The song was recorded in December 1969 and, surprisingly, languished in the can for more than a year before being released. It quickly rose to the top of the charts. The throbbing eighth-note rhythm of the bass perfectly complements the song's jungle tom-tom beat. Perhaps the Stones' vision of the apocalypse in the turmoil-filled years of 1968 and '69, "Gimme Shelter" struck a resonant chord. The mood is ominously established with the tremolo-drenched rhythm figure performed by Keith Richards in open E tuning. The bass prowls the bottom of this spooky morass in a low rumble that is ultimately felt more than heard (much like the song's lyrics). This recording is notable for the prominence of Merry Clayton's vocals. Imagine how startling it was in 1969 for fans of the "World's Greatest Rock and Roll Band" to drop the needle on their latest release only to be greeted by the mass sound of the London Bach Choir. But have no fear: after the first chorus, Keith Richards's chimey acoustic guitar vamps between the I and IV chords, quickly leading the listener back to more familiar territory. The song is The Rolling Stones' epic about disillusionment and pragmatism at the end of the '60s. To convey this grand vision, the band supplemented their ranks with session ace AI Kooper on French horn, piano, and organ Madeline Bell, Doris Troy, and Nanette Workman on vocals and producer Jimmy Miller on the drums. Keith Richards did double duty, playing both acoustic guitar and the electric guitar licks, in standard tuning. His bassline is similar to Jamerson's part in Gladys Knight and the Pips' original recording of "I Heard It Through the Grapevine"-and that's a good thing, indeed! Bill Wyman must have been listening to James Jamerson's work on countless Motown records because this R&B-influenced line is probably the funkiest bass part on any Stones record from the '60s. Temporarily forsaking their blues roots, The Rolling Stones followed the mid-'60s trend of looking to the East with this driving quasi-Indian dirge. Multi-instrumentalist Brian Jones made his contribution to raga rock by adding the distinctive sitar part to this track. Propelling the groove, Bill Wyman played the pumping bass line by laying on the studio floor, hitting organ bass pedals with his fists, and then doubling that part on the bass guitar. Note: The original recording was subject to tape speed manipulation and the sounding key is in the crack between E minor and F minor. Video evidence of Keith Richards with a capo at the 2nd fret indicates the original key was E minor.Įight classic Stones songs with full bass TAB.
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