The Rolling Stones Family: Brian Jones' Lonely Hearts Club

"The Tremeloes."

...И снова Стоунз - Ready Steady Go feb 26 1965

...ещё одна...."на посошок"))))

...но без этой тоже никак нельзя))) - Ready Steady Go july 23rd 1964

..ну, а эту не выложить - просто преступление))))

...как и эту))))......

...Последняя, ностальгическая....

2Гегемон:

>2Ролловер: Доброе утро! Прекрасно помню тот "Ровесник"
>и ту фотку "Роллингов"!!! Там еще было уверение
>что в ближайших нумерах журнала воспоследует подробнейший
>материал о группе, но, увы, продолжения так и
>не было! Но фотка отличнейшая, да на глянцевой бумаге!

...я купил их три штуки(больше в нашей палатке "Союзпечати" просто не было) и один выпросил у приятеля)))....

2Гегемон:

Да, доброе утро!!!)))))

+++ Брайан Джонс - соавторство +++

In contrast to Jagger and Richards, Jones was not known to write original songs for the Rolling Stones. Jones was admittedly very unsure of himself as a composer, and although reports differ as to how many released compositions he wrote, co-wrote, or even proposed to the group, Jones was by no means a prolific songwriter, and even his biggest fans concede that he didn't write or co-write more than 15-20 songs with the Stones.

However, in the years following Jones's death, two distinct fan bases have been established. Many Stones fans feel that Jones contributed a great deal to numerous Stones songs and deserved credit which he never received for several of their earlier compositions, including the hits "Paint It Black", "2000 Light Years From Home" and "Ruby Tuesday".

Still other Stones fans feel that Jones's contributions were minimal, that he missed shows and was frequently replaced by session musicians due to his heavy substance use, and that he lacked the compositional talent to deserve any songwriting credits.

There is likely some truth in both camps' arguments - however the extent to which Jones did contribute to the writing will probably never be known with absolute certainty.

Allegedly, when the Stones first met him, Andrew Oldham tried to set up a songwriting partnership between Jones and Gene Pitney, the American crooner-songwriter-pianist, but this didn't work out.

Bill Wyman has stated in many interviews that although Jagger and Richards were very protective to their roles as writers, they would be open to good ideas, and he names his "In Another Land" and "Downtown Suzie" as examples where you could get your own material through. Wyman commented also that Jones was "an incredibly gifted musician, but not a song writer". In any case, he wasn't supported by the band and the management; the Jagger-Richards originals laid the foundation of the success of The Stones.

To date, only one officially released song is officially credited to Jones, the 30 second "Rice Krispies," jingle for the Kellogg's company, co-written with J.W. Thompson in 1963 and which the group performed incognito as a commercial (which was common practice for bands to earn money).

A second song, "Sure I Do", was written, recorded and sung completely by Jones in 1963, but the only known copy of it remains in Bill Wyman's "Sticky Fingers" restaurant. It remains unreleased and to date no one is known to have listened to it.

It is known that 14 Stones songs were credited to "Nanker Phelge," a pseudonym indicating that all members of the group (including Jones) authored the song. They would retire the pseudonym after 1965.

Nanker was a strange face Jones and Richards would often make, and Phelge came from their former roommate James Phelge.

Among the Nanker Phelge (aka Jagger/Jones/Richards/Watts/Wyman) songs are the following Stones compositions:
* Stoned
* Now I've Got A Witness
* And Mr Spector And Mr Pitney Came Too (co-written with Phil Spector)
* Little By Little (co-written with Phil Spector)
* 2120 South Michigan Avenue
* Off The Hook
* Stewed And Keef (Brian's Blues)
* The Under Assistant West Coast Promotion Man

It is disputed as to whether or not Jones should have earned co-writing credits for some songs. Some of the big hits of the Stones clearly have Brian Jones stamped all over them.

One of the best examples of the dispute is "Ruby Tuesday". Brian's piano and recorder (a flute) are the key ingredients to this song, and some fans suggest Jones should have received a writing credit. Sources within the band (e.g. Bill Wyman, Glyn Johns) state that Keith Richards wrote the song, while one source (Marianne Faithfull) states Jones composed the song's basic melody as kind of a mix between medieval music and Skip James blues numbers; Jagger himself stated on Ruby Tuesday, when discussing the songs he wrote with Richards in the Rolling Stone magazine "Beautiful lyrics and music, neither which I wrote", and Richards explained the title of the song being the name of a hotel he visited while on tour in the US, and the song's story actually being about a groupie. Since the song is credited to Jagger/Richards, that credit is certainly an error - although whether it was composed by Jones, Richards, or both of them remains in doubt.

"Paint It Black" was supposedly a much different song when Jagger and Richards alone had composed it. Mick Jagger wrote the lyrics and Keith Richards the chords. It didn't became the monster hit as we know it until Bill Wyman suggested to use the bass pedals of the organ for the polka-rhythm, and Brian Jones suggested to play a melody on the sitar. It can be argued whether or not Nanker Phelge should be credited with the song, although the song to date remains a Jagger-Richards composition.

The song "Gomper" from the band's album Their Satanic Majesties Request, while also credited to Jagger-Richards, features Jones playing all percussive instruments, sitar, tamboura, flute, and organ in a fairly long instrumental section. An argument can be made that Jones deserves a writing credit for this song as well.

From the same album, the song "2000 Light Years From Home" was originally filler that the rest of the band wanted to leave off the album until Jones added the distinctive Mellotron sound to the song, changing it from blues to psychedelic space-rock. After this, it was decided to keep the song on the album, and it became a hit. While Jagger and Richards wrote the lyrics and melody, Jones did single-handedly change the entire song, and one could make an argument that he deserved at least a co-writing credit.

In addition, rumors persist that Jones himself authored the riff to "Honky Tonk Women". While Jones did play on the original recording, Keith Richards claims he took the riff from Ry Cooder, and to date Cooder accuses Keith Richards of "ripping him off". Cooder now refuses to talk about his sessions with the Stones. After Jones left the band, Mick Taylor was asked to record his own guitar for the song. Attempts were made to edit out Jones's guitar, however it is uncertain how much of his work is in the final studio version which became popular.

To conclude, Jones certainly wrote and co-wrote a small number of the group's more obscure works, and may have even played a role in the composition of a handful of their more popular songs for which he was never reimbursed. However, his critics note that songwriting was not his greatest strength, and even generous estimates of how much he wrote pale in comparison to the number of Jagger/Richards songs.

The Stones Begin To Roll

The R&B maestro Alexis Korner was at the forefront of London's blues scene, his band being the most popular for budding musicians to jam with. Alexis, after hearing him sing, invited Mick Jagger to sing onstage with the band, which led to Mick becoming their understudy singer to Long John Baldry.

Impressed with a tape of his playing, Alexis offered Brian the job of the interval band. Brian played with a friend, Paul Pond, as the warm up band for Korner on 7th April 1962. Brian went on to wow the audience that night with his breathtaking slide guitar on Elmore James' 'Dust My Broom'. It was on this night that Mick Jagger and Keith Richards first saw Brian Jones. Keith's first reaction was: "It's Elmore James. It's fuckin' Elmore James!" After the gig, the three spoke for the first time, and discovered their mutual interest for the blues and went onto exchange views all night.

After Paul Pond moved to Oxford, Brian was determined to gather more blues enthusiasts for his own band. He advertised in a local music magazine 'Jazz News', and soon after, found a brilliant piano player called Ian 'Stu' Stewart. Then Brian's new friends turned up. Mick started to sing for Brian, who, impressed with his voice, invited him to join. Mick said he would only join if Keith came in too. Brian, recognizing Keith's talent, was only too happy.

Now with four members, the band still lacked a drummer and a bassist. Brian advertised again, this time in Melody Maker, for a bassist. From the applicants, the one they wanted was Bill Wyman, though not entirely for his playing. "They didn't like me" admits Bill, "They liked my amplifier." As for a drummer, Brian had had his eye on one person all along. Charlie Watts was a competent R&B player, but was a jazz enthusiast. A brilliant drummer, he had been playing with Alexis Korner when Brian asked him to join. Charlie held out for some time and it wasn't until he had consulted Korner on what he should do that he made the decision to join the scruffy rabble, all of whom were a little in awe of him.

Being his band, Brian decided to call themselves after one of his idol's songs. From Muddy Waters' 'Rollin' Stone Blues', The Rollin' Stones were born.

Такой вот рисованный Мик...

...Неугомонные наши))).....

...На фоне Бо...

...во время работы над "Сатаником"...

+++ Фоторепортаж +++

Milano Palalido,Milan,Italy - 8th April 1967

1

2

3

4

5