![]() Maybe then I’ll fade away and not have to face the facts I see my red door, I must have it painted black I look inside myself and see my heart is black Whether or not “Paint It Black” was a cry for help, like “Help,” it was kind of the culmination of the darkness that Rolling Stones had cultivated in mid-60s run of singles: “ (I Can’t Get No) Satisfaction,” “ Get Off Of My Cloud,” “ As Tears Go By,” “ 19th Nervous Breakdown” and now “Paint It Black?” That’s some serious shit, even if Mick tended to downplay the importance of his lyrics.īut it’s hard to ignore lyrics like this: Like a newborn baby, it just happens every day ![]() I see people turn their heads and quickly look away With flowers and my love, both never to come back I see a line of cars and they’re all painted black All of this in service of a song that’s about depression. In the case of “Paint It Black,” it’s the sitar, which harmonizes with Mick Jagger on the verses, complimenting Charlie’s furious beat - which alternated tom-driven doubletimes at the beginning of each verse with a more straightforward beat at the end - and allowing Keith to support Charlie with an acoustic guitar and paint even more atmosphere with an electric guitar. I have to turn my head until my darkness goesĪftermath, of course, was the first Rolling Stones album where all of the songs were written by Mick Jagger and Keith Richards, and just for that, it would have been a milestone, but it’s also the first album where they started experimenting with different instrumental textures, mostly played by Brian Jones, who alternated between not contributing materially to a song and providing an absolutely necessary instrumental hook. I see the girls walk by dressed in their summer clothes ![]() No colours anymore, I want them to turn black I see a red door and I want it painted black Maybe it was the dubly sound of the theatre, maybe it was the fact that Kubrick used the mono version where the drums are straight down the middle, but for the first time ever, I got “Paint It Black.” ![]() So fast forward to the summer of 1987, and I’d just been through the wringer watching Stanley Kubrick’s Full Metal Jacket at one of the local movie theatres, and as the credits came up, the familiar opening licks of “Paint It Black” came up, and then suddenly Charlie’s kick-tom-snare pattern came thundering in, and it totally fucking blew me away. That’s what happened to me with “Paint It Black,” a song that had been on the radio when I was a kid, and, of course was the opening track of Aftermath, which I bought in early 1981, and didn’t like as much as I had expected to. According to Wyman, Jones had graduated from drinking to using amyl nitrate and other drugs.Īftermath is considered the Stones' most ambitious album to this point, with great experimentation with arrangements and instrumentation.Sometimes you can listen to a song for years and years, and never really hear it, until it suddenly catches you by surprise. “Paint It, Black” was recorded as the group was beginning to have problems with Jones, whose drug use was getting out of hand. When asked what the song's title meant, lead singer Mick Jagger said, “It means, 'Paint it, black.' 'I can't get no satisfaction' means 'I can't get no satisfaction.'” Thanks, Mick. In his memoir Stone Alone, Wyman remembers: “I lay on the floor under the organ and played a second bass riff on the pedals, at double-time.” The Stones had trouble recording “Paint It, Black” until bassist Bill Wyman adopted a rhythm pattern that imitated Eric Easton, an organist who had become a talent agent. label, for what it felt was an irreverent biblical reference. The Aftermath album was originally titled Could You Walk On The Water, but was rejected by Decca Records, the Stones' U.K. The song is marked by guitarist Brian Jones's sitar, one of the exotic Indian and Eastern instruments he began introducing into the Rolling Stones' music in the mid-'60s. There were more than 300,000 orders for the single before its release in the U.K. “Paint It, Black” was a Number One hit in both the U.S. “Paint It, Black” was recorded at the same March 1966 sessions that produced “Mother's Little Helper,” “Lady Jane,” and other songs. Recorded: March 1966 at RCA Studios, Hollywood, California
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