Brian Jones/The Rolling Stones
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Brian Jones/The Rolling Stones

Details
Brian Jones/The Rolling Stones
An important hand-written nine-page letter from Brian Jones to the girl who became the first Rolling Stones' fan club secretary, giving background details to the group prior to their first record release, written by Jones on behalf of The Rolling Stones, from 102, Edith Grove, London S.W.10, April 5th, 1963, in blue ink on blue notepaper, the letter thanking Doreen [whose secretarial name became Diane Nelson] for her interest in the band
- revealing a hint of the group's vulnerability at this nascent stage in their careers, Jones' wrote: ...It's very gratifying that you should be so willing to help us to the extent you are doing so...
- Jones gives brief biographies of the individual band members: Keith Richards - Guitar - 19...Went to Art School, then straight to Rhythm 'n Blues; Mick Jagger - Vocal, Harmonica, 19...London School of Economics..; Charlie Watts, 21... now full-time musician. (Drummer)..; Ian Stewart - Piano, 23 ..works with I.C.I. as a Shipping Clerk...; Bill Wyman - Bass, 23 [actually he was 27] ..works during the days as a storekeeper or something equally horrible....only member of band married - only one who'll ever be married...; Myself, Brian Jones - Guitar and Harmonica, 21...was studying architecture - more artistic satisfaction from R&B..
- Jones continues the letter with details of the band's Formation & History, describing the group as an amalgamation of two bands, Jones' year old R&B group and Richards' and Jagger's group from S.E.London, suggesting that the impetus to merge the two groups came from Richards and Jones, ...I was introduced to Keith & we decided to pool our resources, so with Stu from my band, and Mick from Keith's we became the nucleus of the "Stones"..
- On the third page [numbered 2] Jones' gives a fascinating detailed list of all the jobs The Stones had done to date in the London region, from The Marquee, Oxford Street; to their first residency at The Ealing Club, Ealing Broadway, where they were joined initially by Charlie Watts and later by Wyman, Jones states that by the time of this letter they had played in most parts of London and were already aware of their burgeoning popularity: We are finding our style of Rhythm 'n Blues is more readily acceptable than most others in the country at the moment..every Sunday evening we play the Station Hotel, Richmond - which has been described as one of the most hip sessions in London.... Jones later confides that the acoustics, atmosphere and conditions at their regular spot in Richmond mean that they play better there than anywhere else, and that around the London region in Windsor, Golders Green, Sutton, Sidcup etc. ..We have ..a habit of breaking attendance records...
- Discussing the band's recording career to date, Jones mentions that they have an agreement with an independent recording company, I.B.C. through which they have cut a number of tracks, there is a sense of frustration that they are unaware at this stage how close they are to their first release [June 7th, 1963] ...We have already cut quite a few sides, all...commercial..We ourselves do not know how negotiations for release are progressing at the moment...
- In answering a question raised by Doreen regarding the proportion of Blues material in their sets, Jones gives an insight into the forethought the group put into their performances, describing how they temper the kind of music they play to suit the audience: ...blues are not easy to put over to the average club audience. They prefer something more in the twisting, jumping line...
- Jones analyses the Stones' sound by comparing it to a form of jazz, where unusually the emphasis is on the complete picture rather than sections of it: ...Your point about people listening to the sound overall rather than the singer was quite correct....Unlike most forms of jazz the accent in R&B should not be on soloists but on an overall integrated group sound - hence the absence of strings of solos...
- It is interesting to note that at this fledgling stage of their careers, prior to having a full-time manager, or even a photograph to send Doreen, although Brian Jones was clearly the group's spokesman, it was Ian Stewart, who held down a steady day job, whom Jones cites as the Rolling Stones' only point of telephonic contact: ...Ask for Mr. Stewart, London Shipping Department during the day or at his home...in the evening...
- Jones' closing paragraph conveys a sense of his devotion to Blues and to the group's future: ...we thank you for your interest in Rhythm and Blues and ourselves. It's wonderful music and deserves more recognition... signing off Yours Sincerely, Brian Jones for "Rolling Stones".., 9pp.; and corresponding envelope, addressed in Brian Jones' hand and frankmarked 11 Apr. 1963, West Brompton, S.W.10
Literature
AEPPLI, Felix Heart of Stone - The Definitive Rolling Stones Discography 1962-1983, Michigan: 1985
CARR, Roy The Rolling Stones - An Illustrated Record, London: New English Library, 1976
WYMAN, Bill Stone Alone, London: Viking, 1990, p.125
Special notice
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Lot Essay

Doreen or Diane Nelson as she became known when fan club secretary, confessed that she led the Rolling Stones on somewhat, when she first met them on March 29th, 1963, at a club called the Wooden Bridge at Guildford in Surrey. The sixteen-year-old, had a crush on Mick Jagger, and in a gap between songs, in response to a dare, she went up to Jagger and said to him 'How would you like to be on TV?'. He replied 'Very Much...' and apparently turned to Brian Jones, to tell him what she had said. Then it was Jones who asked her to come and talk to them after the set. Doreen, had in fact been on TV the week before, on Juke Box Jury. She had been picked from the audience to go on David Jacobs' Hit & Miss panel. Having talked to Jones, who was very much the band's spokesman, after the show, Doreen devoted her time to spreading the word about the Rolling Stones. She said she felt guilty that she had perhaps raised their hopes and went straight home that night and wrote to David Jacobs to tell him what she had done, and to ask if he could arrange an audition for them. Working in a bank by day, and at night devoting every moment of her spare time writing numerous letters to the BBC, Melody Maker, Record Mirror, Valentine, Mirabelle, Honey, Girl, Daily Mirror, Easy Beat, Disc Magazine, NME, Alan Freeman, Keith Fordyce, Saturday Club, Jack Jackson, Tony Hall, Pete Murray, Radio Luxenbourg and Pop Weekly. She even wrote to Val Parnell to request that he should have the Stones on Sunday Night at the London Palladium, four years before they actually made it to that spot. In fact, she learnt some years later, that hers was the second letter the BBC received about the group, following one that Brian Jones himself had written.

Doreen recalls that on June 7th, 1963, the date of the Stones' first release, she met the group, again at the Wooden Bridge, and Brian asked her if she would become their fan club secretary. He told her that they needed someone with drive and initiative to work for them, asking her to write to Eric Easton their manager. Doreen still has a letter from Easton dated 14th June, 1963 giving her permission to run the Fan Club. Bill Wyman's recollection of this event differs slightly in detail to Doreen's, however he did state that Doreen's approach to the Stones, gave them a sense that ..things were changing gear.. having given her the go ahead to be their fan club secretary, the following evening, Wyman wrote ...we decided that Doreen might be on to something. The 'Hyperheradox R & B voluptuousness from the tempestuously transporting Rolling Stones', as Georgio [Gomelski] now described us, attracted more than 300 fans to the Richmond club!

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