures, named The Glimmer Twins in homage to Jagger and Richards' song writing partnership, are the creation of sculptor Amy Goodman. The statues capture both Jagger and Richards in the midst of live performance, and they were commissioned by Dartford Borough Council to celebrate two of the town's most famous former residents.

Keith Richards statue in Dartford

Mick jagger statue in dartford, rory gallagher statue in cork.

Irish blues-rock legend Rory Gallagher has been honoured twice with a statue. The first was unveiled in the newly renamed Rory Gallagher Place in Cork in 1997, and was created by local artist Geraldine Creedon. The unqiue bronze sculpture takes the form of a guitar on one side, while the other features overlapping Rory Gallagher song lyrics.

Rory Gallagher statue in Ballyshannon

Created by artist David Annand in 2010, this life-sized bronze statue of Rory Gallagher was unveiled in Ballyshannon town centre. Standing proudly at 7ft tall, beneath the statue are the opening lyrics from Rory Gallagher's 1979 song 'Follow Me', which read: "I want to plant a star on the sky / One you can find at the end of the night."

Ronnie James Dio statue in Bulgaria

After Dio's untimely death in May 2010, the metalheads on the town council of Kavarna in Bulgaria immediately commissioned a statue in his honour. It was unveiled in October of that year.

Bon Scott statue in Fremantle

On 25th October 2008, a bronze statue of Bon Scott was dedicated at Fremantle Fishing Boat Harbour in Western Australia, where the late singer was brought up. The life-size statue depicts Bon standing on top of a Marshall speaker. Bon is buried in the town's cemetery, and is apparently the most visited grave in Australia.

Phil Lynott statue in Dublin

Philomena Lynott poses with her son's statue on Harry Street in Dublin in 2013. Erected in 2005, the 2.4-metre bronze statue was repaired twice in 2013 after a motorist crashed into it and vandals knocked it off its plinth.

Jimi Hendrix statue in Isle of Wight

In honour of Jimi's fabled 1970 Isle of Wight Festival performance, a bronze statue was unveiled at Dimbola House in 2006. Created by John Swindells, the plaque comes with the Jimi quote "It's funny how most people love the dead, once you're dead you're made for life."

Elvis Presley statue in Mississippi

Such is his profound legacy there are numerous Elvis statues across the globe. However, arguably the most poignant is this statue of a 13-year-old Elvis outside the church he attended as a child in Tupelo, Mississippi.

Chuck Berry statue in St Louis

Sculptor Harry Weber's in-motion sculpture of Chuck is located right across the street from Blueberry Hill in St Louis. The late-great Chuck himself launched the sculpture in July 2011.

Frank Zappa in Baltimore

Launched in 2010, the statue of the musical maverick's head is situated right by Frank Zappa Way in Baltimore where he was born.

Johnny Ramone statue at Hollywood Forever Cemetery

Unveiled three months after Johnny's death in September 2004, the statue marks is burial site at Hollywood Forever Cemetery in California.

Buddy Holly statue in Clear Lake, Iowa

The creation of Michael Connor, a large steel set of Wayfarer-style glasses that were Buddy Holly's trademark are situated at the plane crash site near Clear Lake, Iowa where Buddy, Ritchie Valens, J. P. "The Big Bopper" Richardson & pilot Roger Peterson lost their lives in 1959.

Kurt Cobain statue in Washington

On what would have been Kurt's 47th birthday in February 2014, a statue was unveiled in the Aberdeen Museum of History, Washington as part of Kurt Cobain Day. The memorial featured a single tear rolling down Kurt's face prompting criticism from some quarters.

Freddie Mercury statue in London

This 20-foot high fibre-glass statue of Freddie Mercury that stood outside London's Dominion Theatre for We Will Rock You's 12 year run from 2002 to 2014. It now resides in Roger Taylor's back garden.

Bon Scott statue in Kirriemuir

Such is their adulation for the late singer, AC/DC fans themselves raised £45,000 to fund the life-size bronze statue of Bon Scott in his home town of Kirriemuir, Scotland. Created by John McKenna, it was unveiled by former AC/DC bassist Mark Evans in May 2016.

Jimi Hendrix nail statue

Created by Boris Deheljan from Belgrade, this uncoventional Jimi statue weighs 200 kilograms was made of 4000 screws and 40 kilograms of wire. It took six months to complete.

Lemmy statue at Rainbow Bar & Grill

The 6ft bronze Lemmy statue was unveiled at his favourite drinking establishment, West Hollywood's Rainbow Bar and Grill, on Wednesday 24th August 2016. Fans raised $23,000 to fund the sculpture.

David Bowie statue in Aylesbury

The fan-funded David Bowie 'Earthly Messenger' sculpture in Aylesbury was unfortunately was vandalised just hours after being unveiled in March 2018. Here the clean up operation is taking place.

Chris Cornell statue in Seattle

Chris Cornell's life-sized bronze sculpture at a ceremony at Seattle's Museum of Pop Culture. Commissioned by Chris' wife Vicky, the six-foot statue was created by sculptor Nick Marra and depicts the singer throwing a 'rock god pose' while clutching a perfectly detailed Gibson guitar. It was unveiled in October 2018 and sadly vandalised in 2020.

John Bonham statue in Redditch

The statue of the late Led Zeppelin drummer is located in Mercian Square in Bonham's birthplace of Redditch. Created by sculptor Mark Richards and unveiled on what would have been Bonham's 70th birthday on 31st May 2018, the vast bronze sculpture weighs around 2.5 tonnes and depicts Bonzo in live action behind the drum kit.

The Beatles statues in Liverpool

The bronze statues of all four members of The Beatles – John Lennon, Paul McCartney, Ringo Starr and George Harrison – were unveiled on Liverpool's Waterfront in December 2015. Donated by The Cavern Club, the statues were created to mark the 50th anniversary of the Fab Four's last gig in Liverpool at The Liverpool Empire. Slightly larger than life, the statues way a combined 1.2 tonnes! John Lennon is also honoured with a statue on Mathew Street and at John Lennon Airport.

Buddy Holly statue in Texas

Created by sculptor Grant Speed in 1980, a huge 8.5-foot-tall bronze statue of Buddy Holly playing a Fender guitar resides in his hometown of Lubbock, Texas. The sculpture was created to mark the 50th anniversary of Buddy Holly's untimely death in 1959 - The Day the Music Died.

Stevie Ray Vaughan statue in Austin, Texas

Late-great Double Trouble blues rocker Stevie Ray Vaughan is immortalised with a bronze statue on the shore of Lady Bird Lake in Austin, Texas near to the location of his last concert in the city. It was opened in 1994, four years after Vaughan's death, and was created by sculptor Ralph Helmick.

Jimi Hendrix statue in Seattle

Depicting Jimi Hendrix throwing an iconic pose and playing a Fender Stratocaster, the life-size Jimi statue is named The Electric Lady Studio Guitar and it's located in the Capitol Hill neighbourhood of Seattle. It's the work of sculptor Daryl Smith.

Phil Lynott statue in West Bromwich

A Phil Lynott statue was unveiled in his birthplace of West Bromwich on what would have been the Thin Lizzy legend's 72nd birthday on Friday 20th August 2021. The monument stands at six feet tall and features a large metal plinth featuring the words: 'Phil Lynott. Son of West Bromwich. Born in this town. 20th August 1949.' On top of the sizable plinth is a bust of Phil Lynott made from bronze and galvanized steel. The whole monument was created by local sculptor Luke Perry.

Freddie Mercury statue in Jeju, South Korea

A 5ft 9in statue of Freddie Mercury standing on the shoreline in Jeju, South Korea. The figure cost over £28,000 to make and was the labour of love for businessman and Queen fan Baek Soon-yeob, who emailed the band every month for 8 years to seek their permission.

Lemmy statue at Hellfest

A colossal statue of Motörhead legend Lemmy was unveiled at French metal festival Hellfest in Clisson, France in June 2022. Created by French artist and sculptor Caroline Brisset (pictured), the impressive statue was created from steel and concrete, and it replaces the previous Lemmy statue at Hellfest that was erected six years ago.

Till Lindemann statue in Germany

Created by animator and designer Roxxy Roxx, this 40-kilogram statue of Rammstein frontman Till Lindemann was unveiled outside the singer's childhood home in Rostock, Germany on 3rd January 2023. Unveiled to coincide with Lindemann's 60th birthday the following day, the statue was stolen just hours after it was erected.

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Keith Richards Talks Farewell Tours & New Rolling Stones U.S. Trek: ‘Maybe This Will Be the Last One, I Don’t Know’

Rolling Stone interviewed Keith Richards about new leg of The Rolling Stones' stadium tour 'No Filter'.

By Shelby Reitman

Shelby Reitman

Rolling Stone interviewed Keith Richards about the new leg of The Rolling Stones’ No Filter stadium tour. With a career spanning more than 50 years, the legendary guitarist is still amazed at the band’s longevity.

When asked how Charlie Watts , 77, is still able to drum, Richards simply replied, “That is just Charlie. That’s what’s so amazing about the man. It’s my privilege to play with Charlie Watts.”

This is their first U.S. tour since the Zip Code tour in 2015. The Rolling Stones first toured the U.S. in 1964 and traveled around in a station wagon. “America was a very different place in the middle ’60s,” he told Rolling Stone . “Quite honestly, I can’t believe I’ve been around this long, man. I’ve watched this country grow up.”

Mick Jagger Tears it Up on Harmonica in 'New Tunes' Tease: Watch

Trending on billboard.

The iconic band is not necessarily slowing down though. Richards teased a potential new album with a possible release next year after the tour. He and Mick Jagger are in the “early stages” of working on songs .

“Mick and I got together for a few days a month or so ago in the studio, just playing around,” he said.

While Richards admits that he never really knows if a tour will be his last (“Maybe this will be the last one, I don’t know”), he has not thought about a farewell tour yet.

“It’s what I do, man,” he said on playing. “Give me 50,000 people and I feel right at home. The whole band does. As Ronnie and I often say before we go on, ‘Let’s get onstage and get some peace and quiet.’”

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Watch Keith Richards Reunite With the X-Pensive Winos at New York Benefit

By Andy Greene

Andy Greene

Keith Richards reunited with the X-Pensive Winos at New York’s Beacon Theater on Thursday night for the Love Rocks benefit, marking one of their only performances since the conclusion of their 1993 American tour. The event raised money for God’s Love We Deliver and also featured appearances from Mavis Staples, Hozier, Warren Haynes, Melisas Etheridge, and Jackson Browne.

Richards and the Winos were introduced by Laurence Fishburne. He spoke about his love of the blues and how the Rolling Stones introduced him to Muddy Waters, Chuck Berry, Little Walter, and John Lee Hooker. “It just really kind of connected me to something,” he said. “This blues music, it really is everybody’s music. Everybody gets the blues, man. Everybody. There are a lot of people in the world out there suffering. We’re going to kick it off.”

They began set with “999” from the group’s 1992 LP Main Offender, which is being re-released later this month as a deluxe package. They followed it with “You Got the Silver” from the 1969 Stones LP Let It Bleed and closed out with “Before They Make Me Run” off Some Girls . Check out pro-shot footage of there set right here.

The band featured guitarist Waddy Wachtell, drummer Steve Jordan, and keyboardist Ivan Neville. Winos bassist Charley Drayton is currently Bob Dylan’s drummer and they had a gig in Irving, Texas, so Will Lee handled his bass parts. Richards dubbed him an “honorary Wino” for the evening.

The Winos came together in 1987 to back Richards on his solo debut Talk Is Cheap . They toured in 1988 and again 1992 following the release of Main Offender. Their shows focused on Winos originals and Stones songs that Richards originally sang, though they did play a rendition of “Gimme Shelter.”

Richards set the Winos aside once the Stones ramped up for Voodoo Lounge in 1994. He remained very close with the members, and Jordan was brought into the Rolling Stones last year to replace the late Charlie Watts.

Love Rocks was billed as their first performance in 30 years, although they did play “Happy” and “Gimme Shelter” at the Apollo Theater’s Great Night in Harlem Benefit in 2015. This was, however, their first time playing an original Winos song since 1993.

The Stones have yet to officially announce plans for their 60th anniversary this year, but there are strong indications that the band is planning a European tour.

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Watch Keith Richards Sing New Rolling Stones Songs Live for the First Time Ever

by Matt Friedlander May 27, 2024, 4:21 pm

The Rolling Stones played the latest show of their tour in support of their 2023 album Hackney Diamonds on Sunday, May 26. The show took place at MetLife Stadium in East Rutherford, New Jersey. During the concert, the band treated fans to the first-ever live performance of its new song “ Tell Me Straight .”

Videos by American Songwriter

“Tell Me Straight” is the only song on Hackney Diamonds that features guitarist Keith Richards on lead vocals. The performance came about halfway into The Stones’ 19-song set. Mick Jagger introduced Richards, who stepped up to the mic and commented, “I’m gonna try a new one tonight off of Hackney Diamonds . It’s called ‘Tell Me Straight.’”

[Buy Rolling Stones Concert Tickets]

The melancholy tune, which appears to be about a strained romantic relationship, showcased Richards’ reedy vocals as he strummed and picked some minor chords. Ronnie Wood also delivered a sparse, melodic guitar solo. You can check out fan-shot video of the performance on YouTube .

The Stones Gave Three Other Songs Their Tour Debut Sunday

The May 26 concert also featured three songs that the band played for the first time on the current tour. The tunes were “B*tch” from Sticky Fingers (1971), “Doo Doo Doo Doo Doo (Heartbreaker)” from Goats Head Soup (1973), and “Midnight Rambler” from Let It Bleed (1969).

[RELATED: Watch Mick Jagger Belt out a Blake Shelton Tune to Seattle Crowd at The Rolling Stones Concert]

According to Setlist.fm , the last time The Rolling Stones performed the respective songs in concert were in July 2002 in Laken, Belgium; November 2021 in Dallas; and August 2022 in Berlin, Germany. “Doo Doo Doo Doo Doo” was the song chosen for The Stones to play by a fan vote.

More About the May 26 Concert

Besides “Tell Me Straight,” The Stones played three other songs from Hackney Diamonds at the New Jersey concert. Those tunes were “Angry,” “Whole Wide World,” and “Sweet Sounds of Summer.”

The May 26 concert was the second of two shows The Stones played at MetLife Stadium, following a gig on May 23. The band’s next concert is scheduled for Thursday, May 30, at Gillette Stadium in Foxboro, Massachusetts.

About The Rolling Stones’ Upcoming 2024 Tour Dates

The Rolling Stones’ Hackney Diamonds tour is plotted out through a July 21 concert in Ridgefield, Missouri .

Tickets for the shows are available now via various outlets, including StubHub .

When you purchase through links on our site, we may earn an affiliate commission.

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Rolling Stones 2024 tour with Mick Jagger, Keith Richards includes Florida. How to get tickets

• Oops! Something went wrong. Please try again later. More content below

The Rolling Stones are rolling into Florida.

The revered rockers announced concert dates and locations for their 2024 "Hackney Diamonds" tour on Tuesday.

A post on the band's X (formerly Twitter) page reads, "The news you have all been waiting for − the Rolling Stones are hitting the road again! We are thrilled to announce the Stones Tour 2024 Hackney Diamonds!"

Mick Jagger , Keith Richards and Ronnie Wood will take off on a U.S. tour of 16 cities beginning on April 28, 2024, including one stop in Florida.

The news you have all been waiting for - the Rolling Stones are hitting the road again! We are thrilled to announce the Stones Tour 2024 Hackney Diamonds! Enter your details here: https://t.co/Qe7HyMa6ML to access the fan presale that starts Weds 29 Nov. General onsale commences… pic.twitter.com/t0CNdQ2qkW — The Rolling Stones (@RollingStones) November 21, 2023

Rolling Stones in Florida? Band to perform at Camping World Stadium in Orlando

The Rolling Stones' tour includes a stop at downtown Orlando's Camping World Stadium where they're scheduled to hit the stage at 8 p.m. Monday, June 3, 2024, according to the stadium website .

If you're counting down to the concert date, here's a clock to help:

How much are tickets for Rolling Stones 2024 'Hackney Diamonds' U.S. tour?

Tickets for the Rolling Stones 2024 tour go on sale at 10 a.m., Dec. 1, 2023, on ticketmaster.com . Prices have not yet been announced.

AARP members get presale access to Rolling Stones concert tickets

AARP members can get early access to Hackney Diamonds tour concert tickets with a presale that begins Nov. 29, 2023.

Not a member? For its Black Friday promotion , AARP is offering 43% off its annual rate of $16 when you sign up for a 5-year membership.

According to its website, AARP is dedicated to people over 50 and some benefits have age requirements, but all ages can join. The site doesn't specify whether members under 50 would be eligible for the presale.

Rolling Stones 2024 Hackney Diamonds Tour concert dates

The Rolling Stones will play the following dates across the U.S. in 2024:

April 28: NRG Stadium, Houston

May 2: Jazz Fest, New Orleans

May 7: State Farm Stadium, Glendale, Arizona

May 11: Allegiant Stadium, Las Vegas

May 15: Lumen Field, Seattle

May 23: MetLife Stadium, East Rutherford, New Jersey

May 30: Gillette Stadium, Foxboro, Massachusetts

June 3: Camping World Stadium, Orlando, Florida

June 7: Mercedes-Benz Stadium, Atlanta

June 11: Lincoln Financial Field, Philadelphia

June 15: Cleveland Browns Stadium, Cleveland

June 20: Empower Field at Mile High, Denver

June 27: Soldier Field, Chicago

July 5: BC Place, Vancouver, British Columbia

July 10: SoFi Stadium, Los Angeles

July 17: Levi’s Stadium, Santa Clara, California

How old are the Rolling Stones?

Mick Jagger is 80, Keith Richards is 79 and Ronnie Wood is 76 years old.

This article originally appeared on Fort Myers News-Press: Rolling Stones Hackney Diamonds tour: Camping World in Orlando on list

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Keith Richards Finally Gets A Second Song at Las Vegas Rolling Stones Concert

by Paul Cashmere on May 13, 2024

The Rolling Stones have obviously been checking the fan comments on their current Hackney Diamonds US tour with two obvious changes to the setlist.

At the fourth show of the tour in Las Vegas on Saturday night Keith Richards finally doubled his lead vocal output with the ‘Let It Bleed’ gem ‘You Got The Silver’ added to the set as a double play with Keith’s ‘Tattoo You’ blues beat ‘Little T&A’.

In the previous three shows Keith was only performing ‘Little T&A’ causing fans to ask about what happened to his usual two song spotlight moment.

‘You Got The Silver’ was only performed for the first time by The Stones on 25 January 1999 on the No Security tour. It popped up again on ‘A Bigger Bang’ tour of 2006/2007 and then again in 2013 for ’50 & Counting’. It also got occasional play on ‘America Latina Ole’ in South America in 2016 and occasionally on the tours since then.

The Vegas show also included Hackney Diamonds tour first timers ‘Get Off My Cloud’, ‘Lets Spend The Night Together’ and ‘You Got Me Rocking’.

The usual three ‘Hackney Diamonds’ songs were ‘Angry’, ‘Mess It Up’ and ‘Sweet Sounds of Heaven’.

The Rolling Stones setlist, Las Vegas, 11 May 2024

Start Me Up (from Tattoo You, 1981) Get Off of My Cloud (from December’s Children (and Everybody’s) (1965) Let’s Spend the Night Together (from Between The Buttons, 1967) Angry (from Hackney Diamonds, 2023) Like a Rolling Stone (from Stripped, 1995) You Got Me Rocking (from Voodoo Lounge, 1994) Mess It Up (from Hackney Diamonds, 2023) Tumbling Dice (from Exile On Main Street, 1972) You Can’t Always Get What You Want (from Let It Bleed, 1969) You Got the Silver (from Let It Bleed, 1969) Little T&A (from Tattoo You, 1981) Sympathy for the Devil (from Beggar’s Banquet, 1968) Honky Tonk Woman (single, 1969) Miss You (from Some Girls, 1978) Gimme Shelter (from Let It Bleed, 1969) Paint It Black (from Aftermath, 1966) Jumping Jack Flash (single, 1968)

Sweet Sounds of Heaven (from Hackney Diamonds, 2023) I Can’t Get No Satisfaction (single 1965)

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Tagged as: 60s , 70s , Hackney Diamonds , rock , Rolling Stones , UK , US tour

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Home » Guitarists » Keith Richards Guitars and Gear List (2024 Update)

Keith Richards Guitars and Gear List (2024 Update)

The Rolling Stones were one of the pioneer bands that defined early British rock and roll in the 1960s, to the point they were, laughably, considered too old for the game when they embarked upon the record-breaking Steel Wheels tour in the 1980s. Forty years after the snide “steel wheelchairs” jokes have been long forgotten, the Rolling Stones endure, symbolic of the longevity of rock and roll itself.

From their humble early days in London’s blues clubs to the dizzying heights of the Stones’ juggernaut stadium tours, Keith Richards is perhaps rock and roll’s truest survivor. In this list, we take a look at the guitars and gear most associated with Richards over the years. Keith Richards is an avid guitar collector. Supposedly, he owns over three thousand instruments. Of his massive collection, Richards says “I have 3,000 guitars and only one pair of hands. It’s an incredible collection of instruments but I only play about 10 of them”.

What Guitars Does Keith Richards Play?

Keith Richards is most know for playing vintage Fender Telecaster guitars, most notably his 1953 Butterscotch Tele, known as “Micawber”, which Richards was given as a birthday gift from Eric Clapton. Undoubtedly, Richards has played more guitars than anyone could count.

See the list below of the most notable Keith Richards guitars and gear below.

1953 “Micawber” Fender Telecaster

This customized Telecaster is arguably the guitar most associated with Keith Richards. Nicknamed for a character in Charles Dickens’ David Copperfield, the “Micawber” Tele remains Keith Richards’ number one instrument to this day. It’s been in his possession since the 1970s and is one of Richards’ main stage guitars to this day. If enduring over fifty years in Keith Richards’ hands isn’t a testament to the durability of Fender’s instruments, nothing is!

Richards initially picked up this Telecaster in 1970. Perhaps in recognition of the ‘59 Les Paul Richards lent him a few years beforehand, Eric Clapton gave Keith Richards this Telecaster for his 27th birthday . Richards took an immediate shine to the instrument, although at the time it still had two stock Fender single-coil pickups in it.

This was the form in which “Micawber” appeared on The Rolling Stones’ massive album Exile on Main Street. Richards removed the low E string from the guitar and tuned the guitar to open G (that is, G-D-G-B-D) to record the album, and liked the sound so much he never put an E string back on it. The open G tuning became something of a signature for Keith Richards and the Rolling Stones, appearing on all subsequent albums, as did “Micawber” itself.

In 1972, Keith made further changes to this Telecaster. Unhappy with its country twang, he wanted a fatter, more rounded sound. With Mick Taylor in the band, he needed a guitar that would keep his rhythm playing effectively competitive with Taylor’s Les Paul and SG guitar heroics.

Richards’ solution was to take a Gibson PAF pickup and place it in the Telecaster’s neck position. The PAF, of course, was the pickup found in Gibson’s iconic 1950s guitars, such as Richards’ own Les Pauls. Interestingly, he put the humbucker into his guitar backward, reversing its pole positions, giving the instrument far more treble and bite than one would normally expect from Gibson’s PAFs.

One theory is that the guitar’s pickup selector is simply placed backward, a prank not beyond Keith. Another interesting hypothesis is that both the instrument’s pickups are always on, and its tone knob blends the single-coil bridge pickup, not unlike the blend knob on Richards’ 1957 Les Paul Custom.

The 1953 Telecaster represents Leo Fender’s mass-production approach to guitar building. Individual Telecaster parts were built separately and assembled on a production line. It featured a lightweight ash body, equipped with an easily removed Bakelite pickguard for easy access to the guitar’s electronics.

The bolt-on neck is a solid piece of maple, with a finished maple fretboard. The neck lacking a discrete fingerboard contributes to the Telecaster’s bold, sustaining tone. The Telecaster has a characteristically small headstock, around the width of the guitar’s fretboard. This small headstock, as opposed to the larger Stratocaster headstock, allows the length of string beyond the guitar’s nut to remain straight, assisting in tuning stability.

Although the guitar is showing significant wear due to its age and heavy use. Keith uses it for the classic Stones open-G songs, such as “Brown Sugar” and “Honky Tonk Women”.

1975 Fender Telecaster Custom

When the Rolling Stones appeared with new lead guitarist Ronnie Wood in 1975, Keith was playing a new guitar to match his new partner in crime. The 1975 Telecaster Custom made its first appearance during the Stones’ 1975 Tour of the Americas, and it became a mainstay on Richards’ touring rig for many years to come.

Interestingly, the Telecaster Custom came about through an attempt by Fender guitars to do what Keith Richards did on his own: equip a Fender guitar with a Gibson humbucker. The original Telecaster neck pickup lacked the power of a humbucker, and so Fender unleashed the Tele Custom.

As part of Fender’s attempt to enter the Gibson-dominated humbucker market, they enlisted Seth Lover, who had been involved in the development of Gibson’s original humbuckers. The resulting Fender Wide Range humbucker is optimized for Fender guitars, with a bright, thumping sound.

Richards’ Telecaster Custom has, like its other siblings, a maple neck with a maple fretboard. Its alder body is supposedly slightly heavier than that of a standard model, a claim that Richards put to the test in 1981. When an overzealous fan rushed the stage, Richards showed no hesitation in swinging his six-string like an axe. The guitar stayed in tune and Richards was able to finish the song.

1954 “Malcolm” Fender Telecaster

Initially a backup to Keith’s beloved “Micawber”, Malcolm eventually carved out a niche of its own. The number two Telecaster first appeared around 1972, adorned with a Rolling Stones logo sticker. At first glance, it appears almost identical to the 1953 Butterscotch Tele, but a closer look reveals that “Malcolm” boasts a visible wood grain that is lacking in its elder brother. Like “Micawber”, its stock neck pickup was replaced by a meatier Gibson PAF in the mid-70s, giving Keith two guitars with extremely broad tonal possibilities.

The PAF, as with “Micawber” has appeared both in rotated and standard configurations, likely shifted to suit Keith’s own tonal preferences. The 54 Telecaster is typically tuned to open G, just like “Micawber”, but is used for songs that can be played in B, with a capo on the Telecaster’s fourth fret. This can be seen most prominently in the live performances of “Jumpin’ Jack Flash”

As Keith’s number two Telecaster, “Malcolm” is set to many of the same specifications as “Micawber”, not least the aforementioned five-string open G tuning. It may well have the same mysterious internal wiring setup as its elder brother, but as with “Micawber”, confirmed reports of the guitar’s innards are non-existent.

The 54 Telecaster is rather similar to the 53 , including a solid maple neck with finished maple fretboard, ash body, and the traditional small Telecaster headstock. The major difference between the two is “Malcolm’s” less worn painting.

Keith Richards still uses “Malcolm” live as the capo-equipped second-in-command to “Micawber”. It’s used for “Jumpin’ Jack Flash”, as above, and Keef often plays this guitar for “Happy” and “Tumbling Dice”. This is easily one of the most iconic Keith Richards guitars of all time.

1962 Epiphone Casino

When the Rolling Stones descended upon the United States in 1964’s first British Invasion , Keith Richards had two main guitars under his belt. A Harmony Meteor, and this Epiphone Casino from 1962. The Casino, unlike the Gibson 335, is fully hollow, without a center block. Its hollow construction and dual P90 pickups can generate significant feedback, but in 1964 few players were using enough volume or distortion for this to be an issue.

Keith’s Casino was an extremely early model, built-in only the second year of the Epiphone Casino’s production . Accordingly, it featured a Gibson-style open book headstock, a feature that was quickly removed when Epiphone became Gibson’s “budget” line of guitars. It was produced in Gibson’s flagship Kalamazoo factory and displays all the craftsmanship that one might expect from such a prestigious establishment.

Keith’s Casino would feature a spruce top, as opposed to the laminated maple top of later Casino models. To further distinguish this Casino from its descendants, it has a pearl inlay logo, pearl trapezoid inlays in the rosewood fretboard, and a Trem-o-tone tailpiece. This tailpiece distinguished the Casino from earlier trapeze tailpiece models, as well as later ones that featured a Bigsby.

Keith Richards’ Casino would have featured a maple body with the aforementioned spruce top, and most likely a mahogany neck to balance out the bright, jangly tone this wood combination produces.

Keith Richards used his Casino extensively from 1964-1966, preferring its aggressive, snarling tone for the Stones’ massive hit “Satisfaction”, some sources even point out this along a misc acoustic were used to write the song.

1957 Gibson Les Paul Custom

One potential reason for Keith Richards parting ways with his Les Paul Standard at a time was his acquisition of a luxurious Les Paul Custom. This model is also known in his catalog as the “Paint it Black” LP. During the sixties, it was still considered a superior instrument to the Les Paul Standard in every possible way, it had yet to attain its “holy grail” status.

Richards bought this guitar sometime in 1966 and used it extensively through the Rolling Stones’ hectic touring schedule of that year. The Les Paul Custom made its first notable appearance during the Rolling Stones’ late 1966 performance on the Ed Sullivan Show.

In 1967, however, Richards and the Rolling Stones’ bad-boy reputation caught up with them, and this guitar’s story became more interesting. Some claim that Richards’ Les Paul Custom was actually stolen in 1967, although this does not line up with the Rolling Stones’ touring schedule of the time. In fact, Richards appeared with this Les Paul frequently during the band’s performances all throughout 1967.

In early 1967, Keith Richards found himself on the wrong side of the law. The police busted him at a party in Sussex with a suitably copious amount of drugs for a rock star of Richards’ stature, and he was staring down the barrel of serious incarceration.

Richards was sentenced to a year in prison, although he was granted bail after a mere twenty-four hours behind bars. Good behavior demands prevented the Rolling Stones from getting up to much, and Richards took to expressing his creativity on the guitar in an entirely different manner.

Along with his girlfriend Anita Pallenberg, Richards took to his Les Paul Custom armed with pens and paint, adorning the instrument in a unique psychedelic paint job fit for the late 60s. This is the form in which Richards’ guitar appeared for the Rolling Stones’ 1968 film Sympathy for the Devil, and the guitar was used in the studio for Beggars Banquet and Let it Bleed.

This Les Paul Custom, like others of its era, has a solid mahogany body and set mahogany neck. Although the Met erroneously reports its fretboard as rosewood, Gibson did not use rosewood on their premium Custom line during the 1950s. It’s almost certain that this guitar’s fretboard is ebony, with mother-of-pearl fret inlays.

It features three Gibson PAF pickups and a unique control setup. Like the two-pickup Les Paul, it has four control knobs, but one of the knobs only controls the volume of the guitar’s middle pickup. The pickups selector, in either bridge or neck position, will turn on either the bridge or neck pickup as well as the middle pickup. This creates an extremely broad tonal palette for the instrument, enabling Richards to achieve both the honking and shimmering tones for which he was famous in the 1960s.

The guitar was likely stolen in Nice, France, when the Stones were recording Exile on Main Street. The Les Paul Custom eventually wound up in the possession of a guitar collector, and it currently lives at the New York Met Museum .

Harmony Meteor

Keith’s main guitar for the Stones’ early years was this Harmony Meteor . This was a low-budget single-cutaway guitar made in the USA. Richards used this Meteor extensively for the first few years of the Stones’ career, and it appeared regularly in TV spots and in Rolling Stone’s live performances.

The Harmony Meteor, like Richards’ Casino, was a hollow-bodied electric with a spruce top. It featured twangy gold foil DeArmond pickups, which produced the biting, jangling tone popular among British guitar groups of the early Sixties. The Meteor featured a maple body beneath a spruce top, coupled with a maple neck. The Harmony also had a rosewood fretboard and a trapeze-style tailpiece reminiscent of early Gibson guitars.

The Harmony company went bust in the 1970s due to competition from low-end foreign brands and the near-saturation in the high-end market enjoyed by Gibson and Fender. Mirroring this was Keith Richards’ retirement of his Harmony Meteor, which he increasingly rotated upon purchasing a 1959 Gibson Les Paul.

1959 Gibson Les Paul Standard

Considered by many to be the greatest electric guitar ever built, the 1959 Gibson Les Paul Standard is perhaps the only instrument as indelibly associated with rock and roll as the Rolling Stones themselves. It’s fitting, then, that Keith Richards would proudly own and play a ‘59 Standard.

Richards first bought this guitar in London, way back in 1964. It had previously belonged to guitarist John Bowen, who played with Mike Dean and the Kinsmen. Bowen added a Bigsby vibrato to the Les Paul, replacing its stock stop tailpiece. Bowen eventually traded this guitar for a Gretsch, and it made its way to Keith Richards.

Richards’ Les Paul Standard represents the pinnacle of Gibson’s solid-body guitar construction. The Les Paul Standard featured a solid mahogany body with none of the weight relief or chambering that came with later models. This body was topped with a solid maple cap, to brighten up the Les Paul’s dark tone and give it plenty of snap and articulation. The neck, like the body, was solid mahogany, with a rosewood fretboard and binding on the sides. Mother of pearl trapezoid inlays adorned the fretboard as did a mother of pearl Gibson logo on the headstock. The ‘59 Les Paul featured Gibson’s famous PAF (Patent Applied For) pickups, which provide sweet, clear tones at low volume and all the roar and snarl of early British rock and roll when run through a cranked Marshall amp.

Keith Richards, generous by nature, often lent this guitar to his six-string-slinging friends. Both Jimmy Page and Eric Clapton borrowed this guitar for studio work or performances, but it was his friend and future bandmate Mick Taylor who eventually tempted the guitar away from Richards in 1967.

Incredibly, considering the enormous value and build quality of this Les Paul, Richards sold it to Mick Taylor, then playing lead guitar with John Mayall’s Bluesbreakers. Two years later, the 1959 Les Paul Standard returned to the Stones fold along with its new owner, who replaced Brian Jones on lead guitar. Mick Taylor played this guitar extensively during his tenure with the Rolling Stones, including at their infamous Altamont performance. While Mick Taylor was with the Rolling Stones, he often let Keith play his old guitar, as can be seen in concert footage from the Altamont gig.

Sadly, the Les Paul was stolen alongside some of the Rolling Stones’ other equipment in 1971. Some believe the robbery took place at London’s Marquee club, while others believe it happened during the recording of Exile on Main Street. Regardless, it eventually found its way to Cosmo Verrico of the Heavy Metal Kids. Whitesnake’s Bernie Marsden then bought the instrument from Cosmo. It clearly didn’t suit Whitesnake, because it quickly changed hands once more, this time finding its way to Mike Jopp of British jazz-rock outfit Affinity.

Keith Richards’ 1959 Les Paul stayed with Jopp until around 2003 when Jopp sold it to a collector. The guitar moved around between various guitar collections in the US for a few years, including one notable sale for one million US dollars. Its current owner is unknown, although it’s assumed that the Les Paul remains with a guitar collector.

1965 Gibson Firebird VII

Keith Richards and mid-60s Rolling Stones lead guitarist Brian Jones used a pair of matching Firebirds during the band’s clean-cut days. Long before Keith Richards dabbled in makeup, shag haircuts, and heroin, he was clean-shaven in tailored suits, and the Firebird’s Fender-esque shape was the most outlandish thing about the Rolling Stones.

It was on the Firebird that Keith Richards recorded the iconic fuzz-fueled opening riff to “(I Can’t Get No) Satisfaction”, and it appeared sparingly throughout the 1960s. At the time, the sound of Richards’ Firebird was there to fill the space that would, ultimately, be filled by a horn section. In the end, the Gibson Firebird’s honking saxophone-like tone was enough, and the song worked its way into the annals of rock and roll history.

Supposedly, There are erroneous claims that the Firebird was stolen, but in various photos, Keith Richards can be seen either playing his old sunburst Firebird or a guitar very much like it right now in 2021.

The Firebird, unlike Gibson’s SG and Les Paul, uses Roman numerals to denote different models, as opposed to the traditional “Standard” or “Custom” designation. The Firebird VII’s distinctive shape, designed by retired Ford and Chrysler designer Ray Dietrich, was reminiscent of the old-school American cool of classic cars and the offset guitars designed by Gibson’s greatest rival, Fender.

The Firebird VII features neck-through-body construction. That is, the neck and the center of the body are a single piece of wood, to which the guitar’s bouts are attached. The neck is a solid block of mahogany, with a bound ebony fretboard. Both the “wings” are mahogany, and the guitar features three custom Firebird mini-humbuckers. These boasted more punch and aggression than the more treble-heavy mini humbuckers that Gibson later put into its Les Paul Deluxe line. Other distinguishing features on this premium instrument include tune-o-matic bridge, ‘leaf-and-lyre’ Deluxe vibrato, gold hardware, and banjo-style tuners on the guitar’s six-a-side headstock.

From the above picture, it seems that Keith Richards either still owns his “Satisfaction” Firebird, or a vintage Firebird VII almost exactly like it.

Gibson Les Paul Junior “Dice”

Keith Richards is occasionally spotted playing this TV Yellow Les Paul Junior. With dual cutaways and a single P90 pickup, the Les Paul Junior is a no-frills rock machine. In a similar finish to his preferred Telecasters, Richards’ Les Paul Junior appeared in the 1970s.

Gibson’s Les Paul Junior line came into being in the late 1950s. Gibson wanted to extend their reach to beginner guitarists and created a solid-bodied electric guitar with none of the expensive premium features that graced their Custom line.

The Les Paul Junior is a flat piece of mahogany with one pickup and two controls for that pickup. Its neck is another slab of mahogany and its rosewood fretboard is adorned with dot inlays. The cost-saving measures of the Les Paul Junior did not, however, compromise on its tone. Early adopters figured out that the P90’s sound is neither Gibson humbucker nor Fender single-coil, but a pleasant middle ground. It was likely this unique tone that drew Richards to what was considered a student guitar when he was already a professional touring musician.

Keith Richards owns several Les Paul Juniors, in both single and double cutaway configurations. At least one is in deep red mahogany color, but the rest are all TV Yellow. Richards’ main Junior is a 1960 model nicknamed “Dice” for the Rolling Stones song “Tumbling Dice”. It sports a tortoiseshell pickguard and Telecaster-style control knobs. He reportedly used the Junior to record “Start Me Up”, doubling the Gibson with one of his open G Telecasters.

Richards plays “Dice” in the below performance of “Midnight Rambler”. It remains a steady feature in his live arsenal to this day, a true road warrior like his Telecasters.

Zemaitis 5-string “Macabre”

This distinctive Les Paul-style guitar was built for Keith by British luthier Tony Zemaitis in 1974. Zemaitis was already making guitars for new Stones man Ron Wood, and this relationship led to the creation of this piratical single-cutaway guitar.

The Zemaitis boasted a single PAF pickup, placed in the middle of the guitar’s body as opposed to at the bridge or neck. This gave it a distinctive tone and Built with only five strings, it was one of Keith Richards’ main open G guitars from 1974 until 1978. Sadly, this custom-built instrument was destroyed in a house fire in 1978.

Timetable Showing Each Guitar Keith Richards Has Played at Each Point of His Career

Keith richards amps overview.

Keith Richards’ three-thousand-strong guitar arsenal wouldn’t be doing much without amplifiers to match. His distinctive tone, chiming, full, and resonant, is more dependent on clean bluesy amplifiers than many of his rock and roll contemporaries. When most of his blues and rock contemporaries became Marshall loyalists, Keith preferred the sparkling clean tones of American-made Fender amplifiers. The distinctive high headroom, note separation, and touch response of high-wattage Fender amps can be heard all over the Rolling Stones’ early records.

Keith Richards’ playing style, where he often plays five-note chords with sixths and fourths, depends heavily on the listener being able to discern individual notes. Instead of heavy distortion or crunch, Richards prefers a “breakup” tone, where the guitar remains clean when played softly, and takes on a thicker slightly overdriven tone when played hard.

Fender Dual Showman

Keith picked up this amplifier way back in 1964, and it came to define the early sound of the Rolling Stones. Early Stones guitar tones were sparkling and clean, the sax-like tone on “Satisfaction” notwithstanding. Keith played an early “blackface” showman throughout the 1960s, taking full advantage of its capacity for volume without distorting.

The Dual Showman was a combo amplifier with two twelve-inch speakers. Powering these speakers were three preamplifier tubes: 12AX7s, 12AT7s, and in the power amp 4 6L6GC power tubes. While most of Keith’s rock and roll-playing brethren preferred other Fender models, these were highly prized by pedal steel players, a likely reason for Keith’s own affinity for the Dual Showman.

Keith Richards’ playing and writing were heavily influenced by styles other than rock and roll, including his use of open tuning typically reserved for slide guitar. After using the Showman to record virtually all the earliest Rolling Stones albums, he moved on to British-built amps.

Keith first employed the services of this classic British amplifier in the late 1960s, upon growing bored with his Fender Showman. The Vox AC30 is perhaps best known as the amplifier of choice for the Beatles and Brian May of Queen, but Keith Richards found a way to make the AC30 all his own.

The Vox AC30 is a twin-speaker combo amplifier made in Britain. The AC30 has a distinctive jangling tone, and its sound is most commonly associated with the sound of early British rock and roll. The AC30 is powered by EL84 tubes in the power amp and a 12AX7 tube in the preamp. The best-known feature of the Vox AC30 is its “top boost” or “brilliant” channel, which provides additional treble and sparkle to the amplifier’s tone.

Keith primarily used the AC30 as a studio amp, as the Rolling Stones had an endorsement deal with Vox at the time. He reportedly played an AC30 in the earliest days of the Rolling Stones, as can be seen in the image below. In the late sixties, however, his return to the Vox fold was short-lived, and Keith quickly moved on to other amplifiers.

Ampeg SVT Bass Head Amp

Packing a whopping 300 watts of power, the Ampeg SVT was the powerhouse of the Rolling Stones’ live show throughout the 1970s. These tube amps featured a higher degree of fine-tuning than was available on other amplifiers at the time, including a midrange control, midrange shift switch, input pads, and treble control with a bright switch. This meant that Keith Richards (or his guitar tech) could dial in with laser precision the thick, glassy tones the Stones were using live at the time.

The SVT was actually designed not for electric guitar, but for bass. When the Rolling Stones were rehearsing for a tour in the USA, they blew up their UK-spec Fender amps, requiring urgent replacement. Ian Stewart, Rolling Stones manager, phoned his friends at Ampeg and acquired for the entire band high-output prototype amps. Keith Richards was not alone in using the Ampeg SVT for that fateful tour in 1969, and for the decade that followed. Bill Wyman on bass and the revolving door of backup musicians that the Rolling Stones employed on tour were all playing through Ampeg’s massive amplifiers.

The high wattage and fourteen 6550 tubes in Ampeg’s SVT range allowed the Rolling Stones to play larger venues at a higher volume than anybody else at the time. When most amplifiers were barely scraping 100 watts, the 300 offered by the Ampegs gave the Rolling Stones huge amounts of volume. This high wattage also created plenty of headroom for Keith Richards. That is, a higher level of clean volume before the amplifier turned to natural overdriven distortion.

Typically, the Ampegs would be played either as combos or through massive sealed 8×10” speaker enclosures, often affectionately referred to as “fridges”. Keith used Ampeg amps until the 1980s.

Mesa/Boogie Mark I

Although Mesa/Boogie amplifiers are more commonly associated with high-gain metal, Keith Richards used their Mark I combo extensively from the late 70s up to the 90s. Keith’s amp use tends to overlap, as he would mix and match various amplifiers in both studio and live settings.

Mesa/Boogie was initially a small repair shop in which Randall Smith modified Fender amplifiers to provide higher gain and overdriven sounds. Mesa, founded in 1969, is widely considered to be one of the first boutique amp builders. Their first amplifier modification was, originally, a joke. Smith took a small, ultra-clean Fender Princeton and replaced its amplifier section with a Fender Bassman and its 10-inch speaker with a 12-inch speaker.

The resulting amplifier was louder and more distorted than the Fender and gave birth to Mesa Engineering.

Keith’s Mesa/Boogie is a 100-watt combo amp that was handcrafted by Randall Smith himself. The original Mark I appeared frequently in the studio, particularly on Some Girls, Emotional Rescue, and Tattoo You.

Keith Richards Pedals and Effects Overview

Keith Richards rarely used effects pedals live, preferring the edge-of-breakup tone that you can only get by pushing a tube amp with a great guitar. He occasionally experimented with pedals in the studio, although little is known about the precise effects he used during the hazy days of the 60s and 70s. One exception to this rule is Keith Richards’ in-your-face fuzz tone on “(I Can’t Get No) Satisfaction”, while another is the phaser on “Shattered”. Let’s take a look at the few effects that earned Keith Richards’ approval.

Gibson Maestro FZ-1 Fuzz

If you listen to the first few seconds of the above video, you’ll hear one of the most famous guitar tones ever recorded. Keith Richards initially intended to record the song’s iconic opening riff with a horn section, and approximated the sound with his Firebird VII and a Gibson Maestro Fuzz-Tone FZ-1. Ultimately, the horn section was never recorded, and the fuzz tone remained. “Satisfaction” became a massive hit for the Rolling Stones and remains one of the band’s signature songs to this day.

Mick Jagger, the Rolling Stones’ legendary frontman and Keith Richards’ eternal foil, once said of the single, “it was the song that really made the Rolling Stones, changed us from just another band into a huge, monster band” thanks to “a very catchy title. It has a very catchy guitar riff. It has a great guitar sound, which was original at that time”. So catchy was the guitar riff, and so great the sound, that Gibson sold out of all Maestro units by the end of 1965.

The distinctive sustaining brass-like sound of the FZ-1 comes from its three germanium transistors, originally intended to provide fuzz to a bass guitar. Regardless of Gibson’s original intention for the stompbox, in Keith Richards’ hands (or under Keith’s foot) it became a part of rock and roll history. In fact, it may well be the first recorded use of a fuzz pedal on a rock and roll song!

MXR Phase 100

Keith’s only other recorded use of an effect pedal is on “Shattered” from Some Girls. Keith’s guitar sound is prominent throughout the track, with the warbling, shifting tone of the MXR phaser is unmistakable. According to Dunlop’s website, this was an MXR Phase 100, which offers more control over the shape of the phaser sound than Phase 90, which was more popular at the time. The phaser almost definitely did not accompany the Rolling Stones on tour, as Keith Richards prefers not to play with any guitar pedals live.

Born in Kent, England, in 1943, to a World War Two veteran, it wasn’t long before the young Keith Richards fell in love with the guitar. Told by his jazz-playing grandfather that he could have a guitar sitting on a high shelf on the day he reached it, Keith Richards, as a child stood on stacks of books and cushioned until he retrieved the treasured instrument. Early on, before there was rock and roll, Keith Richards learned to play by listening to Louis Armstrong, Billie Holiday, and Duke Ellington.

From the very beginning, the Stones were fronted by Mick Jagger and Keith Richards. They created the template of lead singer and guitarist that inspired countless imitators and few equals. While Mick contorted and writhed at the front of the stage, it was “Keef” and his supercharged blues guitar playing that delivered the Stones’ signature sound.

But it was when he heard Elvis Presley for the first time that Keith fell in love with rock music. His first guitar hero was Elvis’ own lead axeman, Scotty Moore, and the high-octane hybrid of country and blues he epitomized worked its way into many of Richards’ signature compositions.

Richards’ guitar playing is direct, unpretentious, and aggressive. He prefers to focus on chords and syncopated rhythm playing, including his famous five-string I/IV voicings. This sets Richards apart from most other famous guitarists, who rarely resist an opportunity to show off their stunning technical prowess. Further adding to Richards’ unique style is the strong influence of acoustic guitar on his electric playing. Richards views the electric guitar as more limited in its musical scope than an acoustic instrument.

With so many instruments in his possession, it’s no wonder that Keith Richards deploys a variety of guitars on tour and in the studio to this day. Hollow, solid, Fender, Gibson, and bizarre custom guitars have all appeared in Keef’s wizened, gnarled hands.

Keith’s distinctive approach to the guitar is best summed up by the man himself. Asked about his enormous arsenal of instruments, he once joked “give me five minutes and I’ll make ’em all sound the same”. Even more than his approach, Richards is the embodiment of Rock N’ Roll, 77 years old and still in the business, Keith is without a doubt one of the most prolific guitar players to ever walk this earth.

My name is Chris and I’ve had a passion for music and guitars for as long as I can remember. I started this website with some of my friends who are musicians, music teachers, gear heads, and music enthusiasts so we could provide high-quality guitar and music-related content.

I’ve been playing guitar since I was 13 years old and am an avid collector. Amps, pedals, guitars, bass, drums, microphones, studio, and recording gear, I love it all.

I was born and raised in Western Pennsylvania. My background is in Electrical Engineering, earning a Bachelor’s degree from Youngstown State University. With my engineering experience, I’ve developed as a designer of guitar amplifiers and effects. A true passion of mine, I’ve designed, built, and repaired a wide range of guitar amps and electronics. Here at the Guitar Lobby, our aim is to share our passion for Music and gear with the rest of the music community.

7 thoughts on “Keith Richards Guitars and Gear List (2024 Update)”

Great article. Very detailed and as accurate as could be hoped for considering the challenge of verifying info from the hazy addled days of the late 1960’s thru the mid to late 1970’s. Well written nd informative. Thank you! – JC

As usual… all electric and no acoustic info. Do your readers a favor and research the unknown (which is known by some). I’ll start you off — Richards has used a Collings acoustic onstage for years now.

Now here’s a puzzler. A guitar Keith plays often on stage, but is rarely mentioned, is Stratocaster shaped but with a 4/2 headstock. Never been able to find anything about this oddity.

According to Keith’s book, the name Micawber comes from the quality control sticker under the scratchplate, it was the name of the person doing the checking, it’s where Malcolm comes from too.

Can someone hazard a guess at Keith’s guitar collection total value?

Keith played a music man cutlass with a 4/2 headstock

No mention of the Fender Twin Reverbs loaded with the Celestion Lead 80 speakers that Keith has been using live now for many,many years?

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Review and Setlist: The Rolling Stones’ ‘Hackney Diamonds Tour at the Linc

T he Rolling Stones brought their Hackney Diamonds Tour to Lincoln Financial Field on Tuesday night in the storied band’s first Philadelphia performance since 2018.

It was also the first time ever without Charlie Watts playing drums.

Steve Jordan took his place on the throne previously occupied by Watts, who died in 2021. Jordan locked in with bass player Darryl Jones in supporting the astonishingly energetic Mick Jagger and guitarists Keith Richards and Ronnie Wood, the latter introduce by Jagger as “the Tintoretto of TastyKakes.”

The 19 1/2 song, one-hour-50 minute show started at 9:30 p.m. sharp with - what else? - “Start Me Up,” and closed with an encore of their 1965 hit “I Can’t Get No) Satisfaction.”

In between, Jagger led the packed Eagles stadium in song on a gospel-fired “You Can’t Always Get What You Want,” and sang “She’s A Rainbow,” on the request of fans, who selected it over three other songs in a preshow online poll. Richards took over the mic for mid-show for “Tell Me Straight,” from last year’s Hackney Diamonds album, plus Some Girls’ “Little T&A,” and Exile on Main Street’s “Happy.”

During his band introductions, Jagger showed a photo on the video screen of the Phillies Phanatic at Buckingham Palace last week, and said the band planned to bring the Phanatic and Gritty up to sing “but we can’t because they’re in London.” (Which of course, they’re not.)

Icelandic blues/rock band Kaleo opened the show.

Here’s the set list for the Rolling Stones at Lincoln Financial Field in Philadelphia on June 11, 2024.

This story will be updated with a full review.

“Start Me Up”

“It’s Only Rock ‘n’ Roll (but I Like It)”

“Let’s Spend The Night Together)”

“She’s A Rainbow”

“Monkey Man”

“Tumbling Dice”

“Mess It Up”

“You Can’t Always Get What You Want”

“Tell Me Straight”

“Little T&A”

“Sympathy for the Devil”

“Honky Tonk Women”

“Midnight Rambler” w / “You Gotta Move”

“Gimme Shelter”

“Paint It Black”

“Jumpin’ Jack Flash”

Encore : “(I Can’t Get No) Satisfaction”

©2024 The Philadelphia Inquirer. Visit inquirer.com. Distributed by Tribune Content Agency, LLC.

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We are aware that some people had trouble getting access to the presale for AARP Members due to unprecedented traffic. While presale tickets are limited, the presale continues through November 30. The Stones have added second shows in several venues and others may be added as well.

AARP is on tour with the Stones

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PHOTO BY Arturo Olmos for AARP

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Thursday, June 6, 2024

A Night with David Ryan Harris

The Park Tavern, Atlanta, GA

Come out to the Park Tavern on June 6th at 8:00 PM to see the amazing David Ryan Harris LIVE in concert. You’ll also get the chance to play music trivia for a pair of tickets to the Rolling Stones show at Mercedes-Benz Stadium the next night. The show is FREE and space is limited. Head to the Park Tavern website for more information.

Friday, June 14, 2024

AARP Day at the Museum

Rock & Roll Hall of Fame, Cleveland, OH

Before the Rolling Stones take the stage at Cleveland Brown Stadium, stop by the Rock and Roll Hall of Fame on Friday, June 14, from 10:00am – 5:00pm. AARP will have a fun free photo booth and you can also play trivia for your chance to win tickets to the Stones show the next night! If you’re an AARP Member living in Ohio, use promo code HOF2024 to get five dollars off your admission. Tickets can be purchased at www.rockhall.com

A massive behind-the-scenes effort was underway before Mick, Keith and Ronnie rocked Sin City

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AARP Backs Rolling Stones’ Summer Tour

Concerts highlight a summer of excitement

Photo illustration by Ryan Olbrysh

PHOTO SOURCES: SHUTTERSTOCK, STOCK.ADOBE.COM

THE NEWS that AARP would be sponsoring the Rolling Stones’ 2024 American tour struck more than a few outside observers as unusual when it was announced last November.

But it was clear to both sides that it was an opportunity too good to miss.

“When they approached us as tour sponsor, it was a no-brainer; the band’s legendary status, longevity and timeless appeal across generations makes this fun for everyone, whether it’s their first Stones concert or their 50th,” says Martha Boudreau, AARP’s Chief Communications and Marketing Officer.

As the tour’s late-April kickoff approached, the feeling that the collaboration was a great fit continued to build. “On the heels of AARP’s 65th anniversary, it’s a unique opportunity to celebrate the Rolling Stones’ more than 60 years of recording and performing,” Boudreau says. AARP members agreed– buying out a huge bloc tickets offered exclusively to them late last year.

AARP will join the Rolling Stones at all 17 U.S. shows of its North American tour culminating in Santa Clara, California, on July 17. And AARP will have a spot inside the stadium concourses at each show, as well as being featured on the big screen before the band plays.

Nestled by merch stands, concertgoers will find AARP’s tour exhibit, where among other things they can take a humblebrag photo in front of a green screen of tour branding and Rolling Stones imagery.

One thing that makes the AARP sponsorship serendipitous is the connection between music and brain health, a topic explored deeply in the December 2023/January 2024 issue of this magazine. Music, for example, is one of the few established tools for helping people with Alzheimer’s, a disease that affects an estimated 6.7 million Americans over 65. (Find out more about music’s effect on the brain at AARP’s Brain Health center at aarp.org/health/brain-health .)

The band’s lineup has changed through the years but is still anchored by the duo of singer Mick Jagger, 80, and guitarist Keith Richards, 80. And longtime group guitarist Ronnie Wood, 76, will be along. To find out more about the tour, visit aarp.org/rollingstones2024 . AARP will bring you more excitement this summer.

Can’t make the Stones’ tour? AARP will be hosting several free virtual concerts throughout the summer. And beyond music, you’ll also find virtual live cooking and fitness classes. To check this year’s lineup, visit the AARP Virtual Community Center at local.aarp.org/virtual-community-center .

AARP’s sponsorship of the Association of Pickleball Players (APP) continues this summer through Labor Day. The tour will stop in New York, Southern California and Chicago. The events introduce America's fastest-growing sport to AARP members and guests. Find out more at aarp.org/pickleball .

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Rolling stones rock the linc in south philly [photos].

The World’s Greatest Rock n’ Roll Band returned to the world’s best rock n’ roll city (that’s you, Philly) for a show at Lincoln Financial Field on Tuesday. The Rolling Stones go way back with this town and with WMMR. After a full day of concert warm-ups on air and at the stadium, we were more than ready for Mick, Keith, Ronnie and all the rest, and they absolutely delivered.

The Hackney Diamonds Tour launched after the release of the Stones’ twenty-fourth (!) studio album, taking its name from a slang phrase for broken glass. The star-studded collection features the talents of the band’s contemporaries like Paul McCartney, Stevie Wonder and Elton John. They sound as fresh in 2024 as they did in 1964 thanks to producer Andrew Watt, whose skill in the studio and reverence for classic rock made him a top pick for the band when they began work on the album.

RELATED: 40 Years of Pierre Robert on WMMR

The Rolling Stones played a few of those new tracks for the Philly crowd, mixed in with their concert staples that never fail to make us dance (though none of us will ever look as cool as Mick Jagger does). Check out the setlist below plus photos from the gig thanks to Bill Raymond at  Digital Noise Mag . Get the latest on more Philly shows happening this summer on MMR’s official  Concert Calendar .

SETLIST : The Rolling Stones at Lincoln Financial Field, Philadelphia, PA – June 11th, 2024

1. Start Me Up 2. It’s Only Rock n’ Roll (But I Like It) 3. Let’s Spend The Night Together 4. Angry 5. She’s a Rainbow (song voted on by Philly fans) 6. Monkey Man 7. Tumbling Dice 8. Mess It Up 9. You Can’t Always Get What You Want (with band intros) 10. Tell Me Straight 11. Little T&A 12. Happy 13. Sympathy for the Devil 14. Honky Tonk Women 15. Midnight Rambler (with “You Gotta Move” interpolation) 16. Gimme Shelter 17. Paint It Black 18. Jumpin’ Jack Flash Encore : 19. (I Can’t Get No) Satisfaction

The Rolling Stones in Philadelphia

Jacky Bam Bam and Pierre Robert of WMMR pose with fans at Lincoln Financial Field

Jacky Bam Bam of WMMR poses with fans at Lincoln Financial Field

Keith Richards of The Rolling Stones performs live on stage at Lincoln Financial Field in Philadelphia

Mick Jagger of The Rolling Stones performs live on stage at Lincoln Financial Field in Philadelphia

Moves like Jagger!

The world's greatest rock n' roll band

Ronnie Wood of The Rolling Stones performs live on stage at Lincoln Financial Field in Philadelphia

Mick and Ronnie on stage together at the Linc

Dressed for the occasion

Mick Jagger struts his stuff on stage at the Linc

The great Steve Jordan on drums and the immortal Sir Keef on guitar

Ronnie Wood and Darryl Jones on stage in South Philly

Start me up!

Here's looking at YOU, Philly

The Rolling Stones perform live on stage at Lincoln Financial Field in Philadelphia

Steve Jordan on drums and Keith Richards on guitar

Keith Richards and Ronnie Wood of the Rolling Stones

THE STONES!!!!

Keith Richards and Darryl Jones on stage at the Linc

Ronnie Wood smiles at the Philadelphia crowd

One of the greatest living entertainers in the world: Mick Jagger

Mick Jagger smiles at the crowd in South Philly

That's a massive stage!

Rolling Stones merch booth at Lincoln Financial Field in Philadelphia

More from the Pierre Robert Show

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The Rolling Stones 2024 tour stops at MetLife Stadium

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The Rolling Stones on Starting Up Again

The band opens up about how its first album of new songs since 2005, and first since the death of Charlie Watts, recharges the partnership of Mick Jagger and Keith Richards.

By Jon Pareles

In 2022, 17 years after the Rolling Stones released their most recent album of original songs, Mick Jagger decided the band had dithered and procrastinated long enough. Sessions had come and gone; unfinished songs were stacking up. Charlie Watts , the band’s lifelong drummer and rhythmic cornerstone, had died in 2021, but the band kept on touring without new material.

“No one was being the taskmaster,” Jagger recalled. “No one was saying, ‘This is the deadline.’” So the singer did just that. The result is “Hackney Diamonds,” a loud, cantankerous, unrepentant collection of new songs from a band that refuses to mellow with age.

For the new album , the sometimes fractious songwriting partnership of Jagger and Keith Richards found a way to realign. Near the end of the sessions, they even completed writing one song — “Driving Me Too Hard” — in a room together, as they had in their early years.

“We’re a weird pair, man,” Richards said via video from his manager’s New York City office, surrounded by Stones merch and memorabilia. His gray hair was tucked into a headband; framed cover art of the 1981 album “Tattoo You,” with Jagger’s striated face, hung above him. “I love him dearly, and he loves me dearly, and let’s leave it at that.”

“Hackney Diamonds,” due Oct. 20, is both a new blast and a summing up. It digs into the Stones’ long-established style: sinewy guitar riffs, Jagger’s proudly intemperate vocals, bluesy underpinnings and ever-improvisatory guitar interplay.

“You know, it goes like this — but maybe it could go like that,” Richards said. “Without improvisation, it wouldn’t be anything in the first place. I mean, there are no rules to rock ’n’ roll. That’s the reason it’s there.”

In the band’s new songs, Jagger sings about frustration, longing, escape, endurance and transcendence. “Angry,” the album’s opener, moves between conciliation and exasperation. The punky “Bite My Head Off” — which has Paul McCartney playing a jabbing, distorted bass — barks back at someone’s attempts at control. And the wistful, countryish “Depending on You” bemoans a lost romance: “I was making love but you had different plans,” Jagger sings.

The songs are unapologetically hand-played and organic, not quantized onto a computer grid; they speed up and slow down with a human pulse. And the album honors the band’s elder-statesman status, drawing guest appearances from McCartney, Stevie Wonder, Lady Gaga and Elton John.

Jagger scoffed at the idea of the Rolling Stones as an institution. “It’s only a band,” he said.

But Ronnie Wood, the guitarist who joined in 1975, cherishes the band’s six decades of continuity. “That has been my thing all these years, to keep my institution going,” he said in a video interview from his apartment in Barcelona. “When Mick and Keith fell out, I’d do my best to get them together again — at least get them talking and start the engines roaring again.”

The album’s title comes from London slang. Hackney is a borough in East London that had long held a rough reputation, though it has lately gone more upscale. Wood explained that “Hackney diamonds” are bits of broken glass from car windshields after break-ins leave them, in a word, shattered .

“A lot of the tracks on the album have that explosion,” Wood said. “This is a really in-your-face album.”

Making the new LP, the band regained “a sense of urgency,” Jagger said via video from Paris, with paintings of elegant French gentry on the wall behind him. Of course, the longtime members of the Rolling Stones — Jagger, 80, Richards, 79, and Wood, 76 — weren’t getting any younger.

“I said to Keith, ‘If we don’t have a deadline, we’re never going to finish this record,’” Jagger said. “So I said, ‘The deadline is Valentine’s Day 2023. And then we’re going to go out and tour it.’ That’s what we used to have to do. You know, you’ve got to finish ‘Exile on Main Street’ because you’ve got a tour booked.”

Even without new albums, the Stones kept touring in the 2010s and 2020s. The band had gone to studios occasionally to get started on songs, but never got around to finishing them. Meanwhile, Jagger and Richards had each amassed a backlog of new material in various stages, written separately but awaiting the band’s collaborative touches.

Jagger also realized, he said, that “We need to get someone involved who can crack the whip.”

That was Andrew Watt , who won a Grammy as producer of the year in 2021. Watt, 32, has made pop hits with Miley Cyrus and Justin Bieber and revved up late-career albums by Ozzy Osbourne and Iggy Pop. Watt is also a guitarist and Rolling Stones fan who has studied every lick in the band’s catalog.

As a producer, he was “results-oriented,” Watt said. “I was the newcomer. So I didn’t have the baggage that comes with a band that’s been together for over 60 years. There’s a lot of history between all of the people in the room, especially between Mick and Keith. So the only way I could think of how best to navigate those waters was moving quickly.”

After the years of inconclusive sessions and self-conscious second-guessing, the Stones made “Hackney Diamonds” in what Richards called “a blitzkrieg” — a matter of months instead of years.

“We worked fast, but that was the idea,” he said and added, with a cackle, “I’m still recovering.”

The tight recording schedule pushed aside second thoughts, Jagger said. “We do like four or five takes. ‘OK,’ and we move on,” he said. “So no one had time to really think, ‘Well, was this a good song? Should we be doing this song?’ Because I get introspective, you know. Is this song as good as the other one? Is this song like another one I’ve done? You can figure that out later. Let’s keep moving.”

At the recording sessions, Watt was an enthusiast as well as a critical listener. The album was made in Paris, New York City, the Bahamas, London and, primarily, Los Angeles, a convenient magnet for the album’s guest stars. Every day in the studio, Watt wore tour T-shirts from shows by the Stones and its spinoff bands like Richards’s X-Pensive Winos and Wood’s New Barbarians. He also sourced vintage equipment. A clear Plexiglas Dan Armstrong guitar, like the one Richards had played on “Midnight Rambler,” delivers the caustic riff of “Whole Wide World,” as Jagger sings about pushing past bad options, declaring, “You think the party’s over/when it’s only just begun.”

For the band members, the most crucial part of the Rolling Stones sound is what Richards calls “weaving” — the ever-changing, spur-of-the-moment interplay between the instruments, particularly the guitars. The band recorded the core of most of the songs together in the studio, playing off one another as they would onstage. For nearly every track, Watt placed Richards’s guitars on the left and Wood’s on the right — the opposite of what a concertgoer would see, but the way the band would hear itself onstage. “I wanted it to sound huge,” he said. “Because they are larger than life. They’re the [expletive] Stones. When you listen to this album you should picture the Stones playing in a stadium, because that’s what they are.”

Wood, who shares the tangle of guitar lines with Richards and Jagger, said, “Once the band gets together and that magic starts to happen, then who knows where it could go?”

A tour was put off, delayed by the lag in pressing vinyl and by stadiums already booked for Beyoncé and Taylor Swift tours. But the album got done; it was indeed recorded, though not fully mixed, by Feb. 14.

Jagger said, “I think we got along on this record really well. Of course we have disagreements about how things should be, but I think that’s pretty normal. I sometimes feel that Keith thinks I like everything too fast. But I know how fast they should be, because I’m completely a groove person.”

So is Richards. “Rhythm is the most important thing in your goddamn life,” Richards said. “A lot of what you hear ain’t what you hear — it’s what you feel. And that’s a matter of rhythm.”

The Stones groove got its foundation from Watts, who died at 80. “There would have been a Rolling Stones without Charlie Watts, but without Charlie Watts there wouldn’t have been the Rolling Stones,” Richards said. “He was one of the warmest guys I ever, ever met, just so tolerant of other people. He would actually stop me from murdering people. When I just thought his name, I started to weep. Thanks for bringing me to tears.”

Watts’s final full album with the band was “Blue & Lonesome,” a set of blues covers, in 2016 . But Watts’s drumming, from sessions with the Stones’ previous producer Don Was, drives two songs on “Hackney Diamonds.” One of them, “Live by the Sword,” also includes the Stones’ retired original bassist, Bill Wyman, and some two-fisted honky-tonk piano from Elton John.

When Watts grew too frail to perform, the Rolling Stones continued touring with a new drummer: Steve Jordan, whom Watts had recommended to Richards in the 1980s when Richards started the X-Pensive Winos.

“Charlie was like a fireworks display, and Steve is like a train.” Wood said. “With the passing of Charlie and the baton handed over to Steve Jordan from Charlie, that was a very special moment. We were rehearsing in Boston when Charlie actually passed away. We were rehearsing when we heard the news, and we had one day off. And we thought, Charlie didn’t want us to sit around and mope and everything. We went straight back to the grindstone and carried on — kept the flame going.”

For the Rolling Stones, “Hackney Diamonds” is the beginning of the band’s next phase. “With Charlie leaving us, I think we needed to make a new mark with Steve,” Richards said. “To reset the band was important.”

Jagger said, “I don’t think it’s the last Rolling Stones album. We’ve got almost three-quarters through the next one.”

But the final group of songs on “Hackney Diamonds” hints at an alternate story. Richards sings lead on “Tell Me Straight,” a weary-voiced, introspective ballad that contemplates endings. “I need an answer/How long can this last?,” he sings. “Don’t make me wait/Is my future all in my past?”

It’s followed by “Sweet Sounds of Heaven,” a gospel-charged song about music as salvation, stoked by Stevie Wonder on keyboards. “Let us sing, let us shout/Let us all stand up proud/Let the old still believe that they’re young,” Jagger and an exuberant Lady Gaga sing, pushing each other to one peak and then, after a pause, restarting the groove as a studio jam that reaches even higher — an ecstatic climax to the album.

But then there’s an epilogue: a Jagger-Richards duet on the Muddy Waters blues that gave the band its name: “Rolling Stone Blues.” It’s just Jagger’s voice and harmonica and Richards’s guitar, unadorned in real time, circling back to the love of the blues that brought them together as teenagers. It could be a career postscript or a reaffirmation.

“There were six takes total,” Watt said. “The one that made the record is take four. And as they went through each take, they moved closer and closer together. Closer and closer.”

Jon Pareles has been The Times’s chief pop music critic since 1988. A musician, he has played in rock bands, jazz groups and classical ensembles. He majored in music at Yale University. More about Jon Pareles

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How Childhood Friends Mick Jagger and Keith Richards Formed The Rolling Stones

Seeking an outlet for their love of American blues and R&B, the two former classmates teamed up with other like-minded musicians to form the group that would set the standard for rock royalty.

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This wasn’t the pair’s initial introduction, as the two grew up in Dartford and attended grammar school together, but they had since lost touch. At the train station, with Jagger off to the London School of Economics and Richards on his way to Sidcup Art College, the old friends got to talking, particularly about the collection of blues and R&B records under Jagger’s arm.

Both had been influenced by the exciting sounds drifting from across the Atlantic to their radios, according to The Rolling Stones: A Musical Biography . Jagger, with his talent for mimicry, had already developed a unique singing style. And Richards, who hailed from a musical family and once sang in a church choir, was rapidly gaining ground with his guitar.

They realized they had a mutual friend in guitarist Dick Taylor, who played with Jagger in a band and jammed between classes with Richards at Sidcup. Soon, the three were regularly getting together to listen to records and explore their own budding talents, teaming with two others to form Little Boy Blue and the Blue Boys.

The band’s name was inspired by a Muddy Waters track

In April 1962, Jagger and Richards ventured to the Ealing Club in London to check out a set by Alexis Korner’s Blues Incorporated. The band’s jazz-influenced drummer, Charlie Watts, was sure-handed, but the 19-year-olds were particularly taken with slide guitar work of Brian Jones—then performing under the name “Elmo Lewis,” after his blues hero Elmore James.

Jagger and Richards began performing with Blues Incorporated, but Jones, determined to forge his own blues-based act, soon pried them away for his fledgling band. They were joined by Taylor, and an ad placed in Jazz News brought in a keyboardist named Ian Stewart.

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That summer, when Korner pulled Blues Incorporated out of their regular gig at London’s Marquee Club due to a scheduling conflict, he suggested Jones, Jagger, and the rest as replacements. Their group still without a name, Jones drew inspiration from a Muddy Waters track titled “Rollin’ Stone,” and the rest is history.

On July 12, 1962, the band debuted as the Rolling Stones, with Jagger as lead singer, Richards and Jones on guitar, Taylor on bass, Stewart on keyboards and Mick Avory—later of The Kinks—on drums.

Tough times gave way to the key additions of Bill Wyman and Charlie Watts

Although the Marquee owner invited the Rolling Stones back for regular gigs, the months ahead would be trying ones for the band’s members. Jagger, Richards, and Jones found a place together in the Chelsea section of London, living in squalor as they stretched the leftover money from Jagger’s scholarship between the three of them.

In December, after Taylor threw in the towel and returned to art school, The Stones gave a tryout to bassist Bill Wyman of The Cliftons. A few years older than the others and less familiar with their R&B influences, Wyman nevertheless played well enough to earn approval, helping his cause by donating his amplifiers to the under-equipped band.

Early in the new year, another important piece was secured when Watts stepped in to give the group a reliable drummer. On January 14, 1963, the now recognizable early lineup of the Rolling Stones—Jagger, Richards, Jones, Watts, Wyman, and Stewart—played in public for the first time at the Flamingo Club in Soho.

A residency at the Crawdaddy Club paved the way for management and record deals

The band got their next boost from Soviet-born promoter Giorgio Gomelsky, who booked The Stones for a residency at the Crawdaddy Club in Richmond, London, beginning in February 1963. It was here that the group developed its first significant following, with students from the area pouring in to see this energetic R&B band and its whirling frontman. Local newspapers caught on to the act, with another budding group of rock royalty, The Beatles , even dropping by to see what the fuss was about.

In late April, 19-year-old promoter Andrew Loog Oldham caught wind of the sensation. Convinced the group’s combination of sound and sex appeal would catch fire—and with Gomelsky out of the country—he quickly moved in with his partner, Eric Easton, and signed The Stones to a management contract. By mid-May, a deal with Decca Records was in place as well.

Along with Gomelsky, the heavyset Stewart came out on the short end of the talks, as he was dropped from live performances (though he was allowed to remain as a session musician and road manager). It was part of the driving management style of Oldham, who urged the band to think big and quit their day jobs once and for all.

On June 7, 1963, the Stones released their debut single, a cover of Chuck Berry ’s “Come On.” With their own acclaimed compositions soon to come, as well as lineup changes that would see the tragic departure of Jones but never the tandem of Jagger-Richards, The Stones were on their way to setting the rock ’n’ roll standard with their string of unforgettable hits and staggering longevity.

Sixty years later, the Rolling Stones have released dozens of hit songs, with eight reaching No. 1 in the charts. They’re also the highest-grossing touring band or artist in the world, having grossed $2.2 billion in concert revenue and sold 22.1 million tickets over the band’s career. Their new record Hackney Diamonds is the band’s 31 st studio album .

Colin McEvoy joined the Biography.com staff in 2023, and before that had spent 16 years as a journalist, writer, and communications professional. He is the author of two true crime books: Love Me or Else and Fatal Jealousy . He is also an avid film buff, reader, and lover of great stories.

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It Happened Last Night: The Rolling Stones Took Over South Philly

Photos and dispatches from the packed (and hit-packed) performance.

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The Rolling Stones performing at Lincoln Financial Field in South Philadelphia as part of they Hackney Diamonds tour / Photography by Lisa Schaffer

The first thing you notice is the tailgating. Each makeshift hangout station has its own Rolling Stones soundtrack. So, as you make your way from the Broad Street Line to Lincoln Financial Field for Tuesday’s show, you listen to “Shattered” become “Angie,” which then morphs into “Waiting on a Friend,” and so on. This is a crowd that skews older and judging from the plethora of t-shirts from prior tours, it’s clear they’ve seen this band multiple times before.

A gargantuan arena show by British rock veterans is different enough from an Eagles game that a mild sense of chaos hung over Pattison Avenue as everyone tried to find the right entrance to the Linc. The copious security guards posted at every gate probably spent most of their time glancing at tickets and providing directions towards the correct entryway for each concertgoer.

The crowd was still filtering into the stadium as opening act Kaleo played their Icelandic blues rock. (That’s a genre?!) The band looked like Chris Stapleton roadies and sounded closer to Cinderella. Their last song was barely finished when the headliner’s crew made the gear switch with ruthless efficiency.

At 9:30 p.m., the Rolling Stones hit the stage with a somewhat de rigueur “Start Me Up.” The overwhelming size of their stage was immediately apparent: 180 feet wide by 65 feet deep, flanked by 46-foot-tall digital screens that showed the band and their eight auxiliary musicians from multiple angles.

Rolling Stones fans inside the Linc right after the show started

The Linc was packed. And because the Rolling Stones are old pros at playing stadiums, they long ago figured out how to give even the farthest reaches of the crowd a view of the stage.

It was impressive how vital they sounded for band led by two octogenarians. (As an aside, Amy Perlingiero of South Philadelphia enjoyed “how many times Mick [Jagger] took off a layer of clothing while performing, only to put something else on and remove it again during another song.”)

Collin and Holly Keefe of South Philadelphia got their tickets from a family member on Tuesday afternoon. They were especially excited to hear favorites like “She’s a Rainbow,” “Monkey Man” and “Tumbling Dice.” “I was really blown away by the energy,” Collin said. “These guys are like the same age as my dad (and President Joe Biden), and yet still rock it out on every song.”

The audience enthusiastically responded to a sing-along, gospel-inspired “You Can’t Always Get What You Want.” Other highlights included “Gimme Shelter,” featuring an incendiary showcase from backing singer Chanel Haynes ; and the extended “Midnight Rambler” that showed off Jagger’s harmonica skills and a bluesy guitar interplay by Keith Richards and Ronnie Wood.

The band also played three songs from their most recent album, Hackney Diamonds — nominally the whole reason for this tour — though these were the songs during which people were most likely to sit back down, or hit the restrooms and concession stands.

As a frontman, Jagger is nothing if not well-rehearsed, rattling off trivia about prior Philly shows (they first played here in 1965 with Herman’s Hermits) and dropping references to the Phanatic, Gritty, and Tastykakes. His crack about an exchange program with the Stones in town and the Phillies in England got some nods; no one had the heart to tell Mick that the Fightins were already back in the U.S. and playing in Boston that night. And his showmanship was in full force: He did his pointing dance, his hand-clapping dance, and made numerous jaunts down the stage catwalk.

After a one-song encore of “Satisfaction” (what did you expect?), the show wrapped up at the two-hour mark. The road crew reappeared and moved fast, and the crowd moved slowly to the exits.

Want to see the Rolling Stones’ 2024 tour for yourself? You better act fast, because it all ends in July . Alas, the closest they’re getting to Philly after last night is Cleveland.

Bonus: Rolling Stones Fans in the Parking Lot

Before Philadelphia photographer Lisa Schaffer went into Lincoln Financial Field to catch the Rolling Stones show, we sent her out to the parking lot to meet some fans. Here are some photos from her fan interactions.

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La Jolla Light | New book details the life of architect Sim…

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La Jolla Light

La jolla light | new book details the life of architect sim bruce richards, whose work is seen in la jolla, san diego architectural expert keith york tells his story in ‘the sensuous environment: sim bruce richards, architect.’.

Now a book by lifelong San Diegan and architectural expert Keith York tells his story.

“The Sensuous Environment: Sim Bruce Richards, Architect,” released in October, follows Richards’ journey from young building designer to notable architect.

With his work on properties such as Prince Chapel by the Sea African Methodist Episcopal church in La Jolla, the Edward and Iris Bascomb residence in Point Loma and many more, Richards’ impact has been felt across the San Diego area.

Friends of San Diego Architecture says Richards “is considered one of our region’s most influential post-World War II Modern-Contemporary architects and is recognized as a master architect by the city of San Diego.”

Richards was born in 1908 and was raised in Oklahoma and home-schooled by his half-Cherokee mother, according to FSDA. He majored in art at UC Berkeley and took up the craft of weaving fabrics and rugs. He was invited to display them at a gallery exhibition in Berkeley, where famed master architect Frank Lloyd Wright saw his weavings. Wright invited Richards to attend his school of architecture, where Richards developed his design sensibilities.

Richards served as a civilian naval architect during World War II, which brought him to San Diego. He set up his own shop in 1945 and served as president of the San Diego chapter of the American Institute of Architects. He died in 1983.

York’s understanding and appreciation of architecture, especially in San Diego, was sparked early in his career while working at San Diego State University. Steps in his life like buying a home opened a world of questions and intrigue for him.

“I had an idea I would buy a house within campus walking distance,” York said. “Through that, I came upon a house and bought it, and it ended up being that of a well-known Los Angeles architect. I began becoming drawn to houses and different styles of architecture.

“When I bought my first home and began touching it up, I started looking into its history. It had a very rich history and it struck me, ‘Why had no one written about this house before and why did no one know about this?’”

From there, he was hooked and began focusing on the intricate details that set each home and building apart.

“I didn’t know I was fascinated by architecture,” he said. “What I began being fascinated by was, as a lifelong San Diegan, what can be my unique contribution to this region? And after a series of lectures and articles, I have become someone who really loves and appreciates and knows a significant amount about this topic.”

Growing into his appreciation for homes across San Diego, York began creating a local home guide that included notable and eye-catching styles. Through that, he stumbled upon Richards’ former home, where his widow lived.

“I knocked on the door of what is now my house about 20 years ago,” York said. “I was trying to put together a home tour of unique-design homes. The late Bruce Richards’ wife answered the door and welcomed me in. She began telling me all about her late husband and his work.”

Janet Hopkins had met Richards at a dinner party in Point Loma in 1938. The couple went on to invest in and purchase several properties across Point Loma and La Jolla.

As York grew close with Richards’ stylistic choices and delved into his detailed drawings, “The Sensuous Environment” began writing itself, York said.

“My particular interest with Richards is [a result of] how much material there was and how I could readily put my hands on what he had written, drawn and even how much he had charged clients,” York said. “Slowly but surely, I was able to gather enough information to get the book written.”

Throughout his time learning and understanding Richards, York reflected on what the world knew of the architect.

“He worked with Frank Lloyd Wright, but that was only two years of his whole life and career. I knew his story deserved more,” York said.

After crafting an outline and piecing together aspects of Richards’ life that he felt deserved public display, York presented his work to Richards’ widow.

“I put a 75-page booklet together. It was a very early version of what we have now,” he said.

York also has assisted in the preservation of Richards’ collectibles — papers, drawings, sketches and more. The San Diego History Center in Balboa Park and UC Santa Barbara are now home much of Richards’ material.

The History Center recently ran an exhibition of Richards’ work, also titled “The Sensuous Environment.”

York said he’s optimistic that his book will pave the way for similar projects in which he can share the history of Southern California architects.

Partial list of Sim Bruce Richards projects in La Jolla

• Prince Chapel by the Sea African Methodist Episcopal church (1947), 7517 Cuvier St.

• William and Virginia Calloway residence (1947), 10 E. Roseland Drive *

• John and Alice Clark residence (1959), 7907 Calle de la Plata

• J. Hall Hood residence (1955), 6063 Folsom Drive

• Rembert and Catherine James residence (1953), 5578 Calumet Ave.

• Elias Margolin residence (1959), 887 La Jolla Rancho Road

• Arthur Hamilton and Peggy Marston residence (1967), 1650 Kearsarge Road

• Richard Olney residence (1954), 1644 Crespo Drive *

• Donald and Joyce Schmock residence (1953), 7345 Remley Place

* Historically designated

Source: Keith York

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