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“Gimme Shelter” is the opening track of the Rolling Stones’s 1969 album Let It Bleed (where it was actually spelled “Gimmie Shelter”, but the more accurate spelling was adopted afterwards).

It paints a bleak world view inspired by the Vietnam war, as put by Mick Jagger:

“Well, it’s a very rough, very violent era. The Vietnam War. Violence on the screens, pillage and burning. And Vietnam was not war as we knew it in the conventional sense. The thing about Vietnam was that it wasn’t like World War II, and it wasn’t like Korea, and it wasn’t like the Gulf War. It was a real nasty war, and people didn’t like it. People objected, and people didn’t want to fight it…” As for the song itself, he concluded, “That’s a kind of end-of-the-world song, really. It’s apocalypse; the whole record’s like that.”

However, the song’s inspiration was not Vietnam or social unrest, but Keith Richards seeing people scurrying for shelter from a sudden London rainstorm.
“I had been sitting by the window of my friend Robert Fraser’s apartment on Mount Street in London with an acoustic guitar when suddenly the sky went completely black and an incredible monsoon came down. It was just people running about looking for shelter — that was the germ of the idea. We went further into it until it became, you know, rape and murder are ‘just a shot away’.”

The female vocals were sung by session singer Merry Clayton. Jagger explained in the 2003 book According To… The Rolling Stones:

The use of the female voice was producer Jimmy Miller’s idea. It would be one of those moments along the lines of ‘I hear a girl on this track – get one on the phone.’ Clayton, pregnant at the time, reportedly suffered a miscarriage soon after the session.

On the 1969, 1972 and 1975 U.S. tours as a straight ahead hard rock song without female accompaniment, it didn’t return to the setlist until 1989 when Clayton’s vocal turn usually went to Lisa Fischer. The 50th anniversary tour had some special appearances by Lady Gaga (New Jersey), Florence Welch (London) and Mary J. Blige (also London). Grace Potter also had the honors in 2015.

U.S. President Barack Obama told Rolling Stone in an interview while campaigning for his first term that the Stones were one of his musical heroes (along with Stevie Wonder) and “Gimme Shelter” was his favourite Stones song.

Gimme Shelter* is also the title to the Maysles brothers' 1970 documentary film of the Stones' 1969 U.S. tour climaxing with the infamous Altamont concert near San Francisco.

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Track #4 on Fiona Apple’s fourth studio album The Idler Wheel Is Wiser than the Driver of the Screw and Whipping Cords Will Serve You More than Ropes Will Ever Do.

While chatting with Interview Magazine, Fiona explained that the song is named after Jonathan Ames, the American author and screenwriter she dated:

I did that because Jonathan likes his name to be spoken. He pisses me off in so many ways, but I’m still very close with him. I felt like he deserves to have a song with his name in it.

In an interview with Pitchfork, Fiona added:

I had come to New York for three months to write and to take a visual perception class at the New School. I was at the piano and I started writing a musical piece that reminded me of Jonathan because he is so extreme in some ways. He is just so hilariously quiet on a day-to-day basis, but when he’s on stage or excited with a group of people, he’s just embarrassingly bombastic. So I was like, “Hey, I’m writing this music and it reminds me of you,” and he was like, “Does it have my name in it?” I thought, “I’ll do that for him.” But then we broke up.

About the song’s instrumentation, Fiona told Pitchfork:

On the first night of recording with Charley Drayton, we walked by this bottle-making factory. The door was open and you could hear a machine running. We both had our recorders with us and we agreed that the sound would be good for the song “Jonathan”. Juan, the guy working the night shift at the factory, let us walk through and record the sound of the machine.

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Jonathan might like to take care of someone who is “capsized” – sunk, wrecked, or sinking.

But Fiona has stated that she simply enjoys seeing what he is up to- “watching him live”.

It might also mean that she thinks he wants to help or take care of her, something she has complained of in the past. For example in “Limp” she is angry with a lover, saying:

You wanna lick my wounds, Don’t you, baby?
You want the badge of honor when you save my hide

In keeping with the theme of a ‘capsized ship’ being a ‘sunk, wrecked, or sinking’ person - Fiona may be describing herself as a capsized ship. He wants to help her out – she is floundering. She is saying “no, I’m a lost cause – I’m going under – I want you to go on and live – that will make me happy.”

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Fiona is accepting the fact that her lover Jonathan has slept with another woman because it made him who he is: someone Fiona loves – perhaps his past relationships made him a better man.

Fiona also accepts that Jonathan has had past relationships with other women (‘she’) and as this has shaped who he essentially is in terms of his romantic life, Fiona can deal with the past women in his life as they are important to who he is to Fiona.

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Emotions are like a sea – sometimes peaceful and tranquil, but sometime love sprouts up like a volcano.

If in the first verse she compares her lover’s attacks to those of a werewolf and a shark, but then admits to having 50% of the blame for their fights, here she is actually blaming herself the most.

She is the lava that shot up (notice how she emphasizes) HOT from under the sea. He is the water of the ocean that actually cooled her down. He was able to stabilize her and create something out of her emotional mess by simply isolating her into an island and moving on away from her.

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The man of Apple’s desire changed from being good to bad the second he met her.

The word “whiff” also ties back to the previous verse of Apple comparing her man to sharks and werewolves – sharks and werewolves track down their prey with their strong sense of smell.

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This is Apple’s way of saying that there’s nothing wrong with sorrow or suffering – often, artists who utilize these emotions write some of the best music.

…not to mention that her relationship is ending on a sad/sour note, as does the song itself.

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Track #6 on Fiona Apple’s fourth studio album The Idler Wheel Is Wiser than the Driver of the Screw and Whipping Cords Will Serve You More than Ropes Will Ever Do.

As Pitchfork pointed out, “Werewolf” is “a cathartic lyrical heave that prods your demons and demands you confront them.”

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“In the Aeroplane Over the Sea” is widely considered to be written about Anne Frank due to lyrics seemingly alluding to her, such as lines referring to her birth and death dates. Though the group has never officially stated that the album is indeed about Frank, it is a popular theory among fans, and Jeff Mangum has mentioned the influence her diary, The Diary of a Young Girl, has made on his craft and outright referred to “Holland, 1945” being about her while performing live.

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“Sell the kids for food” brings to mind a state of extreme famine. If the crop was bad in summer you might starve in winter. “Weather changes moods”, shows that the time of famine is over. When spring comes, it’s time for harvest and there’s usually celebration.

“Spring is here again / reproductive glands” is a straightforward reference to how the prettiest part of springtime – blooming flowers – is really just a bunch of plants exposing their reproductive glands.

Alternately, This verse is possibly a comment on Cobain’s tough upbringing. He believed his parents didn’t care about him (“sell the kids for food”).

Additionally, Kurt’s mother has changed her loyalties as in ‘weather changes moods’. Suddenly she’s ‘young’ again, and Kurt exposes the falseness of this with the ironic lines ‘bruises on the fruit’, ‘tender age in bloom’. Finally, the conflict between his mother as his loving parent and her concealed identity as a sexual being is crystallized in the lyric ‘reproductive glands’.

Kurt also uses a technique called CUT-UP… copied from the author of the lunch naked William Burroughs.

Sell the kids for food [Verse 1]
We can have some more [Verse 2]

Weather changes moods [Verse 1]
Nature is a whore [Verse 2]

Spring is here again [Verse 1]
Bruises on the fruit [Verse 2]

Reproductive glands [Verse 1]
Tender age in bloom [Verse 2]

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