Yes! The Stones got a tour coming and I understand some of you are already very pre-occupied and nervous with the humble job of carrying the amps and guitar cases (‘we’ got a tour coming) and therefore not interested and a bit snappy, but for the fans who would like to go through the past, darkly, here is my last batch of facts from an old 1968/1969 insider about a guy who was made never to tour again…I began work for the Stones in Sept. 1968, and it was not long before I was given to understand that there existed big problems. The album Beggars' Banquet was complete but for a few remixes, and I learned (likely from Stew and maybe Charlie) how Brian had proven completely unreliable, having shown up for only a few sessions. I don't now recollect just when recording of (what was to become
Let It Bleed began, but that was pretty much the same story. (Was it on Gimme Shelter that Brian played Moroccan drums? -- his only performance on that album if I am not mistaken.) Stew once said to me, in all earnest, that, musically speaking, and as a guitarist more particularly, Brian was actually the most gifted & talented member of the group -- "he was easily as good as Clapton, no kidding" -- but that over time, as a lush, he had gone to pieces and was by now completely paranoid of both Keith and Mick, so much so that as a nervous wreck he could not even tune his guitar properly in Keith's presence. And I was soon to get a glimpse of this side of things at a rehearsal for the ROCK'N'ROLL CIRCUS (circa December 1968) held on one floor of the Londonderry Hotel near Hyde Park Corner (habituated by Bill Wyman and his Astrid when they were in the city) -- with The Who and Taj Mahal and others (Jethro Tull?) in attendance.
Thing was, the 5 x Stones had not actually played together by then in so long, and throughout the day the suspense rose as to whether they could even still play -- let alone follow a band like The Who. What I clearly remember is a visibly overweight Brian in his velvet clothes fumbling and fumbling with his amp and with his guitar and being unable to get things together; whereupon the other four determined to just let it rip, without his participation so to speak. And no two ways about it -- thanks to Jagger, behaving like a kind of ring-master, the Stones were actually quite brilliant, and completely acquitted themselves vis-a-vis all their peers (at least, I remember a stunning delivery of Sympathy for the Devil). But, mind, all this without any real participation from Brian who more or less just stood there, as a passenger, faking things. Then a few days later at the all-night recording of the (projected) tv show somewhere in North West London, Brian showed himself equally unable to meet the occasion, musically speaking. What I recollect is how, following several false starts, it was decided that Keith should lay down the acoustic guitar part to You Can't Always Get What You Want, this would then be 'broadcast' through a speaker, the Stones would 'accompany' it, and Brian would simply mime the part.
In other words, then, the rest of the band had a living nightmare on their hands, and Jagger was acutely aware that, while the Stones desperately needed to tour the USA and make a chunk of money, sooner rather than later, Brian might well have forfeited his USA visa by virtue of his recent drug-busts. It must have been during the first few months of 1969, then, that he, MJ, came to me one day in the big room where I worked and shared with me what was tantamount to a confidence: '’I want you to look around -- we need a new guitarist who can double on keyboards, preferably someone young and good-looking, and a new bass-player, preferably black'. I was pretty shocked. Prior to that, Jagger had had me telephone Brian to announce to him (in the manner of an ultimatum) that he HAD to attend the meeting in the office on Tuesday afternoon (or whatever -- e.g., one concerning the Rock'n'Roll Circus project, a meeting of which b & w Ethan Russell photos exist; and the Beggars' Banquet press-party staged in the basement of a hotel in Kensington), or else he was out of the band. And I could see very well the impossibility of the situation and the sheer unlikelihood (on Brian's side) of any remedy. But, at age 20, I had grown up with the Stones (albeit that I was not exactly their #1 fan) and simply could not imagine them (revision them) without this charismatic bloke with blond hair.
Also that spring:- Jagger came to me one day and asked me what I had found out. About what? About a new guitarist and bass-player (but now with the emphasis on a guitarist). Here to cut a long story short, that is how Mick Taylor entered the picture -- it was my (last resort) idea that Mick should telephone John Mayall for advice, which he did right there & then. Mick Taylor.then overdubbed a lead-guitar part on Honky Tonk Women, which the band had recorded with Brian gone AWOL; and pretty much synchronously came the public announcement that Brian had left the band (following, as I recall, a visit made by Mick & Keith to Brian @ Cotchford). During the few weeks following, I spoke with Brian several times by telephone, and he appealed to me for help. He fancied putting together a new band -- "like Credence Clearwater" -- and I vaguely remember discussing this notional project (by phone) with Alexis Korner. Also, Brian was no song-writer, but fancied he might be able to write stuff working in collaboration with someone else -- did I know anyone suitable? I told him about a friend of mine, Kevin Westlake, and it was decided to have a try-out. But then for some reason the chauffeur-car, as reserved for Kevin one morning, did not show, so this never came to be. And, just a day or two later, Brian was suddenly dead.
Tom Keylock was manifestly a hustler and, of late, had become ever more side-lined -- meaning that Keith had distanced himself from him, and Tom's remaining connection was with Brian. As I recall, it was Tom who had brought in that builder bloke (Frank Thoroughgood by name ???) and his team, and that fellow more than once accompanied Tom to the office, presumably to see and talk with Frank Trowbridge (the controller) about money-matters. Now I do remember this Jacky -- but just that she had freckles and did not really seem to fit in with us lot, although I can't really put my finger on quite why. BTW, I do also remember meeting Brian's father and mother a couple of times at the office, once after his death if I am not mistaken. Sorry that I have no more memories that might shed light on the circumstances surrounding his death.
Aftermath:- Obviously the plan to shelve Bill Wyman got shelved, and this despite -- as I suspect to have been so -- a tentative plan (on the part of Jagger) to replace him with Tim Davis, formerly of Steve Miller Band (whom I got to hang out with a lot in Paris as a member of the Stones's entourage in 1970). During that time in Paris (concerts @ Olympia), Clapton was also a member of the entourage, and I could not help but get the impression he coveted the possibility of joining the Stones in addition to (or instead of?) Mick Taylor. Not because of anything that got said, but the mere fact he was so avidly in attendance (if I remember right, he played a cameo with support-act, Buddy Guy [?]).
I think that's about it. Sorry to disappoint you re: Brian's death. And just a word about certain conspiracy theories, as little as I am a student of them:- In truth, Mick & Keith (and the other two) gave Brian every chance over more than a year to get his act together, but the fellow was by then just too far gone. There was no other way out but to replace him and the story that he had decided to quit the band (on account of musical differences) was no more than a story floated as a charitable gesture in Brian's direction so he might maintain his self-respect -- Mick and Keith finally decided to fire him, and that's what they did. Otherwise there could have been no more band, and the projected USA tour (climaxing with Altamont) simply could not have gone ahead -- not just because of possible visa difficulties but because Brian was simply not up to it and reliable any more.
The Stones had first gotten involved with Klein in about 1964 and, as I recollect, their management contract was to run until 1969, by and after when things were left all a bit too ambiguous. I can swear that, from the time I went to work for the band in Sept. 1968, Tom Keylock was no more than a handiman, as in factotum, but with an ever more marginalized role -- he was more tolerated than appreciated and assigned to anything much -- and none of the band (except perhaps Brian?, I don't know on that) would ever have taken seriously in the least any aspiration he may have had to manage their affairs. Indeed, as soon as Jagger returned from Australia (Ned Kelly) circa October 1969, he acted on an idea that flew into my head one day (if he had not already had the same idea himself) and approached Rupert Loewenstein with a view to appointing him to just such a role, at least as far as all the contracts and money were concerned. [Jagger had the previous spring suggested to the Prince that his Assistant, me, should arrange all the music for a royal ball he planned (which Jagger & Marianne F. then attended). That I did, much to Rupert's satisfaction. So when some months later Jagger, in some despair, wondered aloud to me what in hell the band were gonna do to sort out all their complicated affairs, I responded for lack of any better imagination: what not let's talk with Prince Rupert.] Note, Jagger was away in Australia that August when Klein visited London again. Klein was peeved that the band had 'gone independent' and done the Hyde Park Concert, which Granada Television had filmed and recorded -- I seem to remember that Tom Keylock had somehow come to know Joe Durden-Smith of Granada and had assured him he could fix anything (vis-a-vis the Stones), whereas in truth that concert had been arranged entirely on MJ's initiative after he had asked me to go check out the earlier Blind Faith concert, to report back to him as to how it went and what I thought, and then to broker an arrangement with the organizers, Blackhill Enterprises (or whatever it was called). It is actually more likely that Jo Bergmann was then the 'bridge' with Joe D-Smith. Anyway, on that visit to London, Klein demanded of me the copies that I (on behalf of the Stones) had acquired of the (roughly mixed) tapes of the concert. But Shirley had tipped me off as to his impending visit and, knowing there to be a real risk that, unconscionably, Klein would rush to issue the tapes more or less on the model of what he had done years earlier with 'Got Live If You Want It', I had hidden them in the toilet above the cistern. So, loyal to Jagger, I now lied through my teeth saying I did not have the tapes -- whereupon Klein in great anger threw a fist at me (he missed) and physically shoved me aside. I remember writing Jagger in Australia at some length about that episode, which had rattled me, and how later on he thanked me for having been so prudent. -- There is no question but that Tom had emerged from the 'low life' domain, and I think I remember hearing how Mick & Keith had availed themselves of his services in wreaking some revenge on one or more of those responsible for having set up their drug-bust at Keith's home (1967). But the reason the band left for France (in 1970) had everything to do with Prince Rupert L.'s sage advice with respect to their then dire financial situation, and nothing at all to do with Tom Keylock, who by then was way out of the picture. Re: the Jajouka tapes, I feel pretty sure that already by August 1969 I had dispatched them (actually, delivered them in person) to Peter Rudge at Track Records, who then issued the album. I don't recall Keylock having had anything at all to do with that. -- BTW, I then ran into Tom again in 1970 or 1971 @ the Roundhouse in London. If I remember right, he was by then involved with a Scandinavian bloke in promoting a concert to be filmed by Durden-Smith. And, indeed, a band I managed (Gypsy by name) were on the bill thanks to Tom doing me a favour. (He knew that my venture was funded by Jagger and Prince Rupert, so maybe he wished to ingratiate himself to me. I now suddenly remember arguing with him on that occasion -- his contract/waiver stipulated that he (& his cronies) would assume copyright of all songs performed, which of course I declined to accept!)
I really don't have any opinion on this but for thinking the whole scenario, as spelled out, is unlikely. Of course, I was not there, but I do think news would have reached me shortly afterwards had Mick and Keith been there that night in the immediate lead-up to Brian's death. I clearly remember getting home (NW3) from the Speakeasy very late one night -- circa 2:00 am, I imagine -- and my flat-mate, Brian Belshaw of the group Blossom Toes, who had sort of stayed up wondering where I was, told me with real gravity that I HAD TO call David Sandison, PR-man Les Perrin's assistant, i-m-m-e-d-i-a-t-e-l-y the moment I got home, whatever time of night that might be. Brian didn't know why but realized this was something very serious, and of course I very soon found out what had happened. I remember I made sure to be at the office by 8:00 am, so as to field all inquiries or whatever, but have little recollection of that solemn morning. I would have thought that, if indeed Mick & Keith had showed up that evening of 2/7, then Brian's then girlfriend would have said so sometime on the record, or that Marianne Faithfull would have done so in her memoirs (as told by David Dalton?). And does Bill Wyman (No Stone Unturned) have anything to say on this?
I met with Jagger by arrangement at his home for an 'interview' circa August 1968. By then I had visited the office for 'no-show' appointments with Jagger once or twice and, in the reception area, had got chatting with Shirley -- who, as I was to learn from her only later, had commended me to Jagger for the job (as factotum in all things concerning records and the like, but with special concern for the prospective creation of a notional 'Mother Earth' record label). My first encounter with all five members of the group followed shortly upon that successful interview with Jagger -- I accompanied Jo Bergmann to the Festival Hall [?] for a Mothers of Invention concert, at which the 5 Stones & their ladies got to share some kind of a royal box, and we all met up in some kind of a bar or cafe in the building.
A few thoughts came to me today:- Tom Keylock was, as I have said, a reprobate hustler who always had something or other (some scheme) going and talked out of both sides of his mouth -- i.e., he was duplicitous. And I wouldn't doubt for a moment that he traded all the time on his close association with the Stones, misrepresenting to others that he was actually their 'manager' and it was he who (actually, behind the scenes) always called the tune. Whereas, as you surely know, he had never really been anything more than their chauffeur, roadie, and on stage 'bouncer' -- also, to an extent, as the occasion required, their ad hoc fixer. Myself, I had a fine and stable enough relationship with him, but I sensed right away not to get taken in by him and all his bullshit, and knew very well to keep my distance so that, vis-a-vis the band, I would never get 'compromised' (guilt by association, and all the rest of it). I seem to think, BTW, that that Jacky must have come into circulation through him. She had an outdated (mod) haircut, and clothes that were not at all a la mode (au courrant).
46A Maddox Street we traded under the registered name, "Rolling Stones Partnerships, Ltd.". (But I'm not sure now if that was singular or plural.) I mentioned before how Jagger (also) assigned me to track down a new bass player, preferably black -- so then how come nothing was ever to come of that? I can think of reasons involving the very chemistry of the band (I think Bill had Charlie very much on his side, this despite Charlie's close friendship with Mick). But what I think I can remember as being decisive (as maybe told to me by Prince Rupert L.) was that any cheque for over one thousand pounds written on the limited company's account required at least four signatures -- i.e. four of the five band members' signatures. So just on that account I tend to doubt that Brian could have maintained any propriety claim on the band's name over the course of the six or seven years previous. Re: Bill's being let go, as projected -- one has to understand that, right then (1968-69), everything was up for grabs and the Stones, but meaning Mick more specifically as their by then de facto guiding spirit), were having to reinvent and if necessary reconfigure themselves. Everything floated in uncertainty. The great thing about Bill was that he was totally reliable and no prima donna -- also, of course, he could actually deliver on his bass, even as & when Keith had already conceived and laid down the bass part (as on e.g. Sympathy for Devil) in his stead. But I imagine it may have taken the fullness of time for Mick and Keith to realize and appreciate just how crucial was just such a role. Had they hired a Ron Wood or a Tim Davies on bass, then this could well have upset the boat. Cf. Mick Taylor's burgeoning disgruntlement over time over the way he was exploited (as & when Keith went AWOL), yet not awarded any kind of an equal say in the band's repertoire et cetera. The band was very much Mick & Keith's partnership, but with the prudent Charlie always serving as something of an anchor to the duo's bipolarity.
Tom was rendered redundant with extreme prejudice. And, after Brian's death and the cessation of any & all contingencies that had been left hanging thereupon since his departure from the band, there was no one in the whole circle around the Stones left with any motive or incentive to make him feel welcome
I inherited Brian's Afghan (waist) coat (the one he wears on a cover of Rolling Stone magazine) -- a memento that I did not really want and soon managed to lose. Also, thanks, to Ian 'Stew' Stewart, I was given one of Brian's earlier guitars (was it a so-called Thunderbird?)