About the SongGet Off of My Cloud by Mick Jagger. Rolling Stones quotes.

“Get Off of My Cloud” by The Rolling Stones is a fast-paced, rebellious anthem that became one of the band’s biggest hits when it was released in 1965. Following the success of “(I Can’t Get No) Satisfaction”, the song marked another bold statement from the Stones, asserting their signature blend of raw rock energy and social commentary. Like many of the Stones’ songs from this period, “Get Off of My Cloud” is a reflection of their growing frustration with fame, the media, and societal expectations, while still embracing the energetic rock sound that would become their trademark.

The song’s lyrics capture a sense of youthful defiance, as the narrator expresses frustration at being constantly surrounded by others, whether it’s the press or society in general. The recurring line “Get off of my cloud” serves as both a personal declaration and a metaphor for wanting to be left alone, to maintain one’s own space and individuality in a world that’s increasingly invasive and demanding. It speaks to the desire to escape the pressures of fame and the public eye, and is especially poignant given the Stones’ growing popularity at the time.

Musically, “Get Off of My Cloud” is upbeat and filled with an infectious energy that was characteristic of the band’s mid-’60s sound. The track opens with a driving, guitar-driven riff that immediately grabs attention, and the song’s overall production has a loose, almost spontaneous feel, adding to the sense of rebellion and urgency in the lyrics. The rhythm section, with its steady drumming and bassline, provides a solid foundation for the energetic guitar work and Mick Jagger’s fiery vocal performance. Keith Richards’ guitar riff is one of the most memorable elements of the song, instantly recognizable and perfectly complementing Jagger’s defiant vocal delivery.

Mick Jagger’s vocals on “Get Off of My Cloud” are full of attitude and bite. His voice conveys both frustration and a playful sense of superiority, perfectly capturing the essence of the song’s message. The interplay between Jagger’s lead vocals and the background harmonies from Keith Richards and the rest of the band creates a feeling of collective defiance, almost like a chant of solidarity against the world’s expectations.

Released as a single, “Get Off of My Cloud” quickly became a commercial success, reaching number one on the Billboard Hot 100 in the United States and charting highly in the UK as well. Its success further solidified The Rolling Stones as the definitive rock band of the era, showcasing their ability to blend social commentary with infectious, electrifying music. The song is also considered an important step in the evolution of the Stones’ musical style, as they began to embrace a more aggressive, electric sound that would come to define their future work.

“Get Off of My Cloud” is a quintessential Rolling Stones song—rebellious, energetic, and sharp-tongued. It resonates with anyone who has ever felt overwhelmed by the demands of others and needed a moment to retreat into their own space. The song’s catchy riff and sing-along chorus ensure it remains one of the Stones’ most enduring hits, capturing the band’s spirit of youthful defiance and rock ‘n’ roll attitude. Whether you’re a long-time fan or just discovering the song, “Get Off of My Cloud” continues to remind us all of the importance of individuality, freedom, and the desire to escape the pressures of the world.Picture background

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Lyrics: “Get Off Of My Cloud”

 

I live on an apartment on the ninety-ninth floor of my block
And I sit at home looking out the window
Imagining the world has stopped
Then in flies a guy who’s all dressed up just like a Union Jack
And says, “I’ve won five pounds if I have his kind of detergent pack”I said, “Hey, you, get off of my cloud
Hey, you, get off of my cloud
Hey, you, get off of my cloud
Don’t hang around ’cause two’s a crowd
On my cloud, baby”The telephone is ringing
I say, “Hi, it’s me, who is it there on the line?”
A voice says, “Hi, hello, how are you?”
“Well, I guess I’m doin’ fine”
He says, “It’s three A.M., there’s too much noise
Don’t you people ever wanna go to bed?
Because you feel so good
Do you have to drive me out of my head?”I said, “Hey, you, get off of my cloud
Hey, you, get off of my cloud
Hey, you, get off of my cloud
Don’t hang around ’cause two’s a crowd
On my cloud, baby”

I was sick and tired, fed up with this
And decided to take a drive downtown
It was so very quiet and peaceful
There was nobody, not a soul around
I laid myself out, I was so tired
And I started to dream
In the morning the parking tickets were just like flags
Stuck on my windscreen

I said, “Hey, you, get off of my cloud
Hey, you, get off of my cloud
Hey, you, get off of my cloud
Don’t hang around ’cause two’s a crowd
On my cloud”

Hey, you, get off of my cloud
Hey, you, get off of my cloud
Hey, you, get off of my cloud
Don’t hang around baby two’s a crowd
On my cloud

Hey, you

 

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SHE HAD BEEN SINGING MOUNTAIN MUSIC SINCE BEFORE BLUEGRASS EVEN HAD A NAME. THEN, AT 80, WILMA LEE COOPER COLLAPSED ON THE OPRY STAGE WITH THE SONG STILL IN HER THROAT. Wilma Lee Cooper came out of Valley Head, West Virginia, where music was not something you studied in a conservatory. It was family. Church. Radio. Coal-country evenings. Her father worked in the mines. Her mother played pump organ. Wilma started singing when she was five, then sang with her family gospel group before she ever became part of country music history. She met Stoney Cooper in the early 1940s. He played fiddle. She sang and played guitar. Together they built a sound that sat between mountain gospel, old-time string band music, and the country music that had not yet decided how polished it wanted to become. They did not wait for genre labels. They drove. They broadcast. They played wherever people would listen. The roads were part of the act. Their daughter Carol Lee sometimes slept in the car under the upright bass while Wilma and Stoney went from show to show. They raised a family while keeping a band alive. They recorded songs like “Big Midnight Special,” “There’s a Big Wheel,” and “Wreck on the Highway.” By 1957, they had joined the Grand Ole Opry. The Smithsonian later called Wilma Lee the “First Lady of Bluegrass.” But that title came after decades of work. It came after she and Stoney had already spent years carrying the mountain sound through a country business that was moving toward smoother voices and cleaner suits. Then Stoney died in 1977. Wilma Lee did not leave with him. She stayed with the Opry. She kept leading the Clinch Mountain Clan. The old mountain voice remained onstage, older now but still carrying the same hard edge. She had already sung for more than sixty years by the time she walked onto the Ryman Auditorium stage on February 24, 2001. She was eighty. During that performance, Wilma Lee suffered a stroke. The career ended there. Not in a retirement announcement. Not in a farewell special. Onstage, in the place where she had kept the old sound alive for generations. The illness affected her speech and voice, and doctors doubted she would walk again. But Wilma Lee did return once more. In 2010, at the reopening of the Opry House after the Nashville flood, she came back for a group sing-along. Not to reclaim the old career. Not to prove anything. Just to stand in the room one more time and thank the people who had carried her. For most of her life, Wilma Lee Cooper sang as if the mountain had come down from West Virginia and entered the microphone. Her last great silence came on the same stage where she had spent decades refusing to let that mountain disappear.