Not only. My goal was never to give in black magic to this song we did not look like Megadeth. There was something else in Sympathy for the Devil. All this stuff was satanic exaggerated by journalists. But it was never the way we wanted to borrow. For me, the song told long enough, there was really nothing to build a career on it even if people like Jimmy Page did not mind..
I know many people who loved books of Aleister Crowley’s strange, but writing Sympathy for the Devil, I had no desire to be like him. When viewed objectively, the lyrics do not speak of black magic.
It was the horror we felt responsible. How had things could turn bad in any case, I’ve never seen things as you, the journalists: the stories of loss of innocence, cathartic end of an era, I never adhered to it all. I did not feel particular weight on my shoulders. It was horrible enough to say that someone had been killed, we were sad for his family and terribly shocked by the behavior of the Hell’s Angels.
I keep the memory of a very troubled period. In France of course (we’re 68) but also in the United States because of the Vietnam War. I wrote most of the melody and lyrics. Then Keith and I worked together to complete this wonderful piece. I remember that Dave Mason played the Shehan. It is a kind of primitive Indian clarinet, with a plaintive sound very strange. But I do not know if the song has even today I do not know if we should still play it in concert. This is not a song that I particularly like, although in the recording, I thought he was sticking to his time well, to everything with violence. The French government was virtually wiped out, De Gaulle farted completely shot like that it had already happened before the point of taking flight to barricade himself in his house. As for the French police supposed to stop the riots, it was simply amazing. London seemed so tame in comparison.. No expectations is on the same album, not.