"A final, emotionally ambivalent thought about the difference between rock and its post-. Let's consider the Stones' "Gimme Shelter", described by Greil Marcus as the greatest piece of recorded rock'n' roll ever (I agree). Consider specifically the all-too-brief instrumental prequel, the way Keith Richard's soliloquy of a solo conjures a shattering pitch of ecstatic anguish and longing. For a multitude of reasons, the historical conditions that made "Gimme Shelter" not just possible, but of oracular significance, are gone; not only has rock's grand narrative petered out into a delta of microcultures, but the possibility of writing a redemptive narrative itself seems to be fading. A post-rock band would take that intro's appalling poignancy, loop it, stretch it out to six minutes or more, turn it into an environment. Because that limbo-land between bliss-scape and paranoia-scape, narcosis and nightmare is where we who live under the sign of the post- find ourselves." -Simon Reynolds, "Post-Rock", Audio Culture (2006) Edited by Cristoph Cox & Daniel Warner (the article originally appeared in Village Voice in 1995 and is seen as the first instance where the term "post-rock" is defined).
This is not a stretched out post-rock reworking but an extended mix nevertheless and those often have their charms:
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