Rolling Stones - Beast Of Burden [8 Track Mix] (2011 Remaster)

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Rolling Stones - Beast Of Burden [8 Track Mix] (2011 Remaster)

Duration: 5min 18sec

Pathé Marconi Studios Paris
October-December 1977

Mick Jagger - Lead Vocal
Mick Jagger & Keith Richards - Background Vocals
Keith Richards & Ron Wood - Electric (incl. solo) & Acoustic Guitars
Bill Wyman - Bass
Charlie Watts - Drums
Ian McLagan - Organ

The Glimmer Twins - Producers
Chris Kimsey - Chief Engineer

Levi Magyar - 32bit Remaster, September 2011

A 5:20 version of the song with extra lyrics circulates among collectors (Wikipedia)

... dis iz it, man (=D)

The bottom line: "... more Billy, less Charlie"

(Levi)


Ah, I see, I'm not integrating (the nice and bad women in my songs) properly. Maybe not. Maybe Beast of Burden is integrated slightly: I don't want a beast of burden, I don't want the kind of woman who's going to drudge for me. The song says: I don't need a beast of burden, and I'm not going to be your beast of burden, either. Any woman can see that that's like my saying that I don't want a woman to be on her knees for me. I mean, I get accused of being very antigirl, right? But people really don't listen, they get it all wrong: they hear Beast of Burden and say Argggh!

(On the pretty pretty part), I wasn't thinking of Buddy Holly at all; it's a completely unconscious thing.

Beast of Burden is a combination (of a real girl and a fantasy).

(Mick, 1978)


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 extemporize 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. I would just scat the thing and come up with "pretty pretty pretty pretty pretty pretty girl" and all the little talk sequences - I hesitate to use the word rap - and after all this the song is different melodically from the actual original.

(Mick, 2002)


When I returned to the fold after closing down the laboratory, 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 - and the weird thing was that he didn't want to share the burden any more.

(Keith, 2003)


If I had any plan at all regarding sound, it was simply to get more of a live sound. Before I began working with them, their last few albums like Black And Blue and Goats Head Soup had sounded too clean in places, almost clinical. When I first went to Paris to set up the room at Pathé Marconi, it was intended for rehearsals only. But the room had such a good sound even though the desk was only 16-track, they began to feel comfortable. It made for a more relaxed atmosphere which led to a certain spontaneity in the music.

(Chris Kimsey, 1979)


... a raw torch-soul ballad that sounds like nothing else but the Stones. If anything, it bears some of the traits of a slow-burning Al Green soul-torch ballad, without aping the trademark production elements of Green's records. The Stones sound like a good bar band here. The record's engineer, Chris Kimsey, once remarked that they had set up in a room just for the purposes of rehearsing, with a PA, and thought the sound and vibe were fantastic, so they recorded Some Girls with the same configuration, a relatively raw scenario for late-'70s recording. Richards begins the song with yet another of rock & roll's most memorable riffs, played through a slow phase shifter. Wood soon locks in on the other side of the stereo spread and the guitars interlock, playing off each other and the groove, a groove the band rarely abandons, only for the odd chorus here and there. (...) Charlie Watts is a steady, soulful, and human player and -- along with bassist Bill Wyman -- sets a sturdy foundation for the two guitarists' bobbing-and-weaving rhythms. A mere flick of the wrist on the hi-hat is a simple enough variation to add giddyup to the song's rhythm. Jagger has rarely sounded more committed to a lyric than he does on "Beast of Burden," a promise to devotion, albeit with limits: "I'll never be your beast of burden/My back is broad, but it's a-hurting/All I want is you to make love to me." Like a great mid-'60s Solomon Burke number, Jagger testifies in the middle section of the song: "I'll tell you, you can out me out on the street/Put me out with no shoes on my feet/You can out me out, put me out, put me out of misery." The song's arrangement builds througheffective use of varying vocal harmonies, added as the arrangement progresses.

(Bill Janovitz)

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Category:

Music

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• Rolling
• Stones
• Beast
• Of
• Burden
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• 1977
• Live
• Remaster
• 2011
• Keith
• Richards
• Mick
• Jagger
• Ian
• McLagan
• Deluxe
• Some
• Girls
• Miss
• You
• When
• The
• Whip
• Comes
• Down
• Before
• They
• Make
• Me
• Run
• Shattered

[MrAlvarosantiagoferr]

OS STONES ME DEIXAM DE PAU DURO!