Grace Slick in a blue velvet suit. Gram Parsons bashing a tambourine. Crosby, Stills, Nash & Young appearing like they like each other. Altamont will be forever known as the death of the Sixties, but the Library of Congress just made it a little sunnier with previously unreleased footage.
The 30-minute clip — released via the Congress’ blog — contains no sound, with a fuzzy home video quality that looks as if your drunk aunt filmed your backyard family barbecue. And yet it shows that contrary to how it was remembered, Altamont was more than a Rolling Stones concert gone terribly wrong, where the Hells Angels famously knifed 18-year-old fan Meredith Hunter.
Here we see footage not included in Gimme Shelter, like the Flying Burrito Brothers’ performance at nine minutes in. Gram Parsons commands the stage, while Keith Richards and Mick Jagger marvel from afar. (That same night, Richards played “Wild Horses” for Parsons, which he ended up covering on Burrito Deluxe a year later.) Crosby, Stills, Nash, & Young take the stage around 11 minutes, ironically kicking off with “Woodstock.” (Following the festival, the supergroup would head to UCLA for their second concert of the day).
In the blog post, Neely Tucker explains that the Library of Congress found the footage in 200,000 reels of film it acquired 20 years ago from archivist Rick Prelinger. A technician discovered two reels labeled “Stones in the Park,” which Neely assumed was the well-documented 1969 Hyde Park show. But he was pleasantly surprised to find he was incorrect.
“Many people know the Gimme Shelter documentary pretty well, but there’s a lot more in this home movie,” he wrote. “Although the footage is silent, we were all thrilled to see close-up footage of concert performers who were cut from the film, such as Carlos Santana and Crosby, Stills, Nash, & Young. It was especially great to see Gram Parsons fronting the Flying Burrito Brothers, since you only see the back of his head in Gimme Shelter.“
Fontaines D.C. have teamed up with Rosalía for their new collaboration, Where Is Gone?.
The song features on the Irish rock band's forthcoming album, Dopamine Chamber, which arrives on Friday (16.10.26). For guitarist Carlos O’Connell, working with the Spanish superstar is particularly special because of his own Spanish roots.
He explained: “I’ve admired Rosalía ever since her debut album, which I thought was absolutely beautiful.
“What excited me most was the way she continued to preserve Spain's musical traditions, something that felt spiritually connected to what we've been trying to achieve with Irish music. Having roots in both countries, it's been really special to witness. "She's an artist who has continued to amaze me at every point in her career.”
Frontman Grian Chatten has also described the collaboration with Rosalía as one of the most memorable achievements of his career.
He revealed that he felt "humbled" when she agreed to lend her voice to the band's album.
Speaking to NPR, Grian said: “I've always felt there's something almost like a single big idea that I'm personally trying to communicate to the world before I get old and die, if that makes sense. There's one thing I think I'll spend my life trying to express. I have a feeling she has a similar outlook. … I mean, she's an amazing arranger, composer and lyricist. It means so much that she wanted to sing on something we'd put together. It's definitely one of the highlights of my career.”
Rosalía's links to Irish rock music extend beyond Fontaines D.C. She also offered inspiration and helped develop the Spanish lyrics for U2's The Mirror Maker (Rosalía), a track from their forthcoming album, Carnaval de Luz.
During an appearance on The Tonight Show Starring Jimmy Fallon last week, she spoke about frontman Bono, saying: “I don't know him personally, but he sent me a text explaining that he was working on a new project and had written a song called The Mirror Maker."
Rosalía joked that Bono had invented a few words of his own.
She recalled telling him: “I wasn't sure what to make of it, but I told him he could create his own language if he wanted to.”
She described the opportunity to collaborate with the 66 year old music veteran as a real privilege.
She added: “Bono is a legend.
“It's amazing.”
Bono recently revealed that he was worried about seeming like a stalker when he reached out to Rosalía to ask whether he could name the song after her.
