Eric Easton (music Manager)

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.

Musical context

During the post-war era, British audiences became accustomed to American popular music. Not only did the two countries share a common language but Britain had, through the stationing of US troops there, been exposed to American culture during the Second World War. Although not enjoying the same economic prosperity as America, Britain experienced similar social developments, including the emergence of distinct youth leisure activities and sub-cultures. This was most evident in the popularity of the Teddy Boys among working-class youths in London from around 1953. British musicians had already been influenced by American styles, particularly in trad jazz, boogie-woogie and the blues. From these influences emerged rock and roll in America, which made its way to Britain through Hollywood films such as ''Blackboard Jungle'' and '' Rock Around the Clock'' (both 1955). A moral panic was declared in the popular press as young cinema-goers ripped up seats to dance; this helped identify rock and roll with delinquency, and led to it being almost banned by radio stations.

During this period, UK radio was almost exclusively controlled by the BBC
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