SONG
TITLE:
SWEET
LITTLE
SIXTEEN
PERFORMER:
CHUCK
BERRY
SONGWRITER:
CHUCK
BERRY
YEAR
OF
RELEASE:
1958
------------------------------------------------
SONG
TITLE:
HONKY
TONK
WOMEN
PERFORMER:
THE
ROLLING
STONES
SONGWRITER:
JAGGER-RICHARDS
YEAR
OF
RELEASE:
1969
-------------------------------------------
SONG
TITLE:
HONKY
TONK
MAN
PERFORMER:
JOHNNY
HORTON
SONGWRITER:
JOHNNY
HORTON-TILLMAN
FRANKS-HOWARD
HAUSEY
YEAR
OF
RELEASE:
1956
COMMENTS:
Basic
recipe:
blues
shuffle
plus
hedonistic
abandon
and
you
get
rock
and
roll.
Among
others
developing
the
territory
in
the
mid
50s
were
Chuck
Berry
and
Johnny
Horton.
Johnny
Horton
came
into
this
most
obviously
through
the
lineage
of
Hank
Williams.
Hank
beefed
up
the
early
blues
stylings
of
Jimmie
Rodgers
with
harder
rhythms
and
quicker
tempos.
Johnny
Horton
turned
it
fully
electric.
In
terms
of
being
a
barrom
dance
song
for
the
old
jukebox,
"Honky
Tonk
Man"
has
it
over
anything
by
Hank.
Let
that
thought
marinate
for
a
dozen
years,
add
Charlie
Watts,
and
you
get
"Honky
Tonk
Women"
[and
Exile
on
Main
Street]-
another
quantum
leap
in
country
dance
music
technology.
Uncle
Chuck
came
into
this
through
the
Louis
Jordan
side.
To
somewhat
massively
oversimplify
it,
Berry's
basic
style
could
be
thought
of
as
souped
up,
debauched
Jordan.
The
harmless
mild
comic
discontent
of,
say,
the
"GI
Jive"
became
the
amped
up
leachery
of
"Sweet
Little
Sixteen."
Chuck's
song,
by
the
way,
should
qualify
as
the
most
wickedly
sinful
of
all
of
these
-
particularly
considering
that
Berry
was
already
30
something
when
he
wrote
this
lingering,
lovingly
detailed
appreciation
of
an
underage
girl/upcoming
groupie.
Ten
years
of
hard
living
later,
the
burgeoning
16
year
old
slut
of
the
Berry
classic
has
become
Mick
Jagger's
honky
tonk
woman.
She's
way
past
the
coy
flirtations
of
a
supposedly
innocent
schoolgirl.
She's
now
simply
a
"gin
soaked
barroom
queen
in
Memphis."
Berry
commonly
and
rightly
gets
credit
for
being
a
basic
influence
on
the
style
and
sound
of
the
Rolling
Stones.
Less
than
proper
credit
usually
is
given
to
the
importance
of
country
blues.
"Honky
Tonk
Women"
is
Exhibit
A
for
this
influence.
Besides
the
musical
style,
start
with
the
title.
He's
heading
for
a
white
working
class
honky
tonk,
not
a
trendy
London
discotechque.
The
root
difference
between
the
emotional
impact
of
"Honky
Tonk
Women"
and
"Honky
Tonk
Man"
and
indeed
between
rock
and
roll
and
country
comes
from
the
sense
of
consequences.
After
a
good
reckless
binge,
Johnny
knows
he's
going
to
run
out
of
money,
and
sucking
up
to
the
old
lady
still
sitting
back
home.
Likewise,
even
in
the
moment
as
Hank
was
"Settin'
the
Woods
on
Fire"
he
knew
that
"tomorrow
morning
I'll
be
right
back
plowing."
You
could
also
run
that
forward
through
Steve
Earle's
"Week
of
Living
Dangerously"
with
the
wife
at
home
to
help
get
him
back
on
track.
All
through
these
songs
runs
a
basic
presumption
that
the
party
can't
go
on
forever.
The
Rolling
Stones
have
not
in
forty
damned
years
conceded
that
point.
Horton
sang
"I'm
a
honky
tonk
man,
and
I
can't
seem
to
stop."
It
would
never
occur
to
Mick
and
Keef
to
want
to.
They
didn't
come
up
as
white
trash
during
the
depression,
or
seriously
face
the
possibility
of
fighting
in
a
war.
[Can
you
imagine
Jagger
or
Richards
at
a
draft
induction?
Sweet,
sweet
comedy.]
Nope,
the
Stones
were
rich
boomers
who
correctly
presumed
that
the
world
was
their
oyster.
They
could
do
whatever
they
liked
without
negative
consequence.
Free
love
and
free
dope-
woo
hoo!
This
turned
out
to
be
correct
financially:
Mick
would
never
be
reduced
to
saying
"when
the
money's
all
gone,
I'm
on
the
telephone
saying
'Hey,
hey
mama,
can
your
daddy
come
home?'"
Even
Keith
has
managed
to
escape
any
severe
consequences
for
his
legendary
chemical
indulgences.
They
did
not,
however,
count
on
the
emotional
ramifications
of
their
indulgences.
But
even
these
simply
became
fodder
for
later
masterworks
like
the
"Memory
Motel"
and
"Wild
Horses."
Rolling Stones 1964 General Images Collection, page 1 2 3 4 5 6 7 8 9 10 11 12
Rolling Stones 1964 The Big Beat 2 3 4 5
HELL'S ANGELS ALTAMONT PHOTOS, PAGE 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18
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