WEBVTT 00:00:00.000 --> 00:00:02.540 Welcome back to the Deep Dive. Today we are focusing 00:00:02.540 --> 00:00:06.980 on a figure who for over three decades provided 00:00:06.980 --> 00:00:10.439 this rock solid, often silent foundational stability 00:00:10.439 --> 00:00:13.939 for perhaps the most flamboyant and tumultuous 00:00:13.939 --> 00:00:15.820 rock band in history. He was, you know, anything 00:00:15.820 --> 00:00:17.820 but quiet behind the scenes. Exactly. We're going 00:00:17.820 --> 00:00:20.100 far beyond that standard narrative of the quiet 00:00:20.100 --> 00:00:23.539 stone and exploring William George Wyman, born 00:00:23.539 --> 00:00:27.879 William George Perks in 1936. Our sources paint 00:00:27.879 --> 00:00:32.250 this picture. Of restless. Really analytical 00:00:32.250 --> 00:00:35.689 mind. I mean, a man whose 31 years as the bassist 00:00:35.689 --> 00:00:38.509 for the Rolling Stones were paralleled by careers 00:00:38.509 --> 00:00:40.869 as an inventor, a meticulous chronicler of history. 00:00:40.990 --> 00:00:42.869 A published author, an acclaimed photographer, 00:00:43.170 --> 00:00:45.549 the list goes on. It really does. And that dual 00:00:45.549 --> 00:00:47.770 life is the mission of this deep dive. For you, 00:00:47.789 --> 00:00:49.609 the learner, we're distilling the essential nature 00:00:49.609 --> 00:00:51.810 of Wyman. You know, what made his specific sound 00:00:51.810 --> 00:00:54.030 so integral to the Stones' identity. And how 00:00:54.030 --> 00:00:56.750 did he manage to just walk away in 1993, already 00:00:56.750 --> 00:00:58.369 having established these multiple successful 00:00:58.369 --> 00:01:01.200 non -musical careers? Yeah, it's the story of 00:01:01.200 --> 00:01:04.200 the anchor who was also the historian. And yes, 00:01:04.260 --> 00:01:07.040 we will definitely be unpacking those famously 00:01:07.040 --> 00:01:10.000 complex personal dynamics. The material we gathered 00:01:10.000 --> 00:01:13.420 is drawn from some really comprehensive biographies 00:01:13.420 --> 00:01:15.400 and historical records, which gives us this unique 00:01:15.400 --> 00:01:18.760 opportunity to trace the trajectory from his 00:01:18.760 --> 00:01:23.379 very austere post -war childhood. Right. Right 00:01:23.379 --> 00:01:25.420 through to his surprising return to the studio 00:01:25.420 --> 00:01:29.420 with the Rolling Stones in 2023. It's a study 00:01:29.420 --> 00:01:32.480 in consistency and curiosity. To really understand 00:01:32.480 --> 00:01:34.459 Bill Wyman, you have to start with William George 00:01:34.459 --> 00:01:37.159 Birx. And the setting is just so crucial. He 00:01:37.159 --> 00:01:40.019 was born in Lewisham Hospital, raised in Penge, 00:01:40.219 --> 00:01:42.909 southeast London. And when we look at the other 00:01:42.909 --> 00:01:44.670 members of the Stones, you know, who were so 00:01:44.670 --> 00:01:47.049 often defined by their theatricality or their 00:01:47.049 --> 00:01:49.750 bohemian art school ruse, Wyman's background, 00:01:49.849 --> 00:01:51.930 it really stands out because it was defined by 00:01:51.930 --> 00:01:55.250 scarcity. Absolutely. The sources use very evocative 00:01:55.250 --> 00:01:57.930 language. They note his early life was scarred 00:01:57.930 --> 00:02:00.629 by poverty. His father was a bricklayer and he 00:02:00.629 --> 00:02:02.709 was one of six children. So this wasn't just 00:02:02.709 --> 00:02:05.609 like a working class struggle. No, no. This was 00:02:05.609 --> 00:02:08.090 a childhood defined by survival during World 00:02:08.090 --> 00:02:11.280 War II. He lived through the London Blitz. And 00:02:11.280 --> 00:02:13.919 the details from that period are, I mean, they're 00:02:13.919 --> 00:02:16.319 harrowing. We aren't talking about distant memories. 00:02:16.360 --> 00:02:18.919 We're talking about tangible, terrifying events. 00:02:19.219 --> 00:02:22.800 The record shows specific instances of enemy 00:02:22.800 --> 00:02:24.599 fighter planes strafing in his neighborhood, 00:02:24.860 --> 00:02:27.860 killing neighbors. Experiencing that kind of 00:02:27.860 --> 00:02:30.439 violence and instability so early on, I think 00:02:30.439 --> 00:02:33.060 it fundamentally contributes to that intensely 00:02:33.060 --> 00:02:36.099 grounded, even cautious nature he later exhibited 00:02:36.099 --> 00:02:38.219 in the band, right? I think you have to believe 00:02:38.219 --> 00:02:41.360 that. And that need for stability is visible 00:02:41.360 --> 00:02:44.289 immediately in his educational path. He attended 00:02:44.289 --> 00:02:46.930 Beckenham and Pinge County Grammar School, which 00:02:46.930 --> 00:02:48.949 was a respectable education. But he didn't even 00:02:48.949 --> 00:02:51.150 sit for his exams. No, he didn't sit for his 00:02:51.150 --> 00:02:53.610 general certificate of education exams. He left 00:02:53.610 --> 00:02:57.490 school prematurely at Easter 1953. And that wasn't 00:02:57.490 --> 00:03:00.229 some rebellious choice, was it? It was pure economic 00:03:00.229 --> 00:03:03.129 necessity. Exactly. His father insisted he take 00:03:03.129 --> 00:03:05.150 a steady job, which led him to working for a 00:03:05.150 --> 00:03:07.870 bookmaker. The promise of immediate reliable 00:03:07.870 --> 00:03:11.370 income just. It trumped the long -term rewards 00:03:11.370 --> 00:03:13.919 of academic study. And this is the mentality 00:03:13.919 --> 00:03:16.780 that he then carried into the most unstable business 00:03:16.780 --> 00:03:20.020 imaginable. Rock and roll. Rock and roll. That 00:03:20.020 --> 00:03:23.280 stability was interrupted, ironically, by mandatory 00:03:23.280 --> 00:03:27.759 national service. In 1955, Wyman was called up 00:03:27.759 --> 00:03:30.759 for two years in the Royal Air Force. He actually 00:03:30.759 --> 00:03:33.280 signed up for an extra year, too. He did, which 00:03:33.280 --> 00:03:35.680 saw him posted to Oldenburg Air Base in North 00:03:35.680 --> 00:03:37.900 Germany, working in the motor transport section. 00:03:38.430 --> 00:03:41.129 And Germany becomes this like accidental portal 00:03:41.129 --> 00:03:43.550 to his musical career. Yeah. Being stationed 00:03:43.550 --> 00:03:45.990 there exposed him directly to sounds that hadn't 00:03:45.990 --> 00:03:49.189 yet fully permeated post -war Britain. He was 00:03:49.189 --> 00:03:51.250 hearing rock and roll not only in local dance 00:03:51.250 --> 00:03:54.050 halls, like one called Zum Grunenwald. Which 00:03:54.050 --> 00:03:56.210 is a great name. But critically via the American 00:03:56.210 --> 00:03:59.349 Forces Network, AFN radio. And that exposure 00:03:59.349 --> 00:04:02.349 was just transformative. In 1956, while he was 00:04:02.349 --> 00:04:04.370 still in Germany, he bought his first guitar 00:04:04.370 --> 00:04:07.300 for 400 Deutsche Mark. Now, we know he'd had 00:04:07.300 --> 00:04:09.340 some piano lessons as a boy, right? Between ages 00:04:09.340 --> 00:04:12.319 10 and 13. He did. But the skiffle group he formed 00:04:12.319 --> 00:04:15.639 on camp in 1957 with Casey Jones, that was his 00:04:15.639 --> 00:04:18.240 first real engagement with modern popular music. 00:04:18.439 --> 00:04:21.839 But the guitar, it wasn't his destiny. When he 00:04:21.839 --> 00:04:24.779 married his first wife, Diane Corey, in 1959, 00:04:25.060 --> 00:04:27.600 he made a serious financial investment a year 00:04:27.600 --> 00:04:30.639 later. A Burns electric guitar for 52 pounds. 00:04:30.879 --> 00:04:32.800 Which, when you adjust for inflation, is well 00:04:32.800 --> 00:04:35.560 over 1 ,500 mounds today. A huge amount of money. 00:04:35.639 --> 00:04:38.819 A fortune. Yet he still felt dissatisfied with 00:04:38.819 --> 00:04:41.000 his progress on the instrument. And this leads 00:04:41.000 --> 00:04:43.360 us to the critical turning point for the Rolling 00:04:43.360 --> 00:04:45.819 Stones sound. He switched to bass guitar. The 00:04:45.819 --> 00:04:48.399 motivation. Yeah. Hearing the bass played live 00:04:48.399 --> 00:04:51.750 at a Baron Knights concert, it just... It resonated 00:04:51.750 --> 00:04:53.670 with him instantly. What's fascinating is that 00:04:53.670 --> 00:04:55.550 he didn't just switch instruments. He engineered 00:04:55.550 --> 00:04:58.110 his own specific sound because he couldn't afford 00:04:58.110 --> 00:05:00.529 the standard equipment. That's where the inventiveness 00:05:00.529 --> 00:05:03.750 comes in. He purchased a secondhand UK -built 00:05:03.750 --> 00:05:07.089 Dallas Tuxedo bass, and in an act of pure musical 00:05:07.089 --> 00:05:09.769 engineering, he manually removed the frets. He 00:05:09.769 --> 00:05:12.670 made his own fretless bass. He created his own 00:05:12.670 --> 00:05:14.800 fretless instrument. It was a 30 -inch short 00:05:14.800 --> 00:05:16.939 -scale bass, which became the cornerstone of 00:05:16.939 --> 00:05:19.540 his early tone. This instrument choice, born 00:05:19.540 --> 00:05:23.079 of necessity and curiosity, made history. That 00:05:23.079 --> 00:05:26.600 DIY bass became his ticket. By 1961, he was playing 00:05:26.600 --> 00:05:29.360 it in a local band called the Cliftons. And his 00:05:29.360 --> 00:05:32.660 unusual instrument, that deep, slightly thudding, 00:05:32.740 --> 00:05:35.699 fretless sound, was instrumental in the audition 00:05:35.699 --> 00:05:38.019 for the nascent Rolling Stones. So, December 00:05:38.019 --> 00:05:41.180 7, 1962. The audition at the White Horse Pub 00:05:41.180 --> 00:05:43.980 in Chelsea. He's there to succeed Dick Taylor. 00:05:44.160 --> 00:05:46.560 Right. And the band members, Jagger, Richards, 00:05:46.759 --> 00:05:50.259 and Jones, they were initially a bit reserved 00:05:50.259 --> 00:05:52.800 about him, but they were deeply impressed by 00:05:52.800 --> 00:05:55.819 his equipment. His gear. His gear. He brought 00:05:55.819 --> 00:05:58.660 the custom fretless bass plus a modified amplifier 00:05:58.660 --> 00:06:02.170 and a Vox AC -30. In a time when the Stones were 00:06:02.170 --> 00:06:04.810 struggling and scrappy, Wyman arrived with the 00:06:04.810 --> 00:06:07.050 sound, the gear, and the older, more grounded 00:06:07.050 --> 00:06:09.250 demeanor they desperately needed. And that grounded 00:06:09.250 --> 00:06:11.350 demeanor was literally reinforced by his age. 00:06:11.589 --> 00:06:13.509 Wyman was the oldest member of the group, which 00:06:13.509 --> 00:06:15.250 must have contributed to his anchoring role. 00:06:15.410 --> 00:06:16.970 Oh, for sure. And just a quick final note on 00:06:16.970 --> 00:06:19.430 his name. He legally changed his surname to Wyman 00:06:19.430 --> 00:06:22.230 in August 1964. Right, taking the phonetic spelling 00:06:22.230 --> 00:06:25.689 of a friend from his RAF days, Lee Wyman. So 00:06:25.689 --> 00:06:27.709 that military connection remained even in his 00:06:27.709 --> 00:06:30.259 stage name. So when you look at this origin story, 00:06:30.560 --> 00:06:34.339 Wyman was kind of the accidental genius, wasn't 00:06:34.339 --> 00:06:35.980 he? I think that's the perfect way to put it. 00:06:36.019 --> 00:06:38.180 He didn't come from a deep blues background like 00:06:38.180 --> 00:06:40.800 Richards or the art school environment of Jagger. 00:06:40.920 --> 00:06:44.439 He brought real world stability, financial capability, 00:06:44.759 --> 00:06:47.899 owning his own amps was huge, and most importantly, 00:06:48.100 --> 00:06:50.600 a technical innovation. That fretless bass. That 00:06:50.600 --> 00:06:53.480 fretless bass. Yeah. It instantly differentiated 00:06:53.480 --> 00:06:56.620 their rhythm section. His stability became the 00:06:56.620 --> 00:06:58.860 essential anchor in a band that was designed 00:06:58.860 --> 00:07:02.439 for glorious chaos. So moving into his core three 00:07:02.439 --> 00:07:05.139 -decade tenure, Wyman's contribution is just 00:07:05.139 --> 00:07:07.899 staggering. He anchored the bass on the band's 00:07:07.899 --> 00:07:11.879 first 19 studio albums. 19. A steady, if quiet, 00:07:12.040 --> 00:07:14.930 presence. He also contributed backing vocals 00:07:14.930 --> 00:07:17.790 frequently through 1967, showing he wasn't completely 00:07:17.790 --> 00:07:20.449 locked into just the low end. His creative contribution 00:07:20.449 --> 00:07:22.910 often gets overshadowed by the Glimmer Twins, 00:07:22.949 --> 00:07:25.850 but the sources confirm he has two specific songwriting 00:07:25.850 --> 00:07:28.730 credits released by the Rolling Stones. The first 00:07:28.730 --> 00:07:31.389 is... Another Land. From the Psychedelic album, 00:07:31.670 --> 00:07:34.350 there's Satanic Majesty's Request in 67. Exactly. 00:07:34.509 --> 00:07:36.189 And what's interesting about In Another Land 00:07:36.189 --> 00:07:38.870 is that Wyman sang lead on it, and it was actually 00:07:38.870 --> 00:07:42.430 released as his first official solo single. Right. 00:07:42.490 --> 00:07:45.009 Credited solely to him, even while he was a full 00:07:45.009 --> 00:07:47.589 -time member of the Scones. It was an early sign 00:07:47.589 --> 00:07:49.930 of his independent musical identity trying to 00:07:49.930 --> 00:07:52.290 break through. Yeah. The second track is Downtown 00:07:52.290 --> 00:07:55.009 Susie, which later appeared on the Metamorphosis 00:07:55.009 --> 00:07:58.170 Outtakes collection. Mick Jagger sang lead on 00:07:58.170 --> 00:08:00.490 this one. He did. But the original title was 00:08:00.490 --> 00:08:04.329 Sweet Lyle Lucy, named after Lyle Street in London's 00:08:04.329 --> 00:08:06.790 notorious red light district. And the title was 00:08:06.790 --> 00:08:09.290 changed by their manager, Alan Klein, right, 00:08:09.350 --> 00:08:12.829 without the band's input. Allegedly, yes. And 00:08:12.829 --> 00:08:15.589 that small detail is a perfect illustration of 00:08:15.589 --> 00:08:18.329 the kind of managerial and corporate chaos that 00:08:18.329 --> 00:08:21.089 Wyman was constantly observing and, more importantly, 00:08:21.189 --> 00:08:23.910 recording. That quiet observation leads us to 00:08:23.910 --> 00:08:26.819 the core of his non -musical role. The Chronicler. 00:08:27.759 --> 00:08:30.420 Wyman kept a comprehensive diary throughout his 00:08:30.420 --> 00:08:32.639 entire life, starting from childhood. This wasn't 00:08:32.639 --> 00:08:34.559 just a memo book. It was a meticulous record 00:08:34.559 --> 00:08:36.679 of every gig, every recording session, every 00:08:36.679 --> 00:08:39.639 business meeting, every argument. This journal 00:08:39.639 --> 00:08:42.559 is historically invaluable. It formed the foundation 00:08:42.559 --> 00:08:46.100 for his 1990 autobiography, Stone Alone, and 00:08:46.100 --> 00:08:49.580 his 2002 book, Rolling with the Stones. But keeping 00:08:49.580 --> 00:08:52.820 such a detailed record during that period, it 00:08:52.820 --> 00:08:54.860 must have created a fascinating tension, didn't 00:08:54.860 --> 00:08:57.779 it? He was both an active participant and this 00:08:57.779 --> 00:09:00.820 impartial forensic observer. It raises a crucial 00:09:00.820 --> 00:09:03.759 question about the internal dynamics. How did 00:09:03.759 --> 00:09:05.960 the band react to the idea that their bassist 00:09:05.960 --> 00:09:09.000 was constantly taking notes? Did they trust the 00:09:09.000 --> 00:09:11.139 keeper of the secrets? Well, his closeness to 00:09:11.139 --> 00:09:14.379 Brian Jones in those early turbulent years suggests 00:09:14.379 --> 00:09:17.399 a certain bond built on shared observation. That's 00:09:17.399 --> 00:09:19.440 a great point. The source notes that Wyman and 00:09:19.440 --> 00:09:22.200 Jones often shared rooms on tour, and Wyman was 00:09:22.200 --> 00:09:24.500 one of only two band members, alongside Charlie 00:09:24.500 --> 00:09:28.340 Watts, to attend Jones' funeral in 1969. That 00:09:28.340 --> 00:09:30.919 bond with Jones, the outcast, is significant. 00:09:31.279 --> 00:09:33.240 And that journal gives Wyman the authority to 00:09:33.240 --> 00:09:35.419 make controversial claims that challenge the 00:09:35.419 --> 00:09:37.779 established mythology of the band, which is usually 00:09:37.779 --> 00:09:40.220 controlled by Jagger and Richards. For example, 00:09:40.879 --> 00:09:43.220 His assertion in Stone Alone that he co -composed 00:09:43.220 --> 00:09:46.019 the iconic riff for Jumpin' Jack Flash. Exactly. 00:09:46.220 --> 00:09:48.740 He said he worked on that iconic riff with Brian 00:09:48.740 --> 00:09:52.139 Jones and Charlie Watts. This directly contradicts 00:09:52.139 --> 00:09:53.879 the established narrative that credits the song 00:09:53.879 --> 00:09:56.350 primarily to Jagger and Richards. And while the 00:09:56.350 --> 00:09:58.610 claim remains disputed, the fact that it comes 00:09:58.610 --> 00:10:00.950 from a detailed contemporaneous record forces 00:10:00.950 --> 00:10:04.549 rock historians to pause and reexamine the creative 00:10:04.549 --> 00:10:08.009 process. That detail alone underscores the immense 00:10:08.009 --> 00:10:11.029 value of the perpetual witness, the man with 00:10:11.029 --> 00:10:12.970 the diary. But perhaps the most shocking example 00:10:12.970 --> 00:10:15.529 of his internal leverage involves the band's 00:10:15.529 --> 00:10:18.009 biggest anthem, I Can't Get No Satisfaction. 00:10:18.149 --> 00:10:20.590 This is where it gets really compelling regarding 00:10:20.590 --> 00:10:23.690 the internal politics. Our source material confirms 00:10:23.690 --> 00:10:26.460 there was a surprising... and deeply consequential 00:10:26.460 --> 00:10:29.220 conflict over releasing that song as a single 00:10:29.220 --> 00:10:32.440 in 1965. You mean the song that defined the Rolling 00:10:32.440 --> 00:10:35.179 Stones globally was almost shelved? It was. The 00:10:35.179 --> 00:10:37.019 sources are very clear. The song was released 00:10:37.019 --> 00:10:40.059 only after a nail -biting, razor -thin, 3 -2 00:10:40.059 --> 00:10:43.480 internal band vote. A vote. A vote. Astonishingly, 00:10:43.480 --> 00:10:45.299 the two core songwriters, Mick Jagger and Keith 00:10:45.299 --> 00:10:48.440 Richards, voted against releasing it. No. Why? 00:10:48.620 --> 00:10:51.259 They felt it wasn't commercial enough. Or perhaps 00:10:51.259 --> 00:10:55.019 that the riff felt too raw. Too simple. So the 00:10:55.019 --> 00:10:57.580 rhythm section, Wyman, Charlie Watts, and Brian 00:10:57.580 --> 00:11:00.860 Jones had to vote down the frontmen. Yes. That 00:11:00.860 --> 00:11:02.740 totally shifts your perception of the Stones' 00:11:02.899 --> 00:11:05.799 early decision -making process. The quiet observers 00:11:05.799 --> 00:11:07.940 were the ones who saw the commercial and artistic 00:11:07.940 --> 00:11:10.799 potential of what became the most defining rock 00:11:10.799 --> 00:11:13.740 song of the 1960s. It illustrates that the anchor 00:11:13.740 --> 00:11:15.940 wasn't just physical or rhythmic. It was often 00:11:15.940 --> 00:11:18.899 moral and strategic. Yeah, Wyman's inherent stability 00:11:18.899 --> 00:11:21.200 and clear -headedness provided the counterbalance 00:11:21.200 --> 00:11:24.159 needed to overcome the volatile creative arguments 00:11:24.159 --> 00:11:27.000 between Jagger and Richards. And all the while, 00:11:27.120 --> 00:11:29.899 he maintained a remarkably busy schedule of side 00:11:29.899 --> 00:11:32.179 projects outside the Stones' orbit throughout 00:11:32.179 --> 00:11:34.639 the 70s and 80s, which really demonstrates his 00:11:34.639 --> 00:11:37.059 versatility. He was a highly sought -after session 00:11:37.059 --> 00:11:39.179 player, especially in the blues rock community. 00:11:39.399 --> 00:11:42.299 He played on foundational albums like the London 00:11:42.299 --> 00:11:45.379 Howlin' Wolf Sessions in 1971. With Clapton and 00:11:45.379 --> 00:11:48.379 Charlie Watts. Right. Then there was jamming 00:11:48.379 --> 00:11:52.480 with Edward. In 1972, that spontaneous supergroup 00:11:52.480 --> 00:11:55.820 jam that included Ry Cooder, Nicky Hopkins, Jagger, 00:11:55.820 --> 00:11:58.460 and Watts. He was clearly a central figure in 00:11:58.460 --> 00:12:00.679 that whole London session scene. And he also 00:12:00.679 --> 00:12:04.419 achieved genuine mainstream solo success. He 00:12:04.419 --> 00:12:08.240 did. His single, Si, Si, Je Suis Un Rockstar, 00:12:08.480 --> 00:12:11.440 a French -English title translating to Yes, Yes, 00:12:11.460 --> 00:12:13.960 I Am a Rockstar, became a top 20 hit in several 00:12:13.960 --> 00:12:16.700 countries in July 1981. That's an achievement 00:12:16.700 --> 00:12:18.889 that often gets lost in the anonymous. of the 00:12:18.889 --> 00:12:21.830 Stones' legacy. It really does. And he also dove 00:12:21.830 --> 00:12:24.110 headfirst into film composition. He composed 00:12:24.110 --> 00:12:26.549 the soundtrack album for the 1981 movie Green 00:12:26.549 --> 00:12:29.009 Ice. And then he worked on two films by the celebrated 00:12:29.009 --> 00:12:32.009 Italian horror director Dario Argento. Phenomena 00:12:32.009 --> 00:12:34.750 in 85 and Opera in 87. That's a fascinating, 00:12:34.909 --> 00:12:37.509 unexpected detour into the avant -garde horror 00:12:37.509 --> 00:12:39.850 space. We also have to mention the philanthropic 00:12:39.850 --> 00:12:42.250 work inspired by his friend Faces bassist Ronnie 00:12:42.250 --> 00:12:44.610 Lane, who was diagnosed with multiple sclerosis. 00:12:44.809 --> 00:12:47.750 Right. In 1983, Wyman helped organize Willie... 00:12:47.789 --> 00:12:50.149 and The Poor Boys, a fundraiser concert tour 00:12:50.149 --> 00:12:52.269 for action research into multiple sclerosis. 00:12:52.720 --> 00:12:55.379 That concert series and the resulting album involved 00:12:55.379 --> 00:12:57.919 a truly rotating cast of high -profile guests, 00:12:58.240 --> 00:13:01.659 a who's who of British rock royalty. Eric Clapton, 00:13:01.840 --> 00:13:05.820 Jeff Beck, Jimmy Page. It demonstrated his capability 00:13:05.820 --> 00:13:08.480 not just as a musician, but as an organizer and 00:13:08.480 --> 00:13:11.360 a leader. So after 31 years of anchor service, 00:13:11.720 --> 00:13:14.159 chronicling, and composing, Wyman officially 00:13:14.159 --> 00:13:16.980 stepped away. He left the Rolling Stones in January 00:13:16.980 --> 00:13:20.940 1993 following the massive 1989 -90 Steel Wheels 00:13:20.940 --> 00:13:23.889 Urban Jungle. tours. His tenure remains the benchmark. 00:13:24.169 --> 00:13:27.909 Thirty one years, 19 studio albums. It is an 00:13:27.909 --> 00:13:29.929 official fixed period of the band's history. 00:13:30.049 --> 00:13:32.070 And while Daryl Jones has capably filled the 00:13:32.070 --> 00:13:33.909 bassist role ever since, it's telling that the 00:13:33.909 --> 00:13:35.710 Stones have never made him an official member. 00:13:35.950 --> 00:13:37.669 That's right. They acknowledge that Wyman's era 00:13:37.669 --> 00:13:41.250 is a unique historical chapter, one which, thanks 00:13:41.250 --> 00:13:43.990 to his journals, is perhaps the most comprehensively 00:13:43.990 --> 00:13:46.190 documented period of the band's history. The 00:13:46.190 --> 00:13:48.470 lesson here really is that the quietest person 00:13:48.470 --> 00:13:51.759 in the room often sees the most. Wyman's discipline, 00:13:52.059 --> 00:13:55.059 born of his necessity -driven childhood, translated 00:13:55.059 --> 00:13:57.559 into the stability the stones needed musically, 00:13:57.759 --> 00:14:01.340 strategically, and historically. Let's dedicate 00:14:01.340 --> 00:14:03.659 a moment to the specific technical contribution 00:14:03.659 --> 00:14:06.960 of Bill Wyman. He wasn't just playing the instrument. 00:14:07.019 --> 00:14:10.279 He was, in a way, inventing the sound that defined 00:14:10.279 --> 00:14:13.600 the early Stones. We talked about his modified 00:14:13.600 --> 00:14:15.940 Dallas tuxedo bass, but let's analyze the key 00:14:15.940 --> 00:14:18.620 elements of his signature tone. This is critical 00:14:18.620 --> 00:14:20.639 for understanding why the early Stones sounded 00:14:20.639 --> 00:14:23.200 so different from bands like The Beatles or The 00:14:23.200 --> 00:14:26.519 Who. Wyman's signature sound hinged on two core 00:14:26.519 --> 00:14:29.519 elements, the instrument's physical design and 00:14:29.519 --> 00:14:31.440 his technique. Okay, so start with the instrument. 00:14:31.600 --> 00:14:34.320 The Dallas Tuxedo was a 30 -inch short -scale 00:14:34.320 --> 00:14:36.820 bass. Why does that matter musically? Especially 00:14:36.820 --> 00:14:38.740 when compared to the standard instruments of 00:14:38.740 --> 00:14:40.559 the time, like a Fender Precision Bass, which 00:14:40.559 --> 00:14:43.159 were typically, what, 34 inches? Right. The short 00:14:43.159 --> 00:14:45.080 scale means the distance between the frets is 00:14:45.080 --> 00:14:47.340 smaller, which makes the strings looser and easier 00:14:47.340 --> 00:14:50.500 to bend. It gives the instrument a rounder, fatter, 00:14:50.580 --> 00:14:53.480 and slightly less articulate tone. So a deeper, 00:14:53.600 --> 00:14:56.700 warmer tone. Exactly. It was very different from 00:14:56.700 --> 00:14:59.159 the punchy, defined tone of a standard P -bass. 00:14:59.460 --> 00:15:02.759 But the crucial innovation, as we said, was removing 00:15:02.759 --> 00:15:05.639 the frets entirely. What's the sonic consequence 00:15:05.639 --> 00:15:09.019 of having a fretless bass in a 1960s rock and 00:15:09.019 --> 00:15:12.159 roll band? By removing the metal frets, he eliminated 00:15:12.159 --> 00:15:14.399 the sharp attack you get when a string hits metal. 00:15:14.740 --> 00:15:17.620 Instead, you get a smoother, more fluid, almost 00:15:17.620 --> 00:15:21.419 woody sustain. It mimics the deep resonance of 00:15:21.419 --> 00:15:24.120 an acoustic upright double bass, which was the 00:15:24.120 --> 00:15:25.840 instrument of choice in traditional American 00:15:25.840 --> 00:15:29.360 blues and jazz. So he was intentionally importing 00:15:29.360 --> 00:15:32.240 that traditional blues foundation into the electric 00:15:32.240 --> 00:15:35.039 rock format. Exactly. And this pairs perfectly 00:15:35.039 --> 00:15:36.720 with his technique, which was a walking bass 00:15:36.720 --> 00:15:39.419 style. Which is a melodic, often syncopated bass 00:15:39.419 --> 00:15:41.620 line, where the bassist plays a note on every 00:15:41.620 --> 00:15:44.519 beat. Right, often using passing tones to smoothly 00:15:44.519 --> 00:15:46.960 transition from one chord change to the next. 00:15:47.100 --> 00:15:48.879 So he wasn't playing aggressive, high -energy 00:15:48.879 --> 00:15:51.639 rock lines. He was providing this constant melodic 00:15:51.639 --> 00:15:54.340 movement underneath the song's structure. It 00:15:54.340 --> 00:15:57.820 creates rhythmic stability. Think of Willie Dixon, 00:15:57.960 --> 00:16:00.740 the legendary blues bassist and songwriter, or 00:16:00.740 --> 00:16:02.899 Ricky Fenson, who was prominent in the British 00:16:02.899 --> 00:16:06.259 R &B scene. Wyman was directly inspired by them. 00:16:06.379 --> 00:16:09.600 I see. His walking bass style, delivered with 00:16:09.600 --> 00:16:12.720 that unique fretless thud, gave the early Stones 00:16:12.720 --> 00:16:17.059 that slinky, soulful R &B groove that other emerging 00:16:17.059 --> 00:16:20.480 British rock acts, often utilizing standard fretted 00:16:20.480 --> 00:16:23.429 basses, just couldn't replicate. That technical 00:16:23.429 --> 00:16:25.889 insight explains so much. It wasn't a mistake. 00:16:26.049 --> 00:16:28.909 It was a carefully curated sound profile. It 00:16:28.909 --> 00:16:32.370 was. And even as the band's sound matured, he 00:16:32.370 --> 00:16:34.570 continued experimenting with short scale and 00:16:34.570 --> 00:16:37.049 unusual instruments. His arsenal was pretty eclectic, 00:16:37.049 --> 00:16:38.549 wasn't it? Oh, yeah. He quickly moved beyond 00:16:38.549 --> 00:16:41.009 the Dallas tuxedo, but he maintained that preference 00:16:41.009 --> 00:16:43.019 for the short scale. We see him use a famous 00:16:43.019 --> 00:16:45.419 star bass in other famous models. And he's famously 00:16:45.419 --> 00:16:47.799 associated with the distinctive Vox teardrop 00:16:47.799 --> 00:16:50.580 bass. A visually iconic instrument that later 00:16:50.580 --> 00:16:52.960 became a Bill Wyman signature model. He also 00:16:52.960 --> 00:16:55.000 played the Fender Mustang Bass, which is another 00:16:55.000 --> 00:16:57.399 short -scale classic, alongside more eccentric 00:16:57.399 --> 00:16:59.919 choices like the transparent Ampeg Dan Armstrong 00:16:59.919 --> 00:17:03.519 basses. A Gibson EB -3, and even a Travis Bean 00:17:03.519 --> 00:17:05.700 bass, which was known for its aluminum neck. 00:17:06.089 --> 00:17:08.150 He was always on the hunt for a unique sonic 00:17:08.150 --> 00:17:10.990 signature. He was. And this search continued 00:17:10.990 --> 00:17:13.130 right into the later years of his Stones tenure. 00:17:13.470 --> 00:17:16.609 The source notes that since the late 1980s, he 00:17:16.609 --> 00:17:19.309 largely settled on Steinberger basses. Headless, 00:17:19.309 --> 00:17:22.089 minimal design. Composite materials. Yeah. This 00:17:22.089 --> 00:17:24.730 proves he wasn't stuck in the 60s. He was consistently 00:17:24.730 --> 00:17:27.450 adopting the most advanced, often non -traditional, 00:17:27.569 --> 00:17:29.650 equipment available to achieve his preferred 00:17:29.650 --> 00:17:32.529 tone. And his influence is now permanently woven 00:17:32.529 --> 00:17:35.230 into the instrument manufacturing world. In 2011, 00:17:35.430 --> 00:17:37.730 the Bass Center in London honored him by issuing 00:17:37.730 --> 00:17:40.670 the Wyman Bass. Which was a factory -produced, 00:17:40.670 --> 00:17:43.130 fretted interpretation of that original homemade 00:17:43.130 --> 00:17:45.630 fretless bass. It's the ultimate acknowledgement 00:17:45.630 --> 00:17:48.190 of his foundational contribution. And his physical 00:17:48.190 --> 00:17:50.809 instruments are now considered invaluable artifacts. 00:17:51.230 --> 00:17:53.789 This brings us back to his chronicler role and 00:17:53.789 --> 00:17:56.630 its financial implications. Consider the astonishing 00:17:56.630 --> 00:18:01.170 auction result from 2020. His 1969 Fender Mustang 00:18:01.170 --> 00:18:05.710 Bass sold for $380 ,000. That is an unbelievable 00:18:05.710 --> 00:18:08.829 figure for a bass guitar. It was, at the time 00:18:08.829 --> 00:18:11.950 of sale, the highest price ever paid for a bass 00:18:11.950 --> 00:18:14.869 guitar at auction. Wow. And that price doesn't 00:18:14.869 --> 00:18:17.190 reflect the instrument's rarity as much as it 00:18:17.190 --> 00:18:19.250 reflects the historical weight of the man who 00:18:19.250 --> 00:18:22.559 wielded it. It's a tangible piece of this ability 00:18:22.559 --> 00:18:24.980 he provided during the stone's most productive 00:18:24.980 --> 00:18:27.519 era. He didn't just play bass. He designed the 00:18:27.519 --> 00:18:29.259 son of foundation for the early British invasion. 00:18:29.930 --> 00:18:32.630 So when Bill Wyman left the Rolling Stones in 00:18:32.630 --> 00:18:36.250 1993, he didn't just disappear into obscurity. 00:18:36.390 --> 00:18:39.289 Not at all. He shifted focus to an independent 00:18:39.289 --> 00:18:41.589 career that was already decades in the making. 00:18:41.710 --> 00:18:44.650 His main musical vehicle for two decades became 00:18:44.650 --> 00:18:46.789 Bill Wyman's Rhythm Kings. The Rhythm Kings, 00:18:47.049 --> 00:18:50.750 formed in 1997 and active until 2018, were the 00:18:50.750 --> 00:18:53.490 perfect Post Stones project because they explicitly 00:18:53.490 --> 00:18:56.190 embodied his love for historical music. Right. 00:18:56.289 --> 00:18:58.190 They weren't trying to be a contemporary rock 00:18:58.190 --> 00:19:00.539 band. No, they focused. on covering and celebrating 00:19:00.539 --> 00:19:03.140 the deep roots of blues, soul, rock and roll, 00:19:03.180 --> 00:19:05.640 and jazz. And they were known for their fantastic, 00:19:06.099 --> 00:19:09.279 regularly rotating, cross -generational lineup 00:19:09.279 --> 00:19:12.519 of stellar musicians, which created a very different 00:19:12.519 --> 00:19:14.819 dynamic from the fixed high -tension structure 00:19:14.819 --> 00:19:17.359 of the Stones. It was much more collaborative 00:19:17.359 --> 00:19:20.660 and celebratory. The lineup often included musicians 00:19:20.660 --> 00:19:23.660 like Gary Brooker from Pro Call Harem, Georgie 00:19:23.660 --> 00:19:26.980 Fame, Albert Lee, Andy Fairweather Lowe. A real 00:19:26.980 --> 00:19:30.079 super group. It was less about ego and more about 00:19:30.079 --> 00:19:32.740 musicianship and respecting the heritage of the 00:19:32.740 --> 00:19:35.400 music. Although he was the band leader, he still 00:19:35.400 --> 00:19:38.460 preferred to stay behind the bass. However, the 00:19:38.460 --> 00:19:41.200 source notes he typically sang lead vocals on 00:19:41.200 --> 00:19:43.839 two specific covers in the Rhythm Kings setlist. 00:19:44.099 --> 00:19:46.759 Chuck Berry's You Never Can Tell. And predictably, 00:19:46.819 --> 00:19:50.539 the Stones' classic Honky Tonk Women. I imagine 00:19:50.539 --> 00:19:52.980 performing Honky Tonk Women as the lead singer 00:19:52.980 --> 00:19:55.559 gave him a chance to reinterpret the song he 00:19:55.559 --> 00:19:58.359 helped anger for decades. That's a lovely thought 00:19:58.359 --> 00:20:00.720 reclaiming a piece of his own history. Beyond 00:20:00.720 --> 00:20:02.880 the Rhythm Kings, we have to circle back to his 00:20:02.880 --> 00:20:04.940 philanthropic efforts. The Willie and the Poor 00:20:04.940 --> 00:20:08.369 Boys Project in 83. A massive undertaking. assembling 00:20:08.369 --> 00:20:10.829 a legendary rotating cask for the action research 00:20:10.829 --> 00:20:13.009 into multiple sclerosis benefit. And the roll 00:20:13.009 --> 00:20:15.250 call of contributors, it reads like a rock and 00:20:15.250 --> 00:20:18.289 roll Hall of Fame induction. Eric Clapton, Jeff 00:20:18.289 --> 00:20:21.690 Beck, Jimmy Page. That ability to organize and 00:20:21.690 --> 00:20:24.640 attract such high caliber talent. speaks to the 00:20:24.640 --> 00:20:27.279 quiet authority and immense respect Wyman held 00:20:27.279 --> 00:20:29.640 in the music community, separate from the Jagger 00:20:29.640 --> 00:20:31.559 -Richards sphere. He also continued appearing 00:20:31.559 --> 00:20:34.819 in historical reunion contexts, right? He filled 00:20:34.819 --> 00:20:37.539 in for Ronnie Lane in The Faces reunion in 2009. 00:20:37.980 --> 00:20:40.680 He did. And his participation in the 2011 Ian 00:20:40.680 --> 00:20:43.660 Stewart tribute album, Boogie for Stew, was particularly 00:20:43.660 --> 00:20:46.559 meaningful, as Ian Stewart was the Stones' original 00:20:46.559 --> 00:20:49.140 pianist and road manager. The sixth stone. The 00:20:49.140 --> 00:20:52.140 sixth stone. Wyman played on two tracks, including 00:20:52.140 --> 00:20:54.900 one recorded with the stones, reinforcing his 00:20:54.900 --> 00:20:57.380 status as a historical connector. Okay, let's 00:20:57.380 --> 00:20:59.420 turn to the pursuits that truly define him as 00:20:59.420 --> 00:21:01.799 a Renaissance man and show the depth of his character. 00:21:02.329 --> 00:21:04.769 We need to talk about his dual life as an amateur 00:21:04.769 --> 00:21:07.609 archaeologist and a noted photographer. His passion 00:21:07.609 --> 00:21:09.910 for archaeology and metal detecting is intense. 00:21:10.250 --> 00:21:12.869 It's more than a simple hobby. It's an intellectual 00:21:12.869 --> 00:21:15.829 pursuit. He spent countless hours on treasure 00:21:15.829 --> 00:21:18.089 detecting adventures across the British Isles, 00:21:18.089 --> 00:21:20.910 which resulted in his 2005 illustrated book, 00:21:21.069 --> 00:21:23.990 Treasure Islands, co -written with Richard Havers. 00:21:24.480 --> 00:21:27.700 That curiosity about finding, preserving, and 00:21:27.700 --> 00:21:30.660 documenting the past feels like a direct echo 00:21:30.660 --> 00:21:33.119 of his need to chronicle the stone's history. 00:21:33.319 --> 00:21:36.099 Is. He transitioned from documenting contemporary 00:21:36.099 --> 00:21:39.819 rock history to documenting ancient human history? 00:21:39.980 --> 00:21:42.490 It's the same compulsion. The meticulous search 00:21:42.490 --> 00:21:45.950 for evidence. And he turned this passion into 00:21:45.950 --> 00:21:48.910 a successful business. Selling Bill Wyman's signature 00:21:48.910 --> 00:21:52.029 metal detectors starting in 2007. Selling your 00:21:52.029 --> 00:21:54.049 own line of metal detectors while simultaneously 00:21:54.049 --> 00:21:56.869 playing blues with superstars is perhaps the 00:21:56.869 --> 00:21:59.150 ultimate example of the Bill Wyman duality. It 00:21:59.150 --> 00:22:01.750 really is. And his photography career is similarly 00:22:01.750 --> 00:22:04.509 dedicated and detailed. He's taken photographs 00:22:04.509 --> 00:22:07.250 throughout his entire life, documenting not only 00:22:07.250 --> 00:22:09.430 the Stone's career from the inside, but also 00:22:09.430 --> 00:22:11.880 his various artistic accomplishments. His photography 00:22:11.880 --> 00:22:14.920 work is of museum quality. In 2010, he launched 00:22:14.920 --> 00:22:16.980 a major retrospective exhibition in St. Paul 00:22:16.980 --> 00:22:19.019 de Vence, where he owns a residence in the south 00:22:19.019 --> 00:22:21.099 of France. And it featured these candid, intimate 00:22:21.099 --> 00:22:23.519 images of famous musical figures and artistic 00:22:23.519 --> 00:22:26.440 acquaintances, including the master painter Marc 00:22:26.440 --> 00:22:29.920 Chagall. And then a 2013 London exhibition featured 00:22:29.920 --> 00:22:32.579 selections of his images that were reworked by 00:22:32.579 --> 00:22:35.519 contemporary artists, including the famous political 00:22:35.519 --> 00:22:39.200 cartoonist Gerald Scarfe. This demonstrates that 00:22:39.200 --> 00:22:41.000 his work is taken seriously in the art world, 00:22:41.119 --> 00:22:43.640 not just as a rock star's sideline. It all feeds 00:22:43.640 --> 00:22:45.380 back into that obsession with documentation. 00:22:45.759 --> 00:22:48.819 His bibliography is evidence of this. It spans 00:22:48.819 --> 00:22:52.039 genres beyond just memoir. We see the historical 00:22:52.039 --> 00:22:54.299 memoir, Stone Alone, Rolling with the Stones, 00:22:54.559 --> 00:22:58.140 the musicology, Bill Wyman's Blues Odyssey, the 00:22:58.140 --> 00:23:00.779 historical hobby, Treasure Islands, and the artistic 00:23:00.779 --> 00:23:03.700 pursuit, Wyman Shoots Chagall. The uniqueness 00:23:03.700 --> 00:23:05.740 of Bill Wyman is that he was the quiet one who 00:23:05.740 --> 00:23:08.559 was also the most prolific. He cultivated this 00:23:08.559 --> 00:23:11.579 vibrant, intellectually stimulating life outside 00:23:11.579 --> 00:23:13.980 the main event, ensuring that his identity was 00:23:13.980 --> 00:23:16.240 never solely tied to his famous band. And that 00:23:16.240 --> 00:23:18.220 freedom is what allowed him to leave on his own 00:23:18.220 --> 00:23:20.559 terms. When we examine the personal chronicle, 00:23:20.619 --> 00:23:22.759 we find a character who was outwardly disciplined 00:23:22.759 --> 00:23:25.140 and stable. But whose private life was subject 00:23:25.140 --> 00:23:27.839 to some... Pretty high -profile drama. Absolutely. 00:23:28.279 --> 00:23:31.279 Wyman himself acknowledged this contrast, stating 00:23:31.279 --> 00:23:33.700 that while he was generally moderate in his use 00:23:33.700 --> 00:23:36.279 of alcohol and drugs compared to his bandmates, 00:23:36.539 --> 00:23:39.839 he admitted to becoming girl -mad. as a psychological 00:23:39.839 --> 00:23:42.920 crutch during the chaos of the 60s his first 00:23:42.920 --> 00:23:46.579 marriage was to diane corey from 1959 to 1969. 00:23:47.039 --> 00:23:50.619 they had one son stephen and that marriage overlapped 00:23:50.619 --> 00:23:53.660 with the very early intense years of stone's 00:23:53.660 --> 00:23:56.900 touring and his memoir stone alone includes an 00:23:56.900 --> 00:23:58.920 anecdote that perfectly captures the transient 00:23:58.920 --> 00:24:02.000 almost surreal nature of being a 60s rock star 00:24:02.299 --> 00:24:05.119 It's a story from Adelaide. Right. He recounted 00:24:05.119 --> 00:24:07.920 a brief relationship during the 1965 Far East 00:24:07.920 --> 00:24:10.799 tour in Adelaide, Australia. The following year, 00:24:10.859 --> 00:24:12.579 he learned the woman had become pregnant. And 00:24:12.579 --> 00:24:14.779 what was the outcome of that situation? The woman 00:24:14.779 --> 00:24:16.779 chose to move to New Zealand to raise their daughter 00:24:16.779 --> 00:24:19.839 privately, specifically to spare Wyman the hassle 00:24:19.839 --> 00:24:22.740 and attention. He respected her witches, noting 00:24:22.740 --> 00:24:25.039 in the 1990 edition of Stone Alone that he had 00:24:25.039 --> 00:24:27.259 not heard from them since. Which shows a certain 00:24:27.259 --> 00:24:29.460 distance and detachment that sometimes characterized 00:24:29.460 --> 00:24:31.640 the personal relationships of that time. It does. 00:24:31.759 --> 00:24:33.859 Then came the controversial chapter that dominated 00:24:33.859 --> 00:24:37.000 British tabloids. His relationship and subsequent 00:24:37.000 --> 00:24:39.480 marriage to Mandy Smith. He married Mandy Smith 00:24:39.480 --> 00:24:43.059 in 1989. The relationship was highly publicized 00:24:43.059 --> 00:24:46.819 due to the age gap. He was 52. She was 18. And 00:24:46.819 --> 00:24:49.099 they separated only two years later and divorced 00:24:49.099 --> 00:24:51.710 two years after that. And compounding the controversy 00:24:51.710 --> 00:24:54.789 was the sourced claim that their sexual relationship 00:24:54.789 --> 00:24:58.609 began when she was 14. This period remains the 00:24:58.609 --> 00:25:01.049 most scrutinized and difficult part of his personal 00:25:01.049 --> 00:25:04.170 history. But following that period, Wyman found 00:25:04.170 --> 00:25:06.210 the stability he seems to have always craved, 00:25:06.289 --> 00:25:09.130 marrying his third wife, model Susanna Costa, 00:25:09.430 --> 00:25:11.990 in April 1993. And they had already known each 00:25:11.990 --> 00:25:15.009 other for a long time. They met in 1980 and maintained 00:25:15.009 --> 00:25:16.890 a friendship until their relationship became 00:25:16.890 --> 00:25:18.750 romantic. They have three daughters together. 00:25:18.990 --> 00:25:20.869 This marriage marked the beginning of his independent 00:25:20.869 --> 00:25:23.190 life and his retirement from the Relentless Stones' 00:25:23.470 --> 00:25:26.740 touring schedule. It did. However, before we 00:25:26.740 --> 00:25:29.319 move on, we have to talk about the ultimate aha 00:25:29.319 --> 00:25:32.299 moment buried deep in his personal chronicle. 00:25:32.339 --> 00:25:34.039 The astonishing twist? The astonishing twist 00:25:34.039 --> 00:25:36.440 involving his son and his ex -wife's mother. 00:25:36.680 --> 00:25:40.339 This detail is truly mind -bending. A family 00:25:40.339 --> 00:25:43.599 structure so complex, it sounds like a sociological 00:25:43.599 --> 00:25:46.319 thought experiment. Tell us about the marriage 00:25:46.319 --> 00:25:49.980 that happened in 1993. Okay. In 1993, the same 00:25:49.980 --> 00:25:53.799 year, Wyman married Susanna Costa. His son, from 00:25:53.799 --> 00:25:56.200 his first marriage, Stephen Wyman, who was 30 00:25:56.200 --> 00:25:59.220 years old, married Patsy Smith, who was 46 years 00:25:59.220 --> 00:26:02.160 old. And crucially. Crucially, Patsy Smith was 00:26:02.160 --> 00:26:05.000 the mother of Wyman's ex -wife, Mandy Smith. 00:26:05.099 --> 00:26:07.519 Wait, so his son married his former mother -in 00:26:07.519 --> 00:26:09.559 -law? Precisely. Okay, my head is spinning. And 00:26:09.559 --> 00:26:12.079 if you try to trace the resulting legal and familial 00:26:12.079 --> 00:26:15.160 lines, the result is astonishing. Bill Wyman, 00:26:15.259 --> 00:26:18.039 the father, became his own son's ex -son -in 00:26:18.039 --> 00:26:20.289 -law. What? Furthermore, he became the father 00:26:20.289 --> 00:26:22.190 -in -law of his ex -mother -in -law, Patsy Smith, 00:26:22.369 --> 00:26:24.650 and, by extension, the step -grandfather of his 00:26:24.650 --> 00:26:27.269 ex -wife, Mandy Smith. That is genuinely absurd. 00:26:27.309 --> 00:26:29.670 It sounds like something only a meticulous chronicler 00:26:29.670 --> 00:26:31.470 could keep track of. It certainly proves that 00:26:31.470 --> 00:26:33.809 fact is stranger than fiction, especially when 00:26:33.809 --> 00:26:35.890 dealing with rock stars and their extended families. 00:26:36.150 --> 00:26:39.549 Wow. Let's shift to some of his less complicated 00:26:39.549 --> 00:26:42.269 but equally revealing personal interests and 00:26:42.269 --> 00:26:45.470 quirks. His sports fandom, for instance, is quite 00:26:45.470 --> 00:26:48.109 passionate. He is a lifelong supporter of Crystal 00:26:48.109 --> 00:26:51.690 Palace FC. The source provides a fantastic anecdote 00:26:51.690 --> 00:26:54.190 that speaks volumes about his priorities. Right. 00:26:54.269 --> 00:26:56.910 During the 1990 European tour with the Rolling 00:26:56.910 --> 00:26:59.869 Stones, he felt he needed to be in London. Instead 00:26:59.869 --> 00:27:02.960 of simply asking for time off. He feigned a toothache. 00:27:03.039 --> 00:27:05.339 Claiming he needed an emergency dental flight 00:27:05.339 --> 00:27:07.420 back to London. And what was the real emergency? 00:27:07.779 --> 00:27:10.259 He flew back to London specifically to watch 00:27:10.259 --> 00:27:13.259 Crystal Palace play at Wembley in the 1990 FA 00:27:13.259 --> 00:27:16.500 Cup final. That commitment, risking the ire of 00:27:16.500 --> 00:27:18.740 the Stones management and bandmates over a football 00:27:18.740 --> 00:27:21.660 match, shows how intensely he compartmentalized 00:27:21.660 --> 00:27:23.759 his personal life from his professional obligations. 00:27:24.259 --> 00:27:26.670 He's also a keen cricket enthusiast. admiring 00:27:26.670 --> 00:27:29.170 figures like Dennis Compton. The source even 00:27:29.170 --> 00:27:30.910 mentions he managed to take a hat -trick three 00:27:30.910 --> 00:27:33.690 wickets in three consecutive deliveries in a 00:27:33.690 --> 00:27:35.890 celebrity match at the Oval. This dedication 00:27:35.890 --> 00:27:38.269 to physical hobbies is paired with a focus on 00:27:38.269 --> 00:27:41.390 his health later in life. After 55 years of smoking, 00:27:41.549 --> 00:27:44.450 he finally quit in 2009. We also know that he 00:27:44.450 --> 00:27:47.279 was diagnosed with prostate cancer in 2016. Though, 00:27:47.359 --> 00:27:49.880 thankfully, the prognosis was for full recovery. 00:27:50.039 --> 00:27:52.559 And finally, a detail that explains his eventual 00:27:52.559 --> 00:27:55.559 complete departure from touring, the development 00:27:55.559 --> 00:27:58.099 of a severe phobia. Around the time of the Steel 00:27:58.099 --> 00:28:00.900 Wheels tour in the late 80s, he developed a significant 00:28:00.900 --> 00:28:03.799 fear of flying. And for a musician in the world's 00:28:03.799 --> 00:28:06.920 biggest touring band, developing aerophobia is 00:28:06.920 --> 00:28:09.759 an insurmountable challenge. This phobia, coupled 00:28:09.759 --> 00:28:12.200 with his desire to pursue his other intellectual 00:28:12.200 --> 00:28:15.480 and artistic passions, provided the final logical 00:28:15.480 --> 00:28:18.220 push toward leaving the band. He simply couldn't 00:28:18.220 --> 00:28:20.740 sustain that life anymore. And his residences 00:28:20.740 --> 00:28:23.859 reflect his success and longevity. He owns Getting 00:28:23.859 --> 00:28:26.470 Hall. a remarkable country home in Suffolk that 00:28:26.470 --> 00:28:29.369 dates all the way back to 1458. Providing that 00:28:29.369 --> 00:28:31.690 grounded historical connection he craves. And 00:28:31.690 --> 00:28:33.730 he also maintains a residence in Saint -Paul 00:28:33.730 --> 00:28:35.849 -de -Vence in the south of France, where he is 00:28:35.849 --> 00:28:38.430 embedded in that local artistic community. It's 00:28:38.430 --> 00:28:41.150 the life of a Renaissance man. History, art, 00:28:41.329 --> 00:28:43.890 and stability, all anchored in physical places 00:28:43.890 --> 00:28:46.569 far removed from the global rock circus he spent 00:28:46.569 --> 00:28:49.730 31 years documenting. Despite leaving officially 00:28:49.730 --> 00:28:53.190 in 1993, Wyman's history with the Stones is so 00:28:53.190 --> 00:28:56.250 deep that total separation seems impossible. 00:28:56.849 --> 00:29:00.089 His reunion appearances, though rare, are always 00:29:00.089 --> 00:29:03.210 treated as massive events. The most high -profile 00:29:03.210 --> 00:29:05.970 appearances were the Rolling Stones' 50th anniversary 00:29:05.970 --> 00:29:09.450 shows in London and Newark in 2012. These shows 00:29:09.450 --> 00:29:12.450 were major historical moments. And while Daryl 00:29:12.450 --> 00:29:15.579 Jones played the bulk of the set, Wyman was expected 00:29:15.579 --> 00:29:18.460 to join the core members on stage. He did. He 00:29:18.460 --> 00:29:20.720 played two back to back songs at the London shows. 00:29:20.819 --> 00:29:22.740 It's only rock and roll, but I like it. And honky 00:29:22.740 --> 00:29:25.559 tonk women. It was a powerful, symbolic moment 00:29:25.559 --> 00:29:29.019 for the fans. But importantly, those cameos weren't 00:29:29.019 --> 00:29:32.150 a signal of a full time return. No. Wyman later 00:29:32.150 --> 00:29:34.509 stated quite clearly that he was simply not interested 00:29:34.509 --> 00:29:36.529 in joining the band for further tour dates in 00:29:36.529 --> 00:29:39.390 2013. He had moved past the rigorous touring 00:29:39.390 --> 00:29:41.730 schedule and was content prioritizing his Rhythm 00:29:41.730 --> 00:29:44.230 Kings and other pursuits. That independence is 00:29:44.230 --> 00:29:46.670 consistent, but it makes his return to the studio 00:29:46.670 --> 00:29:49.430 in 2023 for the Hackney Diamonds album all the 00:29:49.430 --> 00:29:52.349 more significant. It's a huge moment. Wyman briefly 00:29:52.349 --> 00:29:54.509 returned to recording with his former bandmates, 00:29:54.650 --> 00:29:58.109 playing bass on one specific track, Live by the 00:29:58.109 --> 00:30:00.700 Sword. This wasn't just a nostalgic gesture, 00:30:00.839 --> 00:30:03.460 was it? Not at all. It was the band deliberately 00:30:03.460 --> 00:30:05.720 utilizing the talents and historical connection 00:30:05.720 --> 00:30:08.299 of their original anchor. And this marks his 00:30:08.299 --> 00:30:10.599 first appearance on a Rolling Stones studio recording 00:30:10.599 --> 00:30:14.920 since 1991. 32 years. The decision by Jagger 00:30:14.920 --> 00:30:17.500 and Richards to call him back. 32 years after 00:30:17.500 --> 00:30:20.160 he left, confirms that he isn't just an ex -member. 00:30:20.359 --> 00:30:23.079 He is an honored veteran whose sound and presence 00:30:23.079 --> 00:30:25.660 can still be utilized for historical milestones. 00:30:25.960 --> 00:30:28.460 It cements his unique status. He can dip in and 00:30:28.460 --> 00:30:30.819 out on his own terms. He retains the historical 00:30:30.819 --> 00:30:32.700 connection without the professional obligation. 00:30:33.259 --> 00:30:35.359 And the fact that he continues to create new 00:30:35.359 --> 00:30:38.259 music independently reinforces that preference 00:30:38.259 --> 00:30:41.579 for autonomy. Indeed. We should note his latest 00:30:41.579 --> 00:30:44.099 solo album, Drive My Car, which was released 00:30:44.099 --> 00:30:47.539 in August 2024. This means that at an advanced 00:30:47.539 --> 00:30:50.480 age, he is still actively creating, writing, 00:30:50.599 --> 00:30:53.440 and releasing music under his own name. Parallel 00:30:53.440 --> 00:30:55.440 to making these selective guest appearances with 00:30:55.440 --> 00:30:58.119 the Stones. So the synthesis here is clear. Bill 00:30:58.119 --> 00:31:00.960 Lyman managed to negotiate the impossible. He 00:31:00.960 --> 00:31:02.839 spent over 30 years anchoring one of the most 00:31:02.839 --> 00:31:05.799 demanding jobs in music history, yet never lost 00:31:05.799 --> 00:31:08.910 his core identity. He maintains an enduring connection 00:31:08.910 --> 00:31:11.650 to the Stones for historical moments, as evidenced 00:31:11.650 --> 00:31:13.990 by Hackney Diamonds. But by prioritizing the 00:31:13.990 --> 00:31:16.170 Rhythm Kings, his photography, his writing, and 00:31:16.170 --> 00:31:18.890 his new solo work, he ensured that he left on 00:31:18.890 --> 00:31:22.410 his own terms and set a high standard for a musically 00:31:22.410 --> 00:31:25.029 and intellectually vibrant post -Stones life. 00:31:25.329 --> 00:31:27.829 Yeah. This deep dive into Bill Wyman reveals 00:31:27.829 --> 00:31:31.289 a fascinating paradox. He was the steadfast, 00:31:31.490 --> 00:31:33.950 innovative bass player, the one who modified 00:31:33.950 --> 00:31:36.430 his fretless instrument to define the early... 00:31:36.430 --> 00:31:39.250 Stone's deep R &B groove. And provided the crucial 00:31:39.250 --> 00:31:41.769 anchor against the chaos. And he was simultaneously 00:31:41.769 --> 00:31:45.309 the hyper -aware, meticulous chronicler, a respected 00:31:45.309 --> 00:31:47.609 photographer, a published author, and an amateur 00:31:47.609 --> 00:31:50.130 archaeologist who literally sought out and documented 00:31:50.130 --> 00:31:53.089 history, ensuring that his life and the history 00:31:53.089 --> 00:31:55.650 of the world's biggest band was archived with 00:31:55.650 --> 00:31:58.089 painstaking detail in his journals. He defined 00:31:58.089 --> 00:32:00.470 stability in the eye of the storm. We've explored 00:32:00.470 --> 00:32:02.710 the man who, despite being the oldest and the 00:32:02.710 --> 00:32:05.269 quietest member, held one of the most unique 00:32:05.269 --> 00:32:07.509 and valuable perspectives on the biggest rock 00:32:07.509 --> 00:32:10.789 band in the world. He was the anchor, the witness, 00:32:11.049 --> 00:32:14.089 and the quiet revolutionary who ensured the most 00:32:14.089 --> 00:32:16.529 important song of their career ever saw the light 00:32:16.529 --> 00:32:18.890 of day. So we want to leave you with this final 00:32:18.890 --> 00:32:22.089 provocative thought drawn directly from our source 00:32:22.089 --> 00:32:25.490 material. Given that Bill Wyman possessed the 00:32:25.490 --> 00:32:27.910 most comprehensive personal records of the Rolling 00:32:27.910 --> 00:32:31.089 Stones' history and was instrumental in pushing 00:32:31.089 --> 00:32:33.990 for the release of I Can't Get No Satisfaction 00:32:33.990 --> 00:32:37.549 against the wishes of the core songwriters, what 00:32:37.549 --> 00:32:39.650 other crucial band -defining moments throughout 00:32:39.650 --> 00:32:41.910 rock history might have been decided not by the 00:32:41.910 --> 00:32:44.289 spotlight -hogging frontman, but by the thoughtful, 00:32:44.430 --> 00:32:46.809 disciplined historian keeping score and providing 00:32:46.809 --> 00:32:49.109 stability in the background? The ultimate value 00:32:49.109 --> 00:32:51.650 of the perpetual witness. The man with the diary. 00:32:52.140 --> 00:32:54.220 and the homemade bass. It's a history lesson 00:32:54.220 --> 00:32:55.319 we are perhaps still learning.