Story behind Paint It Black – Rolling Stones

From the Ultimate 60s Fan Page — — – – — This is written from the viewpoint of a person who is depressed; he wants everything to turn black to match his mood. There was no specific inspiration for the lyrics. When asked at the time why he wrote a song about death, Mick Jagger replied: “I don’t know. It’s been done before. It’s not an original thought by any means. It all depends on how you do it.” The song seems to be about a lover who died: “I see a line of cars and they’re all painted black” – The hearse and limos. “With flowers and my love both never to come back” – The flowers from the funeral and her in the hearse. He talks about his heart being black because of his loss. “I could not foresee this thing happening to you” – It was an unexpected and sudden death. “If I look hard enough into the setting sun, my love will laugh with me before the morning comes” – This refers to her in Heaven. The Rolling Stones wrote this as a much slower, conventional soul song. When Bill Wyman began fooling around on the organ during the session doing a takeoff of their original as a spoof of music played at Jewish weddings. Co-managerContinue Reading

Bob Dylan at 80, by Declan Kiberd: He was so much older then, he’s younger than that now

As with WB Yeats, whose muse grew younger as he aged, so too for his fellow Nobel laureate There is something very consistent in Dylan’s desire to disappear. Terrified of pursuit by fans in his earlier tours, he would jump into hotel cupboards. Craving silence, he wrote in order to hide and he hid in order to write. Then there was the unexplained motorcycle accident which enabled a more total retreat. The plagiarism of which he is often accused could be seen by a psychoanalyst as a desire for death. But by resorting to “love and theft”, he may be seeking something more subtle; re-entry to folk tradition under “anon” – the heroic anonymity achieved by “Napoleon in rags” or Odysseus seeking home. Yet he zealously defends his copyrights against digital predators, wanting to be “there” and “not there” at the same time. Paul Morley and John Bauldie capture his multiple masks. The very list of chapters in The Cambridge World of Bob Dylan shows how he opened forms of modern music through ever-changing phases: pop, folk, protest, electro-rock, country, Christian, lounge-bar croon. He invented video (the flash-cards on Subterranean Homesick Blues); and he anticipated punk with his critiques of his own audience (recognising that those who oppose the age penetrate to essence far more than those who merely reflectContinue Reading

As Much As I Can. As Black As I Am.

By the following year, with Goude and Blackwell out of the picture, Jones wanted more involvement in her debut album for EMI subsidiary Manhattan Records, 1986’s Inside Story. Taking EMI A&R head Bruce Garfield’s direction to “imagine a leaf being blown through the streets of New York, twisting and turning in the sunshine” as a starting point, Jones and Woolley wrote every song together, then joined multi-platinum Svengali Nile Rodgers in New York to transform their demos. This mutually flattering union yielded her last R&B radio victory, “I’m Not Perfect (But I’m Perfect for You)”. Indicting white-collar criminals and Hollywood liars, Inside Story revealed the singer’s observant, socially conscious side, while the jagged arrangements meshed Rodgers’ ricocheting, jazz-schooled guitar with Woolley’s smart pop. It is a singer/songwriter record you can dance to. read it all at source.

Live At The Kitchen | Talking Heads – 1976

— click the source link below , then the picture link to the right for more great shots of the early band. This live performance at The Kitchen’s former SoHo space was one of Talking Heads’s early performances. The group was formed in 1975, and this show preceded the release of the band’s first record the following year and subsequent international acclaim until they disbanded in 1991. Comprised of David Byrne on guitar and vocals, Chris Frantz on drums, and Tina Weymouth on bass, Talking Heads at the time was associated with the New York punk scene and described themselves as “a group of performing artists whose medium is rock and roll.” For this performance they played a selection of songs that demonstrated the range of styles they were developing, including the future hit “Psycho Killer.” Source: Live At The Kitchen | The Kitchen Archive