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Lewis Brian Hopkin Jones

 

B rian was the original founder and leader of the Rolling Stones. Jones was a talented multi-instrumentalist, with his main instruments being guitar, harmonica and keyboards. Jones’s innovative use of traditional/folk instruments, however, such as the sitar and marimba, was integral to the evolving sound of the band.

Although Brian was originally the leader, Mick Jagger and Keith Richards soon overshadowed him after establishing themselves a successful songwriting team. Sadly, Jones developed a drug problem over the years and his role in the band gradually diminished. Brian was asked to leave the Rolling Stones in June 1969 and guitarist Mick Taylor took his place. Jones died less than a month later under highly sucpsious circumstances in the swimming pool of his home on Cotchford Farm, Hartfield, East Sussex.

“He formed the band.” Bill Wyman has said of Jones. “He found the members and named the group. He chose the music we played. Brian also got us our gigs. … He was very influential, very important, and then he slowly lost it – highly intelligent –but he just kind of wasted it and blew it all away.”

Early life

Jones was born in the Park Nursing Home in Cheltenham, Gloucestershire, on February 28, 1942. An attack of croup at the age of four left him with asthma, which lasted the rest of his life. 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 October 3, 1943 but died on October 14, 1945 of leukemia; and Barbara, born on August 22, 1946.

Brian’s mother Louisa was a piano teacher, and in addition to his job as an aeronautical engineer, Lewis played piano and organ and led the choir at the local church.

In 1957 Jones first heard Cannonball Adderley’s music, which inspired his interest in jazz. Brian persuaded his parents to buy him a saxophone, and two years later they gave him his first acoustic guitar as a 17th birthday present.

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 Brian enjoyed badminton and diving at school and attained first clarinet in the school orchestra. In 1957 Brian earned seven O-level passes, then he continued into the sixth form and obtained a further two O-levels. Jones also took three A-levels in Physics, Chemistry and Biology and passed in Physics and Chemistry, but failed Biology. Jones had an IQ of 135 and was able to perform well in exams despite a lack of real academic effort. Brian, however, found school regimented and needlessly conforming. Brian disliked school uniforms and angered teachers with his behavior, though he was popular with classmates. Jones himself said: “When I made the sixth form I found myself accepted by the older boys; suddenly I was in.”

Jones’s hostility to authority resulted in his suspension from school on two occasions. According to Dick Hattrell, a childhood friend: “He was a rebel without a cause, but when examinations came he was brilliant.”

In late summer 1959, Jones’s 17-year-old girlfriend, a Cheltenham schoolgirl named Valerie Corbett, became pregnant. Although Jones is said to have encouraged her to have an abortion, she carried the child to term however, and placed baby Barry David (later Simon) up for adoption.

Jones quit school in disgrace and left home, travelling for a summer through Northern Europe and Scandinavia. During this period, he lived a decidedly 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.

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

In November 1959, Jones 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 which resulted in her pregnancy. Angeline and her husband decided to raise the baby, Belinda, born on August 4th the following year. Jones never knew about her birth.

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

On October 23, 1961 Jones’s girlfriend Pat Andrews gave birth to his third child, Julian Mark Andrews. Jones sold his coveted record collection to buy flowers for Pat and clothes for the newborn. On July 23, 1964, another young woman, Linda Lawrence, gave birth to Jones’s fourth child, named Julian Brian. In early October 1964, an occasional girlfriend of Brian’s, Dawn Molloy, announced to the band’s management that she too was pregnant by Brian. She received a check for £700 from Andrew Loog Oldham, LTD. In return, she signed an agreement that the matter was now closed and she would make no statement about Brian or the child to the public or the press. The undated statement was signed by Malloy and witnessed by Mick. In March 1965 Dawn gave birth to Brian’s fifth child Paul Molloy, renamed John Maynard by his adoptive parents.

Forming the Rolling Stones

Jones left Cheltenham and moved to London where he became friends with fellow blues musicians Alexis Korner and Manfred Mann singer, Paul Jones, 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 however, in January 1963, after both Brian and Paul left the group, Eric Clapton took over Brian’s position as guitarist.

Jones ultimately placed an advertisement in Jazz News on May 2, 1962 inviting musicians to audition for a new R&B group at the Bricklayer’s Arms; pianist Ian “Stu” Stewart was the first to respond. Later singer Mick Jagger also joined; Jagger and his childhood friend Keith Richards had met Jones when he and Paul Jones were playing Elmore James’ “Dust My Broom” with Korner’s band at the Ealing Jazz Club. Jagger brought guitarist Richards to rehearsals; Richards then joined. Jones’s 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 little tolerance for Chuck Berry.

As Richards tells it, Jones came up with the name the “Rollin’ Stones” (later with the ‘g’) while on the phone with a club 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'”.

The Rollin’ Stones played their first gig on July 12, 1962 in the Marquee Club in London with Jagger, Richards, Jones, Stewart, bass player Dick Taylor (later of the Pretty Things) and drummer Tony Chapman.

From September 1962 to September 1963 Jones, Jagger and Richards shared a flat (referred to by Richards as “a beautiful dump”) 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 AC30 guitar amplifier and always had cigarettes, as well as a bass guitar that he had built himself. 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.

“Brian was very instrumental in pushing the band at the beginning.” Remembers Watts. “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”.

While acting as the band’s business manager, Jones received £5 more than the other members, which did not sit well with the rest of the band and created lasting resentment. Keith Richards has said both he and Mick were surprised to learn Brian considered himself the leader and was receiving the extra £5, especially as other people, like Giorgio Gomelsky, appeared to be doing the booking.

Musical contributions

Jones’s main guitar in the early years was a Harmony Stratotone, which he replaced with a Gretsch Double Anniversary in two tone green. 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 Rickenbacker 12-string models. He can also be seen playing a Fender Telecaster in the 1968 “Jumpin’ Jack Flash” promo video.

Examples of Jones’s unique musical contributions are his slide guitar on “I Wanna Be Your Man” (1963), “I’m a King Bee” (1964, on the Rolling Stones), “Little Red Rooster” (1964), “I Can’t Be Satisfied” (1965, on Rolling Stones No. 2), “I’m Movin’ On” (1965, on the EP Got Live If You Want It!), “Doncha Bother Me” (1966, on Aftermath) and “No Expectations” (1968, on Beggars Banquet). Jones can also be heard playing Bo Diddley-style rhythm guitar on “I Need You Baby”, the guitar riff in “The Last Time”;[26] sitar on “Street Fighting Man”, “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”; trumpet on “Child of the Moon”, saxophone on “Citadel”; 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 (for his final recording as a Rolling Stone) the autoharp on “You Got the Silver”.

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

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 what he calls “guitar weaving” emerged in 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”. Jones’s and Richards’s guitars became a signature of the sound of the Stones, with both playing rhythm and lead without clear boundaries.

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).

Estrangement from the Stones

Andrew Loog Oldham’s arrival marked the beginning of Jones’s slow estrangement. Oldham recognized the financial advantages of band members’ 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 their live performances. Jones saw his influence over the Stones’ direction slide as their repertoire comprised fewer of the blues covers he preferred; more Jagger/Richards originals developed, and Oldham increased his own managerial control, displacing Jones from yet another role.

According to Oldham Jones was an outsider from the beginning. When the first tours were arranged in 1963, he travelled separately, stayed at different hotels, and demanded extra pay. According to Oldham, Jones was very emotional and felt alienated because he was not a prolific song writer 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”.

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

Jones was arrested for drug possession on May 10, 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 hardr drugs. Reacting as fans did at the arrests of Jones’s band mates, protesters appeared outside court demanding Jones be freed. He was not kept in jail but was fined, given probation, and ordered to see a counselor.

In June 1967, Jones attended the Monterey Pop Festival. There he met Frank Zappa and Dennis Hopper, and went on stage to introduce the Jimi Hendrix Experience which was not well known yet in the USA. One review referred to Jones as “the unofficial ‘king’ of the festival”.

Hostility grew between Jones, Jagger, and Richards, alienating Jones further from the group. Although could be friendly and outgoing, Wyman, Richards, and Watts commented he could also be cruel and difficult. By most accounts, Jones’s attitude changed frequently; he was one minute caring and generous, the next making an effort to anger everyone. As Wyman observed. “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. He pushed every friendship to the limit and way beyond”.

In March 1967, Anita Pallenberg, Jones’s girlfriend of two years, left him for Richards when Jones was hospitalized during a trip the three made to Morocco, further damaging the already strained relations between Jones and Richards. As tensions and Jones’s substance use 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. Jones’s 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’s last formal appearance with the Stones was in the December 1968 The Rolling Stones Rock and Roll Circus, a part concert, part circus act film organized by the band. It went unreleased for twenty five years as Jagger was unhappy with the band’s performance compared to others in the film such as Jethro Tull, The Who, and Taj Mahal.

Departure

Jones was arrested a second time on May 21, 1968, for possession of cannabis, which Jones said had been left by previous tenants of the flat. He was facing a long jail sentence if found guilty owing to his probation. Wyman commented, “The fact that the police had secured a warrant with no evidence showed the arrest was part of a carefully orchestrated plan. Brian and the Stones were being targeted in an effort to deter the public from taking drugs”. The jury found him guilty but the judge had sympathy for Jones; instead of jailing him he fined him £50 plus £105 in costs and told him: “For goodness sake, don’t get into trouble again or it really will be serious”.

Jones’s legal troubles, estrangement from his band, substance abuse and mood swings became too much of an obstacle to active participation in the group. The Rolling Stones wanted to tour the United States in 1969 for the first time in three years but Jones was not in any condition to tour and his second arrest exacerbated problems with acquiring a US work visa. In addition, Jones’s attendance at rehearsals and recording sessions had become erratic; and when he did appear he rarely contributed anything musically or his band mates would switch off his guitar leaving Richards playing nearly all the guitars.

This behavior was problematic during the Beggar’s Banquet sessions and 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 by police Jones hired a chauffeur car to get home. In May 1969, Jones crashed his motorcycle into a shop window and was secretly taken to a hospital under an assumed name. From this point, Jones was still attending sessions, but no longer a major contributor to the band’s music. By May, he had made two contributions to the work in progress: autoharp on “You Got the Silver” and percussion on “Midnight Rambler”. Jagger duly informed Jones 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 Wednesday, May 21, 1969, first at St. Katherine Docks, Tower Bridge, London and then at Ethan Russell’s photographic studio in South Kensington London. The photos would appear on the album Through The Past Darkly (Big Hits Vol.2) in September 1969.

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 North American tour in November 1969. However, the Stones management was informed that because of his drug convictions Jones would not receive a work permit. At the suggestion of pianist and road manager Ian Stewart, the Stones decided to add a new guitarist and on June 8, 1969, Jones was visited at home by Mick Jagger, Keith Richards, and Charlie Watts where he was told that the group he had formed would continue without him.

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 then released a statement on June 9, 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”. Jones was replaced by 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 which Jones purchased in November 1968. The last known photographs of Jones, taken by schoolgirl Helen Spittal on June 23, 1969, shortly after his departure from the Stones are not flattering; he appears bloated with deep set eyes. However, Alexis Korner, who visited in late June only shortly after the Spittal photos were taken, noted that Jones seemed “happier than he had ever been”.[44] Jones is known to have contacted Korner, Ian 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.’

Death

At around midnight on the night of July 2–3 1969, Jones was discovered motionless at the bottom of his swimming pool at Cotchford Farm. His new Swedish girl, 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 wrongly stated “death by misadventure.”

Upon Jones’s 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 entitled “Ode to L.A. While Thinking of Brian Jones, Deceased”. Hendrix and Morrison both died within the following two years, both aged 27, the same as Jones.

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

Jones was buried 10 feet (3.0 m) deep in Cheltenham Cemetery (to prevent exhumation by trophy hunters). His body was embalmed, hair bleached white, and was placed in an air tight metal casket. 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 their contracts did not allow them to delay the trip to attend the funeral.

When asked if he felt guilty about Jones’s death Mick Jagger told Rolling Stone in 1995: “No, I don’t really. I do feel 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.”

Murder claims

Theories surrounding Jones’s death developed soon afterwards with associates of the Stones claiming to have information that he was murdered. The murder theory would bubble back to the surface every five years or so. In 1993 it was reported in Geoffrey Giuliano’s bestselling book, Paint It Black The Murder Of Brian Jones’ that Brian was murdered by Frank Thorogood and several others, who were doing some construction work on the property. In August 2009, Sussex Police decided to review Jones’s death for the first time since 1969, after new evidence was handed to them by an investigative journalist in the UK. Following the review the Sussex police stated they would not be reopening the case. They asserted that “this has been thoroughly reviewed by Sussex Police’s Crime Policy and Review Branch but there is no new evidence to suggest the coroner’s original verdict of ‘death by misadventure’ was incorrect.”

Songwriting

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. 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 Oldham, the main reason for Jones’s not writing songs was that Jones, being a blues purist, simply 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’s 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 Stones’ completists”.

When asked in 1965 if he had written any songs, Jones replied: “Always tried. I’ve written quite a few, but mostly in blues style”. Many years 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”. Bill Wyman has stated that Jones was “an incredibly gifted musician, but not a song writer”; and in 1995, Mick Jagger told Rolling Stone 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.”

Marianne Faithfull reported Brian wrote an early version of the melody for “Ruby Tuesday” and presented it to the group. Keith Richards and Brian Jones then worked out the final melody in the studio. 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.

In the summer of 1968, Jones recorded the Morocco-based ensemble, the Master Musicians of Joujouka, as the name of the Moroccan mountain village was spelled at the time, the more correct spelling of the Arabic name being 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, this being a splinter group created by an Irish friend of the former and estranged Moroccan manager, Mohamed Hamri. 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 Munkasci and Rory Johnston, with notes by Bachir Attar, Paul Bowles, William S. Burroughs, Stephen Davis, Brian Jones, Brion Gysin and David Silver. 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.” In mid-May 1967, Jones played oboe on The Beatles’ “Baby, You’re a Rich Man”. Jones played alto saxophone on The Beatles song “You Know My Name”, which was released in March 1970, eight months after his death.

Legend

Anita Pallenberg stated in an interview Brian 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. 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.”

Jones’s 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’s fans for £100 each, which paid for half of the work. Johns noted Cotchford Farm remained an attraction for Jones’ fans for decades.

The 2005 film Stoned based on the book Paint It Black The life & Death Of Brian Jones by Geoffrey Giuliano was released to critical acclaim.[/text_output][/vc_column_text][/vc_column][/vc_row]

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