This is one of those Stones songs that has this unique menacing tone throughout, especially the beginning. The bass line sure sounds like Keith to me with the studio version, which is my favorite. Jimmy Miller extracts an amazing sound from the band. At volume, Stray Cat Blues soars, and the fade out at the end is downright evil. A powerful statement from a band finding its stride again in the studio.

Opinions about the lyrics are always entertaining. It's funny how people translate intentionally garbled vocals which Mick was masterful at to say the least.

Fond memories of "Stray Cat Blues". When as a kid I got BEGGARS BANQUET and listened it very first time, that was the track that made me the biggest impression. It was really "what the hell is that?? Couldn't understand anything of the lyrics, but it was the music - so wild, raw, bad, dirty - that did the talking to me.

Probably since the impression was so huge - really kick my balls - it took me years to appreciate the YA-YA'S version, which was fine tuned but more cleaner. But it is a wonderful version, and like giving altogether different clothing to the song: different mood - more melancholical and contemplative than the aggressive 'straight between to the eyes' original.

Like Dandie said, a masterpiece in both clothings.

- Doxa

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Doxa

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Aquamarine

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MILKYWAY
Clear similarity between Stray Cat Blues and the Velvet Underground's Heroin.

Y'know, although I know it by heart anyway I listened to Heroin again last night and then SCB, and I still can't see the similarity--different melody, different song construction, different theme/lyrics . . What am I supposed to be hearing?

I suppose the similarity is more to do with the whole raw, almost cacophonic atmosphere, with some striking sounds and noises. That was Velvet Underground's contribution at the time. The Stones really took the bite and took it further - "Stray Cat Blues" must be their dirtiest, rawest moment ever in record (a masterpiece indeed). Some lesser similarities is how the chorus - or whatever that "oh yeeeah, you are strange stray cat!!!...!" is - builds up the tension, and to an extent, the very guitar intro, which - if we listen the very first chord and how it is introduced - is a rather straight reference to "Heroin" (in which the whole song is build upon that guitar motif).

A striking example how the band kept their ears open at the time and could easily adapt some hot current things and write their original take on it.

- Doxa

Yes, it almost equals SFTD in quality - and certainly does in it's impressive agon with the influence from the precursor. One could add a similar relationship with The End by The Doors and Midnight Rambler. Velvet, Dylan and Doors are left behind in those tracks - and in fact I think in those four or five years surpassed them. It is interesting that some of the "tools" stem from high literature/avantgarde SFTD (Milton, romantics and Bulgakov), SCB (fairy tales, maybe with a Finnegans wakean grasp of it - Jagger read Finnegans Wake by Joyce in those days (Joyce makes a pun upon Little red riding hood; A rude hiding rod!)) - and on EOMS Jagger uses William Burroughs Cut-up-method.

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Doxa
Fond memories of "Stray Cat Blues". When as a kid I got BEGGARS BANQUET and listened it very first time, that was the track that made me the biggest impression. It was really "what the hell is that?? Couldn't understand anything of the lyrics, but it was the music - so wild, raw, bad, dirty - that did the talking to me.

Probably since the impression was so huge - really kick my balls - it took me years to appreciate the YA-YA'S version, which was fine tuned but more cleaner. But it is a wonderful version, and like giving altogether different clothing to the song: different mood - more melancholical and contemplative than the aggressive 'straight between to the eyes' original.

Like Dandie said, a masterpiece in both clothings.

- Doxa

I had a similar experience when I heard it as a twelwe year old kid - or almost that is, because I heard the GYYYO-version first - which I loved but the BB-version really blew me away.

The live versions are interesting, but ultimatley inferior to the mighty, freaky, sleazy beast that is the studio version.

The Hyde Park version is good because it keeps the rhythm etc, but Taylor's British blues rock soloing takes away some of the sleaze, freak edge and normalises it.



Edited 1 time(s). Last edit at 2013-08-13 16:48 by His Majesty.

It sounds freaky, dangerous and wild on record. Never heard anything as bad as this - before or later. It's really brilliantly recorded, with the heavy bass, the squeeching guitar which borderlines to fall apart in your speaker and Mick's dirty lyrics and persona.

Live it was a very good rock number in 1969-71 - especially in 1969, imo, although the horns were an interesting addition to the 1971-version.

On the Licks tour I thought Ronnie actually succeeded with getting that vicious tone again (absent on the live version prior to this), in tandem with Keith's open G. The problem with the licks version was that they fvcked it up almost every time



Edited 1 time(s). Last edit at 2013-08-13 17:11 by DandelionPowderman.

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Mathijs

There's even a remark from Jimmy Miller: after he and Richards recorded the bass overdub they played it for Anita Pallenberg, who reportedly stated something like 'you've spoiled the song, the bass is way too loud'.

Mathijs

Funny and strange, that they played it for her and that remark by Pallenberg. Almost as if she had the final decision. But it's all from hearsay, and like so many others, those quotes aren't reliable.

During his years in London in the early 90's Jimmy Miller was quite an alcoholic who prefered taking the bands he was producing to the pub instead of to the studio. There's quite some accounts of Miller telling stories about his years with the Stones, and he gave tapes of outtakes to friends (several of which where released as bootlegs). Miller might have embelished some stories, but I do believe there's truth in most of his stories.

Mathijs

He did some fine work with Primal Scream. I think those guys were feeling quite at home in the pub!

They started working with Miller, but ended up with 5 producers!

Mathijs

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Doxa
They played it regularly all the way from 1969 to 1971, then kicked it out almost for good. I wonder why. Hmm.... I wonder how a speeded up 1973 version might have sounded like, with Taylor going totally crazy, or even better a decadent version from red and hot 1975 tour.... Missed oppurtunities...

- Doxa

They played it at the Nicarague gig, January 18, 1973, and at Knebworth 1976.

Mathijs

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GetYerAngie

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Doxa
Fond memories of "Stray Cat Blues". When as a kid I got BEGGARS BANQUET and listened it very first time, that was the track that made me the biggest impression. It was really "what the hell is that?? Couldn't understand anything of the lyrics, but it was the music - so wild, raw, bad, dirty - that did the talking to me.

Probably since the impression was so huge - really kick my balls - it took me years to appreciate the YA-YA'S version, which was fine tuned but more cleaner. But it is a wonderful version, and like giving altogether different clothing to the song: different mood - more melancholical and contemplative than the aggressive 'straight between to the eyes' original.

Like Dandie said, a masterpiece in both clothings.

- Doxa

I had a similar experience when I heard it as a twelwe year old kid - or almost that is, because I heard the GYYYO-version first - which I loved but the BB-version really blew me away.

I have a similar experience with this song. As a 13 year old, I thought much of Beggars Banquet was a little hard to digest, if intriguing, because it had so much acoustic hillbillyish stuff on it. But Stray Cat Blues, towards the end of the album, really blew me away too.

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Rockman
always went along with it being fierce....

you ain't no glamour boy Rockman...your fierce!

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LieB

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GetYerAngie

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Doxa
Fond memories of "Stray Cat Blues". When as a kid I got BEGGARS BANQUET and listened it very first time, that was the track that made me the biggest impression. It was really "what the hell is that?? Couldn't understand anything of the lyrics, but it was the music - so wild, raw, bad, dirty - that did the talking to me.

Probably since the impression was so huge - really kick my balls - it took me years to appreciate the YA-YA'S version, which was fine tuned but more cleaner. But it is a wonderful version, and like giving altogether different clothing to the song: different mood - more melancholical and contemplative than the aggressive 'straight between to the eyes' original.

Like Dandie said, a masterpiece in both clothings.

- Doxa

I had a similar experience when I heard it as a twelwe year old kid - or almost that is, because I heard the GYYYO-version first - which I loved but the BB-version really blew me away.

I have a similar experience with this song. As a 13 year old, I thought much of Beggars Banquet was a little hard to digest, if intriguing, because it had so much acoustic hillbillyish stuff on it. But Stray Cat Blues, towards the end of the album, really blew me away too.

Actually as a twelwe year old I was alone in a new town my folks and had just moved to - and they went on holiday for a week. I borrowed BB and LIB at the library and had those LP's as company. That was good company! The best tracks really got into my veins.

There was some recent Mick Jagger interview where he said that he could never write and release a song like Brown Sugar nowadays. The lyrics being too racy and all that. Can you imagine trying to release a song like Stray Cat Blues? (Although, on second thought you have bands like Marilyn Manson and all that creepy stuff.)

The original Stray Cat Blues is unique in many ways and it rocks and it's dangerous.

The GYYYO Stray Cat Blues is a great version also, but it almost makes me want to cry. And I think that that's the meaning that Mick wanted to get across in the live version. Sort of like "compensation" for the Beggar's Banquet version.

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MileHigh
Can you imagine trying to release a song like Stray Cat Blues?

Every year, the local classic rock station does a "complete" A to Z of rock. They try to do a good job, and you have to weed certain songs out because of the sheer volume. So three years ago, I noticed they left out SCB. I actually emailed the station and the PD sounded contrite, agreeing that it was a criminal omission. The next two years, same show, same omission. Not sure what that's about, but I remember that in the 80s and 90s, SCB was played here and there on FM classic rock stations. It wasn't like JJF or anything, but the did let it rip now and again. I can't recall the last time I heard it on the radio.

fierce song is right, rockman

love this track

although the 15 year old being 13 on ya ya s is just stupid

sounds like keith on bass to me but who knows

Dunno about stupid, how about realistic.

A lot of bands of this era had songs in a similar vein.

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Aquamarine
Dunno about stupid, how about realistic.

A lot of bands of this era had songs in a similar vein.

nah, its just stupid. all those 'similiar vein' songs are stupid.

'realistic'? please. if jagger (or any rock star) banged a 13 year old, he's an @#$%&. if i were her dad, i'd of gleefully wrung his scrawny neck

jagger put in in there for hype and effect, not 'reality'

he's not a nut



Edited 1 time(s). Last edit at 2013-08-14 04:14 by pinkfloydthebarber.

I think it is very likley that they banged some 13 year olds back then.

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pinkfloydthebarber

'realistic'? please. if jagger (or any rock star) banged a 13 year old, he's an @#$%&. if i were her dad, i'd of gleefully wrung his scrawny neck

jagger put in in there for hype and effect, not 'reality'

Um..,. Jimmy Page, Steven Tyler and Bill Wyman would beg to differ.

gosh

and at a certain point in time, it was OK to own slaves and beat them up

my point here is, jaggers lyrics in this song are so over the top that the intention is clearly tongue-in-cheek and intended to be humorous -- probly a reaction to all the silly moralists worrying about the 'evil' influence of the stones and rock & roll in general

A reflection of the reality of rock stars banging 13 - 15 year olds all the same.

I'm not saying I approve of it, but it's a bit head-in-the-sand to say it never happened, stupid or not. It frequently did, in fact (not talking about Jagger, specifically, but that whole generation of rockers. Zeppelin come rather vividly to mind). I don't think the lyrics are intended to be over the top at all, especially with regard to 15-year-olds. That went on all the time.

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His Majesty
A reflection of the reality of rock stars banging 13 - 15 year olds all the same.

He's being salacious. And he does it to perfection with an equally perfect musical backing to support the tone.

The reality he is reflecting is not simply the behavior of his colleagues, but the behavior/character of some of the women they have encountered. Just like Stupid Girl, Under My Thumb etc.

I'll agree that dropping it to 13 was done more for shock value. But not necessarily an exaggeration.

It was only a few years later that Kim Fowley toured a band of 15-18 year-old girls unchaperoned around the world, with rock mags touting "Jailbait Rock."

And exactly how old was the fictional Penny Lane supposed to be in "Almost Famous"?

In the U.S., with a drinking age at 18, there were a lot more young girls accessing the party scene. And there were a lot fewer people paying any real attention to it.

Van singing about a 14-year-old:

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JMARKO

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His Majesty
A reflection of the reality of rock stars banging 13 - 15 year olds all the same.

He's being salacious. And he does it to perfection with an equally perfect musical backing to support the tone.

The reality he is reflecting is not simply the behavior of his colleagues, but the behavior/character of some of the women they have encountered. Just like Stupid Girl, Under My Thumb etc.

I'll agree that dropping it to 13 was done more for shock value. But not necessarily an exaggeration.

It was only a few years later that Kim Fowley toured a band of 15-18 year-old girls unchaperoned around the world, with rock mags touting "Jailbait Rock."

And exactly how old was the fictional Penny Lane supposed to be in "Almost Famous"?

In the U.S., with a drinking age at 18, there were a lot more young girls accessing the party scene. And there were a lot fewer people paying any real attention to it.

agreed. did it happen ? of course. yeah, its about groupies. jagger was just pushing the envelope with his lyrics

when jagger wrote this, back in the 60's, it was common that teen girls left home in droves, many of them runaways leaving behind disfunctional family lives of sexual abuse, drunkenness, physical abuse, etc. who fell into the ranks of the "hippies", and there were many adults quite willing to exploit them by whatever means possible

this song i think jagger is talking about one of them who falls into the clutches of a dude quite willing to provide the "feast upstairs" and the part about the 'no capitol crime-no hanging matter' probably refers to lax laws at that time regarding statutory rape



Edited 1 time(s). Last edit at 2013-08-14 05:44 by pinkfloydthebarber.

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pinkfloydthebarber


when jagger wrote this, back in the 60's, it was common that teen girls left home in droves, many of them runaways leaving behind disfunctional family lives of sexual abuse, drunkenness, physical abuse, etc. who fell into the ranks of the "hippies", and there were many adults quite willing to exploit them by whatever means possible

I was a teen girl back in the 60s, and that seems like a mega-exaggeration to me. Teen girls (e.g. me) didn't leave home "in droves" any more or less than they do now. I was also a hippie in the late 60s, and the guys I knew weren't predators exploiting girls much younger than themselves, either. There's a difference between hippies and famous rock stars who could get away with stuff probably most of us wouldn't believe, even now.

I think "salacious" is exactly the right word for the mood Jagger's setting here, btw. The song's reveling in being down and dirty.



Edited 1 time(s). Last edit at 2013-08-14 09:16 by Aquamarine.

13-year-old unrealistic? Mandy Smith anyone?

When the Stones did STRAY CAT on the Forty Licks tour, Mick said it went over well, although he wasn't crazy about doing it—having teen daughters can do that—and I noticed on FOUR FLICKS (the DVD) he upped the age to 16.

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Title5Take1
13-year-old unrealistic? Mandy Smith anyone?

When the Stones did STRAY CAT on the Forty Licks tour, Mick said it went over well, although he wasn't crazy about doing it—having teen daughters can do that—and I noticed on FOUR FLICKS (the DVD) he upped the age to 16.

They could have as well leave the whole song alone. It is sad to witness that they have material in their past - especially concerning their artistic peak years 1968-72 - that simply is too hot and dangerous for them to play any longer. Maybe it is true of needing to have "young blood" - enough of craziness, wilderness, passion - to make and perform stuff like that. The other option is to make them cabaret -like it has happened with "Sympathy For The Devil" and "Gimem Shelter". At least they tried actually play "Stray Cat Blues", but without balls and feeling - especially Jagger's micky mouse vocals were terrible. Little "political correctness" in vocals suits very well. I mean, compare those to the conviction and passion with which he delivers it at Hyde Park, for example.

- Doxa



Edited 3 time(s). Last edit at 2013-08-14 10:09 by Doxa.

Mickey Mouse?????

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pinkfloydthebarber
gosh

and at a certain point in time, it was OK to own slaves and beat them up

Actually, treating slaves badly was a crime.

Anyway, in my time it was legal to have sex with a 13 year old. And I am half as old as Jagger.

Mathijs



Edited 1 time(s). Last edit at 2013-08-14 11:50 by Mathijs.