Tag Archive: groupie


Bricks, Pt. 3

In the middle of the first side of The Wall, there’s an interlude of sorts that explores the culture change that WWII created in Britain. “Goodbye Blue Sky” is creepy and relaxing all at once, soft and lilting with the threat of crushing death always on the horizon. It matches what the citizens of the UK must have been feeling (and the entire Allied world, really); there is a force that threatens not only how we die, but how we live. Which is worse – death or domination?

In the production of The Sandbox that I directed in college, I wanted to use “Goodbye Blue Sky” as one of the songs that the Musician plays, but my friend Mike (who played the Musician) advised against it. The song’s in drop-D tuning, and all the other songs I had picked were in standard tuning, so he would have to switch guitars, which would be cumbersome for him and distract from the main action of the play. It’s disappointing, though, since “Goodbye Blue Sky” fits precisely with the theme of death that I was trying to bring out in The Sandbox. But in the end, “Stairway to Heaven” worked just as well…

After that interlude, the album segues into “Empty Spaces,” another creepy tune that starts the exploration of Pink’s distance from his wife. She’s the first person he feels disconnected from, and that burgeons into a disconnect from the entire world. “Empty Spaces” also asks a question in the lyrics: “How should I complete the wall?”

Having lived through a fatherless childhood, torturous schooling and a smothering mother, the grown-up Pink has been bruised and scarred by the time he eventually marries. We’re given very little information about his wife, who like his parents and everyone else in the story lacks a name. But what we do know is that she cheats on him. For the purposes of understanding Pink’s psyche (or psychosis…), that’s enough.

“Young Lust” tells a story in general terms that is all too familiar to anyone who’s even dipped a toe in the world of rock and roll stardom. As long as there have been male performers anywhere in the music world, there have been girls willing to throw away every scrap of morality and restraint in order to be close to them. As long as there have been rock stars, there have been groupies.

Besides being one of The Wall’s heaviest and loudest tracks, its lyrics also have a visceral, blood-based nature, the verbal representation of a biological urge. Due to the first-person voice of the lyrics, one would think Pink himself is singing these words, but I’m not so sure. Roger Waters sings Pink’s parts all through The Wall, but “Young Lust” is sung by David Gilmour alone. In addition, it’s a very active song;  “Young Lust” makes things happen, and Pink only tells of things that happen to him; the whole time, he just says “look what they’ve done to me?” and never “what have I done?”

At the tail end of “Young Lust,” there’s a phone booth conversation in the background that goes like this:

Man: Hello?

Operator: Yes, collect call for Mrs. Floyd from Mr. Floyd. Will you accept the charges from United States?

[CLICK]

Operator [presumably to Pink]: No, he hung up. Is this your residence? …I wonder why he hung up! There must be someone there besides your wife to answer!

[REDIAL]

Man: Hello?

Operator: This is United States calling. Are we reaching–

[CLICK]

Operator: See, he keeps hanging up! It must be the maid answering!

It doesn’t take a genius to sort it out, and Pink does – his wife is cheating on him. Pink takes a groupie up to his hotel room, but instead of sleeping with her, he just sits down, turns on the TV and completely ignores her. For the first part of “One of My Turns,” the music is near-beatless with words that are barely more than a whisper. Then it suddenly switches from tightly wound to letting loose. Pink is angrily and without explanation trashing his hotel room, breaking everything in sight and scaring the living crap out of that groupie.

With “One of My Turns” and the song right after it, “Don’t Leave Me Now,” Pink is nearly finished with his retreat behind this wall he’s constructed. Throughout both songs, Pink is talking to his wife in second-person, using this random groupie as a stand-in for her. He goes apeshit on the hotel room and then spirals into a pit of despair over being abandoned by his wife, who is really that groupie getting the hell out of there. There’s a very subtle hint of physical abuse in the relationship of Pink and his wife, so subtle it probably blows past a lot of people.

I need you, babe / To put through the shredder in front of my friends! / Oh, babe!

There’s also:

How could you go / When you know how I need you / To beat to a pulp on a Saturday night! / Oh, babe!

The comes a repeated crashing sound, which is Pink taking his guitar to the TV screen, and then the final refrain of “Another Brick In the Wall.” It’s loud and chaotic, Pink’s breaking point with his wifely frustrations. And he decides he doesn’t need “anything at all.”

With that, the wall is complete and Pink bids farewell to the world of human emotions with “Goodbye Cruel World.” That’s the end of the first half of The Wall, too, and from then on we see how this world looks through the eyes of someone who doesn’t have a conscious.

Next: the crazy diamond rides again.

“hey baby… wanna see my guitar pick?”

Beggars Banquet starts with a narrative from Satan, sort of an invocation of the devil. Then there’s a song about “fighting in the streets,” just the type of violent chaos that would tickle Lucifer pink. A little later, we get what I think is one of the places you can see the influence of Satan most clearly, or at least is one of the human enterprises that most makes him quiver with delight.

“Stray Cat Blues” is a deliciously sleazy song, crawling with decadence and sexual debauchery. It’s about a rock musician who has sex with an admittedly underage groupie, and considers it “no hanging matter” and “no capital crime.” It’s spoken in the second person from the rock star to the girl. Now, it’s not a story of the two having sex, and then the rock star finding out after the fact that the girl lied about her age, the rocker regretful that he’s landed in jail. The fact that the girl is only 15 is out in the open. It ups the sleaze to about five times its normal amount.

Mick Jagger, while no doubt having had a very similar experience (probably multiple times), was writing this song as a reaction to all the puritanical parents who were sure that the Rolling Stones were a bad influence on their impressionable teenage daughters. He was going, “yeah, well how ‘bout this?”

He might also have been making a comment on the true nature of those teenage girls, which was very different that the picture their parents had of them (“I bet your mama don’t know you can scream like that!”). According to the theory, teenager’s hormones are spewing all over the place in a confused, chaotic mess; all it takes is the tiniest catalyst to make a girl completely ditch all her morals (if she even had any). Enter Mick. She goes to a show, she meets him, and stuff just happens. According to the narrator, whose fault is it really?

Here’s my position. If you want to have sex with someone, that’s human. If you’re not in a very committed relationship with them (i.e. married), that’s unwise. If you’re both underage, that’s normal, but still unwise. If she’s underage and you’re not, that’s Creepy McCreeperson! If you actually have sex with that underage girl, then congratulations; you’re a child molester. And if you don’t already, you should know that it’s punishable by law.

“Stray Cat Blues” is nothing more (and doesn’t pretend to be anything more) than an example of a child molester molesting a child. It’s a down-and-dirty blues song about a down-and-dirty subject, one blues music has explored before. The lyric “it’s no hanging matter” proves that he really is a pedophile in the diagnosable, “something is psychologically wrong” way. Not only does he regularly do something that any rational person would consider morally wrong, but he doesn’t see the wrong in it.

Alternatively, he may be saying the “it’s no capital crime” thing to the girl herself. It fits right in with the all-too-common cliché of talking circles ‘round the girl ‘til she’s too confused to resist. “C’mon, baby, I know you want to” and “you love me, don’t you?” become “she was begging for it” and “she got what she deserved” after the fact. It’s all there in “Stray Cat Blues.”

For the live performance on Get Yer Ya-Yas Out!, Mick makes it even more provocative by changing the groupie’s age to 13. The tune rocks hard and has a better groove than most of the Stones material over 4 decades, but you sometimes feel like you need a shower after listening to it.

Tomorrow the conclusion of Beggars Banquet.