Even by the standards of 1970s rock’n’roll, it was in bad taste: a billboard on Sunset Boulevard of a bruised and bound woman sitting on a gatefold cover of a new Rolling Stones album that proclaimed: “I’m ‘Black and Blue’ from the Rolling Stones – and I love it.”

The 1976 advert triggered an outcry: Women Against Violence Against Women (WAVAW) wrote in the newsletter Breakthrough that the ad campaign “exploits and sensationalises violence against a woman for the purpose of increased record sales” and “contributes to the myth that women like to be beaten, and condones a permissive attitude towards the brutalisation of women.”

Five women connected with the group – “armed with buckets of fire-engine-red paint”, according to the magazine Mother Jones – defaced the hoarding, writing “This is a crime against women.” The band’s label, Atlantic Records, pulled the campaign. The band apologised. By way of an explanation, Mick Jagger said he’d applied the simulated bruises himself.

“I didn’t mind at all, in fact I was happy for the work,” model Anita Russell told the Observer last week on the 44th anniversary of the album’s release and the impending reissue of much of the band’s later back catalogue, remastered at Abbey Road using a technique for extracting more sound from the original mastering tapes. Black and Blue is one of 10 albums being reissued and, not surprisingly, it will not be accompanied by the original ad campaign.

Russell recalls that she hadn’t expected to get the booking. At a casting with Jagger and photographer Ara Gallant in New York, Russell passed the part-African-American model Pat Cleveland on the stairs and felt sure she’d get it. “Mick told me I was too pretty, so I smeared my makeup and said, ‘See, I’m not so pretty.’ Then he told me to put my arms up and told me to make a face like I’m growling.”

Days later, Russell, Jagger, Keith Richards and Gallant got together to make the picture. “I knew about ‘I’m black and blue from the Rolling Stones’, and I knew that the bruises meant I’d been beaten and tied. But I wasn’t a model who could only pose and look pretty, and I wasn’t insulted because I knew it was tongue-in-cheek,” she says.

Russell, who is now an equestrian and author, recalls that the musicians were charming and polite. “I’m an actress-model, so it seemed like fun,” she adds. “I never thought of it in a negative way.” Jagger asked her out. She demurred. “I didn’t want to get passed around from star to star, but I thought he was cuter than in his photographs.”

But the ad came out just as French Vogue published a Helmut Newton picture of a woman wearing a bridle and saddle, amplifying the controversy. Russell played along with the outrage: she posed for a National Lampoon magazine cover imagining Jagger tied up, with Russell looking on, laughing.

Close to half a century on, the billboard ad stands as a turning point. WAVAW organised a boycott of Warner, Elektra and Atlantic Records lasting three years, which was only lifted after Warner Communications agreed to let the group implement a sensitivity training programme for advertising executives at the entertainment giant. There was a riposte a year later when the punk band X-Ray Spex released Oh Bondage Up Yours!.

Evelyn McDonnell, author of Women Who Rock: Bessie to Beyonce. Girl Groups to Riot Grrrl theorises that the campaign brought some attention to the album but ultimately overshadowed it. “It certainly didn’t let the music speak for itself, and the controversy doesn’t age well.”

“While Andrea Dworkin and Women Against Violence might have seemed like radical fringe feminism then, that reaction is mainstream now. A record company just wouldn’t allow it nowadays. It would be cancel culture,” McDonnell says.

She points out – notwithstanding the fact that women, too, have played extensively with the iconography of bondage and fetishism, from the Plasmatics’ Wendy O Williams to Shakira throwing off her ropes during February’s Super Bowl half-time show – that equality, real or symbolic, wasn’t always forthcoming in the business.

“It’s better than it was. There are certainly a lot of amazing women artists and they’re more acknowledged in the industry,” she says, “but it’s certainly not perfect or equitable.

“It’s great that Anita Russell felt she had agency in what she was doing, but for women walking down Sunset who might have been in abusive relationships, or were trying to get ahead in the music industry, that billboard might have felt like a reality.”