Re: The plot thickens
Date: July 16, 2006 21:04
Miss U. Wrote:
-------------------------------------------------------
> Tseverin Wrote:
> --------------------------------------------------
> -----
> > Miss U,
> >
> > This may well be true but as we haven't had
> access
> > to this "evidence" yet we cannot really be
> > expected to blindly trust Trevor either.
>
>
> I'm not going to get into speculation or arguments
> with anyone. I don't expect you to blindly trust
> Trevor, however you don't really seem to have an
> open mind about this; your posts are of a
> challenging nature. Which of course I understand
> as I had the same reaction. But you will not be
> provided with proof on a message board at this
> instant. Surely you can understand the need for
> discretion at this stage. Yet to continue
> demanding proof and answers to all your questions
> is simply not reasonable. If people prefer to
> place their faith in a known liar (Keylock), then
> I question the wisdom of that. Trevor is a very
> astute man and he is taking this very seriously
> without jumping to conclusions. He certainly
> wouldn't have consulted lawyers to take legal
> action based on assumptions.
> Yes Keylock admitted that to the police, and the
> police are aware. Enuff said.
>
>
>
> > Doxa, re your last point; Trevor Hobley who
> runs
> > (ran?) the BJ fanclub & the investigation
> > apparently was not a Brian Jones fan to start
> with
> > but I believe was drawn into it all by the lack
> of
> > perceived justice for him: Correct me if I'm
> wrong
> > here Miss U.
>
> Trevor was drawn into it after meeting with Pat
> Andrews. He is more of a Beatles fan.
>
> As for your question about Keylock being made an
> honorary member, you're confusing the official BJ
> club Trevor runs with the old fan club run by
> David Reynolds. The old fan club under Reynolds
> is the one that made Keylock an "honorary" member.
> Recall when I said that Keylock keeps a very
> close eye on the BJ fan club. This rang many
> alarm bells with many club members, and many from
> the old club have switched over to the new club
> under Trevor Hobley.
> Trevor has proven to be very trustworthy and
> accountable to members.
>
> Below is a post from EL on the bj forum which some
> may be interested in, food for thought:
>
>
>
>
> "FIRST, about Brian's work visa: Uh, remember TWO
> OTHER STONES (MICK AND KEITH, who else) were ALSO
> busted for drugs, by the same officer (Pilchard),
> tried in the same courts, all three were found
> guilty. The British courts hated the Stones. DO
> YOU REALLY THINK they'd grant a work visa to TWO
> of them (Mick and Keith) but not the other one??
> (Brian) HUH?!?! I would think that NOBODY's
> gettin' a work visa considering THIS group's
> combined offences at the time. Logical? Yep,
> That's why the visa story is bullshit. None of 'em
> should've gotten one. Or all of 'em.
>
> "Businees AND pleasure" Brian told Gerry. I, as
> well as everyone here on this board should take
> Gerry's word as absolute fact - without the
> slightest doubt whatsoever. Ok, then so WHAT would
> Brian's busines be?? WE know from ALL parties
> considered that there was dissension in the ranks
> concerning Brian as far back as 1965. This is
> reported in just about everything wrtiten about
> them. A fact.
>
> Therefore, it is quite logical to deduce, that
> Brian had something up his sleeve, a new band,
> perhaps, a "supergroup" , a writ containing papers
> that he owned the rights to the Stone's name - or
> all of the above - after all, what other BUSINESS
> would he have in New York?
> Opening a fruit stand?
>
> SECOND: All reports from all sources close to
> Brian, Alexis Korner, Ronni Money, Anna Wohlin,
> et. al., indicate that in 1969 Brian was getting
> off drugs and was starting to get his act
> together. The jam sessions at Cotchford went well
> into the night,"that racket" according to Mary
> Hallett, which means some sort of act was forming.
> And Brian had a single, that Les Perrin's wife
> Janey reported but it "mysteriously disappeared"
> Hmmm.
>
> When you factor in that BRIAN ALONE SIGNED THE
> INTIAL CONTRACT with Oldham and Easton , it's an
> almost NO-BRAINER that he would own the rights to
> the band's name - every contract I ever signed in
> the music buisness gave me (and my fellow band
> mates IF THEY SIGNED - or ME ALONE if ONLY I
> SIGNED - ownership of our collective corporate
> entity - and the name - until and unless written
> agreement was drawn up to the contrary. And I
> think Trevor has proof of this as well.
>
> THREE: I do not contend that Brian was killed
> because he was starting a super- group with
> Hendrix and Lennon.. I contend that he was killed
> because the 'powers that be 'were afraid HE VERY
> WELL MIGHT START a supergroup with Hendrix and
> Lennon, and blow the Stones' triumphant 1969
> return tour out of the water.
>
> And it would.
>
> Brian was not an "after thought" in Stones history
> in 1969. He was STILL one of the most popular
> memebers and IF HE DID join forces with Lennon
> (the leader of the greatest band in the world
> @1969) and Hendrix (the greatest guitarist in the
> world @1969) uh, well, YEAH, it would be the
> biggest news the rock world would ever hear up to
> that point. And the Stones were, in 1969 facing
> some mighty tough rivals for the throne, like Led
> Zeppelin, Jeff Beck Group, Rod Stwart, Pink Floyd
> - some GREAT musicians were serious threats - the
> LAST thing they needed was for "this little
> bastard" from their own ranks starting the biggest
> group of all time. He might've. And yes, they
> wanted to prevent this. The single disappeared,
> remember?
>
> Also, factor in that ALlen Klein would NEVER EVER
> part with $100,000 unless he had no and I mean NO
> OTHER choice(actually English pounds - I think the
> rate at the time would be closer to $400,000
> USDollars) and, therefore the logical deduction is
> obvious. Remneber, people don't hold bonfires to
> BURN all your belongings and bleach your hair
> white in your casket if you've died accidentally.
> Also your friends (Stevie Marriott) don't get
> threatened to "stay the @#$%& away from Brian
> Jones if you want to stay healthy" - then die in a
> mysterious fire.
>
> As far as Klein breaking up the Beatles - that
> dubious honour goes to Yoko Ono who drew such a
> wedge between John and Paul that they weren't even
> talking - how could they write songs together
> then?
>
> FOUR: You don't buy the theory that Brian was
> kicked out of the Stones so they could tour -
> well, they knew Brian wasn't co-operating, as he
> was sick of playing Jagger Richards songs (some of
> which he may well have written, but that's another
> thread)- and kids WERE ACTUALLY LISTENING to the
> music in '69 - so Jagger probably wanted to make
> sure they had a guitarist he could control and
> wouldn't play "Popeye the Sailor Man" when the
> mood struck him.
>
> This is more than "barely specualtion" Drawing any
> other conclusion (do you have one??) is what seems
> illogical. Knowing Klein; knowing music business
> contracts; knowing Gerry's testimony; knowing
> Brian's (and the Stones') dissatisfaction with one
> another; knowing the tremendous amounts of money
> at stake; and knowing what the music industry
> thugs are capable of, well what do you think??
>
> All you've said is that you don't beleive it. OK.
> Give me an alternate conclusion. we'll all
> listen.
>
> With Respect,
>
>
> El"
>
> ---------------------------
>
> and another from EL:
>
> Here are some hard nosed, PURELY logic based FACTS
> (not fantasy) that are a lot more than "workable
> theories". Really, the only logical deduction from
> these facts, unfortunately, lead to one inevitable
> conclusion: Brian was murdered, undoubtedly
> ordered by Klein, for money. Brian was the true
> threat to blow the whole thing wide open and he
> alone had the power to paralyze the band's future,
> had he been left alone to pursue his chosen path.
>
> Here's the FACTS:
>
> ONE: Brian WAS in New York City - in 1969 - Visa
> bullshit not withstanding, he DID get here! "for
> business AND pleasure" - as reported by our own
> eyewitness - Gerry, who ALSO indicated that he was
> nervous, a little paranoid, and not really wanting
> to speak to anyone (until Gerry assured him she
> was a big fan, and it was an opportunity to speak
> to one of her idols) - something anyone of us here
> would have done.
>
> TWO: Brian DID own the rights to the name "Rolling
> Stones", and this fact will be brought to light
> shortly as I do beleive that Trevor Hobley has
> legal proof of this; Rawlings intimated it in his
> book as well. Brian named the band, and remember,
> HE WAS THE ONLY ONE to sign the initial contracts
> with Oldham and Easton. Legal rights to the name,
> is a simple, irrelevant clause to a contract,
> especially at the time (1963) when pop bands were
> assumed to have a shelf life of less than three
> years.
>
> THREE: Hendrix and Lennon were among many
> musicians who rehearsed at Brian's, Brian recorded
> with both men at separate times, making him (along
> with Eric Clapton)the ONLY members of any famous
> rock groups to play an instrument on a Beatles
> recording (back up vocalist and session cats not
> withstanding, of course). Lennon even once said,
> (at the R & R Circus?) "don't let them push you
> around, quit them, maybe I'll even join you" - or
> something like that! and the possibility of a
> supergroup, or ANY new group with Brian was an
> inevitability- had he lived. The best musicians in
> England were clamouring to play with him, once
> they found out he no longer was a Rolling Stone.
> Brian only had to pick and choose.
>
> FOUR: Brian Jones was an man of above average
> intelligence - his IQ was 135 - he was keenly
> aware of what was going on around him, and
> although one may lose oneself in the excess of
> drink and drugs, you eventually sober up - and
> your IQ doesn't diminish. Brian was on a mission
> in 1969 to create music again, and Klein, also
> keenly aware of what was going on, CERTAINLY
> realized that Brian Jones was capable of putting
> together a band that could rival the Rolling
> Stones - particuarly if he was getting off drugs
> -AND at the same time, Brain could still cripple
> Klein's OWN act, legally preventing them from
> touring under their own name. Remember, the drug
> busts, lack of touring,legal fees, were taking
> it's toll on the Stones finances- the Stones
> DESPARATELY needed money in 1969 and this "little
> Welsh Bull" was about to throw a monkey wrench
> into this whole affair. Klein's response (to the
> proposed $100,000 pay off) was something to the
> effect of,
>
> "Why am I still paying this little @#$%& @#$%&
> money when
> we've thrown him out of the band?" Or something
> similarly colorful.
>
> By the way NOBODY BUT NOBODY IN THE MUSIC BUSINESS
> parts with this kind of money to an EX-band mate
> (that you've just fired) UNLESS there's a LOT MORE
> TO IT behind the scenes..and this EX band mate has
> control over you or your career in some way shape
> manner or form
>
> Allen Klein would NEVER part with that money to
> Brian Jones; he found an alternate method..
>
> FIVE: Allen Klein is the meanest SOB in the
> business - someone who will LITERALLY stop at
> nothing to get what he wants - and I have been
> advised so by my former personal managers, who
> know what he is capable of - read some of these
> posts about him, and Jagger's quote to Lennon that
> "You're making the biggest mistake of your life" -
> AND the fact the Jagger parted with the complete
> world rights to his most valuable songs JUST to
> get rid of Klein - gives you some idea of what his
> bastard REALLY IS capable of.
>
> You don't need to be a rocket scientist to figure
> out the conclusion to this sad story..
Well, I'm trying to make my answer short in Finnish if You don't mind:
Vuonna 1967 maailma kuohui ja Stones yritti parhaimpansa mukaan olla mukana kelkassa nauttimalla huomattavia annoksia huumeita, ja etenkin Brian Jones näytti olevan mielissään tästä suuntauksesta. Kaiken lystinpidon keskellä olisi pitänyt tehdä biisejäkin, mutta sellaiseen ei herroilla Jagger ja Richards näyttänyt olevan aikaa. Niinpä yhtye suunnistikin Olympiciin helmikuussa 1967 takki tyhjänä ja katsotaan-mitä-keksitään -mieliala mukanaan. Ensimmäisenä tartuttiin Bill Wymanin biisiin Acid In The Grass (digatkaapa tuota nimeä!), josta myöhemmin tulisi In Another Land. Sessiot jatkuivat käyden viikko viikolta yhä tajuttomimmiksi ja voidaan vain ajatella mitä bändin streitein jäsen Charlie Watts ajatteli jostakin Sing This All Together -hölmöilystä.
Kaiken sekoilun keskellä bändi kuitenkin teki taustaraidan biisiin nimeltä You Can´t Always Get What You Want niinkin aikaisin kuin helmikuussa 1967 - mikä tietysti osoittaa että Mick ja Keith osasivat yhä tehdä kunnon biisejä, mutta unohtivat ne hetkessä. Bändin tuleva klassikko kuitenkin hukattiin jostakin syystä arkistoihin pariksi vuodeksi.
Kevään ja kesän sessioiden tulokset olivat kuultavissa joulukuussa 1967 ilmestyneessä Their Satanic Majesties Request -kiekolla (kesällä ilmestyi Amerikan markkinoille Flowers-kokoelma), joka on useaan otteeseen ja syystäkin teilattu bändin pohjanoteeraukseksi. Vaikka kiekolta näyttävät puuttuvan kunnon biisit, tulkinta ja idea, on siinä jotakin hyvääkin. Sen soundit ovat edellisiä kiekkoja paremmat, sillä Olympiciin oli hankittu kahdeksanraitanauhuri. Biisien välissä kuuluva kuorsaus kuuluu Bill Wymanille, joka nukkui studion lattialla.
Sankareittemme vaiherikasta vuotta 1967 seurasi tapahtumarikas vuosi 1968, jonka alkajaisiksi Keith Richards leikki kotonaan kitarastyrkkarilla ja akustisella kitaralla. Mies huomasi, että akustisen kitaran soundi mikillä yliohjattuna vahvistimeen on itse asiassa melko magee. Hän rämpytti biisinraakiletta nimeltä Primo Grande. Sävellyksestä kehittyi kevään mittaan Did Everybody Pay Their Dues ja lopulta toukokuussa Street Fighting Man, ja lopulliseenkin versioon jäi yliohjattu akustinen kitara ja Wattsin paukuttamat lelurummut (joissa on upeat soundit).
Maan suola
Vuoden 1968 alussa The Rolling Stones ryhdistäytyi. Kenties äijät pitivät palaverin, jossa pohdittiin bändin yleistä linjaa tai kenties suunnanmuutoksen takana olivat bändin uudet biisit, jotka eivät parhaalla tahdollakaan sopineet psykedeelisiin vaatteisiin.
Eräänä syynä suunnanmuutokseen oli herra nimeltä Gram Parsons, kantrimies, innovaattori, loistava muusikko ja biisintekijä. Hän kuului vielä 1968 Byrdsin riveihin, ja heidän tultuaan talvella 1968 Lontooseen keikalle, jäi Gram sinne hengailemaan ja jammailemaan Keithin kanssa. Byrds oli nimittäin lähtemässä keikalle Etelä-Afrikkaan, jonne Gram ei suostunut lähtemään apartheid-politiikan takia.
Keef osoittautui Gramin riemuksi suureksi country & western -diggariksi. Lisäksi miehet löysivät yhteistä harrastuspohjaa kokaiini-, kannabis- ja alkoholipuuhista. Duon kevään ja kesän päivät kuluivat iloisesti erilaisia paukkuja sekoitellessa ja Merle Haggardin sekä Carter Familyn biisejä jammatessa ja erilaisia kitarapikkauksia opetellessa: Keef opetti Gramille blues-likkejä ja Gram Keefille kantri-likkejä. Gram tulisi jäämään Stonesien lähipiiriin vuoteen 1973 saakka, jolloin hän kuolisi alkoholin ja huumeitten yliannostukseen
Joskus maaliskuussa 1968 sattui Bill Wyman soittamaan pianolla riffin, josta hän ajatteli olevan aihetta biisiin. Mickin ja Keithin mielestä se oli kehittämisen arvoinen ja huhtikuun alussa bändi harjoitteli biisiä nimeltä Jumping Jack Flash, joka lopulta kreditoitiin Jaggerille ja Richardsille, vaikka se kulkee kivikasvobasistin keksimän riffin varassa - kilttinä miehenä Bill ei koskaan ryhtynyt oikeustoimiin menetettyjen miljoonien vuoksi.
Myös tämän sävelmän lopullisessa studioversiossa Keith soittaa yliohjattua akustista kitaraa, ja ilmiselvän hittibiisin myötä haudattiin suunnitelma julkaista Did Everybody Pay Their Dues singlenä - sitä jopa mainostettiin lehdissä tuolla nimellä seuraavana Stones-julkaisuna (Keef on myös kuulemma basistina biisissä).
Tarina pomppivasta Jackista toi Rollarit komeasti takaisin ruotuun ja listojen kärkeen, vaikka singlen b-puolelta löytyvällä Child Of The Moon -zipaleella on vielä kaikuja kukkaisajoista. Beggar´s Banquet julkaistiin monen viivytyksen jälkeen loppuvuodesta 1968, sillä vanha kunnon Decca säikkyi tällä kertaa levyn vessakantta. Kyseessä on alusta loppuun loistava levy: Nicky Hopkinsin pirullisen svengaavalla pianolla ryyditetystä Sympathy For The Devilistä gospel-mausteiseen Salt Of The Earthiin. Väliin mahtuu suorasukaisia seksibiisejä (Parachute Woman, Stray Cat Blues) ja virkistäviä akustisia kantribluessävelmiä (Prodigal Son, No Excepatations, Factory Girl, Dear Doctor). Brian Jones ei biiseissä enää juurikaan ollut mukana, sillä äijän soittotaito alkoi olla jo mennyttä hupielämän tuloksena. Bändi teki kuitenkin samoissa sessioissa loistavan, pitkän version Muddy Watersin Still A Fool -sävelmästä ja siinä Jonesy soittaa vielä sydämensä kyllyydestä rakastamiaan blues-kuvioita. Bändi kaivoi myös esiin vanhan You Can´t Always Get What You Want -biisin ja ryhtyi työstämään sitä tulevaisuutta varten. Charlie Watts ei tämän biisin sessioissa ollut mukana ja rumpuihin päätyi Jimmy Miller, mies joka myöhemmin kunnostautui lehmänkellon soittajana Honky Tonk Womenissa. Loppuvuodesta Palterit tekivät vielä Rock´n Roll Circus -nimisen telkkarishown, jossa vieraana oli nimekäs joukko bändin kaverita. Yhtyeen setti oli jokseenkin löysä ja epävireinen, joten bändi jaksoi pitää ohjelmaa hyllytettynä 30 vuotta. Lopullisessa versiossa ei ole koko bändin settiä, sillä Route 66, Confessin The Blues, Yonder Wall ja Walking Blues eivät ole mahtuneet mukaan.