Mick Jagger, Mick Taylor, & Keith Richards - Solo Sessions

Checkin' Up On My Baby

Mick Taylor:

A Sonny Boy Williamson (a.k.a "Rice" Miller and not to be mistaken with John Lee Williamson) song - Played by Mick Taylor with John Mayall's Bluesbreakers, and released on the "Crusade" album. The record followed "A Hard Road" album which was Peter Green's last effort as a Bluesbreaker prior to forming Fleetwood Mac. It was the first LP recording of young teenager Mick Taylor who had been pursued by Mayall after sitting in on a gig that Clapton had missed some years earlier.

Recorded at Decca Studios, West Hampstead on July 11th and 12th, 1967. The track was done in one take. (3:54)

The Band:

John Mayall - Vocals, organ, piano, harmonica

Mick Taylor (!) - Lead Guitar

John McVie - Bass

Keef Hartley - Drums

Chris Mercer - Tenor Sax

Rip Kant - Baritone Sax

Found on LP's:

This was recorded during the Bluesbreaker Reunion Tour, Pfingstfestival Wiesen, Bergenland Jazz Club, May 22, 1983. This show is also the source of the version of The Stumble found on the "May I Have A Record Contract" LP/CD, except that this LP is taken from an audience tape with better instrumental balance (there are two different sources for this show).

Found on CD:

The Words:

Checkin' out my baby

Find out what she puttin' down

Checkin' out my baby

Find out what she's puttin' down

So many nights and days, I've been all out of town

I wouldn't come home, I wouldn't even write

I wouldn't come home, I wouldn't even write

I caught me a plane, I flew back that same night

Instrumental Break: Harp solo

Checkin' out my baby

Find out what she puttin' down

Checkin' out my baby

Find out what she puttin' down

So many nights and days, I've been all out of town

I wouldn't come home, I wouldn't even write

I wouldn't come home, I wouldn't even write

And I caught me a plane, I flew back that same night

Instrumental Outro: harp

Williamson was a harp player, so the song is centered around Mayall's harp and Taylor is left with an aptly played repetitive blues riff. He manages to squeeze in a few tasty lead fills. The riff is unbelievably similar to the bass line and guitar riff played in Led Zeppelin's How Many More Times from the first record...so not just the words of people like Willie Dixon, but also the licks. The Williamson original first issued on the Chess LP "The Real Folk Blues", features the stepson of Robert Johnson, Robert Jr. Lockwood on guitar. Lockwood was also capable of playing a mean 12 twelve string. On another note: Taylor's incredible talent for live performance can be heard in it's most primal beginnings on the Mayall LP's "The Diary of A Band, Volume One & Two" and also issued as "John Mayall - Live In Europe". These 1967 recordings are worth searching out as the music reveals a teenager playing with unreal maturity and technique.

Mick Jagger:

In addition to Mick Taylor's Bluesbreakers, this song is also covered by none other than Michael P. Jagger. It was performed by him as a solo artist with the Red Devils as a backing band. The Red Devils released a live CD called "King King" (26795-2) on Def American, which is named after the venue where the disc was recorded. Def American (now simply known as American) records is owned by none other than Rick Rubin who also produced "Wandering Spirit" in the same year as this disc was released (1992), so there is the very interesting connection between Jagger and the Red Devils....Rick Rubin.

The Red Devils were:

Lester Butler-vocals,harp

Dave Lee Bartel-rhythm guitar

Paul Size-lead guitar

Johnny Ray Bartel-bass

Bill Bateman-drums

Found On The CD's:

The Words (Take #3) - (3:22):

Checkin' up on my baby

Find out what she's puttin' down

Checkin' up on my baby

Find out what she's puttin' down

So many nights and days, I've been out of town

And I won't call home, and I wouldn't even write

And I wouldn't call home, and I wouldn't even write

But I caught me a plane, I flew back the same night

...yeah

Instrumental Break: Harp solo

Oh I won't call home, and I wouldn't even write

Yeah I won't call home, I couldn't even write

Though I caught me a plane, got back the same night

...I tell you what I wanna do

Checkin' up on my baby

Find out what she puttin' down

Checkin' up on my baby

Find out what she's puttin' down

Ahh so many days and nights, I did put myself out of this town

...I'm gonna say

Checkin', checkin' up on my honey

Find out what she puttin' down

Checkin' up on my baby

Find out what she's puttin' down

Yeah I know she's been foolin'

Talkin' all over town

Outro: Harp solo

The Rockin' Blues!

Jagger is having good fun with the song. Maybe for comercial reasons or being preempted by Eric Clapton for "goin' back to the roots" persuaded Mick to change the blues course on his next solo recording and go in the direction that brought him to his finest solo effort to date: "Wandering Spirit".

Mick Jagger - Peformed Live

This song was also played in a live performance by Mick Jagger at the "British National Music Day", which was an event sponsored by Jagger after he observed a similar happening in France. The song features Jagger with guitarist and solo artist in his own right Gary Moore and his Midnight Blues Band. The recording date was June 28, 1992 at the Hammersmith Odeon, London.

Found On The CD's:

The Words - (3:00):

Checkin' up on my baby

Find out what she's puttin' down

Checkin' up on my baby

Find out what she's puttin' down

So many nights and days, since my baby left this town

I do not even call, and I never even write

I never call home, and I didn't even write

So I caught me a plane, I got back the same night

...checkin' up on her...all right do it

Instrumental Break #1: Guitar & Harp solo

...all right

And I didn't even call, and I didn't even write

I didn't telephone, and I didn't even write

So I took the next plane, got back the same night

Checkin' up on my baby

Find out what she puttin' down

Checkin' up on my baby

Tryin' to find out what she's puttin' down

So many nights and days, since I left this town

...check up on her

Instrumenetal Break #2: Blazing guitar solo

...yeah

.. let's go now

Checkin' up on my honey

Find out what she puttin' down

Wolfin' up on my baby

Find out what she puttin' down

So many, so many nights and days, since my baby left this town

Thank you, thank you very much...

Oh What A Feeling

A song written and performed by the Everly Brothers, and solo artist Don Everly (post 1973 Everly Brothers). Also known as What A Feeling & It Must Be Love. There are two versions of this Keith Richards solo recording:

1st Version: Piano/vocal (2:31) - There is a doubled vocal on this take. Both vocal tracks are Keith Richards.

2nd Version: (3:45) - Longer version. There is a sound of a camera shutter at :06. It provides a "marker" for the song. This version also begins with an added Chorus 1 rather than Verse 1. Other differences in the vocal in ( ).

There are five possible recording sources for these two takes:

1) Sound Interchange Recording Studio, Toronto, Canada, March, 1977. Reference the Bockris "Keith Richards" book for information regarding this session! Ian Stewart possibly on Piano. He was the only Stone who stayed with Keith after his run-in with the Mounties on February 27, 1977.

2) RCA Studios, Hollywood, August, 1978.

3) Eldorado Recording Studio, Los Angeles, March, 1981.

4) Long View Farm rehearsals, North Brookfield, Massachusetts, August 18, 1981 and onward (6 weeks).

5) Compass Point Studios, Nassau, Bahamas, January 18 - February 12, 1979.

These two takes are different enough to convince me that they are from completely different sessions. There are logical reasons to believe that these takes were recorded at two of the above session dates.

Found On LP's:

* "In Tune With The City: Jam" Music Of Distinction (MOD 1000-A/B/C/D)

The Richards photo used for the insert of this LP probably copied from the color photo of this Japanese magazine cover found on page 170 of the Dalton/Karnbach/Beach book "The First Twenty Years".

* "Rolling Stones: Soul Survivor" Great Live Concerts (KR-SOLO-A/B/C/D)

The Jagger photo used for the insert of this LP is from the October 12, 1968 "Rolling Stone" interview photo sessions (polo shirt shots). This source lacks sound fidelity.

* Side 2, track 4

** Side 1, track 3

"Keith" Post Records (KITH 01A/B/C/D) Full color cover close-up shot of Richards circa 1985. Disc 2 is a copy of the "Unknown Dreams" LP, but with pitch/speed correction!

LP Number 2 (sides C, D):

* Side 2, track 4

** Side 1, track 3

Found On CD's:

* "Keith Richards Jam: Small Talk Part 1" You Records (LD 324)

Copy of the LP "Jam" including "snap, crackle, pops"

** "Unknown Dreams" Outsider Bird Records (93-CD-009 11 A2)

** "Unknown Dreams" Save The Earth (MCM TCP A 4189). Copy of the OBR CD, including the cover artwork.

** "You Know My Dreams" Outsider Bird Records (93-CD-009 11)

The Words:

Verse 1:

I sit here, all alone

I wait here, by the phone

I know, you'll never call

Chorus 1:

Oh what a feeling

It must be love

Although it's bitter

It must be love

Verse 2:

I can't forgive her

The days turn, into weeks

Her (Your) letters, I shall keep

The ones you didn't write

Chorus 2:

Oh what a feeling

It must be love (mmmm...)

Oh what a feeling

It must be love

Oh what a feeling, yeah

It must be love (yeah)

Oh what a feeling

Very nice piano outro... In the 2nd version there is another sound of a camera shutter at the outro at 3:28.

Note - Richards has changed the lyric in places:

I sit at home alone

The ones she didn't write

He has also rearrange the order of verse and chorus from the original song.

This song is a magnificent adaptation by Richards who takes it much farther into the realm of possibility than even Everly! This song is based on the version The Everly Brothers did on their 1959 album "The Fabulous Style". "Fabulous Style" was named by Richards in an interview as one of his contemporary favorite albums. It also includes All I Want To Do Is Dream, Devoted To You and Problems - 3 songs covered by him as well. There is also an early 70's solo remake of the song by Don Everly. Unfortunately, this recording is overly produced with back-up singers, strings, and steel guitar. With it's raw simplicity and soul Richards produces a beautiful piano/vocal solo.

Too Many Cooks (3:37)

This is a very interesting pre-funk soul number with great horns and an excellent vocal by Jagger. In many ways the song is years ahead of it's time, but unfortunately today it is so stylized that it sounds a bit dated. Sadly, it was not released soon after it was recorded in the early Seventies. It would have been ground breaking at the time, but clearly there must have been contractual problems with the artists comprising the supergroup that recorded it. Technically, it's not a Rolling Stones song, but another early flirtation by Jagger to address a solo career. Mick's first departure from the Stones being brought on by his film roles and the solo recording of Memo From Turner.

The band line-up (This information found in "Das Weissbuch" by Dieter Hoffmann, 1991):

Mick Jagger: Vocal

Harry Nilsson: Backing Vocal

Jim Keltner: Drums

Bobby Keys: Saxophone

Jesse Davis: Guitar

T. Lawrence: Sax

Danny Kortchmar: Guitar

Al Kooper: Keyboard

Produced by: John Lennon. May Pang has written about this song on he Internet. Apparently Lennon named the band "The Jim Keltner Orchestra"...or maybe it was simply called "The All Star Band". The song was possibly recorded during "The Jim Keltner Fan Club Hour", Record Plant Studio, West Los Angeles, November, 1973 or more likely a May, 1974 session. The '74 session places Pang with Lennon.

Found on EP's:

"Get Together!" Tobe Milo (40 1/2)

Found on LP's:

This song was a big favorite of underground record producers during the vinyl era...

"R.S.V.P. Gravestones" Rolling Stones Vinyl Product (RSVP 003 A/B). The is a rare disc with a multicolor rubber stamped cover.

"Gravestones & Rape of The Vaults" Rolling Stones Vinyl Product (RSVP 002 A/B & RSVP 003 A/B). A repackage of the above with an insert cover of Brian Jones at the Monterey Pop festival in 1967. The photo was taken from page 80 of David Dalton's classic "Rolling Stones: An unauthorized biography in words, photographs, and music", 1972.

"The Black Box" Rolling Stones Vinyl Product A 3LP box set that includes the "Gravestones" disc. The selections on this underground recording even surpass Wyman's choices for the Stones issue of the "Black Box". What we have instead is "Metamorphosis" which is a far cry from both compilations with respect to musical content.

"Unsearchable Stars" The Swingin' Pig (ST D+B 01-A/B) With King Kong Record labels. Found on black and rare red vinyl. An early release by this now famous record label that was able to transition very successfully from vinyl to the CD age...for awhile anyway.

"Dr. No Presents The Rolling Stones" Bebop (A-7955-A1/B1). The early Stones shot on the cover of this LP was also used on the Wizardo release "Da Doo Ron Ron". The photo was taken from page 94 of David Dalton's "Rolling Stones: An unauthorized biography in words, photographs, and music", 1972. It features Brian Jones prominently displaying his teardrop shaped Vox MK VI guitar. The book has great "Golden Era" photos that were not reissued on very many occasions. It provided much material for the underground "graphic artists" of the day who were rushing new titles out as quickly as possible.

"Sing This All Together" 2LP on Smilin' Ears Records (77002-A/B/C/D). A rare blue printed cover of Beatles and Stones in the era of paper insert covers.

"When Two Legends Collide" Picture Disc version of "When Two Legends Collide" on Tuna Records.

"Trident Demo's 1969" Chelsea Records (2R 68 RS A/B/C/D). A color reproduction of what at the time was the rare original toilet scene cover of "Beggars Banquet" (with a black background). The disc was released soon after the original issue of the "Trident Mixes" in the late Seventies.

Found on CD's:

"The Decca Years Vol. 2" World Productions of Compact Music (D038)

"Greatest Rarities Vol. 1" Adam VIII (49-029)

"Megatrax Vol. 2" Chapter One (CO 25154)

"A Shot Of Salvation (Old Masters Volume II)" Scorpio (OM90-64-14)

"Excellent And Unreleased" No Label (19)

The Words:

Don't want another man, well loving you

'Cause too many cooks, will spoil the soup

I know your love, is a boiling hot

Don't want another man's, finger in the pot

Bridge:

You know your love, is finger lickin' good to me

Don't want another man, changin' my re-ci-pe

Don't want another man, lov-in' you

'Cause too many cooks, will spoil the soup

Chorus:

Don't change, don't let nobody change, yeah

Don't change, don't let nobody change

She got, enough sugar, sugar 'nuff spice

The main ingredient, to make a your lovin' right

Don't want nobody, stickin' fingers down in the pot

Don't wanna see you ever, get down lickin' it up

Bridge:

Your love is seasoned, just right for me

Don't want nobody, changin' my re-ci-pe

Don't wanna try nobody new

'Cause too many cooks, will spoil the soup

Chorus:

Don't change, don't let nobody change, yeah

Don't change, don't let nobody change

Instrumental Break: Saxophone solo

Yeah, every time I see ya, learning something new

A who been teachin' you, the thing to do

Yeah, don't want nobody drinkin' from my cup

Don't wanna see you, yeah get down lickin' it up

Chorus:

Well, don't change, don't let nobody change, yeah

Don't change, don't let nobody change

Bridge:

Well, I need a love that's seasoned right for me

Don't want another man changin' my re-ci-pe

Don't want another man, lovin' you

'Cause too many cooks, they will spoil the soup

Chorus:

Don't change, ahh

Sing a song...

Outro (Improvised):

Well, don't change, don't let nobody change

Don't change, don't let nobody, whoa

Don't change, don't let nobody change

Don't change, don't let nobody, whoa

Well no

Well, nobody

Nobody

Ain't gonna (faint)

Ain't gonna let nobody

Ain't gonna

Nobody change

I ain't gonna

Ahh-haa

Stick it out, come on now

I'm goin' now

My baby

Just a walkin'

Whoo

Don't-change

Gem Stones:

By far the best fidelity sound is found on:

Missing In Action:

Jagger was asked specifically about this song during an American Online session in 1994. I remember him confirming most of the musicians, and he said that he had never really heard the song. I heard it several times on KSAN FM radio (the "jive" 95) in San Francisco, during my youth, and only discovered some time later that it had never been officially released.

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