4 of Exile On Main Street, remember which was a double album.
two, back in the days when they used to be albums, you know, vinyl albums.
And this one will be Sides 3 and 4, the second record in the set.
We'll start out with the song Happy.
This really is a Keith song, most likely.
that Mick Jagger didn't have much to do with it.
That's important because people often wonder.
When it comes to Keith Richards and Mick Jagger, who wrote which?
And how much did they work together?
information about who did what on these songs?
instances where they would songs sort of completely on their own.
But most of the time they were working together.
Not so much the case with the Beatles.
they're not hard to identify because they are credited to George Harrison.
increasingly as their careers developed either a John song or a Paul song.
We can't really do that with Keith and Mick most of the time, but here we can.
that determination, in just a minute.
It was released in July of 72 as a single with All Down the Line on the B side.
And the album, that's the single Happy, went to number 22 in the U.S. charts.
So, we're relatively simple kind of Simple Verse form.
Starts with an introduction then we get a verse with refrain, a verse with refrain.
A verse with refrain that features a Guitar Solo in part of it.
A verse with refrain and then a coda that's Based on the Refrain.
So very easy sort of layout of the tune itself.
The lyrics are about a guy, who has always broken the rules.
He breaks all the rules, because he doesn't need anything.
that's the catch line, that's the refrain line for the tune.
the song is really about a guy who spends all his money.
of a woman who loves him, because at least that would be free.
30 years after the fact.
Whether he's really telling you what went on.
Or he's just telling a story he knows will get a laugh.
He's that kind of, sort of informal, kind of guy.
how much you can attribute to?
But people who know Keith Richards, and have worked with him over the years.
the whole energy of the guy, really, in this song.
It's sort of a perfect encapsulation of who he is and what he's about.
And Keith himself has said that there's something about the song.
That just makes him happy.
It makes him happy just to play it.
Just, he starts to begin to play it and he starts to smile, this kind of thing.
So, again, figure in the kind of the fish tail kinds of parts of this.
a song that's almost exclusively a Keith Richards composition.
And here's, here's how we know that.
Bobby Keys on the baritone sax and Jimmy Miller on the drums.
Why is that, you may say?
a session early, and not like hours later.
He shows up early, and the rest of the band hasn't turned up yet.
this riff starts to fall off his fingers.
And the song just seems to just come out.
And he realizes something's happening.
So he says, let's do a take.
they run the tune through and the lyrics start to fall out.
that kind of thing, but the song is pretty much the way it's going to be and so.
weren't there as this song was coming to such an advanced stage of completion.
Probably didn't have too much to do, with the writing of it.
which remember was our story a couple of videos ago about how.
they had to call Andy Johns to come back and finish it.
without even trying Bingo, the whole thing just seemed to be there.
while it was happening, and it ended up being the way to go.
they're produced, and sometimes they can be just automatic.
You never know how that's going to play out.
which I described before as a rocker, Guitar-Driven.
Indeed, it's, it's very much that.
The form I will say is derived from AABA, but.
being repeated again and again like a lot of these other kinds of patterns.
It starts with an intro.
then you get a verse, a verse, and a bridge.
So when you see verse, verse, bridge, you start thinking A, A, B, A, right?
But that's not the way it plays out.
It goes verse, verse, bridge.
sort of turns into that instrumental interlude that feature the horns.
So there's no return of the verse.
a bar form we might call it, if we were talking about opera.
But, nevertheless, it's not one of our traditional pop.
Forms although you can see how it could have been derived from such.
then you can see that's repeated as a verse, a bridge, and an interlude.
over where the verse should be.
So you can see that there's a clear structure there.
is not clearly one of the forms that we've, we've talked about before.
Anyway, you get a Coda.
part one, [LAUGH] and we get to the coda it's All Down the Line part two.
And that's, that's we've seen that kind of thing before.
about how the form does not fit into one of the traditional kind of models here.
perhaps told from the point of view of one of the workers on the train.
there's all kinds of things going on and there could be problems.
but they're really talking about life.
So, maybe that's what it is but then again, maybe that's just over thinking it.
Maybe it's just a song that celebrates the images associated with the railroads.
Maybe, in days gone by who knows?
This is a song that was recorded in an acoustic version in the summer of 1969.
So there's an earlier version of it.
It's a rather rough version but it, there isn't really a version.
they were coming back to a song that they'd worked on previously.
Mick Jagger thought, well, we should release this as a single.
We've got it finished, it's a great tune.
you know, and he remembers saying to Mick, I.
I don't know Mick is this really Jumpin' Jack Flash?
Is this, is that really the level here?
I think it's a great album track, but maybe it's not the single.
was saying oh really, you think so?
In other words he was listening, he was taking Andy Johns' advice.
And he said well what would it.
What would it take Andy, what would you need to know to be sure?
And he would say well, I'd really like to be able to hear it on the radio.
of course there is no way you could do that.
And Nick says what do you mean there is no way we can do that?
So they give a mixed a version of the, of the song on real to real tape to Stu.
if they'll pl, you know, if they'll just put it on the radio now.
And so the Stones in the meantime, get into their limo.
that they can sit in the limo.
them, [LAUGH] right, I guess you can do that when you're the Rolling Stones.
And the kicker is, after they played it once, Mick said.
And Andy said, I still can't tell.
He says, tell Stu to tell him, play it again!
they played it again while they drove up and down the street in the limo.
it's probably not the thing.
of course Tumbling Dice became that single, so.
the kinds of things that you can do when you're the Rolling Stones.
This is a really I think, at least in my mind.
A very special song from the Rolling Stones.
just kind of a full blown kind of gospel tune.
It figures, it, it features Billy Preston on the organ and the piano.
There is some interesting kind of dynamic contrasts on the tune.
Billy Preston was somebody who many of you beatles fans will know.
He played with the Beatles in 1969.
because Billy Preston went to a traditional gospel kind of church.
And Mick liked to be sort of sitting there in the congregation.
while the music, you know, got rolling.
earlier than he wanted to get up on Sunday morning.
But nevertheless, he and Billy Preston.
Really got a good relationship going on, around Gospel music.
And so, Billy Preston ends up playing on this track.
This song was probably a mix song.
It probably doesn't have much contribution from Keith Richards at all.
not even playing on the track at all.
Is not involved in it at all.
purposes it might really just be a Mick Jagger solo song.
that is you've got a verse, verse, chorus.
That's the first A section, and then another verse, verse, chorus.
That's the second A section.
Then a bridge with no singing, just a kind of Guitar Solo.
it looks like a typical AABA form, compound AABA form, except.
then sort of fades out as it's returning to the verse.
mostly it's a compound AABA form, this idea, by the way.
that those forms have appeared in 70s music a lot.
which does exactly this kind of thing.
for instance symphonic sounding, at that.
basically the song about salvation in redemption through the grace of God.
Christian Gospel testimony, kind of tradition of that music.
It is unabashedly, religious, Christian spiritual.
And it doesn't say the word Jesus in it.
The best I can recall, but it really is about people who are down and out.
A very powerful meaning, and very much in keeping with the gospel tradition.
And we told the story of how he came to belong, to be a part of this.
all of the, the gospel singers and all this kind of thing you know.
all intents and purposes Shine a Light starts to look like.
So you've got Shine a Light on one hand, a very Mick tune.
You've got Happy on the other hand, a very Keith tune.
the White Album of the Beatles.
Where there are very clearly John songs, and very clearly Paul songs.
separation between what's a Keith song, and what's a Mick song.
I want to really take that step back to get a big picture.
I'm going to take you back to one of the summaries I offered you in week two.
that we've talked about, including the music that we talked about this week.
To try and get a sense of the Rolling Stone's development.
As artists and as musicians, over this period going back to 1963.