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3. Rolling Stoned Andrew Loog Oldham
4. Stoned Andrew Loog Oldham
5. Andrew Loog Oldham Rolling Stones
6. Andrew Loog Oldham Orchestra
7. Andrew Loog Oldham Wikipedia

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Andrew Loog Oldham (born 29 January 1944) is an English record producer, talent manager, impresario and author. He was manager and producer of the Rolling Stones from 1963 to 1967, and was noted for his flamboyant style.^[1]

Early life[edit]

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Loog Oldham's father, Andrew Loog, was a United States Army Air Forces lieutenant, a Texan of Dutch descent,^[2] who served with the Eighth Air Force. Loog was killed in June 1943 when his B-17 bomber was shot down over the English Channel, and he was buried at the Ardennes American Cemetery and Memorial in Belgium. Oldham's Australian mother, Celia Oldham,^[3] was a nurse and comptometer operator. Loog Oldham attended the Aylesbury School for Boys, Cokethorpe School in Oxfordshire, St Marylebone Grammar School and Wellingborough School in Northamptonshire.^[4]

A self-proclaimed hustler, Loog Oldham spent teenage summers swindling tourists in French towns.^[5] His interest in the pop culture of the 1960s and the Soho coffeehouse scene led to working for Carnaby Streetmod designer John Stephen and later as an assistant to then-emerging fashion designer Mary Quant.^[6] Oldham became a publicist for British and American musicians and for producer Joe Meek.^[1] Among his projects were stints publicizing both Bob Dylan (on his first UK visit) and the Beatles (for Brian Epstein) in early 1963.^[7]

The Rolling Stones[edit]

In April 1963, a journalist friend recommended that Oldham see a young R&B band called the Rolling Stones. Oldham saw potential in the group being positioned as an 'anti-Beatles' - a rougher group compared to the 'cuddly moptop' image of the Beatles at that time.^[8] Oldham, still a teenager, rapidly acquired a seasoned business partner (Eric Easton) and took over management of the Stones who had been informally represented by Giorgio Gomelsky.^[1][9] Oldham had previously been business partners with Peter Meaden, first manager of the Who, but they had fallen out.^{[citation needed]} Oldham signed recording rights to the Stones to Decca, targeting A&R head Dick Rowe, who had earlier declined to sign the Beatles.^[10]

Among strategies devised and executed by Oldham to propel the group to success:

• reassigning Ian Stewart from onstage keyboard player in May 1963 to studio-only play. This was to keep their public appearance as a five-man group of slender young men; Oldham said that six was too many and Stewart was 3-5 years older than four of the five band members (although Bill Wyman is almost two years older than Stewart). Stewart stayed on as the road manager and continued to contribute keyboard parts to the band's recordings and live performances, and remained an influence.^[11][12]
• bringing John Lennon and Paul McCartney to the recording studio, which led to their song 'I Wanna Be Your Man' becoming the Rolling Stones' second single;^[13]
• encouraging Mick Jagger and Keith Richards to start writing their own songs ('Tell Me' was their first);^[14] and
• promoting a 'bad boy' image for the Rolling Stones in contrast to the Beatles. Oldham generated widely reprinted headlines like 'Would You Let Your Sister Go with a Rolling Stone?' and provocative album-cover notes, such as a satirical incitement to fans to mug a blind beggar for funds to buy the album. This quote can be found on the back of some issues of The Rolling Stones No. 2 LP. ^{[15][better source needed]}

Oldham and Eric Easton negotiated a recording contract which was very favourable to themselves. Instead of having the Stones sign directly with Decca they set up a company, Impact Sound, which retained ownership of the group's master tapes, which were then leased to Decca—an idea learned from Phil Spector. Impact Sound received a 14% royalty from Decca but paid only 6% to the Stones, out of which Oldham and Eric Easton received a 25% management fee.^[16][17]

Oldham produced all Rolling Stones recordings from 1963 until late 1967 despite having no previous experience as a producer. According to the Rolling Stones' website 'Accounts regarding the value of his musical input to the Stones recordings vary, from negligible to absolute zero'. Though lacking technical expertise in the studio, it is thought that Oldham was good at seeing the 'big picture' of the Rolling Stones' image and sound. He discovered Marianne Faithfull at a party, giving her Jagger and Richards' 'As Tears Go By' to record. He also developed other studio talent with his Andrew Oldham Orchestra,^[1] in which Rolling Stones as well as London session players (including Steve Marriott on harmonica) recorded pop covers and instrumentals. As his success increased, Oldham thrived on a reputation as a garrulous, androgynous gangster who wore makeup and sunglasses and relied on his bodyguard 'Reg' to threaten rivals.^[4]

Oldham put an advert in the Melody Maker that compared Cilla Black's version of 'You've Lost That Lovin' Feelin' unfavourably with the competing original by The Righteous Brothers.^[18]

In 1965 Oldham hired Allen Klein as his business manager. On Oldham's behalf Klein renegotiated the Rolling Stones' contract with Decca, excluding Oldham's partner, Eric Easton.^[19] But over the next two years Oldham's relations with the Stones were strained by his drug use and inattention to the group's needs. When Jagger and Richards were arrested for drug possession in 1967, instead of devising a strategy for their legal defence and public relations, Oldham fled to the United States, leaving Klein to deal with the problem.^[20] Oldham was forced to resign as manager of the Rolling Stones in late 1967 and sold his rights to the group's music to Allen Klein the following year.^[21]

Immediate Records[edit]

In 1965, Oldham set up Immediate Records, among the first independent labels in the UK.^[1] Among the artists that he signed and/or produced or guided were PP Arnold, Chris Farlowe, the Small Faces, John Mayall & the Bluesbreakers, Rod Stewart, the Nice, Jimmy Page, Nico, Jeff Beck, Eric Clapton, Amen Corner, the McCoys, the Strangeloves, Humble Pie and Duncan Browne.^[22]

With Arthur Greenslade he was credited as the co-writer of 'Headlines', the B-side of 'Ride on Baby' (IM 038), by Chris Farlowe, which was released in October 1966.^[23]

Oldham also helped Derek Taylor publicise the Beach Boys' Pet Sounds (1966) album by publishing advertisements praising the album. He enlisted songwriter Billy Nicholls to record a British response, the album Would You Believe? (1968). After the Small Faces disbanded in 1969, he put together Humble Pie, featuring Steve Marriott (formerly of the Small Faces) and Peter Frampton (formerly of the Herd).^{[citation needed]}

In the 1970s and 1980s, Oldham worked primarily in the United States. He produced Donovan, Gene Pitney and other artists.^[1] In the mid-1980s, he made Colombia his primary residence after marrying Esther Farfan, a Colombian model. There he briefly worked with some Colombian bands.^[5]

Later career[edit]

A recording by the Andrew Oldham Orchestra was rediscovered in the 1990s when the Verve used a string loop based on the orchestral arrangement of the Rolling Stones song 'The Last Time' in their song 'Bitter Sweet Symphony'; in the ensuing court battle, songwriting royalties for the Verve track were awarded to Allen Klein's ABKCO Records, the owner of the copyright for 'The Last Time'.^[24]

Oldham co-wrote a biography of ABBA in the 1990s^[25] and three autobiographies: Stoned (1998), 2Stoned (2001), and Rolling Stoned (2011) in which he and other music figures recount his days as a manager, producer and impresario.^[26] He was inducted into Rock and Roll Hall of Fame in 2014.^[27]

In 2005, Oldham thanked the drug rehab organisation Narconon for saving his life from his cocaine addiction.^[28] That same year, he was recruited by Steven Van Zandt to host a radio show on Van Zandt's Underground Garage radio channel heard in North America on Sirius Satellite Radio. Oldham has a three-hour show on weekdays and a four-hour weekend show. Since 2006, he has worked with the Argentine musician Charly García. In 2008, he worked on the production of Los Ratones Paranoicos' new album.^[29] In 2008, he produced and arranged Canadian singer Wyckham Porteous's album 3 A.M. and has been managing and working with the Colombian rock artist Juan Galeano.

In 2014, Oldham overheard Canadian artist Ché Aimee Dorval singing backup on a friend's track he was helping to produce, and he subsequently signed her to his label.^[30] In September 2014, Oldham's label released Dorval's second studio EP, Volume One. She was also given two covers to sing on his recently released (2013) album consisting of Rolling Stones' songs entitled Andrew Oldham Orchestra and Friends play the Rolling Stones Songbook Vol. 1.^[31] Dorval sang 'As Tears Go By' and 'Under My Thumb'.

'Andrew's Blues'[edit]

The song 'Andrew's Blues', sung by the Rolling Stones and appearing on the Black Box collection CD1,^[32][33] is a humorous if scathing evocation of Oldham.^[34]

References[edit]

1. ^ ^abcdefJason Ankeny (29 January 1944). 'Andrew Loog Oldham Biography'. AllMusic. Retrieved 3 February 2014.
2. ^Rej, Bent (2006). The Rolling Stones: in the beginning. Great Britain: Firefly Books Ltd. p. 298. ISBN978-1-55407-230-9.
3. ^Goodman, Fred (2015), Allen Klein: The Man Who Bailed Out the Beatles, Made the Stones, and Transformed Rock & Roll, Houghton Mifflin Harcourt, New York, 978-0-547-89686-1, p. 81
4. ^ ^abLoog Oldham, Andrew (2000). Stoned. Secker & Warburg. ISBN0-09-928467-7.
5. ^ ^abHenry Mance (8 April 2016). 'UK to Colombia: the man who discovered The Rolling Stones'. Financial Times. Retrieved 24 April 2018.
6. ^Goodman 2015, p. 83.
7. ^Goodman 2015, pp. 84, 86.
8. ^Rej 2006, pp. 298-300.
9. ^Goodman 2015, pp. 87-90.
10. ^Goodman 2015, p. 90.
11. ^Richards, Keith (2010). Life. USA: Little, Brown and Company. p. 129. ISBN978-0-316-03438-8.
12. ^Goodman 2015, p. 92.
13. ^Goodman 2015, p. 93.
14. ^Goodman 2015, p. 96.
15. ^Goodman 2015, pp. 93-94.
16. ^Goodman 2015, pp. 86, 90.
17. ^rej 2006, p. 298.
18. ^Medhurst, Andy. 'Why Cilla Black was more than a light entertainer'. OpenLearn. The Open University. Retrieved 7 August 2015.
19. ^Goodman 2015, pp. 77-81,101-109.
20. ^Goodman 2015, pp. 138-141.
21. ^Goodman 2015, pp. 144-151.
22. ^'Breaking News: The Andrew Loog Oldham Orchestra is back!'. Everybodymustgetstoned.net. Archived from the original on 16 September 2012. Retrieved 2 February 2014.Cite uses deprecated parameter dead-url= (help)
23. ^'Chris Farlowe - Ride On Baby (Vinyl) at Discogs'. Discogs.com. 27 October 1966. Retrieved 2 February 2014.
24. ^Goodman 2015, pp. 265-267.
25. ^'ABBA: The Name of the Game: Andrew Oldham, Tony Calder, Colin Irwin: 9780330346887: Amazon.com: Books'. Amazon.com. Retrieved 2 February 2014.
26. ^'Rolling Stoned, by Andrew Loog Oldham'. Gegensatzpress.com. 13 July 2012. Retrieved 2 February 2014.
27. ^'Andrew Loog Oldham: inducted in 2014 The Rock and Roll Hall of Fame and Museum'. Rockhall.com. Retrieved 15 May 2014.
28. ^'Scientologists will 'purify' drug addicts - for £15,000'. The Guardian. 27 March 2005. Retrieved 7 June 2015.
29. ^[1]Archived 17 December 2008 at the Wayback Machine
30. ^'About Ché'. Ché Aimee Dorval website. Retrieved 20 January 2015.
31. ^Oldham, Andrew Loog. 'Andrew Oldham Orchestra and Friends Play The Rolling Stones Songbook Vol. 2'. iTunes Store.
32. ^Stansted Montfichet. 'Black Box - The Rolling Stones Songs, Reviews, Credits, Awards'. AllMusic. Retrieved 2 February 2014.
33. ^'Rolling Stones* - Black Box (CD) at Discogs'. Discogs.com. Retrieved 2 February 2014.
34. ^'The Rolling Stones - ANDREW'S BLUES (AKA SONG FOR ANDREW) lyrics'. Burbler.com. 1 November 1999. Archived from the original on 15 March 2012. Retrieved 2 February 2014.Cite uses deprecated parameter dead-url= (help)

Sources[edit]

Goodman, Fred (2015). Allen Klein: The Man Who Bailed Out the Beatles, Made the Stones, and Transformed Rock & Roll. New York: Houghton Mifflin Harcourt. ISBN978-0-547-89686-1.

External links[edit]

Lewis Brian Hopkins Jones^[1][2] (28 February 1942 – 3 July 1969) was an English musician, best known as the founder and original leader of the Rolling Stones.^[3] Initially a slide guitarist, Jones would go on to play a wide variety of instruments on Rolling Stones recordings and in concerts, such as rhythm and lead guitar, sitar, dulcimer, various keyboard instruments such as piano and mellotron, marimba, wind instruments such as harmonica, recorder, saxophone, as well as drums, vocals and numerous others.

Jones and fellow guitarist Keith Richards developed a unique style of guitar play that Richards refers to as the 'ancient art of weaving' where both players would play rhythm and lead parts together; Richards would carry the style on with later Stones guitarists and the sound would become a Rolling Stones trademark.

After he founded the Rolling Stones as a British blues outfit in 1962, and gave the band its name, Jones' fellow band members Mick Jagger and Keith Richards began to take over the band's musical direction, especially after they became a successful songwriting team. Jones also did not get along with the band's manager, Andrew Loog Oldham, who pushed the band into a musical direction at odds with Jones' blues background. At the same time, Jones developed alcohol and drug problems, and his performance in the studio became increasingly unreliable, leading to a diminished role within the band he had founded. In June 1969, the Rolling Stones asked Jones to leave; guitarist Mick Taylor took his place in the group. Jones died less than a month later, drowning in the swimming pool at his home.

Long-time Rolling Stones bass guitarist Bill Wyman said of Jones, 'He formed the band. He chose the members. He named the band. He chose the music we played. He got us gigs. .. he was very influential, very important, and then slowly lost it – highly intelligent – and just kind of wasted it and blew it all away.'^[4]

• 1Biography
  • 1.6Death
• 3Other contributions

Biography[edit]

Andrew Loog Oldham Net Worth

Early life and children[edit]

Lewis Brian Hopkin Jones was born in the Park Nursing Home in Cheltenham, Gloucestershire, on 28 February 1942.^[5][6] An attack of croup at the age of four left him with asthma that lasted for the rest of his life.^[6] His middle-class parents, Lewis Blount Jones and Louisa Beatrice Jones (née Simmonds), were of Welsh descent. Brian had two sisters: Pamela, who was born on 3 October 1943 and died on 14 October 1945 of leukemia; and Barbara, born on 22 August 1946.^[7]

Both Jones' parents were interested in music: his father, Lewis, was a piano teacher in addition to his job as an aeronautical engineer, and his mother, Louisa, played piano and organ and led the choir at the local church.^[6]

In 1957, Jones first heard Cannonball Adderley's music; this inspired his interest in jazz. Jones persuaded his parents to buy him a saxophone and two years later his parents gave him his first acoustic guitar as a 17th-birthday present.^[8]

Jones attended local schools, including Dean Close School from September 1949 to July 1953, and Cheltenham Grammar School for Boys, which he entered in September 1953 after passing the eleven-plus exam. He enjoyed badminton and diving at school, and became first clarinet in the school orchestra. He reportedly obtained seven O-level passes in 1957, thence continuing into the sixth form and obtaining a further two O-levels. He also took three A-levels in physics, chemistry and biology, passing the first two and failing biology.^[9] Jones was able to perform well in exams despite a lack of academic effort.^[9] However, he found school regimented and disliked the school uniforms and conforming in general; he angered teachers with his behaviour, though he was popular with classmates.^[9] Jones himself said: 'When I made the sixth form I found myself accepted by the older boys; suddenly I was in.'^[9]

His hostility to authority figures resulted in his suspension from school on two occasions.^[9] According to Dick Hattrell, a childhood friend: 'He was a rebel without a cause, but when examinations came he was brilliant.'^[9]

In late summer 1959, Jones' 17-year-old girlfriend (he was also 17 at the time), a Cheltenham schoolgirl named Valerie Corbett, became pregnant.^[10] Although Jones is said to have encouraged her to have an abortion, she carried the child to term and placed baby Barry David Corbett (later Simon) for adoption.^[9]

Jones quit school in disgrace and left home, travelling for a summer through northern Europe. During this period, he lived a bohemian lifestyle, busking with his guitar on the streets for money, and living off the charity of others. Eventually, he ran short of money and returned to England.^[11]

He listened to classical music as a child but preferred blues, particularly Elmore James and Robert Johnson. Jones began performing at local blues and jazz clubs, while busking and working odd jobs. He reportedly stole small amounts of money from work to pay for cigarettes, for which he was fired.^[12]

In November 1959, he went to the Wooden Bridge Hotel in Guildford to see a band perform. He met a young married woman named Angeline, and the two had a one-night stand that resulted in her pregnancy. Angeline and her husband decided to raise the baby, Belinda, born on 4 August 1960. Jones never knew about her birth.^[11]

In 1961, Jones applied for a scholarship to Cheltenham Art College. He was initially accepted into the programme, but two days later the offer was withdrawn after an unidentified acquaintance wrote to the college, calling Jones an irresponsible drifter.^[13]

On 22 October 1961, Jones' girlfriend Pat Andrews gave birth to his third child, Julian Mark Andrews.^[14] Jones sold his record collection to buy flowers for Pat and clothes for the newborn. He lived with them for a while. On 23 July 1964 another woman, Linda Lawrence (later married to Donovan), gave birth to Jones' fourth child, Julian Brian Lawrence.^[15] In early October 1964 an occasional girlfriend of Brian's, Dawn Molloy, announced to Brian and the band's management that she was pregnant by him. She received a cheque for £700 (equivalent to £13,934 in 2018^[16]) from group manager Andrew Loog Oldham. In return, she signed an agreement that the matter was now closed and that she would make no statement about Brian Jones or the child to the public or the press. The undated statement was signed by Molloy and witnessed by Mick Jagger.^[17]

Andrew Loog Oldham Stoned

Forming the Rolling Stones[edit]

Jones left Cheltenham and moved to London, where he became friends with fellow musicians Alexis Korner, future Manfred Mann singer Paul Jones, then named Paul Pond,^[18] future Cream bassist Jack Bruce, and others who made up the small London rhythm and blues and jazz scene there. He became a blues musician, for a brief time calling himself 'Elmo Lewis', and playing slide guitar. Jones also started a group with Paul Jones called the Roosters. In January 1963, after both Brian and Paul left the group, Eric Clapton took over Brian's position as guitarist.^[19]

Jones placed an advertisement in Jazz News (a Soho club information sheet) on 2 May 1962, inviting musicians to audition for a new R&B group at the Bricklayer's Arms pub; pianist Ian 'Stu' Stewart was the first to respond. Later singer Mick Jagger also joined this band; Jagger and his childhood friend Keith Richards had met Brian when he and Paul Jones were playing Elmore James' 'Dust My Broom' with Korner's band at the Ealing Jazz Club.^[20] Jagger brought guitarist Richards to rehearsals; Richards then joined the band. Jones' and Stewart's acceptance of Richards and the Chuck Berry songs he wanted to play coincided with the departure of blues purists Geoff Bradford and Brian Knight, who had no tolerance for Chuck Berry.^[12]

As Keith Richards tells it, Jones came up with the name the 'Rollin' Stones' (later with the 'g') while on the phone with a venue owner. 'The voice on the other end of the line obviously said, 'What are you called?' Panic! The Best of Muddy Waters album was lying on the floor—and track five, side one was 'Rollin' Stone Blues'.^[21]

The Rollin' Stones played their first gig on 12 July 1962 at the Marquee Club in London, with a line-up of Jagger, Richards, Jones, Stewart, bass player Dick Taylor (later of the Pretty Things) and drummer Tony Chapman.^[22][23]

From September 1962 to September 1963, Jones, Jagger and Richards shared a flat (referred to by Richards as 'a beautiful dump')^[24] at 102 Edith Grove, Chelsea, with James Phelge, a future photographer whose name was used in some of the group's early 'Nanker/Phelge' writing credits. Jones and Richards spent day after day playing guitar while listening to blues records (notably Jimmy Reed, Muddy Waters, Willie Dixon and Howlin' Wolf). During this time, Jones also taught Jagger how to play harmonica.

The four Rollin' Stones went searching for a bassist and drummer, finally settling on Bill Wyman on bass because he had a spare VOX AC30guitar amplifier^[25] and always had cigarettes, as well as a bass guitar that he had built himself.^[26] After playing with Mick Avory, Tony Chapman and Carlo Little, in January 1963 they finally persuaded jazz-influenced Charlie Watts to join them. At the time, Watts was considered by fellow musicians to be one of the better drummers in London; he had played with (among others) Alexis Korner's group Blues Incorporated.

Watts described Jones' role in these early days: 'Brian was very instrumental in pushing the band at the beginning. Keith and I would look at him and say he was barmy. It was a crusade to him to get us on the stage in a club and be paid half-a-crown and to be billed as an R&B band'.^[27]

While acting as the band's business manager, Jones received £5 more than the other members (equivalent to £103 in 2018^[16]), which did not sit well with the rest of the band and created resentment.^[28] Keith Richards has said that both he and Jagger were surprised to learn that Jones considered himself the leader and was receiving the extra £5, especially as other people, like Giorgio Gomelsky, appeared to be doing the booking.^[29]

Musical contributions[edit]

Jones was a talented multi-instrumentalist, seemingly at home on any musical instrument. For many Rolling Stones tracks prior to 1969, for any instrument except the standard rock instrumentation of drums, guitars, piano, or bass, Jones would be the one playing it. His aptitude for playing a wide variety of instruments is particularly evident on the albums Aftermath (1966), Between the Buttons (1967) and Their Satanic Majesties Request (1967). As a guitarist, in the early days he favored a white teardrop-shaped electric guitar produced by the Vox company, especially in live performances; he also played a wide variety of electric and acoustic guitars from companies such as Rickenbacker, Gibson, and Fender. As a slide guitarist, he favoured the open E tuning and open G tuning.^[30]

Examples of Jones' contributions are his slide guitar on 'I Wanna Be Your Man' (1963), 'I'm a King Bee', 'Little Red Rooster' (1964), 'I'm Movin' On' (1965), 'Doncha Bother Me' and 'No Expectations'. Jones can also be heard playing Bo Diddley-style rhythm guitar on 'I Need You Baby' and on 'Please Go Home', the guitar riff in 'The Last Time';^[31]sitar on 'Street Fighting Man' and 'Paint It Black'; organ on 'Let's Spend the Night Together'; marimba on 'Under My Thumb', 'Out of Time' and 'Yesterday's Papers'; recorder on 'Ruby Tuesday' and 'All Sold Out'; saxophone on 'Child of the Moon' and 'Citadel'; kazoo on 'Cool, Calm and Collected'; Appalachian dulcimer on 'I Am Waiting' and 'Lady Jane', Mellotron on 'She's a Rainbow', 'We Love You', 'Stray Cat Blues', '2000 Light Years from Home', and 'Citadel'; and the autoharp on 'Ride On, Baby' and (for his final recording as a Rolling Stone) on 'You Got the Silver'. He also played the oboe/soprano sax solo in 'Dandelion'.

Jones also played harmonica on many of the Rolling Stones' early songs. Examples of Jones' playing are on 'Come On', 'Stoned' (1963), 'Not Fade Away' (1964), 'I Just Want to Make Love to You', 'Now I've Got a Witness' (1964), 'Good Times, Bad Times' (1964), '2120 South Michigan Avenue' (1964) (from the EPFive By Five), 'The Under Assistant West Coast Promotion Man', 'One More Try' (1965), 'High and Dry' and 'Goin' Home' (1966), 'Who's Driving Your Plane?' (1966), 'Cool Calm and Collected', 'Who's Been Sleeping Here' (1967), and 'Dear Doctor' and 'Prodigal Son' (1968).

In the early years, Jones often served as a backing vocalist. Notable examples are 'Come On', 'I Wanna Be Your Man', 'I Just Wanna Make Love to You', 'Walking the Dog', 'Money', 'I'm Alright', 'You Better Move On' and 'It's All Over Now'. He contributed backing vocals as late as 1968 on 'Sympathy for the Devil'. He is also responsible for the whistling on 'Walking the Dog'.

Richards maintains that what he calls 'guitar weaving'^[32] emerged from this period, from listening to Jimmy Reed albums: 'We listened to the teamwork, trying to work out what was going on in those records; how you could play together with two guitars and make it sound like four or five'.^[33] Jones' and Richards' guitars became a signature of the sound of the Rolling Stones, with both guitarists playing rhythm and lead without clear boundaries between the two roles.

Estrangement from bandmates[edit]

Andrew Loog Oldham's arrival as manager marked the beginning of Jones' slow estrangement. Oldham recognised the financial advantages of bandmembers' writing their own songs, as exemplified by Lennon–McCartney, and that playing covers would not sustain a band in the limelight for long. Further, Oldham wanted to make Jagger's charisma and flamboyance a focus of live performances. Jones saw his influence over the Stones' direction slide as their repertoire comprised fewer of the blues covers than he preferred; more Jagger/Richards originals developed, and Oldham increased his own managerial control, displacing Jones from yet another role.^[34]

According to Oldham in his book Stoned, Jones was an outsider from the beginning.^[35] When the first tours were arranged in 1963, he travelled separately from the band, stayed at different hotels, and demanded extra pay. According to Oldham, Jones was very emotional and felt alienated because he was not a prolific songwriter and his management role had been taken away. He 'resisted the symbiosis demanded by the group lifestyle, and so life was becoming more desperate for him day by day. None of us were looking forward to Brian totally cracking up'.^[36]

The toll from days on the road, the money and fame, and the feeling of being alienated from the group resulted in Jones' overindulgence in alcohol and other drugs. These excesses had a debilitative effect on his physical and mental health and, according to Oldham, Jones became unfriendly and antisocial at times.

In March 1967, Anita Pallenberg, Jones' girlfriend of two years, left him for Richards when Jones was hospitalised during a trip the three made to Morocco,^[37] further damaging the already strained relations between Jones and Richards. As tensions and Jones' substance abuse increased, his musical contributions became sporadic. He became bored with the guitar and sought exotic instruments to play, and he was increasingly absent from recording sessions. In Peter Whitehead's promotional film for We Love You, made in July 1967, he appears extremely groggy and disoriented.^[38]

Jones was arrested for drug possession on 10 May 1967, shortly after the 'Redlands' incident at Richards' Sussex home. Authorities found marijuana, cocaine, and methamphetamine in his flat. He confessed to marijuana use, but claimed he did not use hard drugs.^[39]

In June 1967, he attended the Monterey Pop Festival. There he met Frank Zappa and Dennis Hopper, and went on stage to introduce the Jimi Hendrix Experience who were not yet well known in the United States.

Hostility grew between Jones, Jagger, and Richards, alienating Jones further from the group.^[40] Although many noted that Jones could be friendly and outgoing, Wyman, Richards, and Watts have commented that he could also be cruel and difficult.^[41] By most accounts, Jones' attitude changed frequently; he was one minute caring and generous, the next making an effort to anger everyone. As Wyman observed in Stone Alone: 'There were at least two sides to Brian's personality. One Brian was introverted, shy, sensitive, deep-thinking. The other was a preening peacock, gregarious, artistic, desperately needing assurance from his peers.'^[42] 'He pushed every friendship to the limit and way beyond'.^[43]

Jones' last substantial sessions with the Stones occurred in spring and summer of 1968, when the Stones produced 'Jumpin' Jack Flash' and the Beggars Banquet album. He can be seen in the Jean-Luc Godard film One Plus One playing acoustic guitar and chatting and sharing cigarettes with Richards, although Jones is neglected in the music-making. The film chronicles the making of 'Sympathy for the Devil'.

Where once Jones played multiple instruments on many tracks, he now played only minor roles on a few pieces. Jones' last formal appearance was in the December 1968 The Rolling Stones Rock and Roll Circus, a part-concert, part circus-act film organised by the band. It went unreleased for more than 25 years because Jagger was unhappy with the band's performance compared to others in the film such as Jethro Tull, John Lennon, the Who, and Taj Mahal.^[44] Commentary included as bonus material indicated that almost everyone at the concert sensed that the end of Jones' time with the Rolling Stones was near, and Roger Daltrey and Pete Townshend of the Who thought it would be Jones' last live musical performance.^[44]

Departure from the Rolling Stones[edit]

Jones was arrested a second time on 21 May 1968, for possession of cannabis, which Jones said had been left by previous tenants of the flat. Owing to his being on probation, he was facing a long jail sentence if found guilty. The jury found him guilty, but the judge had sympathy for Jones; instead of jailing him, he fined him £50 (equivalent to £852 in 2018^[16]) plus £105 in costs (equivalent to £1,789 in 2018^[16]) and told him: 'For goodness sake, don't get into trouble again or it really will be serious'.^[45]

Jones' legal troubles, estrangement from his bandmates, substance abuse, and mood swings became too much of an obstacle to his active participation in the band. The Rolling Stones wanted to tour the United States in 1969, for the first time in three years, but Jones was not in a fit condition to tour, and his second arrest exacerbated problems with acquiring a US work visa. In addition, Jones' attendance at rehearsals and recording sessions had become erratic; and when he did appear he either rarely contributed anything musically or, when he did, his bandmates would switch off his amplifier, leaving Richards to play nearly all the guitars. According to author Gary Herman, Jones was 'literally incapable of making music; when he tried to play harmonica his mouth started bleeding'.^[46]

This behaviour was problematic during the Their Satanic Majesties Request and Beggar's Banquet sessions and had worsened by the time the band commenced recording Let It Bleed. In March 1969, Jones borrowed the group's Jaguar and went shopping in Pimlico Road. After the parked car was towed away by police, Jones hired a chauffeur-driven car to get home.^[47] In May 1969, Jones crashed his motorcycle into a shop window and was secretly taken to hospital under an assumed name.^[47] From this point, Jones was still attending recording sessions but was no longer a major contributor to the band's music.^[47] By May, he had made two contributions to the work in progress: autoharp on 'You Got the Silver' and percussion on 'Midnight Rambler'. Jagger informed Jones that he would be fired from the band if he did not turn up to a photo session. Looking frail, he nonetheless showed up and his last photo session as a Rolling Stone took place on 21 May 1969, first at St. Katherine Docks, Tower Bridge, London and then at Ethan Russell's photographic studio in South Kensington. The photos would appear on the album Through The Past Darkly (Big Hits Vol.2) in September 1969.^[48]

The Stones decided that following the release of the Let it Bleed album (scheduled for a July 1969 release in the US) they would start a tour of North America in November 1969. However, the Stones' management was informed that Jones would not receive a work permit, owing to his drug convictions. At the suggestion of pianist and road manager Ian 'Stu' Stewart, the Stones decided to add a new guitarist; on 8 June 1969, Jones was visited by Jagger, Richards and Watts, and was told that the group he had formed would continue without him.^[49]

To the public it appeared as if Jones had left voluntarily; the other band members told him that although he was being asked to leave, it was his choice how to break it to the public. Jones released a statement on 9 June 1969, announcing his departure. In this statement he said, among other things, that 'I no longer see eye-to-eye with the others over the discs we are cutting'.^[50] He was replaced by the 20-year-old guitarist Mick Taylor, formerly of John Mayall's Bluesbreakers.

During the period of his decreasing involvement in the band Jones was living at Cotchford Farm in East Sussex, the residence formerly owned by Winnie-the-Pooh author A. A. Milne^[51] which Jones had purchased in November 1968. Alexis Korner, who visited in late June, noted that Jones seemed 'happier than he had ever been'.^[52] Jones is known to have contacted Korner, Ian 'Stu' Stewart, John Lennon, Mitch Mitchell, and Jimmy Miller about intentions to put together another band. Jones had apparently demoed a few of his own songs in the weeks before his death, including 'Has Anybody Seen My Baby?' and 'Chow Time'.^[53]

Death[edit]

At around midnight on the night of 2–3 July 1969, Jones was discovered motionless at the bottom of his swimming pool at Cotchford Farm. His Swedish girlfriend, Anna Wohlin, was convinced Jones was alive when he was taken out of the pool, insisting he still had a pulse. However, by the time the doctors arrived it was too late and he was pronounced dead. The coroner's report stated 'death by misadventure', and noted his liver and heart were heavily enlarged by past drug and alcohol abuse.^[52]

Upon Jones' death, the Who's Pete Townshend wrote a poem titled 'A Normal Day for Brian, A Man Who Died Every Day' (printed in The Times), Jimi Hendrix dedicated a song to him on US television, and Jim Morrison of the Doors published a poem titled 'Ode to L.A. While Thinking of Brian Jones, Deceased'.^[54] Coincidentally, Hendrix and Morrison both died within the following two years also at age 27.^[55][56]

The Rolling Stones performed at a free concert in Hyde Park on 5 July 1969, two days after Jones' death. The band decided to dedicate the concert (which had been scheduled weeks earlier as an opportunity to present their new guitarist, Mick Taylor) to Jones. Before the Stones' set, Jagger read excerpts from 'Adonais', a poem by Percy Bysshe Shelley about the death of his friend John Keats, and stagehands released hundreds of white doves as part of the tribute. The band opened with a Johnny Winter song that was one of Jones' favourites, 'I'm Yours and I'm Hers'.

Jones was reportedly buried 10 feet (3 m) deep in Cheltenham Cemetery, to prevent exhumation by trophy hunters. His body was embalmed, with hair bleached white, and was placed in an air-tight metal casket.^[57] Watts and Wyman were the only Rolling Stones who attended the funeral. Mick Jagger and Marianne Faithfull were travelling to Australia to begin the filming of Ned Kelly; they stated that their contracts did not allow them to delay the trip to attend the funeral.

When asked if he felt guilty about Jones' death, Mick Jagger told Rolling Stone in 1995: 'No, I don't really. I do feel that I behaved in a very childish way, but we were very young, and in some ways we picked on him. But, unfortunately, he made himself a target for it; he was very, very jealous, very difficult, very manipulative, and if you do that in this kind of a group of people you get back as good as you give, to be honest. I wasn't understanding enough about his drug addiction. No one seemed to know much about drug addiction. Things like LSD were all new. No one knew the harm. People thought cocaine was good for you.'^[58]

Murder claims[edit]

Theories surrounding Jones' death developed soon afterwards, with associates of the Stones claiming to have information that he was murdered.^[59][60] According to rock biographer Philip Norman, 'the murder theory would bubble back to the surface every five years or so'.^[59] In 1993, it was reported that Jones was murdered by Frank Thorogood, who was doing some construction work on the property. He was the last person to see Jones alive. Thorogood allegedly confessed the murder to the Rolling Stones' driver, Tom Keylock, who later denied this.^[61] The Thorogood theory was dramatised in the 2005 movie Stoned.^[62]

In August 2009, Sussex Police decided to review Jones' death for the first time since 1969, after new evidence was handed to them by Scott Jones, an investigative journalist in the UK. Scott Jones had traced many of the people who were at Brian Jones' house the night he died plus unseen police files held at the National Archives. According to Trevor Hobley, chairman of the Brian Jones Fan Club, a neighbour saw, as he was leaving for work at 7 am on the morning of Jones' death, a large bonfire on Jones' estate in which documentation was being burned.^[57]

In The Mail on Sunday in November 2008, Scott Jones said Frank Thorogood killed Brian Jones in a fight, and that senior police officers covered up the true cause of death. Following the review, the Sussex police force stated it would not be reopening the case. It asserted that 'this has been thoroughly reviewed by Sussex Police's Crime Policy and Review Branch but there is no new evidence to suggest that the coroner's original verdict of 'death by misadventure' was incorrect.'^[63]

Songwriting credits[edit]

Unsure and insecure as a composer, Jones was not a prolific songwriter. The 30-second 'Rice Krispies' jingle for Kellogg's, co-written with the J. Walter Thompson advertising agency in 1963 and performed by The Rolling Stones incognito, was credited to Jones; this did not sit well with the rest of the band, who felt it was a group effort and all should benefit equally.^[64] Jones was also included in the 'Nanker/Phelge' songwriting credit, a pseudonym used on fourteen tracks that were composed by the entire band and Andrew Oldham.

According to Andrew Oldham, the main reason for Jones' not writing songs was that Jones, being a blues purist, did not love simple pop music enough. Oldham tried to establish a songwriting partnership between Jones and Gene Pitney after 'becoming bored senseless by Jones' bleating about the potential of half-finished melodies that by no means deserved completion', but after two days of sessions 'the results remain best to be unheard, even by Rolling Stones' completists'.^[65]

When asked in 1965 if he had written songs, Jones replied: 'Always tried. I've written quite a few, but mostly in blues style'.^[66] Many years later after his death, Keith Richards stated: 'No, no, absolutely not. That was the one thing he would never do. Brian wouldn't show them to anybody within the Stones. Brian as far as I know never wrote a single finished song in his life; he wrote bits and pieces but he never presented them to us. No doubt he spent hours, weeks, working on things, but his paranoia was so great that he could never bring himself to present them to us'.^{[67][page needed]} In 1995, Mick Jagger told Rolling Stone magazine that Jones had been jealous of the Jagger/Richards songwriting team, and added: 'To be honest, Brian had no talent for writing songs. None. I've never known a guy with less talent for songwriting.'^[58]

Marianne Faithfull reported that Jones wrote an early version of the melody for 'Ruby Tuesday' and presented it to the group. Victor Bockris reported that Keith Richards and Brian Jones worked out the final melody in the studio.^[68] Additionally, Jones is credited (along with Keith Richards) for the instrumental piece 'Hear It'. However, in 1966 Jones composed, produced, and played on the soundtrack to Mord und Totschlag (English title: A Degree Of Murder), an avant-garde German film with Anita Pallenberg, adding the majority of the instrumentation to the soundtrack.

The only known released Brian Jones song is '(Thank You) For Being There', which is a poem by Jones put to music by Carla Olson. It appeared on the 1990 album True Voices as performed by Krysia Kristianne and Robin Williamson. The True Voices album will be reissued and expanded in November of 2019 with one of the added songs being Ode To L.A. While Thinking Of Brian Jones, Deceased as performed by Johnny Indovina (of Human Drama.) As with '(Thank You) For Being There' the music was composed by Carla Olson. The words are a Jim Morrison poem he wrote in tribute to Brian.

Other contributions[edit]

In summer 1968, Jones recorded the Morocco-based ensemble, the Master Musicians of Joujouka (Jajouka), which was later used by the band; the recording was released in 1971 as Brian Jones Presents the Pipes of Pan at Joujouka. Jagger and Richards visited Jajouka in 1989 after recording 'Continental Drift' for the Rolling Stones album Steel Wheels with The Master Musicians of Jajouka led by Bachir Attar in Tangier. A homage to Jones entitled 'Brian Jones Joujouka very Stoned', painted by Mohamed Hamri, who had brought Jones to Jajouka in 1967, appeared on the cover of Joujouka Black Eyes by the Master Musicians of Joujouka in 1995.

Brian Jones Presents the Pipes of Pan at Jajouka was rereleased in co-operation with Bachir Attar and Philip Glass in 1995. The executive producers were Philip Glass, Kurt Munkacsi and Rory Johnston, with notes by Bachir Attar, Paul Bowles, William S. Burroughs, Stephen Davis, Brian Jones, Brion Gysin and David Silver.^[69] and included additional graphics, more extensive notes by David Silver and William S. Burroughs, and a second CD, produced by Cliff Mark, with two 'full-length remixes'.^[70] Jones played alto saxophone on The Beatles song 'You Know My Name', which was released in March 1970, eight months after his death.^[71] Jones also played percussion on the Jimi Hendrix song 'All Along the Watchtower': 'that's him playing the thwack you hear at the end of each bar in the intro, on an instrument called a vibraslap.'^[72]

Equipment[edit]

Jones' main guitar in the early years was a Harmony Stratotone, which he replaced with a Gretsch Double Anniversary in two-tone green.^[73] In 1964 and 1965, he often used a teardrop-shaped prototype Vox Mark III. From late 1965 until his death, Jones used Gibson models (various Firebirds, ES-330, and a Les Paul model), as well as two Rickenbacker12-string models. He can also be seen playing a Fender Telecaster in the 1968 'Jumpin' Jack Flash' promo video.

Public image and legacy[edit]

Anita Pallenberg has stated in an interview that he wanted to look like Françoise Hardy, he loved 'dressing up and posing about' and that he would ask her to do his hair and make-up.^[74]Bo Diddley described Brian as 'a little dude that was trying to pull the group ahead. I saw him as the leader. He didn't take no mess. He was a fantastic cat; he handled the group beautifully.'^[75]

Jones' death at 27 was the first of the 1960s rock movement; Jimi Hendrix, Janis Joplin, and Jim Morrison found their own drug-related deaths at the same age within two years (Morrison died two years to the day after Jones). The coincidence of ages has been described as the '27 Club'. When Alastair Johns, who owned Cotchford Farm for over 40 years after Jones' death, refurbished the pool, he sold the original tiles to Jones' fans for £100 each, which paid for half of the work.^[51] Johns noted that Cotchford Farm remained for decades an attraction for Jones' fans.

The Psychic TV song 'Godstar' is about Jones' death, as are Robyn Hitchcock's 'Trash', The Drovers' 'She's as Pretty as Brian Jones Was', Jeff Dahl's 'Mick and Keith killed Brian', Ted Nugent's 'Death by Misadventure', and Salmonblaster's 'Brian Jones'. Toy Love's song 'Swimming Pool' lists several dead rock icons including Jones (the others are Morrison, Hendrix, and Marc Bolan) just as A House's 'Endless Art' does; Jones is also mentioned in De Phazz's song 'Something Special'. The Master Musicians of Joujouka song 'Brian Jones Joujouka Very Stoned' was released in 1974 and 1996.^[76] The band Tigers Jaw heavily references Jones and his death in their song 'I Saw Water'. English group Ultimate Painting recorded 'Song For Brian Jones' for their 2016 album Dusk.

Many of his contemporaries admit to idolising him as young musicians, including Noel Redding, who, according to Pamela Des Barres' book I'm With the Band, contemplated suicide after hearing about his death.

The Brian Jonestown Massacre, an American psychedelic rock band, take their name partly from Jones and are heavily influenced by his work.

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The 2005 film Stoned is a fictional account of Jones and his role in the Rolling Stones. The part of Brian was played by English actor Leo Gregory.

A fictionalised version of Jones and the tribute concert to him appears in Alan Moore and Kevin O'Neill's The League of Extraordinary Gentlemen, Volume III: Century in its second issue, 'Paint it Black'.

His exceptional musicianship as well as contribution to the band is featured heavily in the documentary Crossfire Hurricane.

Discography[edit]

With The Rolling Stones

• The Rolling Stones (1964)
• The Rolling Stones (1964)
• England's Newest Hit Makers (1964)
• Five by Five (1964)
• 12 X 5 (1964)
• The Rolling Stones No. 2 (1965)
• The Rolling Stones, Now! (1965)
• Got Live If You Want It! (Live EP) (1965)
• Out of Our Heads (1965)
• December's Children (1965)
• Aftermath (1966)
• Big Hits (1966) (compilation)
• Got Live If You Want It! (1966)
• Between the Buttons (1967)
• Flowers (1967) (compilation)
• Their Satanic Majesties Request (1967)
• Beggars Banquet (1968)
• Through the Past, Darkly (1969) (compilation)
• Let It Bleed (1969)

Jones plays on 'Midnight Rambler' and 'You Got the Silver'

• Stone Age (1971) (compilation)
• Gimme Shelter (1971) (compilation)
• Hot Rocks 1964–1971 (1971) (compilation)
• Milestones (1972) (compilation)
• Rock 'n' Rolling Stones (1972) (compilation)
• More Hot Rocks (1972) (compilation)
• No Stone Unturned (1973) (compilation)
• Metamorphosis (1975) (compilation)
• Rolled Gold: The Very Best of the Rolling Stones (1975) (compilation)
• Solid Rock (1980) (compilation)
• Slow Rollers (1981) (compilation)
• Singles Collection: The London Years (1989) (compilation of singles 1963–1971)
• The Rolling Stones Rock and Roll Circus (1996) (live performance from 1968)
• Forty Licks (2002) (compilation 1964–2002)
• Singles 1963–1965 (2004) (compilation)
• Singles 1965–1967 (2004) (compilation)
• Singles 1968–1971 (2005) (compilation)
• GRRR! (2012) (compilation 1963–2012)
• The Rolling Stones in Mono (2016) (compilation 1963–1969)

With The Beatles

• 'Yellow Submarine' (1966) backing vocals, sound effects
• 'You Know My Name (Look Up the Number)' (1970, recorded 1967) saxophone^[77]

Rolling Stoned Andrew Loog Oldham

With Jimi Hendrix

• 'All Along the Watchtower' (1968) percussion
• 'My Little One' (2011, recorded in 1967) sitar, percussion
• 'Ain't Nothin' Wrong With That' (2011, recorded in 1967) sitar, percussion

With Peter and Gordon^[53]

• 'A Mess of Blues' (1964) harmonica
• 'You've Had Better Times' (1968) drums

With McGough and McGear^[53]

Stoned Andrew Loog Oldham

• 'Basement Flat' (1968) saxophone
• 'Summer with Monica' (1968) saxophone

With Marianne Faithfull

• 'Is This What I Get For Loving You?' (1966) euphonium^[53]

With The Andrew Oldham Orchestra

• '365 Rolling Stones' (1964) lead vocals, handclaps^[78]

With Hapshash and the Coloured Coat

• 'Western Flier' (1969) piano, guitar, harmonica^[79]

Solo discography

We bought HP StorageWorks Ultrium 1760 SAS. There was HP Data Protector Express Single Server Edition Software. It shoud be free. From HP's site I went to Barracuda Networks to get serial number. But 'DPX has been discontinued by HP and the information you provided decodes as DPX 5. Data Protector Express Serial Numbers. Convert Data Protector Express trail version to full software. HP Data Protector Express 5.0 for 10 Servers Enables protection and all the functionality of Data Protector Express 5.0 for 10 servers. For Data Protector Express Basic or Data Protector Express Single Server Edition users Part # Description. EDelivery: TC333AAE: media kit: TC333A. QuickSpecs HP Data Protector Express 5.0 Overview DA – 13732 Worldwide — Version 1 — September 27, 2010 Page 1 HP Data Protector Express 5.0 HP Data Protector Express backup and recovery software is easy to install, easy to use and easy to manage. Hp data protector express backup server. I have installed the HP Data Protector Express 3.5 successfully and connected the HP DAT160 properly. Software and Driver all installed properly. But in the HP Data.

• A Degree of Murder (1967) (soundtrack)
• Brian Jones Presents the Pipes of Pan at Joujouka (1971) (recorded 1968)

Andrew Loog Oldham Rolling Stones

Notes[edit]

1. ^'Brian Jones'. The Rolling Stones.com. The Rolling Stones. Archived from the original on 13 April 2015. Retrieved 30 January 2015.Cite uses deprecated parameter dead-url= (help)
2. ^Barnard, Stephen (1993). The Rolling Stones: Street Fighting Years. BDD Illustrated Books. p. 22. ISBN079245801X.
3. ^Wyman, Bill, with Ray Coleman (1997). Stone Alone: The Story of a Rock 'n' Roll Band. New York: DaCapo Press. ISBN0-306-80783-1, pp. 24, 76, 93, 101–18.
4. ^Lowman, Rob (27 October 2002). 'Roll of a lifetime: Founding bassist Bill Wyman looks back at the Stones'. Daily News. Los Angeles: thefreelibrary.com. Retrieved 19 June 2017.
5. ^Jackson 1992, p. 3.
6. ^ ^abcWyman, Bill (2002). Rolling With the Stones. Dorling Kindersley. ISBN0-7513-4646-2.p. 10 & 16.
7. ^Wyman 2002, p. 10.
8. ^Wyman 2002. p. 23.
9. ^ ^abcdefgWyman 2002. p.19.
10. ^Ride, Graham (2001). Foundation Stone. pp. 103–7. ISBN1-904221-02-5.
11. ^ ^abWyman 2002. p. 28.
12. ^ ^abWyman 2002. pp. 35–36.
13. ^Wyman 2002. p. 29.
14. ^Wyman 2002. pp. 30–31.
15. ^Jackson 1992, p. 93.
16. ^ ^abcdUK Retail Price Index inflation figures are based on data from Clark, Gregory (2017). 'The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)'. MeasuringWorth. Retrieved 27 January 2019.
17. ^Wyman, Bill (1990). Stone Alone: The Story of a Rock 'n' Roll Band (First ed.). Viking. p. 261. ISBN0-306-80783-1.
18. ^Rej, Bent (2006). The Rolling Stones: in the beginning. Great Britain: Firefly Books Ltd. p. 66. ISBN978-1-55407-230-9.
19. ^Clapton, Eric (2007). Clapton: The Autobiography (First ed.). Broadway Books. p. 40. ISBN978-0-385-51851-2.
20. ^Wyman 2002. p. 32.
21. ^Jagger, Richards, Watts, Wood 2003. p. 42
22. ^Karnbach, James; Benson, Carol (1997). It's Only Rock 'n' Roll: The Ultimate Guide to the Rolling Stones. Facts on File, Inc. pp. 57–58. ISBN0-8160-3035-9.
23. ^Some sources erroneously list Mick Avory as the drummer at that gig, but Avory himself denies it.
24. ^Jagger, Richards, Watts, Wood 2003. p. 37
25. ^Richards p. 114
26. ^Wyman, Bill. 'Bill answers fans' questions'. Archived from the original on 13 September 2011. Retrieved 17 August 2011.Cite uses deprecated parameter deadurl= (help)
27. ^Jagger, Mick; Richards, Keith; Watts, Charlie; Wood, Ronnie. According to the Rolling Stones. Chronicle Books, 2003: p. 43.
28. ^Jackson 1992, pp. 65, 114.
29. ^Richards, Keith and James Fox. Life. 2010: Little, Brown & Company, pp. 125–126.
30. ^Paul Trynka interview with Dick Taylor, early bass player for the Rolling Stones: Trynka, Paul. 'Open G tunings and open secrets'. Retrieved 24 January 2018.
31. ^Ian. 'The Last Time'. Timeisonourside.com. Retrieved 10 August 2011.
32. ^Rolling Stones' Guitar Weaving (Podcast)-Q107 TorontoArchived 21 October 2013 at the Wayback Machine
33. ^Jagger, Richards, Watts, Wood 2003. p. 39
34. ^Wyman 2002. p. 76.
35. ^Andrew Loog Oldham, Stoned (St. Martin's Press, 2005), p. 210 – 300.
36. ^Oldham 2005. p. 210.
37. ^Life, pp. 198–199
38. ^Jackson 1992, p. 161.
39. ^Jackson 1992, p. 154.
40. ^Stanley Booth, The True Adventures of the Rolling Stones (Canongate Books, 2012), p. 107.
41. ^Richards and Fox, Life, pp. 271–272
42. ^Bill Wyman, Stone Alone, p. 83
43. ^Bill Wyman, Stone Alone, p. 76
44. ^ ^abThe Rolling Stones, Pete Townshend et al. Rock and Roll Circus (commentary to the 2004 DVD release). ABKCO Films.
45. ^Wyman 2002. p. 311
46. ^Gary Herman, Rock 'N' Roll Babylon (Norfolk: Fakenham Press, 1982), p. 44.
47. ^ ^abcWyman 2002. p. 323
48. ^'Wyman'.'Rolling with the Stones' p.'344'
49. ^Wyman 2002. p. 324-326
50. ^Wyman 2002. p. 326
51. ^ ^abMiddleton, Christopher (12 May 2012). 'The rock 'n' roll house at Pooh corner'. The Daily Telegraph. London. Retrieved 23 August 2012.
52. ^ ^abWyman 2002, p. 329
53. ^ ^abcd'The Pipes of Pan'(PDF). Aeppli.ch. Retrieved 7 April 2014.
54. ^Max A.K. 'Ode to L.A. While Thinking of Brian Jones, Deceased'. People.nnov.ru. Archived from the original on 26 October 2013. Retrieved 10 August 2011.Cite uses deprecated parameter deadurl= (help)
55. ^'The 27 Club: Musicians Who Died Young'. UpVenue. Retrieved 19 August 2012.
56. ^'The Greatest Myth of Rock & Roll'. The27s.com. Archived from the original on 22 January 2009. Retrieved 18 August 2012.Cite uses deprecated parameter dead-url= (help)
57. ^ ^abHobley, Trevor [psychimedia] (14 April 2009). 'The Psychic Detective - Brian Jones Case (3/5) [Video File]'. YouTube. Retrieved 22 July 2017.
58. ^ ^abWenner, Jann S. (14 December 1995). 'Jagger Remembers'. Archived from the original on 22 June 2008. Retrieved 4 November 2009.Cite uses deprecated parameter dead-url= (help)
59. ^ ^abPhilip Norman, The Stones: The Definitive Biography, Pan Macmillan, 2011, chapter 12, unpaginated.
60. ^David Southwell, Sean Twist, Conspiracy files: paranoia, secrecy, intrigue, Random House Value Publishing, 2004, p.16.
61. ^Wyman 2002. p. 328-9.
62. ^Eric Segalstad, Josh Hunter, The 27s: The Greatest Myth of Rock & Roll, Samadhi Creations, LLC, 2009.
63. ^'Death of Rolling Stones guitarist Brian Jones case will not reopen despite new evidence which suggests he was murdered', The Mail on Sunday, 31 October 2010.
64. ^Wyman 2002. p. 90.
65. ^Oldham (2005). p. 288.
66. ^NME New Musical Express, December 1965.
67. ^Guitar Player magazine, May 2008
68. ^Bockris, Keith Richards, Dutch translation, 1993, p.93-94
69. ^Point Music (Philips Classics/PolyGram) 446 487–2; Point Music 446 825–2 and 446 826–2
70. ^Armbrust, Walter. 'Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond, 2000'.
71. ^Zentgraf, Nico. 'The Complete Works of the Rolling Stones 1962–2008'. Retrieved 19 February 2009.
72. ^Padgett, Ray: The Story Behind Jimi Hendrix's 'All Along the Watchtower'
73. ^babiuk, andy; prevost, greg (2013). Rolling Stones Gear. backbeat books. p. 73. ISBN978-1-61713-092-2.
74. ^Pallenberg, Anita (16 October 2010). Interview in The Times, p9. The Times. UK.
75. ^Wyman, Bill (1990). Stone Alone: The Story of a Rock 'n' Roll Band (First ed.). Viking. p. 156. ISBN0-306-80783-1.
76. ^'Return to Joujouka, BBC Radio 4, 29 August 2000, Master Musicians of Joujouka, 'Joujouka Black Eyes, Le Coeur Du Monde 1995
77. ^'You Know My Name (Look Up The Number)'. The Beatles Bible. Retrieved 28 December 2015.
78. ^'The Complete Works of the Rolling Stones – Database'. Nzentgraf.de. Retrieved 7 April 2014.
79. ^'THE LOOK – adventures in rock and pop fashion:: » Hapshash: Acid, art, music and madness'. Rockpopfashion.com. 14 August 2008. Retrieved 7 April 2014.

References[edit]

Andrew Loog Oldham Orchestra

• Gary Herman, Rock 'N' Roll Babylon (Norfolk: Fakenham Press, 1982), ISBN0-85965-041-3
• Gered Mankowitz, Brian Jones: Like a Rollin' Stone
• Robert Weingartner, A tribute to Brian Jones
• Terry Rawlings (1994), Who Killed Christopher Robin?: The Life and Death of Brian Jones, ISBN0-7522-0989-2
• Jackson, Laura (1992). Golden Stone: The Untold Life and Tragic Death of Brian Jones. Smith Gryphon Limited. ISBN0-312-09820-0.
• R. Chapman, 'The bittersweet symphony', Mojo, 68 (July 1999), pg.62–84
• Bill Wyman and Ray Coleman, Stone Alone, ISBN0-670-82894-7
• Alan Clayson, Brian Jones, ISBN1-86074-544-X
• Bill Wyman, Richard Havers. Rolling With The Stones, ISBN0-7894-8967-8
• Andrew Loog Oldham, Stoned : A Memoir of London in the 1960sISBN978-0-312-27094-0
• Mandy Aftel, Death of a Rolling Stone: The Brian Jones Story (Delilah Books, 1982) ISBN0-933328-37-0
• Graham Ride, Foundation Stone, ISBN1-904221-02-5

External links[edit]

Andrew Loog Oldham Wikipedia

• Brian Jones interviewed on the Pop Chronicles (1969)