Comments, input and alterations are very welcome!
________________________________________________________________________________

Let It Loose
(Mick Jagger / Keith Richards)

Olympic Sound Studios, London, UK, April 17 - July 2, 1969, Rolling Stones Mobile
Recording Unit, Villa Nellcote, Villefranche-sur-mer, France, July - September &
October 15 - November 23, 1971, Sunset Sound Studios, Hollywood, Los Angeles,
California, US, December 4 - 19, 1971 & January - March 1972 and
Wally Heider Studios, Los Angeles, California, US, March 24 & 25, 1972

Mick Jagger - lead vocals, backing vocals
Keith Richards - electric guitar, backing vocals
Charlie Watts - drums
Bill Wyman - bass
Nicky Hopkins - piano, mellotron
Bobby Keys - saxophone
Jim Price - trumpet, trombone
Dr. John - backing vocals
Tammi Lynn - backing vocals
Venetta Fields - backing vocals
Sherlie Goodman - backing vocals
Clydie King - backing vocals
Joe Green - backing vocals

Who's that woman on your arm, yeah, all dressed up to do you harm?
And I'm hip to what she'll do, give her just about a month or two
Bit off more than I can chew and I knew, yeah, I knew what it was leading to
Some things, well, I can't refuse
One of them, one of them the bedroom blues

She delivers right on time, I can't resist a corny line
But take the shine right off you shoes, yeah, right off you shoes
Carryin’, carryin’ the bedroom blues

Oh, oh, oh yeah, yeah, in the bar you're getting drunk, oh yeah, yeah
I ain't in love, I ain't in luck, oh no, no, no
Hide the switch and shut the light, won’t you shut it, yeah
Let it all come down tonight, let it all come down
Maybe your friends think I'm just a stranger, some face you'll never see no more
Oh no, no, no, let it all come down tonight, won’t you let it, yeah
Keep those tears hid out of sight
Yeah, let it loose, yeah, let it loose, let it loose, let it all come down
Let it loose, let it loose, yeah, yeah, yeah, yeah

Produced by Jimmy Miller

First released on:
The Rolling Stones - “Exile On Main Street” 2LP
(Rolling Stones Records COC 69100) UK, May 12, 1972



Edited 1 time(s). Last edit at 2012-05-21 10:43 by René.

One of The Stones most brilliantly written and played songs. Like a drive through the deep south Baptist revivals. Jagger moans, and pleads with a jittery staticco of angst and regret. And the music is sublime. From the lovely Leslie fuled opening (reminds one a bit of Let it Be), to the sublime keyboards the song practically floats from ear to ear. And Mick burries his vocals creating another lead instrument with strange phrasing and murkey lyrics that pulls your imagination forward. What does he really sing there? What does he mean by that? It must be powerful because they are playing like they mean it. Again, this could be recorded in some dank gospel shotgun shack. Give everyone a tambourine and dance on it. Hide the switch and shut the light... it is dream time again.

Hmmm... one of highlights of EXILE, which is to say that the song is massive since the idea of some individual song being a highlight does not apply at all to EXILE... but one of my very favourites; it adds a certain and important dimension in depthness to the album; it really is one of those key songs that gives EXILE its unique feeling.

Even though it is one of those lovely, half-chaotic masterpieces, full of heavy thick atmopshere where is every noise is significant, maybe still one thing to point out is the terrific vocal performance by everyone involved, and especially the ringmaster Jagger. One of his strongest ever, even if not even the strongest. HHas his voice ever sounded so strong, rich and natural, and still having that Jaggerian edge? He paints the landscape with his voice.

It is a typical EXILE number also in the sense that they really are after the ultimate there - not any kind of easy compromises or solutions are acceped. They want to nail the number as strong as they can, and they do it.

Besides the lyrics are fine, pure Rolling Stones; no one elese could come up with such a clever gem as:

Some things, well, I can't refuse
One of them, one of them the bedroom blues

- Doxa

Quote
whitem8
One of The Stones most brilliantly written and played songs. Like a drive through the deep south Baptist revivals. Jagger moans, and pleads with a jittery staticco of angst and regret. And the music is sublime. From the lovely Leslie fuled opening (reminds one a bit of Let it Be), to the sublime keyboards the song practically floats from ear to ear. And Mick burries his vocals creating another lead instrument with strange phrasing and murkey lyrics that pulls your imagination forward. What does he really sing there? What does he mean by that? It must be powerful because they are playing like they mean it. Again, this could be recorded in some dank gospel shotgun shack. Give everyone a tambourine and dance on it. Hide the switch and shut the light... it is dream time again.

Brilliant.

- Doxa

One of my all time favourite Stones songs. Love everything about it. Underrated by many, but Jagger simply excels throughout and the lyrics and music fit so well. Never tire of listening to it and always felt it was such a shame they never played it live (I don't think). I can't imagine anyone will come on here with a bad word for this amazing piece of music.

One of the last songs I got to appreciate on Exile but now one of the most enduring and fascinating. It has a fantastic gospel vibe about it....a bit of Aretha crossed with Dr John who of course is on the track with some of his backing singers including the great Tami Lynn. It's a great come down song...another after your friends have all left in the cold grey light. 10 out of 10 for this one.

It's Mick Jagger all over ...and that synth-piano...great tune that became a favorite already on the first listening (must have been )

2 1 2 0

One of the songs that I skipped back then.........and now one of my most played song....it's somewere up in my top 10

__________________________

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René
Comments, input and alterations are very welcome!
________________________________________________________________________________

Let It Loose
(Mick Jagger / Keith Richards)

Olympic Sound Studios, London, UK, April 17 - July 2, 1969, Rolling Stones Mobile
Recording Unit, Villa Nellcote, Villefranche-sur-mer, France, July - September &
October 15 - November 23, 1971, Sunset Sound Studios, Hollywood, Los Angeles,
California, US, December 4 - 19, 1971 & January - March 1972 and
Wally Heider Studios, Los Angeles, California, US, March 24 & 25, 1972

Mick Jagger - lead vocals, backing vocals
Keith Richards - electric guitar, backing vocals
Charlie Watts - drums
Bill Wyman - bass
Mick Taylor - electric guitar
Nicky Hopkins - piano, mellotron
Bobby Keys - saxophone
Jim Price - trumpet, trombone
Dr. John - backing vocals
Tammi Lynn - backing vocals
Venetta Fields - backing vocals
Sherlie Goodman - backing vocals
Clydie King - backing vocals
Joe Green - backing vocals

About the recording dates and locations: by all accounts this track is recorded entirely in LA from December '71 to early March '72. And, Mick Taylor doesn't play on this track.

Mathijs

The grande finale of the third side of the Exile album.
I think the way the album was devided in four sides is rather important. With Let it loose
the atmosphere that was created with Ventilator Blues and Just wanna see his face, comes to
a climax. One needs a break after this before turning the LP and continuing the journey with
All down the line.
I am not one of those who state that everything was better in the vinyl-era, but to have
Let it loose at the end of side three was, indeed, better than to have it in a less distinctive
place on the CD.

Just as long as the guitar plays, let it steal your heart away

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Doxa

Quote
whitem8
One of The Stones most brilliantly written and played songs. Like a drive through the deep south Baptist revivals. Jagger moans, and pleads with a jittery staticco of angst and regret. And the music is sublime. From the lovely Leslie fuled opening (reminds one a bit of Let it Be), to the sublime keyboards the song practically floats from ear to ear. And Mick burries his vocals creating another lead instrument with strange phrasing and murkey lyrics that pulls your imagination forward. What does he really sing there? What does he mean by that? It must be powerful because they are playing like they mean it. Again, this could be recorded in some dank gospel shotgun shack. Give everyone a tambourine and dance on it. Hide the switch and shut the light... it is dream time again.

Brilliant.

- Doxa

Thanks Doxa, and back at you, your write up was wonderful.

Quote
Mathijs


About the recording dates and locations: by all accounts this track is recorded entirely in LA from December '71 to early March '72. And, Mick Taylor doesn't play on this track.

Mathijs

The basic music was most likley done at Olympic Sound Studios 1969, vocals done in USA 1971/72.

The piano and drums have that distinctive crisp, but powerful 1969 Olympic sound, the brief MKII mellotron string part also suggests it's an Olympic recording. I assume the horns were dubbed on later.

Perhaps Taylor doesn't play on it because the main backing pre dates his arrival.

Beautiful track!!!



Edited 1 time(s). Last edit at 2012-05-14 13:16 by His Majesty.

Pure magic, from Keith's Leslie-guitar to Micks performance!

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whitem8

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Doxa

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whitem8
One of The Stones most brilliantly written and played songs. Like a drive through the deep south Baptist revivals. Jagger moans, and pleads with a jittery staticco of angst and regret. And the music is sublime. From the lovely Leslie fuled opening (reminds one a bit of Let it Be), to the sublime keyboards the song practically floats from ear to ear. And Mick burries his vocals creating another lead instrument with strange phrasing and murkey lyrics that pulls your imagination forward. What does he really sing there? What does he mean by that? It must be powerful because they are playing like they mean it. Again, this could be recorded in some dank gospel shotgun shack. Give everyone a tambourine and dance on it. Hide the switch and shut the light... it is dream time again.

Brilliant.

- Doxa

Thanks Doxa, and back at you, your write up was wonderful.

Wonderful reviews by both of you, and they are prompting me to re-evaluate the song and try to figure out what I'm missing. Unfortunately, I've never particularly cared for Let it Loose. IMO, it is a weaker track from Exile. Decent enough gospel number but nothing approaching the magic of say, JWTSHF or Shine A Light. Unlike those masterpieces, Let It Loose exudes exhaustion, not redemption and catharsis.

My main gripe, however, is the SOUND of this track; the Leslie-fed guitar at the beginning sounds cheesy, not churchy, and Jagger’s vocal sounds strained … it’s the trying-too-hard Mick that we hear again decades later on “Following the River”. And why on earth did they have to throw so many musicians into the mix here? I mean, come on … SIX background singers, trumpet, trombone, mellotron, sax, piano, AND the band?!! I wouldn’t mind all the window-dressing if the song itself were stronger, but it’s not.

I've been trying to appreciate this track for 25 years. Maybe I just need more time.

Drew

Gold Dust.

Brilliant and moving. Everything from Keith's lovely Leslied guitar to the ethereal gospel backing vocals to Charlie's epic drumming is great. Perhaps Mick Jagger's most heartfelt lyrcis and most emotional vocal performance. There's a whole world in those few minutes. They don't make 'em like this anymore.

Quote
drewmaster


Wonderful reviews by both of you, and they are prompting me to re-evaluate the song and try to figure out what I'm missing. Unfortunately, I've never particularly cared for Let it Loose. IMO, it is a weaker track from Exile. Decent enough gospel number but nothing approaching the magic of say, JWTSHF or Shine A Light. Unlike those masterpieces, Let It Loose exudes exhaustion, not redemption and catharsis.

My main gripe, however, is the SOUND of this track; the Leslie-fed guitar at the beginning sounds cheesy, not churchy, and Jagger’s vocal sounds strained … it’s the trying-too-hard Mick that we hear again decades later on “Following the River”. And why on earth did they have to throw so many musicians into the mix here? I mean, come on … SIX background singers, trumpet, trombone, mellotron, sax, piano, AND the band?!! I wouldn’t mind all the window-dressing if the song itself were stronger, but it’s not.

I've been trying to appreciate this track for 25 years. Maybe I just need more time.

Drew

Tis a mood piece, but maybe you are picking up on the fact that Jagger doesn't know what it's about.

[www.timeisonourside.com]

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His Majesty

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Mathijs


About the recording dates and locations: by all accounts this track is recorded entirely in LA from December '71 to early March '72. And, Mick Taylor doesn't play on this track.

Mathijs

The basic music was most likley done at Olympic Sound Studios 1969, vocals done in USA 1971/72.

The piano and drums have that distinctive crisp, but powerful 1969 Olympic sound, the brief MKII mellotron string part also suggests it's an Olympic recording. I assume the horns were dubbed on later.

Perhaps Taylor doesn't play on it because the main backing pre dates his arrival.

Beautiful track!!!

You could be right about the snare -it is less direct and with more room reverb than tracks like Loving Cup. It does fit more with the '69 Olympic sound than the Nellcote/LA sound. Thing is that Jimmy Miller has stated that they recorded this track, Loving Cup, Turd on the Run, Torn and Frayed and Just Wanna See His Face completely in LA, where taylor wasn't present.

By the way, I just listened to these tracks from the 2010 remaster -what a bloody awfull noise that is. It is way too loud, sometimes even distorting, way too clean and brilliant sounding. All the magic of the buried music is gone. It really hurts your ear when played loud!

Mathijs



Edited 1 time(s). Last edit at 2012-05-14 14:03 by Mathijs.

Without a doubt one of the best songs on Exile. And one of Jagger's best vocal performances. In this song he sings from his heart in a way that belies his age, and sounds more like an elder sage of love, that has been haunted by his life. Just listen to his anguished plea "Oh, oh, oh yeah, yeah, in the bar you're getting drunk, oh yeah, yeah
I ain't in love, I ain't in luck, oh no, no, no". This is pure from his heart and is a culmination of years of schooling on the road, and his doctoral dissertation on the blues. Just those few anguished lines give you one of the purist and rare glimpse into who Mick is, or was as a man. The way he starts with a gurgling call then he uses his diaphragm to push his voice forward to a strong sustained plea of perfect pitch and harmony. Let it Loose is one of those songs that so deeply captivates you, that when it ends, those few seconds of secret hope that it will suddenly continue personifies its mystic power. Time and again I listen to Let it Loose and am awed by how perfectly the Stones had assimilated the American music they loved. Its murky swamp gospel groove starts so simple but draws and draws you in until you can feel the Spanish Moss ticking your face like the lingering memory of a lost love that hardened your heart with the realization you would never love like that again. Yet that same love is who you are with every day as if you are circling each other lost in your own memories of what it was like to feel each other souls and will never be touched like that again. Let it Loose is pure. It is epic in its pain and humanity. And it is truly an Exile.



Edited 1 time(s). Last edit at 2012-05-14 15:30 by whitem8.

Quote
whitem8
Without a doubt one of the best songs on Exile. And one of Jagger's best vocal performances. In this song he sings from his heart in a way that belies his age, and sounds more like an elder sage of love, that has been haunted by his life. Just listen to his anguished plea "Oh, oh, oh yeah, yeah, in the bar you're getting drunk, oh yeah, yeah
I ain't in love, I ain't in luck, oh no, no, no". This is pure from his heart and is a culmination of years of schooling on the road, and his doctoral dissertation on the blues. Just those few anguished lines give you one of the purist and rare glimpse into who Mick is, or was as a man. The way he starts with a gurgling call then he uses his diaphragm to push his voice forward to a strong sustained plea of perfect pitch and harmony. Let it Loose is one of those songs that so deeply captivates you, that when it ends, those few seconds of secret hope that it will suddenly continue personifies its mystic power. Time and again I listen to Let it Loose and am awed by how perfectly the Stones had assimilated the American music they loved. Its murky swamp gospel groove starts so simple but draws and draws you in until you can feel the Spanish Moss ticking your face like the lingering memory of a lost love that hardened your heart with the realization you would never love like that again. Yet that same love is who you are with every day as if you are circling each other lost in your own memories of what it was like to feel each other souls and will never be touched like that again. Let it Loose is pure. It is epic in its pain and humanity. And it is truly an Exile.

I agree. However, the 2010 remaster sort of undresses Mick's performance a bit, imo. Something happened with the perfect "integrated into the music-vocal mix", and all of a sudden we hear technical things with Mick's singing which aren't that cool - separated from the music - which is exactly what's happening with these modern re-masterings.

So, as with a lot of the Stones's songs, it's the joint efforts that create the magic.

I guess I don't hear Mick's failings on the remaster. But I do prefer the original mix on the vinyl form the 70's and the Japanese masters from the 80's. But having said that, even withe recent re-release I don't hear Mick's failings, but a masterful dance between technical prowess and a perilous pushing of his limits that bring a new, almost punk reading of standard gospel. I feel he is brilliant on this any way I hear it.

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drewmaster

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whitem8

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Doxa

Quote
whitem8
One of The Stones most brilliantly written and played songs. Like a drive through the deep south Baptist revivals. Jagger moans, and pleads with a jittery staticco of angst and regret. And the music is sublime. From the lovely Leslie fuled opening (reminds one a bit of Let it Be), to the sublime keyboards the song practically floats from ear to ear. And Mick burries his vocals creating another lead instrument with strange phrasing and murkey lyrics that pulls your imagination forward. What does he really sing there? What does he mean by that? It must be powerful because they are playing like they mean it. Again, this could be recorded in some dank gospel shotgun shack. Give everyone a tambourine and dance on it. Hide the switch and shut the light... it is dream time again.

Brilliant.

- Doxa

Thanks Doxa, and back at you, your write up was wonderful.

Wonderful reviews by both of you, and they are prompting me to re-evaluate the song and try to figure out what I'm missing. Unfortunately, I've never particularly cared for Let it Loose. IMO, it is a weaker track from Exile. Decent enough gospel number but nothing approaching the magic of say, JWTSHF or Shine A Light. Unlike those masterpieces, Let It Loose exudes exhaustion, not redemption and catharsis.

My main gripe, however, is the SOUND of this track; the Leslie-fed guitar at the beginning sounds cheesy, not churchy, and Jagger’s vocal sounds strained … it’s the trying-too-hard Mick that we hear again decades later on “Following the River”. And why on earth did they have to throw so many musicians into the mix here? I mean, come on … SIX background singers, trumpet, trombone, mellotron, sax, piano, AND the band?!! I wouldn’t mind all the window-dressing if the song itself were stronger, but it’s not.

I've been trying to appreciate this track for 25 years. Maybe I just need more time.

Drew

Ahh, but to me this song is about the ultimate redemption.
He's finally met his match, he's afraid he's fallen in love and is terrified of letting go...
'I ain't in love, ain't in luck..'
'Hide the switch and shut the light..'
But his lover is even more afraid of letting go.
'Get those tears hid out of sight....Let it all come down tonight..'

That's what this song is to me.
Falling in love for real is like letting go of yourself, being vulnerable to someone else.....opening yourself up for the first time and unsure of where it will lead.
Its darkness suggests something sinister, dangerous......
but the ultimate danger is love and the helplessness that comes with it.
This is a love song not about illusions or delusions, sunrises and moonlit promises... but about how it strips you completely bare and leaves you emotionally naked and unprotected. You can brace yourself all your life, but once you really fall for someone you're @#$%&.
Its what happens when a restless soul becomes hijacked.
He's not mourning, he's scared....but he also knows he can't resist.

And why was this song not highlighted on Stones in Exile?
Its Jagger's masterpiece of a performance.
The Stones had never done anything like it before or since.

Quote
whitem8
I guess I don't hear Mick's failings on the remaster. But I do prefer the original mix on the vinyl form the 70's and the Japanese masters from the 80's. But having said that, even withe recent re-release I don't hear Mick's failings, but a masterful dance between technical prowess and a perilous pushing of his limits that bring a new, almost punk reading of standard gospel. I feel he is brilliant on this any way I hear it.

There is a live rehearsal performance on a boot called STP 72....the Stones rehearsing in Dallas.
Jagger's voice rattles my speakers.

Yeah, I have that one as well. It is interesting listening to them trying to find their way on it. It just might have been one of those mysteries that even they could not ever unlock again.

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stupidguy2

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drewmaster

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whitem8

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Doxa

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whitem8
One of The Stones most brilliantly written and played songs. Like a drive through the deep south Baptist revivals. Jagger moans, and pleads with a jittery staticco of angst and regret. And the music is sublime. From the lovely Leslie fuled opening (reminds one a bit of Let it Be), to the sublime keyboards the song practically floats from ear to ear. And Mick burries his vocals creating another lead instrument with strange phrasing and murkey lyrics that pulls your imagination forward. What does he really sing there? What does he mean by that? It must be powerful because they are playing like they mean it. Again, this could be recorded in some dank gospel shotgun shack. Give everyone a tambourine and dance on it. Hide the switch and shut the light... it is dream time again.

Brilliant.

- Doxa

Thanks Doxa, and back at you, your write up was wonderful.

Wonderful reviews by both of you, and they are prompting me to re-evaluate the song and try to figure out what I'm missing. Unfortunately, I've never particularly cared for Let it Loose. IMO, it is a weaker track from Exile. Decent enough gospel number but nothing approaching the magic of say, JWTSHF or Shine A Light. Unlike those masterpieces, Let It Loose exudes exhaustion, not redemption and catharsis.

My main gripe, however, is the SOUND of this track; the Leslie-fed guitar at the beginning sounds cheesy, not churchy, and Jagger’s vocal sounds strained … it’s the trying-too-hard Mick that we hear again decades later on “Following the River”. And why on earth did they have to throw so many musicians into the mix here? I mean, come on … SIX background singers, trumpet, trombone, mellotron, sax, piano, AND the band?!! I wouldn’t mind all the window-dressing if the song itself were stronger, but it’s not.

I've been trying to appreciate this track for 25 years. Maybe I just need more time.

Drew

Ahh, but to me this song is about the ultimate redemption.
He's finally met his match, he's afraid he's fallen in love and is terrified of letting go...
'I ain't in love, ain't in luck..'
'Hide the switch and shut the light..'
But his lover is even more afraid of letting go.
'Get those tears hid out of sight....Let it all come down tonight..'

That's what this song is to me.
Falling in love for real is like letting go of yourself, being vulnerable to someone else.....opening yourself up for the first time and unsure of where it will lead.
Its darkness suggests something sinister, dangerous......
but the ultimate danger is love and the helplessness that comes with it.
This is a love song not about illusions or delusions, sunrises and moonlit promises... but about how it strips you completely bare and leaves you emotionally naked and unprotected. You can brace yourself all your life, but once you really fall for someone you're @#$%&.
Its what happens when a restless soul becomes hijacked.
He's not mourning, he's scared....but he also knows he can't resist.

And why was this song not highlighted on Stones in Exile?
Its Jagger's masterpiece of a performance.
The Stones had never done anything like it before or since.

I agree with everything you so beautifully expressed in your post, everything BUT the very last sentence.

I think they were onto something with Moonlight Mile as well.

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DandelionPowderman

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stupidguy2

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drewmaster

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whitem8

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Doxa

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whitem8
One of The Stones most brilliantly written and played songs. Like a drive through the deep south Baptist revivals. Jagger moans, and pleads with a jittery staticco of angst and regret. And the music is sublime. From the lovely Leslie fuled opening (reminds one a bit of Let it Be), to the sublime keyboards the song practically floats from ear to ear. And Mick burries his vocals creating another lead instrument with strange phrasing and murkey lyrics that pulls your imagination forward. What does he really sing there? What does he mean by that? It must be powerful because they are playing like they mean it. Again, this could be recorded in some dank gospel shotgun shack. Give everyone a tambourine and dance on it. Hide the switch and shut the light... it is dream time again.

Brilliant.

- Doxa

Thanks Doxa, and back at you, your write up was wonderful.

Wonderful reviews by both of you, and they are prompting me to re-evaluate the song and try to figure out what I'm missing. Unfortunately, I've never particularly cared for Let it Loose. IMO, it is a weaker track from Exile. Decent enough gospel number but nothing approaching the magic of say, JWTSHF or Shine A Light. Unlike those masterpieces, Let It Loose exudes exhaustion, not redemption and catharsis.

My main gripe, however, is the SOUND of this track; the Leslie-fed guitar at the beginning sounds cheesy, not churchy, and Jagger’s vocal sounds strained … it’s the trying-too-hard Mick that we hear again decades later on “Following the River”. And why on earth did they have to throw so many musicians into the mix here? I mean, come on … SIX background singers, trumpet, trombone, mellotron, sax, piano, AND the band?!! I wouldn’t mind all the window-dressing if the song itself were stronger, but it’s not.

I've been trying to appreciate this track for 25 years. Maybe I just need more time.

Drew

Ahh, but to me this song is about the ultimate redemption.
He's finally met his match, he's afraid he's fallen in love and is terrified of letting go...
'I ain't in love, ain't in luck..'
'Hide the switch and shut the light..'
But his lover is even more afraid of letting go.
'Get those tears hid out of sight....Let it all come down tonight..'

That's what this song is to me.
Falling in love for real is like letting go of yourself, being vulnerable to someone else.....opening yourself up for the first time and unsure of where it will lead.
Its darkness suggests something sinister, dangerous......
but the ultimate danger is love and the helplessness that comes with it.
This is a love song not about illusions or delusions, sunrises and moonlit promises... but about how it strips you completely bare and leaves you emotionally naked and unprotected. You can brace yourself all your life, but once you really fall for someone you're @#$%&.
Its what happens when a restless soul becomes hijacked.
He's not mourning, he's scared....but he also knows he can't resist.

And why was this song not highlighted on Stones in Exile?
Its Jagger's masterpiece of a performance.
The Stones had never done anything like it before or since.

I agree with everything you so beautifully expressed in your post, everything BUT the very last sentence.

I think they were onto something with Moonlight Mile as well.

It's tough. WHen I think of the greatest Stones songs, I have to say Tumbling Dice and Gimme Shelter as centerpieces that are perfectly representative of the Stones' overall feel and greatness, but Let It Loose and Moonlight Mile are different kind of masterpieces....and hard to evaluate. Sublime...
MM is sweeping. But LIL wins out all the time over MM because of its moodiness, the structure and Keith's leslie guitar, Jagger's searing vocal and seemingly on-the-surface opaque lyrics. etc....
But its a tough call between these two.



Edited 4 time(s). Last edit at 2012-05-14 16:29 by stupidguy2.

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whitem8
Yeah, I have that one as well. It is interesting listening to them trying to find their way on it. It just might have been one of those mysteries that even they could not ever unlock again.

And maybe that's why they never performed it live. I love the horns on the rehearsal and it would have been amazing. But perhaps the song was too ,,,,singular to trot it out live every night,,,,
For some reason, it remains something sacred and untouched, like its almost too precious.

Classic... I love the Dallas rehearsal versions as well.

Yes, stupidguy2, I totally agree! Good points. I hope they never do it live so it remains in the mystic realm.

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whitem8
Yes, stupidguy2, I totally agree! Good points. I hope they never do it live so it remains in the mystic realm.

Jagger is still evasive about this song, claiming dismissively in Q Mag in 2010...'Oh, I think Keith wrote that one...'
To which Keith responded that it was nonsense. It's Mick's all the way.
Maybe its still too personal.
It should have been featured in Stones In Exile.