286
GEOFFREY
CANNON
at its greatest strength, made social and therefore inexhaustible espe–
cially by Mick Jagger. The special quality of rock music rhythm,
when it is most dynamic,
is
to jam, and so distance and fade, all
the sensations that otherwise crowd us, so that in the midst of the
beat our minds are concentrated. When it works, this beat is com–
parable with the carrier wave necessary for broadcasting. The Stones'
carrier wave is enomously magnified by their star quality; and they
are unique in making full use of this power in their music. This is
how Jagger, at full volume, makes us experience his sensations,
rather than merely listen to them, and so awaken us to our own
sensations. We are on the carrier wave with him.
It's not in Jagger to abandon his force. But, just as the content
of broadcasting consists in modulating the carrier wave, so, with
Jagger, faced by his knowledge of the fusion of politics and art, the
Question was not: how would he say it? but: what would he say,
in
Be,f!.gar's Banquet?
For the stakes had become so high th3.t coasting was out of the
question: a new album from the Beatles or the Stones had to dampen
or catalyze, and be so seen. And Mick Jagger put himself on the
line, risked his head and created his masterpiece: "Sympathy for
the Devil." Let the music speak.
High-stepping drums, tapped delicately. Then two human cries,
close to a hyena scream. Both echo. With the last, Bill Wyman starts
shaking a vast maraca, sounding like a seeded gourd. The drum–
ming is now faster, with the energy of the added noises. A smaller
cry. Then masculine gasps and panting, as
if
a microphone were
held close to the face of African dancers. Now, wide-spaced piano
chords. Jagger begins insidiously and melodically, setting his voice
up in suave contrast to the spiked music. "Please allow me to intro–
duce myself, I'm a man of wealth and taste." Even at this point,
seconds into a number that lasts over five minutes, there's no doubt
that elemental sensations are in store.
At first, Jagger lets you hear few of his words. Then, in the
first verse, some jump out. "I was around when Jesus Christ . . .
moment . . . pain . . . made damn sure that Pilate . . . hope you
(
guess my name." In the second verse, a switch. The .piano. gains
melody, and the singing becomes jagged. The effect pnckles
III
the
gut. "Stuck around St. Petersburg ... killed the Czar ... screamed
