Thursday, May 19, 2011
Welcome!
Welcome to our blog about the Rolling Stones' historic album "Let It Bleed!" The blog details information about the band members, the album, specific song analysis's, historical context, personal opinions, and a discussion of the role of music in the classroom. We hope you enjoy our work!
Thesis
"Let It Bleed", because of its tremendous subject range, musical prowess, experimental nature and especially the depth of feeling it inspired within its listeners, is not only an epic classic of a record, but a perfect goodbye to the explosive and dynamic sixties. In many ways, The Rolling Stones observed the madness, the violence and the disconnect of the decade, and offered their critical viewpoint and social commentary through "Let It Bleed'. Thus, again, "Let It Bleed" is more than a great album - it is poetry in its own right, and it marks a critical juncture in history, truly capturing the end of an era. For that, it deserves our careful analysis and attention, especially within the context of that explosive epoch in history called the sixties.
Rolling Stones in the Classroom?!
The Rolling Stones are risque, unconventional, and even sometimes downright inappropriate. They heavily used drugs, had wild sexual relations with women, and were symbolic of a growing counterculture during the 1960s; which is exactly why they should be taught in the classroom.
A literature class is designed to illustrate the themes, attitudes, and culture of certain eras and areas, and relate this to the world today. The typical literature class is conventional, using mainly only books. However, music is perhaps the most raw and true way to study a time era, and should be demanded in the classroom.
Music, like a book, tells a story. Its lyrics must be inspired by events, and reflect emotion. Unlike books, however, Rock and Roll is not edited, or refined to what will be accepted by society. Rock and Roll is a rebellious form of free flowing art, and so accurately depicts the attitudes and major components of time periods, namely the sixties.
The Rolling Stones are one of the most famous bands to emerge from the 1960s. In their 1969 album "Let It Bleed," the Stones' discuss everything from the war in Vietnam and drug trips, to love and community. By studying the music of the Stones', students can better understand the growing generation gap between children and their parents, the attraction of rebellion, and the changing standards of society. The heavy guitar and distinctive lyrics transport listeners back to the 1960s, erasing any boundary that could exist while reading a book.
Listening to, and analyzing music, from the 1960s is one of the best and only ways to teach a course centering on the turbulent era. Students must be exposed to the truth and openness present in the decade, and not limited to conventionally approved books on the topic. For this reason, bands like The Rolling Stones, along with documentaries, memoirs, other music, art, fashion, and literature should be compounded to create a course that helps produce as complete of a picture as possible of the 1960s.
A literature class is designed to illustrate the themes, attitudes, and culture of certain eras and areas, and relate this to the world today. The typical literature class is conventional, using mainly only books. However, music is perhaps the most raw and true way to study a time era, and should be demanded in the classroom.
Music, like a book, tells a story. Its lyrics must be inspired by events, and reflect emotion. Unlike books, however, Rock and Roll is not edited, or refined to what will be accepted by society. Rock and Roll is a rebellious form of free flowing art, and so accurately depicts the attitudes and major components of time periods, namely the sixties.
The Rolling Stones are one of the most famous bands to emerge from the 1960s. In their 1969 album "Let It Bleed," the Stones' discuss everything from the war in Vietnam and drug trips, to love and community. By studying the music of the Stones', students can better understand the growing generation gap between children and their parents, the attraction of rebellion, and the changing standards of society. The heavy guitar and distinctive lyrics transport listeners back to the 1960s, erasing any boundary that could exist while reading a book.
Listening to, and analyzing music, from the 1960s is one of the best and only ways to teach a course centering on the turbulent era. Students must be exposed to the truth and openness present in the decade, and not limited to conventionally approved books on the topic. For this reason, bands like The Rolling Stones, along with documentaries, memoirs, other music, art, fashion, and literature should be compounded to create a course that helps produce as complete of a picture as possible of the 1960s.
Wednesday, May 18, 2011
An Interview with Stones Fan, Mr. Mike Horowitz
Rolling Stones fan Mr. Mike Horowitz offers his perspective on "Let It Bleed":
Q: What's your favorite track on "Let It Bleed", or do you even have a favorite? Why?
A: This is not a simple question, as my favorites always change over time. When I was younger, "Let It Bleed" was my favorite song, though I only knew it from the radio and did not know its name! I asked a friend which album it was on—in retrospect a seemingly dumb question. Although he didn’t know the name either, he was fairly certain it was on "Let It Bleed" or "Flowers", so I went out and bought both. However, I would say my “favorite” song on the album, over the years, has varied between "Country Honk", "You Got the Silver", "Live With Me" and "Monkey Man". Overall, my favorites would have to be "Live With Me"and "Monkey Man". I think "Live With Me" and "Monkey Man" capture the raw, gritty sound of the Stones at their best. They really can’t be typecast as a certain type of band. They started out as a blues cover band, evolved into rock and roll, veered off into country thanks to Gram Parsons' influence and even dabbled in disco and punk, when those genres threatened to label them as old and out of touch, but at the core they are a blues based rock band and these two songs highlight that in their lyrics and strong, at times guttural, guitar sound.
Q: What's your favorite track on "Let It Bleed", or do you even have a favorite? Why?
A: This is not a simple question, as my favorites always change over time. When I was younger, "Let It Bleed" was my favorite song, though I only knew it from the radio and did not know its name! I asked a friend which album it was on—in retrospect a seemingly dumb question. Although he didn’t know the name either, he was fairly certain it was on "Let It Bleed" or "Flowers", so I went out and bought both. However, I would say my “favorite” song on the album, over the years, has varied between "Country Honk", "You Got the Silver", "Live With Me" and "Monkey Man". Overall, my favorites would have to be "Live With Me"and "Monkey Man". I think "Live With Me" and "Monkey Man" capture the raw, gritty sound of the Stones at their best. They really can’t be typecast as a certain type of band. They started out as a blues cover band, evolved into rock and roll, veered off into country thanks to Gram Parsons' influence and even dabbled in disco and punk, when those genres threatened to label them as old and out of touch, but at the core they are a blues based rock band and these two songs highlight that in their lyrics and strong, at times guttural, guitar sound.
Q: Who was your favorite band member?
A: Again, I am too old and the Stones have been around too long for this to be a simple answer; it varies depending on what’s going on in their world and who is causing the latest problems for the band/fans! But I’ll say Charlie Watts. Everyone knows Mick because he the lead singer and Keith because he gives them their guitar sound, but Charlie just seems to personify “cool.” To this day, I don’t think he likes rock and roll music; he is a jazz fan first, but he is acknowledged by so many as being a great drummer and the core that holds the different personalities of the Stones together. If you find the right video (that focuses on his drumming), you can see the pure joy he feels when playing his favorite music. Plus, you gotta like a guy who married his wife in 1964, when the Stones were in their infancy, and is still married to her 47 years later.
Q: What was it about "Let It Bleed" that you think made it so special? What was it that captivated listeners, and solidified its place as one of the greatest Rolling Stones and, even, one of the greatest rock albums of all time?
A: It is a short album (nine songs), but almost every one is a great song. As I discussed my favorites above, I’ll skip them, but you have Stones classics such as "Midnight Rambler", "You Can’t Always Get What You Want" and "Gimme Shelter", which were all still being played live by them almost 30 years later on their last tour. One of Keith’s better solo efforts in "You Got the Silver"; a classic blues tune showing they were still true to their roots in "Love in Vain"; and a country version of "Honky Tonk Women". An interesting note on this last song: this was what the Stones had intended "Honky Tonk Women" to sound like, but Mick Taylor (Brian Jones's replacement) steered the song in a different direction to what was released as a stand alone single, prior to "Let it Bleed"’s release. But, they decided to keep it in its country form on the album. I’ve also read that the car horn you hear in the song, was accidentally caught on the recording through an open studio window and they felt it fit so well they left it in. I don’t buy that, as it occurs twice in the song and fits the meter of the music a little too neatly, but a cool story nonetheless.
Q: Do you think "Let It Bleed" accurately reflected the general attitudes and events of the sixties?
A: I am not sure the Stones really neatly fit into the idea of the peace and love, hippy, generation of the 60’s. They did their share of drugs, but not the hallucinogenics that led to the funky art and psychedelic music many connect to that era. "Monkey Man" is more about a heroin addict--not the drug of choice for most at that time, though Keith later became a junkie for much of the 70s. "You Can’t Always Get What You Want" seems to offer a very practical way to look at things, not typically the attitude you would label the youth of the 60s with; "Midnight Rambler" is about a criminal/rapist—hopefully not a reflection of the views of any generation! "Love in Vain" is a nod to their bluesy roots, written by Robert Johnson in the 1930s; "Country Honk" is just a fun country song; "Live With Me" is a raw rocker, a very raunchy song where the decadence described extends all the way to the staff and the servants. Although the 60’s were about “free love,” I don’t think that concept was ever intended to be as depicted in this song—I think this may represent the Stones vision of free love, though! Keith Richards for all of his tough guy attitude, like to write/sing slow ballads and "You Got the Silver" is one of his best, but nothing more here than that. The title track might work for this question. Mick sings about being there for a friend—“if you need to, you can lean/dream/bleed on me.” I think this demonstrates the communal atmosphere that was present among the youth of that decade—being there for a friend in need. And, the second verse clearly reflect the more typical free love and drug image of the 60s. Finally, I think "Gimme Shelter" clearly epitomizes the attitude of that generation. “War is just a shot away; love is just a kiss away.” There you can see the concept of make love, not war. And, in each case, just how close it is, Mick seems to be asking the listener, “which choice are you going to make?”
Q: Would it be fair to call it 'a perfect goodbye' to such an explosive decade? How did the sixties, in your opinion, influence the album? What do you think about The Rolling Stones' place in the sixties?
A: Sure, why not. As I said above, it doesn’t fit neatly into the concept of the 60s, so maybe the Stones had already said goodbye to that decade. There are junkie and heroin references throughout, which became the downfall of many in the decade to come. And, its release coincided with their concert at Altamont that many refer to as the death of the 60s.
Q: How does "Let It Bleed" make you feel? Does it inspire any resonating emotions?
A: I can’t say that hearing any of the songs on "Let It Bleed" stirs any emotions, other that I do feel that "Live With Me" does typify the Stones attitude in its lyrics and their sound in its guitars. When I hear that song, I always have those same thoughts. That also goes for "Monkey Man". You might find a different response from one who lived thru the 60s and bought this album in 1969, but as one who was born in 1966 and didn’t buy it until the early 80s, I can't say that I fit the original target audience for Let It Bleed.
Q: Do you think "Let It Bleed" deserves a place in the study of the sixties, or in a literature-based course at all?
A: I am sure your teacher does not want to hear this, but I have always felt that authors would laugh at some of the deep meaning/symbolism English teachers have attached to their words while teaching a certain novel to their class. However, having said that, "Let It Bleed" is a classic album, released in the 60s by the “greatest rock and roll band ever.” If a course is being taught that uses music to examine the 60s, "Let It Bleed" surely must be part of that.
Q: Would you go so far as to consider The Rolling Stones poets in their own right? In your opinion, is "Let It Bleed" (and all other pop music for that matter) the newest mode or outlet of poetic voice?
A: Mick and Keith are prolific songwriters, which is merely poetry set to music, so I would say that they are. Probably, Mick more than Keith because Keith concentrates on writing the music and, often, merely offers a line or phrase to Mick who runs with it and writes the rest of the lyrics. I once read that Mick had become enamored with the word ‘messianic” and wrote "Monkey Man" around that word because he wanted to use it in a song! However, I wouldn’t say the 'newest' mode because poets have been writing music for years.
Q: Ultimately, would you call "Let It Bleed" an iconic album - one whose place and value in history is immeasurable? Or is it just another great rock album?
A: People much smarter than me always seem to put Let It Bleed near the top of any “all time greatest” album list, so I think it must be iconic, in the context of rock and roll history, at least.
We just wanted to thank Mr. Horowitz for his tremendous help. His insightful and informative comments truly enhanced our project, and we couldn't have done it without him - so thank you!
Monday, May 16, 2011
Let the Creative Juices Bleed...!!!
They have rhythm, they have linguistic appeal, they have a communicated greater message... such can clearly be said about the great American poets like Robert Frost and T.S. Eliot. But can't it just as easily be said about the rock band The Rolling Stones? With masterful lyrics cranked out by the new and unstoppable collaboration between Mick Jaggers and Keith Richards, The Rolling Stones should be credited for having a fair handle on rhythm and on manipulating language to generate appealing and even poetical pieces. As for communicating a 'greater message' - with tracks like "Gimme Shelter" and "You Can't Always Get What You Want", it's clear that The Rolling Stones had a point of view and an array of insights they meant to articulate to the public. The difference between The Rolling Stones and individuals like Robert Frost or T.S. Eliot is, obviously enough, that the Stones used song while the likes of Frost and Eliot used the more conventional form of poetry as modes of their creative and artistic expression. But the question remains: Can The Rolling Stones be considered poets in their own right? Or, somehow, does their use of popular image and mass media exposure cheapen their creative works?
While the answers to these questions are certainly subjective, we find it hard to degrade the genius of The Rolling Stones by suggesting that their work was not that of pure poetry. "Let It Bleed" reached a certain level of artistic merit, and thus deserved the allocation of 'poetic'.
Many people would be tempted to say that poetry is a dying genre of literature. However, the reality is that the older, more traditional form of poetry (the poetry of Emily Dickinson, Ernest Hemingway, and E.E. Cummings to name a few of our favorites) is not dying - it is just evolving, changing shapes and going in a new direction, and that direction is rock and roll. So has the popular image and mass media that automatically comes with rock music and the Stones cheapened their creative ability and work? Absolutely not. It has just given it a new face, but the raw emotion, beauty, passion and spirit of poetry is very much alive and present in the music of The Rolling Stones, especially their 1969 album "Let It Bleed", which can be accurately described as raw, emotional, beautiful, passionate and spiritual. Thus, "Let It Bleed" is not just a great rock album, and not even just an epic, history-making album... it is a work of art and of poetry. This designation can only add to the value "Let It Bleed" has within both the music and art cultures.
While the answers to these questions are certainly subjective, we find it hard to degrade the genius of The Rolling Stones by suggesting that their work was not that of pure poetry. "Let It Bleed" reached a certain level of artistic merit, and thus deserved the allocation of 'poetic'.
Many people would be tempted to say that poetry is a dying genre of literature. However, the reality is that the older, more traditional form of poetry (the poetry of Emily Dickinson, Ernest Hemingway, and E.E. Cummings to name a few of our favorites) is not dying - it is just evolving, changing shapes and going in a new direction, and that direction is rock and roll. So has the popular image and mass media that automatically comes with rock music and the Stones cheapened their creative ability and work? Absolutely not. It has just given it a new face, but the raw emotion, beauty, passion and spirit of poetry is very much alive and present in the music of The Rolling Stones, especially their 1969 album "Let It Bleed", which can be accurately described as raw, emotional, beautiful, passionate and spiritual. Thus, "Let It Bleed" is not just a great rock album, and not even just an epic, history-making album... it is a work of art and of poetry. This designation can only add to the value "Let It Bleed" has within both the music and art cultures.
The Tracks
Side One
Track 1: Gimme Shelter
The stars... Mick Jagger and Merry Clayton (a unique and powerful collaboration that really delivers the lyrics) on vocals and Keith Richards (a killer guitar ballad)
Ultimate message... Apocalyptic in nature, the song describes world that is on the brink of disaster yet, still, can be quite easily saved by "love"
Track 2: Love in Vain
Ultimate message... Originally a 1937 blues song written by Robert Johnson, The Rolling Stones made a cover of it, adding a few guitar ballads and making it more 'country'. The song is a love song, but is most remembered for its melancholic and somber lyrics and tone. Said Mick Jagger in 1995, "Robert Johnson was a wonderful lyric writer, and his songs are quite often about love, but they're desolate".
Track 3: Country Honk
The stars... Byron Berline played the fiddle, Nanette Workman sung backup vocals, Mick Taylor played side guitar, Keith Richards on acoustic guitar, Charlie Watt on drums and Mick Jagger on vocals
Ultimate message... It is the country version of The Rolling Stones' hit "Honky Tonk Women"; "Country Honk" was actually the way that "Honky Tonk Women" was originally written and sang.
Track 4: Live with Me
The stars... Mick Taylor on guitar (one of his first works with "Let It Bleed"); Keith Richards on bass (the first song that he played bass - had a more 'muscular' approach than conventional bass guitarist Bill Wyman); Leon Russell and Nicky Hopkins on piano; Bobbys Keys on tenor saxophonist
Ultimate message... The song was infamous for its 'lewd' lyrics, expressing the band members' need for "a women's touch"
Track 5: Let It Bleed
The stars... Mick Jagger and Keith Richards wrote the song collaboratively. Features Ian Stewart on piano, Richards on both the slide and acoustic guitars, and Billy Wyman on the bass and autoharp.
Ultimate message... The song was inspired by the Stones’ heavy drug usage, completely reflected in the lyrics. However, the deeper meaning comes from the community that was built by drug users in the sixties, who created an open environment of love and support.
Side Two
Track 6: Midnight Rambler
The stars... Jagger on vocals and harmonica (the frenzied and unpredictable shrill of his harmonica is earth-shattering) and Keith Richards plays all the guitars brilliantly; the song is a masterful explosion of sound
Ultimate message... Called a "blues opera" by Richards, the song is from the perspective of a mass murderer and, eerily, almost glorifies acts of murder; the song is one of the Stones' darkest and most memorable
Track 7: You Got the Silver
The stars... Keith Richards is the ultimate star, as this is the first time he sang the entire lead vocal. Richards wrote the song with the help of Brian Jones.
Ultimate message... Richards was inspired to write the song by his current girlfriend, Anita Pallenberg. The song details how much Richards put into the relationship, meaning material goods, in an attempt to prolong their “love,” even though his needs were not being met.
Track 8: Monkey Man
The stars... “Monkey Man” was written by Mick Jagger and Keith Richards. Jagger sings vocals while Keith Richards plays electric and slide guitar on this song. Billy Wyman played the Bass, and Nicky Hopkins was featured on the piano. Producer Jimmy Miller was also featured playing the tambourine.
Ultimate message... The lyrics of the song do not seem to make a whole lot of sense, which reflects the heavy drug usage involved in writing it. It seems to reflect somewhat of a bad trip.
Track 9: You Can't Always Get What You Want
The stars... One of the more memorably parts of the songs is the singing of the London Bach Choir. Along with the children’s choir, Al Kooper played the organ and French Horn, and Stones’ producer Jimmy Miller played the drums. The historic hit was mostly written by Mick Jagger, but he was assisted by Keith Richards.
Ultimate message... The lyrics of the song speak to how so many people were disappointed to the sixties, and were not looking upon the end of the decade with a positive attitude. However, the Stones provide an ultimately uplifting message assuring that you will “get what you need.”
Sources:
http://en.wikipedia.org/wiki/Let_It_Bleed
Track 1: Gimme Shelter
The stars... Mick Jagger and Merry Clayton (a unique and powerful collaboration that really delivers the lyrics) on vocals and Keith Richards (a killer guitar ballad)
Ultimate message... Apocalyptic in nature, the song describes world that is on the brink of disaster yet, still, can be quite easily saved by "love"
Track 2: Love in Vain
Ultimate message... Originally a 1937 blues song written by Robert Johnson, The Rolling Stones made a cover of it, adding a few guitar ballads and making it more 'country'. The song is a love song, but is most remembered for its melancholic and somber lyrics and tone. Said Mick Jagger in 1995, "Robert Johnson was a wonderful lyric writer, and his songs are quite often about love, but they're desolate".
Track 3: Country Honk
The stars... Byron Berline played the fiddle, Nanette Workman sung backup vocals, Mick Taylor played side guitar, Keith Richards on acoustic guitar, Charlie Watt on drums and Mick Jagger on vocals
Ultimate message... It is the country version of The Rolling Stones' hit "Honky Tonk Women"; "Country Honk" was actually the way that "Honky Tonk Women" was originally written and sang.
Track 4: Live with Me
The stars... Mick Taylor on guitar (one of his first works with "Let It Bleed"); Keith Richards on bass (the first song that he played bass - had a more 'muscular' approach than conventional bass guitarist Bill Wyman); Leon Russell and Nicky Hopkins on piano; Bobbys Keys on tenor saxophonist
Ultimate message... The song was infamous for its 'lewd' lyrics, expressing the band members' need for "a women's touch"
Track 5: Let It Bleed
The stars... Mick Jagger and Keith Richards wrote the song collaboratively. Features Ian Stewart on piano, Richards on both the slide and acoustic guitars, and Billy Wyman on the bass and autoharp.
Ultimate message... The song was inspired by the Stones’ heavy drug usage, completely reflected in the lyrics. However, the deeper meaning comes from the community that was built by drug users in the sixties, who created an open environment of love and support.
Side Two
Track 6: Midnight Rambler
The stars... Jagger on vocals and harmonica (the frenzied and unpredictable shrill of his harmonica is earth-shattering) and Keith Richards plays all the guitars brilliantly; the song is a masterful explosion of sound
Ultimate message... Called a "blues opera" by Richards, the song is from the perspective of a mass murderer and, eerily, almost glorifies acts of murder; the song is one of the Stones' darkest and most memorable
Track 7: You Got the Silver
The stars... Keith Richards is the ultimate star, as this is the first time he sang the entire lead vocal. Richards wrote the song with the help of Brian Jones.
Ultimate message... Richards was inspired to write the song by his current girlfriend, Anita Pallenberg. The song details how much Richards put into the relationship, meaning material goods, in an attempt to prolong their “love,” even though his needs were not being met.
Track 8: Monkey Man
The stars... “Monkey Man” was written by Mick Jagger and Keith Richards. Jagger sings vocals while Keith Richards plays electric and slide guitar on this song. Billy Wyman played the Bass, and Nicky Hopkins was featured on the piano. Producer Jimmy Miller was also featured playing the tambourine.
Ultimate message... The lyrics of the song do not seem to make a whole lot of sense, which reflects the heavy drug usage involved in writing it. It seems to reflect somewhat of a bad trip.
Track 9: You Can't Always Get What You Want
The stars... One of the more memorably parts of the songs is the singing of the London Bach Choir. Along with the children’s choir, Al Kooper played the organ and French Horn, and Stones’ producer Jimmy Miller played the drums. The historic hit was mostly written by Mick Jagger, but he was assisted by Keith Richards.
Ultimate message... The lyrics of the song speak to how so many people were disappointed to the sixties, and were not looking upon the end of the decade with a positive attitude. However, the Stones provide an ultimately uplifting message assuring that you will “get what you need.”
Sources:
http://en.wikipedia.org/wiki/Let_It_Bleed
Saturday, May 14, 2011
The Aesthetics
The Front Cover:
(Image taken from http://upload.wikimedia.org/wikipedia/en/c/c0/LetitbleedRS.jpg)
The Back:
(Image taken from http://www.vinylrecords.ch/R/RO/Rolling_Stones/Let/IMG_0317.jpg)
The cover of the iconic album "Let It Bleed" is certainly something. A cake... plates... a tape canister... a clock face... a pizza... a tire... and five figurines (representing the main collaborators on the album). Pretty random, right? Not if you know anything about the Stones...
Like many of the great sixties musicians (like the Beatles), The Rolling Stones' every decision, every detail was deliberate. And the cover artwork for "Let It Bleed" is no exception. These weren't just random objects strung together to make a pretty nifty design. No - these objects meant something to the Stones... in some way, their combination, like virtually every track on "Let It Bleed", offered a social commentary in its own way. In some way, the cake, the plates, the tape canister, the clock face, the pizza, the tire and the figurines all offer some sort of insight into the chaotic world of the sixties and the perhaps even more chaotic musical minds of The Rolling Stones.
Just to give you the facts... The overall 'sculpture' featured on the album was designed by Robert Brownjohn. The cover art features the "Let It Bleed" record being placed by a tone-arm of an antique phonograph. Built upon the foundation of a record-changing spindle are (in order of appearance from the bottom, up) a plate, a tape canister, a clock face, a pizza, a tire, and a lavishly decorated cake (designed by Delia Smith), which supports five figurines, each holding instruments.
Now for the reverse of the LP... The back cover art features the same items: the cake, the figurines, the pizza, the tire - except that, unlike the cover art, the objects are in complete disarray. The cake is missing a slice, the figurines are toppled, the pizza is half-eaten with remnants scattered across the broken record, the tire is punctured, the tape loop destroyed, and the clock face splattered with stains. The ultimate structure remains intact, and yet the total effect remains a complete mess. The structure has lost its stability and strength under the weight of the broken and disarrayed individual aspects. The unsecured, unstable spindle just does not seem to be enough to hold up the tottering, beaten and battered array of objects. Instead, those objects (which, on the front cover, appear to be in perfect order, comfortably settled on the spindle) now seem to be on the verge of doom - swaying back and forth - so close to collapse and defeat.
Sound like a metaphor for the sixties?... We thought so. It seems what the Stones are, quite subtly and brilliantly, claiming is that initial glances might lead one to believe that the American sixties society was in perfect working order (think the front cover art where the objects, despite their oddity and seeming incompatibility, are perfectly and stably balanced by the spindle). Yet, if one looks close enough, and perhaps takes the time to delve into the true state of the society (this time, think the back cover art), the reality is clear: American sixties society. The balancing act was not working. The spindle, try as it might, simply could not support the weight of consumerism, materialism, technology, time-obsession, false images and appearances, and the rest of it. Society was going down. Society was in disarray. Society was one finger-tap away from complete ruin. And the Stones saw it coming; in fact, they were warning against it. They were saying, in their own way, 'Listen people... the cake, the pizza, the clock, the tire, the pleasure-seeking, the consumerism, the technology... it's all going to cave in. The facade isn't going to last. The balancing act is over'. To use the words of "Easy Rider" and Tom Wolfe's "Electric Kool-Aid Acid Test": We blew it. Society was in shambles, and anyone could see it if they would only look past the outer appearance, the initial guise... the cover. Look past it, and you will see society for what it truly is: overwhelmed, defeated, and on the brink of disaster.
Sources:
http://en.wikipedia.org/wiki/Let_It_Bleed#Cover
Let It Bleed
Let It Bleed
Well we all need someone we can lean on
And if you want it, well you can lean on me
Yeah we all need someone we can lean on
And if you want it, well you can lean on me
She said my breasts they will always be open
Baby, you can rest your weary head right on me
And there will always be a space in my parking lot
When you need a little coke and sympathy
Yeah, we all need someone we can dream on
And if you want it, well you can dream on me
Yeah, we all need someone we can cream on
And if you want to, well you can cream on me
I was dreaming of a steel guitar engagement
When you drunk my health in scented jasmine tea
But you knifed me in my dirty filthy basement
With that jaded faded junky nurse
Oh, what pleasant company
We all need someone we can feed on
And if you want it, well you can feed on me
Take my arm, take my leg
Oh, baby, don't you take my head
We all need someone we can bleed on
And if you want it, baby, well you can bleed on me
We all need someone we can bleed on
And if you want it, baby, why don't you bleed on me
All over
Ahh, bleed it alright, bleed it alright, bleed it alright
You can bleed all over me
Bleed it alright, bleed it alright, you can be my rider
You can cum all over me
Bleed it alright, baby, bleed it alright, bleed it alright
You can cum all over me
Bleed it alright, baby cum all over me
There are a few theories surrounding the origins of the song. Some believe it was a tweaking on The Beatle’s “Let It Be.” Although the similarity of the titles is undeniable, “Let It Bleed” was released months before “Let It Be.” However, “Let It Be” had been recorded months earlier, so the theory maintains a level of credibility.
Some believe that the title of the song was inspired by the experience of writing it. Apparently, Keith Richard’s fingers began to bleed while playing the acoustic guitar for hours working on the track. The title was inspired by Richard’s desire to finish the work.
The most believable theory is drug-related. “Let it bleed” is a term describing successfully finding a vein. If the syringe plunger is pulled back and blood appears, a vein has been struck and it is called “letting it bleed.”
The lyrics of the song support this final theory of the songs origins, as they all deal with sex and drugs (which is why many people believe it was not released as a single). The bizarreness of the lyrics, like...
I was dreaming of a steel guitar engagement
When you drunk my health in scented jasmine tea
But you knifed me in my dirty filthy basement
With that jaded faded junky nurse
...highlight the role using drugs played in both inspiring and writing the song.
Some lyrics that overtly discuss sex and drugs are:
Baby, you can rest your weary head right on me
And there will always be a space in my parking lot
When you need a little coke and sympathy
... and...
Bleed it alright, bleed it alright, you can be my rider
You can cum all over me
Because the sixties were an era centered on free loving and the use of drugs, the song is a somewhat perfect depiction of the time period. An example of this is the line “you can lean on me,” which so easily depicts the sense of community and support that was central to the movement. “Let It Bleed” can be considered a sixties anthem because of its acceptance, love, and sexuality, all tied together by drugs.
Sources: http://www.songfacts.com/detail.php?id=523
Sources: http://www.songfacts.com/detail.php?id=523
Thursday, May 12, 2011
Wednesday, May 11, 2011
You Can't Always Get What You Want
You Can't Always Get What You Want
I saw her today at the reception
A glass of wine in her hand
I knew she was gonna meet her connection
At her feet was footloose man
You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes well you might find
You get what you need
I went down to the demonstration
To get my fair share of abuse
Singing, "We're gonna vent our frustration
If we don't we're gonna blow a 50-amp fuse"
You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes well you just might find
You get what you need
I went down to the Chelsea drugstore
To get your prescription filled
I was standing in line with Mr. Jimmy
And man, did he look pretty ill
We decided that we would have a soda
My favorite flavor, cherry red
I sung my song to Mr. Jimmy
Yeah, and he said one word to me, and that was "dead"
I said to him
You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes well you just might find
You get what you need
You get what you need--yeah, oh baby
I saw her today at the reception
In her glass was a bleeding man
She was practiced at the art of deception
Well I could tell by her blood-stained hands
You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes well you just might find
You just might find
You get what you need
You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes you just might find
You just might find
You get what you need
A glass of wine in her hand
I knew she was gonna meet her connection
At her feet was footloose man
You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes well you might find
You get what you need
I went down to the demonstration
To get my fair share of abuse
Singing, "We're gonna vent our frustration
If we don't we're gonna blow a 50-amp fuse"
You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes well you just might find
You get what you need
I went down to the Chelsea drugstore
To get your prescription filled
I was standing in line with Mr. Jimmy
And man, did he look pretty ill
We decided that we would have a soda
My favorite flavor, cherry red
I sung my song to Mr. Jimmy
Yeah, and he said one word to me, and that was "dead"
I said to him
You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes well you just might find
You get what you need
You get what you need--yeah, oh baby
I saw her today at the reception
In her glass was a bleeding man
She was practiced at the art of deception
Well I could tell by her blood-stained hands
You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes well you just might find
You just might find
You get what you need
You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes you just might find
You just might find
You get what you need
“You Can’t Always Get What You Want” is the last song on the historic album. The sixties hit was listed as the one hundredth best song of all time in 2004 by Rolling Stone magazine. Although “You Cant Always Get What You Want” is one of the most well known songs on the album, it was not released as a single. Instead, it was released as the B-Side of “Honkey Tonk Women.”
The song has quite the unusual opening- the London Bach Choir, a children’s singing group. The song is often compared to “Hey Jude” by the Beatles. Besides the similar choir aspects, Jagger remarked in 1969 that:
"I liked the way the Beatles did that with 'Hey Jude'. The orchestra was not just to cover everything up - it was something extra. We may do something like that on the next album."
The hit song, however, did not feature all of the classic members of the Rolling Stones. Other musicians were brought in to play the music for the track. The Stones had Al Kooper play the organ and French Horn, which would typically be played by Brian Jones. At the time, Jones was suffering from severe drug problems and could not record the song. Charlie Watts also did not play the drums part in the song. Apparently, Watts was unable to nail down the rhythm, leading him to furiously storm out of the studio. Stone’s producer Jimmy Miller took up the part as drummer for the song.
Reflecting back in 2003, Jagger said,
"'You Can't Always Get What You Want' was something I just played on the acoustic guitar - one of those bedroom songs. It proved to be quite difficult to record because Charlie couldn't play the groove and so Jimmy Miller had to play the drums. I also had this idea of having a choir, probably a gospel choir, on the track, but there wasn't one around at that point. Jack Nitzsche, or somebody, said that we could get the London Bach Choir and we said 'That will be a laugh'".
Jimmy’s role in the famous song could be even more prevalent than his role as a musician. It is widely speculated that the Mr. Jimmy referred to the song is actually Jimmy Miller. However, another theory involves Mick Jagger’s experience at a drug store in Excelsior, Minnesota. According to the story, Jagger was standing in line at the Exelsior Drug store in 1964 after playing in the Danceland ballroom the night before. A local resident, Jimmy Heutmaker, started talking to Jagger about how he loved his cherry coke (which at the time had actual cherries in it!) That morning, however, Heutmaker was given a different flavor of coke. To this, he responded, “You know, Mr. Jagger, you cant always get what you want.” The credibility of this story is highly doubted, and was even referred to as an “urban legend” by Webster’s Dictionary. Jagger has never acknowledged this conversation with Heutmaker, or attributed the inspiration to the song to him. The five-year gap between the alleged meeting and the recording of the song also adds to suspicion of its truthfulness.
"It's a good song, even if I say so myself. It's got a very sing-along chorus, and people can identify with it: No one gets what they always want. It's got a very good melody. It's got very good orchestral touches that Jack Nitzsche helped with. So it's got all the ingredients".- Mick Jagger
The song as a whole speaks to the many ways people were disappointed and dissatisfied with their lives. The lyrics address the main themes of the 1960s: love, drugs, and politics. The verses seem to depict the optimism that was first present in the 1960s, followed by disappointment, punctuated with the practicality of the chorus.
“I knew she was gonna meet her connection
At her feet was her footloose man”
The woman in this lyric turns to drugs to cope with her disappointment, caused by her “footloose man,” or unfaithful husband.
, "We're gonna vent our frustration
If we don't we're gonna blow a 50-amp fuse"
….yet another method of releasing frustration.
Richie Unterberger, an American journalist, said,
"Much has been made of the lyrics reflecting the end of the overlong party that was the 1960s, as a snapshot of Swinging London burning out. That's a valid interpretation, but it should also be pointed out that there's also an uplifting and reassuring quality to the melody and performance. This is particularly true of the key lyrical hook, when we are reminded that we can't always get what we want, but we'll get what we need."
The positive message of this song cannot be denied, as the Stones continually assure that “If you try sometimes, you just might find you get what you need.” The chorus has one simple message: that you can make it through. The ultimately motivating tone of this song ends the groundbreaking album on a high note as a testament to the strength of individuals.
Sources: http://en.wikipedia.org/wiki/You_Can't_Always_Get_What_You_Want
http://www.songfacts.com/detail.php?id=527
Let It Bleed: Epic Classic or Just Another Good Album?
Awesome. Groovy. Chilling. Gut-wrenching. Spine-tingling. Mesmerizing.... While some may venture to say that no words could describe the genius that was "Let It Bleed", you can take your pick from the preceding superlatives and hopefully that will suffice. The fact is that "Let It Bleed" was awesome, groovy, chilling, gut-wrenching, spine-tingling, mesmerizing, and even to some extent indescribable. So the answer to the above question is that, no, "Let It Bleed" was not any old album... and not even any old good album. It was so much more than that.
Why?... What was it about "Let It Bleed" that made it so valuable musically, culturally, aesthetically, historically?...
It begins and ends with the effect the music had on people. It captivated its listeners, removing them from their own personal realities and placing them into the world of The Rolling Stones - a world which, in many ways, realized the darker aspects of humanity. Yes, it features an almost unprecedented level of creativity, collaboration and musicianship, but "Let It Bleed" transcended musical competence because of its ability to evoke, what many refer to as, the darker sides of their souls. Playing heavily on its blues roots, "Let It Bleed" lends an almost seductive aura to the dark and the twisted aspects of the human race. Prime example?... "Midnight Rambler", one of the darkest yet most bone-chilling and masterful songs on the album.
"Midnight Rambler" is, quite simply, about murder. It features a stunning partnership of Keith Richards on the slide guitar and Mick Jaggers on the harmonica. The lyrics literally describe the 'thrill' of breaking into people's houses and murdering them in their beds. Therefore, it's safe to say that the lyrics, by themselves, are nothing short of disturbing. However, listening to the song as a whole is a completely different experience. Instead of being horrified by the thought of mass murder, listeners are swept into the appeal, the intrigue, the drama that the Stones create. Between the whirling of the almost demonically teasing harmonica, the sudden, unpredictable and chilling halt, the throbbing bass and drum beats, the eerie and wicked cackle, and the hypnotizing, brutal and explosive conclusion, the song truly showcases the genius of both The Rolling Stones and their album "Let It Bleed". "Midnight Rambler" is undoubtedly savage, but there is something interesting if not remarkable about such savagery. It is enough to corrupt even the saintliest of listeners... such is the power of the Stones' persuasion.
And then... as if "Let It Bleed" couldn't get any more excruciatingly great... The Rolling Stones come up with "You Can't Always Get What You Want, which features not dark, almost sadistic lyrics and instruments but, instead, gospel choirs and a beautiful, uplifting message. Talk about range. Juxtaposing "Midnight Rambler" and "You Can't Always Get What You Want", which tells the tale of beaten, angry, battered souls who, despite it all, still manage to survive (what a metaphor for the youth of the sixties!), is nothing short of mind-blowing. The Stones' decision to end "Let It Bleed" really solidifies the Stones' ultimate message for the album and for the entire 60s in general: that, if we just accept ourselves and each other (weaknesses and inadequacies included), our daily struggles will seem considerably lighter and, furthermore, we might even catch a glimpse of a higher meaning.
And the list doesn't end there. "Gimme Shelter" and "Let It Bleed" and you have an awesome selection of songs. And an awesome range. The Rolling Stones' ability to take you into, what you could rightly call, the depths of evil and even insanity in "Midnight Rambler", the apocalyptic foreboding in "Gimme Shelter", the drug world of "Let It Bleed" and the ultimate source of hope in "You Can't Always Get What You Want" in one single album that, despite its tremendous diversity and variety, still manages to keep its believability and authenticity - it's tremendous. And it makes "Let It Bleed" sensational... valuable... epic even.
At the end of the day, "Let It Bleed" is an experience. It's a journey... it's a triumph... it's a classic; and its value musically, culturally, aesthetically, and historically is not to be under-appreciated. Instead, "Let It Bleed" screams importance and, as instructed on the album, "This record should be played loud"!
Sources:
http://www.threemonkeysonline.com/als_page2/Rolling_Stones_Let_it_Bleed.html
http://jalopnik.com/383931/what-are-your-ten-favorite-wrenching-albums
Why?... What was it about "Let It Bleed" that made it so valuable musically, culturally, aesthetically, historically?...
It begins and ends with the effect the music had on people. It captivated its listeners, removing them from their own personal realities and placing them into the world of The Rolling Stones - a world which, in many ways, realized the darker aspects of humanity. Yes, it features an almost unprecedented level of creativity, collaboration and musicianship, but "Let It Bleed" transcended musical competence because of its ability to evoke, what many refer to as, the darker sides of their souls. Playing heavily on its blues roots, "Let It Bleed" lends an almost seductive aura to the dark and the twisted aspects of the human race. Prime example?... "Midnight Rambler", one of the darkest yet most bone-chilling and masterful songs on the album.
"Midnight Rambler" is, quite simply, about murder. It features a stunning partnership of Keith Richards on the slide guitar and Mick Jaggers on the harmonica. The lyrics literally describe the 'thrill' of breaking into people's houses and murdering them in their beds. Therefore, it's safe to say that the lyrics, by themselves, are nothing short of disturbing. However, listening to the song as a whole is a completely different experience. Instead of being horrified by the thought of mass murder, listeners are swept into the appeal, the intrigue, the drama that the Stones create. Between the whirling of the almost demonically teasing harmonica, the sudden, unpredictable and chilling halt, the throbbing bass and drum beats, the eerie and wicked cackle, and the hypnotizing, brutal and explosive conclusion, the song truly showcases the genius of both The Rolling Stones and their album "Let It Bleed". "Midnight Rambler" is undoubtedly savage, but there is something interesting if not remarkable about such savagery. It is enough to corrupt even the saintliest of listeners... such is the power of the Stones' persuasion.
"I am a quiet man with an uneventful life, but the spirit of this song connects with something primal in me. Whatever that something is, it has sweltered under a blanket of repression and guilt; given the opportunity by this music, it dances for joy in the light of day. I am left feeling whole and exhilarated."- Reflects Rolling Stones fan Mark Harkin
And then... as if "Let It Bleed" couldn't get any more excruciatingly great... The Rolling Stones come up with "You Can't Always Get What You Want, which features not dark, almost sadistic lyrics and instruments but, instead, gospel choirs and a beautiful, uplifting message. Talk about range. Juxtaposing "Midnight Rambler" and "You Can't Always Get What You Want", which tells the tale of beaten, angry, battered souls who, despite it all, still manage to survive (what a metaphor for the youth of the sixties!), is nothing short of mind-blowing. The Stones' decision to end "Let It Bleed" really solidifies the Stones' ultimate message for the album and for the entire 60s in general: that, if we just accept ourselves and each other (weaknesses and inadequacies included), our daily struggles will seem considerably lighter and, furthermore, we might even catch a glimpse of a higher meaning.
And the list doesn't end there. "Gimme Shelter" and "Let It Bleed" and you have an awesome selection of songs. And an awesome range. The Rolling Stones' ability to take you into, what you could rightly call, the depths of evil and even insanity in "Midnight Rambler", the apocalyptic foreboding in "Gimme Shelter", the drug world of "Let It Bleed" and the ultimate source of hope in "You Can't Always Get What You Want" in one single album that, despite its tremendous diversity and variety, still manages to keep its believability and authenticity - it's tremendous. And it makes "Let It Bleed" sensational... valuable... epic even.
At the end of the day, "Let It Bleed" is an experience. It's a journey... it's a triumph... it's a classic; and its value musically, culturally, aesthetically, and historically is not to be under-appreciated. Instead, "Let It Bleed" screams importance and, as instructed on the album, "This record should be played loud"!
Sources:
http://www.threemonkeysonline.com/als_page2/Rolling_Stones_Let_it_Bleed.html
http://jalopnik.com/383931/what-are-your-ten-favorite-wrenching-albums
Saturday, May 7, 2011
Gimme Shelter: The Documentary
"Gimme Shelter" is a documentary directed by Albert Maysles, David Maysles, and Charlotte Zwerin, following The Rolling Stones on their 1969 tour. Its main focus is the tragic Altamont concert.
(Image taken from http://www.imbd.com)
Thursday, May 5, 2011
Altamont: the Decline of an Era
300,000 young, hip attendants... A mega-star lineup including Jefferson Airplanes and The Grateful Dead... Organized by one of the grooviest bands of the age - The Rolling Stones...
At a glance, the Altamont Speedway Free Festival had all the makings to be a smash. In fact, it was actually anticipated to be the "Woodstock of the West". Held on December 6, 1969 at the Altamont Speedway in northern California, it was planned and organized by The Rolling Stones, who wanted to cap off their American tour with a concert of such magnitude and such exuberance to rival Woodstock (which had occurred four months earlier in August, 1969).
In accordance with The Stones' vision for Altamont, no professional security was hired. Instead, upon the recommendation of The Grateful Dead, the Stones hired motorcycle gang Hells Angels to provide security for the band. Hells Angels had a reputation among the hippies as "noble savages" or "outlaw brothers of the counterculture" because of their relationship with Ken Kesey, who had Angels to participate in one of his Acid Tests. So, again, the Angles seemed to effortlessly fit into the Stones' vision for Altamont. Their price?... It's rumored that the Hells Angels were hired for $500 worth of beer.
While the Stones' intention for Altamont was peaceful enough, the concert went horrifically and even tragically wrong - despite all of its initial promise. By the end of the night, the mood of the concert turned increasingly violent, agitated and aggressive, fueled by the Hells Angels, who, by that time, were completely intoxicated. The crowd, most of which had been using LSD, were unpredictable and unruly, attacking one another and members of the Angels. Before the Stones even took the stage, fights erupted, with crowd member Denise Jewkes suffering a stress fracture and Marty Balin of the Jefferson Airplanes getting punched in the head by the Hells Angels. The Grateful Dead refused to even perform.
By the time The Rolling Stones took the stage, things had clearly gotten out of hand. The picture is almost too insane to even believe. Mick Jagger, within minutes, was punched in the face by a crowd member. Thousands attempted to swarm the stage, with Hells Angels members warding them off with pool sticks.
"Just be cool down in the front there, don't push around."- Mick Jagger
"I saw what he was looking at, that he was crazy, he was on drugs, and that he had murderous intent. There was no doubt in my mind that he intended to do terrible harm to Mick or somebody in the Rolling Stones, or somebody on that stage".- Hells Angel, Rock Scully [on Meredith Hunter]
During The Rolling Stones' performance of "Under My Thumb", fan Meredith Hunter (age 18), after attempting to climb onstage, was punched and chased away by Hells Angels members. Irate, and high to the point of near insanity, Hunter returned and attempted to pull a revolver out of his suit pocket. Hells Angel Paul Passaro stabbed Hunter, killing the eighteen year old (the incident was actually caught on film by Eric Saarrinen and later featured in the documentary "Gimme Shelter"). The footage shows Passaro stabbing Hunter five different times and, afterward, Hells Angels members stomping on Hunter's dead body.
Passaro was later arrested and tried for murder in 1971. He was found not guilty on the grounds of self-defense. Autopsies of Hunter's body showed that he was high on meth at the time of his death. The Stones have maintained that, while they were aware of the unruliness of the crowd, they had no idea of the stabbing.
In many ways, Altamont represented the decline of an era. It truly closed the door on the 1960s... perhaps burying forever the idea that drugs, chaos and total, unrestrained freedom could inspire total, unrestrained peace. Instead, Altamont revealed flaws and cracks within the hippies' ideology. It made it obvious that such events had a very dangerous potential because of their combination of drugs, no security, and masses of people. It seemed, after Altamont, that many (the Stones included) began to doubt that drugs could change the world, as included in the hippies' very romanticized principles.
Thus, Altamont represented a critical juncture in the Stones' career. It was one of their last gigs in the 60s, but, more than that, it was their last gig of the true hippie era. It demonstrated the disillusionment of the hippie dream, and The Rolling Stones emerged from Altamont a more mature and experienced band.
"Writers focus on Altamont not because it brought on the end of an era but because it provided such a complex metaphor for the way an era ended".- Robert Christgau, rock music critic
Certainly Altamont has been solidified as one of the most important and most infamous music festivals of all times. And, with it, history was made. Altamont, and ultimately the entire "Let It Bleed" album, truly did change history - it represented the death of Woodstock Nation, and, for that, its place in history is of indescribable magnitude.
Tuesday, May 3, 2011
In the Eyes of the Critics
For many, "Let It Bleed" is a musical masterpiece, featuring some of The Rolling Stones' greatest creative visions and expressions. If "Beggar's Banquet" first placed the Stones onto a platform of musical competence, "Let It Bleed" propelled them even further on their climb to artistic genius. Perhaps for the first time, the Stones, in "Let It Bleed", truly offered a social commentary on the societal ongoings unfolding around them. Hit tracks included "Gimme Shelter", which was exhaulted for its dramatic lyrics and gourndbreaking guitar chords, and "You Can't Always Get What You Want", which was considered the "epic" and "stunning" climax of the album because of its tremendous chorus, lyrics, use of horns, and overall structure. The album was also praised for its inclusion of more blues-oriented tracks, like "You Got the Silver" and "Love in Vain", which truly embraced the Stones' blues roots.
Overall, "Let It Bleed", as critics noted, accurately reflected the general attitudes and emotions of the time. And it was subsequently praised for this achievement. It is widely considered one of the Stones' greatest albums of all time, and the charts certainly speak for themselves... #1 on the 1969 UK Album Charts and #3 on the 1969 Billboard Pop Albums.... not so shabby.
Sources:
http://www.allmusic.com/album/r16831
http://www.sixtiesmusic.org/rollingstones.html
http://starling.rinet.ru/music/stones.html
"Brilliant."- Times.com
"Dark, dreary, but oh so beautiful. Anthems, ballads, spooky celebrations of murder - all set to an unbelievably creative set of melodies... This album is bleeding so strong that it gets my vote for the best Stones album ever and one of the greatest rock albums ever made by mortal man."- Music reviewer, George Starostin
Overall, "Let It Bleed", as critics noted, accurately reflected the general attitudes and emotions of the time. And it was subsequently praised for this achievement. It is widely considered one of the Stones' greatest albums of all time, and the charts certainly speak for themselves... #1 on the 1969 UK Album Charts and #3 on the 1969 Billboard Pop Albums.... not so shabby.
Sources:
http://www.allmusic.com/album/r16831
http://www.sixtiesmusic.org/rollingstones.html
http://starling.rinet.ru/music/stones.html
Monday, May 2, 2011
Gimme Shelter... From Vietnam!
Gimme Shelter
Oh, a storm is threat'ning
My very life today
If I don't get some shelter
Oh yeah, I'm gonna fade away
War, children, it's just a shot away
It's just a shot away
War, children, it's just a shot away
It's just a shot away
Ooh, see the fire is sweepin'
My very street today
Burns like a red coal carpet
Mad bull lost its way
War, children, it's just a shot away
It's just a shot away
War, children, it's just a shot away
It's just a shot away
Rape, murder!
It's just a shot away
It's just a shot away
Rape, murder!
It's just a shot away
It's just a shot away
Rape, murder!
It's just a shot away
It's just a shot away
The floods is threat'ning
My very life today
Gimme, gimme shelter
Or I'm gonna fade away
War, children, it's just a shot away
It's just a shot away
It's just a shot away
It's just a shot away
It's just a shot away
I tell you love, sister, it's just a kiss away
It's just a kiss away
It's just a kiss away
It's just a kiss away
It's just a kiss away
Kiss away, kiss away
Oh, a storm is threat'ning
My very life today
If I don't get some shelter
Oh yeah, I'm gonna fade away
War, children, it's just a shot away
It's just a shot away
War, children, it's just a shot away
It's just a shot away
Ooh, see the fire is sweepin'
My very street today
Burns like a red coal carpet
Mad bull lost its way
War, children, it's just a shot away
It's just a shot away
War, children, it's just a shot away
It's just a shot away
Rape, murder!
It's just a shot away
It's just a shot away
Rape, murder!
It's just a shot away
It's just a shot away
Rape, murder!
It's just a shot away
It's just a shot away
The floods is threat'ning
My very life today
Gimme, gimme shelter
Or I'm gonna fade away
War, children, it's just a shot away
It's just a shot away
It's just a shot away
It's just a shot away
It's just a shot away
I tell you love, sister, it's just a kiss away
It's just a kiss away
It's just a kiss away
It's just a kiss away
It's just a kiss away
Kiss away, kiss away
So goes the celebrated song "Gimme Shelter" - the opening track of the Stones' 1969 album "Let It Bleed". Written by Mick Jagger and Keith Richards, the song is mid-tempo, and features a rhythm guitar intro from Richards. It also involves one of the Stones' rare collaborations with a female artist, Merry Clayton, which, according to the Stones, was their producer Jimmy Miller's idea. Also on the track are pianist Nicky Hopkins, percussionist (and producer) Jimmy Miller, bass guitarist Bill Wyman, and drummer Charlie Watts (band member Brian Jones was not featured on "Gimme Shelter"). On main vocals were Merry Clayton and Mick Jagger.
The song seems depressing to say the least. Using images of fire, floods, war and rape, "Gimme Shelter" tells the story of an individual seeking shelter from an approaching storm. It paints an apocalyptic portrait, depicting scenes of devastation, war, violence and evil.
And, in this way, "Gimme Shelter" is the perfect goodbye to the 60s. The Stones, through the song, are actually offering a social commentary on the tumultuous decade that was the 1960s. From the assassinations of John F. Kennedy, Robert Kennedy, Malcolm X and Martin Luther King, Jr. to the Vietnam War, the 60s are presented, through the song "Gimme Shelter" as a sort of 'beginning of the end' - the end of the world that is. As Mick Jagger said in an interview in 1995 with Rolling Stone magazine,
"Well, it's a very rough, very violent era. The Vietnam War. Violence on the screens, pillage and burning. And Vietnam was not war as we knew it in the conventional sense... That's a kind of end-of-the-world song, really. It's apocalypse; the whole record's like that."
The song definitely inspires a surge of emotions within listeners. The lyrics are dripping with the unfortunate societal realities, and blatantly point out how far society has diverged from peace and harmony. The world, according the the song, is on the brink of apocalypse, and, looking at the destruction that splattered across the decade, it's hard to say that the Rolling Stones didn't have a point. But the tone of the song is not necessarily angry. Reading the lyrics, without prior knowledge of the actual recorded version of the song, one might anticipate a song seething with bitterness. And the song certainly expresses a definite sense of frustration and discontentment. Yet, again, the tone isn't quite angry. It's more reflective.. somber.
And this only futher solidifies "Gimme Shelter"'s place as an important piece of protest music. It does not inspire or encourage further violence or resentment. Instead, its message is that all of this evil, all of the suffering and devastation can be quite easily cancelled out... yes, by love. After bringing listeners into this almost hopeless, dark and depressing place, it lifts them back up again, promising that shelter can indeed be found and, furthermore, 'it's just a kiss away'. The juxtaposition found in the last segment of the song is so simple yet so genius: "War, children, it's just a shot away". The Stones are speaking from a position of authority, addressing those who condone war and violence as 'children' as if they need to learn from the more experienced, the more mature and pacific individuals, with which the Stones personally identify. The Stones diminish those instigating the chaos of the 60s, again reducing them to being 'child-like'. And yet, in juxtaposition... "Love, sister, it's just a kiss away". Those who, like the Stones, call for love, for peace and for harmony are equals - sisters, even. They stand together, bonded by an almost familial tie, in a definite example of solidarity. And, truly, they stand for love. What a beautiful, uplifting and, perhaps most of all, hopefull way to conclude not only a song... but an era.
Sources:
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