The main hook, ‘Everybody look what’s going down’ – you can apply that, to say, the current election. “The way it’s written, it’s so open to interpretation,” says Heart’s Ann Wilson, who released a cover last year on her first EP with side project the Ann Wilson Thing. In 2014, it came in at number three on Rolling Stone‘s readers poll of the best protest songs.
#YOUR WORTH IT SONG TV#
(Robert Plant also cut a version with his pre-Zep band, Band of Joy.) Public Enemy even sampled it on 1996’s “He Got Game.”Īccording to BMI, the song’s publishing house, “For What It’s Worth” been played 8 million times on TV and radio since its release. The Staple Singers were among the first to cover it, in 1967, but since then, it’s been recorded by a mind-bendingly diverse number of acts: Ozzy Osbourne turned it into a grim stomper, Lucinda Williams into a ghostly ballad, Kid Rock into a classic-rock homage, Rush into a swirling soundscape, Led Zeppelin (in live bootlegs) into languid blues.
“For What It’s Worth” has transcended its origin story to become one of pop’s most-covered protest songs – a sort of “We Shall Overcome” of its time, its references to police, guns and paranoia remaining continually relevant. Yet equally striking was its sound: The eerily quiet song captured the uneasy mood of the moment that extended beyond Los Angeles to Vietnam, and lyrics about “a man with a gun over there” and “young people speaking their minds/Getting so much resistance from behind” were the sound of the rock counterculture cementing its socially conscious voice. Within weeks, Stills had written – and Buffalo Springfield had recorded – a song inspired by that night, “For What It’s Worth.” With its emphasis on Stills’ spooked voice, drummer Dewey Martin’s ominous snare drum and Neil Young’s warning-bell two-note guitar part in the verse, the track became the band’s only hit, peaking at Number Seven in the spring of 1967. … And I looked at it and said, ‘Jesus, America is in great danger.'”
About three busloads of Los Angeles police showed up, who looked very much like storm troopers. “A bunch of kids got together on a street corner and said we aren’t moving. “The commercial merchants on Sunset Boulevard in a certain area decided that the element of young people on the street every night was not conducive to commercial enterprise,” Stills said in a 1971 interview.
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