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Rolling Stones songs: I’m a King Bee
Well I’m a king bee, baby/ Want you to be my queen / Together we can make honey / The world has never seen…
With its hypnotic rhythm and suggestive lyrics, I’m a King Beebecame one of the defining songs of swamp blues. Recorded by Slim Harpo in 1957 for the Excello label, this track exuded a raw, laid-back groove that made it stand out. Harpo, a pioneer of Louisiana blues, crafted the song at J.D. Miller’s legendary studio in Crowley, Louisiana, drawing inspiration from Melvin ‘Lil’ Son’ Jackson’s Rockin’ and Rollin’. While I’m a King Beedidn’t immediately dominate the charts, its slow-burning appeal would soon make it an essential track for the next generation of rock musicians.
By the 1960s, the song had taken on new life as British and American rock bands embraced the blues and made it their own. The Stones’ faithful rendition on their 1964 debut album played a significant role in bringing Harpo’s music to a wider audience.
The Rolling Stones’ I’m a King Bee: A Blues Classic with a Rock ’n’ Roll Bite
When The Rolling Stones took on I’m a King Bee, they didn’t just cover the song—they injected it with a whole new attitude. Their version crackles with an energy that sets it apart from Slim Harpo’s laid-back original from 1957, transforming the swamp blues classic into something more aggressive and charged. They even kept in all of Harpo’s spoken lines. Mick, however, was puzzled by why people would choose their version over Harpo’s original. In 1968, he candidly said, “I mean, what’s the point in listening to us do ‘I’m A King Bee’ when you can listen to Slim Harpo doing it?” Besides, Jagger delivers the lyrics with his signature blend of sensuality and insolence, giving the song an undeniable swagger.
A standout moment comes at 2:01, when Jagger launches into a harmonica solo so captivating that the rest of the band momentarily forgets to change chords—a rare and charming misstep that adds to the raw, live feel of the track. This performance also marks an important milestone for Keith Richards, who, for the first time on record, plays an acoustic guitar—most likely his Harmony 1270 12-string—adding depth and texture to the song’s driving rhythm.
Listening closely to this version offers a fascinating glimpse into how Brian Jones and Keith Richards worked together to master the blues, dissecting its nuances and making them their own. Their take onI’m a King Bee isn’t just a respectful nod to Louisiana’s bayou-born “devil’s music”—it’s a statement of intent. The Stones weren’t just playing the blues; they were reshaping it, setting the stage for the rock revolution they were about to lead.
A Swampy Groove with a Unique Twist
One of the most fascinating aspects of The Rolling Stones’ take on I’m a King Bee is the unusual sonic textures they bring to the track. While Mick Jagger’s vocals exude playful arrogance, it’s the instrumental interplay that truly elevates the song. Bill Wyman’s slide work on his fretless Dallas Tuxedo bass creates a slinky, buzzing effect, perfectly complementing Brian Jones’ subtle downbeat responses. The result is a rich, bluesy atmosphere that feels both raw and hypnotic—something worthy of the finest blues masters.
Jones, ever the innovator, takes things a step further by injecting personality into the song with his brief but clever solo. When Jagger instructs him to “buzz a while”, Jones obliges with a high-pitched, bee-like guitar flourish before switching to his green Gretsch Anniversary and delivering some heartfelt bottleneck slides. His playing adds a layer of spontaneity and playfulness, reinforcing the Stones’ ability to honor the blues while making it entirely their own.
Even Charlie Watts found a creative way to shape the song’s sound. In a revealing interview shortly after the album’s release, he shared that he wrapped his bass drum in his £60 coat to achieve the tone he wanted. It’s a testament to the band’s experimental approach and their commitment to nailing the perfect blues feel. I’m a King Beeisn’t just a cover version—it’s a showcase of the Stones’ ability to deconstruct, reimagine, and breathe new life into the blues, setting the stage for their future as rock’s greatest blues revivalists.
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