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"Paint It Black" [a] is a song by the English rock band the Rolling Stones. A product of the songwriting partnership of Mick Jagger and Keith Richards , it is a raga rock song with Indian, Middle Eastern and Eastern European influences and lyrics about grief and loss.
That same year, Brian Jones of the Rolling Stones used a sitar on "Paint It Black", [35] while another English guitarist, Dave Mason, played it on Traffic's 1967 hits "Paper Sun" and "Hole in My Shoe". [36] These and other examples marked a trend of featuring the instrument in pop songs, which Shankar later described as "the great sitar explosion".
1968-1969 – Gretsch “Name Band” outfit in “black nitron” finish. 22" bass drum, 13" tom, 16" floor tom with 5x14 Ludwig “Supraphonic” snare drum. This drum set was debuted on the David Frost Show in November, 1968 during the band's performance of Sympathy For The Devil and would later be used on The Rolling Stones Rock and Roll ...
Ravi Shankar, a master of the instrument, was the first to make inroads into Western culture with the sitar.. While the sitar had earlier been used in jazz and Indian film music, it was from the 1960s onwards that various pop artists in the Western world began to experiment with incorporating the sitar, a classical Indian stringed instrument, within their compositions.
After 50 years of proving themselves as songwriters whose catalog reaches far beyond the Delta Blues, the Stones went back to the music that started it all with their first full-on covers album ...
Their sound was much heavier than that of the original group, with Burdon screaming more and louder on live versions of "Paint It Black" and "Hey Gyp". By 1968, they had developed a more experimental sound on songs such as " We Love You Lil " and the 19-minute "New York 1963–America 1968" from the album Every One of Us .
Summarising Aftermath ' s impact in 2017, the pop culture writer Judy Berman describes "Paint It Black" as "rock's most nihilistic hit to date" and concludes that, "with Jones ditching his guitar for a closetful of exotic instruments and the band channelling their touring musicians' homesickness on the record's 11-minute culminating blues jam ...
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