“Street Fighting Man” by the Rolling Stones is more than just a rock song; it’s a raw and evocative snapshot of the turbulent year 1968. Penned by the legendary songwriting duo of Mick Jagger and Keith Richards, this track captures the zeitgeist of global unrest, from the student protests in Paris to the anti-war demonstrations against the Vietnam War. Recorded across iconic studios in London and Los Angeles during March, May, and July 1968, and produced by Jimmy Miller, “Street Fighting Man” became an instant classic, resonating with audiences then and continuing to do so today.
The song’s journey from conception to iconic status is as unique as its sound. Keith Richards recalls crafting the melody as early as late 1966 or early 1967, even before “Jumpin’ Jack Flash,” but struggled to capture the right sonic texture. The breakthrough came at his Redlands farmhouse in Sussex, England, where the song began to take its distinctive form.
The recording process for “Street Fighting Man” was unconventional and innovative. Necessity became the mother of invention when Richards, seeking a specific distorted acoustic sound, turned to a humble Philips cassette recorder. “The basic track of that was done on a mono cassette with very distorted overrecording, on a Phillips with no limiters,” Richards explained. This lo-fi approach, born out of experimentation, became a defining characteristic of the song’s gritty texture. Adding to the unique sonic palette was Brian Jones’ sitar, which, as Richards noted, “twangs away” and holds notes that might have been lost with standard recording equipment.
Charlie Watts’ contribution was equally pivotal. He played a vintage 1930s London Jazz Kit Set, a toy drum kit he discovered in an antique shop. This miniature kit, designed for portability, ironically produced a massive drum sound. “When you’re recording, the size of things has got nothing to do with it. It’s how you record them,” Richards emphasized. Watts himself described the kit as having “drums…like small tambourines with no jangles,” and a snare drum with a “really thin skin.” This setup allowed for an intimate recording environment, with Watts close to Richards and his acoustic guitar, resulting in a powerful and direct sound.
The song’s structure is layered and complex, despite its raw feel. Richards detailed the guitar work: “On Street Fighting Man there’s one 6-string open and one 5-string open. They’re both open tunings, but then there’s a lot of capo work. There are lots of layers of guitars on Street Fighting Man. There’s lots of guitars you don’t even hear. They’re just shadowing.” This intricate layering, along with Nicky Hopkins’ piano and Dave Mason’s later additions of bass drum and shehnai, created a rich tapestry of sound that belies the song’s seemingly simple origins.
Lyrically, “Street Fighting Man” is a direct response to the political and social upheavals of 1968. Mick Jagger penned the words amidst the backdrop of protests in Paris and London, reflecting a generation’s growing unease and desire for change. “It was a very strange time in France. But not only in France but also in America, because of the Vietnam War and these endless disruptions,” Jagger recalled. The lyrics capture this sense of unrest: “Everywhere I hear the sound of marching, charging feet, boy / Cause summer’s here and the time is right for fighting in the street, boy.”
However, the song is not a straightforward call to arms. The famous lines, “But what can a poor boy do / Except to sing for a rock & roll band?” highlight a sense of powerlessness and perhaps even irony. Jagger himself explained in 1969, “The song itself is the only thing that has to do with street fighting.” Keith Richards echoed this sentiment, stating in 1969, “We’re not saying we want to be in the streets, but we’re a rock and roll band, just the reverse… Politics is what we were trying to get away from in the first place.”
Despite its nuanced message, “Street Fighting Man” was met with controversy. Some American radio stations, notably in Chicago, banned the song, deeming it subversive. Richards responded in 1968, “They told me that Street Fighting Man was subversive. Course it’s subversive, we said. It’s stupid to think that you can start a revolution with a record. I wish you could!” Jagger also addressed the ban, stating in 1968, “They told me that Street Fighting Man was subversive.”
Looking back, Jagger reflected on the song’s context in 1995: “There was all this violence going on. I mean, they almost toppled the government in France.” He also expressed uncertainty about its contemporary relevance: “I don’t know if it really has any resonance for the present day. I don’t really like it that much.” Yet, “Street Fighting Man” remains a staple in The Rolling Stones’ live performances, a testament to its enduring power and connection with audiences across generations.
Ultimately, “Street Fighting Man” is a fascinating example of how a song can capture a specific moment in time while transcending it. Its unique recording process, driven by experimentation and happy accidents, combined with lyrics that reflect the anxieties and ambiguities of 1968, have cemented its place as a cornerstone of rock and roll history. For Keith Richards, “Street Fighting Man” represents a pivotal moment: “Street Fighting Man was the first time I had a sound in my head that was bugging me. That would happen again many times, of course, but after that song I knew how to deal with it.” It’s a song born from creative vision and technical innovation, forever echoing the sounds of a revolutionary era.
