“Street Fighting Man” by the Rolling Stones is more than just a rock song; it’s a sonic snapshot of 1968, a year of global unrest and social upheaval. Born from the tumultuous events of Paris and London, this track encapsulates the spirit of protest and the innovative recording techniques that defined the Rolling Stones’ groundbreaking album, Beggars Banquet. This deep dive explores the song’s origins, recording process, lyrical significance, and enduring legacy as a quintessential anthem of rebellion.
From Parisian Turmoil to London Studios: The Genesis of a Protest Song
The year 1968 was marked by widespread social and political unrest. The Vietnam War raged, and protests erupted across the globe, most notably the May 1968 events in France. Mick Jagger witnessed these Parisian demonstrations firsthand, drawing direct inspiration for the song’s lyrical themes. As Jagger himself stated, “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.” This global atmosphere of dissent fueled the song’s raw energy and politically charged message.
However, “Street Fighting Man” wasn’t solely a product of lyrical inspiration. Keith Richards had been developing the song’s melody as far back as 1966 or early 1967, even before “Jumpin’ Jack Flash.” He struggled to capture the desired sound, explaining, “I had written most of the melody to Street Fighting Man sometime in late 1966 or early ’67 before Jumpin’ Jack Flash but I couldn’t figure out how to get the sound I wanted.” This sonic quest would lead to an unconventional and revolutionary recording process.
Revolutionizing Sound: The Unorthodox Recording of “Street Fighting Man”
Faced with the challenge of achieving the specific “texture” he envisioned for the song, Richards took the concept to his Redlands farmhouse. The breakthrough came with the use of a Philips cassette recorder. In a move that defied studio norms, Richards recorded the basic track on this mono cassette, intentionally overloading the recording to create distortion. “The basic track of that was done on a mono cassette with very distorted overrecording, on a Phillips with no limiters,” Richards revealed. This lo-fi approach became a defining characteristic of the song’s raw and urgent sound.
Adding to the unconventional recording setup was Charlie Watts’ drum kit. Instead of a standard studio drum set, Watts utilized a 1930s “London Jazz Kit Set,” a miniature practice kit he had acquired from an antique shop. This compact kit, designed for drummers to practice on trains, featured small tambourine-like drums and a fold-up cymbal. Watts recalled, “It was a 1930s toy drum kit called a London Jazz Kit Set, which I bought in an antiques shop, and which I’ve still got at home.” The small size and unique sonic qualities of this kit contributed significantly to the song’s distinctive and powerful rhythmic foundation.
The recording process was a masterclass in sonic experimentation. Richards and Watts initially laid down the track using the cassette recorder and the toy drum kit. They then played back this recording through an extension speaker, miking the speaker to transfer the distorted sound onto an eight-track recorder. This ingenious method allowed them to overdub additional layers, including bass, percussion, and more guitars. “Once Charlie and I had the basic track down, we played back what we had recorded through an extension speaker with a recording mike in front of it,” Richards explained. “We put that track onto an eight-track recorder, which gave us seven additional tracks for overdubbing.”
Further enriching the sonic tapestry of “Street Fighting Man” were the contributions of Brian Jones and Dave Mason. Jones added sitar and tamboura, imbuing the track with an Eastern flavor, while Mason played the shehnai, an Indian reed instrument, adding a unique wailing sound to the song’s outro. Nicky Hopkins’ piano further complemented the arrangement, creating layers of texture and depth.
Lyrical Barricades: Protest and Pragmatism in Jagger’s Words
The lyrics of “Street Fighting Man” are a potent blend of protest and pragmatism. Jagger’s words capture the frustration and energy of the era’s social movements, while also acknowledging the limitations of street action, particularly in the context of “sleepy London Town.” The famous line, “But what can a poor boy do, except to sing for a rock & roll band?” encapsulates this sentiment, suggesting that music, rather than outright violence, might be a more effective form of expression and social commentary.
Initially, the song’s lyrics were different, with an early version titled “Did Everyone Pay Their Dues?”. However, as the socio-political landscape shifted and the events of 1968 unfolded, Jagger rewrote the lyrics to reflect the contemporary atmosphere. Richards recounted this evolution: “Early on, when I had played the tape of my melody for Mick, his lyrics were about brutal adults. We recorded them and called the song,Did Everyone Pay Their Dues? But we weren’t that crazy about the results, and the lyrics underwent several rewrites once we saw what was going on in the streets in London and Paris in 1968…”
While the song was inspired by street protests, Jagger later clarified that it wasn’t an endorsement of violence. He explained, “I don’t think violence is necessary in this society to bring about political change… And that’s what I’m saying in (Street Fighting Man), really. However romantic the notion of manning the barricades may seem…” The song, therefore, functions as an observation and reflection on the turbulent times, rather than a call to arms.
Controversy and Enduring Resonance: The Legacy of “Street Fighting Man”
Despite its nuanced message, “Street Fighting Man” courted controversy upon its release. Some American radio stations, particularly in Chicago, banned the song, deeming it “subversive.” Richards responded to this censorship with characteristic defiance: “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!”
Despite the initial backlash, “Street Fighting Man” has endured as one of the Rolling Stones’ most iconic and frequently performed songs. Its raw energy, innovative sound, and politically charged lyrics continue to resonate with audiences decades later. Charlie Watts noted the song’s enduring appeal, stating, “Street Fighting Man is a funny song to play onstage in an era when you don’t fight in the street anymore. To play the song is fantastic, but the lyrics are very much about the events of 1968 in Paris, which is when Mick wrote it.”
In conclusion, “Street Fighting Man” stands as a testament to the Rolling Stones’ ability to capture the zeitgeist of a generation while pushing the boundaries of studio recording. From its origins in the social unrest of 1968 to its groundbreaking recording techniques and enduring lyrical relevance, the song remains a powerful and innovative piece of rock history, solidifying its place as a cornerstone of the Rolling Stones’ legendary catalog and a definitive anthem of its era.
