Begging You



I'm begging you
I'm begging you...

The fly on the coach wheel told me that he got it
And he knew what to do with it
Everybody saw it, saw the dust that he made

King bee in a frenzy, ready to blow
Got the horn good to go, wait oh your sting's all gone
Now he's begging you, begging you

I'm begging you
I'm begging you...

Here is a warning, the sky will divide
Since I took off the lid now there's nowhere to hide
Now I'm begging you, begging you
This is a mystery not to be solved
But be minded like-minded, I'm gone, still I'm with you
I'm begging you, I'm begging you

Give it over, give it over
Give it over, give it over
Yeah I'm begging you
I'm begging you
Give it over, give it over
Give it over, give it over
Yeah I'm begging you
I'm begging you

Weigh it and say it
Is it all in a name
Does it call you or maul you
And drive you insane
Can it make you remember time is a place
Now I'm begging you
I'm begging you

The fly on the coach wheel told me that he got it
And he knew what to do with it
Everybody saw it, saw the dust that he made

Make all the dust that you can
Make all the dust that you can
King bee in a frenzy, ready to blow


Lyrics by:
Squire / Brown

Music by:
Squire / Brown

Written:
1993

Personnel:
John Squire (guitar, recording of jets)
Ian Brown (vocals)
Gary Mounfield (bass)
Alan Wren (drums, backing vocals)

Producer:
Simon Dawson & Paul Schroeder. Partly recorded by John Leckie.

Engineer:

Programmer:
Brian Pugsley

Format:
Released 1995:
Begging You (radio edit) / Begging You (chic edit) (Geffen, WGFSTD 22060, CD promo)
Begging You (Geffen, WGFST 22060, 12" promo)
Begging You (Geffen, WGFSX 22060, 12" promo)

Released October 1995:
Begging You (lp version) / Begging You (lakota mix) / Begging You (stone corporation mix) / Begging You (chic mix) / Begging You (young amercian primitive remix) / Begging You (radio edit version) (Geffen, GEFDM-22061, Australian CD)

Released November 1995:
Begging You (album version) / Begging You (lakota mix) / Begging You (stone corporation vox) / Begging You (chic mix) / Begging You (young amercian primitive remix) (Geffen, GFSTD 22060, CD)
Begging You (album version) / Begging You (chic mix) (Geffen, GFST 22060, 12")
Begging You (album version) / Begging You (chic mix) (Geffen, GFSC 22060, cassette)

UK chart details:
Begging You entered the charts on 11th November 1995, spending 3 weeks in the charts and reaching a highest position of 15.

Also available on:
Second Coming (4.56)
The Very Best Of The Stone Roses (4.55)

First live performance:
Stockholm Palladium (20th April 1995)

Artwork details:
The Begging You artwork is from 'Begging You' (1995), plaster, floppy discs and watercolour on plywood, 35" x 35"

Details:

Top: 'The Great Day of His Wrath' (1851 - 53) by John Martin.
Second row: 'Four Horsemen of the Apocalypse' (1887) by Victor Vasnetsov.
Third row: Albrecht Dürer's woodcut depiction, 'The Four Horsemen of the Apocalypse' (1498).
Fourth row: 'The Last Judgment' (1536 - 1541) by Michelangelo, depicting the Second Coming of Christ.
Bottom row: The seven angels with seven trumpets, and the angel with a censer, from the Bamberg Apocalypse. The trumpet clarion call of Crowning Of The Poor ("Trumpets sound...") is intended to herald the moment of Revelation. Seven trumpets are sounded, in turn, by seven angels, after the breaking of the seventh seal. It is written in Revelation 8: 5 that the angel with the censer filled it with fire from the altar, and hurled it on the earth; "and there came peals of thunder, rumblings, flashes of lightning and an earthquake." ("The earth will rumble..."). The verb peal means (of a bell or bells) Ring loudly or in a peal., from which the subsequent lyric, "And bells are ringing...", is formed.

The Stone Roses had planned to embark on a secret comeback tour of the UK in April 1995, but this was cancelled after the music press announced the dates. The scene thus was set at Glastonbury Festival on 24th June 1995 for The Stone Roses to make their long-anticipated UK comeback; however, John Squire's mountain biking accident in Northern California, just three weeks prior to this, quashed any hopes of a festival coronation. The band finally booked a full UK tour for November and December 1995, and all dates sold out in a day. Begging You (working title: Beggin' You) entered the charts in mid-November, just prior to the commencement of the tour.

Leckie's Beggin' You (4.30) was an experimental track made by arranging and looping a number of samples from records suggested by the band. Some loops were also made from live drums and heavy treated guitar. This was done at Ewloe with Brian Pugsley and some vocals were later attempted at Marple. All programmed, the track needed finishing, although the basic idea and arrangement was there.

Track Sheet:

1. Loop (1)
2. Loop (2)
3. Loop (3)
4. Loop (4)
5. Drums
6. Guitar
7. Vocal

The song is one of discordance, featuring a synergy of heavy drum beats, soaring guitars and pulsing bass amidst apocalyptic text. On Second Coming, The Stone Roses had an Akai S1000, used mainly in the writing process, for recording loops, slowing them down, turning them round and creating a groove to write around. Both Driving South and Straight To The Man were written in this way. In the studio, their main sampling workhorses were the two TC Electronic 2290s sampler/delays (which could be stereo-linked), each with 32 seconds of sampling time. Mani used a Rickenbacker bass for just about the whole of Second Coming, which he sent through a Mesa Boogie amp and cab. For miking the bass amp, Simon Dawson used an AKG D112 and a KM84, and he was DI'ed as well. Mani also made use of a Sansamp. An Ampeg was experimented with - because of Mani's preference for a round and warm reggae bass sound - but this didn't seem to gel, and he went back to the Mesa. Below, Simon Dawson details the difficult process of using a bass pulse on Begging You:

 

Top left: Discothèque (1997), U2's third UK Number 1, takes inspiration from Begging You.
Top right: Fear of a Black Planet (1990) by Public Enemy. Speaking to Select Magazine in November 1997, John Squire cited Public Enemy as a strong influence on this track: "I got hooked on Public Enemy's Fear Of A Black Planet and I wanted to make music like that - deconstruct it and reassemble it. So a guy called Si Crompton was showing me how to use the sequencers and samplers. But it wasn't for me. Too much like a science lesson. So I ripped up the floppy disks I had used and set them in plaster. I pinched all the colours from a Degas painting." Ian Brown went to see Public Enemy at Manchester Apollo (at which, Eric B. & Rakim and LL Cool J also performed) in 1988; his rap on Breakout features an excerpt from 'Juvenile Delinquintz' by Terminator X: This period is just a phase / While you talk bullshit, I roam hallways always / 'cause the class ain't necessary / You're culture crooks, your books in the cemetery...
Bottom: 'Begging You' (1995) plaster, floppy discs and watercolour on plywood, 35" x 35", from the Manchester exhibition, May 2004.

In the opening sequence of Terminator 2, James Cameron used a burning children's playground to depict his apocalyptic vision; on Begging You, the Four Horsemen of the Apocalypse are transposed into the world of an Aesop fable.

 

Top left: Journalist Stuart Bailie - sporting an Ian Brown mask - meets Robbie Williams in the Glastonbury backstage area in 1995. The Stone Roses had to withdraw from Glastonbury that year due to Squire's mountain biking accident and the NME humorously supplied Stone Roses masks for festival goers to wear, in the absence of the band. Pulp stepped in to replace them, and Jarvis Cocker can be seen here (bottom) at the festival. The Begging You video (top right) seems to have taken its cue from this, with female nightclub performers wearing face masks of each individual band member. A continental pastiche of Led Zeppelin's 'Trampled Under Foot', the Begging You video is an uninspired hodgepodge of imagery, mixing video footage from the Roses' Berlin Metropol gig (25th April 1995) with indigenous dancing from around the world. Ian Brown acknowledges the lack of visual creativity in the band at this time: "David Geffen said 'Your music, I don't care, do what you want. Just give me three great videos and you'll be a star.' Did we ever give him three videos ? Yes, but they weren't great. We needed someone at that time to give us a kick up the arse."

This experimental techno-guitar crossover, the band's final single, holds limited appeal, and I would strongly question Ian Brown's assessment that it was one of the best things they ever did.

Begging You features in the 1996 film, 'Boys'.

 

Left: Begging You CD front cover.
Right: Begging You CD back cover.


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