Mick Jagger / Keith Richards / 4:25
Musicians
Mick Jagger: vocals, rhythm guitar (?)
Keith Richards: rhythm guitar, backing vocals
Ron Wood: rhythm and lead guitar
Bill Wyman: bass
Charlie Watts: drums
Recorded
EMI Pathé Marconi Studios, Boulogne-Billancourt, France: October 10–December 21, 1977
Atlantic Studios, New York: March 15–31, 1978
Technical Team
Producers: The Glimmer Twins
Sound engineer: Chris Kimsey
Assistant sound engineers: Barry Sage, Ben King
The “burden” in question is Keith Richards himself, whose descent into hell as a result of drugs and arrests almost dealt a fatal blow to the Rolling Stones. “When I returned to the fold after ‘closing down the laboratory,’” he explains, using colorful imagery, “I came back into the studio with Mick, around the time of Emotional Rescue, to say, ‘Thanks, man, for shouldering the burden’—that’s why I wrote ‘The Beast of Burden’ for him, I realise in retrospect.”9 Hence the lines All your sickness, I can suck it up/Throw it all at me, I can shrug it off.
Mick Jagger then reworked the song—with Keith claiming to have completed a couple of verses—and, as happened often, transformed it into the expression of a difficult relationship between a man and a woman. Mick explained in an interview: “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.”29 Jared Followill, a member of the alternative rock band Kings of Leon, would later say of this song: “I prefer songs that go to the heart rather than the head, and only few bands can hit the heart with ease, like the Stones. ‘Beast of Burden’ is one of my absolute favourite songs ever, for the yearning vocal and the great guitar work.”108
“Beast of Burden” was the A-side of the second single from Some Girls (with “When the Whip Comes Down” as the B-side). It rose to number 2 in Scandinavia, number 4 in New Zealand, and number 8 on the Billboard chart, but failed to chart in the United Kingdom.
“Beast of Burden” is a somewhat curious track. It gives the impression of being merely a cover by the Stones of a Temptations or an Al Green song. With its feigned calypso or reggae rhythm and distinctly soul groove, it stands out from the other tracks on the album for its nonchalance, offering a moment of respite in the midst of a particularly energetic track listing. The rhythm intro seems to be played by Keith (on the right), although it could be Mick. At any rate, it is Keith who comes in with the second rhythm part, this time in the center of the stereo, with a strong phasing effect obtained using his MXR pedal. On the left, Ronnie contributes another 6-string part, both rhythm and lead, played in his own characteristic style. It has to be said that he merges completely with Keith, the two guitars weaving in a natural-sounding way. This was no doubt a risk that Keith Richards considered before making Ronnie the official successor to Mick Taylor. It is very easy to get the two guitarists confused, although Ronnie has more than one trick up his sleeve, and occasionally surprises the listener with an unexpected intervention, such as his very good solo at 1:48.
It is not possible to praise the excellent rhythm section of Bill and Charlie enough. “Beast of Burden” is a fine example of their collaboration, the two of them imparting a very solid soul groove to the track and establishing an unshakable foundation. Ever since the early days, it is these two who have enabled the Stones to roll with complete peace of mind. Their contribution is essential, if always discreet. Mick’s take is perfect. His tone is right, displaying palpable emotion, and his voice excellent in every way, even in reaching for the falsetto that he now seems to favor (3:01). He would later claim to have realized after the event that he was probably unconsciously inspired by Buddy Holly’s “Peggy Sue” in his singing of the phrase pretty, pretty, pretty in the bridge. The use of a delay on his voice can be heard at 2:30.
“Beast of Burden” is one of the album’s triumphs, and its groove, which to some extent recalls that of “Tumbling Dice,” is largely to thank for this.