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Friday, December 11, 2015

Gimme Shelter


The Rolling Stones have many great songs in their catalogue, but 'Gimme Shelter" is one that qualifies as a masterpiece. The stunning, foreboding weave of simple guitar lines at the outset, slow, cautious, stealthy, suggest two kinds of apprehension about the world outside the walls one lives in, both that of the stalker creeping up on a prey, and the stalked, shivering, rained on, seeking something to provide at least a moment's respite from the unpredictable , the nasty, the brutish possibilities of being alone. The thunder guitar lines, swooping bass and the short, simple, shank edge harmonica riff are then all around you, a house collapsing, a cliff falling into the sea, rockets bombing your home town, an earth quake. It is that crushing , smashing, lacerated feeling tht the truth gas denied is about to enter and take  center stage and proceed to uproot everything fastened down and not. Think of he feeling when you haven't enough money to pay the rent, when there is no more dope and the sickness is tearing you apart from the inside out, when a loved one dies, when you're confronted with someone with a bat with a nail through it, or a gun , or a knife. No solace, no quarter. The Stones dealt obessively with life on the edge in teir songs, inspired by a lifestyle they could afford in their off time , and anyone with a more than an glancing familiarty of the aftermath of having gone on an extended drug run, whether heroin, speed, cocaine, there is the phenomenon tht the world has ceased to be anything else than a mere rumor of something that was attractive or worth fighting horrible wars to preserve order in. Not all of this was aproached from the stance of panic or fear that is the spirit of "Gimme Shelter". "Moonlight Mile", a fragile, beautiful evocation of coming down from a needle-point, catches the half concious figure in mid nod, addressing the drift he finds himself on as though it were a wonderully calm and forseen ascent to the the next life, a transcendence of a sort . 

There are other roles that are played out in this theme of decadence, decline and degradation, with the Stones, and Jagger especially, plaing along with the age-old cliche of the romantic artist , the poet, the seer, pushing their senses to the limit ot attain experience and to gain something of that fleeting, elusive knowledge that senses reveal only when they are placed drugged out duress. Most, though, wind up a wallow, a boast, a casual nod to the audience that it was either a put  on or they survived the worse the drugs had to offer and walked  out of the other side of the experience, ragged, battered, damaged, but alive to write more poems. "Gimme Shelter" differs, though,  because it really is one of the few songs where the voice doesn't sound like a well constructed pose maintained with a professional distance from the subject.

 The ennui sounds not just real, but nearly fatal, Jagger plays the perfect role here, abandoning the poses, the personas, the macho -libertine man of destiny and expresses the naked fear that nothing quite suddenly and brutally makes the sense it used to; everything falls apart. There is the remarkable effect of the singer admitting that there is only the unknown forces of a world that has slid off the rails. Jagger's vocal and the lyrics sound like man who is coming to the uncontested eventuality of his demise. Merry Clayton offers the defiant cry, a brilliant, rail-splitting wail that says that the worse of everything we can imagine is about to happen. She is the hard truth overshadowing Jagger's fatalistic admission. Mood , atmosphere, texture, a hook that comes in at the right time like a badly constructed car hitting every pot hole on a troubled , abandoned road, this song remains foreboding, menacing, a song that continues to resonate and will always do so, I think, as long as we contain the imagination to devise our specialized means of insanity.

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