His Majesty, please keep up the good work.

I regularly follow The Brian Jones Resource on Facebook and Youtube and I think that it is great.

In support of His Majesty: Matthijs also keeps on denying every fact I researched regarding Brian’s death and estate. He states he does so because he is informed. But only last week he presented Julian Mark as entitled to the estate which is absolutely not the case. He also repeatedly posted all of Brian’s belongings were returned to his parents which was not the case. I have a long list of Brian’s belongings ending up in other peoples hands, from furniture, clothes to even his 1965 Gibson Firebird, although heavily damaged after Brian smashed it to pieces at the Stones warehouse in Bermondsey (courtesy Peter Swales).



Edited 1 time(s). Last edit at 2023-09-12 00:13 by paulspendel.

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Edited 5 time(s). Last edit at 2024-01-03 07:52 by His Majesty.

Time Waits For No One, Heaven,Angel in My Heart, Might as Well Get Juiced, Fool to Cry, Memory Motel, Some Girls, Imagination, Fingerprint File, 2000 Light Years live,and others.The strings on AngieWinter, Moonlight Mile could be recorded with synths .Brian could have played these parts



Edited 1 time(s). Last edit at 2023-09-12 02:25 by Taylor1.

Quote
Taylor1
Time Waits For No One, Heaven,Angel in My Heart, Might as Well Get Juiced, Fool to Cry, Memory Motel, Some Girls, Imagination, Fingerprint File, 2000 Light Years live,and others.The strings on AngieWinter, Moonlight Mile could be recorded with synths .Brian could have played these parts

Yes, my dear Taylor1, but it has happened already. This is too theoretical by now.

Quote
paulspendel
I have a long list of Brian’s belongings ending up in other peoples hands, from furniture, clothes to even his 1965 Gibson Firebird, although heavily damaged after Brian smashed it to pieces at the Stones warehouse in Bermondsey (courtesy Peter Swales).

Brian smashed a Firebird? Is that the Firebird still in possession of the Stones, or the Firebird in possession of a UK collector? Last time I checked both were in good condition.

But let's not hijack this thread with Paul Spendel bullshit.

Mathijs

Quote
His Majesty
Let's get this back to Brian and music.


The intent of these demonstrations is to highlight Brian's contributions and to allow people who may or may not know what Brian played to see and/or hear what he played, the type of instrument he used, and to give an idea of how he played it. They hopefully help people to be able to pick out Brian's parts more easily when listening to the original recordings.

Thank you, HM, for this ongoing work. Please don't give up and keep posting.

And don't forget of what time we speak here. The sixties of the last century. There was no internet with free guitar lessons on youtube. You could not study electric guitar in music schools, so don't aply todays standards of quality, especially technical quality, to Brians contributions to aur beloved music from back then.

Resotele

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Edited 3 time(s). Last edit at 2024-01-03 07:52 by His Majesty.

"But let's not hijack this thread with Paul Spendel bullshit"

Here is some bullshit: Brian's 1966 Firebird is travelling with the Unzipped tour.
His 1965 Gibson was picked up by Peter Swales in 1969 from the Stones gear warehouse in Bermondsey. It was smashed to pieces. Later on Swales was managing a band that were allowed to rehearse at the Bermondsey warehouse. He gave the remaining pieces to this band and the guitarist used to bridge for his own guitar. A Gibson SG which was an odd combination. The neck was too damaged to use again. Peter swales who worked for the Stones confirmed to me this story from Turkey where he was living before he died. The guitarist from the band who used the bridge asked to remain anonymous because of all the 'Brian loonies'. Later on he sold the Gibson SG with the Firebird bridge. The collector Mathijs is referring to who is supposed to own the 1965 Firebird had it repainted. A real guitar afficiado would never do that to such an iconic guitar. Brian smashed the guitar after the last May 1969 photo session in Bermondsey, frustrated by the band tensions.



Edited 2 time(s). Last edit at 2023-09-12 16:06 by paulspendel.

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Edited 1 time(s). Last edit at 2024-01-03 07:53 by His Majesty.

Quote
paulspendel
"But let's not hijack this thread with Paul Spendel bullshit"

Here is some bullshit: Brian's 1966 Firebird is travelling with the Unzipped tour.
His 1965 Gibson was picked up by Peter Swales in 1969 from the Stones gear warehouse in Bermondsey. It was smashed to pieces. Later on Swales was managing a band that were allowed to rehearse at the Bermondsey warehouse. He gave the remaining pieces to this band and the guitarist used to bridge for his own guitar. A Gibson SG which was an odd combination. The neck was too damaged to use again. Peter swales who worked for the Stones confirmed to me this story from Turkey where he was living before he died. The guitarist from the band who used the bridge asked to remain anonymous because of all the 'Brian loonies'. Later on he sold the Gibson SG with the Firebird bridge. The collector Mathijs is referring to who is supposed to own the 1965 Firebird had it repainted. A real guitar afficiado would never do that to such an iconic guitar. Brian smashed the guitar after the last May 1969 photo session in Bermondsey, frustrated by the band tensions.

So Brian smashed a guitar in 1969 that he gave away in late 1965, and after being played throughout the 1970's ended up with full provenance with an UK collector? Wow man.

Ps the bridge and tremelo of a Firebird is the same as on a SG, so nothing odd.
Ps 2 I will step out of this discussion with you, it is His Majesty's thread on the work of Brian Jones.

Mathijs



Edited 1 time(s). Last edit at 2023-09-12 16:53 by Mathijs.

Quote
His Majesty
Re synthesizers...


"If it sounds weird, it's Brian." - Andrew Loog Oldham.

Additionally, there is also Brian stating this in 1968.

"I'm very hung-up on electronic music at present. If there is not room to include it on our album I would like to do something separately." - Brian Jones.

Here is a quick demo of an old oscillator. Every professional studio had them for tape machine calibration etc etc.

Cool. Is this the same apparatus like we hear on "good vibrations"? -from 0:26 and onwards. There is some indefinable humour in it. I always liked that sound.

Quote
TheflyingDutchman


Cool. Is this the same apparatus like we hear on "good vibrations"? -from 0:26 and onwards. There is some indefinable humour in it. I always liked that sound.

"Electrotheremin":

[www.npr.org]



Edited 1 time(s). Last edit at 2023-09-12 21:29 by Ps37.

Quote
Ps37

Quote
TheflyingDutchman


Cool. Is this the same apparatus like we hear on "good vibrations"? -from 0:26 and onwards. There is some indefinable humour in it. I always liked that sound.

"Electrotheremin":

[www.npr.org]

Damn, thank you. I found some more. The woman starts off with "Autumn Leaves".

[www.youtube.com]

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Edited 3 time(s). Last edit at 2024-01-03 07:54 by His Majesty.

Quote
His Majesty

Quote
Mathijs

So Brian smashed a guitar in 1969 that he gave away in late 1965, and after being played throughout the 1970's ended up with full provenance with an UK collector? Wow man.

Brian played both his reverse and non reverse Gibson Firebird VII guitars during the summer 1966 US tour. The Rolling Stones still have the non reverse VII. The reverse VII used in 1966 was the same one he played in 1965. The woodgrain matches.

Lots of collectors have things that aren't or might not be what they believe them to be and they are often very resistant to info which casts doubt regarding what they have, usually, spent a lot of money on.

So, if the provenance say's Brian gave the reverse VII away in late 1965, perhaps that provenance is out by 6 months or it is just dubious.

To be honest I doubted the year 1965, as the provenance states that he gave it away while on tour in the USA. The person who received the guitar played it throughout the 1970's and sold it to an UK shop in the early 1980's. This is where the collector has bought it. The collector, who as far as I know still has the guitar, also had Keith's Flying V and Mick Taylor's 1958 Les Paul (the latter two sold by now). The Firebird now has a refinished body, all else original. Patterns of the inlays and grain of the wood match with Brian's guitar.

Btw -Keith's Firebird that he recorded Satisfaction with and that he gave to Dave Hassinger and was stolen from the studio is -as rumor goes - in the hands of a USA collector close to the Norman Harris / Joe Bonamassa collectors.

Mathijs

No idea of its validity, but Paul Spendel's story about the last (?) session Brian did with the Stones - the photograph session in May 1969 - ending frustrated him smashing the Firebird on pieces sounds pretty dramatic... Fitting too well to a certain narrative?

STONED missed a good scene...

- Doxa



Edited 2 time(s). Last edit at 2023-09-13 14:04 by Doxa.

Quote
Doxa
No idea of its validity, but Paul Spendel's story about the last (?) session Brian did with the Stones - the photograph session in May 1969 - ending frustrated him smashing the Firebird on pieces sounds pretty dramatic... Fitting too well to a certain narrative?

STONED missed a good scene...

- Doxa

And, as far as I know, the guitar has not been seen with the Stones anywhere from after the US tour of 1966, with Brian playing a non-reverse Firebird, the Gibson ES-330 and the LP Goldtop. The Stones were still very limited in the number of guitars they had and used.

Mathijs

But we are good here? His Majesty keeps up doing the highly valuable and unique work for the joy of us fans of Brian and his era here, and Mathijs keeps his widely known Brian angst in a tolerable level?

What goes for the stressing the technical level of musicianship I find that generally very odd in the context of the Stones. None of them have been any master musicians in a technical level. Okay, probably Taylor's fluidity once was pretty exceptional, but hey, to shine technically in a lead guitar department of the Stones is not that big accomplishment. One doesn't exactly need to be a virtuoso for that.

Charlie and Bill... great musicians for sure, but their greatness do not derive from a technical point of view. Technically limited, but solid guys to do their job. Both Keith and Ronnie are pretty rough and even sloppy players. Especially in the case of Keith - my favourite guitar player with Jimi - his idiosyncracy might give the impression of 'Hey, this is difficult to copy', but that's nothing to do with technical finesse (forget the metaphysical vocabulary of touch, feel, timing, etc.) Damn, no one make such a noise John Lee Hooker did either, and his technical abilities were a bit limited, to put it mildly. Still, or because of that, I think Hooker is one of the most efficient blues guitar players ever lived. Mick? He would never do well in any Idols competitions, full of technically perfect singers.

I think sometimes the fandom and adoration simply makes tricks. If there is something a bit extraordinary happening - say, Keith puts a bit quicker run of notes than he normally does - that is interpreted something standing out and technically striking. Although, more cooler heads might simply recognize that something any competent guitar player pretty often does, without that further notice. Another funny consequence of true adoration making tricks is that of wanting to leave the magic there, like not even wanting to know how to copy the idol's licks exactly. Simply out of adoration. This is something Keith himself mentioned about Scott Moore's solo in "I'm left, You're Right, She's Gone". So we Keith Richards fans, no matter how great guitar players we might be, we never get the riff of "Brown Sugar" right, if even that of "Satisfaction". Probably we also be the only people in the world recognizing our failure, since we hear there something, thanks to our trained, adoring ears, no one else does.

A highly competent, technically-gifted musician or someone thinking music solely in terms of technical aptness, should, if being consistent and fair, point out about to any instrumental part in a Stones recording by our principals, 'yeah, but it is pretty simple'. (Funnily, I do know such people, and they keep telling me how mediocre, even poor players all of the Stones are. But even for most of them that does not really matter, thankfully).

But doesn't that - pointing their technical mediocracy - sound trivial? You know, like missing the whole point in their music?

So I think it boils down to the fact if the part fits to the whole (and with that what kind of impression the whole does). And in that the Stones are masters, even genius occasionally.

That was also what Brian Jones was all about. Also for that reason I am thrilled hearing his parts isolated, as His Majesty has done to us.

- Doxa



Edited 3 time(s). Last edit at 2023-09-13 15:49 by Doxa.

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Edited 1 time(s). Last edit at 2024-01-03 07:55 by His Majesty.

Quote
Doxa
But doesn't that - pointing their technical mediocracy - sound trivial? You know, like missing the whole point in their music?

So I think it boils down to the fact if the part fits to the whole (and with that what kind of impression the whole does). And in that the Stones are masters, even genius occasionally.

That was also what Brian Jones was all about. Also for that reason I am thrilled hearing his parts isolated, as His Majesty has done to us.

- Doxa

Agree 100%.

I find I can respect/admire technical virtuosity (speed/fluidity/precision of playing) but if it doesn't make the emotional connection with me, I don't gravitate toward repeated listenings.

The song is the key element. The playing needs to serve the song, and all the virtuosity in the world won't make a song resonate with me if it can't resonate with me without it.

Quote
His Majesty

Quote
Mathijs
The Firebird now has a refinished body, all else original. Patterns of the inlays and grain of the wood match with Brian's guitar.

Mathijs

Believe it when I see it, but I won't see it.

Who refinishes a guitar with such a connection? You previously said the wood grain wasn't visible because of the refinish. I asked how do they know it's Brian's then?

In the late 1970's and early 1980's vintage guitars were not all that valuable and collectable. Refinishes and new hardware were totally acceptable by then -when Dimarzio pickups hit the street nobody wanted those weak PAF's anymore.

Remember, Brian's Vox Teardrop was sold to the hard rock cafe for US$ 5,000, Mick Taylor received US$ 12,000 for his 1958 and 1959 Les Paul's in 1982/1983.

Brian's Goldtop was played and abused in the 1970's before Wyman got it back, Keith's Flying V was in terrible shape when it hit the market in the early 1980's.

I don't recall discussing Brian's Firebird in detail before. I do have a picture somewhere that I will need to find.

Mathijs



Edited 1 time(s). Last edit at 2023-09-13 16:32 by Mathijs.

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Edited 4 time(s). Last edit at 2024-01-03 07:55 by His Majesty.

Quote
His Majesty

Quote
Doxa
But we are good here?

I am not done with IORR, but I am with Mathijs.

Life is too short... He will say that 'I am one of those Brian fans that just credits him with everything', then say awhile later 'My Brian research is great'. Will say a part is too good to be Brian, then say that part is crap once it's shown it was played by Brian. The woodgrain on a guitar isn't visible, now it is. Then there's the stink bombs he occasionally posts on my Brian Resource Facebook page etc. Re-blocked to avoid what's happened here occuring there.

Phew. I'd rather NOT be saying any of this. Unrelated recent events have given me reason to reassess priorities, to try to be better, more positive. Let's move on, in peace, engaging in good faith with things we enjoy.

Phillip, you really must stop taking drugs and anti-depressants. What the fukc are you on about? You are just full of bullshit here.

First, again: I have never posted anything on your FB page. I have asked you normal questions (to which you answered normally) through a DM, but not on your FB page.

Second: I have always maintained that you were the one with the knowledge on the Brian Jones era (much more than I have), and that I appreciate your research and efforts to show it. I am of the opinion that other people do claim that Brian (or Taylor) played all the great parts and made the Stones so special. Show the proof here where I said what you now claim.

Third: Show the proof where I said a part is good if Keith plays it and not if it turns out to be Brian. I have never said that.

Last: I don't remember I ever said anything about the woodgrain of Brian's Firebird in public. I do remember discussing the picture long ago with somebody. On that picture, as far as I recall, the wood grain does not show. In recent years the owner has been visiting guitar shows in the UK where he showed his collection. More has come to light about this guitar than when I discussed the guitar.

Mathijs



Edited 1 time(s). Last edit at 2023-09-13 18:23 by Mathijs.

Quote
His Majesty
Then there's the stink bombs he occasionally posts on my Brian Resource Facebook page etc. Re-blocked to avoid what's happened here occurring there.

Might be worthwhile to show 'the stink bombs' I post on your Youtube channel and why you block me 'to avoid what's happened here occurring there'.

These are all my remarks since December 2018.

11 Sep 2023
One of my absolute favorite Brian parts. Thanks for this clip!
Commented on Lady Jane - dulcimer

19 Nov 2021
Such a great song, great part by Brian
Commented on If You Let Me – autoharp

29 Mar 2021
Brian plays it in open E though.
Commented on Mona (I Need You Baby) – guitar

29 Jan 2021
Is that a soprano sax? Does not sound like it...
Commented on Dandelion (isolated)

27 Jan 2021
Those bass lines are interesting!
Commented on You Got The Silver (isolated)

Mathijs



Edited 1 time(s). Last edit at 2023-09-13 18:25 by Mathijs.

Quote
Doxa

What goes for the stressing the technical level of musicianship I find that generally very odd in the context of the Stones. None of them have been any master musicians in a technical level. Okay, probably Taylor's fluidity once was pretty exceptional, but hey, to shine technically in a lead guitar department of the Stones is not that big accomplishment. One doesn't exactly need to be a virtuoso for that.

Charlie and Bill... great musicians for sure, but their greatness do not derive from a technical point of view. Technically limited, but solid guys to do their job. Both Keith and Ronnie are pretty rough and even sloppy players. Especially in the case of Keith - my favourite guitar player with Jimi - his idiosyncracy might give the impression of 'Hey, this is difficult to copy', but that's nothing to do with technical finesse (forget the metaphysical vocabulary of touch, feel, timing, etc.) Damn, no one make such a noise John Lee Hooker did either, and his technical abilities were a bit limited, to put it mildly. Still, or because of that, I think Hooker is one of the most efficient blues guitar players ever lived. Mick? He would never do well in any Idols competitions, full of technically perfect singers.

I think sometimes the fandom and adoration simply makes tricks. If there is something a bit extraordinary happening - say, Keith puts a bit quicker run of notes than he normally does - that is interpreted something standing out and technically striking. Although, more cooler heads might simply recognize that something any competent guitar player pretty often does, without that further notice. Another funny consequence of true adoration making tricks is that of wanting to leave the magic there, like not even wanting to know how to copy the idol's licks exactly. Simply out of adoration. This is something Keith himself mentioned about Scott Moore's solo in "I'm left, You're Right, She's Gone". So we Keith Richards fans, no matter how great guitar players we might be, we never get the riff of "Brown Sugar" right, if even that of "Satisfaction". Probably we also be the only people in the world recognizing our failure, since we hear there something, thanks to our trained, adoring ears, no one else does.

A highly competent, technically-gifted musician or someone thinking music solely in terms of technical aptness, should, if being consistent and fair, point out about to any instrumental part in a Stones recording by our principals, 'yeah, but it is pretty simple'. (Funnily, I do know such people, and they keep telling me how mediocre, even poor players all of the Stones are. But even for most of them that does not really matter, thankfully).

But doesn't that - pointing their technical mediocracy - sound trivial? You know, like missing the whole point in their music?

So I think it boils down to the fact if the part fits to the whole (and with that what kind of impression the whole does). And in that the Stones are masters, even genius occasionally.

That was also what Brian Jones was all about. Also for that reason I am thrilled hearing his parts isolated, as His Majesty has done to us.

- Doxa

You just nailed it. Like Jeff Beck once said: "The Rolling Stones, that is about designer sloppiness".



Edited 1 time(s). Last edit at 2023-09-13 18:42 by TheflyingDutchman.

Quote
His Majesty
The woodgrain on a guitar isn't visible, now it is.

Tuck away your dreampipe. This is all I have said about Brian's Firebirds.

[iorr.org]
Re: Where are Brian's guitars?
Posted by: Mathijs ()
Date: April 16, 2016 08:32AM

Quote
Mathijs

The Firebird VII has shown up as well. It is in the hands of a British collector who also owns Keith's Hyde Park Flying V. The Firebird is refinished back to its original sunburst, and played extensively throughout the 70's.
This means that literally all of Brian's guitar and instruments have shown up by now.
The same thing by the way for most of Keith Richards guitars that where used in the 1967 to 1975 period and either lost or stolen. All but the Ampeg Dan Armstrongs have shown up in the last few years.
Mathijs

[iorr.org]

Re: Brian Jones - History of his guitar
Posted by: Mathijs ()
Date: April 29, 2019 12:14PM

Quote
Mathijs

As far as I know, the Stones (Keith/Brian) used two reverse FB's VII. Keith's FB, which was used on Satisfaction, was given to Dave Hassinger, and later stolen from the studio never to be seen again. Brian's reverse FB has been used extensively in the 70's by various owners, and is now in the hands of a collector.
The non reverse FB's: Brian's Reverse FB III (with black P90's) is now in the hands of collector Ali Zayeri. Brian's FB VII (gold FB pickups) is now owned by Keith.

Mathijs

Post corrected by His Majesty:

Quote
His Majesty
The stones/Keith still have both. The P90 NRF was on display at Exhibitionism during first few months, but was pulled from display for some reason.
The NRF with P90's Ali has is not the one Brian is shown playing in UK 1966 tour and later with Keith in IORR promo. I think Ali has been ripped off there. Not the first time he's bought someone thinking it was Brian's when it wasn't.

Problem solved:

Quote
Mathijs

So Brian had only ONE P90 FB, is that what you're saying?

That would actually mean one of my problems I had with Ali's FB is solved -Ali's FB had more red in the burst color than I recognized, and Ali's had plastic tuning buttons which I did not recall with Brian's.

Mathijs

Philip, I send you a DM asking you to show me all 'stink bombs' I have posted on your FB page. It will adorn you if you replied.

Mathijs

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Edited 1 time(s). Last edit at 2024-01-03 07:56 by His Majesty.

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Edited 1 time(s). Last edit at 2024-01-03 07:56 by His Majesty.