If he pours out his heart or performs a kind of emotional suicide
On the stage, would that be enough, in other words, there's a certain sense,
maybe it's a little bit cynical of what do I have to do to please you people?
You know?
If I give you everything I've got, and sacrifice myself Would that be enough, or
would you want a little bit more?
But then of course, the chorus comes back with, "It's Only Rock 'n Roll", right?
So the idea being that maybe that music makes it worth it,
and why would I go through all this?
The reason why I go through all this is because
the music is what makes it special.
So I suppose it probably is overall a kind of positive,
feel good kind of message with maybe a little bit of a kind of cynical nod and
a wink at the audience about maybe certain other audience members that aren't them,
who are maybe just a little bit unreasonably demanding,
this kind of thing.
Well, anyway, a track that is really another one of these
sort of Stones' classic tracks that everybody knows.
We move on now to the song, "Time Waits for No One".
Now, this song is a modified compound AABA, but you can also view it,
and sorry for getting into some sort of a music form geeky kind of explanation.
So for people who do what I do,
this is some of the stuff that's the most interesting.
It's not only kid of a modified compound AABA form, but
it's also a kind of large-scale two part form.
We call two part forms Binary.
So let me just take a minute to briefly explain how you might see it this way.
Song starts out with an intro.
Then there's a verse chorus, that's the A section.
Verse chorus, that's the A section.
A bridge section that features a guitar solo, that's the B section.
Then an interlude, okay, that doesn't fit as much into the a a b format.
But then the return of the verse chorus does.
So you get a verse chorus, verse chorus, bridge, verse chorus, so far so good.
But then you get a repeat of the verse chorus.
That's what would make it a modified AABA form.
And then you get a Coda with an extended guitar solo,
more talk about that in just a second.
You could also view the song as having an intro, and then a verse chorus,
a verse chorus, and a bridge, and then starting again.
So that's where the binary idea comes in.
It starts again with the interlude which really could be seen as a new
introduction, and then a verse, chorus, a verse, chorus.
And the coda, really a stretched out portion of the bridge.
So you've really worked your way through verse, chorus, verse, chorus, bridge,
verse, chorus, verse, chorus,bridge, twice.
That's what make it binary.
So it's interesting that this song could be read in both ways.
The lyrics recall, "As Time Goes By", they basically say enjoy
things as they happen, since time pushes forward and stops for no one.
So it's one of those kinds of philosophical reflections on the nature of
time and experience, and how we should enjoy each moment as it presents itself
because these moments probably won't return because time awaits for no person.
The Instrumentation is, I think what we can say about this most importantly,
is that the ending of the song is a true Mick Taylor Showcase,
featuring what he referred to as his best guitar solo with the band.
And it is a significant solo here,
the kind of stretching out he does recalls, Can't You Hear Me Knocking.
Remember that whole second half of that song from Sticky Fingers, and
it's one of those moments with the Stones just let, Mick Taylor,
just kind of do his thing as a guitar player.
Interestingly, the band used a guitar effect
on this track to create synthesizer like sounds.
And the guitar effect is something that was marketed mostly in England.
It's kind of a rare effect now if you go on Ebay or one of those kinds of online,
would pay a lot of money for it because they were so rare.
But anyway, it's called a Synthi Hi-Fli.
It really was not really a synthesizer at all,
it was just a bunch of effects modules sort of put together.
But, it was used to create synthesizer like sounds.
And David Gilmour, apparently used one on Dark Side of the Moon, and
Steve Hackett, apparently used one on Lamb Lies Down on Broadway,
so there were a couple of other British guitar players who were using one.
I think it's Bill Wyman that's actually got this hooked up maybe through his bass
to get some of the sounds down here, but nobody's really quite sure of that.
This song, Time Waits for
No One, considering that Mick Taylor was so involved in this tune,
is one of the ones that he was upset that he did not receive writing credit for.
And so it probably, in spite of the fact that it's a song that is maybe his
strongest contribution as a guitar player, maybe is the one that really fed some of
this growing to satisfaction with the group.
And not really getting enough credit for
some of the work that he thought that he did.
Dance Little Sister is the B-side to Ain't Too Proud to Beg.
And in many ways, Dance Little Sister is a song that's got a lot of air play, so
it's almost like it's not even a B-side, like that was a double A-sided record.
This track, Dance Little Sister, a modified compound AABA form.
The A sections are just a kind of a simple verse-chorus, you get an intro and
then verse, verse, verse, chorus, chorus.
Verse, verse, chorus, chorus, then there's a bridge, that's the B-section and
then verse, verse, chorus, chorus.
That chorus there, that second one there, has got a kind of a breakdown,
and then there's another chorus.
And then a verse, chorus, chorus.
So it's a modified compound AABA.
And that it has an A, an A, a B, an A, and then an extra A,
and then a coda that repeats the verse to fade.
Now this is very much in the style of Chuck Berry.
As the lyrics refer to a Thursday, Friday, Saturday nights and
successive verses the way Chuck Berry song might do.
Some might say, that it's a little bit more suggestive than a Chuck Berry tune.
In other words, if there's some sort of double entendres there that maybe
are a little bit more suggestive, but if you check out Chuck Berry's Maybelline,
that, his first big rock and roll hit, is full of double entendres as well.
So it's maybe, no more racy than at least that first big Chuck Berry hit, and
certainly nothing like Star Star, which we referred to in the previous video.
Now, if we look at something like Time Waits for
No One, and think of that as really being influenced by contemporary Jazz Rock,
soloing and things that were going on with a lot of groups that were doing Jazz Rock.
I don't know, Steely Dan, Carlos Santana, people with the kind of extended sort of
Jazz Rock soloing kinds of things going on.
This song, Dance Little Sister, really follows a 50s rock style,
and the instrumentation with driving guitars and pounding piano is in many ways
sort of similar to the 50s kind of thing they were doing with Star Star.
Although, if you listen to the guitar part,
you can sort of hear a hint of brown sugar in the way the guitar parts are done here.
A few lines in the lyrics reportedly refer to a trip that Mick and Bianca took
to Trinidad, where they washed cricket during the day, and partied at night.
And so there are a couple of words there that actually can be
traced back to Trinidad usage and that kind of thing.
So, an interesting song that very much looks back to their roots in the 50s and
Chuck Berry.
Well, to finish off our last song close-up, there's probably
no more appropriate song to talk about than Ain't Too Proud to Beg, because it
really takes us back to where we began at the very beginning of the course.
The Rolling Stones covering the music that they love, admired, and respected, and
this Temptations song from 1966, certainly one of those kinds of tunes.
Now, just for the fun of it.
Behind me, you will see the form of this tune go by, and let's just quickly
compare what the Temptations version does and the Rolling Stones version.
What I'm going to give you is the Rolling Stone's version of the form.
And the point of doing that, is to show that the stones hardly changed
the Temptations' version, they changed the key.
It's a half step different, but nevertheless,
they hardly changed the form of the tune.
It's a contrasting verse chorus, so
we get a verse a chorus, a verse a chorus, a verse a chorus.
Now the fourth time through, in the Stones' version,
there's a guitar solo over the verse, and then they come back in singing the chorus.
The only difference is that, in The Temptations' version,
they jump right to the chorus there, and there's a sax solo.
Otherwise, that section is really one
of the only sort of real departure from the Temptations' version.
The Temptations, likewise, come back with a verse, a chorus.
And then, where the Stones do a second chorus, the Temptation song fades out.
But the Stones, add a big coda to it, that's based on the chorus.
And so they jammed the tune out a little bit more at the end, again,
the way one might do in a live situation.
The song itself, the lyrics are by Norman Whitfield and Eddie Holland Jr,
Norman Whitfield, a very important producer in Motown,
especially in the second half of the 60s, even into the 70s.
Somebody whose production of things that involved the kind of urban realism we were
talking about with Heartbreaker are very, very important.
Papa Was a Rolling Stone, for example, for The Temptations.
But this song, 1966, comes a little bit earlier than that.
Eddie Holland Jr, one of the triumvirate of songwriters and producers at Motown.
Holland Dozier Holland, who produced the Supremes, and Martha and
the Vandellas and the Four Tops, and
had tremendous success in the mid 60s that really rivals the Stones and the Beatles.
Anyway, the lyrics by these two feature singer who will do
anything to keep his woman from leaving him.
He will not let his personal pride stand in the way of
the kinds of things he will do to save this relationship.
He Ain't Too Proud to Beg, beg for her to come back to him.
The instrumentation, again, features Billy Preston on the Clavinet.
Billy Preston featuring in some of these tracks in an interesting kind of
way to kind of capture that kind of 70s sound,
the early 70s, late 60s sort of soul sound they're going to.
An interesting trivia point,
you get percussion here by the guy name of Ray Cooper,
who was actually part of Elton John's band during the first half of the 1970s.
Of course, Motown playing a role, Ain't Too Proud to Beg,
looking back, will argue, this is a song that really sort of looks back really
to the early days of the Rolling Stones for the cover version.
But of course, the Motown choice is something we've seen before,
the Rolling Stones have done tracks like Hitch Hike, My Girl, Can I Get a Witness,
those are earlier Stones covers of Motown tunes Not to mention the importance of
Martha and the Vandellas in inspiring the song that really
broke the Stones in this country and that's (I Can't Get No) Satisfaction.
Dancing in the Streets, Nowhere to Run being very important tracks from Motown.
Martha and the Vandellas, that really kind of launched the group's career.
So perhaps it's fitting that as we end these song closeups,
that we turn to a song that really brings us full circle, back to the very beginning
of what we talked about in week one of this course.
Let's just take a few minutes for
some concluding remarks about The Rolling Stones and what we can maybe
say about the progression of the band from 1962 through 1974.
Here's a kind of a thumbnail sketch.
Should be very familiar to you by now.
The Rolling Stones emerged as a cover band out of London's blues revival scene.
They enjoyed their first commercial success with cover versions.
Their success in the US lags behind their success in the UK by about a year.
Mick and Keith begin to write songs very early in the group's career,
but not so much for The Stones at first.
So they become songwriters first and songwriters for
The Stones kind of second to that.
Aftermath marks the band's move toward a focus on
original material as opposed to cover versions.
Their Satanic Majesties Request marks a peak of psychedelic experimentation.
