This was one of the great songs on Sticky Fingers…which has been called their greatest album alongside Exile on Main Street.
Mick Taylor wrote this track with Jagger, believing he’d receive his due acknowledgment, but it was ultimately credited to the Jagger/Richards duo. It was the type of slight that the guitarist took in his stride in the early days but, would grow into a larger issue in the coming years.
The Black Crowes were influenced by this song heavily on their track Sister Luck… they captured the same feel. I thought of this song because of a blogger friend (Jeremy James). He doesn’t blog much any more but has a cool youtube channel. He shows how to play this slide solo. He analyzes guitar effects, and equipment, and shows how to play different songs on guitar….check him out.
Sticky Fingers was the first album The Stones recorded on their own label and the first in which Mick Taylor played guitar on nearly all the tracks. The album peaked at #1 in the Billboard Album Charts, and #1 in Canada, and #1 in the UK in 1971. They had a lot of competition that year with The Who’s Who’s Next and Led Zeppelin IV.
On December 2, 1969, the band had begun work on what would be their first album of the 1970s, and the one upon which so much of their myth and mystique would be built.
At the Muscle Shoals Sound Studio in Sheffield, Alabama, they cut three tracks Brown Sugar, Wild Horses, and You Gotta Move in three days, all of which would subsequently appear on the band’s ninth LP, Sticky Fingers. They did this before they played at the disaster that was known as Altamont…where Meredith Hunter lost his life…on December 6, 1969.
Sway
Did you ever wake up to find A day that broke up your mind Destroyed your notion of circular time
It’s just that demon life has got you in its sway It’s just that demon life has got you in its sway
Ain’t flinging tears out on the dusty ground For all my friends out on the burial ground Can’t stand the feeling getting so brought down
It’s just that demon life has got me in its sway It’s just that demon life has got me in its sway
There must be ways to find out Love is the way they say is really strutting out
Hey, hey, hey now One day I woke up to find Right in the bed next to mine Someone that broke me up with a corner of her smile, yeah
It’s just that demon life has got me in its sway It’s just that demon life has got me in its sway
It’s just that demon life has got me in its sway It’s just that demon life has got me
I posted the song Happy a while back and I was commenting on Keith Richards lead vocals. He always would sing songs that reflected him and his voice. I heard this song in the 80s and fell in love with it.
This is one of the times that Keith Richards sang the entire lead vocal. They did record a version with Jagger singing lead but decided to release the one with Richards singing.
Supersession man Nicky Hopkins played piano and organ on this. He played with The Stones on albums from Between The Buttons through Black And Blue. Along with Ian Stewart and Billy Preston, Hopkins was one of the three major contributors on keyboards for The Stones. Hopkins also played with The Beatles, Who, Kinks, and Jeff Beck.
The song was included in the Michaelangelo Antonioni 1970 film Zabriskie Point…but it wasn’t on the soundtrack. This song was the B side to the Let It Bleed single…also it was featured on the album Let It Bleed.
Supposedly Keith Richards wrote this about his then-girlfriend, Anita Pallenberg. She was with his bandmate Brian Jones before leaving Brian for Richards. This didn’t help Brian’s mental state at the time.
Brian Jones played the autoharp on this track. Jones played many unusual instruments for The Stones, and this was one of the last songs he contributed to. To be fair he rarely showed up to the Let It Bleed sessions and was not always functional when he did.
Personally, I’m a Brian Jones fan. When they got rid of him they lost their ultimate utility knife. He flavored the music with different instruments and they never sounded the same again. As much as Mick Taylor made so much of their sound from here on…that variety that Brian provided was missed.
I do understand why Mick and Keith did what they did but…it’s no secret that they dominated the songwriting and did not want songs from anyone else in the band. Taylor had to sue to get credits for songs he helped write years later after he left the band.
George Harrison and Brian Jones were close because they were in a similar situation with their respective bands. George at least got some songs on albums, unlike Brian. I would recommend any Stones fan to read Brian Jones: The Making of the Rolling Stones by Paul Trynka. Brian could be nasty and also a good guy…in other words, he was human. Sometimes it gets overlooked that Brian started The Rolling Stones.
The Stones didn’t play this live until 1999, but then it became a regular part of their otherwise hit-packed setlists. Richards was surprised how well it went over with fans.
You Got The Silver
Hey babe, what’s in your eyes?
I saw them flashing like airplane lights
You fill my cup, babe, that’s for sure
I must come back for a little more
You got my heart you got my soul
You got the silver you got the gold
You got the diamonds from the mine
Well that’s all right, it’ll buy some time
Tell me, honey, what will I do
When I’m hungry and thirsty too
Feeling foolish (and that’s for sure)
Just waiting here at your kitchen door?
Hey baby, what’s in your eyes?
Is that the diamonds from the mine?
What’s that laughing in your smile?
I don’t care, no, I don’t care
Oh babe, you got my soul
You got the silver you got the gold
If that’s your love, just leave me blind
I don’t care, no, that’s no big surprise
I had to double-check my index to make sure I didn’t post this song before. Well no I haven’t and I can’t believe it because it’s WAY up there in the top 3 of my favorite Stones songs. My order probably goes as follows… 1. Memory Motel, 2. 100 Years Ago, and 3. Happy.
This song is on one of my favorite double albums. Since I made a short list of my top 3 favorite Stones songs…I’ll make a short one of my favorite double albums. Number 1 is also my favorite album of all time…The Beatles The White Album, 2. would be Exile On Main Street (and that is where Happy is found), and number 3 The Clash London Calling. I’m thankful none of them were trimmed down.
I love Keith Richard’s voice. I wish he would have had lead vocals on more than he did. I think Jagger is terrific and the perfect singer for them but it’s a raw quality about Keith’s voice that I like. I’ve read that he sang in the choir as a youngster until cigarettes and other substances made it a little raw. The song is great and I can’t believe that Mick didn’t fight to sing this one.
I love the studio version but I also like the 1972 tour version of this song with Mick Taylor with his fat Gibson-sounding guitar driving it also. Everyone who reads me knows I’m a huge Mick Taylor fan. It’s not that I don’t like Ronnie Wood…he fits them perfectly but his and Keith’s guitar sometimes sound too much like each other with the same tones. There was no mistaking Taylor.
A few years ago Mick Taylor joined them onstage and they had that sound again as soon as he was chugging away at the chords. I want to mention one more thing about that era. Mick Taylor contributed as I said but also Jimmy Miller their producer. He needs a hell of a lot of credit for the success they had with that 5-album stretch. Without Jimmy Miller who knows if those albums would have had the same sound. Once he left…so did that sound.
Happy was recorded at Keith’s Villa Nellcote in France when The Stones left England to avoid paying taxes. They used the basement as a recording studio but had a hard time getting everyone together at once because of the party atmosphere. The only people to play on this were Keith (guitar, bass, vocals), producer Jimmy Miller (drums), and horn player Bobby Keys (percussion). Horns were dubbed in later.
The song peaked at #22 on the Billboard 100 and #9 in Canada. The B side was a song that is just as good as this one… All Down The Line. Exile On Main Street peaked at #1 on The Billboard Album Charts, Canada, and the UK in 1972.
Keith Richards:“That’s a strange song, because if you play it you actually become happy, even in the worst of circumstances. It has a little magical bounce about it. I wrote it one afternoon when we were cutting Exile on Main St. in France and the studio was in my basement. And Bobby Keys was with me and they got this lick going. So we went down and I recorded it with just guitar and Bobby Keys on baritone saxophone. While we were doing that, Jimmy Miller, who was our producer at the time, came in. And he was a very good drummer as well. So we said, well let’s put down a dub, we’ll just sort of sketch it out and play it later. But it’s another one of those things that ended up being on the record. It was just one of those moments that you get that are very happy. And I can play it now and it gives you a lift. I don’t know why except for maybe the word.”
Happy
Well I never kept a dollar past sunset
It always burned a hole in my pants
Never made a school mama happy
Never blew a second chance, oh no
I need a love to keep me happy
I need a love to keep me happy
Baby, baby keep me happy
Baby, baby keep me happy
Always took candy from strangers
Didn’t wanna get me no trade
Never want to be like papa
Working for the boss ev’ry night and day
I need a love to keep me happy
I need a love, baby won’t ya keep me happy
Baby, won’t ya keep me happy
Baby, please keep me
I need a love to keep me happy
I need a love to keep me happy
Baby, baby keep me happy
Baby
Never got a flash out of cocktails
When I got some flesh off the bone
Never got a lift out of Lear jets
When I can fly way back home
I need a love to keep me happy
I need a love to keep me happy
Baby, baby keep me happy
Baby, baby keep me happy
Baby
Happy, baby won’t you keep me
Happy, baby won’t you keep me
Happy, baby won’t you keep me
Happy, baby won’t you keep me
Happy, baby won’t you keep me
Happy, oh, keep on, baby, keep me
Happy, now baby won’t you squeeze me
Happy, oh, baby got to feel it
Happy, now, now, now, now, now keep me
Happy, my, my, my, keep me
Happy, keep on baby, keep me
Happy, keep on baby, got to
Happy, my, my, baby keep me happy
I enjoyed this book immensely. It’s almost like a fantasy book. You are a fan and suddenly you get thrown into the world with The Beatles as friends and co-workers. You move from the Beatles to the Stones, CSNY, Bob Dylan and the list kept growing.
I will say this… as a Beatle fan, this book gave me insight that I never had before. Chris O’Dell happened to meet Derek Taylor (press officer of the Beatles) in Los Angeles in 1968…she worked for him for a few weeks in LA as a PA. He told her she should come over to London to check out the new company that The Beatles were starting called Apple. He didn’t promise her a job but she took a chance and sold her records and borrowed from her parents to go to London. She was like Alice down the rabbit hole, O’Dell stumbled upon a life even she could not have dreamed of.
She took a chance and went over and that started her career working at The Beatles record company Apple. It took her a few months to get hired full time but after the Beatle’s inner circle knew she could be trusted she was there. She met Paul on her very first day. She said all of them were extremely nice and made her feel welcome. She spent the first few months showing up at the office and making herself useful and securing her place. She was especially close to George as a friend and later Ringo as a little more.
After all was said and done…she had 3 songs written about her. Two by Leon Russell called Hummingbird, Pieces Apple Lady, and George Harrison’s Miss O’Dell. She was also the “Mystery Woman” on the Rolling Stones Exile on Main Street cover. She was in the Joni Mitchell song “Coyote” with the line He’s got another woman down the hall…the song about Sam Shepard who Chris O’Dell and Joni Mitchell were seeing. She ended up singing on the Hey Jude recording in the final Na Na chorus.
She was one of the first if not the first female tour manager in rock. The tours she worked on were The Rolling Stones, CSNY, Santana, Bob Dylan, Earth Wind and Fire, Jennifer Warnes, Fleetwood Mac, Linda Ronstadt, Eric Clapton, George Harrison, Led Zeppelin, Phil Collins, Echo and the Bunnymen, ELO, and more.
We also get a glimpse into the personalities of Bob Dylan, Jagger and Richards, CSNY (and the disfunction), Eric Clapton, and more.
Like all of us through life…she made some cringe-worthy decisions. I’m not trying to play it down but most of the time everything worked out in the end. She was in the right place at the right time and took advantage of that. She remains close friends with Pattie Harrison, Ringo Starr (her son’s Godfather), and many of her old famous acquaintances.
This is not a kiss-and-tell book and she doesn’t trash people which made me happy. The only person to come out of this book bad at all is Eric Clapton who was admittedly jealous of Pattie and Chris’s friendship. After the Stones tour, she got into drugs really bad but managed to quit them only to start up again. She, later on, became a drug counselor and helped people.
This book is for more than just Beatle fans…it gives you what life was like on the road in the 1970s. Some of the highlights in the book for me were:
How the Apple Office worked including the Hell’s Angels visitors
How even the biggest stars had deep insecurities
Bob Dylan forgot his harmonicas before the Isle of Wight concert and Chris O’Dell arrived by helicopter to give them to him.
Keith Richards sending her to pick up a “package” in LA in the middle of a tour
Reading about David Crosby’s complaints of no “cross ventilation in his hotel room”
When Roger Taylor of Queen realized that she was Miss O’Dell from George’s song.
Insight into Pattie Boyd and Maureen Starkey who is hardly covered in Beatles books
Reading about how Bangledesh started and how George got his musician friends to participate.
Being on the roof during Get Back brief concert
Chris O’Dell: I think being a Beatle became very difficult for them. They had a different set of problems than the Stones and CSN&Y. They didn’t tour that much, they couldn’t go out of their hotel rooms, and they lived in a bubble. I think breaking up for them, and I can only guess, was a relief and very difficult at the same time.
Chris O’Dell:It was like being let go in Disneyland. That’s what it felt like. It’s like here are the keys to Disneyland, go and enjoy yourself. And I was constantly aware that I was watching history in the making and that was exciting. So every day had some, or certainly every week, had something, a twist to it that made it really exciting
Chris O’Dell now: I am happily remarried to a wonderful man who supports me and accepts me as I am. My twenty-three-year-old son is amazing and gives me some credibility as a parent! I have a private practice in Tucson, specializing in addiction and mental health counseling. My two dogs are happy and life is just better than I would have expected.
Excerpt from the book: On being in a room with Mick and Keith before the 72 tour.
“Listen to this fucking article in Rolling Stone about Harrison’s Bangladesh concert,” Keith said. He started reading from the article. “The Concert for Bangladesh is rock reaching for its manhood.” Keith raised an eyebrow. “Under the leadership of George Harrison, a group of rock musicians recognized, in a deliberate, self-conscious, and professional way, that they have responsibilities, and went about dealing with them seriously.” Keith looked at Mick and then at me. “Do you believe this shit? But wait, it gets better. Harrison is “a man with a sense of his own worth, his own role in the place of things… with a few parallels among his peers.” “Bollocks.” Keith laughed, tossing the magazine on the coffee table. “What a fucking load of shit.” I knew that Keith wasn’t really amused. He could be terribly insecure. What a paradox Keith was- a sweet sensitive soul who wrote songs about needing love to be happy and yet he lived his life as if he couldn’t give a shit about anything. But at that moment I wasn’t too interested in Keith’s feelings. I sat at the far end of the sofa, my legs and arms crossed, smoking a cigarette and drinking my Scotch and Coke as if it were straight Coke. I was pissed. Sure, I knew they were just being competitive, but I couldn’t stand listening to them make fun of George. I wanted to jump into the conversation and tell them to leave him alone. But what could I do? I worked for the Stones now, not the Beatles. This is weird, I know, and particularly strange in the context of the Stone’s remarkable longevity, but at that moment I had a sinking feeling that I was beginning my climb down the ladder. I’d started at the very top with the Beatles and now I was on the rung below. I found myself thinking at that moment that the Stones were sometimes a little too raw, too raunchy, too negative. I liked their music, and I liked each of them individually, but if I had to choose, the Beatles would win. “You know,” I said, trying to smile but having a hard time of it, “George is my friend.” Mick looked over at me as if he had forgotten I was there. “Oh yeah, Chris, you’re a Beatle person, aren’t you? Sorry about that” We let it go, then, but after I dropped Mick at his house and headed home through the dark canyons, I felt a sudden, intense longing to see Pattie and George. Mick was right. When it came right down to it, I was a Beatle person.”
Miss O’Dell
I’m the only one down here Who’s got nothing to say About the war Or the rice That keeps going astray on its way to Bombay. That smog that keeps polluting up our shores Is boring me to tears. Why don’t you call me, Miss O’Dell?
I’m the only one down here Who’s got nothing to fear From the waves Or the rice That keeps rolling on right up to my front porch. The record player’s broken on the floor, And Ben, he can’t restore it. Miss O’Dell.
I can tell you Nothing new Has happened since I last saw you.
I’m the only one down here Who’s got nothing to say About the hip Or the dope Or the cat with most hope to fill the Fillmore. That pushing, shoving, ringing on my bell Is not for me tonight. Why don’t you call me, Miss O’Dell?
Sorry if you have seen this already today but it vanished in the reader so I’m republishing it. it…thank you.
Today we look at a song that is best known by the live version. Midnight Rambler is up there with Sympathy For The Devil for setting an eerie atmosphere. I’ve always liked this one…partly because it’s not worn out like many other Stones songs of this era.
The Boston Strangler was the likely inspiration for this song. As for the song, while the lyrics do not directly relate to the case, Jagger implies it when he sings, “Well you heard about the Boston…” before an instrumental stab cuts him off.
n 1965, Albert DeSalvo (the Boston Strangler), who was serving time in a mental institution on rape charges, confessed to the murders and was later sentenced to life in prison. There was no clear physical evidence that DeSalvo committed the crimes, however, and his confession has been questioned, with some forensic experts stating that there may have been multiple killers. DeSalvo died in prison in 1973; new evidence has come up in the case from time to time.
This song was on their great Let It Bleed album released in 1969. But the version that is more known is the version on what I think is their best live album… Get Your Ya Ya’s Out…it was released in 1970. They recorded the version in Madison Square Gardens on their 1969 tour. The sound they had with Mick Taylor was fantastic. His guitar tone was raw and fat and it is instantly recognizable. When he joined the Stones onstage recently…the Stones had that great sound again. Since Mick Taylor left they sound really thin live…to me.
Brian Jones is credited with percussion on the studio version. Even though he died before this album was released, a few of the songs were recorded during the Beggar’s Banquet sessions in 1968.
Keith Richards:“When we did Midnight Rambler, nobody went in there with the idea of doing a blues opera, basically. Or a blues in four parts. That’s just the way it turned out. I think that’s the strength of the Stones or any good band. You can give them a song half raw and they’ll cook it.”
Mick Jagger:“That’s a song Keith and I really wrote together. We were on a holiday in Italy. In this very beautiful hill town, Positano, for a few nights. Why we should write such a dark song in this beautiful, sunny place, I really don’t know. We wrote everything there – the tempo changes, everything. And I’m playing the harmonica in these little cafés, and there’s Keith with the guitar.”
Studio Album Version
Midnight Rambler
Did you hear about the midnight rambler
Everybody got to go
Did you hear about the midnight rambler
The one that shut the kitchen door
He don’t give a hoot of warning
Wrapped up in a black cat cloak
He don’t go in the light of the morning
He split the time the cock’rel crows
Talkin’ about the midnight gambler
The one you never seen before
Talkin’ about the midnight gambler
Did you see him jump the garden wall
Sighin’ down the wind so sadly
Listen and you’ll hear him moan
Talkin’ about the midnight gambler
Everybody got to go
Did you hear about the midnight rambler
Well, honey, it’s no rock ‘n’ roll show
Well, I’m talkin’ about the midnight gambler
Yeah, everybody got to go
Well did ya hear about the midnight gambler?
Well honey its no rock-in’ roll show
Well I’m talking about the midnight gambler
The one you never seen before
Oh don’t do that, oh don’t do that, oh don’t do that
Don’t you do that, don’t you do that (repeat)
Oh don’t do that, oh don’t do that
Well you heard about the Boston…
It’s not one of those
Well, talkin’ ’bout the midnight… sh…
The one that closed the bedroom door
I’m called the hit-and-run raper in anger
The knife-sharpened tippie-toe…
Or just the shoot ’em dead, brainbell jangler
You know, the one you never seen before
So if you ever meet the midnight rambler
Coming down your marble hall
Well he’s pouncing like proud black panther
Well, you can say I, I told you so
Well, don’t you listen for the midnight rambler
Play it easy, as you go
I’m gonna smash down all your plate glass windows
Put a fist, put a fist through your steel-plated door
Did you hear about the midnight rambler
He’ll leave his footprints up and down your hall
And did you hear about the midnight gambler
And did you see me make my midnight call
And if you ever catch the midnight rambler
I’ll steal your mistress from under your nose
I’ll go easy with your cold fanged anger
I’ll stick my knife right down your throat, baby
And it hurts!
This song was on the Infidels album. That is my favorite Dylan album of the 80s by far. I wore it out when I bought it. Great album. Songs like Jokerman, Neighborhood Bully, Union Sundown, and many more.
I liked the song straight off. It did remind me of the old line that has been used over and over again in bars and clubs ALL over the world.
Sometimes it’s hard to post Dylan’s music because of the varied meanings of his songs…so I don’t even try to decipher them. I will say this though…the melody and lyrics flow perfectly. Dylan isn’t known much for ballads but this is a great one.
The first time I heard this song was watching a video of it. That led me to get the album. It was Dylan’s first music video in the MTV era and it pulled me in to buy the album. The video for the song featured Carla Olson, Steve Ripley, drummer Charlie Quintana, and Clydie King. In the clip, Olson mimes former Rolling Stone Mick Taylor’s guitar part and solo.
Dylan recorded this song with an all-star cast. Dire Straits’ Mark Knopfler and the Stones’ Mick Taylor on guitar, Alan Clark on keyboards, Robbie Shakespeare on bass, and Sly Dunbar on drums.
Dylan’s previous album Shot of Love was released in 1981 and wrapped up a trilogy of Christian-based albums. Infidels was thought to be his return to secular music but he kept biblical imagery in this song. Lines such as “They say in your father’s house, there’s many a mansions” which is a reference to John 14:2 – In my Father’s house are many mansions: if it were not so, I would have told you. I go to prepare a place for you.
The album peaked at #20 in the Billboard Album Charts, #14 in Canada, #4 in New Zealand, and #9 in the UK in 1983. Sweetheart Like You peaked at #55 on the Billboard 100 in 1984.
British engineer Ian Taylor talks about Bob: “He was very specific about how the solo should start, it wasn’t about the sound he wanted, but the first few notes. He wanted the guitar solo at the end, the last thing you hear. So he wanted it to embellish the spirit of the song.”
Joni Mitchell considers Sweetheart Like You one of her favorite Bob Dylan songs ” for its Damon Runyon style of storytelling” and she recorded it on her “Artist’s Choice: Joni Mitchell—music that matters to her” compilation released through Starbucks in 2005.
Chrissie Hynde also recorded the song on her Standing in the Doorway: Chrissie Hynde Sings Bob Dylan album.
Sweetheart Like You
Well the pressure’s down, the boss ain’t here He’s gone North, for a while They say that vanity got the best of him But he sure left here in style By the way, that’s a cute hat And that smile’s so hard to resist But what’s a sweetheart like you doing in a dump like this?
You know, I once knew a woman who looked like you She wanted a whole man, not just a half She used to call me sweet daddy when I was only a child You kind of remind me of her when you laugh In order to deal in this game, got to make the queen disappear It’s done with a flick of the wrist What’s a sweetheart like you doing in a dump like this?
You know a woman like you should be at home That’s where you belong Taking care for somebody nice Who don’t know how to do you wrong Just how much abuse will you be able to take? Well, there’s no way to tell by that first kiss What’s a sweetheart like you doing in a dump like this?
You know you can make a name for yourself You can hear them tires squeal You could be known as the most beautiful woman Who ever crawled across cut glass to make a deal.
You know, news of you has come down the line Even before ya came in the door They say in your father’s house, there’s many a mansions Each one of them got a fireproof floor Snap out of it baby, people are jealous of you They smile to your face, but behind your back they hiss What’s a sweetheart like you doing in a dump like this?
Got to be an important person to be in here, honey Got to have done some evil deed Got to have your own harem when you come in the door Got to play your harp until your lips bleed. They say that patriotism is the last refuge To which a scoundrel clings Steal a little and they throw you in jail Steal a lot and they make you king There’s only one step down from here, baby It’s called the land of permanent bliss What’s a sweetheart like you doing in a dump like this?
If I had to pick my favorite Stones song they covered…this one would be high up there. I like the intro and Keith’s sloppy guitar solo that was perfect for it.
The Stones covered this song in 1974 on the It’s Only Rock ‘n’ Roll album. Later in 1978 they would cover another Temptations song called Just My Imagination.
The Stones originally planned for Dobie Gray’s “Drift Away” as the only cover song on It’s Only Rock ‘n’ Roll, but they bumped it for this. Billy Preston plays the funky piano on this song, and it really makes it.
It’s Only Rock and Roll would be the last album that Mick Taylor worked on. Ron Wood would eventually replace him on guitar. Wood probably fit in with the Stones more than Taylor…but Taylor had a sound that was never replicated again. The albums he played on are considered to be the Stones best.
This was written by Motown writers Norman Whitfield and Eddie Holland. Holland, who was part of the Holland/Dozier/Holland writing team, wrote the lyrics. The Temptations version peaked at #13.
Other covers of this song include Phil Collins, TLC, and the one and only Rick Astley… whom the Internet’s never going to give up..
The song peaked at #17 in the Billboard 100 and #14 in Canada in 1974.
Paul McCartney:“There were two songs I turned Mick onto that the Stones have done. One was She Said Yeah and the other was Ain’t Too Proud To Beg. Mick would deny it – ‘Wot? Never saw him, never met him’ – but I distinctly remember having him up into a little music room and playing it to him. He loved it and he went and did it. We’ve messed around with the track a little bit, but it is sort of like my memory of the original.”
Ain’t Too Proud To Beg
I know you wanna leave me, But I refuse to let you go, If I have to beg, plead for your sympathy, I don’t mind ’cause you mean that much to me.
Ain’t too proud to beg and you know it, Please don’t leave me girl, Don’t you go, Ain’t too proud to plead, baby, baby, Please don’t leave me, girl, Don’t you go.
Now I’ve heard a cryin’ man Is half a man with no sense of pride, But if I have to cry to keep you, I don’t mind weepin’ if it’ll keep you by my side.
Ain’t too proud to beg and you know it, Please don’t leave me girl, Don’t you go, Ain’t too proud to plead, baby, baby, Please don’t leave me, girl, Don’t you go.
If I have to sleep on your doorstep all night and day Just to keep you from walking away, Let your friends laugh, even this I can stand, ’cause I wanna keep you any way I can.
Ain’t too proud to beg and you know it, Please don’t leave me girl, Don’t you go, Ain’t too proud to plead, baby, baby, Please don’t leave me, girl, Don’t you go.
Now I’ve got a love so deep in the pit of my heart, And each day it grows more and more, I’m not ashamed to call and plead to you, baby, If pleading keeps you from walking out that door.
Ain’t too proud to beg and you know it, Please don’t leave me girl, Don’t you go, Ain’t too proud to plead, baby, baby, Please don’t leave me, girl, Don’t you go.
One of my favorite intros to any song. Billy Preston did a funky clavinet intro that sounds dark and huge. Mick Taylor’s solo on this song is perfect…without Mick Taylor they would have made those stretch of albums in the late sixties and early seventies but they would have sounded different. When Mick Taylor quit…they lost their sound from this period.
The song peaked at #15 in the Billboard 100 in 1974. It was on the great album Goats Head Soup which peaked at #1 in 1973.
From Songfacts
This tells two stories, a young man shot by police in a case of mistaken identity, and a 10-year girl who dies in an alley of a drug overdose. Neither is based on a true story, but is a commentary on urban America.
The horns were arranged by trumpet player Jim Price, who along with Bobby Keys on sax, provided the brass on records and tours for The Stones in the early ’70s. This was the last time Price recorded with The Stones. He went on to produce other artists, including Joe Cocker.
Keith Richards played bass and shared lead guitar duties with Mick Taylor.
Billy Preston played the piano.
The Stones played this on their 1973 European tour, even though it describes events in America.
Chuck Findley played trumpet on this. Other artists he worked for include George Harrison, Quincy Jones, Diana Ross, the Carpenters, Julio Iglesias, Rod Stewart, Robert Palmer and Madonna.
Doo Doo Doo Doo Doo Heartbreaker
The police in New York City They chased a boy right through the park And in a case of mistaken identity The put a bullet through his heart
Heart breakers with your forty four I want to tear your world apart You heart breaker with your forty four I want to tear your world a part
A ten year old girl on a street corner Sticking needles in her arm She died in the dirt of an alleyway Her mother said she had no chance, no chance!
Heart breaker, heart breaker She stuck the pins right in her heart Heart breaker, pain maker Stole the love right out of you heart
Oh yeah, oh yeah Want to tear your world apart Oh yeah, oh yeah Want to tear your world apart
Heart breaker, heart breaker You stole the love right out of my heart Heart breaker, heart breaker I want to tear that world I want to tear that world I want to tear that world apart
Heart breaker, heart breaker Stone love, stone love Oh yeah, oh yeah
Heartbreaker, heartbreaker Want to tear that world apart
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