DESCRIPTION:
(c)1971 Words & Music by Mick Jagger & Keith Richards
Track 1 from album "Sticky Fingers"
Arr. stagwolf [Standard tuning, guyz, sounds in key of A
~~~~~~~~
Gold coast slave ship bound for cotton fields, sold in a market down in New Orleans
Scarred old slaver know he's doing alright, hear him whip the women just around midnight..
Brown sugar, how come you taste so good-a, brown sugar, just like a young girl shoulda..
Drums are beating cold, English blood runs hot, Lady of the house wonderin' where it's gonna stop
Houseboy knows that he's doin´ alright, you shoulda heard him just around midnight
Brown Sugar.. how come you taste so good, now.. Brown Sugar, just like a young girl should, now, yea.. [Solo on sax
Aaah, Brown Sugar, how come you taste so good, baby.. Aaah, Brown Sugar, just like a black girl should, yea
Now, I bet your mama was a tent show queen and all her boyfriends were sweet sixteen
I'm no schoolboy but I know that I like, you shoulda heard me just around midnight
Brown Sugar, how come you taste so good, now.. Brown Sugar, just like a young girl should, now
I said yea yea yea, whoo! How come, how come you taste so good?
I said yea yea yea, hoo! Just like a, just like a black girl should.. Yea yea yea, hoo [Solo to fade
~~~
Though credited, like most of their compositions, to the singer/guitarist pair of Mick Jagger and Keith Richards, the song was primarily the work of Jagger, who wrote it sometime during the filming of Ned Kelly in 1969. Originally recorded over a three-day period at Muscle Shoals Sound Studio in Muscle Shoals, Alabama from 2–4 December 1969, the song was not released until over a year later due to legal wranglings with the band's former label, though at the request of guitarist Mick Taylor, they debuted the number live during the infamous concert at Altamont on 6 December. The song was written by Jagger with Marsha Hunt in mind; Hunt was Jagger's secret girlfriend and mother of his first child Karis. It is also claimed it was written with Claudia Lennear in mind. Lennear made this claim on BBC's Radio 4 (25 February 2014, Today), saying that it was written with her in mind because at the time when it was written, Mick Jagger used to hang around with her.
In the documentary film Gimme Shelter (1970), an alternative mix of the song is played back to the band while they relax in a hotel in Alabama.
The song, with its prominent blues-rock riffs, dual horn/guitar instrumental break, and danceable rock rhythms, is representative of the Stones' definitive middle period and the tough, bluesy hard-rock most often associated with the group. In the liner notes to the 1993 compilation album Jump Back, Jagger says, "The lyric was all to do with the dual combination of drugs and girls. This song was a very instant thing, a definite high point." The song is in compound AABA form.
In the Rolling Stone interview (14 December 1995, RS 723) with Jagger, he spoke at length about the song, its inspiration and success — including claiming credit for writing the lyrics. He attributed the success of the song to a "good groove". After noting that the lyrics could mean so many lewd subjects, he again noted that the combination of those subjects, the lyrical ambiguity was partially why the song was considered successful. He noted, "That makes it... the whole mess thrown in. God knows what I'm on about on that song. It's such a mishmash. All the nasty subjects in one go... I never would write that song now." When Jann Wenner asked him why, Jagger replied, "I would probably censor myself. I'd think, 'Oh God, I can't. I've got to stop. I can't just write raw like that.'"
The lyrical subject matter has often been a point of interest and controversy. Described by rock critic Robert Christgau as "a rocker so compelling that it discourages exegesis", "Brown Sugar"'s popularity indeed often overshadowed its scandalous lyrics, which were essentially a pastiche of a number of taboo subjects, including slavery, interracial sex, cunnilingus, and less distinctly, sadomasochism, lost virginity, rape, and heroin.
An alternative version was recorded on 18 December 1970, at Olympic Studios in London, after (or during) a birthday party for Richards. It features appearances by Al Kooper on piano, and Eric Clapton on slide guitar. Richards considered releasing this version on Sticky Fingers, mostly for its more spontaneous atmosphere, but decided on the original. The alternative version, which had previously been available only on bootleg recordings, was released in June 2015 on the Deluxe and Super Deluxe editions of the reissued Sticky Fingers album. [wiki