The sitar was certainly one, on which he received some tutelage from Harihar Rao, an acolyte of Ravi Shankar. Then, there’s the subtle percussion in the background, probably another Jones addition actually are those castanets? Their insect-like clicking make for a singularly disturbing texture that adds to the unsettling nature of this song.Īs for that sitar part, Brian Jones had been interested in exotic instruments for a while, adding many non-traditional pop song textures to Stones tracks by this time. The production on the song, credited to then-manager Andrew Loog Oldham but more likely thanks to de facto musical director Keith Richard(s), makes the whole thing sound subterranean, as if singer Mick Jagger’s voice is coming from inside his own head. Brian Jones’ sitar contribution aside for the moment, Charlie Watts’ drumming deviates from his normally crisp snare-work and becomes all about the echoey toms that make the whole thing sound downright primitive. The joys and wonders in “Paint It Black” are so numerous, and it’s hard to even know where to start. But this is something completely other, catching the band at a time when they were taking it up to another level entirely, artistically speaking. The band had always been interested in the blues since they began, of course. Instead, it plumbs the depths of existential despair in a more European take on the theme “I got the blues”. Here, those risks certainly pay off, with few records sounding like this one at the time. Thematically too, this is not your standard “my baby left me” song. Their singles and albums were meant to be artistic statements as well, meaning that more stylistic risks were being taken in their creation. Like many of their peers by 1966, the Stones were moving away from the idea of a record being strictly a commercial product.
It also was a time when the dynamics within the band were shifting greatly, and not completely comfortably, either. Of course, this song also caught the band at a crucial point in their career, reaching new compositional heights. But there’s so much more happening around it so as to make that part just one of many important aspects of this song, which seemed to foresee post-punk even before the word “punk” was applied as a musical term. Sure, there’s that undeniable sitar part. This song by the Stones remains to be one of the most sonically varied and innovative tracks in their now very extensive catalogue. In North America, it was added to a modified version of the record as the opening track. It’s “Paint It Black”, a number one record released as a stand-alone single in the UK in May of 1966 as the harbinger to their landmark LP Aftermath. If you were to drop this quote at a dinner party, would you get an in-unison "ato this track by London R&B quintet you wouldn’t let your daughter go out with, The Rolling Stones.
There is a 2006 novel called Paint it Black by Janet Fitch.Irish rock legends U2 did a cover of the song as a special B-side in 1991.This song is one of the Rolling Stones' most popular so you've probably heard it when your aunt or uncle switched over to the classic rock station on a long road trip. Because everyone deserves a happy ending.Īlso there's a sitar in the song-which is easily the most underrated instrument, and the best part of this 60s rock classic. This is why the intro is sad and moody before erupting into a guitar riff from Richards. Songwriters Mick Jagger and Keith Richards (who is Captain Jack Sparrow's dad) actually wrote "Paint It Black" about depression and the colors it evokes. We're really surprised that Home Depot or Ikea hasn't licensed it for one of their ads yet. "Paint It Black" is definitely the definitive song about home remodeling. This line was sung by the Rolling Stones in the song "Paint It Black," written by Keith Richards and Mick Jagger, on the album Aftermath (1966). Freedom Dreams The Rolling Stones Imagination Art Music Context
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