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His Majesty

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Taylor1
Hi His Majesty , Can you tell me if Brian is playing guitar on any of the jams from Their Satanic Majesty’s Outtakes and Sessions 2020video: [youtu.be]

It is most likely that the only guitar playing by Brian on any currently available studio recording from 1967 is his acoustic guitar playing on early takes of The Lantern. Keith takes over on acoustic at around 15 minutes in:






Brian sounds like he's having an off day at this session. Can hear why he moved on from playing acoustic to organ and why the organ is mostly mixed out of the official release.

Thank you. On the Satanic Majesty'sRequests and Outakes , 2020,which is on Youtube, there is what sounds to me to be the instrumental jam which became She's Doing Her Thing. There are two guitars on it. So Keith must be playing both? Or is one Brian?

There are a few live in the studio takes available with 1 guitar by Keith, Brian playing congas. Then a repeat of one of the live takes with overdubbed 12 string guitar by Keith.



Edited 1 time(s). Last edit at 2022-01-05 00:47 by His Majesty.

Sometimes the truth isn't what you want it to be (Part One).

On Wednesday 11th November 1964 Brian Jones was taken by ambulance from the Palmer House Hotel in Chicago to Passavant Hospital where he was admitted with a temperature of 105 degrees. According to production manager Mike Dorsey, in the time leading up to this hospital admission, Brian had been complaining of feeling ill, faint and sick. This ill health coincided with and seemingly affected his participation at two Rolling Stones recording sessions. One at RCA Studios on Monday 2nd November 1964 and one at Chess Studio on Sunday 8th November 1964. During Brian's time in hospital The Rolling Stones played 5 concerts without him.

The ill health seems to have been, at least in part, self inflicted. Speaking of this time, Ian Stewart recalled that,

"He was certainly ill all right, but he didn't do anything to help himself, he aggravated it by taking too much of something, and generally behaved very stupidly. I tell you what, he nearly got hoofed out there and then. He hadn't really contributed anything on those record dates. He was either stoned or pissed or just sick, and they got fed up with him."

In the above quote you can see that Ian brings up the lack of contribution from Brian at these sessions. As a Brian Jones fan, the easy reaction is to dismiss this claim as just being part of Stu's apparent dislike of Brian. However, what he say's is supported via what is and isn't present in photographs from one of the sessions and, more importantly, the music itself from both.

In Stone Alone and Rolling With The Stones, Bill notes the fever and bronchial aspects of Brian's illness, but also the self inflicted part too. For example, in Rolling With The Stones, page 161 he talks of this late 1964 period and specifically about Brian's illness..

"... Brian was also taking all sorts of amphetamines, drinking more and had taken up smoking marijuana. Brian's illness in America was the result of his lack of self control coupled with his less-than-strong constitution."

Tour manager Bob Bonis was present at these recording sessions and took a number of photographs. His photographs from the session at RCA on 2nd November 1964 are interesting because Brian is not shown in any of the photos that have thus far been published. At time of writing there are no known photographs from the recording session at Chess on 8th November 1964. When I talked to Andrew Loog Oldham about Brian not being shown in photos on 2nd and there being no known photos from the 8th he said that, "Bob would have known that taking photos of Brian in such circumstances would not have sat well with the band."

...

In part two, I will focus on the music and note which tracks from these two sessions do and do not feature Brian and where it's plausible either way, but inconclusive.

PS: Brian's illness and the recollections of this autumn 1964 tour are often, mistakenly, related to the summer 1966 tour of North America. Brian was not ill during that tour and played at every concert.



Edited 2 time(s). Last edit at 2022-01-27 18:16 by His Majesty.

^
Great!
How's your book coming along?

300+ pages of mess. I haven't had the heart to go back to it. I'm in no hurry though as more info keeps appearing to change things etc.

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His Majesty
300+ pages of mess. I haven't had the heart to go back to it. I'm in no hurry though as more info keeps appearing to change things etc.

A wise decision, HM. I don't know to what extend you are familiar with one of Brian's "misterious" cousins (he referred at times to uncle Lewis), but I'm sure there is some more we don't know there.

I'm a GHOST living in a ghost town

The book is about the musical side, obviously there will be tie ins with other things which like in above November 1964 post.

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His Majesty
The book is about the musical side, obviously there will be tie ins with other things which like in above November 1964 post.

I know about the approach of your upcoming book. But ... the guy I mention is/was a musician too and ..... as such had a connection with Brian way back in 1956/57.


I'm a GHOST living in a ghost town

Sometimes the truth isn't what you want it to be (Part Two).

RCA Studios, Los Angeles, USA - 2nd November 1964.

This was the first time The Rolling Stones recorded at RCA, and it is also, seemingly, the first time the music from a recording session would be affected by issues between Brian and the rest of the band. In what would prove a problematic 2 weeks, Brian would be hospitalised by the following Wednesday on the 11th November 1964 and would miss 5 concerts. As mentioned previously in (Part One), at least part of the reason for this specific bout of ill health,
which built up gradually, was in part down to Brian's behaviour. Bill noted on page 161 of Rolling With The Stones, "Brian was also taking all sorts of amphetamines, drinking more and had taken up smoking marijuana. Brian's illness in America was the result of his lack of self control coupled with his less-than-strong constitution.".

This, unsurprisingly, also extended to the recording studio, Stu said, "he aggravated it by taking too much of something, and generally behaved very stupidly." and added "He hadn't really contributed anything on those record dates." Also mentioned in (Part One), is that tour manager Bob Bonis took a number of photographs at this session at RCA and it is interesting to note that Brian is not shown in any of the photos thus far published from that session.

What is told in the comments and the photographs is also reflected in the music where there is a oddness and apparent lack of Brian's distinctive guitar and harmonica playing. That he would go on to play 2 concerts immediately after this recording session suggests that, at this point, his lack of control and behaviour had more to do with this lack of contribution rather than serious ill health.

Six songs were recorded at this session and of the six it seems that, at best, Brian played on a few of the tracks.

Everybody Needs Somebody To Love: Brian most likely didn't play on this track.

The guitar part that Brian played live for this song is missing from both versions recorded at RCA on 2nd November 1964. Brian's part, or rather a part that acts in the same role, is played by Stu on piano. Keith plays his usual rhythm chordal part and also overdubbed lead guitar sometimes using the whammy bar on his Gibson Les Paul.

Down Home Girl: Brian most likely didn't play on this track.

The lead guitar is often mistakenly credited as Brian playing slide, but it is actually Keith using the whammy bar on his Gibson Les Paul again. In addition to bass, Bill also played a Fender VI which is also sometimes mistakenly credited to Brian. Harmonica solos by Mick.

Heart Of Stone: Brian possibly played on this track.

A part played by Bill on a Fender VI is often mistakenly credited to Brian. The main chordal guitar and the lead guitar are by Keith.
Brian possibly plays a further chordal guitar part which is mixed slightly lower. Not a reliable way of judging contribution, but when miming the song on TV, Brian is shown playing something which is not heard on the recording. A sign he didn't play on it?

Hitch Hike: Brian possibly played on this track.

This track possibly features Brian playing a basic rhythm guitar part, with Keith playing the more staccato rhythm parts, lead fills and solo.

Oh Baby: Brian possibly played on this track.

This track features the rhythm guitar part Brian played when they performed it live. The fatter guitar tone suggests It is Keith using his Gibson Les Paul though.

Pain In My Heart: Brian possibly played on this track.

The guitar part that Brian played live for this song is missing from this recording. It is possible that he played the tremolo guitar part heard though. Another track on which Bill played Fender VI.

Chess Studio, Chicago, USA - 8th November 1964.

Six days after the 2nd November session at RCA, The Rolling Stones held a session at Chess on the 8th November. It is in Chicago that the problems that had began to build during the previous week reach a serious stage. It would take a few more days before he would be hospitalised, but it seems likely Brian hardly contributed at all, if anything, at this particular session.

Five songs were recorded at this session and at best Brian possibly played on two of them.

Goodbye Girl: Brian possibly played on this track.

A song written by Bill Wyman. The rhythm guitar part is in keeping with Brian's style, albeit with a more Gibson Les Paul type fatter sound, which suggests it is by Keith. Lead guitar by Keith.

Key To The Highway: Brian most likely didn't play on this track.

A track featuring only one guitar and harmonica solo by Mick.

Mercy, Mercy (version 1): Brian possibly played on this track.

A first attempt at the song and one which does not feature Brian's distinctive guitar riff. There are two guitars and Brian possibly played the lower mixed chords. They would record another version in May 1965 and that version most definitely features Brian and his distinctive guitar riff.

Time Is On My Side (lead guitar intro version): Brian most likely didn't play on this track.

Brian did play on the version recorded at Regent Sound earlier in the year. But, on this version Brian's guitar part is not present.Instead, Keith overdubbed on the same channel as vocals with some partial chords, brief picking during the "Searching for good times" etc section and muted lower single notes during solo.

What A Shame: Brian most likely didn't play on this track.

The guitar part that Brian played live for this song is missing from the recording. Keith played the main part and the lead fills and solos. The lead part is often mistakenly credited as being Brian playing slide guitar, but it is actually Keith using the whammy bar on his Gibson Les Paul. The band played this song live on Ready Steady Go! on 15th January 1965. Brian played a part not heard on the studio recording, with Keith playing the main chordal part and also the solo. Referencing the studio version, Keith also used the whammy bar on his Gibson Les Paul for the lead solo.

...

The findings here are part of an ongoing process and are not definite, but they are likely. Whether they prove to be totally accurate or not, it is interesting to note that from these two sessions there were no obvious, classic Brian Jones contributions. In related articles following these sessions Brian is for the most part absent from the commentary and quotes. He talked little about the sessions, if at all. No contribution from him is specifically mentioned or praised. Bill's contributions are praised by Keith. Keith's contributions are praised by Andrew. Jack Nitzsche is singled out for praise also.
...

Charlie has said that this period marked a noticeable change in relations between Brian and the rest of the band. The 5 concerts Brian missed from 11th - 14th November 1964 are the last time he would miss any concerts as a member of The Rolling Stones.

Recording session dates and track listings courtesy of [www.nzentgraf.de]



Edited 3 time(s). Last edit at 2022-01-29 02:31 by His Majesty.

Wonderful stuff, His Majesty!

Best luck to your research! From the base of what you have shared and knowing your profoundless in the subject matter, I am sure it is going to be a helluva book. The one I think is very much needed re Brian Jones. Yeah, take your time, but remember that the evil of perfection is one son of b...h. So, no problem if you feel there there are some things you are not so sure about. Those and errors always will be present...

- Doxa

Great stuff. I can't imagine Brian didn't play on What A Shame. It's such a Brian type song.

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24FPS
Great stuff. I can't imagine Brian didn't play on What A Shame. It's such a Brian type song.

Brian usually played live what he had played on the studio version and vice versa. These two sessions are quite unique in that for a number of those songs Brian would play parts live that are not on the studio versions. Given all of the info (in parts One and Two) about those two weeks, I think it's easy to imagine, or better yet to understand that Brian simply didn't contribute much on 2nd or 8th November sessions and that this explains why there are a number of differences between what he plays live and what is heard on those particular studio cuts.

Here is a live version of What A Shame from Ready Steady Go! on 15 January 1965. Note the part he played which I demonstrate below is not on the studio recording.

The Rolling Stones - What A Shame - Ready Steady Go! - 15th January 1965.
Audio recording from TV set to tape machine on the day of the broadcast by IORR forum member Vox12String.

Line up:
Brian Jones - guitar (chunky rhythm part)
Mick Jagger - vocal & harmonica
Keith Richards - guitar (main motif and solo using whammy bar)
Bill Wyman - bass guitar
Charlie Watts - drums





What A Shame (live RSG version) - guitar demonstration

A demonstration/approximation showing the essentials of what Brian Jones played. Recorded to allow for Brian's guitar idea to be heard without backing.





Photo's from this episode of RSG here: [www.facebook.com]



Edited 1 time(s). Last edit at 2022-01-28 01:27 by His Majesty.

Here are the two guitars on What A Shame studio version. Keith playing both. Main guitar with overdub featuring lead fills and solo. Note the part Brian played on the above live RSG version is not present.





The solo is often mistakenly credited as being Brian playing slide, but it is actually Keith playing the solo while using the whammy bar on is Gibson Les Paul.

For reference, a quick example of me playing the solo using the whammy bar.

What an impressive project! (I have not looked at it before, due to my lack of adequate equipment.)

So saddened to read "Sometimes the truth isn't what you want it to be".

I had not the slightest idea about any of this. So early! A deep thank also from me to be given the chance to know!

Jack Hutton of the Melody Maker accompanied the Stones during their first US tour and thanks to his cabled, as it happened, reports in issues of Melody Maker from June 1964 we can know details about some of the tracks recorded at Chess on the 10th and 11th June 1964. One of the tracks detailed in his reports was If You Need Me and in the report he notes it was Stu who played organ on the track.

It is sometimes claimed, mistakenly, that Brian played organ on If You Need Me, when in fact he played guitar. His guitar part, which he also played live in concert and for radio sessions, is isolated and demonstrated below.

...

The Rolling Stones - If You Need Me - Recorded at Chess Studio, Chicago, USA on 10th June 1964:

Line up:
Brian Jones - guitar (chordal picking)
Mick Jagger - vocals
Keith Richards - guitar (chordal strumming) & vocals
Ian Stewart - organ
Bill Wyman - bass guitar
Charlie Watts - drums





If You Need Me - isolated:

Isolated line up:
Brian Jones - guitar (chordal picking)





If You Need Me - guitar demonstration:

A demonstration showing the essentials of what Brian Jones played. Recorded to allow for Brian's guitar idea to be heard without backing.

The Rolling Stones - It's All Over Now:

Recorded at Chess Studio, Chicago, USA on 10th June 1964.

Line up:
Brian Jones - 12 string guitar & vocals (lower harmony)
Mick Jagger - vocals
Keith Richards - guitar (including solo) & vocals (higher harmony)
Bill Wyman - bass guitar
Charlie Watts - drums & tambourine





It's All Over Now - isolated:

Isolated line up:
Brian Jones - 12 string guitar & lower vocal harmony
Keith Richards - 6 string guitar (including solo) & upper vocal harmony
Charlie Watts - tambourine






It's All Over Now - 12 string guitar demonstration:

A demonstration showing the essentials of what Brian Jones played. Recorded to allow for Brian's 12 string guitar idea to be heard without Keith's guitar part.

When I started to listen the Stones during the early 80's, of their early recordings "It's All Over Now" especially made an impression to me. Still then I think it sounded sonically damn relevant and fresh by the standard of the day. And it was especially those strumming chords that sounded so ageless and distinctive. Another such was the riff of "The Last Time", and funnily initially I thought both of them played by Keith...

(And as this being a Brian Jones thread, I am waiting the guitar experts to tell how 'simple' those Brian contributions are, as like the greatness of Stones recordings generally supposed to based on technical excellence...)

- Doxa



Edited 1 time(s). Last edit at 2022-02-11 13:57 by Doxa.

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Doxa
When I started to listen the Stones during the early 80's, of their early recordings "It's All Over Now" especially made an impression to me. Still then I think it sounded sonically damn relevant and fresh by the standard of the day. And it was especially those strumming chords that sounded so ageless and distinctive. Another such was the riff of "The Last Time", and funnily initially I thought both of them played by Keith...

(And as this being a Brian Jones thread, I am waiting the guitar experts to tell how 'simple' those Brian contributions are, as like the greatness of Stones recordings generally supposed to based on technical excellence...)

- Doxa

Both of those contributions are classic guitar tracks. The sound of that 12 string is ace!

Judging by Youtube and online commentary many people are confused as to who played what on It's All Over Now and what was used. Lots of over complicating things, when it's really quite straight forward.

Brian using his new prototype Vox Phantom MKIII twelve string, Keith his Epiphone Casino. No guitar overdubs. Brian playing power chords for intro, outro and chorus, choppy r&r rhythm with triplet lick for verse etc and his typical r&r rhythm for the solo section. Keith picking chords for verse and chorus, and playing the solo. One continual take and performance straight through. Backing vocals and tambourine were added as overdubs.

All given an otherness thanks to the use of the 12 string and reverb on the the intro and outro . This otherness isn't present in the live versions as, for example, Brian's triplet lick is played in same position on 6 string live, but lacking the zing the additional octave strings of the 12 string give it on the studio recording. Using rhythm/neck pickup also contributing to it not standing out live like it did on the studio version.

There is one exception to this, that being the version recorded for the Joe Loss Pop Show on 17th July 1964 where he used the Vox 12. The only time it was used for a live performance.

Brian Jones playing his prototype Vox Phantom MKIII twelve string guitar during The Rolling Stones 17th July 1964 Joe Loss Pop Show radio session at the BBC Playhouse Theatre, London.
A nice upgrade to a previously posted version from a different source. This one is via the December 1965 special issue of Salut Les Copains. With thanks to Pascal/Honestman.



Link to image: [scontent.fgla3-1.fna.fbcdn.net]



Edited 2 time(s). Last edit at 2022-02-11 15:43 by His Majesty.

Wonderful stuff. I wonder if Brian had a strange relationship with guitar playing? He was a fantastic slide player, but I can't really point out a non-slide lead that he played on. There's his riff on This Could Be The Last Time, but that's not really a lead. Other great slide players, like Duane Allman, had no trouble playing regular leads. I wonder if it bothered Brian that Keith handled all the lead parts while Brian just chunked away on rhythm? Did Brian privately try to play straight leads and just couldn't do it? And with only a handful of songs requiring lead, did Brian lose interest? Or feel like a failure on guitar? Maybe only Keith could answer that.

Stones locations on film - Edith Grove & Bifron Street.

Footage from the 1961 film Two Letter Alibi of Edith Grove and Bifron Street, London:




Brian, Mick & Keith etc lived at No.102 Edith Grove from circa September 1962 to mid 1963. In May 1963 Philip Townsend took a number of photos of The Rolling Stones in the area. In the footage you can see the junction of Edith Grove/Bifron Street, the wall (on the right) further along Bifron Street and the row of flats where they posed for the Philip Townsend photo session.

Selected gallery here: [www.facebook.com]

Bifron Street was demolished in 1969: [rbkclocalstudies.wordpress.com]



Edited 1 time(s). Last edit at 2022-10-21 00:01 by His Majesty.

Stones locations on film - Courtfield Road.

Footage from Man In A Suitcase episode 17 - Why They Killed Nolan showing Courtfield Road:




Brian lived at flat B, 1 Courtfield Road from circa June 1966 - mid 1967. The distinctive white balcony of No 1 can be seen on the right, just above a blue van, in the first frames of the above Courtfield Road street footage.

Gered Mankowitz held a photo session here in autumn 1966. Selected gallery here: [www.facebook.com]

... and here: [www.facebook.com]

Rai Television filmed inside No.1 on 22nd January 1967:




Footage from May 1967:




Footage from October 1967 (Brian had moved out by this time):




Sadly, both sides of the first half of Courtfield Road, including No.1, was demolished in early 1970's to make way for modern hotels. The street was captured on camera in 1969 shortly before demolition began. [rbkclocalstudies.wordpress.com]

P. P. Arnold - Soul Survivor - The Autobiography. Pages 243 - 246.

In July 1969, Brian Jones was found dead.
I'd distanced myself from the hard drug scene around the Stones after I brought Kevin and Debbie to England, so I hadn't seen him in a very long time, but still, I was deeply saddened by his passing. The last time I saw him had been at the Speakeasy. He was stoned and really out of it and it was shocking to see him in that state. In his last words to me, he told me I was a very special being and that I would play a very big part in changing the world in the future. He always made me feel like I mattered.

One Saturday morning in 1966 while I was still in Epsom, I'd received a phone call from Brian Jones inviting me to London. He sent his Rolls-Royce for me and I was driven to his beautiful flat in Courtfield Road, South Kensington.
When we rang the bell, Brian came to the door. He was soft-spoken and polite as always, greeting me warmly. I'd heard gossip from Mick about his drug habits but we never talked directly. Besides, all the Stones had shown us respect and love throughout the tour.
If Mick was an extrovert, Brian seemed just the opposite, but that was fine, as I too felt sensitive, vulnerable and wary. He rolled a hash joint and made me feel welcome as we talked about Epsom.

Compared to the modern space that was Mick's Harley House, Brian's flat was really just one huge room, a small kitchen and bathroom. It too was decorated with rich fabrics, rugs and embroideries from Morocco, but was fairly disorderly next to Mick's flat. A wooden staircase led up to a minstrel gallery and I loved it's high-beamed ceilings, big windows and skylight. Magazines, papers and clothing were strewn everywhere. The antique chairs needed reupholstering and the bed was just a big mattress on the floor. There was a real hippy vibe, an intoxicating mix of past centuries with the psychedelic '60's, including Indian and Moroccan influences. The hash joint was also pretty powerful, but it helped me to relax.

Brian was annoyed about Mick's behaviour towards me, which was very sweet. I explained that Mick and I had not made personal commitments. Yes, I was hurt, but I was in no position to judge. I hadn't stayed in England to be Mick's girlfriend. I knew that Mick and Marianne had a thing going. Afterwards, I wondered if Brian's compassion for me reflected his own estrangement within the Stones camp.

He was very cute and sexy and looked aristocratic, eccentric and yet elegant in his flamboyant attire, his dandy scarves and beautiful smoking jacket. I thought he had a mystical charisma about him. I was never physically attracted to Brian and didn't want to send out the wrong signals, but he was a perfect gentleman and host. He played some blues and R&B and I felt at home right away. While we smoked, he introduced me to some mystical Indian sounds. I'd smoked marijuana with Gabriel and hashish with Mick, but this was my first time in an environment that let me experience it's effects fully. There was a piano and a beautiful collection of guitars, mandolins and other exotic stringed instruments. I was in awe of his musicality. He was deep and very talented, but there also seemed to be sadness about him.

We talked about my roots and family and he talked about music and art. I felt comfortable and safe, not intimidated at all. With so little experience dating, I still believed that if you were drinking and smoking alone with a guy, they wanted sex with you, but he made no advances and I appreciated this respect. He had to go out for a while, and after showing me how the rolling machine worked he left me on my own. I was very happy to be here. It was enchanting to be in among all this artistic bohemianism, listening to music and exploring my thought. I felt worlds away from L.A.

After a while, he returned with his close friend Tara Browne, the heir to the Guinness fortune. All the Stones were connected to the aristocracy, bad-boy favourites of the rebellious young debutantes, the lords and ladies, viscounts and viscountesses, dukes and duchesses, earls and countesses of the realm. The well-educated idle rich had thrown themselves into the new culture of hippies and happenings, which let them party mindlessly, experimenting with heroin, barbiturates and acid. If these walls could talk, would I even want to hear what they said?

Brian's vibe had drastically changed and the hash wasn't helping me join them. I suggested it was time for me to go. He urged me to stay over and said someone could drive me back to Epsom the following morning. I was apprehensive, but he assured me I had nothing to worry about. I decided to trust him and not get paranoid. I knew I had to learn to trust that I could handle myself in my new surroundings. As a black woman in a strange land, my reputation was very important to me, but I had to let go of a life-time's fears about how I'd be treated in the company of white men.

It was a lovely evening in very interesting company, especially after the delicious Indian food they had brought back with them. Tara left in the early hours and I joined Brian in his one bed, feeling secure enough to enjoy a cuddle and warm, gentle kisses with him. He made no advances and was in no condition to have sex even if he'd wanted to, which was a relief, as I certainly didn't want to have to wrestle with him.

Brian was kind and had displayed genuine friendship. I felt true sensitivity towards him. It had been a magical day at a delicate time of transition and had helped me to put my decision to stay in England in perspective. He said I was welcome to visit whenever I got bored and I did so a couple more times, though I wish that I had been more open with him. I'll never forget his kindness. I was a long way from America's racism here and I had a lot to think about.



Edited 1 time(s). Last edit at 2023-01-09 18:49 by His Majesty.

The Rolling Stones Book - No. 14 - 10th July 1965. Page 15.

"A funny thing, though. Last year, I lost almost all interest in guitar. It just didn't mean anything to me any more. I told everybody that I got more satisfaction from playing harmonica. It was hard to understand, but that's how it was. Then, just a couple of months ago, I regained my interest in guitar. And, now I can't leave it alone - I play, even for my own enjoyment every chance I get." - Brian Jones

Just a quick thank you to His Majesty. Threads like this are what I truly love about IORR. All the best with your book.

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Rocky Dijon
Just a quick thank you to His Majesty. Threads like this are what I truly love about IORR. All the best with your book.

The same feelings from here.

- Doxa

I wish the A Degree Of Murder soundtrack would get a proper release.

Brian’s. Opening and closing chords are classic, one of the best of the 1960s along with George Harrison’s opening note and closing notes on a Hard Days Night

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Taylor1
Brian’s. Opening and closing chords are classic, one of the best of the 1960s along with George Harrison’s opening note and closing notes on a Hard Days Night

I take it you mean It's All Over Now?