Word: songful
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Dates: during 1960-1969
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MORAL INDIGNATION over the "Song My Massacre" has welled up all across the country. Few scandals have served so many purposes for so many people. It provided Time and Newsweek with striking covers last week; it has sold record numbers of newspapers. Politicians are quietly incorporating it into their arsenals of non-alienating polemic...
...must avoid digressing into Dodd's Dope Determinist Theory of History. The more important point is that the Song My massacre provided a little something in the way of self-affirmation for everyone. It is proving that a 90 per cent consensus of the American people can still be mustered on a clear-cut political issue. I. c., the cold-blooded murder of hundreds of women, children, and old people is dishonorable. Even if they are Orientals. One is reminded of Pat Paulsen's presidential campaign...
...introduced himself as the devil and the audience burst into applause in recognition of its own dreams of what Mick Jagger doing "Sympathy for the Devil" would be like, and sure enough, when I asked people later they could have sworn they heard calypso. Most disappointing about this particular song, and most of Jagger's vocal performance for that matter, was the absence, up until "Satisfaction," of any vocal improvisation. Much of the Stones' dynamic relies on Jagger's talent for splintering and then remaking the vocal line, a technique he borrowed from soul music and worked to perfection...
...Watts occasionally losing the beat, the lyres changed from fifteen to thirteen year-old girl (outrage, like any fashion, ages quickly). They do some slow numbers, a "Prodigal Son." Richard's steel guitar funkier and less evocative than the Rev. Robert Wilkins, and "Love in Vain," a Robert Johnson song, which Jagger, sketching out the Stones' new image, and rushed to keep ahead of mere satyriasis and the universal dope-taker, dedicates to "the minority groups in the audience, the fags and the junkies...
From there they went into "Under My Thumb," sounding more like the Who's version than their own, and a new one, "Live With Mc," Richard doing a fine solo instead of the sax. Then another Chuck Berry song, "Queenie," "from when you were about thirteen years old." The Stones oeuvre might be subtitled Anthems of Young America, and they finally cut loose on the song that made rock and roll a movement, "Satisfaction," Richard ripping off huge Chuck Berry chords and adding an cery vibrato, Jagger doing an Otis-like "I can't getta no, no, no, no," that...