For information about how to use this forum please check out forum help and policies.
Quote
NICOS
The magic in the song is i.m.o. the guitar riff from Keith...looks like he plays backwards guitar instead forward ;o) ( assumptive that normally you play forward)
Quote
liddas
It's incredible how such a messy bass works!
C
Quote
drewmasterQuote
liddas
It's incredible how such a messy bass works!
C
Agreed. But was it Bill or Keith on bass? René lists it as Keith and elsewhere I've seen it listed as Bill.
Drew
Quote
drewmasterQuote
liddas
It's incredible how such a messy bass works!
C
Agreed. But was it Bill or Keith on bass? René lists it as Keith and elsewhere I've seen it listed as Bill.
Drew
Quote
Silver Dagger
One of the most remarkable and controversial songs in the Stones canon.
It’s also one that owes nothing to any musical path that the band had taken before – not blues nor r’n’b or pop or the spangly psychedelia that was the current rage and had informed their previous album.
This was bold new ground, the dawning of the rock era and a very edgy sound that perfectly complemented its daring and challenging subject matter, but more about that later.
The song blazes open with Mick's sexually charged feline-like squeal sung in a lewd falsetto before descending to a debauched growl and a boast of “yeah I got some tail”. That’s some opening gambit and this dizzy up and down effect is echoed throughout the song with glissando slide guitars adding to the sense of unease and menace.
(...)
That see-sawing effect reminds me a little bit of The Beatles’ Helter Skelter – a song which actually did go on to inspire unspeakable evil.
Where did the music come from? I’ve read somewhere that Jagger was inspired after hearing The Velvet Underground’s Heroin which has a similar intro. But as the song peaks it becomes almost shamanic and trance inducing. Was Brian was responsible for this with his interest in Moroccan pan music, I wonder?
I can also hear elements of the experimental London underground sound being created by Pink Floyd around this time, especially the last 90 seconds of the song which has Mick ad libbing some unintelligible words as it reaches its climax with tribal drumming and a deranged cacophony. It’s heady stuff and very powerful.
(...)
Stray Cat Blues is a true one off, a real rarity and a great example of the band's experimental side.
Quote
Silver DaggerQuote
NICOS
The magic in the song is i.m.o. the guitar riff from Keith...looks like he plays backwards guitar instead forward ;o) ( assumptive that normally you play forward)
Yes, almost like the Sway riff but backwards.
!semit yzarc erew esohT
Quote
GreenbluesQuote
Silver Dagger
One of the most remarkable and controversial songs in the Stones canon.
It’s also one that owes nothing to any musical path that the band had taken before – not blues nor r’n’b or pop or the spangly psychedelia that was the current rage and had informed their previous album.
This was bold new ground, the dawning of the rock era and a very edgy sound that perfectly complemented its daring and challenging subject matter, but more about that later.
The song blazes open with Mick's sexually charged feline-like squeal sung in a lewd falsetto before descending to a debauched growl and a boast of “yeah I got some tail”. That’s some opening gambit and this dizzy up and down effect is echoed throughout the song with glissando slide guitars adding to the sense of unease and menace.
(...)
That see-sawing effect reminds me a little bit of The Beatles’ Helter Skelter – a song which actually did go on to inspire unspeakable evil.
Where did the music come from? I’ve read somewhere that Jagger was inspired after hearing The Velvet Underground’s Heroin which has a similar intro. But as the song peaks it becomes almost shamanic and trance inducing. Was Brian was responsible for this with his interest in Moroccan pan music, I wonder?
I can also hear elements of the experimental London underground sound being created by Pink Floyd around this time, especially the last 90 seconds of the song which has Mick ad libbing some unintelligible words as it reaches its climax with tribal drumming and a deranged cacophony. It’s heady stuff and very powerful.
(...)
Stray Cat Blues is a true one off, a real rarity and a great example of the band's experimental side.
Well put, Silver Dagger! To me the vicous, primitive sound of this track, especially the guitars, is even more impressing and suggestive than the depraved lyrics. To me the VU-Connection makes sense, not so much regarding "Heroin" (exept for the intro), but the White Light/White Heat album. There*s also some "drone" element in the loud, shrieking guitars of Stray Cat Blues, I guess, just as in Street Fighting Man (you pointed out the possible Moroccan influence), which is also present in certain Velvet tracks. Anyway, I think this is a most interesting moment in Stones history... even more interesting in a way than, say, the Exile Period.
Quote
Silver DaggerQuote
GreenbluesQuote
Silver Dagger
One of the most remarkable and controversial songs in the Stones canon.
It’s also one that owes nothing to any musical path that the band had taken before – not blues nor r’n’b or pop or the spangly psychedelia that was the current rage and had informed their previous album.
This was bold new ground, the dawning of the rock era and a very edgy sound that perfectly complemented its daring and challenging subject matter, but more about that later.
The song blazes open with Mick's sexually charged feline-like squeal sung in a lewd falsetto before descending to a debauched growl and a boast of “yeah I got some tail”. That’s some opening gambit and this dizzy up and down effect is echoed throughout the song with glissando slide guitars adding to the sense of unease and menace.
(...)
That see-sawing effect reminds me a little bit of The Beatles’ Helter Skelter – a song which actually did go on to inspire unspeakable evil.
Where did the music come from? I’ve read somewhere that Jagger was inspired after hearing The Velvet Underground’s Heroin which has a similar intro. But as the song peaks it becomes almost shamanic and trance inducing. Was Brian was responsible for this with his interest in Moroccan pan music, I wonder?
I can also hear elements of the experimental London underground sound being created by Pink Floyd around this time, especially the last 90 seconds of the song which has Mick ad libbing some unintelligible words as it reaches its climax with tribal drumming and a deranged cacophony. It’s heady stuff and very powerful.
(...)
Stray Cat Blues is a true one off, a real rarity and a great example of the band's experimental side.
Well put, Silver Dagger! To me the vicous, primitive sound of this track, especially the guitars, is even more impressing and suggestive than the depraved lyrics. To me the VU-Connection makes sense, not so much regarding "Heroin" (exept for the intro), but the White Light/White Heat album. There*s also some "drone" element in the loud, shrieking guitars of Stray Cat Blues, I guess, just as in Street Fighting Man (you pointed out the possible Moroccan influence), which is also present in certain Velvet tracks. Anyway, I think this is a most interesting moment in Stones history... even more interesting in a way than, say, the Exile Period.
I don't think the Stones get their fair credit for helping to introduce world music/droning experimental sounds to a wider pop audience.
The Beatles and The Kinks are often cited as leading the way with the songs Norwegian Wood, Tomorrow Never Knows and See My Friends. The Stones charged into this area wholeheartedly with wild tracks such as Gomper, Sing This All Together (See What Happens) and Stray Cat Blues. In fact let's not forget the importance of Sympathy For The Devil as helping to introduce samba rhythms to a mainstream rock audience.
Quote
LuxuryStonesQuote
Silver DaggerQuote
NICOS
The magic in the song is i.m.o. the guitar riff from Keith...looks like he plays backwards guitar instead forward ;o) ( assumptive that normally you play forward)
Yes, almost like the Sway riff but backwards.
!semit yzarc erew esohT
.pu em tratS dna raguS nworB ekil tsuJ
Great track, Stray Cat Blues. Could as well have been on Let it Bleed.
Quote
Silver DaggerQuote
GreenbluesQuote
Silver Dagger
One of the most remarkable and controversial songs in the Stones canon.
It’s also one that owes nothing to any musical path that the band had taken before – not blues nor r’n’b or pop or the spangly psychedelia that was the current rage and had informed their previous album.
This was bold new ground, the dawning of the rock era and a very edgy sound that perfectly complemented its daring and challenging subject matter, but more about that later.
The song blazes open with Mick's sexually charged feline-like squeal sung in a lewd falsetto before descending to a debauched growl and a boast of “yeah I got some tail”. That’s some opening gambit and this dizzy up and down effect is echoed throughout the song with glissando slide guitars adding to the sense of unease and menace.
(...)
That see-sawing effect reminds me a little bit of The Beatles’ Helter Skelter – a song which actually did go on to inspire unspeakable evil.
Where did the music come from? I’ve read somewhere that Jagger was inspired after hearing The Velvet Underground’s Heroin which has a similar intro. But as the song peaks it becomes almost shamanic and trance inducing. Was Brian was responsible for this with his interest in Moroccan pan music, I wonder?
I can also hear elements of the experimental London underground sound being created by Pink Floyd around this time, especially the last 90 seconds of the song which has Mick ad libbing some unintelligible words as it reaches its climax with tribal drumming and a deranged cacophony. It’s heady stuff and very powerful.
(...)
Stray Cat Blues is a true one off, a real rarity and a great example of the band's experimental side.
Well put, Silver Dagger! To me the vicous, primitive sound of this track, especially the guitars, is even more impressing and suggestive than the depraved lyrics. To me the VU-Connection makes sense, not so much regarding "Heroin" (exept for the intro), but the White Light/White Heat album. There*s also some "drone" element in the loud, shrieking guitars of Stray Cat Blues, I guess, just as in Street Fighting Man (you pointed out the possible Moroccan influence), which is also present in certain Velvet tracks. Anyway, I think this is a most interesting moment in Stones history... even more interesting in a way than, say, the Exile Period.
I don't think the Stones get their fair credit for helping to introduce world music/droning experimental sounds to a wider pop audience.
The Beatles and The Kinks are often cited as leading the way with the songs Norwegian Wood, Tomorrow Never Knows and See My Friends. The Stones charged into this area wholeheartedly with wild tracks such as Gomper, Sing This All Together (See What Happens) and Stray Cat Blues. In fact let's not forget the importance of Sympathy For The Devil as helping to introduce samba rhythms to a mainstream rock audience.
Quote
DandelionPowdermanQuote
Silver DaggerQuote
GreenbluesQuote
Silver Dagger
One of the most remarkable and controversial songs in the Stones canon.
It’s also one that owes nothing to any musical path that the band had taken before – not blues nor r’n’b or pop or the spangly psychedelia that was the current rage and had informed their previous album.
This was bold new ground, the dawning of the rock era and a very edgy sound that perfectly complemented its daring and challenging subject matter, but more about that later.
The song blazes open with Mick's sexually charged feline-like squeal sung in a lewd falsetto before descending to a debauched growl and a boast of “yeah I got some tail”. That’s some opening gambit and this dizzy up and down effect is echoed throughout the song with glissando slide guitars adding to the sense of unease and menace.
(...)
That see-sawing effect reminds me a little bit of The Beatles’ Helter Skelter – a song which actually did go on to inspire unspeakable evil.
Where did the music come from? I’ve read somewhere that Jagger was inspired after hearing The Velvet Underground’s Heroin which has a similar intro. But as the song peaks it becomes almost shamanic and trance inducing. Was Brian was responsible for this with his interest in Moroccan pan music, I wonder?
I can also hear elements of the experimental London underground sound being created by Pink Floyd around this time, especially the last 90 seconds of the song which has Mick ad libbing some unintelligible words as it reaches its climax with tribal drumming and a deranged cacophony. It’s heady stuff and very powerful.
(...)
Stray Cat Blues is a true one off, a real rarity and a great example of the band's experimental side.
Well put, Silver Dagger! To me the vicous, primitive sound of this track, especially the guitars, is even more impressing and suggestive than the depraved lyrics. To me the VU-Connection makes sense, not so much regarding "Heroin" (exept for the intro), but the White Light/White Heat album. There*s also some "drone" element in the loud, shrieking guitars of Stray Cat Blues, I guess, just as in Street Fighting Man (you pointed out the possible Moroccan influence), which is also present in certain Velvet tracks. Anyway, I think this is a most interesting moment in Stones history... even more interesting in a way than, say, the Exile Period.
I don't think the Stones get their fair credit for helping to introduce world music/droning experimental sounds to a wider pop audience.
The Beatles and The Kinks are often cited as leading the way with the songs Norwegian Wood, Tomorrow Never Knows and See My Friends. The Stones charged into this area wholeheartedly with wild tracks such as Gomper, Sing This All Together (See What Happens) and Stray Cat Blues. In fact let's not forget the importance of Sympathy For The Devil as helping to introduce samba rhythms to a mainstream rock audience.
And before that: Paint It, Black