Rolling Stones – Rip This Joint…Sunday Album Cut

This was recorded during an all-night session at Keith Richards’ rented villa in the South of France. The band rented houses in the area and used Keith’s basement as a studio.

This song was on Exile On Main Street and it’s an incredibly driven song. It comes right at you and never slows down.

Understanding lyrics in Rolling Stones songs has always been a challenge but Mick’s voice is lower than usual in this one. The song contains some obscenities and sexual references, but they are very hard to understand.

But no worries… just sit back and enjoy the ride and this song takes you on one. It also contains references to President Nixon and his wife Pat, but they are almost impossible to understand.

Exile on Main street peaked at #1 in the Billboard 100, Canada, and the UK in 1972.

It’s Sunday…just turn this up to full blast and enjoy it.

 

From Songfacts

The “Butter Queen” is a reference to a famous groupie known as “Barbara the Butter Queen.” Her real name was Barbara Cope, and she would do her thing when bands came through Dallas. She was very proficient, and had a killer gimmick: she would use a stick of butter when servicing the rock stars and crew. The butter supposedly made her activity smell like movie theater popcorn.

This song was particularly inspirational to Aerosmith’s Steven Tyler. He told Rolling Stone magazine: “When I went to my first rehab, at a place called Hazelden, I brought Exile on Main St. on cassette. I remember waking up the first morning there and realizing I hadn’t been sober once for the past 12 or 15 years, from LSD to heroin and cocaine and acid. The only way I could get a buzz at that point was to listen to ‘Rip This Joint.'”

Rip This Joint

Mama says yes, Papa says no
Make up your mind ’cause I gotta go
We’re gonna raise hell at the Union Hall
Drive myself right over the wall

Rip this joint, gonna save your soul
Round and round and round we go
Roll this joint, gonna get down low
Start my starter, gonna stop the show (Yeah)

Whoa, yeah!
Mister President, Mister Immigration Man
Let me in, sweetie to your fair land
I’m Tampa bound and Memphis too
Short Fat Fanny is on the loose
Dig that sound on the radio
Then slip it right across into Buffalo
Dick and Pat in ole DC
Well they’re gonna hold some shit for me

Ying yang, you’re my thing
Oh, now, baby, won’t you hear me sing
Flip Flop, fit to drop
Come on baby, won’t you let it rock?

Oh yeah! Oh yeah!
From San Jose down to Santa Fe
Kiss me quick, baby, won’tcha make my day
New Orleans with the Dixie Dean
To Dallas, Texas with the Butter Queen

Rip this joint, gonna rip yours too
Some brand new steps and some weight to lose
Gonna roll this joint, gonna get down low
Round and round and round we’ll go
Wham, Bham, Birmingham, Alabam’ don’t give a damn
Little Rock and I’m fit to top
Ah, let it rock

Rolling Stones – Beast Of Burden

This one was always a favorite of mine of the Stones. Keith Richards wrote this, but a lot of the lyrics were improvised in the studio. While the band played, Jagger came in with different lines to fit the music.

This song is a good example of the Rolling Stones tapestry of guitars. Keith and Ron Wood weave their guitars in and out until the two guitars are almost indistinguishable from each other.

The song peaked at #8 in the Billboard 100 and #9 in Canada.

The song was on Some Girls released in 1978. It was perhaps their last great album although I did like Tattoo You. Some Girls peaked at #1 in the Billboard Album Charts and #1 in Canada, and #2 in the UK.

Keith Richards: “Those who say it’s about one woman in particular, they’ve got it all wrong. We were trying to write for a slightly broader audience than just Anita Pallenberg or Marianne Faithfull. Although that’s not to say they didn’t have some influence in there somewhere. I mean, what’s close by is close by! I’ve always felt it’s one of my best soul songs. It was another strict collaboration between Mick and me. I think I had the first verse—‘I’ll never be your beast of burden’—along with the hook, and we were still working very much in our traditional way: Here’s the idea, here’s the song, now run away and fill it in! Some of the theories surrounding it are very intriguing, but they’re about as divorced from reality as can be. I find it quite amusing that there are people in the world who spend a lot of their time trying to decode something that is, at the end of the day, completely undecodable. I mean, even I’ve forgotten the code!”

From Songfacts

Sometimes misunderstood as a putdown, this is a rare Stones song that treats women as equals. Jagger sings that he “Don’t need no beast of burden.”

This isn’t about a specific woman. Most women in Stones’ songs are composites of many.

A live version from their 1981 US tour was used as the B-side of their “Going To A Go-Go” single.

A beast of burden is an animal that labors for the benefit of man, like an ox or a pack mule.

This song could be allegorical – it was written by Keith as a kind of homage to Mick for having to carry the band while Keith was strung out on heroin: “All your sickness I can suck it up, throw it all at me, I can shrug it off.” 

The Chinese ministry of culture ordered The Stones not to play this when they performed there in 2003. It was going to be the first time The Stones played in China, but they canceled because of a respiratory disease that was spreading through the country.

Whilst Richards spent much of the ’70s insulating himself with drugs, former London School of Economics student Jagger was running the band. However, by the time of Some Girls, Richards wanted to share the workload. Mojo magazine January 2012 asked Richards how much this song was about his relationship with Jagger? He replied; “Mick wrote a lot of it but I laid the general idea on him. At the time Mick was getting used to running the band. Charlie was just the drummer, I was just the other guitar player. I was trying to say, ‘OK I’m back, so let’s share a bit more of the power, share the weight, brother.”

Beast Of Burden

I’ll never be your beast of burden
My back is broad but it’s a hurting
All I want for you to make love to me
I’ll never be your beast of burden
I’ve walked for miles my feet are hurting
All I want for you to make love to me

Am I hard enough?
Am I rough enough?
Am I rich enough?
I’m not too blind to see

I’ll never be your beast of burden
So let’s go home and draw the curtains
Music on the radio
Come on baby make sweet love to me

Am I hard enough?
Am I rough enough?
Am I rich enough?
I’m not too blind to see

Oh little sister
Pretty, pretty, pretty, pretty, pretty girls
Uh you’re a pretty, pretty, pretty, pretty, pretty, pretty girl
Pretty, pretty, such a pretty, pretty, pretty girl
Come on baby please, please, please

I’ll tell ya
You can put me out
On the street
Put me out
With no shoes on my feet
But, put me out, put me out
Put me out of misery, yeah

All your sickness I can suck it up
Throw it all at me
I can shrug it off
There’s one thing baby
I don’t understand
You keep on telling me
I ain’t your kind of man

Ain’t I rough enough, ooh baby
Ain’t I tough enough
Ain’t I rich enough, in love enough
Ooh, ooh please

I’ll never be your beast of burden
I’ll never be your beast of burden
Never, never, never, never, never, never, never be

I’ll never be your beast of burden
I’ve walked for miles, my feet are hurting
All I want is you to make love to me
Yeah

I don’t need the beast of burden
I need no fussing
I need no nursing
Never, never, never, never, never, never, never be

Rolling Stones – Far Away Eyes

And the preacher said, you know you always have the Lord by your side
And I was so pleased to be informed of this that I ran
Twenty red lights in his honor
Thank you Jesus, thank you Lord

When I saw the Rolling Stones in the 90s there was a vote on a song for them to play. This one won and I didn’t suspect it. Frankly, I would rather hear this than yet another version of Satisfaction or Jumping Jack Flash although I love those songs.

Mick said he wrote this after driving through Bakersfield on a Sunday morning. He would listen to the country music stations and they would many times be broadcasting black gospel church services.

This tongue in cheek song was released as the B-side to Miss You. It’s a fun song because it’s so unlike them.

Mick Jagger: “I knew Gram Parsons quite well, and he was one of the few people who really helped me to sing country music — before that, Keith and I used to just copy it off records. I used to play piano with Gram, and on “Faraway Eyes” I’m playing piano, though Keith is actually playing the top part — we added it on after. But I wouldn’t say this song was influenced specifically by Gram. That idea of country music played slightly tongue in cheek — Gram had that in “Drugstore Truck Drivin’ Man,” and we have that sardonic quality, too.

 

Far Away Eyes

I was driving home early Sunday morning through Bakersfield
Listening to gospel music on the colored radio station
And the preacher said, you know you always have the Lord by your side
And I was so pleased to be informed of this that I ran
Twenty red lights in his honor
Thank you Jesus, thank you Lord

I had an arrangement to meet a girl, and I was kind of late
And I thought by the time I got there she’d be off
She’d be off with the nearest truck driver she could find
Much to my surprise, there she was sittin’ in the corner
A little bleary, worse for wear and tear
Was a girl with far away eyes

So if you’re down on your luck
And you can’t harmonize
Find a girl with far away eyes
And if you’re downright disgusted
And life ain’t worth a dime
Get a girl with far away eyes

Well the preacher kept right on saying that all I had to do was send
Ten dollars to the church of the Sacred Bleeding Heart Of Jesus
Located somewhere in Los Angeles, California
And next week they’d say my prayer on the radio
And all my dreams would come true
So I did, the next week, I got a prayer with a girl
Well, you know what kind of eyes she got, well I’ll tell ya

So if you’re down on your luck
I know you all sympathize
Find a girl with far away eyes
And if you’re downright disgusted
And life ain’t worth a dime
Get a girl with far away eyes

So if you’re down on your luck
I know you all sympathize
Get a girl with far away eyes

Rolling Stones – Scarlet

Another new old song from the upcoming reissue of Goats Head Soup. This one features Jimmy Page and was probably named after his daughter. It has a very cool groove to it.

The Stones’ Keith Richards has his own recollections on how “Scarlet” took shape and how “we walked in at the end of a Zeppelin session. They were just leaving, and we were booked in next and I believe that Jimmy decided to stay.”

“Scarlet” was a freak accident. “We weren’t actually cutting it as a track,” enthuses Richards in a statement, “it was basically for a demo, a demonstration, you know, just to get the feel of it, but it came out well, with a line up like that, you know, we better use it.‘’

https://www.billboard.com/articles/news/9422217/rolling-stones-drop-long-lost-track-scarlet-featuring-jimmy-page-stream-it-now

Keep digging in those vaults guys.

Scarlet

Baby you excite me
But you talk too much
Won’t stand on a corner
Love you more, oh yeah

Scarlet, why you wearing my heart, on your sleeve
Where it ain’t supposed to be

Scarlet, why you tearing my heart, all to pieces
It ain’t the way it’s supposed to be

Scarlet, why are you keeping my heart, to yourself
It ain’t the way it’s supposed to be

Scarlet, Scarlet
Ooh yeah!

You don’t have to change your mind
And leave this neighbourhood so far behind
Honey you don’t have to cry no more
When I come a knocking, right at your front door

Scarlet, Scarlet, Scarlet

Scarlet, why you wearing my heart, on your sleeve
Where it ain’t supposed to be
Scarlet, Scarlet, oh

Scarlet, Scarlet, Scarlet
Why you wearing my heart

Scarlet, why you wearing my heart
Scarlet, why you wearing my heart
Scarlet, why you wearing my heart
Scarlet

Rolling Stones – Criss Cross

A new old song from the Stones. This song has been in the vault…it will be included with the reissued “Goats Head Soup,” out Sept. 4. Two more unheard tracks will be on the reissue. Thanks to Deke for pointing this song out last week.

It’s a cool funky track produced by Jimmy Miller.

“The remastered “Goats Head Soup” box set and deluxe editions will all feature 10 bonus tracks, including “Criss Cross,” the previously unheard “Scarlet,” featuring guitar by Jimmy Page, and a third newly unearthed song, “All The Rage.” All three songs were recorded more than 40 years ago but were never officially released until now.

https://www.loudersound.com/news/the-rolling-stones-launch-video-for-previously-unreleased-track-criss-cross

Criss Cross

Baby. Ooh!
Baby
Save me. Ooh!
Save me. Ah!
Yeah, here come a woman
Givin’ me a criss cross mind
Save me
Save me. Ooh!
Yeah, here come a woman
Giving me a criss cross mind
Oh I got a lotta knots in my hair
I can’t seem to straighten out
Ah, I think I need a blood transfusion
Yeah, here come a lady
Giving’me a criss cross mind

Darling
Darling
Ooh!
Touch me
Ooh, yeah!
Kiss me
Ooh, yeah! Ooh, yeah!
Lip to lip
Fingertip
Skin to skin
Ring to ring
Tongue to tongue
Thigh to thigh
Oh baby
Yeah
All the time
Baby
Save me
Yeah here come a lady
Giving’ me a criss cross mind
Mama walkin’ around in the rain
She want you every night
An’ think I need a blood transfusion
Yeah here come a woman
Givin’ me a criss cross mind
Yeah, yeah
Darling
Darling
Baby
Save me. Save me. Save me. Save me
And feed me, yeah
Baby. Baby. Baby
Save me
Cheek to cheek
Ohh yeah
Tounge to tounge

Rolling Stones – I’ve Got The Blues—–Sunday Album Cut

This is a perfect song for a slow Sunday…kick back and enjoy this 1971 classic song by the Stones.

Mick Jagger wrote the lyrics about his breakup with Marianne Faithfull.

Bobby Keys played the saxophone on this track and Jim Price, who also came up with the horn arrangements, played the trumpet. They both joined The Stones for their 1970 European tour. Billy Preston also played the gospel organ on this track.

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 the UK.

Many consider this and Exile on Mainstreet their best albums.

I’ve Got The Blues

As I stand by your flame
I get burned once again
Feelin’ low down, I’m blue

As I sit by the fire
Of your warm desire
I’ve got the blues for you, yeah

Every night you’ve been away
I’ve sat down and I have prayed
That you’re safe in the arms of a guy
Who will bring you alive
Won’t drag you down with abuse

In the silk sheet of time
I will find peace of mind
Love is a bed full of blues

And I’ve got the blues for you
And I’ve got the blues for you
And I’ll bust my brains out for you
And I’ll tear my hair out
I’m gonna tear my hair out just for you
If you don’t believe what I’m singing
At three o’clock in the morning, babe, well
I’m singing my song for you

Rolling Stones – Dance Little Sister

If this doesn’t get you going on a Sunday morning nothing will. Dance Little Sister was the B side to “Ain’t Too Proud To Beg” released in 1974. Thank goodness for B sides like this.

This is a great album track by the Stones. Keith Richard’s rhythm guitar just drives you in the ground…it is relentless. Dance Little Sister was on the It’s Only Rock and Roll Album and it’s an album that to me…wasn’t up to the previous five albums standards. One reason could be that Jimmy Miller was not the producer. I do like the album though…it has the great title track and some other good songs…including this one.

The album peaked at #1 in the Billboard Album Chart, #5 in Canada, and #2 in the UK in 1974,

Tracks like this make the Stones the Stones. Turn it up to 11 and have a great Sunday.

Dance Little Sister

On Thursday night she looked a fright
Her pricky hair all curled, oh what a sight
Dance, dance, little sister, dance

On Friday night, she all decked out
Her high heel shoes, her dress so tight
Dance, dance little sister, dance

On Saturday night she bass-a-dee
She stepping high on Frederick’s Street
Dance, dance, little sister, dance

I said, “Dance, dance little sister, dance
Dance little sister, dance
Dance little sister, dance”
I said, “Dance, dance little sister, dance
Dance little sister, dance
Dance little sister, dance”

It make me hot, I wet with sweat
It burn like hell, I’ve four hours left
Dance, dance little sister, dance

Get next to me, drive me close
Don’t mammaguay, I lose control
Dance, dance with fire, dance

I said, “Dance, dance little sister, dance
Dance little sister, dance
Dance little sister, dance”
I said, “Dance, dance little sister, dance
Dance little sister, dance
Dance little sister, dance”

Ah, jump out of Africa
With a step that looks so bold
Ah, when you’re kickin’ high
It make my blood run cold

I said, “Dance, dance little sister, dance
Dance little sisters, dance
Dance little sister, dance”
I said, “Dance, dance little sister, dance
Dance little sister, dance
Dance little sister, dance”

I said, “Dance, dance little sister, dance
Dance little sister, dance
Dance little sister, dance”

On Saturday night we don’t go home
We bacchanal, ain’t no dawn
Dance, little sister, dance

I said, “Dance, dance little sister
Dance little sister
Dance little sister, dance”
I said, “Dance, dance little sister
Dance little sister
Dance little sister, dance”

Rolling Stones – Street Fighting Man

The tone of this track is ominous. What a powerful statement The Stones were making in this song. With me growing up in the late 70s and 80s I didn’t grasp what the song was getting across when I first heard it. We didn’t have the turmoil that was going on during the sixties happening at that time.

Now the tone…something about the sixties that is missing today is the low fi experimenting. Keith Richards started developing this song in late 1966 but had a hard time getting the sound he was after. The breakthrough came when he bought a Philips cassette recorder and realized he could get a dry, crisp sound by playing his acoustic guitar into it and overloading it. The only electric instrument on the entire song is the bass. The guitar you hear is coming from an old Philips cassette recorder.

Philips Cassette Recorder

Charlie Watts used a 1930s toy drum kit called a London Jazz Kit Set…it was something close to this…

The song was released in 1968 and was on Beggars Banquet. The song peaked at #48 in the Billboard 100, #21 in the UK, and #32 in Canada.

From Songfacts

This song deals with civil unrest in Europe and America in 1968. There were student riots in London and Paris, and protests in America over the Vietnam War. The specific event that led Mick Jagger to write the lyric was a demonstration at Grosvenor Square in London on March 17, 1968. Jagger (along with Vanessa Redgrave), joined an estimated 25,000 protesters in condemning the Vietnam War.

The demonstrators marched to the American embassy, where the protest turned violent. Mounted police charged the crowd, which responded by throwing rocks and smoke bombs. About 200 people were taken to the hospital and another 246 arrested. Jagger didn’t make it to the embassy: before the protest turned violent, he abandoned it, returning to his home in nearby Cheyne Walk. Jagger realized that his celebrity was a hindrance to the protest, as his presence distracted from the cause.

This was the first Stones song to make a powerful political statement, although with an air of resignation. Jagger opens the song declaring “the time is right for fighting in the street,” but goes on to sing, “But what can a poor boy do, ‘cept sing in a rock and roll band.”

This sense of hopelessness in the face of atrocity may be why the Rolling Stones became apolitical, focusing their efforts on songs about relationships and rock n’ roll. In the process, they became very rich and beloved by members of all political persuasion.

In the US, this was released as a single on August 31, 1968, just a few days after the Democratic National Convention, which took place August 26-29. The convention was marred by violence, as Chicago police clashed with protesters. When the song was released, every radio station in Chicago (and most in the rest of the country), refused to play it for fear that it would incite more violence. There was no official ban in America or Chicago, but stations knew it was in their best interest to shun the song, which accounts for its meager chart position of #48.

Mick Jagger later said: “The radio stations that banned the song told me that ‘Street Fighting Man’ was subversive. ‘Of course it’s subversive,’ we said. It’s stupid to think you can start a revolution with a record. I wish you could!”

The original title of this song was “Did Everybody Pay Their Dues?” It had completely different lyrics and therefore altogether a different and rather strange meaning, with Jagger singing about an Indian chief and his family. The music however was basically the same (slightly alternative mixes exist), but the lead guitar over the chorus was omitted on the final mix of “Street Fighting Man.” Fairly listenable versions have appeared on various bootlegs.

Keith Richards created a distinctive guitar sound on this track using a technique he also used on “Jumpin’ Jack Flash,” where his acoustic guitar was overdubbed several times. Said Richards: “‘Street Fighting Man’ was all acoustics. There’s no electric guitar parts in it. Even the high-end lead part was through a cassette player with no limiter. Just distortion. Just two acoustics, played right into the mike, and hit very hard. There’s a sitar in the back, too. That would give the effect of the high notes on the guitar. And Charlie was playing his little 1930s drummer’s practice kit. It was all sort of built into a little attaché case, so some drummer who was going to his gig on the train could open it up – with two little things about the size of small tambourines without the bells on them, and the skin was stretched over that. And he set up this little cymbal, and this little hi-hat would unfold. Charlie sat right in front of the microphone with it. I mean, this drum sound is massive. When you’re recording, the size of things has got nothing to do with it. It’s how you record them. Everything there was totally acoustic. The only electric instrument on there is the bass guitar, which I overdubbed afterwards. What I was after with all of those – Street Fighting Man, Jumping Jack Flash – was to get the drive and dryness of an acoustic guitar but still distort it. They were all attempts at that.”

Dave Mason did session work on this track. He played the shelani, an Indian reed instrument, which comes in near the end of the song. Mason went on to form the group Traffic, and has played guitar on albums by Jimi Hendrix, George Harrison, Paul McCartney and Fleetwood Mac.

Mick Jagger said of this song: “It was a very strange time in France. But not only in France but also in America, because of the Vietnam War and these endless disruptions…. I wrote a lot of the melody and all the words, and Keith and I sat around and made this wonderful track, with Dave Mason playing the shelani on it live. It’s a kind of Indian reed instrument a bit like a primitive clarinet. It comes in at the end of the tune. It has a very wailing, strange sound.” 

This was recorded on an 8-track machine with one track devoted to the cassette recording Richards and Watts made together. Richards added more acoustic guitar on another track, Watts put some bass drum on another, and the rest were filled out by Jagger’s vocal and the other instruments: Jones on sitar and tamboura, Dave Mason’s shehnai, Nicky Hopkins on piano and Richards on bass because Bill Wyman wasn’t around. There is a great deal of stereo separation in the mix.

In the US, the single was originally released with a picture on the sleeve of police beating protesters in Los Angeles. The music was different on this version, with different vocals and more piano. This single was quickly pulled by the record company and is now a rare collectors item.

The studio recording, with acoustic guitars and sitar, is impossible to replicate live, but the group came up with an electric arrangement that packed plenty of punch when they performed it. The song remained a concert favorite throughout their run.

The Stones released this the same month The Beatles came out with “Revolution,” which was their first blatantly political song.

A number of sources claim that this song was inspired by the radicalism of a young student leader Tariq Ali, who was active in revolutionary socialist politics in Britain in the late ’60s. In an interview with the April 19, 2007 edition of the Galway Advertiser, Ali, who is now a writer and filmmaker, confirmed this. “Yes, its true. Jagger was/is an artist. He writes and sings what he wants.”

In the UK, this wasn’t released as a single until July 1971, but it still made a strong showing on the chart, reaching #21.

Rod Stewart covered this on his 1973 album Sing It Again Rod. Rage Against The Machine covered it on their 2000 album Renegades

Mick Jagger said in 1995: “I’m not sure if it really has any resonance for the present day. I don’t really like it that much. I thought it was a very good thing at the time. There was all this violence going on. I mean, they almost toppled the government in France; De Gaulle went into this complete funk, as he had in the past, and he went and sort of locked himself in his house in the country. And so the government was almost inactive. And the French riot police were amazing. Yeah, it was a direct inspiration, because by contrast, London was very quiet.” 

Engineer Eddie Kramer recalled to Uncut in a 2016 interview: “The beginning of Street Fighting Man? My recollection is that Jimmy Miller brought in a Wollensak – a cassette machine with one mic built in – stuck it on the floor, pressed ‘Record’ and the band just make a circle round it. And that was the basic track. Now, of course, Keith says it was his idea and his tape machine, but I don’t remember it that way.”

Keith Richards lists this among his favorite Rolling Stones tracks, and feels the message rings true. “When people feel that mad about the way they’re being run, you should go to the streets,” he said. “America wouldn’t be here if it wasn’t for people going to the streets.”

Street Fighting Man

Ev’rywhere I hear the sound
Of marching charging feet, boy
‘Cause summer’s here and the time is right
For fighting in the street, boy

Well now, what can a poor boy do
Except to sing for a rock n’ roll band?
‘Cause in sleepy London town
There’s just no place for a street fighting man, no

Hey think the time is right
For a palace revolution
But where I live the game
To play is compromise solution

Well now, what can a poor boy do
Except to sing for a rock n’ roll band?
‘Cause in sleepy London town
There’s just no place for a street fighting man, no. Get down.

Hey so my name is called Disturbance
I’ll shout and scream
I’ll kill the king, I’ll rail at all his servants

Well, what can a poor boy do
Except to sing for a rock n’ roll band?
‘Cause in sleepy London town
There’s just no place for a street fighting man, no
Get down

Rolling Stones – Angie

This song is a great ballad by the Rolling Stones. Keith Richards wrote this song in Switzerland after the Exile on Main St. album had been approved by the record company, but before it was released. “Angie” was one of the first songs The Stones recorded for Goat’s Head Soup.

It was on 20 October 1973 that the Rolling Stones secured their 7th US No.1 when ‘Angie’ made the top of the Billboard chart.

It has been speculated that it was inspired by Angie, David Bowie’s wife, or even Keith’s daughter. Keith, who wrote the majority of the song’s music and lyrics. Keith said in his autobiography that the name Angie came to him while in Switzerland detoxing from his heroin addiction. “I wrote ‘Angie’ in an afternoon, sitting in bed, because I could finally move my fingers and get them in the right place again…It was not about any particular person, it was a name, like “Ohhh, Diana””I didn’t know Angela was going to be called Angela when I wrote ‘Angie.’ In those days you didn’t know what sex the thing was going to be until it popped out.”

The song peaked at #1 in the Billboard 100, #5 in the UK, #1 in Canada, and #1 in New Zealand in 1973.
From Songfacts

The big rumor about this song is that it was written about David Bowie’s wife, Angela, who wrote in her autobiography that she once walked in on Bowie and Mick Jagger in bed together – a story Jagger denies. According to the rumor, Jagger wrote this song to appease her, but it was Jagger’s bandmate Keith Richards who wrote most of the song. Jagger had this to say about it: “People began to say that song was written about David Bowie’s wife but the truth is that Keith wrote the title. He said, ‘Angie,’ and I think it was to do with his daughter. She’s called Angela. And then I just wrote the rest of it.”

There was also speculation that Richards’ girlfriend Anita Pallenberg inspired this song, but Keith cleared it up in his 2010 autobiography Life, where he wrote: “While I was in the [Vevey drug] clinic (in March-April 1972), Anita was down the road having our daughter, Angela. Once I came out of the usual trauma, I had a guitar with me and I wrote ‘Angie’ in an afternoon, sitting in bed, because I could finally move my fingers and put them in the right place again, and I didn’t feel like I had to s–t the bed or climb the walls or feel manic anymore. I just went, ‘Angie, Angie.’ It was not about any particular person; it was a name, like ohhh, Diana. 

A rare ballad for The Stones, this was the first single released from Goat’s Head Soup. It wasn’t typical of their sound, since most of the band’s material at the time was hard and aggressive. Still, it was a huge hit, and their only ballad that hit #1 in the US.

This is one of the few Rolling Stones songs that is acoustic.

The Angela Bowie rumor picked up steam in 1990, when she went on The Joan Rivers Show and claimed she once walked in on David Bowie and Mick Jagger in bed together naked. What’s even more shocking is that Rivers had her own talk show. She was quickly replaced by Arsenio Hall.

Nicky Hopkins played piano on this track. He became part of the band’s inner circle after working on the 1966 Stones album Between The Buttons

In 2005 German chancellor Angela Merkel appropriated this acoustic ballad for her Christian Democratic Union Party. “We’re surprised that permission wasn’t requested,” said a Stones spokesman of Merkel’s choice of song. “If it had been, we would have said no.”

The line from this song, “Ain’t it time we said goodbye,” was used as the title to Robert Greenfield’s 2014 book, which chronicles his time covering the Stones’ 1971 British tour and their Exile on Main St. sessions for Rolling Stone magazine. Greenfield is not a fan of the song, however, calling it “soppy and far too sweet for my taste.”

Angie

Angie, Angie, when will those clouds all disappear?
Angie, Angie, where will it lead us from here?
With no loving in our souls and no money in our coats
You can’t say we’re satisfied
But Angie, Angie, you can’t say we never tried

Angie, you’re beautiful, but ain’t it time we said good-bye?
Angie, I still love you, remember all those nights we cried?
All the dreams we held so close seemed to all go up in smoke
Let me whisper in your ear:

Angie, Angie, where will it lead us from here?
Oh, Angie, don’t you weep, all your kisses still taste sweet
I hate that sadness in your eyes
But Angie, Angie, ain’t it time we said good-bye?

With no loving in our souls and no money in our coats
You can’t say we’re satisfied
But Angie, I still love you, baby
Ev’rywhere I look I see your eyes

There ain’t a woman that comes close to you
Come on baby, dry your eyes
But Angie, Angie, ain’t it good to be alive?
Angie, Angie, they can’t say we never tried

 

Rolling Stones – Monkey Man

This song is a great album cut. It was used well in Goodfellas, the 1990 movie in a scene where the gangsters are trafficking cocaine. One of my favorite Stone songs.

This song was on Let It Bleed and it was recorded after Brian Jones was fired and before Mick Taylor replaced him. On Monkey Man, Keith Richards played electric and slide electric guitar, Bill Wyman played bass, and producer Jimmy Miller assisted drummer Charlie Watts on tambourine.

Mick Jagger and Keith Richards wrote “Monkey Man” as a tribute to Italian pop artist Mario Schifano, whom they met on the set of his movie Umano Non Umano! (Human, Not Human!).

From Songfacts

The lyrics don’t seem to make much sense, but they are probably about heroin or a bad acid trip. You can certainly draw this conclusion from the opening lines:

I’m a fleabit peanut monkey
And all my friends are junkies

Nicky Hopkins was featured on piano. He and Ian Stewart made significant contributions to The Stones on keyboards, but were never credited with being official members of the group. Hopkins and Stewart both toured with the band as well.

Most of the album was recorded after the death of Brian Jones but before his replacement, Mick Taylor, joined the band.  >>

The Stones performed this on their 1994-1995 Voodoo Lounge tour.

This song was used in the 1990 movie Goodfellas in a scene where the gangsters are trafficking cocaine. The film was directed by Martin Scorsese, who directed the 2008 Rolling Stones documentary Shine a Light.

 

Monkey Man

I’m a fleabit peanut monkey
And all my friends are junkies
That’s not really true

I’m a cold Italian pizza
I could use a lemon squeezer
What you do?

But I’ve been bit and I’ve been tossed around
By every she-rat in this town
Have you babe?

But I am just a monkey man
I’m glad you are a monkey woman too

I was bitten by a boar
I was gouged and I was gored
But I pulled on through

Yeah, I’m a sack of broken eggs
I always have an unmade bed
Don’t you?

Well I hope we’re not too messianic
Or a trifle too satanic
But we love to play the blues

But well I am just a monkey man
I’m glad you are a monkey woman too
Monkey woman too babe

I’m a monkey man
I’m a monkey man
I’m a monkey man
I’m a monkey man
I’m a monkey
I’m a monkey
I’m a monkey
I’m a monkey
Monkey, monkey
Monkey

Monkey
I’m a monkey

Rolling Stones – Factory Girl

Love the Beggars Banquet album (1968) and this song in particular. Mick remembers the working class in this song. It was written by Mick and Keith.

It’s a mostly acoustic number, with Charlie Watts playing tabla and Ric Grech sitting in on fiddle. Grech was a violinist and bass player who was a member of the band Family in the ’60s and went on to play in Blind Faith with Eric Clapton. He also played on Gram Parsons’ solo albums in the ’70s, and he appears on Ron Wood and Ronnie Lane’s 1976 Mahoney’s Last Stand project.

Dave Mason, who did some session work for Jimi Hendrix and was a member of the band Traffic, played the mandolin on this song.

The song wasn’t released as a single but it’s a great song like most of what’s on Beggars Banquet.

Drummer Charlie Watts: “On Factory Girl, I was doing something you shouldn’t do, which is playing the tabla with sticks instead of trying to get that sound using your hand, which Indian tabla players do, though it’s an extremely difficult technique and painful if you’re not trained.”

From Songfacts

This song is a great example of Mick Jagger taking on a persona, which he often did in his lyrics. Here, he sings from the perspective of a guy who is waiting for his girlfriend – a destitute, disheveled sort – to get out of work at the factory. It’s quite a contrast to Jagger’s reality: a glamorous rock star who often dated models.

Guitarist Keith Richards: “To me ‘Factory Girl’ felt something like Molly Malone, an Irish jig; one of those ancient Celtic things that emerge from time to time, or an Appalachian song. In those days I would just come up and play something, sitting around the room. I still do that today.”

 

Factory Girl

Waiting for a girl who’s got curlers in her hair
Waiting for a girl she has no money anywhere
We get buses everywhere
Waiting for a factory girl

Waiting for a girl and her knees are much too fat
Waiting for a girl who wears scarves instead of hats
Her zipper’s broken down the back
Waiting for a factory girl

Waiting for a girl and she gets me into fights
Waiting for a girl, we get drunk on Friday night
She’s a sight for sore eyes
Waiting for a factory girl

Waiting for a girl and she’s got stains all down her dress
Waiting for a girl and my feet are getting wet
She ain’t come out yet
Waiting for a factory girl

 

Rolling Stones – Let It Bleed

This song is why I first bought this album. I heard it and it’s country/blues/rock style stayed with me. The song sounds low down, dirty, and sleazy…that only the Stones can deliver.

Keith Richards’ fingers began to bleed as he played acoustic guitar for hours while Mick Jagger worked with an engineer on the drum track. The title came from Keith’s desire to record his track. At least that’s the story the Mick and Keith tells. The phrase “Let It Bleed” is an intravenous drug user slang for successfully finding a vein. The syringe plunger is pulled back and if blood appears, it is called letting it bleed.

This was recorded around the same time as The Beatles Let It Be, but the similar titles were just a supposed coincidence.

The Stones recorded this after the death of Brian Jones but before Mick Taylor joined the band as his replacement. As a result, Keith Richards played both acoustic and slide electric guitar, and Bill Wyman played bass and autoharp.

The song wasn’t a single but the album (also named Let It Bleed) peaked at #3 in the Billboard Album Chart in 1969.

From Songfacts

This was the first Stones song to also be the album title.

Ian Stewart, often considered “The sixth Stone,” played the piano. This was his only appearance on Let It Bleed.

There are many references to sex and drugs in the lyrics to this track – an example of the Stones writing about what they knew.

 Autoharp is a string instrument with a series of chord bars attached to dampers which, when pressed, mute all but the desired chord. An autoharp is not really a harp – it’s a zither. 

The English TV cook and author Delia Smith baked the cake on the album sleeve before she became famous. She got the gig through being a friend of the photographer, Don McAllester. In 1971, two years after the release of Let It Bleed, Delia Smith’s first cookery book, How To Cheat at Cooking, was launched and by the end of the decade she’d become the UK’s best known TV cook.

Let It Bleed

Well, we all need someone we can lean on
And if you want it, you can lean on me
Yeah, we all need someone we can lean on
And if you want it, you can lean on me

She said, my breasts, they will always be open
Baby, you can rest your weary head right on me
And there will always be a space in my parking lot
When you need a little coke and sympathy

Yeah we all need someone we can dream on
And if you want it baby, you can dream on me
Yeah, we all need someone we can cream on
Yeah and if you want to, you can cream on me

I was dreaming of a steel guitar engagement
When you drunk my health in scented jasmine tea
But you knifed me in my dirty filthy basement
With that jaded, faded, junky nurse oh what pleasant company, ha

Though, we all need someone we can feel on
Yeah and if you want it, you can feel on me, hey
Take my arm, take my leg
Oh baby don’t you take my head
Hoo

Yeah, we all need someone we can bleed on
Yeah but if you want it, well you can bleed on me
Yeah, we all need someone we can bleed on
Yeah yeah and if you want it baby why don’t ya
You can bleed on me
All over, hoo

Ah, get it on rider, hoo
Get it on rider
Get it on rider
You can bleed all over me, yeah
Get it on rider, hoo
Get it on rider, yeah
You can cream all over, you can come all over me, ah
Get it on rider ey
Let it out rider
Let it out rider
You can come all over me

Get it on rider
You can come all over me, yeah

Get it on rider

Rolling Stones – Can’t You Hear Me Knocking

This track sums up the 70s Stones very well. Great riff, great tone, and great Mick Jagger vocal. This song and album were produced by Jimmy Miller who also played percussion on this track.

This song was on the album Sticky Fingers. The album peaked at #1 in the Billboard Album Charts, #1 in the UK and #1 in Canada in 1971.

The Stones played a shorter version of this song a few times before it was released on the Sticky Fingers album. These performances took place on their 11-date UK farewell tour before they left England to avoid taxes. After these shows, they didn’t play it live again until 2002, at which point they could bring alone plenty of musicians to support it.

Mick Taylor: “‘Can’t You Hear Me Knocking’ is one of my favorites. (The jam at the end) just happened by accident; that was never planned. Towards the end of the song I just felt like carrying on playing. Everybody was putting their instruments down, but the tape was still rolling and it sounded good, so everybody quickly picked up their instruments again and carried on playing. It just happened, and it was a one-take thing. A lot of people seem to really like that part.” 

 

From Songfacts

This is an unusually long Stones track, running 7:14. Mick Jagger’s work is done by 2:45, however, as the groove plays out for the next four-and-a-half minutes. The Stones were experimenting with different styles around this time, and “Can’t You Hear Me Knocking?” has a distinct Santana influence.

This featured Bobby Keys on sax, Rocky Dijon on percussion, and Billy Preston on the organ. Keys, along with trumpet player Jim Price, joined The Stones on their 1970 European tour after performing on Sticky Fingers. His lengthy sax solo on this track wasn’t planned out, but once he got going, he kept blowing while the tape ran and Keith Richards loved it.

Probably best not to read too much into the lyrics of this one, since even Mick Jagger isn’t exactly sure what he wrote. As Robert Greenfield recounts in his book Ain’t It Time We Said Goodbye, shortly before the album was released, someone realized that the lyrics for this song and a few others had not been filed, making them impossible to copyright. Members of the Stones camp were dispatched to write down the words by listening to the acetate pressings, and on this song, the best they could come up with for one of the lines near the end was “I’ve got flatted feet, now.” Jagger insisted he didn’t write that line, but couldn’t remember what the real line was, so it stuck.

Andy Warhol designed the Sticky Fingers album cover. Before he started working on it, Mick Jagger send Warhol a note warning that a complicated design could cause nasty production delays, but nonetheless giving him total creative control. The artist responded with a cover that contained an actual working zipper, which of course was a production nightmare.

The cover, however, was one of the most memorable ever made. It showed a man wearing very tight jeans behind that working zipper – many folks assumed this was Mick Jagger, but it was actually Joe Dallesandro, a actor and Warhol cohort. Dallesandro appeared on the cover of the April 15, 1971 issue of Rolling Stone magazine; the album was released on April 23.

Jimmy Miller mixed records for The Spencer Davis Group and produced Steve Winwood’s next group, Traffic.

This was used in the movies Casino (1995), Blow (2001), Without a Paddle (2004) and The Fighter (2010).

Mick Taylor was lead guitarist for The Stones at the time. This was one of his earliest songs with the band – he replaced Brian Jones, who died in 1969.

 

This appears in the video game Guitar Hero II.

With mentions of “cocaine eyes” and “speed-freak jive,” this song contains some pretty obvious drug references, which makes sense considering the company the band was keeping at the time – pretty much everyone in their circle was doing drugs.

Can’t You Hear Me Knocking

Yeah, you got satin shoes
Yeah, you got plastic boots
Y’all got cocaine eyes
Yeah, you got speed freak jive now

Can’t you hear me knockin’
On your window
Can’t you hear me knockin’
On your door
Can’t you hear me knockin’
Down your dirty street
All right now

Help me baby
I ain’t no stranger
Help me baby
I ain’t no stranger

Can’t you hear me knockin’
Are you safe asleep
Can’t you hear me knockin’
Down your gaslight street
Can’t you hear me knockin’
Throw me down the keys

Hear me ringin’
Big bell toll
Hear me singin’
Soft and low
I’ve been beggin’
On my knees
I’ve been kickin’
Help me please

Hear me howlin’
I wanna take you down
Hear me growlin’
Yeah, I got flatted feet now now now
Hear me prowlin’
All around your street
Hear me knockin’
All around your town

Rolling Stones – Paint It, Black

Of all of the Rolling Stones riffs…this one is one of the most memorable. It’s menacing with a dash of eastern influence. Brian Jones plays a sitar on this record. This was one of the Stones best periods. Whatever song they wrote, Jones would play a different instrument to color the song.

The Stones were more adventurous in the mid-sixties. Along with some blues they ventured into pop, rock, and a bit of psychedelia. After Brian left they played mostly blues-rock along with a little reggae-influenced music later on.

The song peaked at #1 in the Billboard 100, #1 in Canada, #1 in the UK, and #4 in New Zealand in 1966.

The Stones former manager Allen Klein owned the publishing rights to this song. In 1965, The Stones hired him and signed a deal they would later regret. With Klein controlling their money, The Stones signed over the publishing rights to all the songs they wrote up to 1969. Every time this is used in a commercial or TV show, Klein’s estate (he died in 2009) gets paid.

 

From Songfacts

This is written from the viewpoint of a person who is depressed; he wants everything to turn black to match his mood. There was no specific inspiration for the lyrics. When asked at the time why he wrote a song about death, Mick Jagger replied: “I don’t know. It’s been done before. It’s not an original thought by any means. It all depends on how you do it.”

The song seems to be about a lover who died:

“I see a line of cars and they’re all painted black” – The hearse and limos.

“With flowers and my love both never to come back” – The flowers from the funeral and her in the hearse. He talks about his heart being black because of his loss.

“I could not foresee this thing happening to you” – It was an unexpected and sudden death.

“If I look hard enough into the setting sun, my love will laugh with me before the morning comes” – This refers to her in Heaven. 

The Rolling Stones wrote this as a much slower, conventional soul song. When Bill Wyman began fooling around on the organ during the session doing a takeoff of their original as a spoof of music played at Jewish weddings. Co-manager Eric Easton (who had been an organist), and Charlie Watts joined in and improvised a double-time drum pattern, echoing the rhythm heard in some Middle Eastern dances. This new more upbeat rhythm was then used in the recording as a counterpoint to the morbid lyrics.

On this track, Stones guitarist Brian Jones played the sitar, which was introduced to pop music by The Beatles on their 1965 song Norwegian Wood (This Bird Has Flown). Jones made good television by balancing the instrument on his lap during appearances.

Keith Richards: “We were in Fiji for about three days. They make sitars and all sorts of Indian stuff. Sitars are made out of watermelons or pumpkins or something smashed so they go hard. They’re very brittle and you have to be careful how you handle them. We had the sitars, we thought we’d try them out in the studio. To get the right sound on ‘Paint It Black’ we found the sitar fitted perfectly. We tried a guitar but you can’t bend it enough.” 

This was used as the theme song for Tour Of Duty, a CBS show about the Vietnam War which ran from 1987-1989.

On the single, there is a comma before the word “black” in the title, rendering it, “Paint It, Black.” This of course changes the context, implying that a person named “Black” is being implored to paint. While some fans interpreted this as a statement on race relations, it’s far more likely that the rogue comma was the result of a clerical error, something not uncommon in the ’60s.

Mick Jagger: “That was the time of lots of acid. It has sitars on it. It’s like the beginnings of miserable psychedelia. That’s what the Rolling Stones started – maybe we should have a revival of that.”

U2 did a cover for the 7″ B-side of “Who’s Gonna Ride Your Wild Horses,” and used some of it in live versions of “Bad.” Other artists who have covered the song include Deep Purple, Vanessa Carlton, GOB, Tea Party, Jonny Lang, Face to Face, Earth Crisis, W.A.S.P., Rage, Glenn Tipton, Elliott Smith, Eternal Afflict, Anvil, and Risa Song.

Jack Nitzsche played keyboards. Besides working with The Stones, Nitzsche arranged records for Phil Spector and scored many movies. Nitzsche had an unfortunate moment when he appeared on the TV show Cops after being arrested for waving a gun at a guy who stole his hat. He died of a heart attack in 2000 at age 63.

This is featured in the closing credits of the movie The Devil’s Advocate. It is also heard at the end of Stanley Kubrick’s movie Full Metal Jacket, where it serves as an allegory of the sorrow of the sudden death in the song relating to the emotional death of the men in the film, and of all men in war. 

This song was used in the movie Stir Of Echoes with Kevin Bacon. In the movie, Bacon’s character hears the first few chords of it in a memory, but could not think of the song. It drives him crazy through most of the movie. 

Talking on his Absolute Radio show, Stones’ co-guitarist Ronnie Wood disclosed that Keith Richards has trouble remembering how to play this song. He revealed, “We always have this moment of hesitation where we don’t know if Keith’s going to get the intro right.”

Keith Richards: “What made ‘Paint It Black’ was Bill Wyman on the organ, because it didn’t sound anything like the finished record until Bill said, ‘You go like this.'”

Ciara recorded a breathy, stirring cover for the 2015 movie, The Last Witch Hunter. The R&B star told Rolling Stone that it was a surprise for her when she got the call from Universal Publishing and Lionsgate to record the tune. “When they asked me to do this, I was like, ‘Absolutely. This would be an honor,'” she said. “I had never thought to cover this song. It was never on my radar to cover it, but when the opportunity came along, I was very thrilled, because I love what the producer Adrianne Gonzales did.”

“The direction that she went in was actually a sound I’ve always wanted to play with, and it just didn’t get any better than being able to cover a Rolling Stones song,” Ciara continued. “I feel like it pushes the edge and the limit for me, in reference to what people probably expect from me. So this was so many cool things in one. It was a huge honor, and then creatively I just got to really have some fun that I don’t usually do in my music.”

This wasn’t the only “black” hit of 1966; the Spanish group Los Bravos went to #4 US and #2 UK with “Black Is Black” that year.

In the two weeks this song was at #1 in June 1966, the #2 song was “Did You Ever Have to Make up Your Mind?” by The Lovin’ Spoonful, an American group that made inroads against the British Invasion bands with relentlessly upbeat pop songs. Their jaunty song about trying to decide between two girls was quite a contrast to “Paint It Black.”

In his 2002 book Rolling with the Stones, Bill Wyman explained that the album was intended to be the soundtrack for the never-filmed movie Back, Behind And In Front. The deal fell through when Mick Jagger met director Nicholas Ray (who directed James Dean in Rebel Without A Cause) and didn’t like him.

Paint It Black

I see a red door and I want it painted black
No colors anymore, I want them to turn black
I see the girls walk by dressed in their summer clothes
I have to turn my head until my darkness goes

I see a line of cars and they’re all painted black
With flowers and my love, both never to come back
I see people turn their heads and quickly look away
Like a newborn baby it just happens ev’ryday

I look inside myself and see my heart is black
I see my red door and I must have it painted black
Maybe then I’ll fade away and not have to face the facts
It’s not easy facing up when your whole world is black

No more will my green sea go turn a deeper blue
I could not foresee this thing happening to you
If I look hard enough into the setting sun
My love will laugh with me before the morning comes

I see a red door and I want it painted black
No colors anymore I want them to turn black
I see the girls walk by dressed in their summer clothes
I have to turn my head until my darkness goes

I want to see your face painted black, black as night, black as coal
Don’t want to see the sun, flying high in the sky
I want to see it painted, painted, painted, painted black, yea

Rolling Stones – Prodigal Son

When I bought Beggars Banquet I knew about Sympathy for the Devil and Street Fighting Man… this song drew me into the rest of the album. I love the acoustic blues played by Keith. It sounds old…really old. This sounds like what influenced the Stones in the first place. This album is one of the Stones’ great ones and the first one produced by Jimmy Miller. Prodigal Son has remained one of my favorite Stones tracks.

Beggars Banquet peaked at #5 in the Billboard Album Chart in 1969.

This song was written by Robert Wilkins, a reverend who recorded Delta Blues in the 1920s and 1930s. Keith Richards enjoyed Blues music and admired the work of Wilkins in the ’60s, which is how The Stones came across this song.

The Prodigal Son is a story told in the Bible (Luke 15: 11-32) about a father who has two sons. The younger son asks for his inheritance early and goes off to spend the money on hedonistic pursuits. After wasting all the money, he comes home repentant, and the father welcomes him with a feast in his honor. This doesn’t go over well with the older son, who feels that he should be rewarded for good behavior, but the father stresses the value of forgiveness.

From Songfacts

Robert Wilkins’ original version was titled “That’s No Way To Get Along.” The Stones gave their version the title “Prodigal Son.”

In 1928 Wilkins wrote another song called “Rollin’ Stone.”

This is the only cover song on Beggar’s Banquet. The Rolling Stones wanted to be a Blues band when they started out, but they became more Pop-oriented soon after they formed.

Prodigal Son

Well a poor boy took his father’s bread and started down the road
Started down the road
Took all he had and started down the road
Going out in this world, where God only knows
And that’ll be the way to get along

Well poor boy spent all he had, famine come in the land
Famine come in the land
Spent all he had and famine come in the land
Said, “I believe I’ll go and hire me to some man”
And that’ll be the way I’ll get along

Well, man said, “I’ll give you a job for to feed my swine
For to feed my swine
I’ll give you a job for to feed my swine”
Boy stood there and hung his head and cried
Cause that is no way to get along

Said, “I believe I’ll ride, believe I’ll go back home
Believe I’ll go back home
Believe I’ll ride, believe I’ll go back home
Or down the road as far as I can go”
And that’ll be the way to get along

Well, father said, “See my son coming home to me
Coming home to me”
Father ran and fell down on his knees
Said, “Sing and praise, Lord have mercy on me”
Mercy

Oh poor boy stood there, hung his head and cried
Hung his head and cried
Poor boy stood and hung his head and cried
Said, “Father will you look on me as a child?”
Yeah

Well father said, “Eldest son, kill the fatted calf,
Call the family round
Kill that calf and call the family round
My son was lost but now he is found
Cause that’s the way for us to get along”
Hey