The Rolling Stones Family: Brian Jones' Lonely Hearts Club

+++ Стоунз на печатной машинке +++

Первые семь страниц самодельной книги об истории Роллинг Стоунз (со всеми "пометками на полях",не всегда корректным написанием имён действующих лиц,с сохранением авторской орфографии и прочей "творческой пеной")))

Стр.1

Стр.2

Стр.3

Стр.4

Стр.5

Стр.6

Стр.7

Том Петти с оооочень известной маркой гитары)))...

Чарли(про себя,глядя на Брайана):"Ну,гитарист ты, может, и неплохой, а вот барабанщиком тебе не быть - хотя бы палочки возьми правильно,что ли...")))

1966 год...

Отцы-основатели...

1963

Старые афиши...

В обнимку-в повалку))))

С певицей Клео Сильвестер, бэк-вокалисткой из бэнда Сирила Дэйвиса...

ROLLING STONES/VARIOUS Connection 1963-66 (French-only 20-track compilation CD album featuring tracks written or backed by members of the Rolling Stones, includes To Know Him Is To Love Him by Cleo Sylvester and Some Things Just Stick In Your Mind, custom card picture sleeve featuring The Stones with Cleo Sylvester

1. The Rail Roaders - Memphis Tennessee
2. George Bean - Lonely Weekends
3. Cleo Sylvester - To Know Him Is To Love Him
4. The Mighty Avengers - Walking Thru The Sleepy Cities
5. Ian Stewart & The Rail Roaders - Stu Ball
6. The Rail Roaders with Keith r. - I Wanna Be Your Man
7. The Herd - So Much In Love
8. Vashti - Some Things Just Stick In Your Mind
9. George Bean - Secret Love
10. The Rail Roaders - I Do Like To Seem Me On The 'B' Side
11. The Rail Roaders - Da Doo Ron Ron
12. The Thee - Each And Everyday
13. The Toggery Five - I'd Much Rather Be With The Boys
14. The Rail Roaders - There Are But Five Rolling Stones
15. George Bean - It Shoudl Be You
16. The Mighty Avengers - Blue Turns To Grey
17. Adrienne Poster - Shang A Doo Lang
18. Bobby Jameson - All I Want Is My Baby
19. The Rail Roaders - 365 Rolling Stones
20. George Bean - Will You Be My Lover Tonight

Стоунз на итальянском :

V.A. – Rolling From Italy

01 Caterina Caselli – Tutto nero (Paint It Black)
02 Gli Apaches – Out of time
03 I Da Polenta – Con le mie lacrime (As Tears Go By)
04 I Kings – Fai quello che vuoi (Time Is On My Side)
05 Gli Shakings – Hai Promesso (Hearts Of Stone)
06 I Camaleonti – Come mai (Get Off Of My Cloud)
07 I Delfini – Tu devi ritornare da me (Tell Me)
08 I Vanguards – Libertà sorella nel vento (Mother’s Little Helper)
09 I Profeti – Rubacuori (Ruby Tuesday)
10 L’Equipe 84 – La fine del libro (Time Is On My Side)
11 Maurizio e I New Dada – Lady Jane
12 Johnny Kendall e Gli Heralds – Hai promesso (Hearts Of Stone)
13 I Big Ben’s – C’è chi per amore (The Last Time)
14 I Calipop – Restiamo ancora insieme (Let’s Spend The Night Together)
15 I Delfini – I Wanna Be Your Man
16 L’Equipe 84 – Quel che ti ho dato (Tell Me)
17 Rolling Stones – Con Le Mie Lacrime (As Tears Go By)

...И снова о редких записях Стоунз(и не только): выкладываю большой отрывок из книги "The Rolling Stones: Complete Recording Sessions 1962-2002" (автор - Martin Elliott) - как раз по нашему временному отрезку)))

DIDDLEY DADDY – THE FATHER OF THEM ALL

March 1962 – February 1964


1. AROUND AND AROUND (Berry)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Bootleg only.

Like stars forming a constellation, the various members embarked on their unification coming together in 1961. Mick Jagger and Keith Richards bumped into each other at Dartford train station in the autumn, the two having not seen each other since primary school days. They reminisced and then, due to records held under their arms, discovered music was their current common denominator - Jimmy Reed, Chuck Berry, Muddy Waters, etc. To carry records around under your arms was like declaring your badge on your sleeve. Both knew Dick Taylor (who later founded a successful mid-sixties R ‘n’ B band, The Pretty Things) and consequently they started some rehearsals at the Jagger’s home. Bob Beckwith and Allen Etherington were their co-noise makers under the guise of the Little Boy Blue and the Blue Boys. The seeds were sown, the friendship renewed. In 1961, Bill Perks was forming a pub and dance pop band who became known as The Cliftons, their drummer was Tony Chapman. Brian Jones by comparison landed in London from the Cotswolds, propelled by meeting Alexis Korner after a Chris Barber gig at Brian’s home-town in Cheltenham in late 1961. Brian had gained valuable experience by playing guitar and saxophone on Duane Eddy style numbers in the Cheltenham band the Ramrods. On Monday 19 February 1962, The Ramrods supported The Delta Jazzmen, Danny Rivers, Mike Berry, and The Outlaws at Cheltenham Town Hall. Brian had met Paul Pond (later Paul Jones the front man for Manfred Mann) at parties in London where musical ideas were swapped, but Brian proudly refused to join Paul’s band, wanting one of his own. Brian wanted to know what Alexis Korner felt about a tape he and Paul Pond had sent him, but he could not remember it. As a result, Alexis listened to Brian’s guitar playing and duly impressed, invited him to London - where Brian regularly stayed at his home. Brian had a girlfriend and already a son which complicated his life but he eventually moved to London in early 1962 and played occasionally with Blues Incorporated guesting on slide guitar on his favourite Dust My Broom. In January 1962, Charlie Watts joined Alexis Korner’s Blues Incorporated which featured Cyril Davies. In the late ‘fifties Cyril Davies Jazz Band had launched skiffle and the career of Lonnie Donnegan. They currently played a mixture of jazz, rhythm and blues, even country blues and attracted press attention in musical journals like Disc, Jazz News and the Melody Maker. In April, Mick Jagger, Keith Richards and the band investigated the West London, Ealing Jazz Club and witnessed the slide blues player who was guesting with the Blues Incorporated band. After the gig they chatted with Brian Jones alias Elmo Lewis. At that time, the Little Boy Blue and the Blue Boys recorded a number of tracks. A reel to reel tape of these tracks was sold at Sotheby’s in 1995 by a school friend whose parents owned the reel-to-reel. They mainly consisted of Chuck Berry covers, but also Elvis Presley’s cover of You’re Right, I’m Left, She’s Gone and Bobby ‘Blue’ Bland’s Don’t Want No Woman. Mick Jagger himself was the buyer for £50,000 of 13 songs which ensured his rightful ownership. Additionally at some point Reelin’ And A Rockin’ and Bright Lights, Big City were recorded and these tracks with La Bamba and Around And Around were sent to Alexis Korner to assist in their quest for a residency at the Ealing Club. Dick Taylor remembers fondly the version of La Bamba with Mick who got all the words off the record in pseudo-Spanish. Alexis was not impressed by the recordings but still invited Mick Jagger to sing and play harmonica on guest tracks with the Blues Incorporated at week-ends at the Jazz Club and also at the Marquee Jazz Club during week-days. And so Charlie Watts backed Mick Jagger for the first time. The sixth Stone, Ian Stewart marked his time before signing up.

2. LITTLE QUEENIE (Berry)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Bootleg only.

3. BEAUTIFUL DELILAH (Berry)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Unavailable.

4. LA BAMBA (Valens)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Bootleg only.

5. ON YOUR WAY TO SCHOOL (Unknown)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Bootleg only.

6. YOU’RE RIGHT, I’M LEFT, SHE’S GONE (Kesler, Taylor)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Bootleg only.

7. DOWN THE ROAD APIECE (Raye)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Bootleg only.

8. DON’T WANT NO WOMAN (Robey)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Bootleg only.

9. I AIN’T GOT YOU (Carter)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Bootleg only.

10. JOHNNY B. GOODE (Berry)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Bootleg only.

11. LITTLE QUEENIE (Berry)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Bootleg only.

12. BEAUTIFUL DELILAH (Berry)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Bootleg only.

13. REELIN’ AND A ROCKIN’ (Berry)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Unavailable.

14. BRIGHT LIGHTS, BIG CITY (Reed)
March 1962: Place: Unknown.
Producer: Unknown.
Track status: Unavailable.

15. YOU CAN’T JUDGE A BOOK BY THE COVER (Dixon)
27 October 1962: Place: Curly Clayton Sound Studios, Highbury, London, England.
Producer: Curly Clayton.
Track status: Bootleg only.

Their paths were getting closer. Brian Jones put an advertisement in the May 1962 edition of Jazz News asking for players to join him at a session to result in the formation of a band. Ian Stewart was the first to reply. They practised in bars such as the White Bear near Leicester Square and the Bricklayer’s Arms in Soho. Finally, Mick Jagger went with Keith Richards and Dick Taylor to jam at these sessions. Another advert gained Mick Avory (later of the Kinks) as a drummer and so Brian’s band was formed. Tony Chapman of The Cliftons attended one of these sessions. Mick Jagger stopped playing with Blues Incorporated to concentrate on what was happening with the others. As a well known outfit, Blues Incorporated had convinced the BBC of their worth and were booked for a session to be recorded for The Jazz Club. It coincided with their gig at the Marquee. Harold Pendleton said that they would lose their residency if they did not show up. The BBC could only budget for six musicians and Jagger was the one too many. Alexis Korner compromised by suggesting that he could convince Mick Jagger to play at the Marquee with his new band. Alexis spoke to Brian Jones who agreed to the gig, made aware even if he had not seen it before, of Mick’s potential impact. Brian chose the name Rolling Stones, after the Muddy Water’s song Rollin’ Stone Blues. The event was promoted as ‘Mick Jagger and the Rolling Stones’. On 12 July 1962, Mick Jagger, Keith Richards, Brian Jones (Elmo Lewis), Dick Taylor, Ian Stewart and Mick Avory appeared at the Marquee. They played mainly Jimmy Reed and Elmore James numbers but Keith Richards featured on three Chuck Berry songs. Harold Pendleton was not amused when fights started between the jazz Marquee locals and the young rhythm and blues fans attracted to the Marquee for their first time. After a few other gigs at the Ealing Jazz Club and some at the Marquee, it became apparent that Mick Avory was not fitting in. Charlie Watts was approached but was not prepared to commit to the band on a regular basis as he still worked full-time and played with Blues Incorporated - so Tony Chapman started to play with them. In late August, Mick Jagger, Keith Richards and Brian Jones moved into Edith Grove for the 1962 autumn and winter which was one of the coldest on record. For Mick and Keith that meant their days in Dartford were put behind them - for Keith there was no more working as a ‘weekend boy’ in the supermarket Pricerite or as a temporary postman at Christmas. In October with Tony Chapman playing drums but with no bass guitar three tracks were recorded: Soon Forgotten, Close Together and You Can’t Judge A Book By Its Cover. Dick Taylor had had enough, prompted by another bust-up with Harold Pendleton when Keith Richards hit him with his guitar. He went back to college as the new term started. The tracks were recorded as a demo by a Stones line-up which included Mick Jagger, Keith Richards, Brian Jones, Tony Chapman (on drums) and Ian Stewart. You Can’t Judge A Book By The Cover was broadcast on Radio One in 1988 on the Simon Bates’ radio programme when he interviewed an enthusiast who had purchased an EMIDISC acetate of these three historic recordings in April 1988. The vendor had been given the acetate by Brian Jones in exchange for a shirt! Mick Jagger’s enunciation was distinctly non-British and leered in true Willie Dixon style. His vocals were the most distinctive instrument on the tape. The recordings were sent to Neville Skrimshire at EMI who rejected them.
16. SOON FORGOTTEN (Oden)
27 October 1962: Place: Curly Clayton Sound Studios, Highbury, London, England.
Producer: Curly Clayton.
Track status: Unavailable.
17. CLOSE TOGETHER (Reed)
27 October 1962: Place: Curly Clayton Sound Studios, Highbury, London, England.
Producer: Curly Clayton.
Track status: Unavailable.

18. DIDDLEY DADDY (McDaniel)
11 March 1963: Place: Regent, IBC, London, England.
Engineer: Glyn Johns.
Track status: Bootleg only.

Brian Jones wrote to Jazz News in October 1962 and attempted to explain that ... ‘It must be apparent that Rock ‘n’ Roll has a far greater affinity for R & B, than the latter has for jazz, insofar as Rock is a direct corruption of Rhythm & Blues, whereas jazz is Negro music on a different plane, intellectually higher, though emotionally less intense. Brian Jones, London SW10. (Brian Jones plays guitar with The Rollin’ Stones).’ Charlie Watts was finding that playing so regularly with Blues Incorporated was affecting his day job and so he left and started to play occasionally with Brian Knight’s Blues By Six. Tony Chapman had been telling Bill Wyman (his stage name) of the Stones and that they did not have a full-time bass player, and after meeting Ian Stewart at a concert, Bill Wyman was persuaded to attend a practice session at the Wetherby Arms. Brian Jones was more impressed by the size of Bill’s VOX 25 amplifier than his playing on his fretless home made bass guitar but after a couple of rehearsals Bill was invited to play at the next gig. The speaker with cement at the bottom was also another contributory factor even if it did take four people to carry it. Tony Chapman was sacked by the band, early in January 1963, knowing that Charlie Watts was on the side-lines and so at the end of January 1963 the line-up of The Rolling Stones was established. Oh, one more thing, at a gig in January, Mick advertised to the crowd that there was a spare bed going at Edith Grove for anyone willing to rent. After the band were packing up, James Phelge agreed to move in. And so the scene was set for the greatest motion adventure for which anyone could care to wish or dream. The constellation would take many shapes and images over the years. It was time to book themselves into the IBC studios. The outcome of the sessions are distinctly blues flavoured. Diddley Daddy is a Bo Diddley number and is performed in true rhythm and blues (R ‘n’ B) style. The song, although rough in texture, is guided by Mick Jagger’s roots vocals and features two instrumental breaks: the first by Brian Jones on the harmonica and the second by Ian Stewart tinkering on the ivories to the fade out.

19. ROAD RUNNER (McDaniel)
11 March 1963: Place: Regent, IBC, London, England.
Engineer: Glyn Johns.
Track status: Bootleg only.

Road Runner, another well-known Ellis McDaniel (a.k.a. Bo Diddley) number, was next on the list for the Stones’ treatment and is played in a hard-rocking, non-compromising style. The guitar is the main instrument, supported by harmonica and Ian Stewart on piano. It was a popular stage favourite at their Crawdaddy Club residency in Richmond and was a small concession in attempting to put across some of the more commercial material onto tape in order to secure a recording contract. Their musical upbringing was in jazz clubs where they were used to playing sedate blues. Andrew ‘entrepreneur’ Oldham, who was to become their manager, had his finger on the pulse of youth culture and knew that they had to stop sitting on the bar stools, jazz style, and literally move with the music. They also had to make the music more accessible to the punter by playing more popular tunes. Ironically, on their first British tour as a support act they were to drop all Bo Diddley numbers in deference to the master himself - they found him also on the tour, second on the bill to the Everly Brothers. An IBC Sound Recording acetate exists of Road Runner coupled with Diddley Daddy. It sold for £1,500 in 1988.

20. BRIGHT LIGHTS, BIG CITY (Reed)
11 March 1963: Place: Regent, IBC, London, England.
Engineer: Glyn Johns.
Track status: Bootleg only.

An impressive version of Jimmy Reed’s Bright Lights, Big City. Originally this aforementioned song had been recorded by Little Boy Blue and the Blue Boys. Mick Jagger’s co-musicians at the time were Bob Beckwith, Allen Etherington and Dick Taylor. Now with new band members, the song epitomised a young Stones sound - Jagger performing in a relaxed manner while Ian Stewart provided an excellent piano background. The enthusiasm could not be missed by anyone listening.

21. I WANT TO BE LOVED (Dixon)
11 March 1963: Place: Regent, IBC, London, England.
Engineer: Glyn Johns.
Track status: Bootleg only.
This was later to be re-recorded for the B-side of the first single Come On. It is a leisurely mix indeed and again instrumentally Ian Stewart and Brian Jones are prominently featured. The song is an authentic Willie Dixon R ‘n’ B standard. Mick Jagger’s vocals are meaningful and interpret the senior blues man’s desires in a way that only the young are able.
22. HONEY WHAT’S WRONG? (Reed, Reed)
11 March 1963: Place: Regent, IBC, London, England.
Engineer: Glyn Johns.
Track status: Bootleg only.

This track wraps up the Stones’ first recording session. The IBC sessions, although now famous and much sought after, were considered as a whole far too rough for a commercial release, much to the band’s disappointment. Honey (Baby) What’s Wrong is a meandering-type song and harmonies inspired by Keith Richards leave a lot to be desired. The mix of pop vocals with r ‘n’ b lead guitar and harmonica did not quite mix. Glyn Johns was the producer for the sessions. He was a musician himself and detected the groups’ potential. He had met them at one of their concerts and offered to record them. The band signed a six month deal with IBC to record free of charge. An acetate was made of the sessions and this was touted by IBC amongst the record companies. EMI were one of the companies to reject the tracks - sincerity was detected but the thin production quality and the lack of chart potential caused the end product to be suspect. The band were particularly critical of the lack of bass in the mix and wanted the tracks re-cut. This did not happen. A 10 inch acetate of the five tracks was sold by a friend of Brian Jones at an auction in April 1993.