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Come On

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DandelionPowderman
Do you know where my copy was released, Mike?

I thought it was a british release...

Near the bottom of the page: [www.iorr.org]

video: [en.wikipedia.org]

It's none of those. "Made in England" 1968, with only SFM and No Expectations.

I think my copy is the UK release, made for export to Denmark.

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DandelionPowderman

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Come On

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DandelionPowderman
Do you know where my copy was released, Mike?

I thought it was a british release...

Near the bottom of the page: [www.iorr.org]

video: [en.wikipedia.org]

It's none of those. "Made in England" 1968, with only SFM and No Expectations.

I think my copy is the UK release, made for export to Denmark.

There were a few singles that were pressed in England for export and yours is one of them. It originally came with a picture sleeve. See here: [www.45cat.com]


"As we say in England, it can get a bit trainspottery"

One of the best recorded tunes I've ever heard. Not the best tune but the way the instruments are mixed, the tones and the production are outstanding. Considering it was done in 1968 just blows me away. Another Jimmy Miller masterpiece. peace

It's such a pastiche of sounds that I've never been able to separate what is Brian's sitar and what is Mason's shenai. This is another Keith on bass number that only apes Bill's creation from an earlier take. It's kind of the end of 60s exoticism in the the Stones' work, and what a way to go out.

I remember the version on Ya Yas used to rip my head off on headphones. Fantastic.

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Deltics

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DandelionPowderman

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Come On

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DandelionPowderman
Do you know where my copy was released, Mike?

I thought it was a british release...

Near the bottom of the page: [www.iorr.org]

video: [en.wikipedia.org]

It's none of those. "Made in England" 1968, with only SFM and No Expectations.

I think my copy is the UK release, made for export to Denmark.

There were a few singles that were pressed in England for export and yours is one of them. It originally came with a picture sleeve. See here: [www.45cat.com]

Thanks, Deltics!

Well, let's have a rumble! lol

SFM is in it's own space, it can't be classified. It was all serendipity and talent merging together, right time, right place. It's definitely _not_ a pop song, IMO. And the recording was horrible, but that's part of what gives it its greatness.

For me, this is another Stones 'trance' song. The guitars draw you in and then you go into the Street Fighting Man Zone. It's a mental effort, you can't do it all the time.

They say music is organized sound. SFM is organized disorganized sound. And it's bloody awesome!

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drewmaster
Hats off to Silver Dagger and with sssoul for two brilliant posts!

Indeed! Was is the pure brilliance of those two posts, which made me wordless, or what, but I seemingly missed this week of Rene's talk...

This is the soundtrack song of that crazy year 1968... The Stones probably would not ever again be so urgent and reflecting the zeitgeist as they then were with this song. If there is ever a use for the term 'relevance', it applies just here. If the Beatles had it with "All You Need Is Love" a year earlier, and the Stones never could quite fit to the scene of flower power, summer of love, and all that, the violent happenings, student radicalism, and the counter-culture aggression of 1968 were just like made to fit to their sound. Like they were waiting the times to change and be right for them and their raw, blues-based, primitive sound...

As a song this must be one of the most brilliant fruits of classical Jagger/Richards teamwork, both of them simply in top of their game. All those experiments, Keith providing roughly the music and Mick finishing the melody line and giving the lyrics - trying to initially create an original-sounding r&b number, even though more naturally ending up doing pop ballads, then heading for any wild idea in pop music spectrum and experimentalsim - all of that is brought happily home here. The result is straight to to the point, every little detail in recording is a sign of brilliance and determination - so mature, so original. This is a bastard child of Delta and Chicago, an up-dated realization of the blues masters urge to capture the moment and feel. Have Keith Richards ever put all he knows so perfectly on those magnificient chords with that idiosyncratic timing and touch of his - has his his guitar sounded ever so threatening and mean as it does here - just with an acoustic? Or has Jagger sounded so mean with such an apt lyrical content - every line being like a provocative statement of its own? But still one can hear traces of the Swingin' London and LSD trips on the way to get there. And probably some listenings of THE VELVET UNDERGROUND AND NICO.

The threat, danger, aggression, provocation - both the lyrics and music going hand in hand, making the same point. "Street Fighting Man" is one of ultimate rock and roll recordings - and one of the key songs in creating the idea of the Stones as the world's most dangerous rock and roll band.

It is the original studio version I have talked about. And then there is the live version, an animal of its own, so wonderfully world-premiered in YA-YA'S - a gig highlight ever since, many times played as a final number, the band putting there all energy they ever have, every last drop of energy they have, when the show reaches its orgastic climax.

Without "Street Fighting Man" the legacy and idea of The Stones would be much lesser. Despite the fact that Jagger (ROLLING STONE interview, 1995) doesn't seem to appriacate the song very much any longer, or that the band has dropped the song from war horses list to be played every night.

Did I say I like it? Hmm, yeah...

- Doxa



Edited 1 time(s). Last edit at 2015-01-29 12:40 by Doxa.

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Doxa

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drewmaster
Hats off to Silver Dagger and with sssoul for two brilliant posts!

Indeed! Was is the pure brilliance of those two posts, which made me wordless, or what, but I seemingly missed this week of Rene's talk...

This is the soundtrack song of that crazy year 1968... The Stones probably would not be so urgent and reflecting the zeitgeist as they then were with this song. If there is ever a use for the term 'relevance', it applies just here. If the Beatles had it with "All You Need Is Love" a year earlier, and the Stones never ould quite fit to the scene of flower power, the violent happenings, student radicalism, and teh counter-culture aggression of 1968 were just like made to fit to their sound. Like they were waiting the times to change and be right for them and their raw, blues-based, primitive sound...

As a song this must be one of the most brilliant fruits of classical Jagger/Richards teamwork, both of them simply in top of their game. All those experiments, Keith providing roughly the music and Mick finishing the melody line and giving the lyrics - trying to initially create an original-sounding r&b number, even though more naturally ending up doing pop ballads, then heading for any wild idea in pop music spectrum and experimentalsim - all of that is brought happily home here. The result is straight to to the point, every little detail in recording is a sign of brilliance and determination - so mature, so original. This is a bastard child of Delta and Chicago, an up-dated realization of the blues masters urge to capture the moment and feel. Have Keith Richards ever put all he knows so perfectly on those magnificient chords with that idiosyncratic timing and touch of his - has his his guitar sounded ever so threatening and mean as it does here - just with an acoustic? Or has Jagger sounded so mean with such an apt lyrical content - every line being like a provocative statement of its own? But still one can hear traces of the Swingin' London and LSD trips on the way to get there. And probably some listenings of THE VELVET UNDERGROUND AND NICO.

The threat, danger, aggression, provocation - both the lyrics and music going hand in hand, making the same point. "Street Fighting Man" is one of ultimate rock and roll recordings - and one of the key songs in creating the idea of the Stones as world's most dangerous rock and roll band.

It is the original studio version I have talked about. And there is the live version, an animal of its own, so wonderfully world-premiered in YA-YA'S - a gig highlight ever since, many times played as a final number, the band putting there all energy they ever have, every last drop of energy they have, when the show reaches its orgastic climax.

Without "Street Fighting Man" the legacy and idea of The Stones would be much lesser. Despite the fact that Jagger (ROLLING STONE interview, 1995) doesn't seem to appriacate the song very much any longer, or that the band has dropped the song from war horses list to be played every night.

Did I say I like it? Hmm, yeah...

- Doxa

Doxa - that post was outstanding. Don't forget I'm writing in my own language. For you to write that in a 2nd language to your own mother tongue is masterful. Please continue to be an inspiration to us all.



Edited 1 time(s). Last edit at 2015-01-29 11:58 by Silver Dagger.

Thanks, Mike. you are too kind, man... It is inspiring - thanks to the subject matter and other posters - to write here, and it is carrying on the discussion, which matters most!

- Doxa



Edited 1 time(s). Last edit at 2015-01-29 12:45 by Doxa.

Great great song.
The YaYa's version is my favourite, they squeeze it like an orange.

Never understood why this one didn't achieve "War horse" status. Always a live highlight and clearly one that modern day Keith loves playing.

The Ya Yas version may be Taylor's finest moment as a Stone.

I think it is (was) a warhorse just that Jagger is mindful of it's lyrical content and doesn't see it as relevant anymore. Or at least I remember reading something like that around the Hyde park gigs when there was talk of it being played.

Here's a link to a great Wall Street Journal article from Keith about this magnificent song:

[www.wsj.com]

Love every live version I have heard from 69 to 73. Keith on fire. Taylor burning. Wyman kicking out power.

So different from the studio version (not unlike the live version of MR)....really taken to another level, live. I had not heard a version I liked of it after 1973 that I liked till I saw them play it in 1994 in Toronto and they nailed it.

They seem to rely on some warhorses, live. This should be one of them...well ahead of Miss You, Satisfaction or Its Only Rock n Roll, which suck live.

Frankly, if I could pick one Stones song I would want to hear them do with Taylor back in the band, this would be it.

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CMH516
Never understood why this one didn't achieve "War horse" status. Always a live highlight and clearly one that modern day Keith loves playing.

The Ya Yas version may be Taylor's finest moment as a Stone.

It did, as it was their encore. Eventually, they chose to omit SFM to avoid too many warhorses, it seems.

The street fighting man played in Tokyo in 1995 was amazing..

Keith needs to be "on" for this one so maybe Mick is not always sure it's secure live. Also - the politics....

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EJM
Keith needs to be "on" for this one so maybe Mick is not always sure it's secure live. Also - the politics....

Has Keith ever been "off" on SFM? One of his safest showcases, imo.

Politics?

PS: Keith did end up on his back in Canada in 2002 when they opened with SFM, if memory serves - Air Canada Center?



Edited 1 time(s). Last edit at 2015-01-29 16:33 by DandelionPowderman.

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DandelionPowderman

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CMH516
Never understood why this one didn't achieve "War horse" status. Always a live highlight and clearly one that modern day Keith loves playing.

The Ya Yas version may be Taylor's finest moment as a Stone.

It did, as it was their encore. Eventually, they chose to omit SFM to avoid too many warhorses, it seems.

I think Mick took the decision in the 90s because he felt the lyrics were dated. He didn't have to wait long for them to become relevant again with anti-globilisation marches and sit-ins, and general anger against the banking institutions and general capitalist fat cats.

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Silver Dagger

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DandelionPowderman

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CMH516
Never understood why this one didn't achieve "War horse" status. Always a live highlight and clearly one that modern day Keith loves playing.

The Ya Yas version may be Taylor's finest moment as a Stone.

It did, as it was their encore. Eventually, they chose to omit SFM to avoid too many warhorses, it seems.

I think Mick took the decision in the 90s because he felt the lyrics were dated. He didn't have to wait long for them to become relevant again with anti-globilisation marches and sit-ins, and general anger against the banking institutions and general capitalist fat cats.

But why did he choose to open with it on all the arena shows on the Licks tour?

It is a bit of a mystery how they eventually treated this gem...

Awesome tune. The GYYYO! version is stellar of course but the LICKS one could've been better if they used the MSG one. Regardless, it's still pretty damn good. Great on STRIPPED as well. They clammed it big time on the URBAN JUNGLE tour.

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DandelionPowderman

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Silver Dagger

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DandelionPowderman

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CMH516
Never understood why this one didn't achieve "War horse" status. Always a live highlight and clearly one that modern day Keith loves playing.

The Ya Yas version may be Taylor's finest moment as a Stone.

It did, as it was their encore. Eventually, they chose to omit SFM to avoid too many warhorses, it seems.

I think Mick took the decision in the 90s because he felt the lyrics were dated. He didn't have to wait long for them to become relevant again with anti-globilisation marches and sit-ins, and general anger against the banking institutions and general capitalist fat cats.

But why did he choose to open with it on all the arena shows on the Licks tour?

It is a bit of a mystery how they eventually treated this gem...

I guess he felt the new storm a-threatenin' his very life those days! I'm sure a man of his wealth and taste knows when the wind is about to change!



Edited 1 time(s). Last edit at 2015-01-29 23:50 by Silver Dagger.

Let's see for ourselves on the next leg of the tour

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DandelionPowderman
Let's see for ourselves on the next leg of the tour

That would be great! I always wanted to see it live as a closing song. With Mick Taylor, obviously.

Can't think of another tune where acoustic guitar was used to such stunning effect. I often wonder with awe just what was in the air in 1968 that caused such a huge number of great songs to be conceived and recorded. An amazingly fertile period for good rock and roll, imo. peace

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GasLightStreet
They clammed it big time on the URBAN JUNGLE tour.

Errr ... clammed???

Drew

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Naturalust
Can't think of another tune where acoustic guitar was used to such stunning effect. I often wonder with awe just what was in the air in 1968 that caused such a huge number of great songs to be conceived and recorded. An amazingly fertile period for good rock and roll, imo. peace

so true

Stella.

Love the recorded studio track and all live versions I have heard.

Was the soundtrack to my youth - this, JJF, Child of the Moon - holy mother of god - they are all great.

Posted before, and I know I must be odd - but I like the Hyde Park 2013 show the best....yep, even better that GYYYO and all other versions I have ... the way Keith goes out onto the runway whilst driving the riff down, down, down, DOWN ... gee I love it. There is just something about that version...don't know, its just primal - and PRIME Stones

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treaclefingers

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Naturalust
Can't think of another tune where acoustic guitar was used to such stunning effect. I often wonder with awe just what was in the air in 1968 that caused such a huge number of great songs to be conceived and recorded. An amazingly fertile period for good rock and roll, imo. peace

so true

Yes. "Street Fighting Man" really uplifts acoustic guitar to another level as a rock and roll instrument. A leading instrument to drive a hard rocking song, which leaves no hostages. It was novel then and as rare ever since.

It could be as well Keith's greatest rhythm guitar constribution on a record ever. As that Wall Street Journal article - I recommend everyone to read it, if not yet done (thanks Kyle M) - Keith also knows hitting something essential there.

- Doxa

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Doxa

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treaclefingers

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Naturalust
Can't think of another tune where acoustic guitar was used to such stunning effect. I often wonder with awe just what was in the air in 1968 that caused such a huge number of great songs to be conceived and recorded. An amazingly fertile period for good rock and roll, imo. peace

so true

Yes. "Street Fighting Man" really uplifts acoustic guitar to another level as a rock and roll instrument. A leading instrument to drive a hard rocking song, which leaves no hostages. It was novel then and as rare ever since.

It could be as well Keith's greatest rhythm guitar constribution on a record ever. As that Wall Street Journal article - I recommend everyone to read it, if not yet done (thanks Kyle M) - Keith also knows hitting something essential there.

- Doxa

yes, and whether by accident or not he had the presence of mind to understand how good it was.

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bitusa2012


Posted before, and I know I must be odd - but I like the Hyde Park 2013 show the best....yep, even better that GYYYO and all other versions I have ... the way Keith goes out onto the runway whilst driving the riff down, down, down, DOWN ... gee I love it. There is just something about that version...don't know, its just primal - and PRIME Stones

I wouldn't call it the best version ever but I was there and to me it was a musical highlight - with "Midnight Rambler" - of the show. Surprisingly strong version.

I don't know if it is because they play it so rarely these days, why they manage to play it so freshly - like really concentrating to do it right, since they have no 'autopilot' gear for that. I'm not that big fan of their modern day (since 1989) versions - especially their attempt to play it close to original during STEEL WHEELS/URBAN JUNGLE tour sounded a bit artificial - like it coming into just another piece of a mimic art, or a cabaret number, losing its teeth. And it is one of those songs in which Jagger learned to save his voice, which unfortunately destroyed some of its bite (this especially occurred during LICKS TOUR when they used it as an opening number in many shows). But now it really was hot and edgy. As it should be.

- Doxa



Edited 1 time(s). Last edit at 2015-01-30 09:31 by Doxa.