Gimme Shelter
Merry Clayton's voice cracking on "murder" is the sound of the sixties ending, mid-take, in one syllable.
Merry Clayton's voice cracking on "murder" is the sound of the sixties ending, mid-take, in one syllable.

Hendrix took Dylan's parable and lit it, and Dylan has played it Hendrix's way ever since.

Strummer borrowing the BBC's wartime call sign to announce the end of the world, and sounding thrilled about it.
Osbourne heard Iommi's riff and called it a big iron bloke walking; Butler built the science fiction around that.

A Leslie speaker gives the guitars their swirl, and Cornell built the title from a misheard news broadcast.

Simone learned it at her mother's revival meetings and stretched it past ten minutes of piano vamp and handclaps.

Fogerty wrote it after a hurricane scene in a 1941 film, then set the apocalypse to a cheerful rockabilly stomp.
Piano and Bill Peterson's flugelhorn, cut at Young's Topanga home studio, written for a Dean Stockwell screenplay.

A dream about a party where every guest had Lenny Bruce's initials, sped into Document's headlong disaster list.
Two days on a dance version, scrapped for synth pads and a Cold War fear of growing old.

Producer Hugh Jones talked Grey out of shouting, and the nuclear-apocalypse lyric arrives as the warmest chorus of 1982.