FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 183 Rolling Stones song “Gimme Shelter” (Featured artist is Martin Sharp)

 

The Rolling Stones – Gimme Shelter (Official Lyric Video)

Published on May 16, 2016

Lyric video for “Gimme Shelter” by The Rolling Stones.

Gimme Shelter
Directed by: Hector Santizo
Composers: Mick Jagger, Keith Richards
Producers: Julian Klein, Robin Klein, Mick Gochanour, Hector Santizo
(C) 2016 ABKCO Music & Records, Inc.

Download or stream the song below:
iTunes:https://itun.es/us/XzriN?i=656479859
Google: https://play.google.com/store/music/a…
Amazon: https://www.amazon.com/dp/B0016CVK82/…
Stream On Spotify: https://open.spotify.com/track/6H3kDe…

Lyrics:
Oh, a storm is threat’ning
My very life today
If I don’t get some shelter
Oh yeah, I’m gonna fade away

War, children, it’s just a shot away
It’s just a shot away
War, children, it’s just a shot away
It’s just a shot away

Ooh, see the fire is sweepin’
Our very street today
Burns like a red coat carpet
Mad bull lost your way

War, children, it’s just a shot away
It’s just a shot away
War, children, it’s just a shot away
It’s just a shot away

Rape, murder!
It’s just a shot away
It’s just a shot away
Rape, murder!
It’s just a shot away
It’s just a shot away
Rape, murder!
It’s just a shot away
It’s just a shot away

The flood is threat’ning
My very life today
Gimme, gimme shelter
Or I’m gonna fade away

War, children, it’s just a shot away
It’s just a shot away
It’s just a shot away
It’s just a shot away
It’s just a shot away
I tell you love, sister, it’s just a kiss away
It’s just a kiss away
It’s just a kiss away
It’s just a kiss away
It’s just a kiss away
Kiss away, kiss away

Gimme Shelter

From Wikipedia, the free encyclopedia
“Gimme Shelter”
Song by The Rolling Stones
from the album Let It Bleed
Released 5 December 1969
Recorded 23 February & 2 November 1969
Genre
Length 4:37
Label Decca Records/ABKCO
Songwriter(s) Jagger/Richards
Producer(s) Jimmy Miller
MENU
0:00

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.”[3]

The recording features Richards playing in his new open tuning on electric guitar. The recording also features vocals by Merry Clayton, recorded at a last-minute late-night recording session during the mixing phase, arranged by her friend and record producer Jack Nitzsche.[4] Lisa Fischer was later recruited to perform the song during their concerts.

Inspiration and recording[edit]

“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 lead vocal. Of Let It Bleed’s bleak world view, Jagger said in a 1995 interview with Rolling Stone magazine:

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 … 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 Recorders and 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.

Releases on compilation albums and live recordings[edit]

“Gimme Shelter” quickly became a staple of the Rolling Stones’ live shows. It was first performed sporadically during their 1969 American Tour and became a regular addition to their setlist during the 1972 American Tour. Concert versions appear on the Stones’ albums No Security (recorded 1997, released 1998), Live Licks (recorded 2003, released 2004), Brussels Affair (recorded 1973, released 2011), and Sweet Summer Sun: Hyde Park Live (2013). A May 1995 performance recorded at Paradiso (Amsterdam) was released on the 1996 “Wild Horses” (live) single and again on Totally Stripped (2016).

The song appears in the 2010 official DVD release of the 1972 Rolling Stones tour film, Ladies and Gentlemen: The Rolling Stones. It is also featured on Bridges to Babylon Tour ’97–98 (1998), Four Flicks (2003), The Biggest Bang (2007), and Sweet Summer Sun: Hyde Park Live (2013).

The female contributor to the song live is Lisa Fischer, the only woman to appear in all their tours since 1989.

In their 2012 50th anniversary tour, the Rolling Stones sang this song with Mary J. Blige, Florence Welch and Lady Gaga.

“Gimme Shelter” was never released as a single. Nevertheless, it has been included on many compilation releases, including Gimme Shelter, Hot Rocks 1964–1971, Forty Licks and GRRR!.

Music video[edit]

Michel Gondry, an Academy Award-winning French filmmaker, directed a music video for the song, which was released in 1998. The video features a sixteen-year old Brad Renfro, playing a young man escaping with his brother from a dysfunctional home and the abuse they suffered at the hands of their abusive alcoholic father, and then from society as a whole.[9]

Personnel[edit]

Accolades[edit]

“Gimme Shelter” was placed at number 38 on Rolling Stones list of “The 500 Greatest Songs of All Time” in 2004. Pitchfork Media placed it at number 12 on its list of “The 200 Greatest Songs of the 1960s”.[10] Ultimate Classic Rock put the song at number one on their Top 100 Rolling Stones songs [11] and number three on their Top 100 Classic Rock Songs [12]

In popular culture[edit]

The 1970 documentary film Gimme Shelter, directed by Albert and David Maysles and Charlotte Zwerin, chronicling the last weeks of the Stones’ 1969 US tour and culminating in the disastrous Altamont Free Concert, took its name from the song. A live version of the song played over the credits.

The song was used in the TV movie Dear America: Letters Home from Vietnam (1987).

The song was played in a commercial for the American Red Cross‘ “Play Your Part” public service advertising campaign in 1989. This particular commercial featured popular music artists such as Carly Simon, Branford Marsalis, and Randy Travis providing service in an effort to attract more young people to serve.[13]

Martin Scorsese has used the song as a theme in his crime films Goodfellas (1990), Casino (1995), and The Departed (2006), though not in his documentary Shine a Light (2008) about the Stones.

It was also used in the films Adventures in Babysitting (1987), Air America (1990), Wild Palms (1993), The War (1994), The Fan (1996), Layer Cake (2004), and in both Flight (2012) and its trailer.

The song was used in a commercial for the game Call of Duty: Black Ops and during the closing moments of the second season of Entourage.

The song was used on The Simpsons episode “Marge vs. Singles, Seniors, Childless Couples and Teens, and Gays“, in a scene parodying Woodstock.

The song was used in the fifth episode in the second season of Showtime series Dexter.

The song was used in the closing scene of the series finale of Showtime’s series Masters of Sex.

The song was used in season 4/episode 5 (“Dawn Budge”) of the FX television series Nip/Tuck, which aired on October 3, 2006. It begins during the final scene of the episode and continues over the closing credits.

The song is used in the Life series, episode 10, season 1 (season finale) in 2007.

The song was also used in a Heineken beer commercial featuring Brad Pitt in 2008.

Gimme Shelter is also the title of a 2013 drama film, starring Vanessa Hudgens.

It is used at the end of Person of Interest, season 2, episode 10, 13 December 2012, titled “Shadow Box” as Reese, and three other men in suits, are arrested by the FBI. The episode’s plot line concerns an effort by a disabled veteran to steal and return money stolen from other veterans.

The song was used in a February 2013 episode of The Daily Show spoofing the Scorsese uses of the song in a news segment by Jason Jones “exposing” the underground maple syrup criminal organization in Quebec, Canada.[14]

In June, 2013, Hockey Night in Canada used the song as a part of the closing montage for the 2013 Stanley Cup playoffs.[15]

The story of Merry Clayton’s contribution to the song is discussed in the documentary film, 20 Feet from Stardom.

During 2014, it was used on the Universal Channel UK promos for Law & Order: Special Victims Unit.

The song was used in the 10th episode of the 2nd season of Covert Affairs.

The song was used for ABC‘s coverage of the 2014 Indianapolis 500.

The song was used in the trailer for the 2014 Rupert Wyatt film The Gambler.[16]

According to WatchMojo.com, the song is ranked 9 among the “Top 10 Overused Songs In Movies And TV”.[17]

In 2016, the song appeared in the 20th episode of season 11 of the United States television series Supernatural entitled Don’t Call Me Shurley.

Cover versions[edit]

“Putting Our House in Order” project[edit]

In 1993, a Food Records project collected various versions of the track by the following bands and collaborations, the proceeds of which went to the Shelter charity’s “Putting Our House in Order” homeless initiative. The versions were issued across various formats, and had a live version of the song by the Rolling Stones as a common lead track to ensure chart eligibility.

“Gimme Shelter” (pop version – cassette single)

“Gimme Shelter” (alternative version – CD single)

“Gimme Shelter” (rock version – CD single)

“Gimme Shelter” (dance version – 12″ single)

See also[edit]

Image result for francis schaeffer

Francis A. Schaeffer  wrote something about the ROLLING STONES:
At about the same time as the Berkeley Free Speech Move- 
ment came a heavy participation in drugs. The beats had not 
been deeply into drugs the way the hippies were. But soon 
after 1964 the drug scene became the hallmark of young 
people.
The philosophic basis for the drug scene came from Aldous 
Huxley's concept that, since, for the rationalist, reason is not 
taking us anywhere, we should look for a final experience, one 
that can be produced "on call," one that we do not need to 
wait for. The drug scene, in other words, was at first an ideol- 
ogy, an ideology that had very practical consequences. Some of 
us at L'Abri have cried over the young people who have blown 
their minds. But many of them thought, like Alan Watts, Gary 
Snyder, Alan Ginsberg and Timothy Leary, that if you could 
simply turn everyone on, there would be an answer to man's 
longings. It wasn't just the far-out freaks who suggested that 
you could put drugs in the drinking water and turn on a whole 
city so that the "pigs" and the kids would all have flowers in 
their hair. In those days it really was an optimistic ideological 
concept. 

So two things have to be said here. FIRST, the young people's 
analysis of culture was right, and, SECOND, they really thought 
they had an answer to the problem. Up through Woodstock 
(1969) the YOUNG PEOPLE WERE OPTIMISTIC CONCERNING DRUGS-- 
BEING THE IDEOLOGICAL ANSWER. The desire for community and 
togetherness that was the impetus for Woodstock was not wrong, of course. God has made us in his own image, and he 
means for us to be in a strong horizontal relationship with each 
other. While Christianity appeals and applies to the individual, 
it is not individualistic. God means for us to have community. 
There are really two orthodoxies: an orthodoxy of doctrine 
and an orthodoxy of community, and both go together. So the 
longing for community in Woodstock was right. But the path 
was wrong. 

AFTER WOODSTOCK TWO EVENTS "ENDED THE AGE OF INNOCENCE," 
to use the expression of Rolling Stone magazine. The FIRST 
occurred at Altamont, California, where the ROLLING STONES put 
on a festival and hired the Hell's Angels (for several barrels of 
beer) to police the grounds. Instead, the Hell's Angels killed 
people without any cause, and it was a bad scene indeed. But 
people thought maybe this was a fluke, maybe it was just 
California! IT TOOK A SECOND EVENT TO BE CONVINCING. 

On the Isle of Wight, 450,000 people assembled, and it was 
totally ugly. A number of people from L'Abri were there, and I 
know a man closely associated with the rock world who knows 
the organizer of this festival. Everyone agrees that the situation 
was just plain hideous. 

THUS, AFTER THESE TWO ROCK FESTIVALS THE PICTURE CHANGED. IT IS  
NOT THAT KIDS HAVE STOPPED TAKING DRUGS, FOR MORE ARE TAKING  
DRUGS ALL THE TIME. And what the eventual outcome will be is 
certainly unpredictable. I know that in many places, California 
for example, drugs are down through the high schools and on 
into the heads of ten- and eleven-year-olds. But drugs are not 
considered a philosophic expression anymore; among the very 
young they are just a peer group thing. It's like permissive 
sexuality. You have to sleep with a certain number of boys or 
you're not in; you have to take a certain kind of drug or you're 
not in. THE OPTIMISTIC IDEOLOGY HAS DIED. 

During the 1960’s many young people were turning to the New Left fueled by Marcuse and Habermas but something happened to slow many young people’s enthusiasm for that movement.

1970 bombing took away righteous standing of Anti-War movement

Francis Schaeffer mentioned the 1970 bombing in his film series “How should we then live?” and I wanted to give some more history on it. Schaeffer asserted:

In the United States the New Left also slowly ground down,losing favor because of the excesses of the bombings, especially in the bombing of the University of Wisconsin lab in 1970, where a graduate student was killed. This was not the last bomb that was or will be planted in the United States. Hard-core groups of radicals still remain and are active, and could become more active, but the violence which the New Left produced as its natural heritage (as it also had in Europe) caused the majority of young people in the United States no longer to see it as a hope. So some young people began in 1964 to challenge the false values of personal peace and affluence, and we must admire them for this. Humanism, man beginning only from himself, had destroyed the old basis of values, and could find no way to generate with certainty any new values.  In the resulting vacuum the impoverished values of personal peace and affluence had comes to stand supreme. And now, for the majority of the young people, after the passing of the false hopes of drugs as an ideology and the fading of the New Left, what remained? Only apathy was left. In the United States by the beginning of the seventies, apathy was almost complete. In contrast to the political activists of the sixties, not many of the young even went to the polls to vote, even though the national voting age was lowered to eighteen. Hope was gone.

After the turmoil of the sixties, many people thought that it was so much the better when the universities quieted down in the early seventies. I could have wept. The young people had been right in their analysis, though wrong in their solutions. How much worse when many gave up hope and simply accepted the same values as their parents–personal peace and affluence. (How Should We Then Live, pp. 209-210

___________

__

Featured artist is Martin Sharp:

Remembering the artist Martin Sharp – in collage

December 5, 2013 2.34pm EST

Garry Shead’s portrait of Martin Sharp shows the artist as he lived, orchestrating a magic theatre of people and objects. Felicity Jenkins/EPA

The tributes have been flowing in from friends and art critics for Martin Sharp, who died this week aged 71.

The common thread linking all the tributes, all the memories, is that the artist was never alone.

Sharp was instrumental in the creation of Oz magazine, the satirical magazine published in Sydney and London between 1963 and 1973; the Sydney gallery and artists’ space the Yellow House; the visual aesthetic of 1960s London; and much more.

He was, primarily, a collage artist – and a collaborator. Both his work and his life can be imagined as a kind of glorious living collage – of people, objects and art.

With that in mind, I’d like to present my collage of memories of Martin Sharp.

London – and Oz magazine

The cover of Oz magazine #12. AAP Image/Facebook

In Oz magazine, Martin Sharp and the two Richards – Walsh and Neville – turned undergraduate humour into colourful biting satire that critiqued the folly of their elders. Sharp’s distinctive graphic style was combined with an insistence that the publishers use the best quality art paper.

It is impossible to think of 1960s London in music, art and performance without seeing it as drawn by Sharp. He was responsible for Eric Clapton and Bob Dylan’s iconic record covers, creations embedded in the LSD and pot-fuelled days of London.

Sydney – and the Yellow House

Martin Sharp at the Yellow House: the gathering of friends – Albie Thoms, Peter Kingston, Bruce Goold, Richard Liney, Tim Lewis, George Gittoes, Nell Campbell (aka Little Nell) – photographed by Jon Lewis and Greg Weight.

Artwork by Martin Sharp helped define the psychedelic look of pop culture in London in the 1960s. AAP Image/Facebook

Sharp used friends and associates to create a space that still echoes through the years as an important powerhouses of creative energy.

Martin Sharp and Tiny Tim: Sharp’s fascination with the vaudeville singer was a transcendental moment that lasted a lifetime.

Martin Sharp and the ghost of Arthur Stace, the reformed alcoholic who spread the gospel by writing the word “Eternity” on Sydney pavements in chalk. Together they made enough copperplate Eternitys to fill a Sydney starry sky.

Then the mood changes.

Sharp and Luna Park: first for fun, when he created one of the version’s of the clown-face that formed the park’s entrance, and then for fight as he became an obsessive campaigner to call to account those whose negligence caused the death of a father and six children in the Ghost Train fire of 1979.

Sharp in his later years: passionate about the injustice meted out to Aboriginal people as he looked increasingly to the spiritual truths of Christianity, the sacrifice on the cross, and compassion for all those dispossessed.

SydneySights. Wikimedia Commons

A grand collaboration

Sharp was always at his most effective when he was a part of a grand collaboration, whether it was the intelligent anarchy of Oz, in both Sydney and London, his collaborations with musicians, or the grand vision of the Yellow House. Sharp was no solitary genius; he was at his best when with others of like mind.

Martin Sharp at a Sydney gallery in 2010. AAP Image/Facebook

For many years his home was his grandmother’s former home, Wirian, one of those grand 1920s mansions in Sydney’s Bellevue Hill. It was filled to excess with memories, memorabilia and friends.

Sharp collected people almost in the same way as he collected art, surrounding himself with them, watching as they interacted with each other – the famous, the colourful, the offbeat, the eccentric, the intensely spiritual.

His mother, Jo Sharp, was his first art teacher as she taught him how to make collage, cutting up images to place them in different contexts, relishing both a sense of the absurd and the beauty that came with unusual conjunctions.

His grandmother, who had a large collection of black and white graphic art, introduced him to Boofhead comics.

Van Gogh

Sharp’s art teacher at Cranbrook, Justin O’Brien, gave him a book on Van Gogh as an art prize. In his doctor father’s surgery there was reproduction of Van Gogh’s On the road to Tarascon, a painting destroyed in the second world war. The absence of its real presence made the many reproductions more poignant.

Vincent Van Gogh, Self-portrait on the road to Tarascon (1888). Wikipaintings

This is the image that guided Sharp, the one he reworked with variations throughout his life. It is telling that the name he gave the constant reworkings of this work was Courage, My Friend.

Van Gogh was always on his mind.

It was in London, while he was living in the Peasantry with Eric Clapton, filmmaker Philippe Mora and other artists and musicians, that he read Van Gogh’s letters to his brother Theo.

While acid freed his mind to make the images that are forever associated with the 1960s, the creative chaos of communal life acted as both a support and a stimulus.

When Sharp returned to Sydney it was not surprising he had something similar in mind.

At the Yellow House

Many people claim credit for creating the Yellow House, and in a perverse way they are all right. But without Sharp none of them could have created this house where artists could live and work together.

The Yellow House today. Sydney Heritage

It was Sharp who was able to persuade the owners of the old Terry Clune Galleries in Potts Point to let him have the last exhibition before it closed.

Then, as the building was doomed to be demolished for a high-rise apartment development, there was no harm in letting him and a few friends live there and make art.

Because the building was seen as ephemeral, Sharp was allowed to modify it to suit his needs.

By the time the Yellow House dissolved into chaos in about 1972, the developer may have regretted that decision.

The ever-shifting group of people who came and lived, loved, made art and performed at the Yellow House had little respect for real estate. A hole in the wall – covered in mock fur – made it easier to access. It was hard to work out who exactly made what, and some works had their ownership severely contested.

Peter Kingston‘s Stone Room had ceramics made to order by George Gittoesmother, while the Hokusai-inspired Wave was painted by either Martin Sharp or Brett Whiteley depending what day it was as they both tried to impose their vision on it.

In the end it was Sharp who prevailed with the Wave, and in reality with every other aspect of the Yellow House. The glory of the house is that the art, the people, the performances, were all part of a giant living collage.

Martin Sharp was the artist who placed them all together, to create ever-changing patterns of excitement and oddity.

And so he continued for the rest of his life, as a magician placing objects in opposition so that they may be seen with new eyes.

 




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