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You Got the Silver

“You Got the Silver” is a song by English rock and roll band The Rolling Stones from their 1969 album Let It Bleed. It was also released as the B-side to the “Let It Bleed” single in Japan.

Recorded on 18 February 1969, “You Got the Silver” is the first Stones song to feature guitarist Keith Richards on solo lead vocal throughout (Richards previously sang separate lead vocals on parts of “Something Happened to Me Yesterday” from Between the Buttons and “Salt of the Earth” from Beggars Banquet).[3] One of Richards’s own compositions, “You Got the Silver” is said to have been written about his then-girlfriend Anita Pallenberg.

“Hey babe, you got my soul, You got the silver, you got the gold

A flash of love has made me blind, I don’t care, no, that’s no big surprise”

“You Got the Silver” was the last Stones recording with Brian Jones to be released. He plays autoharp, one of his two appearances on the album. The band recorded a version of the song with Jagger on lead, but opted to use Richards’s version for the official release. The Jagger version has since become a well-known bootleg recording. Jones’s autoharp contribution can only be heard clearly on the alternate mix with Jagger on vocals and it is played only during the section of the verses where the drums join in. Wyman’s bass playing also stands out more in the unreleased alternate mix. The official/album mix has the autoharp either mixed very low or removed completely in favor of Nicky Hopkins’s organ and piano overdubs and adds a backwards echo effect applied to Richards’s slide guitar track.

The song was played live for the first time during the No Security Tour in 1999. It was brought out again by Richards for the 2005-2007 A Bigger Bang Tour. A November 1, 2006 live performance captured on the 2008 concert film Shine a Light is featured on the album of the same name. The song was also played during the Rolling Stones’ 50 and Counting tour, and a July 2013 performance appears on Hyde Park Live, featuring Ron Wood playing slide guitar. During live performances, the song is highly notable for being sung by Richards without playing guitar or any other instrument.

“You Got the Silver” was featured in the Michelangelo Antonioni film Zabriskie Point.

You Got Me Rocking

“You Got Me Rocking” is a song by the English rock and roll band The Rolling Stones, on their 1994 album Voodoo Lounge. The song received remixes by Paul Oakenfold and Steve Osborne.

Begun in early in 1993, “You Got Me Rocking” was initially a blues number; bootlegs have Jagger and Richards working the song as a slower, blues flavored ramble, with Jagger shouting the hook- “you got me rocking”. Changed to a straightforward rocker in the vein of “Start Me Up”, the song quickly evolved into a powerful rock single as Richards made the transition from piano to guitar. The lyrics moved to a more upbeat tone, as singer Mick Jagger presents redemption from a series of career ending instances of various professionals:

“I was a hooker losing her looks; I was a writer can’t write another book;

I was all dried up dying to get wet; I was a tycoon drowning in debt.”

The lyrics can be interpreted as an answer to the Rolling Stones’ critics, who often deride the band for their advancing age. Recording on “You Got Me Rocking” lasted from mid-summer to early winter 1993, when final touches were put on. The song was released as a single in the UK in September 1994, where it reached number 23. It was also released as a single in the US but only reached a failing number 113 in 1995.

The B-side is the little-known “Jump on Top of Me” which also appears on the soundtrack to Prêt-à-Porter. “You Got Me Rocking” appeared on the soundtrack to The Replacements in 2000.

“You Got Me Rocking” is notable as it remains one of the Stones’ most enduring live songs, a rarity for a late album song. The song was performed some fifty times during the 2005–2006 A Bigger Bang Tour.

A recording from the 1997–1998 Bridges to Babylon Tour opened the 1998 live album No Security. It was also included on the Stones’ 2002 career retrospective, Forty Licks.

You Can’t Always Get What You Want

“You Can’t Always Get What You Want” is a song by the Rolling Stones on their 1969 album Let It Bleed. Written by Mick Jagger and Keith Richards, it was named as the 100th greatest song of all time by Rolling Stone magazine in its 2004 list of the “500 Greatest Songs of All Time”.

Although it was the closing track, “You Can’t Always Get What You Want” was the first song recorded for the album. “You Can’t Always Get What You Want” was recorded on 16 and 17 November 1968 at Olympic Sound Studios in London. It features the London Bach Choir opening the song (the choir opening is only on the album version), highlighting throughout, and bringing it to its conclusion. Jimmy Miller, the Stones’ producer at the time, plays drums on this song instead of Charlie Watts. Al Kooper plays piano and organ, as well as the French horn intro, while Rocky Dijon plays congas and maracas.[citation needed]

Of the song, Jagger said: “‘You Can’t Always Get What You Want’ was something I just played on the acoustic guitar—one of those bedroom songs. It proved to be quite difficult to record because Charlie couldn’t play the groove and so Jimmy Miller had to play the drums. I’d also had this idea of having a choir, probably a gospel choir, on the track, but there wasn’t one around at that point. Jack Nitzsche, or somebody, said that we could get the London Bach Choir and we said, ‘That will be a laugh.'”[1]

In his review of the song, Richie Unterberger of Allmusic said: “If you buy John Lennon’s observation that the Rolling Stones were apt to copy the Beatles’ innovations within a few months or so, ‘You Can’t Always Get What You Want’ is the Rolling Stones’ counterpart to ‘Hey Jude’.”[2] Jagger said in 1969, “I liked the way the Beatles did that with ‘Hey Jude’. The orchestra was not just to cover everything up—it was something extra. We may do something like that on the next album.”[3]

Yesterday’s Papers

Yesterday’s Papers is a song by The Rolling Stones from their 1967 album, Between the Buttons. It was the first song that Mick Jagger wrote on his own for The Rolling Stones. It was the opening track on the UK version of that album and was included on the US version as the second track.

In the song, recorded in late 1966, Brian Jones’s vibraphone and Jack Nitzsche’s harpsichord are prominent: Keith Richards plays a distorted guitar with Charlie Watts on drums and Bill Wyman on bass. A bootleg recording exists of an alternate backing track that includes strings.

Whereas the stereo mix fades after one chorus, the mono mix continues for one more full chorus. Additionally, the mono version is at one point near the end missing some of the backing vocals heard on the stereo version.

The song is supposedly directed at Jagger’s ex-girlfriend Chrissie Shrimpton,[1][2] whose relationship with Jagger at the time turned sour. It is noted for suggesting a negative treatment of women, comparing “yesterday’s girl” to “yesterday’s papers”, as something that can be just thrown out. This is exacerbated by the fact that Shrimpton tried to commit suicide[3] over the breakup.

The song has been covered by Chris Farlowe.[4]

Winter (The Rolling Stones song)

“Winter” is a song by English rock and roll band the Rolling Stones featured on their 1973 album Goats Head Soup.

It bears many similarities to “Moonlight Mile” from their 1971 album Sticky Fingers. Credited to singer Mick Jagger and guitarist Keith Richards, “Winter” is likely the work of Jagger and the Stones’ lead guitarist at the time, Mick Taylor. It was the first song recorded for the album and does not feature Richards at all. On the song, Bill Janovitz says in his review, “Here they were in sunny Jamaica, and the Stones were writing and recording an entirely convincing and evocative picture of a Northern Hemisphere winter. Perhaps they were so happy to be escaping the season they felt that starting the sessions with “Winter” could transition them out of the old and into the new climate. Though it bemoans many of the negatives of the season [in the] lyrics… “Winter” seems to simultaneously celebrate the season as something inherently beautiful, with other evocations of holiday scenes and wanting to wrap a coat and keep a lover warm.”[1]

“It sure been a hard, hard winter, My feet been draggin’ ‘cross the ground; And I hope it’s gonna be a long, hot summer; And the light of love will be burnin’ bright”

“And I wish I been out in California, When the lights on all the Christmas trees went out; But I been burnin’ my bell, book and candle, And the restoration plays have all gone ’round          ”

Recording began at Kingston’s Dynamic Sound Studios in November and continued into December 1972. Jagger opens the song with the rhythm guitar piece and is accompanied by Taylor’s “country-like licks”[1] on lead. Taylor also plays slide guitar. Nicky Hopkins performs the song’s accompanying piano while Bill Wyman and Charlie Watts perform bass and drums, respectively. The songs strings were arranged by Nicky Harrison.[2]

Despite his considerable contribution to the song, Taylor never received official credit from Jagger or Richards.

This song was featured in the series finale of the CBS drama Cold Case. In 2004 British actor Bill Nighy picked Winter as his favourite track on the BBC’s radio show Desert Island Discs.[3]

Wild Horses (The Rolling Stones song)

“Wild Horses” is a song by The Rolling Stones from their 1971 album Sticky Fingers, written by Mick Jagger and Keith Richards. Rolling Stone ranked it at No. 334 in its “500 Greatest Songs of All Time” list in 2004.

In the liner notes to the 1993 Rolling Stones compilation album Jump Back, Jagger states, “I remember we sat around originally doing this with Gram Parsons, and I think his version came out slightly before ours. Everyone always says this was written about Marianne but I don’t think it was; that was all well over by then. But I was definitely very inside this piece emotionally.” Richards says, “If there is a classic way of Mick and me working together this is it. I had the riff and chorus line, Mick got stuck into the verses. Just like “Satisfaction”. “Wild Horses” was about the usual thing of not wanting to be on the road, being a million miles from where you want to be.”[1]

Originally recorded over a three-day period at Muscle Shoals Sound Studio in Alabama during 2–4 December 1969 while Albert and David Maysles were shooting for the film that was titled Gimme Shelter, the song was not released until over a year later due to legal wranglings with the band’s former label.[citation needed] Along with “Brown Sugar”, it is one of the two Rolling Stones compositions from Sticky Fingers (1971) over which ABKCO Records co-owns the rights along with the Stones. It features session player Jim Dickinson on piano, Richards on electric guitar and twelve-string acoustic guitar, and Mick Taylor on acoustic guitar. Taylor uses Nashville tuning, in which the EADG strings of the acoustic guitar are strung one octave higher than in standard tuning. Ian Stewart was present at the session, but refused to perform the piano part on the track due to the prevalence of minor chords, which he disliked playing.[2]

Wanna Hold You

“Wanna Hold You” is a song by the English rock band the Rolling Stones on their 1983 album Undercover.

Although credited to Mick Jagger and Keith Richards, “Wanna Hold You” is largely a Richards composition. The song was written in a recording studio in Paris in the basement of a house of one of Richards’ acquaintances. Richards describes the song’s structure as being “very early sort of Lennon & McCartney, let alone the title, which suggest “I Want to Hold Your Hand”. The first recording of the song, of which Richards claims to have the original tape, had only Richards on guitar and vocals and Jagger on drums.[1]

The lyrics deal with the often-used topic of a poor man having nothing but love to give to a woman, as the following line illustrates:

“I hope you find it funny that I’ve got no money – but if you stick with me you’re going to get some love for free ”

During the Rolling Stones’ Bridges To Babylon Tour, “Wanna Hold You” was a regular part of the mini-set sung by Richards and was performed 99 times (of 107 concerts in total).[2]

Waiting on a Friend

“Waiting on a Friend” is a song by the Rolling Stones from their 1981 album Tattoo You. Released as the album’s second single, it reached #13 on the US singles chart.

Recording of “Waiting on a Friend” (as ‘Waiting for a Friend’) began in late 1972 through early 1973 in Kingston, Jamaica, during the Goats Head Soup sessions when the band still had Mick Taylor as a member. His guitar piece made it to the overdubbing sessions in April 1981 when the song was selected by Tattoo You producer Chris Kimsey as one the band could re-work for the album.

In the liner notes to 1993’s compilation album Jump Back, Mick Jagger said, “We all liked it at the time but it didn’t have any lyrics, so there we were… The lyric I added is very gentle and loving, about friendships in the band.” Jagger also had stated that the 1981 lyrics were contemplated for a future possible video, making the song the first Rolling Stones single to be packaged as a possible video for the emerging MTV channel.

The video, directed by Michael Lindsay-Hogg (who also directed their 1968 special The Rolling Stones Rock and Roll Circus), became very popular on MTV. Matching the song’s lyrics, Jagger is seen waiting for Keith Richards in the doorway of an apartment block. The building, at 96-98 St. Mark’s Place in Manhattan, is notable for appearing on the cover of Led Zeppelin’s 1975 album Physical Graffiti. The two then walk down the street and enter the St. Mark’s Bar & Grill where the other three band members are already drinking. Jagger sings the song to Richards and the video concludes with the band setting up for a gig at the back of the bar, ignored by the other patrons

The lyrics see a more mature side of singer Jagger represented. He speaks of setting aside women and vices in favor of making some sense of his life and finding the virtues inherent in true friendship:

“Don’t need a whore, I don’t need no booze, don’t need a virgin priest. But I need someone I can cry to, I need someone to protect.”

The song is noted for its dreamy qualities brought on by the soft guitars, smooth rhythm, and Jagger’s lilting refrain of “doo-doo-doo”‘s. Stones-recording veteran Nicky Hopkins performs the track’s running piano.[1] The Stones hired jazz saxophonist Sonny Rollins to perform the solo on this song, as well as two others on the album. On his addition to the track, Jagger said in 1985:
“I had a lot of trepidation about working with Sonny Rollins. This guy’s a giant of the saxophone. Charlie said, ‘He’s never going to want to play on a Rolling Stones record!’ I said, ‘Yes he is going to want to.’ And he did and he was wonderful. I said, ‘Would you like me to stay out there in the studio?’ He said, ‘Yeah, you tell me where you want me to play and DANCE the part out.’ So I did that. And that’s very important: communication in hand, dance, whatever. You don’t have to do a whole ballet, but sometimes that movement of the shoulder tells the guy to kick in on the beat.”[2]
Additional percussion, comprising claves, cabasa, güiro and conga, by Michael Carabello, was added during overdub sessions in April and June 1981.[3]

Torn and Frayed

“Torn and Frayed” is a song by the Rolling Stones featured on their 1972 album Exile on Main St.

Written by Mick Jagger and Keith Richards, “Torn and Frayed” is called “a twangy, three-chord honky tonk, but not typically country… the progression of the chords brings gospel music to mind”,[1] by Bill Janovitz in his review of the song. The song comes from side two of Exile, the side known for its acoustic folk and country tunes. Janovitz continues, “The music comes as close to definitive country-rock or Stax-like country-soul as anything from the era, barring Gram Parsons — an immediate influence on the Stones.” Gram Parsons was present for the recording sessions of Exile at Nellcôte, and “Torn and Frayed” is perhaps the most overtly Parsons-influenced cut the Stones ever recorded, with a country-soul flavour reminiscent of the Parsons-fronted Flying Burrito Brothers’ 1969 debut album The Gilded Palace of Sin.

In fact, Al Perkins, a good friend and collaborator of Parsons’, appears on the track and performs the song’s pedal steel guitar. Jagger performs lead vocals and is accompanied by Richards on backing. Richards provides the song’s base of acoustic guitar and electric Telecaster. Mick Taylor bass and Charlie Watts performs drums. Organ is performed by Jim Price and piano is played by Nicky Hopkins.[2] Recording took place at Los Angeles’ Sunset Sound Studios between the months of December 1971 and March 1972.

Janovitz says of the lyrics, “‘Torn and Frayed’ follow a vagabond-like guitar player whose ‘coat is torn and frayed…'”

“ Well the ballrooms and smelly bordellos, and dressing rooms filled with parasites

On stage the band has got problems, they’re a bag of nerves on first nights

He ain’t tied down to no home town, yeah, and he thought he was reckless

You think he’s bad, he thinks you’re mad, yeah, and the guitar player gets restless.”

“Torn and Frayed” was performed by the Stones during the 1972 tour of America and was reintroduced to setlists during the 2002 leg of the Licks Tour. In 2009, it was covered by The Black Crowes on Warpaint Live. The song was also covered by Phish during their cover of Exile on Main St. on 31 October 2009. The song later appeared in another of their live shows in Cincinnati on 21 November 2009, as well as during their Superball IX festival in 2011 and at a live show in Pittsburgh on 23 June 2012.

Too Much Blood

“Too Much Blood” is a song by The Rolling Stones featured on their 1983 album Undercover.

Credited to Mick Jagger and Keith Richards, “Too Much Blood” is largely a Jagger composition. The song is a reflection of the many influences the Stones would have during their career in the mid-1980s. Jagger said at the time of its release, “I had made out a very honest burden of mind before everyone had arrived one night. It was just Charlie [Watts] and Bill [Wyman]. And one of our roadies called Jim Barber, he was playing guitar on it too. And I just started playing this riff I had, with this middle part, I didn’t have any words to it and then I just suddenly started rapping out these words which are the ones you hear.” (“Mick asked me if I could do an ‘Andy Summers’ on the track” – Jim Barber)[1]

The song itself deals with the growing depictions of violence in the media at the time and the case of Issei Sagawa, with Jagger saying, “Well there was this scandalous, murderous story in France – it was a true story – about this Japanese guy who murdered this girl and it sort of captured the imagination of the French public, and the Japanese. The Russians wanted to make a movie out of it. So that was the first bit and then I started becoming more light-hearted about it, movies and all. …it came out as a sort of anti-gratuitous cinema of violence. And it’s a kind of anti-violent thing.”[1]

“Did you ever see “The Texas Chain Saw Massacre”? Horrible, wasn’t it. You know, people ask me “is it really true where you live in Texas, is that really true what they do around there, people?” I say, “yea, every time I drive through the crossroads I get scared, there’s a bloke running round with a fucking chain saw. Oh! Oh! oh No, he’s gonna cut off, Oh no. Don’t saw off me leg, don’t saw off me arm.”

Jagger uses a half-hearted rap delivery for some lines, saying at the time, “I’m not a great rapper… It’s just made up on the spot as well. It’s completely extemporized, as well, most of it. A couple words I cleaned up. I don’t mean clean up, just made better sounds. That was just rap off the top of my head. I didn’t write it down, even.”[1]

Recording took place at Paris’ Pathé Marconi Studios and New York City’s Hit Factory between November and December 1982, with final touch-ups in August 1983. With Jagger on lead vocals, he also performs electric guitars with Barber and Wood. Horns are provided by Chops and percussion by Sly Dunbar.

A dance version of “Too Much Blood,” remixed by Arthur Baker, was released as a twelve-inch single on December 1984. A music video, directed by Julien Temple, was produced in support showing the band performing the song as well as Richards and guitarist Ron Wood chasing Jagger with chainsaws. The trio also appear, without chainsaws but still in character, on the record sleeve for the single. The video opens with an excerpt from the first movement of the String Quartet Number 3 by Béla Bartók. “Too Much Blood” has never been performed live by the Stones and appears on no compilations albums.

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