Let's zero in on some songs from the end of 1966 into 1967 to get a kind of closer
look at some of the things that I've been talking about when surveying these two big
albums aftermath and between the buttons from 66 and early 67.
The first song, I want to start out with this Have You Seen Your Mother,
Baby, Standing in the Shadow?
This one the B-side to it.
In the U.S and the UK is a song called, Who's Driving Your Plane?
And you know, we didn't,
we've only been talking about these covers on these two albums.
From 66 into 67.
We haven't said a lot about blues.
There has been some blues there by considering where the Stones came from,
for Pete's sake, they came out of that British Blues revival movement.
There hasn't been a lot, an overwhelming amount of blues but
this track Who's Driving Your Plane, this B side.
There's another really good example of the rolling stones going back to
their roots in blues music writing their own blues and and, and performing it.
So the, and another, another kind of overlooked track.
But worthy cert, certainly worthy of your listening and your attention.
So Have You Seen Your Mother Baby, Standing in the Shadow?
Recorded in August of '66 at RCA.
And then finished up in September at IBC in London, where Glyn Johns was working.
This one is interesting because it's got horns on it and
the horns are are, arranged by Mike Leander, and you m, maybe remember
the name Mike Leander as being the guy who arranged the strings on As Tears Go By.
And of course went onto about the same time arranged the strings for
The Beatles She's Leaving Home, which was recorded in the first half of 1967 for
the Sergeant Pepper record.
And this is because Mike Leander was a bigger ranger, film music, TV music,
kind of guy, around London, so he was he was available.
Anyway, those are his horns that we're hearing in Have You Seen Your Mother Baby,
his arraignment.
The form of this track is what I call a modified AABA.
Modified because you get the AABA form and
then the only thing that comes back at the end is one more verse, one more A section.
So it kind of goes intro.
Which has the wahwah, fuzz, and feedback thing.
Aw, everybody, a lot,
a lot of people are really proud of the introduction of this tune, because it,
it has this sort of wahwah, feedback, fuzz kind of sound before it gets rolling.
And, than that, of course, that comes back at the very end,
just the distorted guitar sort of bathed in a rich sea of reverb.
But all that kind of,
you know, sort of loud distorto-kind of sign, you would say aha.
They must have been influenced by Hendricks here, right,
because he was the guy for feedback and those kinds of sounds.
Well, it turns out that Hendricks didn't actually play his
first live gig in London, and, you know, Hendricks broke in London before he.
Broke in the United States.
He played around the country United States, that's for sure, but
when Chas Chandler brought him back,
the first gig his band played was after the song had been recorded.
So, if they got all that feedback and stuff from somebody,
they may have gotten it from The Who, you know, Pete Townsend and
Keith Moon kind of liked to destroy the auto destruct [LAUGH] thing.
They stopped doing, because it was too expensive or
they'd bring cheap guitars out, but there was an awful lot of noise that was made.
When they did that,
of course, there's feedback at the beginning of the Beatles' I Feel Fine.
But I think it's a fairly innovative introduction to this tune.
So I want to give the Stones credit for not following what somebody else has done,
but innovating here in their own, in their own way.
Well, that's just the introduction tune.
It's snappy, we get a verse that has a refrain that, that,
that begins each verse.
So you get the refrain at the beginning of each verse and
then different lyrics to follow it each time.
So you get a verse.
A verse, each of those acting as A sections.
Then you get a bridge, which is the B section.
It gets very quiet for contrast and then builds.
That's a technic they're going to use a couple more times,
that is come to the contrasting B section and
bring it way down and then build it back up again, and that's what happens here.
It builds to a return of the verse.
And then as I say after you get the intro, the A, A, B, A.
You get another, another verse, and
then a Coda with that distorted guitar that comes back at the end.
Now, the lyrics refer to a sh,
a, a, shadowy life and shadowy love relationships.