Composers:
Mick Jagger & Keith Richards
Recording date:
July & October-November 1971 & January-March 1972
Recording locations: Rolling
Stones Mobile Unit, Keith Richards' home, Villefranche-sur-mer,
France & Sunset Sound Studios,
Los Angeles, USA
Producer: Jimmy
Miller Chief
engineers: Glyn
Johns, Andy Johns & Joe
Zagarino
Performed onstage: 1972-73,
1975-76, 1978, 1989-90, 1994-95, 2002-03, 2006-07

Probable line-up:
Drums: Jimmy
Miller
Bass: Keith Richards
Electric guitars (incl. slide): Keith
Richards & Mick Taylor
Lead vocals: Keith
Richards & Mick Jagger
Background vocals: Mick
Jagger & Keith Richards
Electric piano: Nicky
Hopkins
Saxophone: Bobby
Keys
Trumpet and/or trombone: Jim
Price
Maracas: Bobby
Keys
Well I never kept a dollar past sunset
It always burned a hole in my pants
Never made my school mama happy
Never blew a second chance, oh no
I need a love to keep me happy
Baby, baby (please) keep me happy
Always took candy from strangers
Didn't want to get me no trade
Never wanted to be like papa
Working for the boss every night and day
Never got a flash out of cocktails
When I can get some flesh off the bone
Never got a lift out of Lear jets
When I can fly way back home
Baby, won't you keep me happy?
Ah keep on dancing, keep me happy
Now, baby, won't you squeeze me?
Baby, got the feeling...
Now, now... keep me happy
Come on now, keep me happy
Keep on dancing, keep me happy...
TrackTalk
Happy was something I did because I was for one time EARLY for a session. There was Bobby Keys and Jimmy Miller. And we were in the South of France, it was at the time we were recording Exile. We had nothing to do and had suddenly picked up the guitar and played this riff. So we cut it and it's the record, it's the same. We cut the original track with a baritone sax, a guitar and Jimmy Miller on drums. And the rest of it is built up over that track. It was just an afternoon jam that everybody said, Wow, yeah, work on it.
That happened in one grand bash in France
for Exile. I had the riff. The rest of the Stones were late for
one reason or another. It was only Bobby Keys there and Jimmy Miller, who
was producing. I said, I've got this idea; let's put it down for when
the guys arrive. I put down some guitar and vocal, Bobby was on baritone
sax and Jimmy was on drums. We listened to it, and I said, I can put
another guitar there and a bass. By the time the Stones arrived, we'd
cut it. I love it when they drip off the end of the fingers. And I was
pretty happy about it, which is why it ended up being called Happy.
That's a strange song in a way 'cause if you
play it you actually become happy (laughs). Even in the worst of circumstances.
There's a little magical bounce on it... I can play it now and it gives
you a lift, you know. I don't know why, except maybe the word (laughs).