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stone4ever

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schillid
^^^^ I was at that Philly show !

What was it like ?

I remember feeling that the loud music and pulsating crowd was making the building literally shake



Edited 1 time(s). Last edit at 2017-03-22 20:21 by schillid.

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schillid

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stone4ever

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schillid
^^^^ I was at that Philly show !

What was it like ?

I remember feeling that the loud music and pulsating crowd was making the building literally shake

Haha amazing, that must have been the best time to be young at a Stones show.

Nothing beats the live version from Paradiso 1995

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RockingLonestar
Nothing beats the live version from Paradiso 1995

Absolutely the best live version without Mick Taylor, well actually its completely different from the early 70's versions but equally inspiring. That's another reason why this song is the ultimate track of all time imho because there are so many different takes on it and they are all compelling, even recently when Ronnie and Keith get it just right it builds to the end like a crescendo.
Also its one of the only tracks i can never tire of, JJF live is another.

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Mr. Jimi
For me the studio version is the floor; as its what the song is suppose to be. The live versions are variations and expressions by the band at different times. My fav live versions would probably have to be London 73 and Philly 72.

Agreed! Philadelphia '72 is probably the best live version.

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RockingLonestar
Nothing beats the live version from Paradiso 1995

Another great one!

My two favorites above.


"Gimme Shelter" is a song by the Rolling Stones. It first appeared as the opening track on the band's 1969 album Let It Bleed. Although the first word was spelled "Gimmie" on that album, subsequent recordings by the band and other musicians have made "Gimme" the customary spelling. Greil Marcus, writing in Rolling Stone magazine at the time of its release, said of it, "The Stones have never done anything better."

"Gimme Shelter" was written by the Rolling Stones' lead vocalist Mick Jagger and guitarist Keith Richards, the band's primary songwriting team. Richards began working on the song's signature opening riff in London whilst Jagger was away filming Performance. As released, the song begins with Richards performing a guitar intro, soon joined by Jagger's harmonica and subsequent lead vocal. Of Let It Bleed's bleak world view, Jagger said in a 1995 interview with Rolling Stone:
"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. The thing about Vietnam was that it wasn't like World War II, and it wasn't like Korea, and it wasn't like the Gulf War. It was a real nasty war, and people didn't like it. People objected, and people didn't want to fight it..." As for the song itself, he concluded, "That's a kind of end-of-the-world song, really. It's apocalypse; the whole record's like that."[5]
Similarly, on NPR in 2012:
"It was a very moody piece about the world closing in on you a bit...When it was recorded, early '69 or something, it was a time of war and tension, so that's reflected in this tune. It's still wheeled out when big storms happen, as they did the other week [during Hurricane Sandy]. It's been used a lot to evoke natural disaster."[6]

After the first verse, guest vocalist Merry Clayton enters and shares the next three verses. A harmonica solo by Jagger and guitar solo by Richards follow, then with great energy, Clayton repeatedly sings "Rape, murder. It's just a shot away. It's just a shot away," almost screaming the final stanza. She and Jagger then repeat the line "It's just a shot away" and finish with repeats of "It's just a kiss away." (Of her inclusion, Jagger said in the 2003 book According to the Rolling Stones: "The use of the female voice was the producer's idea. It would be one of those moments along the lines of 'I hear a girl on this track – get one on the phone.'" ) Summoned - pregnant - from bed around midnight by the producer Jack Nitzsche, Clayton made her recording with just a few takes then returned home to bed.[4] It remains the most prominent contribution to a Rolling Stones track by a female vocalist.[7]
At about 2:59 into the song, Clayton's voice cracks under the strain; once during the second refrain on the word "shot", then on the word "murder" during the third refrain, after which Jagger is faintly heard exclaiming "Woo!" in response to Clayton's powerful delivery. Upon returning home she suffered a miscarriage, attributed by some sources to her exertions during the recording.[8] Merry Clayton's name was erroneously written on the original release, appearing as 'Mary'. Her name is also listed as 'Mary' on the 2002 Let It Bleed remastered CD.
The song was first recorded in London at Olympic Studios in February and March 1969; the version with Clayton was recorded in Los Angeles at Sunset Sound & Elektra Studios in October and November of that same year. Nicky Hopkins played piano, the Rolling Stones' producer Jimmy Miller played percussion, Charlie Watts played drums, Bill Wyman played bass, Jagger played harmonica and sang backup vocals with Richards and Clayton. Guitarist Brian Jones was present during the early sessions but did not contribute, Richards being credited with both rhythm and lead guitars on the album sleeve. An unreleased version features only Richards providing vocals, while an extended remix version has also been created by British DJ Danny Howells[9][10] using isolated tracks ripped from the Rock Band video game, it features the bass much more in the forefront of the mix and the original unfaded outro.[11]


[en.wikipedia.org]

gimme shelter studio version is the best.

Maybe their best ever side 1 track 1, there's been some good'uns

You cannot beat the studio version on LIB.

Much as I like Brussels Affair and the LA Forum albums, Shelter benefits from a female counterpoint vocal.

I do enjoy the studio version as well, but I also love Lisa's version during the Stripped era when it was a B-Side on one of the Singles...her vocal range there was incredible.

sure love the song and a lot of the performances; some were just overwhelmingly good; really deep, connected and awesomely, gratifyingly good. but i do have to go with the original icon; the power and glory, to wax a little too fan-tastic, the glory, of the original studio thing as written, developed, crafted and finally finished. It's it's own work of art. It should be, imho, the defining document of that song; and all the varied imkmpact it has had in the a wide variety of cultural expression, and will continue to have a degree of reality and intensity into the future, because it's pretty much a perfect cut. For what it is, for what rock and roll music was, is, or could be; it's forever going to be one of the most important defining tracks. And with all respect to some ab killer live versions, if something is put to the metaphorical 'test' here like this, I'd have to say the studio cut just exactly as they released it and let it go. Time to trust them when they are at their best and doing their best work and know fully well what they want to say, and how to say it, and when to drop something.

Live in 2006 of course. The studio version sucks. Too many layers, no clarity.