On April 13, 1967, the band gave two forty-minute shows in the Congress Hall of the Palace of Culture and Science. They were supported by Czerwono-Czarni. According to witnesses, Rolling Stones had to borrow organ from Czerwono-Czarni's Ryszard Poznakowski, after their own broke down.
Andrzej Marzec from Pagart (Polish artistic agency), claims he saw the contract and that the band was paid around $4000 - half in dollars and half in Polish złoty.
ninateka.pl/vod/dokument/moi-rolling-stonesi-jan-sosinski
journals.indexcopernicus.com/api/file/viewByFileId/1352785.pdf
Lucjan Kydryński wrote for the Przekrój magazine:
"The girls are squealing like mad, the guys are swinging their jackets, unfurling banners reading "We Love Stones" and Anula from TV's "Civil War" sits in the second row and winks at Jagger. Unfortunately, Jagger can't see because he's busy with Młynarski right now. Our poor lyricist has sat right in front of him, right in the middle, and is plugging his ears, taking care not to burst his eardrums. But Jagger is relentless; without interrupting the song, he teases Młynarski, puts his finger to his ear with a gesture and thinly hints that if it's too loud for Mr M., Mr M. can leave. And he does this with a rather menacing face - he never smiles, after all. The Rolling Stones are not an operetta, The Rolling Stones are the young angry ones.
(...)
They don't sing funny things and they are not a band that overexposes their sense of humor. On the contrary. Their strengths lie in their music, which is quite avant-garde (as far as entertainment goes), rough, abrasive, in the ambiguity and harshness of their lyrics, and finally in their passionate and expressive way of doing it on stage. They derive their style from the American rhythm and blues movement (they took their name from The Rolling Stone Blues - blues of globetrotter Muddy Water [sic]), but have later transformed it so significantly that they have actually created their own style, very original and quite daring, on that basis. They are, in the youth music market, the anti-Beatles. They don't imitate anyone, they invent their own legend, their own extravagances. The Beatles are mama's boys at concerts; they only make occasionally absurd jokes, surprise you with unusual paradoxes. The Rolling Stones are programmatically sloppy in their attire, disorderly and aggressive.
(...)
Undoubtedly, in their lyrics and behavior on stage, they rely on fierce eroticism. Both the lyrics and the performance are ambiguous, but clear in their allusions, calculated to stimulate the imagination of both girls and men with specific interests. What they sing is very mature in its expression. Even on the verge of "moral corruption", but harmless to the extent that, especially on stage, nobody understands a single sentence and knows what they are talking about. Even on records it is sometimes difficult to understand all the metaphors, as the lyrics are often written in youth slang
(...)
There was a striking contrast in the Congress Hall between the infantile songs of Czerwono-Czarni, performing in the first part of the programme, and those of the five boys, who in their lyrics free themselves of prudery in a way that is sometimes even excessive and sing not about "Little Prince" like Sobczyk or "Chocolate Cream" like Stanek, but simply propose Let's Spend The Night Together, complaining I Can't Get No Satisfaction.
(...)
Jagger is busting a gut. He dances, jumps to no small height, sits on the stage, sings, moans, shrieks, plays the tambourine. Then picks up a specially prepared bouquet of flowers, chews on it greedily, spitting the carnation petals all over and throws the rest of the flower far, far out into the audience.
(...)
Jagger is a superb singer, with a virtuoso stage presence (absolutely casual, semi-wild, nevertheless graceful) and an interesting, low, strong voice. The instrumentalists are all of great class, and their compositions (it is difficult to call them songs) are among the best achievements in youth music.
P. S. As everywhere with crowds and hot atmosphere there were also hooligans. Their excesses in front of the Congress Hall, however, had nothing to do either with the atmosphere of the audience (casual, it is a fact, but kept within the limits of decency) or with the interesting music of the band."
przekroj.pl/archiwum/artykuly/43328
Decades later journalist Wojciech Mann wrote: “The scale of this event in the reality of Gomułka's Poland is now difficult to fathom. It's a bit as if a spaceship from another galaxy landed on the Parade Square today".
Fragments of "(I Can't Get No) Satisfaction" and "Paint it Black" can be heard in the film.
Mick Jagger - vocal
Keith Richards - guitar
Brian Jones - guitar
Bill Wyman - bass guitar
Charlie Watts - drums
The clip comes from the Polish Film Chronicle: 35mm.online/en/vod/chronicles/polish-film-chronicle-67-17b
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