| dbo:abstract |
Eric Easton (1927–1995) was an English record producer and the first manager of British rock group the Rolling Stones. Originally from Lancashire, he joined the music industry playing the organ in music halls and cinemas. By the 1960s he had moved into management and talent spotting, operating from an office suite in London's Regent Street. Easton met Andrew Loog Oldham in 1963; Oldham wanted to sign an unknown band, called the Rolling Stones, about whom he was enthusiastic. At the time, the band were still playing small clubs and blues bars. Easton saw them once—at the Crawdaddy Club in Richmond—and agreed with Oldham. Their partnership was one of contrasts: Oldham has been described as bringing youth and energy, while Easton brought industry experience, contacts and financing. Together, they signed the group to both a management and publishing deal, which, while giving better terms for the group than the Beatles received, was to the advantage of Easton and Oldham who received a larger cut. Easton was primarily responsible for booking gigs—he was keen for the group to get out of London and play nationally—but also acted as record producer on a number of occasions, including on their first single, a cover version of Chuck Berry's "Come On" in June 1963. Easton was responsible for many aspects of the band's development, ranging from managing their fan club to organising their tour of America in 1964. As the Stones' fame and popularity increased, so did their expectations of Easton. However, after a number of problems on an American tour, in 1965 Oldham decided to oust Easton from the partnership and bring in New York promotor Allen Klein. Oldham persuaded members of the group to support him and Easton was sacked. The band, with the exception of Bill Wyman, acquiesced. Easton launched a number of lawsuits for breach of contract, and eventually settled out of court for a large sum. In 1980 he and his family emigrated to Naples, Florida, where he went into business; his son, Paul, also became a music manager and booking agent. (en) |
| dbp:quote |
Brian Jones, accompanied by Mick Jagger, came up to Eric's office as arranged at two o'clock the next Tuesday. We sat down and played mixed doubles. Eric Easton, former pier organist from up north, now a nigh-on-fortyish, unassuming, slightly greying, bespectacled, open-faced man, sat behind his desk with a twinkle in his eye. Eric had that twinkle from the time I meet him, on most occasions, till sometime in 65. He got the money, I hope he got a life and got the twinkle back. (en) [Oldham] comes along with this other cat he's in partnership with, Eric Easton, who's much older, used to be an organ player in that dying era of vaudeville after the war in the fifties, when the music hall ground to a halt as a means of popular entertainment. He had one or two people, he wasn't making a lot of bread, but people in real show biz sort of respected him. He had contacts, one chick singer who'd had a couple of Top Twenty records, he wasn't completely out of it, and he knew a lot about the rest of England, which we knew nothing about, he knew every hall. (en) [Easton] was steeped in the showbusiness tradition that the Beatles were beginning to challenge. But if he, and others like him, thought the Beatles were revolutionary, what was he going to make of us on first sight? (en) Eric, if sticking out like a sore thumb among the Shakers at the Crawdaddy, hadn't behaved as either a stone-faced pedant or as if visiting another planet. He knew showbusiness forwards as well as backwards, and was perfectly aware... that the hunt was up for beat groups with sheepdog fringes who, if required, could crank out "Money", "Poison Ivy", "Boys" and the rest of the Merseybeat stand-bys plus a good half of the Chuck Berry songbook. (en) An artist is what he or she Is born. A manager or producer shouldn't kid himself and think he's made them. You can't mould an artist... I sum It up with the word "charisma". The difference between two good artists is that the star has charisma. And who can teach charisma? (en) We wanted to do something the Beatles hadn't done first, so I thought maybe an appearance at London's West End. It's London's answer to Broadway... Brian Epstein and I were sort of rivals, you see. But my friend told Brian he could have the Prince of Wales on Sundays. I was furious, so I went out and put a show on at the Palladium with the Stones. The Stones only did one show at the Palladium, but that's where we beat the Beatles. I was always looking for a way to beat the Beatles, and especially Brian Epstein. At least we beat the Beatles at one thing. (en) |
| rdfs:comment |
Eric Easton (1927–1995) was an English record producer and the first manager of British rock group the Rolling Stones. Originally from Lancashire, he joined the music industry playing the organ in music halls and cinemas. By the 1960s he had moved into management and talent spotting, operating from an office suite in London's Regent Street. Easton met Andrew Loog Oldham in 1963; Oldham wanted to sign an unknown band, called the Rolling Stones, about whom he was enthusiastic. At the time, the band were still playing small clubs and blues bars. Easton saw them once—at the Crawdaddy Club in Richmond—and agreed with Oldham. Their partnership was one of contrasts: Oldham has been described as bringing youth and energy, while Easton brought industry experience, contacts and financing. Together, (en) |
