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Silver Dagger

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marcovandereijk

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Green Lady
According to Andy Johns (quoted by timeisonourside):

That was done all of them in a room in a circle at the same time, because there was this one room away from the main hall that had no furniture in it, with a wooden floor, quite high ceilings and plaster walls. We wanted to get the sound of the room.

The recording Silver Dagger posted sure feels like being present. Only the second accoustic
guitar in the mix reveals that it's not really a one take recording. Or could it be
there was an unnamed second guitar player present?

Good point - the mystery thickens. Where is Sherlock Powderman?

It's Taylor, and he is on the finished studio recording as well, albeit a little lower in the mix on the first part of the song. But you can clearly hear him toward the ending, when the groove gets thicker (round the 2:05-mark) - he's doing the stuff high up on the fretboard. It sounds like the same take for him as well - so it might have been a one taker after all.



Edited 2 time(s). Last edit at 2015-01-13 12:53 by DandelionPowderman.

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Palace Revolution 2000
The tune is so charming it's almost magic; like a hex that draws you in.
Amazed that the word 'nigger' used in the lyrics is getting so much attention in this thread. Are people really so scared of this word? Never a light word to throw around, it definitely had a different connotation in 72 than today.

It's still an offensive word Palace, don't you think? It might have been/tried to have been reclaimed by black rap artists but I don't think its meaning has changed over the years.

The credits in the 12 page booklet with the 2010 issue of the album read:

Mick Jagger/Vocals, percussion, harp
Keith Richards/Guitar vocals
Charlie Watts/Drums
Mick Taylor/Guitar
Bill Wyman/Bass
Bobby Keys/Saxophone
Jim Price/Trumpet
Nicky Hopkins/Piano
Amyl Nitrate/Marimba
Jimmy Miller/Percusion

Edit: The use of Amyl Nitrate on a Marimba gives some special effects to this song,
doesn't it?

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



Edited 1 time(s). Last edit at 2015-01-13 13:19 by marcovandereijk.

This is the timeisonourside.com (probable) lineup:

Acoustic guitars: Keith Richards
Lead vocal: Mick Jagger
Harmony vocal: Keith Richards
Harmonica: Mick Jagger
Marimbas: Richard Didymus Washington
Percussion (guiro, claves): Jimmy Miller & Charlie Watts

I assume none of those are correct. I sent an email to McPherson to correct timeisonourside.com about the guitars.

Who wrote the credits in the new 2010 booklet anyway?

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marcovandereijk
Who wrote the credits in the new 2010 booklet anyway?

Someone on crack?

Was right about Taylor, though..

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DandelionPowderman

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Silver Dagger

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marcovandereijk

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Green Lady
According to Andy Johns (quoted by timeisonourside):

That was done all of them in a room in a circle at the same time, because there was this one room away from the main hall that had no furniture in it, with a wooden floor, quite high ceilings and plaster walls. We wanted to get the sound of the room.

The recording Silver Dagger posted sure feels like being present. Only the second accoustic
guitar in the mix reveals that it's not really a one take recording. Or could it be
there was an unnamed second guitar player present?

Good point - the mystery thickens. Where is Sherlock Powderman?

It's Taylor, and he is on the finished studio recording as well, albeit a little lower in the mix on the first part of the song. But you can clearly hear him toward the ending, when the groove gets thicker (round the 2:05-mark) - he's doing the stuff high up on the fretboard. It sounds like the same take for him as well - so it might have been a one taker after all.

Can't say who's playing on the second guitar, could very well be Mick Taylor. I swear I can even hear his Silver Train motif ... (for example at 1.16)!

But for sure all the main vocals are overdubbed in the released version.

C

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Silver Dagger

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Redhotcarpet

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Silver Dagger

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Naturalust
Love the Caribbean groove on this one, Jaggers vocal and Keith's guitar work so well together. I imagine Jimmy Miller had a lot to do with making this recording work so well.

Strangely, it seems such a happy sounding song for such a sadly tragic subject. Not knowing better I would have though this was recorded after their stay in Jamacia, but I guess Keith and Mick had been there on holiday prior to the GHS sessions.

peace

Initially recorded and quite possibly written in the funky backwoods of rural Berkshire in England in 1970, which I reckon makes the song even more special.

Which makes it cousin of Happy (first recorded as Who Am I)

Sorry carpet - can't hear any of Happy in this. Which part do you mean?

The riff, the vocals (phrasing: who am i - see i love ya = (I)need a love - to keep me happy) etc. Clearly the origin of Happy.



Edited 1 time(s). Last edit at 2015-01-13 14:31 by Redhotcarpet.

Since there is some Sherlock Holmes business going on, let me add my two cents...

For a track that was recorded about one take and all together, rather much studio time were used, if the following holds true:

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

Anyway, I guess John's description refers to Stargroves sessions, in where the backing track was recorded. That is, during March-May 1970. The vocals were sure over-dubbed later, because at the time I guess Mick Jagger had no any idea who Angela Davis is.

The judge issued the warrant on August 14, 1970, when a massive attempt to arrest Angela Davis began. She was the 'most wanted' woman in America, 'the red panther','the black terrorist'. On October 13, 1970, FBI agents found her, and she would spend several months - well, more than a year - in jail from that on - "is someone gonna free her?" - which finally happened on February 23, 1972, when $100,000 bail was paid. She was finally discharged on June 4, 1972 by an all white jury.

So that's the time frame from August 1970 to February 1972 to write the lyrics to "Sweet Black Angel". Most likely the vocals were recorded in December 1971 or early 1972 in Los Angeles, as many other EXILE tracks.

Anyway, I think it is nothing but pure genious to add such strong lyrics - actually, a political message - to such a sweet, innocent good-feeling song. Actually one of the most exciting things they ever have done.

- Doxa



Edited 2 time(s). Last edit at 2015-01-13 15:55 by Doxa.

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Palace Revolution 2000
The tune is so charming it's almost magic; like a hex that draws you in.
Amazed that the word 'nigger' used in the lyrics is getting so much attention in this thread.
Are people really so scared of this word? Never a light word to throw around, it definitely had a different connotation in 72 than today.

I'm 100% sure it's meant to point out crappy social attitudes that let popular songs/rhymes/novels
run around featuring "10 Little Disrespected Ethnic Groups" of whatever colour.
If Agatha Christie could base a hugely popular novel, play and film on it, why should the Rolling Stones be shy of it??
The parallel to black activists being disappeared one by one (assassinated, imprisoned, etc) was quite apt;
and if it had been meant to provide "shock value" as someone up there said, it wouldn't be buried so deep in the mix.

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Doxa
Since there is some Sherlock Holmes business going on, let me add my two cents...

For a track that was recorded about one take and all together, rather much studio time were used, if the following holds true:

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

Anyway, I guess John's description refers to Stargroves sessions, in where the backing track was recorded. That is, during March-May 1970. The vocals were sure over-dubbed later, because at the time I guess Mick Jagger had no any idea who Angela Davis is.

The judge issued the warrant on August 14, 1970, when a massive attempt to arrest Angela Davis began. She was the 'most wanted' woman in America, 'the red panther','the black terrorist'. On October 13, 1970, FBI agents found her, and she would spend several months - well, more than a year - in jail from that on - "is someone gonna free her?" - which finally happened on February 23, 1972, when $100,000 bail was paid. She was finally discharged on June 4, 1972 by an all white jury.

So that's the time frame from August 1970 to February 1972 to write the lyrics to "Sweet Black Angel". Most likely the vocals were recorded in December 1971 or early 1972 in Los Angeles, as many other EXILE tracks.

Anyway, I think it is nothing but pure genious to add such strong lyrics - actually, a political message - to such a sweet, innocent good-feeling song. Actually one of the most interesting things they ever have done.

- Doxa

Good points, Doxa.

Probably, the track was done live, but a few overdubs were done at the studios you mention here. My guess is that the lyrics were finished late in this process, and harp, marimbas and percussion were added at various studios.

But the mixing process is also included in your list of studios.

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with sssoul

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Palace Revolution 2000
The tune is so charming it's almost magic; like a hex that draws you in.
Amazed that the word 'nigger' used in the lyrics is getting so much attention in this thread.
Are people really so scared of this word? Never a light word to throw around, it definitely had a different connotation in 72 than today.

If Agatha Christie could base a hugely popular novel, play and film on it, why should the Rolling Stones be shy of it??

You need to do your homework here with sssoul. Agatha Christie wrote her book in 1939 when the world was very much a different place in regard to racist attitudes. In those days nursery rhymes, children's books and even marmalade labels commonly featured racist stereotype images. By 1972 it was no longer accepted in society to do that.

A beautiful sun dripped Spanish Moss political ballad. So much atmosphere and anger infused within such a hypnotizing groove. Layered with Orleans mojo and caribbean slave boats. Charlie snaps the backbeat along with the dramatic points of Jagger's vocals. One of the essential songs on Exile that is so easy to forget, yet leaves a haunting memory up to Soul Survivor. Another piece of the magical Exile jigsaw puzzle.

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Silver Dagger
By 1972 it was no longer accepted in society to do that.

But even then, isn't it just a perfect "statement" to use the phrase in this song to
describe what was going on against black activists at the time?
To me it seems it is a reference to the racist attitudes of old. A perfect way to take
a stance against the procecution of Angela Davis.

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

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marcovandereijk

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Silver Dagger
By 1972 it was no longer accepted in society to do that.

But even then, isn't it just a perfect "statement" to use the phrase in this song to
describe what was going on against black activists at the time?
To me it seems it is a reference to the racist attitudes of old. A perfect way to take
a stance against the procecution of Angela Davis.

Especially when taking the next line into account:

"Her brothers been a-falling, falling one by one".

EDIT: When that is said, I had trouble saying the word myself, the time my band played it (only once)

[www.facebook.com]



Edited 1 time(s). Last edit at 2015-01-13 16:26 by DandelionPowderman.

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Silver Dagger
You need to do your homework here with sssoul. Agatha Christie wrote her book in 1939 when the world was very much a different place in regard to racist attitudes. In those days nursery rhymes, children's books and even marmalade labels commonly featured racist stereotype images. By 1972 it was no longer accepted in society to do that.

I'm quite cognizant of the timeline, Silver dear, but as Dandelion and Marco have also noted
the world had not really changed that much, even if words were being used (a bit) differently in some circles.
Avoiding the n-word isn't much of a change, is it, if society is still assassinating, imprisoning and harassing black activists,
and I'm sure that's what the Rolling Stones wanted to draw attention to.

Anyway for me the lyrics are way way secondary in this gorgeous piece of music,
so we can listen to Bent Green Needles instead if you prefer :E

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whitem8
A beautiful sun dripped Spanish Moss political ballad. So much atmosphere and anger infused within such a hypnotizing groove. Layered with Orleans mojo and caribbean slave boats. Charlie snaps the backbeat along with the dramatic points of Jagger's vocals. One of the essential songs on Exile that is so easy to forget, yet leaves a haunting memory up to Soul Survivor. Another piece of the magical Exile jigsaw puzzle.

Very nice description...

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with sssoul

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Silver Dagger
You need to do your homework here with sssoul. Agatha Christie wrote her book in 1939 when the world was very much a different place in regard to racist attitudes. In those days nursery rhymes, children's books and even marmalade labels commonly featured racist stereotype images. By 1972 it was no longer accepted in society to do that.

I'm quite cognizant of the timeline, Silver dear, but as Dandelion and Marco have also noted
the world had not really changed that much, even if words were being used (a bit) differently in some circles.
Avoiding the n-word isn't much of a change, is it, if society is still assassinating, imprisoning and harassing black activists,
and I'm sure that's what the Rolling Stones wanted to draw attention to.

Anyway for me the lyrics are way way secondary in this gorgeous piece of music,
so we can listen to Bent Green Needles instead if you prefer :E

And sung in a Black and White Minstrel cod black accent, with sssoul dear. "She countin' up DE minutes, she countin' up DE days". Kinda detracts from the above argument. These days you'd get into trouble for that. But hey, yeah, let's celebrate this wonderful piece of music.

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Silver Dagger
... "She countin' up DE minutes, she countin' up DE days". Kinda detracts from the above argument.

Au contraire, it's part of what supports the whole point.
But never mind - you and I plainly perceive all this very differently.

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Silver Dagger
These days you'd get into trouble for that. But hey, yeah, let's celebrate this wonderful piece of music.

And these days are further from 1972 than 1972 was from 1939.
But yes please: let's say hallelujah (with or without cod accents) for the gorgeous music.



Edited 1 time(s). Last edit at 2015-01-13 22:56 by with sssoul.

An example of the amazing evolution of the band in such a short period of time, and why Exile is held in such high esteem.

The Beatles could never have recorded this and been authentic...maybe Dylan.

Just had to relisten to the song.
It confirms my lifelong iron unmoveable notion:
EXILE IS THE GREATEST ROCK ALBUM EVER!
18 journeys, one after another. I can truly say that these songs shaped my life.

...never get away with that song or this, these days.

No, you wouldn't get away with it these days. But in 1972 it was shocking enough (along with the "slave" references) to point up the racist attitudes behind the Angela Davis trial, but not yet considered unsayable by anyone under any circumstances. 20-20 politically correct hindsight and retrospective censorship are ultimately pointless: that was then, and things were different.

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with sssoul

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Silver Dagger
... "She countin' up DE minutes, she countin' up DE days". Kinda detracts from the above argument.

Au contraire, it's part of what supports the whole point.
But never mind - you and I plainly perceive all this very differently.

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Silver Dagger
These days you'd get into trouble for that. But hey, yeah, let's celebrate this wonderful piece of music.

And these days are further from 1972 than 1972 was from 1939.
But yes please: let's say hallelujah (with or without cod accents) for the gorgeous music.

I am with sssoul on this one.

Who we kiddin, the Stones were so intertwined with African American artists by 1972 that they more than likely called each other the N word without prejudice. They didn't see black and white, that barrier was broken by the mid 60's for them.

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71Tele

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whitem8
A beautiful sun dripped Spanish Moss political ballad. So much atmosphere and anger infused within such a hypnotizing groove. Layered with Orleans mojo and caribbean slave boats. Charlie snaps the backbeat along with the dramatic points of Jagger's vocals. One of the essential songs on Exile that is so easy to forget, yet leaves a haunting memory up to Soul Survivor. Another piece of the magical Exile jigsaw puzzle.

Very nice description...

Thanks so much tele! Greatly appreciated.

You know the whole thing on the word nigger... and whether or not Sweet Black Angel could be made today. Of course it could. And the word itself needs to be taken in context. Within this song it is a political statement and a piece of music which ads to the art. The best art is art that challenges, makes you think, and sometimes makes you a bit uncomfortable. This song could be made today, and some people would moan and groan, mostly out of a need for power, media limelight, and self-aggrandisement.



Edited 1 time(s). Last edit at 2015-01-14 11:22 by whitem8.

It's a vile word with nasty connotations, regardless of the context in which it is used. Some black folk who emerse themselves in hip-hop culture may use it as an endearing term, but the majority do not. It's ugly all the same.

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Big Al
It's a vile word with nasty connotations, regardless of the context in which it is used. Some black folk who emerse themselves in hip-hop culture may use it as an endearing term, but the majority do not. It's ugly all the same.

It's an ugly word, but art is there to provoke as well as entertain (remember when the Rolling Stones provoked people?). And, as has been said, context is everything.

Excellent song, for a really great person...