Carol
Carol was Keith's note-for-note tribute to Chuck Berry on "England's Newest Hitmakers" (& UK No. 1). It was also one of two Berry tracks on the '69 set list along with Little Queenie, which also enjoyed a rebirth during the European Tour in 1970, and 1973 Winter Tour "Down Under". The live Berry stuff is very special, particularly Let It Rock vintage 1970-1971(UK Tour), and Bye Bye Johnny 1972 US tour.
A. Structure:
Instrumental Turnaround #1: Chuck's signature sound. Simple but unmistakable. It's the "double stops".
Chorus #1:
Line 1. Oohh Carol, don't let 'em steal your heart away
Line 2. Why I'm gonna to learn to dance if it takes me all night and day
Verse #1:
Line 3. Climb into my machine so we can groove on out
Line 4. I know a swinging little joint we can jump and "shouwout"(Marker #1)
Line 5. It's takes you far back off the highway not so long a ride
Line 6. You park the car in the open, you can walk inside
Line 7. A little cutie takes your hat and you can thank her ma'am
Line 8. Cause every time you make the scene you find the joint is jammed
Instrumental Turnaround #2:
Chorus #2:
Line 9. Oohh Carol, don't let 'em steal your heart away
Line 10. Why I'm gonna to learn to dance if it takes me all night and day
Instrumental Turnaround #3:
Instrumental Break: Keith solo - Right channel. Rock 'n Roll like it used to be!
Verse #2:
Line 11. Yeah, if you wanna hear some boogie like the boys are playin'
Line 12. Hold tight, pat your foot, don't let it carry you away
Line 13. Don't let the heat overcome you when they play so loud
Line 14. Yeah, don't the music in intrigue you when they get in a crowd
Line 15. Yeah, now you can't dance I know you would you could
Line 16. I got my eyes on you "sugar"(Marker #2) cause you dance so good
Instrumental Turnaround #4:
Chorus #3:
Line 17. Oohh Carol, don't let 'em steal your heart away
Line 18. Why I'm gonna to learn to dance if it takes me all night and day
Instrumental Turnaround #5:
Chorus #4:
Line 19. Don't let 'em steal your heart away
Line 20. Why I've got to learn to dance if it takes me all night and day
B. Reference Recordings, Markers and Conclusions:
1. Compared to MSG November 27, 1969 audience source
Markers:
Line 4: Simply "shout", no Marker #1
Line 5: Ends with a "yeah"
Line 8: No "Cause" to start the line
Line 8: Ends with a "whoo"
Line 10: Ends with "all right
Line 11: Begins with "Now"
Line 14: Does not begin with "Yeah, don't"
Line 15: Begins with "Whoa"
Line 16: Jagger says "a lady" not "you sugar", no Marker #2
2. Compared to MSG November 28, 1969 2nd audience source
Markers:
Line 4: Simply "shout", no Marker #1
Line 8: No "Cause" to start the line
Line 8: Ends with "yeah come on now"
Line 11: Begins with "Now"
Line 16: Jagger says " old lady" not "you sugar", no Marker #2
Line 20: "Gonna" vs. "got" to learn to dance
3. Compared to "Time Trip Volume 4"
Markers:
Opening: There is a slight false start by Keith
Line 4: Marker #1 is present
Line 16: Marker #2 is present
This song is note-for-note and word-for-word the same as GYYYO. The mix is different as it is clearer and without the boomy bassy sound of the US CD version. The piano is in the right channel for example and is much clearer. It's middle-left on the official release and buried in mud. The result of sine waves turned to squared-off approximations from a mix intended for vinyl. This record needs to be remastered from the original multi-track!
Conclusions:
The "Ya-Ya's" source for Carol clearly isn't MSG 11/27/69 or 11/28/69 2nd, therefore it is MSG 11/28/69 1st by process of elimination. Fortunately, the "raw" soundboard described in section C. has surfaced, which enables an assessment of the overdubs. The verdict is that there are virtually none, except for the slight (you can still hear a note or two) editing of an added strum at the beginning of the song. Carol was also compared to Baltimore 11/26/69 and Palm Beach 11/30/69, and no "match" was found.
This song is all Keith in 1969 as he fills the end of each line except 13 with wonderful fills and noodles. When he's not playing the lead lines he's chugging the rhythm. Taylor's left channel rhythm playing fills what little gaps of silence could possibly remain. The solo is superb and the best of the MSG shows.