Of Factory Girl, Charlie Watts said in 2003, ‘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.’ Keith Richards commented in the same year: ‘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. The album is notable for its use of acoustic instruments on songs like Dear Doctor, No Expectations and Factory Girl, some of which use musicians from outside the group, such as Stones’ regular Nicky Hopkins on piano, Rocky Dijon on conga drums, and Family’s Ric Grech, who played fiddle on Factory Girl. I wrote it as sort of like a Bob Dylan song.’ Keith Richards suggested changing the tempo from its original mid-pace and using additional percussion, to turn it into a samba, complete with exhorting backing vocals, as documented in Jean-Luc Godard’s impenetrable One Plus One film, where he captured the recording session at London’s Olympic Studios.Ĭharlie Watts said, of the tempo, in the 2003 book According To The Rolling Stones: ‘We had a go at loads of different ways of playing it in the end I just played a jazz Latin feel in the style of Kenny Clarke, would have played on A Night In Tunisia – not the actual rhythm he played, but the same styling.’ And I just took a couple of lines and expanded on it. In a 1995 interview with Rolling Stone magazine, Jagger said, ‘I think that was taken from an old idea of Baudelaire’s, I think, but I could be wrong….But it was an idea I got from French writing. Largely a Jagger composition, the working title of the song was ‘The Devil Is My Name’, and it is sung as a first-person narrative from the point of view of Lucifer. Sympathy For The Devil itself started the album in stark contrast to the psychedelic meanderings of the previous album. He also contributed sitar and tambura to Street Fighting Man, played mellotron on Jigsaw Puzzle and Stray Cat Blues, and sang backing vocals on Sympathy For The Devil. In the meantime, his contributions to Beggars Banquet showed his astounding versatility: in addition to slide guitar on No Expectations, he played harmonica on Dear Doctor, Prodigal Son and Parachute Woman (along with Mick Jagger). When Jagger asked what the noise was, Richards responded, ‘Oh, that’s Jack – that’s jumpin’ Jack.īeggars Banquet was to be Brian Jones’ last full album with the Rolling Stones he had become so dysfunctional by the summer of 1969 that the band had to ask him to leave. Richards has stated that he and Jagger wrote the lyrics while staying at Richards’ country house, where they were awakened one morning by the sound of gardener Jack Dyer walking past the window. Jumpin’ Jack Flash became a major hit (reaching #1 in the UK and #3 in the US) and became one of the group’s most popular and recognisable songs. It was felt that core fans would buy the album anyway, and they wouldn’t want to feel they’d been sold the same thing twice, whereas more casual fans would stick with just singles. Like The Beatles and other acts in the 1960s, it was common practice to release a new song as a single in advance of a new album, on which the single wouldn’t be included. One of the first tracks cut during the sessions, which occurred at Olympic Studios in Barnes, south London between March and May 1968, was Jumpin’ Jack Flash, which was released only as a single in May. Miller worked well with Johns and the Stones, helping to create some of their most memorable tracks, and beefing up their rhythm tracks, sometimes even playing drums himself, as he did on You Can’t Always Get What You Want and Happy, amongst others. The famously acerbic Johns apparently said, ‘I ‘I don’t think my ego could stand having some bloody yank in here telling me what sound to get for The Rolling Stones’. Stones engineer Glyn Johns was aware of his work, and recommended Miller to Mick Jagger when Jagger expressed the desire to hire an American producer. Texan-born Miller had been working in the UK, producing artists like Traffic and The Spencer Davis Group, with whom he had co-written the song I’m A Man. Following the long sessions for the previous album Their Satanic Majesties Request in 1967 and the departure of producer and manager Andrew Loog Oldham, Mick Jagger and Keith Richards hired producer Jimmy Miller, the partnership proved to be a success and Miller would work with the band until 1973. Beggars Banquet, the seventh studio album by The Stones, marked a return to the band’s R&B roots.
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