Discussion in 'Music Corner' started by kiff, Jun 29, 2019.
It's magnificent! One of the best recorded songs from the Brian Jones era too.
His father Lewis did mention Brian playing it for him and stating that it was Brian's initial arrangement he heard.
That "Gold Painted Nails" harmonica sounds more like Mick's playing?
Perhaps my favourite Jones contribution on guitar. Dirty and raunchy!
IMO, the riff on Paint it Black had to originate from the sitar player. It's just not something you would come up with playing the guitar, but would come out naturally on the sitar. Bill and Charlie came up with the backing track while making fun of their record company exec. An uncredited group composition perhaps? Has to be one of their best tracks, and I heard it on a bootleg where they pulled it off really well live in 1966. It had no sitar, with Keith doing the electric guitar like the record and Brian playing the chords behind it also on electric. It still sounded amazing, Keith and Brian really played guitar well together back then. And then Brian smashed up his left hand trying to hit Anita...
I always loved the slide on "No Expectations".
For me, Brian's performance on mellotron in this song is the single greatest recorded moment in the Rolling Stones' canon. I know there are greater songs and/or examples of greater musicianship from others (and Brian) on other songs, but his performance on this song is so powerful and dominating that it takes the top spot for me.
Bill Wyman has stated that "Paint It Black" was a group composition that was supposed to have been credited to Nanker/Phelge.
(But you should probably take Wyman's claims with a grain of salt, as Mick & Keith had put an end to the Nanker/Phelge thing in mid-1965, and "Paint It Black" was recorded almost a year afterwards.)
Definitely Lewis Brian Hopkin Jones.
You have to look closely at the era when these songs came out to appreciate how innovative Brian Jones contributions are. The slide guitar and harmonica on those early recordings was unheard of on popular music at that time. Later on, he added textures with sitar, dulcimer, marimba's, recorder and mellotron that helped create hits out of Mick and Keith's songs. These instruments weren't at all common on records from that era. His playing may be rudimentary by todays standards, but he had a knack for coming up with that right part that made some ordinary songs sound special. Not to mention coming up with killer riffs that he never got publishing credits for (there is a YouTube segment where Bill Wyman talks about that). There is no question that Keith did a lot of the "heavy lifting" musically as he put it. But if there was some memorable instrumentation on those sixties Stones records, chances are Brian played it!
It is very powerful. Dark and sinister, especially toward the end.
I never heard this awesome version of I'm Movin On before! Is there any more from where that came from? They were on fire!
No. Mick was in the control room with Glyn Johns.
It originated from Holland-Dozier-Holland and The Supremes - My World Is Empty Without You.
So now the riff of “Paint It Black” is Brian Jones’ creation, even though it’s played by Keith Richards on guitar?
Amusing how much Jones devotees can twist it.
Next thing is that it was Jones who wrote the riff to Satisfaction: Legend has it that Jones recorded the riff onto a tape while he was stoned. Then Keith got jealous and crawled into Brian’s room in the middle of the night and stole the tape and put it in his own player. Jones never found out. Right?
I'm afraid I agree. Let me first say I love the early Stones, but with Brian it was as much about the fashion and the haircut and the tragic arc of his life as his actual contribution to the group after they broke big. Lot's of mythology surrounding him as both a musician and a person.
Both are borrowed from Holland-Dozier-Holland.
Zoomer Jones fans that think he invented the universe and 'I'm a fan. but' types are as bad as each other.
There's plenty music to appreciate without the image or mythology.
I just like the flavour he gave the music.
Nothing more, nothing less.
I love his way to find new sounds for the songs.
The word ‘genius’ is spread around way too often.
Re-reading this thread has me working on a Brian playlist with session boots etc. Have a great cover art for it already lol. While going thru my files I found this in regards to Mothers Little Helper, which makes me wonder about the truth in a lot of Stones recordings as to who played what? I always thought the slide here was Brian.
(The strange guitar sound is) a 12-string
with a slide on it. It's played slightly Oriental-ish. The track just needed
something to make it twang. Otherwise, the song was quite vaudeville in a way. I
wanted to add some nice bite to it. And it was just one of those things where
someone walked in and, Look, it's an electric 12-string. It was some gashed-up job.
No name on it. God knows where it came from. Or where it went. But I put it together
with a bottleneck. Then we had a riff that tied the whole thing together. And I
think we overdubbed onto that. Because I played an acoustic guitar as
well. -Keith 2002
They both played slide on 12 strings on the studio version. Brian played it with a slide on a 12 string live in 1966.
Use my site for credits. It's the result of 30 years of working through all this stuff and learning instruments etc. If a song or credit is missing it's because there isn't enough evidence to reach a most likely conclusion... eg Jumpin' Jack Flash or he simply didn't play on it... eg Play With Fire.
Did the Stones loose some of their darkness without Brian?
I’d say so, yes.
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