This song deals with civil unrest in Europe and America in 1968. There were student riots in London and Paris, and protests in America over the Vietnam War. The specific event that led Mick Jagger to write the lyric was a demonstration at Grosvenor Square in London on March 17, 1968. Jagger (along with Vanessa Redgrave), joined an estimated 25,000 protesters in condemning the Vietnam War.
The demonstrators marched to the American embassy, where the protest turned violent. Mounted police charged the crowd, which responded by throwing rocks and smoke bombs. About 200 people were taken to the hospital and another 246 arrested. Jagger didn't make it to the embassy: before the protest turned violent, he abandoned it, returning to his home in nearby Cheyne Walk. Jagger realized that his celebrity was a hindrance to the protest, as his presence distracted from the cause.
This was the first Stones song to make a powerful political statement, although with an air of resignation. Jagger opens the song declaring "the time is right for fighting in the street," but goes on to sing, "But what can a poor boy do, 'cept sing in a rock and roll band."
This sense of hopelessness in the face of atrocity may be why the Rolling Stones became apolitical, focusing their efforts on songs about relationships and rock n' roll. In the process, they became very rich and beloved by members of all political persuasion.
In the US, this was released as a single on August 31, 1968, just a few days after the Democratic National Convention, which took place August 26-29. The convention was marred by violence, as Chicago police clashed with protesters. When the song was released, every radio station in Chicago (and most in the rest of the country), refused to play it for fear that it would incite more violence. There was no official ban in America or Chicago, but stations knew it was in their best interest to shun the song, which accounts for its meager chart position of #48.
Mick Jagger later said: "The radio stations that banned the song told me that 'Street Fighting Man' was subversive. 'Of course it's subversive,' we said. It's stupid to think you can start a revolution with a record. I wish you could!"
Keith Richards started developing this song in late 1966, but had a hard time getting the sound he was after. The breakthrough came when he bought a Philips cassette recorder and realized he could get a dry, crisp sound by playing his acoustic guitar (a Gibson Hummingbird) into it, which he could then distort by playing it back through a speaker and into a studio recorder. The only electric instrument on the entire song is the bass.
The original title of this song was "Did Everybody Pay Their Dues?" It had completely different lyrics and therefore altogether a different and rather strange meaning, with Jagger singing about an Indian chief and his family. The music however was basically the same (slightly alternative mixes exist), but the lead guitar over the chorus was omitted on the final mix of "Street Fighting Man." Fairly listenable versions have appeared on various bootlegs.
Suggestion credit: Christopher - Vienna, Austria
Keith Richards created a distinctive guitar sound on this track using a technique he also used on "Jumpin' Jack Flash," where his acoustic guitar was overdubbed several times. Said Richards: "'Street Fighting Man' was all acoustics. There's no electric guitar parts in it. Even the high-end lead part was through a cassette player with no limiter. Just distortion. Just two acoustics, played right into the mike, and hit very hard. There's a sitar in the back, too. That would give the effect of the high notes on the guitar. And Charlie was playing his little 1930s drummer's practice kit. It was all sort of built into a little attaché case, so some drummer who was going to his gig on the train could open it up - with two little things about the size of small tambourines without the bells on them, and the skin was stretched over that. And he set up this little cymbal, and this little hi-hat would unfold. Charlie sat right in front of the microphone with it. I mean, this drum sound is massive. When you're recording, the size of things has got nothing to do with it. It's how you record them. Everything there was totally acoustic. The only electric instrument on there is the bass guitar, which I overdubbed afterwards. What I was after with all of those - Street Fighting Man, Jumping Jack Flash - was to get the drive and dryness of an acoustic guitar but still distort it. They were all attempts at that."
Dave Mason did session work on this track. He played the shelani, an Indian reed instrument, which comes in near the end of the song. Mason went on to form the group Traffic, and has played guitar on albums by Jimi Hendrix, George Harrison, Paul McCartney and Fleetwood Mac.
Mick Jagger said of this song: "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.... I wrote a lot of the melody and all the words, and Keith and I sat around and made this wonderful track, with Dave Mason playing the shelani on it live. It's a kind of Indian reed instrument a bit like a primitive clarinet. It comes in at the end of the tune. It has a very wailing, strange sound."
Suggestion credit: Bertrand - Paris, France
This was recorded on an 8-track machine with one track devoted to the cassette recording Richards and Watts made together. Richards added more acoustic guitar on another track, Watts put some bass drum on another, and the rest were filled out by Jagger's vocal and the other instruments: Jones on sitar and tamboura, Dave Mason's shehnai, Nicky Hopkins on piano and Richards on bass because Bill Wyman wasn't around. There is a great deal of stereo separation in the mix.
In the US, the single was originally released with a picture on the sleeve of police beating protesters in Los Angeles. The music was different on this version, with different vocals and more piano. This single was quickly pulled by the record company and is now a rare collectors item.
The studio recording, with acoustic guitars and sitar, is impossible to replicate live, but the group came up with an electric arrangement that packed plenty of punch when they performed it. The song remained a concert favorite throughout their run.
The Stones released this the same month The Beatles came out with "Revolution," which was their first blatantly political song.
A number of sources claim that this song was inspired by the radicalism of a young student leader Tariq Ali, who was active in revolutionary socialist politics in Britain in the late '60s. In an interview with the April 19, 2007 edition of the Galway Advertiser, Ali, who is now a writer and filmmaker, confirmed this. "Yes, its true. Jagger was/is an artist. He writes and sings what he wants."
In the UK, this wasn't released as a single until July 1971, but it still made a strong showing on the chart, reaching #21.
Rod Stewart covered this on his 1973 album Sing It Again Rod. Rage Against The Machine covered it on their 2000 album Renegades.
Suggestion credit: Rudi - Melbourne, Australia
Mick Jagger said in 1995: "I'm not sure if it really has any resonance for the present day. I don't really like it that much. I thought it was a very good thing at the time. There was all this violence going on. I mean, they almost toppled the government in France; De Gaulle went into this complete funk, as he had in the past, and he went and sort of locked himself in his house in the country. And so the government was almost inactive. And the French riot police were amazing. Yeah, it was a direct inspiration, because by contrast, London was very quiet."
Suggestion credit: Bertrand - Paris, France
Engineer Eddie Kramer recalled to Uncut in a 2016 interview: "The beginning of Street Fighting Man? My recollection is that Jimmy Miller brought in a Wollensak - a cassette machine with one mic built in - stuck it on the floor, pressed 'Record' and the band just make a circle round it. And that was the basic track. Now, of course, Keith says it was his idea and his tape machine, but I don't remember it that way."
Keith Richards lists this among his favorite Rolling Stones tracks, and feels the message rings true. "When people feel that mad about the way they're being run, you should go to the streets," he said. "America wouldn't be here if it wasn't for people going to the streets."
Neal from Redmond WaSongFacts states above, “In the US, the single was originally released with a picture on the sleeve of police beating protesters in Los Angeles. ... This single was quickly pulled by the record company and is now a rare collectors item.”
There is no evidence that the “single” was pulled from release. In fact, "Street Fighting Man" reached #30 on the Cash Box Top 100, a more reliable indicator of actual sales than the Billboard Hot 100. Today, copies of the record are common and easily purchased on the Internet.
The picture sleeve, however, is another story: apparently it was never released commercially. The powers-that-be at London Records ordered it destroyed prior to release. A few copies escaped the shredder and are among the most valuable rock & roll collectables of the '60s, selling for thousands of dollars in almost any condition.
The single was also issued in several other countries with picture sleeves, most of them non-controversial. But Decca of Denmark designed a picture sleeve (Decca F-22825) using the same photo that appeared on the "No Expectations" side of the American sleeve (London 45-909). This is also a rather rare item and sells for hundreds of dollars in collectable condition.
Barry from Sauquoit, NyOn November 13th 1968, the Rolling Stones' Brian Jones purchased the Cotchford Farm* in Sussex, England; it was the former home of 'Winnie the Pooh' author A.A. Milne, and came replete with statues of Pooh characters around the grounds... At the time the Stones didn't have a record on Billboard's Hot Top 100 chart; but during that calendar year they charted twice, "Jumpin' Jack Flash" at #3 and "Street Fighting Man" at #48... * Sadly, just under eight months later on July 3rd, 1969 Mr. Jones would drown in the farm's swimming pool at the young age of 27.
Jpd from Willis, TxThe Stones opened many of their 2004/05 "40 Licks " tour with this song .. in reference to the war raging in Iraq .. which I though was very appropriate.
John from Mulberry, FlThe song was on Rod Stewarts first album, "Gasoline Alley" in the U.S.A. , as Richard mentioned, but when I search for a copy of it on "You-Tube" all I get is ~~~ nothing?
John from Grand Island, NyNHL Buffalo Sabres Theme Song.
Benjamin from Milwaukie (oak Grove), OrA very early take on this song also featured Blind Faith's Ric Grech on violin.
Peter Griffin from Quahog, RiIs it just me, or are there two slightly different sounding versions of this? I have 2 different ones on my 2 MP3 players! One sounds rather dated like it came genuinely off the vinyl, the other sounds like it's been remastered. Hmm...
Sam from Seattle, WaDoes anyone else notice a "clicking" noise in the Rage Against the Machine cover?
Paul from Cincinnati, OhThat's pretty amazing that just in 5 years this song went from something that was banned from some radio stations to something that was covered by Rod Stewart.
Aaron from Chicago, Ilwhen this song is played at the end of "V For Vendetta" i nearly cried in the theater.... it was so beautiful. so poetic. and it kicks in right at the end of one of most poetic scenes in history of film making (or atleast i think so lol) just perfect
Gary from Ny, Nythis was the first stones song in which keith uses open tuning---which by the way is fun to play
Joshua from Twin Cities, MnThis song appears as the end-credits music for the 2006 comic-book-adaptation movie V for Vendetta.
Joshua from Twin Cities, MnWhoops: "The lyric is actually "...*fighting* in the street", of course. I cut-and-paste from the page for Bruce Springsteen's "Racing In The Street", which borrows the same line from Martha and the Vandellas.
Joshua from Twin Cities, MnThe second line of the first verse is a takeoff on Martha And The Vandella's "Dancing In The Street": "Summer's here and the time is right for racing in the street." Ironically, in 1985 Mick Jagger would cover "Dancing In The Street" with David Bowie.
Rick from San Juan, United StatesThe picture sleeve for the London 909 U.S. single is extremely rare. It's value is estimated at $10,000.00 on Joel Whitburn's "Top Pop Singles" 2002 edition.
Chester from Port Townsend, WaI'm posting this to clear up the facts about the "Street Fighting Man" picture sleeve mentioned a few times above. There is so much misinformation about it AND the song that I thought I would pass on the research I've done using a powerful magnifying scope and a broad, longterm research project about this and other protest songs from that era.
First - the pictures on the sleeve........they are taken from the Hollywood Strip riots in Los Angeles in late 1966. A magnified examination of the the cops uniforms and unit patches reveals that they are from the Los Angeles County Sheriffs Department. There is at least one California Highway Patrolman as well. In the picture on the front of the sleeve there are a couple of "protest" signs visible - these are protesting the halting of the kids congregating on the "Strip" not the Vietnam War. In fact, most Vietnam war protests during the 60's were relatively peaceful up until the debacle at Kent State in 1970. The picture on the back is emblematic of who was engaged in these "riots" - the young man and the woman are not dressed for a protest but for a night out on the town (along with the thousands of other kids the cops were trying to drive away from the street!). BTW - Stephen Stills wrote the definitive song about the Strip riots, "For What it's Worth", a hit for Buffalo Springfield in 1967. Brian Jones plays tamboura and sitar on the 45 and he taught the open tuning to Keith that he uses on his acoustic guitar. Since "SFM" was recorded in March 1968 it probably wasn't written as a result of the London riots at the US Embassy later that month. Keith and Charlie had the basic guitar/drum riff down for the tune (as "Everybody Pays Their Dues") before they ever went into the studio - the tune was more probably inspired by the huge student riots in Paris the year before - events that shook all of Europe and were much in the news in the UK.
Liam from Campbell River, CanadaMotley Crue recently covered this on their latest album
Logan from Abilene, TxHere's the details on the guitar sound, taken from Guitar World Acoustic: Richards used a cheap cassette recorder with a wired microphone, which he dropped in the soundhole of his Gibson Hummingbird acoustic. He then overloaded the input stage of the recorder to get an overdriven sound, but with the dryness of an acoustic tone. This song was also recorded in an alternate tuning, Open D (low to high, D A D F# A D), which is a common tuning for blues slide guitarists.
Phil from Rochester, NyI think Stewart's version stinks. The Stones should steal "Maggie May" as recompense.
Rudi from Melbourne, Australiarage against the machine covered it on renegades.
Richard from St. Louis, MoRod Stewart covered it as his first song on his first album, the rod stewart album in the states and as an old raincoat wont ever let you down in Brittan.
It features a distorted accoustic guitar Richards got when he miced his accoustic with a cheap tape recorder. it talks about this in Guitar player magizine...I give more details when I find the issue.
Simon from Newcastle, Englandcovered by oasis and released as a b side to "all around the world" in 1998