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Beggars Banquet Sessions
Blood Red Wine
(5:12) - A "Beggars Banquet" session outtake from Olympic Studios, London, England, May, 1968. a.k.a. Red Blood Wine, Blood Red & Wine, and Bloodred Wine.
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This lovely melodic ballad with the somewhat morbid lyrics first surfaced on the LP "Trident Mixes" in the late Seventies. The title issued by the long defunct (busted) Canadian "record label" is one of the classic underground releases of all time, perhaps only second in significance to Trade Mark of Quality's "Bright Lights Big City" release from the early Seventies. The 'K' in K&S records used to frequent the LA area and would swap "plates", with various labels, including TMoQ. Thus we have the remarkable and rare multi-color splash vinyl TMoQ re-issue series also from this label.
Found on LP's:
"Trident Mixes" K&S Records (MCG/KS-072-A/B)
"Rolling Stones Trident Demos 1969" Chelsea Records (2R 68 RS-A/B/C/D) Modified "Beggars Banquet" toilet scene on the cover.
"Necrophilia" More Licks Records (MRF 11082-A/B) Has "Welcome To New York" picture label and Stones circa '75 cover artwork.
"Taxile On Main Street (What's Left Alive)" Town Records (242-HSA/B/C/D)
Found on CD's:
"The Trident Mixes" Living Legend Records (LLR CD 039 01) Complete with vinyl crackles and hiss.
"Time Trip Vol. 3" Scorpio (15/172/01) From vinyl.
"The Decca Years, Vol. 4" World Productions of Compact Music (D040) From vinyl.
"A Beggars Opera" The Early Years (02-CD-3308) From vinyl.
"Olympic Recording Session June 1968" Invasion Unlimited (IU 9534-1) De-clicked. Cleanest copy.
"Unplugged" Invasion Unlimited (IU 9542) De-clicked. Cleanest copy.
"Thee Satanic Sessions" Diablo Music (S.2624-A2) From vinyl.
"The Abkco Masters" Conquer (CO 0871-29) Plays fast and affects the pitch of the vocal. The song is 22 seconds shorter/faster!
"The First Decade" Box Set Big Music (BIG 4006/4007/4008/4009 PHC) From vinyl with some de-noise coloring (phasing).
"Performances" Box Set Templar (TCD 43-A/B/C/D) From vinyl.
The Words:
Mmm...dear, I love you dearly, but don't forget trouble
I, used to find, and it was, in your mind...yeah
I got red blood, and I got blood red wine
Which I bring you, when the snow is heavy on the ground
If you say where go
I'll just, wrap my cloak around
You say that every man you ever had
Has been obsessed with you and I, wanna prove an exception
To the role, that you lay down
Babe, please don't make me cry, 'cause there's a little pain inside..iide
Yes my darling now you can't expect me always to hide
I got red blood, and I got, blood red wine
Which I bring you when the snow lies heavy on the ground
If you say we'll go
Why-ow... let me, let me, wrap my coat around
Yeah, that's right
You see that every time well the lines must rhyme
And every verse, be in the same old time
Does it all, have to rhyme?
But there go, and that's a place that you will never...
You said to remind of the girl I used to know, and used to love, yeah
I got red blood, and I got blood red wine
Which I bring you, when the snow lies heavy on the ground
If, you get cold
I, oh wrap my, coat, coat around
My, my, my, my don't you stay, on that, that snowy ground...
The mood of the song and even lyrics like "wrap my coat around" are reminiscent of the song Winter from "Goats Head Soup". Musically, perhaps a closer approximation to Sister Morphine. This track along with Hamburger to Go make for an interesting perspective on the ballad influences of the period, although unfortunately this particular genre of ballad is totally obscured be the selections chosen for "Beggars Banquet" and "Let It Bleed".
Pay Your Dues (2:53)
A.K.A. : Did Everybody Pay Their Dues?, Everybody Pays Their Dues, and Everybody Pays Your Dues.
The music to the song we know as Street Fighting Man recorded with an entirely different set of lyrics. This version of the song is about an American Indian (Native American) Chief! The recording technique for the incredible musical track (which is a different mix here) is described in an interview with Keith Richards that was published in Rolling Stone Magazine on August 19, 1971. There is a strange dichotomy in the sound where you have compressed acoustic guitar and the presence of reverb. Really amazing, and all done mechanically (in the analog), by multiple playback and recording though a mono cassette recorder (Parachute Woman was also recorded this way). Charlie's delayed drum beat against Keith's rhythm playing produces an added edge and swinging back beat to the song. The track is an Olympic Studios outtake from "Beggars Banquet" recorded March - April, 1968. "Artifacts" or musical markers are all present in the same places in all recordings, so only one version circulates on this one.
Found on Tape:
"The Sterling Demos" Circulated in the 1970's. Many of the tracks and running order of this tape are consistent with the "Diverse Harmonics" recordings. Possibly the original source for the material on this title.
Found on 7" 45 rpm:
"Not Titled" Light blue Insert Cover (Stones with Keith in "granny" glasses and frock, from Green Park, January, 1967. Photo by Dezo Hoffmann) (EP-1-A)
"The Rolling Stones" Creative Artistry (EP-1-A and 3A3375/M-01) Reissue of the above with an insert picture cover.
Found on LP's:
"Everlasting Stones" Sons of 1984 (ST JPM 182 124-A/B)
"Diverse Harmonics" Mona records (M OT-A/B)
"Beggars Breakfast" Mad Records Inc. (MATV 09-A/B/C/D) Dave Mason is correctly listed on the LP credits for his guitar contributions!
"Studio Work" Starlight Records (SL87004-A/B/C/D) This recording plays very slow, but without noticeable pitch problems. A unique source for confirming the vocals with maximum treble and minimum bass EQ. Also checked at a faster 45 rpm to get clearer enunciation of the lyrics.
Found on CD's:
"Thee Satanic Sessions" Diablo Music (S.2624-A2)
"Diverse Harmonics" Vinyl Gang Product (MO-T U3T4) Best Quality Sound!
"Olympic Recording Sessions" Invasion Unlimited (IU 9534-10)
"Mad Shadows" Scorpio (SC-91022)
"In Stereo" Chapter One (CO 25203)
"Hot Stuff Vol. Two: In Studio" (Disk 1, track 15) Great Dane Records 4CD book-like packaging with color booklet. (9P1950124901, 9P1950124902, 9P1950124903, 9P1950124904)
Found on CD-R:
"Alternates Vol. 1" Boss Hawg
1st Verse
Chief to scorn his friends make love to his re-la-tions
He beats his wife and made her life a to-tal wet va-ca-tion
Chorus 1:
Now did everybody pay their dues?
Now did end up with tribal blues?
All the braves and squaws and the maids and the whores
Did, everybody pay their dues?
2nd Verse
Heee's a tribal chief his name is called dis-order
His flesh and blood he tears it up when acting right is nor-mal
Chorus 2:
Now did everybody pay their dues?
Now did any of them try to refuse?
All the braves and squaws and the maids and the whores
Did, everybody pay their dues?
Brief Instrumental Bridge: Faint Jagger chants can be heard here.
3rd Verse
See all the children roses pi-lling
What's all with us to be grown up is to be good at ly-ing
Chorus 3:
Now did everybody pay their dues?
Now did any of them try to refuse?
All the braves and squaws and the maids and the whores
Did, everybody pay their dues?
This track was very difficult to decipher, because the mix is somewhat muddy and lyrics incoherent in places. Maybe this track and not Casino Boogie was the bands first attempt at "cut-up lyrics"! Most available recordings have a fair amount of distortion present. Street Fighting Man is a rhythmical masterpiece. Perhaps inspired by the primal percussive beats of Native American music! Note the similarity of these rhythms to Igor Stravinsky's "The Rites of Spring (Le Sacre du printemps)" particularly on the track Harbingers of Spring (a surreal piece of classical music written in 1910-1913). Different genres of music derived from the same rhythmic dialect.