I wasn't sure if he's joking or not ;-)

The first edition was a multiple fold-out digi-pak but as far as I remember the VGP-version was remastered and better sounding.

Both had a "faked" (with echoes and wrong speed) version of the song "Aftermath" on it and before somebody asks - I don't know why.

And before I forget: there's a dutch vinyl-version as well (counterfeit) on 60g vinyl with a very good reprinted artwork - better than the rotten art for the original acetate as Andrew Oldham never took care of it. I've found my copy on Ebay for EUR 80,-



Edited 1 time(s). Last edit at 2007-02-21 15:29 by silkcut1978.

Nope..wasnt joking. I dont think I have that one and I see from the back cover Erik posted that its been out since 2002. I dont actually trade a lot of Stones stuff anymore as I've got most of the available live shows in some format or another and I've never been one for buying bootleg LPs/CDs so I dont really keep track of new releases (Since 2 years ago, I download the new shows and also use the BT sites to upgrade old shows). I assumed I'd pretty much all the studio stuff but thats one I appear to have missed.

Is the 'faked' 'Aftermath' the only difference content-wise between the acetate and the bootlegs?

I assume the songs that were on 'Metamorphosis' are the same versions that are on here?



Edited 1 time(s). Last edit at 2007-02-21 15:34 by Gazza.

Gazza Wrote:
-------------------------------------------------------
> I assume the songs that were on 'Metamorphosis'
> are the same versions that are on here?


I think they are,
but Blue Turns To Grey, Have You Seen Your Mother, Good TImes and Hear It...at least those ones are "new" versions.

Gazza Wrote:
-------------------------------------------------------
> Is the 'faked' 'Aftermath' the only difference
> content-wise between the acetate and the
> bootlegs?


Yes, the acetate-owner kept that song for himself I guess.



Edited 1 time(s). Last edit at 2007-02-21 15:45 by Erik_Snow.

have to admit, it's not one i have, either.

> Is the 'faked' 'Aftermath' the only difference
> content-wise between the acetate and the
> bootlegs?
>
> I assume the songs that were on 'Metamorphosis'
> are the same versions that are on here?

Yes, the "fake" is the only difference between the acetate and the CD-versions.

A few of the songs had been reworked for Metamorphosis, they appear in their original form on Necrophilia. But nothing dramatically different.

For those who are interested: the version of "Jumping jack Flash" on the numerous "Apple-acetae"-CDs is NOT the version from the acetate either - I don't know why there always has to be one fake/wrong version - kind of boring.



Edited 1 time(s). Last edit at 2007-02-21 15:59 by silkcut1978.

this "faked Aftermath" is actually the 1964 track also known as Mr Spector & Mr Pitney Came Too?
i see Silkcut said not to ask him/her why, but maybe someone knows how this track came to be called Aftermath.
i mean: there is an "unverfied uptempo instrumental" called Aftermath, supposedly from december 65,
and it supposedly has a catalogue number and everything. so who decided to call the one on this bootleg Aftermath?

Clearly Anita cast a spell on the acetate owner at Brian's request!

no, seriously songs get re-titled and mis-titled all the time (or at least they used to). Just a way for the bootleggers(pre BT) to shift more merchandise i suppose.

OLDKR

Adrian-L, if you drop me a e-mail, it'll be 2 copies going to UK instead of 1.

The faked "Aftermath" on the boots leads us to the question what was on the original acetate instead? An unfaked "Aftermath"?

And why has the version of Let The Good Times Roll on the boots such a bad, muffled sound quality compared to the other tracks - was it also the case on the original acetate?

Gazza Wrote:
-------------------------------------------------------
> So you reckon that "Chow Time" may well have been
> the magnum opus that finally pushed Mick and Keith
> (with some help from Anita of course - after all
> she was a witch) over the edge?

And not only Mick and Keith, now I can understand why Lennon "was in it" (as people over at the LARS board were already speculating) too - in 1969, he was on the edge of starting a solo career and must have been scared like shit by the outlook that a masterpiece like "Chow Time" would take public and media attention away from him sooner or later. I still can't see the connection between "Chow Time" and Hendrix's death and Jim Morrison's, ehm, "disappearance", but - like everyone with a clear mind and good will - feel that there definitely is one.

with sssoul Wrote:
-------------------------------------------------------
> this "faked Aftermath" is actually the 1964 track
> also known as Mr Spector & Mr Pitney Came Too?
> i see Silkcut said not to ask him/her why, but
> maybe someone knows how this track came to be
> called Aftermath.
> i mean: there is an "unverfied uptempo
> instrumental" called Aftermath, supposedly from
> december 65,
> and it supposedly has a catalogue number and
> everything. so who decided to call the one on
> this bootleg Aftermath?


NO - you got me wrong sssoul -

the track on the acetate is exactly the SAME as on the CDs - BUT for the CD-version the speed was altered and some echoe was added. and I simply don't know why.

The title itself ("Aftermath") was

a) created by the Stones themselves (and in that case the title "Mr.Spector & Mr.Pitney Came Too" was invented by a bootlegger)

or more likely
b) Andrew Loog Oldham "invented" this title (Aftermath) for an (untitled) instrumental as he was the one who compiled Necrophilia

The "unverfied uptempo instrumental" called Aftermath, supposedly from december 65" is a fairy tale invented by Nico Zentgraf and/or Felix Aeppli because they first saw the artwork of Necroohilia in a great book - finding the title on the record sleeve - and from that point onwards many people believed that it's a song from the Dec.65 session because of it's title. wrong but told so many times that many people still tends to believe it.

hope that helps.

thanks, Silkcut - yeah i think that helps! if i've followed you correctly:
Aftermath is actually from 1964, and has been bizarrely mistitled on various bootlegs;
it's really Aftermath, not "Mr Spector & Mr Pitney Came Too". have i got it now?

retired_dog Wrote:
-------------------------------------------------------
> Gazza Wrote:
> --------------------------------------------------
> -----
> > So you reckon that "Chow Time" may well have
> been
> > the magnum opus that finally pushed Mick and
> Keith
> > (with some help from Anita of course - after
> all
> > she was a witch) over the edge?
>
> And not only Mick and Keith, now I can understand
> why Lennon "was in it" (as people over at the LARS
> board were already speculating) too - in 1969, he
> was on the edge of starting a solo career and must
> have been scared like shit by the outlook that a
> masterpiece like "Chow Time" would take public and
> media attention away from him sooner or later. I
> still can't see the connection between "Chow Time"
> and Hendrix's death and Jim Morrison's, ehm,
> "disappearance", but - like everyone with a clear
> mind and good will - feel that there definitely is
> one.


Its simple to see the link to some dark and mysterious goings on when you see that an anagram of "Chow Time" is "O, Witch Me"

Original album art-work for Necrophilia...





ROCKMAN

>>>June 1969: BRIAN JONES. Hartford, England, Cotchford Farm.
Rehearsals and recording of demos. Incl. (all unverified):
- Chow Time (BJ?)
- Has Anybody Seen My Baby (BJ?)
+ two blues jams <<<<

To get back to the topic of this thread, can someone who's heard these songs comment on what they're like?
We all know Brian was very talented so I'm sure they must be good, as evidenced by his Degree of Murder soundtrack which we know won an award at Cannes.

And Silkcut, how do you know the demo tapes are in the hands of a collector, and how did this person attain it?

[p207.ezboard.com]

Miss U. Wrote:
-------------------------------------------------------
> We all know Brian was very talented so I'm sure
> they must be good, as evidenced by his Degree of
> Murder soundtrack which we know won an award at
> Cannes.

No, as I have told you many times: it's an urban myth. Neither the film nor the music has won any award. It is just not true.

Mathijs

I find it very hard to believe that Brian Jones, who wasn't able to produce any demo in 6 years time, whom hasn't written ANY song in his life time, whose only song writing credit is a jingle written by an advertisement firm suddenly records demos days before his death. I really feel this again is the legendary myth-making that happens with every big star whom dies way too young.

Mathijs

According to imdb.com the movie won two German film awards but the soundtrack did not.

1967 Film Award in Gold - Outstanding Individual Achievement: Cinematography

1967 Film Award in Silver - Outstanding Feature Film



Edited 1 time(s). Last edit at 2007-02-21 22:49 by Seajade.

with sssoul Wrote:
-------------------------------------------------------
> thanks, Silkcut - yeah i think that helps! if
> i've followed you correctly:
> Aftermath is actually from 1964, and has been
> bizarrely mistitled on various bootlegs;
> it's really Aftermath, not "Mr Spector & Mr Pitney
> Came Too". have i got it now?


exactly :-)

silkcut1978 aka smith Wrote:
-------------------------------------------------------
> the track on the acetate is exactly the SAME as on
> the CDs - BUT for the CD-version the speed was
> altered and some echoe was added. and I simply
> don't know why.


Thanks Silkcut, from what I understood, it was a different song,
now I get it.

Mathijs Wrote:
-------------------------------------------------------
> Miss U. Wrote:
> --------------------------------------------------
> -----
> > We all know Brian was very talented so I'm sure
> > they must be good, as evidenced by his Degree
> of
> > Murder soundtrack which we know won an award at
> > Cannes.
>
> No, as I have told you many times: it's an urban
> myth. Neither the film nor the music has won any
> award. It is just not true.
>
> Mathijs



The film (nor it's soundtrack) certainly didnt win anything at Cannes.

This is a list of winners at the festival in 1967

[www.festival-cannes.com]

There was no festival in 1968 due to a strike, so it wouldnt have won then either.

The film was PRESENTED at Cannes in 1967, however as can be seen here - but it didnt win.

[www.festival-cannes.com]



Edited 2 time(s). Last edit at 2007-02-21 23:12 by Gazza.

More Licks Records ARF 11082



ROCKMAN

The degree of murder soundtrack he did was very good, much more than "sounds":

Keith Richards said of Brian's soundtrack,
"For a project nobody ever tried before-to write a whole piece of music for a film-it was good."

The director of the film, Volker Schlondorff described the film and Brian's role:

"I liked Brian and trusted him. You could feel that he had a lot of creativity. He was very much in touch with his time and he was also very much in love with Anita, the only actress in the movie - and its soul. She was bound to inspire him, if he was to write the music for her. And it wasn't just that his music was special, it was that the score was so spontaneous, vital. Only Brian could've done it. He had a tremendous feeling for the lyrical parts and knew perfectly the recording and mixing techniques required to achieve the best sound for drums, his guitar or flute et cetera."

Brian wrote a theme, which is reprised throughout the film in various styles including bluegrass, folk, Eastern influences, R&B, rock and country. Once Brian had accumulated enough material for the project he turned to Glyn Johns to help put it together. Although the two men did not get along personally, they worked together smoothly on the project.
Glyn Johns described his role:

"Brian came to me and asked for help. He'd lost so much self-confidence by this time and really was in need of a hand. In a way I felt sorry for him. It wasn't that I didn't think he was capable of handling the project himself. But clearly he wanted help in the engineering. So I agreed. Brian worked very hard in his Courtfield flat on two little tape machines. He had all types of ideas which worked. He did it very well, and it came out amazingly. And we had a good time doing it. Brian was extremely together and confident while he was working on it. When it was finished he was both pleased and relieved. The rock 'n' roll bit which was written to fit the early murder scene was really good"

(taken from [earcandymag.com])

[p207.ezboard.com]

Rocky Dijon Wrote:
-------------------------------------------------------
> I just wonder if Brian's "Has Anybody Seen My
> Baby" demo featured a rap in lieu of a bridge.


Does this mean that k.d. lang is really Brian disguised as a lesbian? So he didn't really die in that pool after all. Mystery solved. You can go home now, Miss U!

Ahhhhhhhhhhhh good one Jed.....yeah



ROCKMAN

Hmm, given very few non-Stones sessions (Beatles, Hendrix, etc), one (good) soundtrack (w/ top Brit sessioneers Page, Hopkins, etc), and one great Joujouka project, anything Brian was working on post-Stones has intrinsic interest...What these demos might be - or their quality - is unknown, but RS bios have mentioned that Mick Waller (left the Beck group 2/69, later on Rod's classic solo albums) played with Brian, and perhaps Alexis K stopped by...

Has A DEGREE OF MURDER ever been officially released on VHS or DVD anywhere? Region 2 perhaps?

ADOM was on video - the version I have, which is 7 or 8 years old - in 'good' quality but plain black cardboard package, hence....Nevertheless quite watchable (& BJ's music, highly listenable)...Don't know if officially on dvd, but would like an official, upgraded version...Schlondorff later directed several acclaimed films including "The Tin Drum."

I have a book which is a biography of Alexis Korner written by a guy named Harry Shapiro published in 1996. He talks about Alexis being at Cotchford Farm and how Alexis organized rehearsals for various musicians at the farm including the late Vincent Crane and Carl Palmer, then of Atomic Rooster, John Mayall, Mitch Mitchell and Jeff Beck's drummer, Mickey Waller. I'm not sure who Vincent Crane is.
I would imagine that if these musicians were rehearsing with Brian, someone must have taped some of the rehearsals.
The book also mentions that Alexis's band, New Church, was rehearsing with Brian at the farm in the run up for the Hyde Park concert and their upcoming European tour, which was ultimately cancelled. It says Brian had suggested becoming a full time member of Alexis's band but he thought it was much better for Brian to be working on his own ideas in his own set-up. Brian also suggested just joining the band as a guest when the tour started in Germany on July 6. Alexis gently but firmly vetoed that idea because he didn't want the responsibility of looking after Brian on the road, especially in Germany, where Alexis said, "for a long time it was Brian Jones and the Rolling Stones rather than Mick Jagger and the Rolling Stones. Brian was enormously popular in Germany and I was a bit worried. I felt we'd have to have security and I couldn't cope with that."
When Brian died, Alexis was so devastated that he cancelled the maiden European tour for New Church.
It's ironic that of all the books on the Rolling Stones that I've read, I don't recall any of them naming any of the musicians that rehearsed at Cotchford with Brian.