As someone who's been listening to Status Quo since the late 70s (a mere newcomer compared to many fans I know), I've been reading Francis Rossi's autobiography of late, which led me to this site. I can't take Mick Jagger's criticism of WYP or Quo seriously, as although Jagger and Richards have written a number of great songs and were a terrific live act at their Taylor-era peak, music critics tend to regard Jagger as a fairly mediocre R&B singer, and as another poster mentioned, the Stones based their sound on American bluesmen and are therefore highly derivative themselves.
Not that I'm referring to Chris Evans as a music critic, but when the Stones appeared individually about 10 years ago on BBC1, Evans asked Ronnie Wood if Jagger can sing. I'm sure when Woody hesitated before saying yes it was because he was surprised by the question.
I also recall a Q magazine interview with Keith Richards many years ago when he discussed making the film Hail Hail! Rock 'n' Roll with Chuck Berry.
Richards said he'd hire amps during rehearsals then discover later it was Chuck Berry who was hiring them to him, adding that he reckoned Berry sought to make money in this way as he felt his guitar work had been ripped-off hugely, thus denying him a fortune in royalties. The Q journalist opined that Berry would be a saint to think anything else. In fairness to Keith Richards, he's admitted to lifting many if not all of Chuck Berry's riffs.
Black bluesmen must have looked on with justifiable envy when the Stones and Led Zeppelin made millions from their music and culture by recording what is by definition second hand material. Ian Stewart's comment on Quo surprised me a little. No disrespect intended towards the memory of someone who was a highly regarded musician, but I think most music fans and not only of Quo would say their achievements eclipse Stu's.
It's apparent on reading of Mick Jagger's social life over the decades that he loves life with the jet set, which leads him to look down upon what are perceived to be bands which appeal to working class people. Aside from the absurdity of Jagger splitting music into class demographics - and it's ironic the blues players the Stones worshipped had to fight against deep-seated prejudice themselves just to get their music heard - I'd say working class folks comprised a large part of or even the majority of the Stones' audience, at least in their earlier career.
In the past two or three decades though the Stones have attracted more affluent concert-goers (not sure I'd call many of them fans), as those on lower incomes are priced out of Stones gigs, as they are at top flight football matches. Blue collar fans put money in your pocket, Mick, yet you sneer at them? No wonder Keith Richards started the Brenda patter to deflate the ego of ol' rubber lips.
So Jagger's snootiness towards Quo doesn't surprise me, given that he came from a middle class background and wanted to 'improve' his social standing, which I always thought was anathema to wealthy musicians, who normally prefer to stand apart from class nonsense. This can only be attributed to snobbery on Jagger's part, as I doubt he's been any more content or fulfilled than the Stones who didn't suck up to the rich and dreadful. In fact, looking at Jagger's numerous relationships which went wrong - and I'd bet there's a few we don't know about - and his acknowledged drug habit, he seems to have been as messed up as Francis Rossi was in the 70s and early 80s, which according to Rossi's book is saying something.
Regarding Rhino's status (sorry), I can see both sides of the argument. The original Quo fans see the Frantic Four as the classic line-up, when most of the truly memorable songs were recorded. But as Rhino has been in SQ for twice as long as Coghlan and Lancaster were, it's not surprising he considers himself to be a full-time member, whether or not he is contractually (even the financially prudent Jagger made Ronnie Wood a full-time Stone after 15 years or so).
I have sympathy for Rhino, as he's been knocking his pan out for 30 odd years in Quo and will understandably become defensive when told he can't really be considered part of the band, notwithstanding that he wasn't involved in writing Caroline, etc. I'm reminded of a recent comment from Francis Rossi when he said fans were coming up to him on his book promo tour and saying that of course they don't go to Quo gigs now Rick's gone. To quote Rossi: "I couldn't f****** believe they said that to my face!"
Obviously Francis Rossi has to defend the current line-up and I can see why he prefers it to 'classic' Quo as he's happier. He has a long-standing and settled relationship, no drug or booze habit to drag him down and no Alan Lancaster to argue with. Francis has to realise though why diehard fans take the stance that the Frantic Four was the real Quo.
Like almost every other big name, SQ were at their creative high point when they were in their 20s. The first decade or so of a successful band's lifespan tends to be when they make their name by writing most of their best material and Quo, like many acts of their ilk, essentially live off this legacy for the rest of their careers, albeit they may still write some good new songs.
Bands undoubtedly rely on the heritage factor or they wouldn't play so many of their old songs live. However much they'd like to drop some numbers and play more recent material, they know most fans come to hear the old favourites and gaps would start to appear in arenas and stadiums if they ditched the hits from yesteryear.
The light entertainment TV shows and other flawed ideas ensured the post-Live Aid Quo maintained a high profile, but it alienated many of the fans who pushed SQ to the top in the Frantic Four period and we now know Francis Rossi latterly grew tired of David Walker's stunts.
I feel it's futile to criticise Walker for his tactics as he was basically asked to jump-start SQ's career then keep it running and it's possible a less aggressive approach may have failed. A different strategy from a different manager may have appealed more to hardcore Quo fans but David Walker was clearly looking to keep the momentum going and enable SQ to sustain its existence, however long that was going to last.
Given that the later Quo was easily dismissed by influential commentators as a past-it 70s boogie band (as with the Radio 1 ban and sneering from the usual quarters), Walker had to ponder a wider fan base as he and Rossi may have wondered just how many old school fans would still have bought tickets and albums if they'd adopted a more low-key campaign and remained more faithful to the FF Quo.
As Francis Rossi also wanted to try and broaden Quo's sound, for good or ill, David Walker had to think of ideas which were outside the norm in the music business of the 90s, which was very different from its 70s incarnation and which placed far more emphasis on visual media. Some of these schemes were inevitably going to be OTT, when you consider Walker's up and at 'em personality. Subtlety and effectiveness often make strange bedfellows.
Since 10cc were mentioned...a bloke I worked alongside a few years back played in a journeyman band in his youth (oddly enough they had an album produced by one F Rossi) and he told me his band once supported 10cc. One of my former colleague's bandmates was apparently always winding up people - not in a good way - and asked 10cc how it felt to be on the way down. The support act, who were reliant on 10cc's PA system, didn't sound very good that week...
I also recall a Q magazine interview with Keith Richards many years ago when he discussed making the film Hail Hail! Rock 'n' Roll with Chuck Berry.