Comments, input and alterations are very welcome!
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Sweet Black Angel
(Mick Jagger / Keith Richards)

Rolling Stones Mobile Recording Unit, Stargroves, Newbury, Berkshire, UK &
Olympic Sound Studios, London, UK, March - May 1970,
Sunset Sound Studios, Hollywood, Los Angeles, California, US,
December 4 - 19, 1971 & January - March 1972 and
Wally Heider Studios, Los Angeles, California, US, March 24 & 25, 1972

Mick Jagger - lead vocals, harmonica
Keith Richards - acoustic guitar, harmony vocals
Charlie Watts - percussion
Bill Wyman - bass
Jimmy Miller - percussion
Richard Washington - marimbas

Got a sweet black angel, got a pin up girl
Got a sweet black angel, up upon my wall
Well, she ain't no singer and she ain't no star
But she sure talk good and she moves so fast
But the gal in danger, yeah, the gal in chains
But she keep on pushin', would ya take her place?
She countin' up the minutes, she countin' up the days
She's a sweet black angel, oh, not a sweet black slave

Ten little niggers sittin' on the wall
Her brothers been a fallin', fallin' one by one
For a judges murder in a judges court
Now the judge, he gonna judge her for all that he's worth
Well, the gal in danger, the gal in chains
But she keep on pushin', would you do the same?
She countin' up the minutes, she countin' up the days
She's a sweet black angel, not a gun toting teacher
Not a Red lovin' school marm, ain't someone gonna free her
Free the sweet black slave
Free the sweet black slave
Free the sweet black slave
Free the sweet black slave

Produced by Jimmy Miller

First released on:
The Rolling Stones - “Tumbling Dice / Sweet Black Angel” 7” single
(Rolling Stones Records RS 19103) UK, April 14, 1972



Edited 1 time(s). Last edit at 2015-01-19 10:15 by René.

What an amazing sound! Can you imagine walking around with that gorgeous music in your head,
on a planet where no one but you had ever heard it? And then managing to coax it out in the open where everyone can hear?
What a beautiful thing to do! Hail hail Rolling Stones

Exile on Main Street is the gift that keeps on giving. Yes it is political in nature but I think we look past conveyed message. It is one of the sometimes overlooked gems on that album.

One of my absolute favourites. Ever!

A mesmerisingly beautiful folk/carribean-esque tune, with a rare political statement from the Glimmers.

Takes me back to the beauty of I Am Waiting, but it adds to that beauty. Love it

With this Song I became fan of my band!
It was my first Stones Single and the begining of big love til today...
...all CDs, all the Videos, more than 100 Shows all over the world!

On Exile On Main Street we are literally spoilt for choice for exceptional songs and Sweet Black Angel is certainly one of them.

For starters they have created here an original music form – part country blues, part calypso, part hillbilly folk – that is quite unique. Usually you can tell right away who or what has inspired a Stones’ song but this is most definitely music of their own devising and a great example of the wonderful melting pot of primarily roots American music that is Exile On Main Street.

It’s also one of the most political songs the band have ever written – almost certainly Mick’s lyrics and this black consciousness inspired by his recent affair with Marsha Hunt.

Was there any need for the 'n' word in the song? I'm not so sure and I doubt whether, written today, Jagger would have used it. It certainly doesn't add any gravitas to the already controversial lyrics.

And despite the heaviness of the lyrics about the murder rap on black activist Angela Davis the music has an incredible warmth, like a campfire song with the sweetest sounding acoustic guitars, that amazing percussion including Mick’s harp playing, a jew’s harp, scraper and Charlie’s cowbell. You're immediately transported to another place - for me it's a backwoods Louisiana bayou with frogs croaking, crickets chirping and a jug of hooch being passed around in the sweet summer moonshine.

And then of course there’s Keith’s backup singing. I don’t think Keith was ever in better voice then on Exile, those high register harmonies are all over this album and here they lend the song a sweetness. And let’s not forget that beautiful, underlying marimba playing that comes in just towards the end played by Amyl Nitrate, otherwise known as Richard ‘Didymus’ Washington, from Dr John’s band.

As far as I know the Stones have never played it live, which is a real shame as I think going forward, they could reintroduce a trio of acoustic songs into their set. This one would be perfect to include.



Edited 2 time(s). Last edit at 2015-01-12 11:43 by Silver Dagger.

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Silver Dagger
On Exile On Main Street we are literally spoilt for choice for exceptional songs and Sweet Black Angel is certainly one of them.

For starters they have created here an original music form – part country blues, part calypso, part hillbilly folk – that is quite unique. Usually you can tell right away who or what has inspired a Stones’ song but this is most definitely music of their own devising and a great example of the wonderful melting pot of primarily roots American music that is Exile On Main Street.

It’s also one of the most political songs the band have ever written – almost certainly Mick’s lyrics and this black consciousness inspired by his recent affair with Marsha Hunt.

Was there any need for the 'n' word in the song? I'm not so sure and I doubt whether, written today, Jagger would have used it. It certainly doesn't add any gravitas to the already controversial lyrics.

And despite the heaviness of the lyrics about the murder rap on black activist Angela Davis the music has an incredible warmth, like a campfire song with the sweetest sounding acoustic guitars, that amazing percussion including Mick’s harp playing, a jew’s harp, scraper and Charlie’s cowbell. You're immediately transported to another place - for me it's a backwoods Louisiana bayou with frogs croaking, crickets chirping and a jug of hooch being passed around in the sweet summer moonshine.

And then of course there’s Keith’s backup singing. I don’t think Keith was ever in better voice then on Exile, those high register harmonies are all over this album and here they lend the song a sweetness. And let’s not forget that beautiful, underlying marimba playing that comes in just towards the end played by Amyl Nitrate, otherwise known as Richard ‘Didymus’ Washington, from Dr John’s band.

As far as I know the Stones have never played it live, which is a real shame as I think going forward, they could reintroduce a trio of acoustic songs into their set. This one would be perfect to include.

Perfect!!!

Quote
DandelionPowderman
One of my absolute favourites. Ever!

A mesmerisingly beautiful folk/carribean-esque tune, with a rare political statement from the Glimmers.

Takes me back to the beauty of I Am Waiting, but it adds to that beauty. Love it

Well said Dandie!

As far as I know the Stones have never played it live,

Fort Worth Texas - 1st show-24 June 1972



ROCKMAN

Great write-up, Mike!

But they have played it live. Here's the 1972-version:

Great and funny song..... was very surprised hearing the song the first time....something totally different and something you never heard before...

__________________________

A modestly appealing little track, but ultimately quite forgettable.

Drew

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DandelionPowderman
Great write-up, Mike!

But they have played it live. Here's the 1972-version:

Wow - didn't know that. I'll add that version to my alternate Exile On Main Street compilation of alt versions or songs played live as near to the launch of Exile as possible.

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Silver Dagger

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DandelionPowderman
Great write-up, Mike!

But they have played it live. Here's the 1972-version:

Wow - didn't know that. I'll add that version to my alternate Exile On Main Street compilation of alt versions or songs played live as near to the launch of Exile as possible.

You need to pick up the Rattlesnake-box "STP 72"

Version is awful. Song is spititual not punk rock.

Fantastic - Stones at their best.

Wow, Silver Dagger - once again - nailed it!

I have always have had difficulties in determining its musical style (and it's not the only Stones track I have that problem), but both DandelionPowderman and Silver Dagger gave nice descriptions, and like the latter said, it definitively sounds unique - the Stones picking up different materials and end up doing something novel and idiosyncratic.

Anyways, EXILE ON MAIN STREET was by no means any easy-listening album from a first listen, and it surely took me some time to really 'grasp' it, and even today, like Chris Fountain said, it is "still giving". But with "Rocks Off" this was the track that opened up to me by a first listening, and I have never have had any doubts in my love for the track ever since. Simply irresistible tune. Magical soundscape. Especially the chorus is one of the most beautiful melodies they ever have done.

An educational tune for me as well. It was through "Sweet Black Angel" I get to know Angela Davis case. I wonder what the "gal" herself might have thought about the tune - the way she is presented there probably does not quite resemble the strong individual she seems to be... But a great move by the Stones in my book.

- Doxa



Edited 2 time(s). Last edit at 2015-01-12 12:58 by Doxa.

One of my favourites. Sounds bad live though not surprised they dropped it

I did not like this song when I first heard Exile, but now I love it!

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exhpart

Sounds bad live though not surprised they dropped it

The live version sounds like they had trouble to arrange it to work in live surroundings in the first place. The studio original is such a beauty but so subtle, fragile-sounding. So Keith decided to take a punk approach....

I still remeber when I first heard the live version and those rough electric guitar chords emerged... 'huh, can this really be "Sweet Black Angel"?....'

- Doxa

The live version is still caribbean-sounding. The only difference is really that Keith chose to use his electric guitar as a rhythm instrument, instead of the single-string acoustic.

Nice touch with the horns, imo.

However, the live version sounds very raw and unpolished. That way it loses much of its charm and beauty.

But the groove remains...

Quote
Doxa

Anyways, EXILE ON MAIN STREET was by no means any easy-listening album from a first listen, and it surely took me some time to really 'grasp' it, and even today, like Chris Fountain said, it is "still giving".

- Doxa

Yes, as Chris says Exile On Main Street is very much the gift that continues to give. More so than any other Stones album. And I got to agree with you Doxa that it took a long time to get it. But maybe that's the reason that it has become so enduring - that it didn't offer up its pearls too soon.

Perhaps it's that really wide scope of influences - that immersion into American roots music that has been so absorbing and given the album such an undying, much loved reputation.

This is why I believe that if the Stones came up with another similarly structured album of blues, r'n'b, country, reggae, soul - just the music that they love and the fans love - they would probably have a major hit record on their hands.

Unfortunately they still feel the need to compete with other rock bands and go for a current sound instead of settting their own pace and agenda.

Reckon gram parsons had a big influence with Keith and his backing vocals..

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DandelionPowderman
The live version is still caribbean-sounding. The only difference is really that Keith chose to use his electric guitar as a rhythm instrument, instead of the single-string acoustic.

Nice touch with the horns, imo.

However, the live version sounds very raw and unpolished. That way it loses much of its charm and beauty.

But the groove remains...

It is those horns that actually gives it that funny Caribbean fiesta feel, being even different than in the original. There is actually some nice, delicated stuff going on, interesting potential nuances, especially in the chorus, but it is that bloody Keith's sledgehammer guitar that domanites the scene, and makes it task impossible for the beautiness to come true (that said, what he does during the chorus sounds nice, though).

Anyway, the recording is not that good. Probably, for example, if mixed better, Keith's guitar a bit turned down, it might sound much better,

- Doxa

Yeah, I think a mix would have done wonders with that rendition.

Keith's phrasing is really nice on the choruses, indeed

I think this live version is the missing link between Sweet Black Angel and Luxury.

Just as long as the guitar plays, let it steal your heart away

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marcovandereijk
I think this live version is the missing link between Sweet Black Angel and Luxury.

Good point!

- Doxa

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Doxa

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marcovandereijk
I think this live version is the missing link between Sweet Black Angel and Luxury.

Good point!

- Doxa

+1

Studio track is sublime.

Very tricky guitar work, by the way. Also great percussions (all credited to Jimmy Miller, I see!).

I know I will be in the minority here, but I find that the best released version -after the original vinyl - is the infamous Universal one.

C

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DandelionPowderman

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Doxa

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marcovandereijk
I think this live version is the missing link between Sweet Black Angel and Luxury.

Good point!

- Doxa

+1

For starters, we got the same Jagger cod-Caribbean accent. ><