Fact #141624
When:
Short story:
Full article:
Keith Richards : When I returned to the fold after closing down the laboratory [i.e. his drug problems throughout the 1970s], I came back into the studio with Mick... to say, 'Thanks, man, for shouldering the burden' - that's why I wrote Beast of Burden for him, I realise in retrospect.
(Source : interview in 2003)
Keith Richards : Mick just filled in the verses. With The Stones, you take a long song, play it and see if there are any takers. Sometimes they ignore it, sometimes they grab it and record it. After all the faster numbers of Some Girls, everybody settled down and enjoyed the slow one.
(Source : liner notes to the 1993 compilation album Jump Back)
Mick Jagger : How it works on a tune like Beast Of Burden is Keith would set up a chord sequence and maybe one or two lines, and then you’ve got to extemporise on that, and come up with these melody lines and lyrics. We just ran the chord sequence through a lot of times - we were open-ended in the studio, so we just tried lots of different ways of doing the beats and arrangements. The actual chord sequences are the same, but the stuff in there that makes the sections different is the different vocal lines.
(Source : interview with Sylvie Simmons, Mojo magazine)
Mick Jagger : Lyrically, this wasn't particularly heartfelt in a personal way. It's a soul begging song, an attitude song. It was one of those where you get one melodic lick, break it down and work it up; there are two parts here which are basically the same.
(Source : liner notes to the 1993 compilation album Jump Back)
Ron Wood (guitarist, Rolling Stones) : That's another one that just came very naturally in the studio. And I slipped into my part and Keith had his going. It may have appeared as though it was planned. We can pick it up today and it will just naturally slip into the groove again with the guitars weaving in a special way. It's quite amazing really. Ever since Keith and I first started to trade licks, it was a very natural thing that, for some unknown reason, if he's playing up high, I'm down low and the other way around. We cross over very naturally. We call it an ancient form of weaving-- which we still are impressed by it to this day. Unexplainable, wonderful things happen with the guitar weaving. There's no plan.
Tweet this Fact
(Source : interview in 2003)
Keith Richards : Mick just filled in the verses. With The Stones, you take a long song, play it and see if there are any takers. Sometimes they ignore it, sometimes they grab it and record it. After all the faster numbers of Some Girls, everybody settled down and enjoyed the slow one.
(Source : liner notes to the 1993 compilation album Jump Back)
Mick Jagger : How it works on a tune like Beast Of Burden is Keith would set up a chord sequence and maybe one or two lines, and then you’ve got to extemporise on that, and come up with these melody lines and lyrics. We just ran the chord sequence through a lot of times - we were open-ended in the studio, so we just tried lots of different ways of doing the beats and arrangements. The actual chord sequences are the same, but the stuff in there that makes the sections different is the different vocal lines.
(Source : interview with Sylvie Simmons, Mojo magazine)
Mick Jagger : Lyrically, this wasn't particularly heartfelt in a personal way. It's a soul begging song, an attitude song. It was one of those where you get one melodic lick, break it down and work it up; there are two parts here which are basically the same.
(Source : liner notes to the 1993 compilation album Jump Back)
Ron Wood (guitarist, Rolling Stones) : That's another one that just came very naturally in the studio. And I slipped into my part and Keith had his going. It may have appeared as though it was planned. We can pick it up today and it will just naturally slip into the groove again with the guitars weaving in a special way. It's quite amazing really. Ever since Keith and I first started to trade licks, it was a very natural thing that, for some unknown reason, if he's playing up high, I'm down low and the other way around. We cross over very naturally. We call it an ancient form of weaving-- which we still are impressed by it to this day. Unexplainable, wonderful things happen with the guitar weaving. There's no plan.