BRIAN JONES - BORN MUSICIAN AND MASTER OF OVER 30-INSTRUMENTS AT EASE, EFFORTLESSLY AND AT LEISURE. (BY LAURA JACKSON.(♠THE GREATEST COVERUP IN THE HISTORY OF MUSIC♠ NOT EVEN BACH, MOZART, BEETHOVEN, LISZT, TCHAIKOVSKY, BRAHMS, ETC, COULD PLAY SO MANY INSTRUMENTS.)

• THROUGHOUT THE HISTORY OF MUSIC, THE INSTRUMENTAL COMPOSITION HAS BEEN FUNDAMENTAL, UNTIL THE ARRIVAL OF JAGGER+RICHARDS LAWFARE.
• THE BEATLES HAD 03=INSTRUMENTAL COMPOSERS. FOR THAT REASON, THE STONES WERE NO MATCH FOR JOHN, PAUL AND GEORGE, BECAUSE THEY HAD ONLY BRIAN JONES, A BORN MUSICIAN.
• BRIAN JONES GETS DESTROYED AND ALSO GETS THE BLAME.

WHEN THE FOUNDER, AND ONLY MUSICIAN AND TUTOR OF A R & B IS OUSTED FROM MANAGEMENT, HIS GIRL FRIEND STOLEN HIS INSTRTUMENTAL COMPOSITIONS AND RIFFS USURPED BY SOMEONE ELSE'S LYRICS, HE IS BOUND TO END UP DEPRESSED.

Brian Wilson of the Beach Boys, was another great Instrumental Composer, Songwriter and Producer.

• RUBY TUESDAY: WHEN ONE LISTENS TO THIS MUSICAL ARRANGEMENT AND INSTRUMENTAL COMPOSITION, ADAPTATIONS AND ORGANIZATION OF RHYTHIMS FORMS AND TEXTURES THIS COULD NOT HAVE BEEN ACHIEVED BY ANY ORDINARY PERSON. 
• WITH AN IQ OF 135, BRIAN JONES WAS ABOVE NORMAL AND A BORN MUSICIAN LIVING AND HAVING TO DEAL WITH RUFFIANS, SLANGS AND CHEATERS 
• WE MAY HAVE A CASE HERE OF A GENIUS BEING BLACKED OUT FOR ALMOST EVERYTHING HE MUSICALLY ACHIEVED AND DIRECTED THROUGHOUT HIS ENTIRE CAREER, TILL DEATH. 
• WITH HIS KNOWLEDGE OF MUSIC, HE HAD TO BE THE MUSIC DIRECTOR, BUT NO, HE WAS USED AND CAST OFF, UNDULY. 

2019.7.19. THE GUITARS OF BRIAN JONES.

2019.4.28.

Brian Jones - History of his Guitars - The Rolling Stones

REMEMBER PAGANINI LOST HIS AMATI TO GAMBLING. HE WAS GIVEN A GUARNERI DEL GESU BY AN AMATEUR AND TURNED IT INTO A MASTERPIECE. EVERYBODY WANTED TO KNOW WHAT VIOLIN PAGANINI USED. NOBODY COULD BELIEVE IT WAS AN UNKNOWN GUARNERI DEL GESLU. LIKEWISE, BRIAN JONES OPTED FOR A SIMPLE VOX, NOT BECAUSE OF THE LIMITED FEATURES, BUT THE WAY HE COULD TUNE IT AND PLAY DUET JOINTLY WITH VOCALS.

TILL THIS DAY, NO ROCK GUITARIST CAN MATCH BRIAN JONES PLAYING DUET.

1.    BESIDES VOCALS, BRIAN COULD PLAY OVER 30-MUSICAL INSTRUMENS AT EASE. NAMELY:
2.     PIANO
3.     HARMONICA
4.        GUITAR
5.        SLIDE GUITAR
6.        KEYBOARDS
7.        SITAR
8.        RECORDER
9.        APPALACHAIN DULCIMER,
10.        THEREMIN,
11.    SAXOPHONE,
12.    BAGPIPE,
13.    OBOE,
14.    CLARINET,
15.    KOTO
16.    TRUMPET,
17.    MARIMBA
18.    XYLOPHONE,
19.    CELLO,
20.    BASS GUITAR
21.    BANJO
22.    MANDOLIN,
23.    ACCORDION
24.    GLOCKENSPIEL,
25.    HARP,
26.    DRUMS
27.    TAMBURA,
28.    TABLA,
29.    FRENCH HORN,
30.    TROMBONE,
31.    UKULELE,
32.    KAZOO,
33.   AUTO-HARP,
34.    VIBRAPHONE
35.   TUBA.
36. http://carsbikesrock.blogspot.com/p/brian-jones.html
37. BRIAN JONES - BORN MUSICIAN AND MASTER OF OVER 30-INSTRUMENTS AT EASE, EFFORTLESSLY AND AT LEISURE. (BY LAURA JACKSON.(♠THE GREATEST COVERUP IN THE HISTORY OF MUSIC♠ NOT EVEN BACH, MOZART, BEETHOVEN, LISZT, TCHAIKOVSKY, BRAHMS, ETC, COULD PLAY SO MANY INSTRUMENTS.)

The Rolling Stones were Brian Jones' band. He was the blues junkie and the most versatile musician in the group. It was even his idea to name the band after a classic Muddy Waters song. And he was the one who shaped the band's early musical directions -- from the gritty R&B and blues mix they played at first to the psychedelic freakouts the Stones got caught up in during the mid-'60s. He was also the group's first casualty, wrecked by drugs that distanced him from his bandmates. Less than a month after Jones was fired from the group he helped form, he drowned in his swimming pool at the age of 27. Our list of the Top 10 Brian Jones Rolling Stones Songs aren't necessarily the band's greatest tracks, but the songs that Jones made great.

• 10

  'I Wanna Be Your Man'

  Single (1963)
  The Stones' second single beat the Beatles' version of the Lennon-McCartney song by a few weeks. And it's way better, thanks to the Stones' tougher arrangement. Jones plays a blistering, and one of his best, slide guitar solos on the song and sings backup, one of the few instances where none of the other Stones helped out on backing vocals.

• 9

  '2000 Light Years From Home'

  From: 'Their Satanic Majesties Request' (1967)
  Nobody was immune from backward guitar solos, endless noise loops and other flashes of possibly regrettable psychedelia in 1967. And Jones, the Stones' resident explorer, dived head first into all of the studio tricks available to them. 'Their Satanic Majesties Request' is a messy and sometimes silly album, no doubt about it. But the galaxy-shifting '2000 Light Years From Home' (with Jones on mellotron, theremin and various sound effects) is out of this world.

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  

  The Rolling Stones - 2000 Light Years from Home (US Vinyl Mono LP Mix)

• 8

  'The Last Time'

  From: 'Out of Our Heads' (1965)
  The first Stones single penned by Mick Jagger and Keith Richards is also a showcase for Jones, who plays the song's distinctive opening guitar riff. He was often an attention-grabbing performer (check out the various theremin, slide and sitar appearances in our list of the Top 10 Brian Jones Rolling Stones Songs), but on 'The Last Time' -- the Stones' second Top 10 hit -- he's mostly an understated utility player. Except for the killer opening riff, of course.

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  

  The Rolling Stones - The Last Time (HQ)

• 7

  'Under My Thumb'

  From: 'Aftermath' (1966)
  Once again, Jones was the driving force behind one of the Stones' most familiar riffs. In addition to supplying the acoustic rhythm guitar, he plays the snaking marimba that winds through 'Under My Thumb,' giving the song its slightly menacing nature. Along with the rest of 'Aftermath,' the track marks the start of the band's most musically adventurous period, most of it courtesy of the creatively restless Jones.

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  

  The Rolling Stones - Under My Thumb (UK Vinyl Mono LP Mix)

• 6

  '19th Nervous Breakdown'

  Single (1966)
  By 1966, the Stones had moved away from their bluesy roots to more musical challenging endeavors. Their fourth album, 'Aftermath,' includes non-traditional rock instruments like dulcimer, marimba, koto and sitar -- all played by Jones (see No. 7 on our list of the Top 10 Brian Jones Rolling Stones Songs). '19th Nervous Breakdown,' their first single of 1966, comes from the sessions and features a relatively straightforward lineup of instruments. But that shuffling riff is all Jones.

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  

  the rolling stones 19th nervous breakdown

• 5

  'Mother's Little Helper'

  From: 'Aftermath' (1966)
  Make no mistake: Keith Richards played some killer riffs during the Stones' mid-'60s transitional period. But Jones was responsible for a sizable chunk of them, including the main one found in 'Mother's Little Helper,' which he played on a special 12-string guitar with a slide. Jones also played the tambura, the Indian instrument that gives the song the droning hum that rings throughout.

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  

  The Rolling Stones - Mother's Little Helper (UK Vinyl Mono LP Mix)

• 4

  'No Expectations'

  From: 'Beggars Banquet'
  Jones was still experimenting with rock's traditional boundaries even on some of his final recordings with the Stones. 'Beggars Banquet' is his last full album with the band before his exit in 1969. In addition to his usual guitar duties on the LP, he plays mellotron, sitar, harmonica and tambura. But for 'No Expectations,' he fittingly returns to blues slide guitar for his last great performance.

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  

  The Rolling Stones - No Expectations

• 3

  'Ruby Tuesday'

  From: 'Between the Buttons' (1967)
  One of the Stones' most musically audacious recordings features terrific performances by the entire band. But, just as he sparked 'Under My Thumb' with marimba (see No. 7 on our list of the Top 10 Brian Jones Rolling Stones Songs), Jones pushes 'Ruby Tuesday' closer to greatness with the wistful recorder he plays throughout. He also plays the stately piano that underlines the verses.

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  

  The Rolling Stones - Ruby Tuesday -HQ

• 2

  'Paint It, Black'

  From: 'Aftermath' (1966)
  Like a handful of other tracks on our list of the Top 10 Brian Jones Rolling Stones Songs, 'Paint It, Black' stems from the productive and inspired sessions for 1966's 'Aftermath' album (it's the opening cut on the U.S. version). Jones not only provides the stinging sitar riff that immediately stamps 'Paint It, Black,' he also plays the haunting percussion that rolls in and out of the song.

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  

  The Rolling Stones - Ruby Tuesday -HQ

• 1

  'We Love You'

  Single (1967)
  The entire band had a hand in this psychedelic-era freakout from the 'Their Satanic Majesties Request' sessions (it was released as a single six months before the album came out). But Jones was the song's mastermind, plotting its speaker-rattling arrangement and playing the mellotron that gives the song its otherworldly tone. The horn blasts were also his. 'We Love You' ranks among the Stones' most musically ambitious and daring works. You can thank Jones for that.

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

  
  

  Rolling Stones - We Love You (stereo)

• The Rolling Stones were Brian Jones' band. He was 

  the blues junkie and the most versatile musician in the group. 

  It was even his idea to name the band after a classic Muddy Waters song. And he was the one who shaped the band's early musical directions -- from the gritty R&B and blues mix they played at first to the psychedelic freakouts the Stones got caught up in during the mid-'60s. He 

  was also the group's first casualty, wrecked by drugs that distanced him from his bandmates. Less than a month after Jones was fired from the group he helped form, he drowned in his swimming pool at the age of 27. Our list of the Top 10 Brian Jones Rolling Stones Songs aren't necessarily the band's greatest tracks, but the songs that Jones made great.

  +++++++++++++++++++++++++++NOV.16th, 2014.++++++++++++++++

  Ignobly Fading Away From the Rolling Stones ‘Brian Jones: The Making of the Rolling Stones,’ a Biography Books of The Times By LARRY ROHTER NOV. 16, 2014 Continue reading the main storyShare This Page Share Tweet Pin Email More Save Photo From left, Brian Jones, Charlie Watts and Mick Jagger of the Rolling Stones on the TV show “Hullabaloo” in 1965. Credit Bob Bonis/Rock and Roll Hall of Fame and Museum Brian Jones is to the Rolling Stones what Leon Trotsky was to the Russian Revolution: organizer, ideologist and victim of a power struggle. Jones founded the group, gave it its name and recruited the schoolboys Mick Jagger and Keith Richards, who then marginalized him, eventually expelling him from the band. Since his death in 1969, a month after he was forced out, Jones has largely been airbrushed from the group’s history. Paul Trynka’s biography “Brian Jones: The Making of the Rolling Stones” challenges the standard version of events, focused on Mr. Jagger and Mr. Richards, in favor of something far more nuanced. Though Mr. Trynka sometimes overstates Jones’s long-term cultural impact, his is revisionist history of the best kind — scrupulously researched and cogently argued — and should be unfailingly interesting to any Stones fan. Specifically, “Brian Jones” seems designed as a corrective to “Life,” Keith Richards’s 2010 memoir. Mr. Trynka, the author of biographies of David Bowie and Iggy Pop, and a former editor of the British music magazines Mojo and Guitar, has interviewed Mr. Richards several times over the years and obviously likes him, but also considers his memory of events highly unreliable. “History is written by the victors, and in recent years we’ve seen the proprietors of the modern Rolling Stones describe their genesis, their discovery of the blues, without even mentioning their founder,” Mr. Trynka remarks in the introduction. Without naming Mr. Richards, he also expresses his distaste for an assessment that appears in “Life,” that Brian Jones was “a kind of rotting attachment.” The portrait of Jones that Mr. Trynka offers here is bifurcated. Though he is impressed with Jones’s “disciplined, honed sense of musical direction” and his dexterity on guitar and many other instruments, he does not hesitate to point out his subject’s more unpleasant personality traits: He was narcissistic, manipulative, misogynistic, conniving and dishonest about money. It’s not accidental that this book is called “Sympathy for the Devil” in Britain. Continue reading the main story Books of The Times Book reviews by The Times’s critics. ‘Sticky Fingers’ Captures Rolling Stone’s Jann Wenner and the Culture He Helped Create OCT 23 In ‘Righteous,’ a Stand-Up Sleuth Investigates His Brother’s Murder OCT 19 With ‘La Belle Sauvage,’ Philip Pullman Begins a New Trilogy OCT 18 A Graphic Novelist’s Passionate Anatomy of New York OCT 17 The Life of Oriana Fallaci, Guerrilla Journalist OCT 16 See More » ADVERTISEMENT Continue reading the main story Mr. Trynka attributes Jones’s downfall to a conjunction of factors, some related to those character flaws but others external to him. Much has been written about the drug busts that swept up Mr. Jagger and Mr. Richards in the mid-1960s and their court battles, though Jones seems to have been even more of a target, because he was such a dandy and so successful with women. But as Mr. Trynka tells it, Jones did not receive strong legal advice or fight charges as hard or as successfully as the Jagger-Richards team. After his first arrest, he pleaded guilty, which drove a wedge between him and other band members, who feared it would mean they could no longer tour abroad, all of which left him feeling crushed, isolated and vulnerable. That, in turn, increased his consumption of drugs and alcohol and made him less productive as a musician. Photo Paul Trynka Credit Julian Burgin Nevertheless, Mr. Trynka demonstrates convincingly that the original Rolling Stones were Jones’s band and reflected his look, tastes and interests, not just the blues but also renaissance music and what today would be called world music. (He recorded the master musicians of Joujouka in the mountains of Morocco.) In “Life,” Mr. Richards describes his discovery of the blues-tinged open G guitar tuning, familiar from hits like “Honky Tonk Women” and “Start Me Up,” as life changing, and says it came to him via Ry Cooder in the late 1960s. But Mr. Trynka notes that Jones often played in that tuning from the band’s earliest days and quotes Dick Taylor, an original member of the Stones, as saying, “Keith watched Brian play that tuning, and certainly knew all about it.” Some of Mr. Trynka’s account is not new, having appeared in “Stone Alone,” the often overlooked 1990 memoir of the Rolling Stones bassist Bill Wyman, or other books written by band outsiders. What makes Mr. Trynka’s book fresh and interesting, and gives it credibility, is the length he has gone to find witnesses to corroborate and elaborate on those stories. It’s not just that Mr. Trynka has sought out those who worked with the band on the creative side, such as the singer Marianne Faithfull, the arranger Jack Nitzsche and the recording engineers Eddie Kramer, Glyn Johns and George Chkiantz. He has also interviewed those with more of a worm’s-eye view: drivers, roadies, office staff, old girlfriends and former roommates like James Phelge, whose surname the band would appropriate to designate songs that were group compositions rather than Jagger-Richard numbers. Newsletter Sign UpContinue reading the main story Book Review Be the first to see reviews, news and features in The New York Times Book Review. Enter your email address Sign Up You agree to receive occasional updates and special offers for The New York Times's products and services. SEE SAMPLE PRIVACY POLICY OPT OUT OR CONTACT US ANYTIME “Brian Jones was the main man in the Stones; Jagger got everything from him,” the drummer Ginger Baker, who played in the band at some of its earliest shows and went on to become famous as a member of Cream, says in the book. “Brian was much more of a musician than Jagger will ever be — although Jagger’s a great economist.” Citing those present at the creation, Mr. Trynka contends that Jones had a hand in composing some well-known Stones tracks, including “Paint It, Black” and “Under My Thumb.” He also claims that “Ruby Tuesday,” a No. 1 hit early in 1967, is actually a Jones-Richards collaboration — written not by Mr. Richards in a burst of inspiration and heartbreak in a Los Angeles hotel room, which is how the story is told in “Life” and elsewhere, but, according to Ms. Faithfull and Mr. Kramer, “labored over” by the pair in London for weeks. “I used to say to Brain, ‘What on earth are you doing?’ ” Stan Blackbourne, the accountant for the Rolling Stones at their mid-1960s peak, recalls in the book. “ ‘You write some of these songs, and you give the name over as if Mick Jagger has done it. Do you understand, you’re giving ’em thousands of pounds!’ All the time I used to tell him, ‘You’re writing a blank check.’ ” Mr. Trynka also looks into the circumstances of Jones’s death, on July 3, 1969, in the swimming pool at his home in East Sussex, once owned by A. A. Milne, but after all the Sturm und Drang that has come before, the subject is somewhat anticlimactic. In numerous books and in films like “Stoned,” it has been suggested that Jones was murdered, but Mr. Trynka painstakingly examines the flaws in each of the theories, and ends up close to the official verdict, “death by misadventure,” because of drug and alcohol consumption. “The official coroner’s verdict on Brian’s death was perfunctory and lazy,” Mr. Trynka concludes. Nonetheless, “I’ve come to share their belief that Brian’s death was most likely a tragic accident” and to believe that “many of the existing theories that his death was in fact murder rely on unreliable witnesses.” In the end, with the advantage of 45 years’ perspective, Mr. Trynka maintains, it is Jones’s music that matters. “It’s understandable why the survivors resent Brian Jones beyond the grave,” given his founder’s role, he argues, and also writes: “Brian Jones got many things wrong in his life, but the most important thing he got right.” BRIAN JONES The Making of the Rolling Stones By Paul Trynka Illustrated. 371 pages. Viking. $28.95.
  
  
  

  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

Enable GingerCannot connect to Ginger Check your internet connection
or reload the browserDisable in this text fieldEditEdit in GingerEdit in Ginger×