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Some facts about ‘I’m a King Bee by The Rolling Stones (from Songfacts)
This was originally recorded by Blues musician Slim Harpo, who was long a favorite of Mick Jagger. The Stones faithfully reproduced Harpo’s version, even including all of his spoken asides. Mick Jagger didn’t understand why listeners would choose the Stones version over Harpo’s. He even stated in 1968, “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?”
Slim Harpo originally recorded this song in 1957. The Rolling Stones played it at their concerts in 1963-64 before recording it on their first album.
“I’m a King Bee” is one of the most famous songs by Slim Harpo (the archetypal proponent of Louisiana or swamp blues). Slim recorded it in 1957 for the Excello label at the famous studio of J. D. Miller in Crowley, Louisiana, taking inspiration from the rhythm of “Rockin’ and Rollin’” by the Texan bluesman Melvin “Lil’ Son” Jackson. “I’m a King Bee” might not have been an immediate success on the hit parades, but a few years later it would become an essential number for British and US rock groups from Pink Floyd to the Doors and from the Grateful Dead to Led Zeppelin. Its insistent, hypnotic rhythm played an important part in this, as did the lyrics with their strong erotic charge: Well I’m a king bee, buzzing around your hive/Yeah I can make honey baby, let me come inside.
Listening to the Rolling Stones’ version provides an insight into the work performed by Brian and Keith on guitar, and by Mick on vocal to penetrate the secrets of this “devil’s music” born in the bayous of Louisiana. Their adaptation differs from Slim Harpo’s original in the substantially greater rock ’n’ roll energy and the significantly more suggestive drive with which they endow the song. Jagger interprets the text with his customary talent, a defining mix of sensuality and insolence. He even indulges in a very good harmonica solo that seems to hold the attention of his bandmates to such an extent that they forget to change chord (at 2:01)! For the first time on the record, Richards plays an acoustic guitar, probably his Harmony 1270 12- string.
But the track’s real interest derives from the combination of the slide executed by Wyman on his fretless Dallas Tuxedo bass and the brief response delivered by Jones on the downbeats. The effect is awesome, and worthy of the most skilled proponents of the genre. Jones also performs a brief solo imitating a bee in response to Jagger’s instruction to buzz (Well, buzz a while!) before taking up his bottleneck and executing a few heartfelt slides on his green Gretsch Anniversary. As for the drums, in an interview published soon after the release of the record, Charlie revealed that he had wrapped his bass drum in his £60 coat in order to obtain the sound he was after!
