The Rolling Stones
In 1968 the artist Brion Gysin invited Rolling Stones guitarist Brian Jones to record a group of traditional Jbala Sufi trance musicians—better known as the Master Musicians—perform at the village of Jajouka in northern Morocco.
Gysin had long been familiar with the Master Musicians having been introduced to them and “Joujouka” music by writer Paul Bowles in 1950. Gysin thought the music of “the people of Pan” would be of some interest to Jones. Jones agreed. He traveled with Gysin to Jajouka, accompanied by his then girlfriend Suki Potier, recording engineer George Chkiantz, and painter/folklorist Mohamed Hamri.
Morocco was a favorite holiday destination for the Rolling Stones as it offered easy access to marijuana. Keith Richards later described the experience as a fantasy where they were “transported” and…
You could be Sinbad the Sailor, One Thousand and One Nights.
Jones used a Uher recorder to capture the songs performed by the Master Musicians. These recordings included songs for Jajouka’s “most important religious holiday festival, Aid el Kbir” when a young boy is dressed as Bou Jeloud the Goat God in the “skin of a freshly slaughtered goat.” The boy then runs around the village as the music becomes increasingly frenzied. Gysin claimed this was a ritual to protect the villagers’ health. He said the festival harked back to an ancient pre-Roman festival Lupercalia, held in mid-February as a cleansing and fertility ritual to ward off evil spirits.
As Gysin later told Stanley Booth (and a very drunk William Burroughs) in a rambling tale in 1970—as recounted Booth’s book The True Adventures of the Rolling Stones—Jones and his companions were guests at traditional meal in the village, when Jones had an epiphanic vision—or more likely he tripped out—and believed himself to be a goat.
‘I would really like to talk about Joujouka and what that music is and what Brian got on tape and how it ever happened that he got there. How does he [Jones] appear in your book?’
‘Brian? As—well—sort of—as a little goat god, I suppose.’
‘I have a funny tale which I’ll tell you about just that. A very funny thing happened up there. The setting was extremely theatrical in that we were sitting under a porch of a house made of wattles and mud. Very comfortable place, cushions were laid around like a little theatre, like the box of an old-fashioned theatre, and a performance was going on in the courtyard. And at one moment—dinner obviously had to be somewhere in the offing, like about an hour away, everybody was beginning to think about food—and we had these acetylene lamps, giving a great very theatrical glow to the whole scene, rather like limelight used to be, a greenish sort of tone.’
[Okay Brion we get the picture it was very very very very very very theatrical…now get on with the story….]
‘And the most beautiful goat that anybody had ever seen—pure white!—was suddenly led right across the scene, between Brian and Suki and Hamri and me [...] so quickly that for a moment hardly anybody realized at all what was happening, until Brian leapt to his feet, and he said, “That’s me!” and was pulled down and sort of subsided, and the music went on, and it went on for a few minutes like that, and moments lengthened into an hour, or two hours, which can sometimes be three hours or four hours or five hours—-’
‘Long as it takes to kill a goat,’ Burroughs said.
‘—and we were absolutely ravenous, when Brian realized he was eating the same white goat.’
‘How did he take that?’
‘He said, “It’s like Communion.”’
‘“This is my body,’” I [Booth] said. ‘But Jesus didn’t eat himself, he fed the others.’
‘If he’d been sensible, he’d have eaten Judas,’ Burroughs said. ‘I’m gonna eat Graham Greene next time I see him. Gulp!’
Continues after the jump…