When Monroe died in August 1962 — just three months after Mick began singing professionally— he was shattered. “Monroe was a seductress,” Korner said, “and that’s the way Mick saw himself. He’s helped to alter the whole idea of what it is to be male.”
Christopher P. Andersen, Mick: The Wild Life and Mad Genius of Jagger.
Alexis Korner: I always felt that Mick had the ultimate strength and that little streak of cruelty and ruthlessness. It may very easily have been Mick's defence mechanism operating, making himself seem more cruel than he was and thus less likely to suffer attack. But the feeling of cruelty and ruthlessness was definitely there. And also his sullenness, which is what I thought his meanness was at the time. But he wasn't so much sullen as shy. He was just shy and didn't talk very much. Yet it came across as sullen. And that was a part of the attraction of Mick.
"Black and White Blues" (1971), un documental muy interesante que enlaza los orígenes del blues con el blues rock blanco de finales de los sesenta. La diferencia entre ambos parece casi abismal, pero en la película nos explican que hay aspectos que se mantienen, quedan, permanecen.
Tocan o hablan, o las dos cosas, Fleetwood Mac, Jeremy Spencer, Chicken Shack, Savoy Brown, The Who, Pete Townshend, Champion Jack Dupree, Muddy Waters, B. B. King, Marshall Hooks & Co, Alexis Korner, John Mayall, Paul Oliver, Mike Vernon... Sale hasta el "suedehead" (es broma) Duster Bennett.
“Had Brian Jones not taken his guitar to this cellar bar…impressed Alexis Korner with his playing, relocated to London and formed The Rolling Stones, the world’s cultural history would have been very different. There would have been no pop industry as we know it today, with its ever present musical acknowledgment of the influence of the blues. The pentatonic minor scale, which can be heard ad infinitum on countless electric guitar tracks recorded over the last six decades, would probably rarely be heard. And countless young people who came of age in the 1960s, including this writer, would never have become fascinated by a sound originally created by the descendants of black slaves in the Americas.”—John Phillpott, Blues in Britain, 2024
June 1969 - one of the last photographs of Brian Jones (Cotchford Farm) by Helen Spittal
"Brian had just made a single. This was to be his first record since breaking from the Stones. He'd cut the demo and was really pleased with it. It'd actually just newly gone to press."
Musician Alex Korner in 1965
Alexis Korner also remembered Brian talking about writing songs during his last months:
"He wouldn't show them to me. He'd only tell me about them. He always started out with a little bit about how he'd written songs which people wouldn't record. Then he'd start talking in vague terms about ideas he'd had for songs while staying in Morocco; things he wanted to get together. He would never come to terms about it. Brian would use the word 'song,' but at the end of two hours' conversation, you hadn't the slightest idea of what they were."
But nobody can remember the name of this song, or what it sounded like. It was supposedly "lost" after Jones' death. It is true that Brian's residence at Cotchford Farm was stripped clean of Brian's furniture, instruments, clothes and even his stash of money. Suki Poitier (Brian's girlfriend after Anita) was shocked to discover that all of Brian's valuable possessions had disappeared from his house right after his death, saying that, "the interior of the house had been ransacked". So, it is possible that this single was among those things stolen. But, if Brian's single had "just newly gone to press" as Janie Perrin states, then surely there were many more copies?
He was inspired not so much by Chuck Berry or even Little Richard as he was by Marilyn Monroe. What he offered was a wicked parody of Marilyn, consciously mimicking her style — the swivel-hipped walk, the pouty lips, the playful hair toss.
“I’m not sure why,” Jagger told Korner, “but I identify with Marilyn.”
Christopher P. Andersen, Mick: The Wild Life and Mad Genius of Jagger.
Ayer John Mayall 90. Uno de los pioneros del blues en Inglaterra, aunque en el principio de todo estaban Alexis Korner & Cyril Davies con su Blues Incorporated, ambos, Korner y Mayall, crearon sus respectivas e increíbles "escuelas". He ido subiendo en todo este tiempo algunas cosas de Mayall, pero parece que se me olvidó hablar en 2021 de "First Generation 1964-1975", cajota de 35 discos que es la integral de esos sus primeros y más brillantes años. Feliz cumpleaños máster!
La vanguardia, lo experimental, es esencial para que la rueda siga y siga girando, pero es que sin la tradición... ¡No hay rueda! Los Kinks lo resumieron mejor que nadie: "Preserving the old ways from being abused, protecting the new ways for me and for you. What more can we do?". Creo que ese es el punto.