Additionally it has been certified gold in Belgium, Germany and the UK. Meanwhile the track was more solidly successful, topping Billboard’s Hot Dance Singles Sales chart as well as the Ultratop 50 Flanders in Belgium. The Richard Ayoade-directed music video features a nod to Michael Jackson (who died just days before “Heads Will Roll” was released) and went on to be nominated for a MTV Video Music Awards. And the clip itself is also known for being quite graphic. In fact Interscope had not intended to release this song as a single until the aforementioned remix rather blew up. This song was made public on 29 June 2009 as the second single from the Yeah Yeah Yeahs’ third album, It’s Blitz. It has become better known by its remix as rendered by a Canadian DJ named A-Trak, which also came out in 2009. And it is a bit strange, so to speak, that partygoers would take a liking to a song with such dark lyrics. And it should be noted that ravers happens to be some of the band’s biggest fans. It would therefore be strange for the band members to criticize this category of people.īut that being said, there is definitely some type of horror motif going on here. In other words, whereas the lyrics are intentionally macabre, there doesn’t seem to be any direct indication that the band actually meant it to be a criticism of ravers. I'll be honest and admit that I am not generally a fan of live albums, I've written about why elsewhere, but while the sound is disappointingly a bit muddied (less one star) albeit less so with the bass boost turned-off the harder-rocking, bluesier and looser reinterpretations of some of these songs, particularly "Sympathy for the Devil", "Love in Vain" and "Midnight Rambler", make this an interesting listen and a must have for hard-core Stones fans even if in 1969 they were still a (live) work-in-progress.And what we also know is that when the Yeah Yeah Yeahs wrote it, they were actually seeking to put together a tune that “was just fun to write”. Only ten songs and the selection is perhaps with the exception of the Chuck Berry numbers a bit predictable although stalwarts "Paint It Black" and "Satisfaction" are missing. ![]() The album closes with a hard rocking delivery of frequent current (Stones Sixty Europe 2022 Tour) live set opener "Street Fighting Man" and what a great way to finish.,Īnd that's it. ![]() Recent chart-topping single "Honky Tonk Women" follows, but without its cowbell introduction it wrong-foots the audience as the guitar riff kicks it off. Driven by Ian Stewart's barrel-rolling and rocking piano Chuck Berry's "Little Queenie" keeps the tempo up, it's more Chuck Berry than the real thing. "Live with Me", another that will be found on "Let It Bleed" follows, never a single and coming from a then as yet unreleased album it was perhaps a bit of a left-field choice but it's a crowd pleasing rocker. Side two opened with a superb near seven minute rocking "Sympathy for the Devil" with an extended middle eight which has the guitars of Richards and Taylor cutting loose with extended solos, absolutely brilliant. The original side one then closed with an extended nine-minute chugging and wailing Dartford Delta Blues jam of "Midnight Rambler", another that will appear on "Let It Bleed" albeit in a shorter tighter form. Things then slow down, initially with Beggars Banquet's "Stray Cat Blues" before slowing further with a dark bluesy run through of Robert Johnson's "Love in Vain", a track that will appear on the then soon to be released "Let It Bleed" album. Recorded on their 1969 American tour "Get Yer Ya-Yas Out" opens, a bit chaotically, before the Stones launch a rocking run-through of "Jumpin' Jack Flash" followed by a rolling cover of Chuck Berry's "Carol", the first of two Berry numbers. Their commonly acknowledged best two albums "Sticky Fingers" and "Exile on Main Street" were still ahead of them and on the evidence of "Get Yer Ya-Yas Out" their live sound, not yet the highly polished rock 'n' roll show that it would become in the '70s with an increasing cast of backing vocalists and additional musicians was still raw and raucous (the only help the five Stones get here coming from the occasional piano of road manager and original Stone Ian Stewart). But while 1970 saw Paul McCartney apply to dissolve the Beatles legal partnership, the Rolling Stones were still a work-in-progress and on an upward trajectory boosted by new boy Mick Taylor. Many would claim that with the end of the '60s the Beatles imploded and their "rivals" the Rolling Stones were already passed their best.
0 Comments
Leave a Reply. |