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“THE STONES GAVE BOB CARTE BLANCHE TO SHOOT WHENEVER AND WHAT!EVER HE WANTED. IN THE THREE YEARS THAT HE WORKED WITH THEM, 1964 THROUGH 1966, HE TOOK ALMOST 2,700 PHOTOGRAPHS… I THINK HIS PHO!TOS ARE TRULY UNIQUE IN THAT THEY SHOW A SIDE OF THE STONES THAT WE, AS FANS, NEVER GOT TO SEE. AS THE STONES TOUR MANAGER, BOB WAS AN INSIDER AND HAD ACCESS THAT VIRTUALLY NO ONE ELSE WAS GRANTED.” LARRY MARION, CURATOR OF THE BOB BONIS ARCHIVE

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MICK ON STAGE IN HARTFORD, CONNECTICUT, with flag, 1981, by MARK WEISS. MICK JAGGER with JIMI HEN-DRIX by EDDIE KRAMER. KEITH RICHARDS with reflection in sunglasses, 1964, by ERIC SWAYNE. MICK as young guy, DE LANE LEA STUDIOS, London, 1963, by GUS CORAL. MICK JAGGER with ANDY WARHOL, Trax Night Club, New York, 1977, by BOB GRUEN.

“Keith Richards turned up quite early one morning. Keith had been out all night

and was completely, deliriously off his face. Keith took my father shopping in a limo.

He would buy one of everything in every color, and also buy the same for my dad. This was

a period when they were good friends.”

TOM SWAYNE, ERIC’S SON

Half a century? Unfathomable. Back in 1962, when the Rolling Stones first swaggered onstage, it was clear something extraordinary was at play. In tight pants, pointy boots and black sweaters, long hair hanging over bedroom eyes—they cre-ated reckless, cool and seductive rock that was mysterious and dangerous. And perhaps the last band on Earth expected to last five years—much less five decades.

Less brash and gritty after creating a legacy measured in part by 200 million records sold, the Stones have giv-en fans what we wanted—and what we needed. “The World’s Greatest Rock ’n’ Roll Band” marks their 50th anniversary this year with flashy celebrations, exhibitions, new recordings, a documentary, tour dates and a library of new books. Manhattan’s Museum of Modern Art presents the first-ever retrospective of the Stones’ films. The docu-mentary Crossfire Hurricane arrives in cinemas filled with

unseen historical footage and band commentary. “Doom and Gloom,” the first single from their latest greatest hits album, Grrr!, marks the first new Stones recording in sev-en years.

Among the volumes of books, including the band’s official The Rolling Stones: 50 and an unauthorized biogra-phy of Mick Jagger, it’s Rolling Stones 50 x 20 that illustrates their story with striking intimacy. The visual essay depicts the band’s legendary career from wild times and all-night-ers to credibility and maturity. Selected shots include Jag-ger with Hendrix, Richards in shades, the band backstage, onstage, unguarded and posed—reveal the reason for their timeless and enduring appeal.

With more than 80 photographs of Jagger, Keith Richards, Charlie Watts, the late Brian Jones, former bass-ist Bill Wyman, Ronnie Wood and others, the collection by 20 of the finest rock photographers, including Gered Mankowitz, Bob Gruen, Fernando Aceves, Jan Olofsson,

Mark Seliger and Claude Gassian, capture rare images from early days, when close access to the band was still possible. These photos chronicle the transformation of this seminal act from sneering young musicians to mega-stars, annotated with intriguing stories that relate the sig-nificance and context of the images.

Rolling Stones 50 x 20 offers an insider’s look at defin-ing moments. In the afterward, Chris Salewicz of NME traces the band’s journey with telling details, including Andy Warhol’s first impression of the act’s allure and the endless controversies, like the cover of the Beggar’s Ban-quet album. The radical Rolling Stones may be tame by today’s standards, but they still embody the sex, drugs and rock ’n’ roll lifestyle. After all, who else “Moves Like Jagger?”

Their 1964 recording of the song “Not Fade Away” seems prescient today as the Stones continue to roll. They’re a rock institution—and they’re not done yet.

THE ROLLING STONES recording session for “JUMPIN’ JACK FLASH,” LONDON, 1968, with MICK JAGGER, CHARLIE WATTS, BRIAN JONES AND KEITH RICHARDS,shot by Vogue fashion photographer MICHAEL COOPER (holding the camera).

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“That was the same coat that Mick wore for his famous

portrait taken by David Bailey. Mick was performing

in front of the camera and was helping my dad learn

how to take pictures in those early days.”

TOM SWAYNE, ERIC’S SON

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