- Gebundene Ausgabe: 384 Seiten
- Verlag: Viking (9. Oktober 2014)
- Sprache: Englisch
- ISBN-10: 0670014745
- ISBN-13: 978-0670014743
- Vom Hersteller empfohlenes Alter: Ab 18 Jahren
- Größe und/oder Gewicht: 15,9 x 5,7 x 23,5 cm
- Durchschnittliche Kundenbewertung: 1 Kundenrezension
- Amazon Bestseller-Rang: Nr. 272.166 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Brian Jones: The Making of the Rolling Stones (Englisch) Gebundene Ausgabe – 9. Oktober 2014
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“Brian Jones . . . is revisionist history of the best kind—scrupulously researched and cogently argued—and should be unfailingly interesting to any Stones fan ”
—Larry Rohter, New York Times
“Brian Jones . . . is the first serious, thoroughly reported biography of the ill-fated Stone, with extensive new research into Jones’ privileged but difficult childhood and his transformation by the exotic language and vitality of American blues.”
“[A] thoughtful, thorough bio based on lots of new interviews that shed light on his neglected life and controversial death”
—Hollywood Reporter (Top 10 Music Books of 2014)
“In all, this is a must-read for Stones fans. If as the years continue to go by and Brian Jones becomes more and more a mere player in the tale he created, this book should bring him back into the position he belongs.”
“Paul Trynka gives us a balanced and compassionate portrait of a guy who has been slagged off and diminished a lot in Rolling Stones history. The fact is there would have been no Rolling Stones without him. He at least deserves some respect for that. Brian Jones: The Making of The Rolling Stones delivers it.”
—Mike Segretto, Psychobabble
“Trynka has forged what may be the last great Stones book.”
—Kris Needs, Shindig Magazine
“Magnificent and controversial . . . a monumental book”
—Paul Gleason, Stereo Embers magazine
“Impeccably researched, it will overturn all you’ve been spoon-fed by ‘the victors’.”
—Ian Fortnam, Classsic Rock
“A fantastic piece of work, and a great counter balance to Mick and Keith’s revisionist history.”
— James Marshall
“An impressive undertaking and a consistently interesting read. Stones fans owe it to themselves to get a new perspective on [this] anti-hero.”
—Jake G Rascoff, Dartmouth Review
“Paul Trynka―as he did in his biographies of David Bowie and Iggy Pop―does a masterful job in presenting a life that had a profound effect upon kids on both sides of the Atlantic. “
—Mike Greenblatt, The Aquarian
“A great, cautionary tale”
—George Byrne, Irish Independent
“Thorough and well researched”
—Craig Brown, Mail on Sunday
“Fascinating . . . wonderful at evoking that very non-modern age of the 50s and 60s”
—Mark Blake, Mojo
“By many accounts, Brian Jones was the visionary of the Rolling Stones, though he gets little of the credit. Paul Trynka puts the multi-instrumentalist at the forefront in Brian Jones.”
“A lively biography of the enigmatic founder of the Rolling Stones, who was dethroned and died just as the band approached its artistic peak . . . .Trynka’s portrait is that of a young man determined to get what he wanted, flaunting conventions and consequences and exhibiting little conscience as he cemented his ambition to become a professional musician . . . . An intimate portrait of the multifaceted and beguiling Jones, who forever changed popular music and culture.”
Über den Autor und weitere Mitwirkende
Paul Trynka is a respected music writer known both for his groundbreaking role as editor of MOJO magazine and as author of Starman and Open Up and Bleed, biographies of David Bowie and Iggy Pop, respectively, which attracted laudatory reviews worldwide. Portrait of the Blues, his collection of oral histories with more than sixty blues musicians (in collaboration with photographer Val Wilmer), is regarded as a landmark work. Paul was also editor of the widely respected International Musician magazine and founding editor of the Guitar Magazine, for which he first interviewed Keith Richards more than twenty years ago. Paul lives with his wife, Lucy, and son, Curtis, in Greenwich, London, just down the road from Mick and Keith’s old stomping ground of Dartford.Alle Produktbeschreibungen
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Told chronologically, Brian Jones' The Making of the Rolling Stones unveils a truth quite a bit stranger than fiction. Before Brian left his privileged upbringing behind to eke out a living in London, he uncovered the musical secrets of jazz phrasing and syncopation, the electric blues and the slide guitar. He also left behind numerous female admirers and several unwed mothers. In London, Brian's rigid work ethic fueled his drive and reputation as the most capable guitarist in an emerging blues and rock scene that included several future Hall of Fame musicians.
It was Brian Jones who advertised for musicians interested in the music of Bo Diddly, Chuck Berry, Muddy Waters and Elmore James. Mick Jagger and Keith Richards had worked with Brian Jones before. As the experienced musician, Brian helped Mick learn to keep time and taught Keith what became his signature open G tuning.
The band soon introduced European audiences to American R&B music. The Stones presented the sound, not as something exotic or foreign, but the voice of a generation breaking away from the restrictions and repression of their childhood.
The reader is entertained and rewarded with new insights as Paul Trynka pulls apart Brian's twenty seven years of life--a life that became the definition of sex, drugs and rock and roll. Trynka explains how the achievements led to the unraveling, how the music gave into the rivalry, self-destruction and the deceit.
Trynka, a veteran reporter of music culture and author of several Rock icon biographies, delivers his best investigative effort to date. The deepest, darkest secret of Brian's life was not how it began, but how it ended. The question of who murdered Brian Jones is fully addressed and answered.
Prior accounts of the Rolling Stones have contributed to the Band's lore. Using new interviews and revelations, Trynka pulls at the threads of their legend to unravel the mystery and reveal the underlying truth. With this new biography, Trynka successfully and convincingly becomes the authority on the life of the most enigmatic personality from Rock's early days, the founding member of the enduring Rolling Stones.
My review is based upon an advance copy I received through Goodreads from the publishers.
In reading this exceptionally well-written book, I finally understood the real difference between the Beatles and the Rolling Stones - the Beatles liked each other. The new biography is rife with anecdotes about how "nasty" Mick Jagger and Keith Richards were to Brian Jones, such as the time they made him play the harmonica till his mouth bled, then confessed they hadn't recorded any of his tracks. The genesis of the rancor was possibly an extra five pounds that Brian received per week during an early tour. Keith saw this as disloyal, and for Mick, "well it was five quid." The book is filled with rich anecdotes like this. Particularly memorable was the insightful advice from a music insider who told Jones to hire Jagger or Richards "but don't take them both."
Notwithstanding the lack of support Jones got from his bandmates, Trynka makes it pretty clear that Brian Jones brought a lot of his misfortunes onto himself. At the same time, Jones comes off as relatable, at least to anyone who's been exploited by his or her employer. Much of the artistry of the Stones' early music came from the musicianship of Brian Jones, and then Mick Taylor. There is a reason why everyone knows Paint It Black and Ruby Tuesday, but few can name a Stones hit from the past three decades.
One of the things that makes this book is the original research. I've been fascinated by Brian Jones for three decades, so it was a thrill learning some new things about him. His parents were cold and unsupportive. He loved cats. He was ashamed of his real name. Trynka interviewed Jones' school friends and even one of his babysitters, and there are several photographs from Jones' school days (most of the other photographs are familiar ones). There is also a lot of material about Jones' relationship with other members of the rock scene: John Lennon, Paul McCartney, George Harrison, Jimi Hendrix and Bob Dylan to name a few. Jones seems to have gotten along better with everyone other than his own band. The material from interviews with Marianne Faithful, Keith Richards and Bill Wyman is pretty sparse.
In terms of what ultimately killed Brian Jones, the key culprits are the members of the British police and tabloids that made it their business to "break" various rock musicians of that era by constantly raiding their homes. No evidence? No worries - we'll plant it. Some targets like Jagger and Richards ultimately prevailed. But the constant wear on Jones only exacerbated his decline, which seemed inevitable due to his poor health (which caused him to stop playing on the school cricket team) and to the drugs and drinking. The book also has a thorough summary at the end of the various theories surrounding what led to Brian Jones' founding membership in the 27 Club on July 2, 1969.
According to the biography, George Harrison theorized that "a little extra love" would have saved Jones. Maybe, maybe not. It sounds like a lot of women tried to, and he treated them abysmally. Yet these same women (many of whom are quoted) are all understanding and even forgiving of the talented but selfish man capable of both cruelty and sweetness.
I've read a lot of Stones biographies. This is one of the best. Overall, the book gives a thorough picture of an what is unmistakeably one of the most complex and enigmatic characters in rock history.
And in the end, that's what you take from the book. He was too sensitive to make it in that world, all this stuff destroyed him. He wasn't tough like Richards or calculating like Jagger, the band was a toxic atmosphere for Jones and he couldn't get past it. The author quotes more than one person who felt Jones could've been a fine songwriter with a supportive partner, and it was true he made friends outside of the band, McCartney, Hendrix, Townsend, Harrison, guys who mostly didn't warm to the rest of the Stones. This is part of the tone I liked least about the book, there's a hint of boosterism running through it all, of course there would be, the writer is upfront in the author's note that he wanted to write this book because of the ways Richards' "Life" and other books pretty much wrote Jones out of the band's history (I have no idea if this is true about the other books, but it is true of "Life."). He makes leaps, going from well researched assertions with interview backup to suppositions about things he was going to do or could have done, but didn't, and a lot of hyperbolic claims about his place in bringing the blues to the world (I'm not arguing against that, just that he argues a bit too much for it, it gets tiresome, like being at a party where someone is describing the movie they want to make). It's hard to get a grasp on exactly what Jones' contribution was because I don't fully trust the writer's impartiality.
A better approach would be to ape Peter Guralnik's first book on Elvis, "Last Train to Memphis," where his meticulously researched re-creations of recording sessions showed how smart and involved in every way Elvis was with his sound; if he could've done some of that with Jones and the mid 60s Stones recordings, that would've helped, but I suspect it wasn't possible because Jone wasn't much involved fairly early on.
And when I reached the end of the book, I felt pretty much the same about Jones and his place, or maybe more accurately, I have no better idea how I should feel about the guy than I did before reading it. The book doesn't shy away from the negatives and makes it clear he was not a good guy much of the time (there is also a surprising amount of material, with quotes from the sources, about how sweet he was); I mean, Ian Stewart pretty much despised him from the start, and by the end, he literally could not form a chord on the guitar, much less play. So the book leaves you with the feeling that it was Jones' love of the blues that started the band, that he was slowly pushed out in a calculated and often cruel way by a bevy of changing forces, that he fell into a sea of drugs that he couldn't wade out of, became useless, was rightfully jettisoned, and died a couple of months later, which would've been my feeling before reading it and which is the prevailing mythology (is it not?). So I guess I'm saying in the end, the book doesn't add a lot to that conversation, though it undoubtedly fleshes out the story some.