Comments, input and alterations are very welcome!
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The Last Time
(Mick Jagger / Keith Richards)

RCA Studios, Hollywood, Los Angeles, California, US,
January 17 & 18 and February 18, 1965

Mick Jagger - lead vocals, backing vocals
Keith Richards - acoustic guitar, electric guitar, backing vocals
Charlie Watts - drums
Bill Wyman - bass
Brian Jones - electric guitar
Ian Stewart - piano
Jack Nitzsche - tambourine

Well, I told you once and I told you twice
But ya never listen to my advice
You don't try very hard to please me
With what you know it should be easy

Well, this could be the last time, this could be the last time
Maybe the last time, I don't know, oh no, oh no

Well, I'm sorry girl but I can't stay
Feelin' like I do today
It's too much pain and too much sorrow
Guess I'll feel the same tomorrow

Well, this could be the last time, this could be the last time
Maybe the last time, I don't know, oh no, oh no

Well, this could be the last time, this could be the last time
Maybe the last time, I don't know, oh no, oh no

Well, I told you once and I told you twice
That someone have to pay the price
But here's a chance to change your mind
'Cuz I'll be gone a long, long time

Well, this could be the last time, this could be the last time
Maybe the last time, I don't know, oh no, oh no

The last time, baby, see you no more
No, no, no more, no, no, no more…

Produced by Andrew Loog Oldham

First released on:
The Rolling Stones - “The Last Time / Play With Fire” 7” single
(Decca F 12104) UK, February 26, 1965

Quintessential song in their history. The song where the definitely showed their abilities
to write a great rocker all by themselves. No longer did they need to use Chuck Berry riffs
or Slim Harpo licks to shine. They came up with something completely different, and it worked
as hell! A perfect rocker, performed perfectly.

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

Oboy! what a RIFF...One of the best from the 60ies....

2 1 2 0

Wow, what a classic... Brian’s opening rooster-call that grabs you by the throat, melding perfectly with Jack Nitzsche’s tambourine, then Keith and Charlie so fluidly picking up the groove, setting the stage for Mick to “explain the situation” to a girl who treats him wrong. And then, those magnificent Jagger/Richards harmonies, and Keith’s scorching guitar solo, and finally the Glimmer Twins’ spiralling manic yelps towards the end. The exquisite production too, with just the right amount of echo to give it that wonderfully spacious, wall-of-sound feeling (Phil Spector helped ALO to produce this one, and it shows).

Obviously one of the most important songs in the Stones oeuvre, yet woefully under-recognized, The Last Time showed the Rolling Stones, and those who were paying attention, that they could not only equal the song-writing efforts of the artists they admired, but surpass them. (The Last Time easily eclipses, for example, the great It’s All Over Now in terms of sheer musical quality). Of course, it wasn’t 100% a Jagger/Richards song … as Keith has acknowledged, it was lifted from a lovely 1955 gospel number by the Staple Singers, and it also owes something to a rockin’ 1964 James Brown number (see clips below), but all of these were based on a “traditional song” that the Stones completely transformed into something entirely different and marvelous.









Drew

This is a place to thank the critical crowd of IORR and especially His Majesty for finally proven true that the magical riff was not only played by Brian, but also invited by him.

With that singlular riff Brian actually made bigger and more well-known guitar contribution to the music of The Rolling Stones than any of the guys fullfilling his shoes later would do. I leave the guitar nerds to wank whatever and wherever but the truth is that it doesn't matter what you say wiuth the most intellectual words in the page 97 if you don't have your face on the cover! The magic of Brian Jones was that what he did was always front cover material. And it still, after all these yaers, shines.

If Keith would have come with the riff I am sure we would hear nowadays stories how all the other riffs of him would be derivatives of it, starting with "Satisfaction"...

- Doxa



Edited 1 time(s). Last edit at 2012-04-10 13:01 by Doxa.

Quote
Doxa
This is a place to thank the critical crowd of IORR and especially His Majesty for finally proven true that the magical riff was not only played by Brian, but also invited by him.

With that singlular riff Brian actually made bigger and more well-known guitar contribution to the music of The Rolling Stones than any of the guys fullfilling his shoes later would do. I leave the guitar nerds to wank whatever and wherever but the truth is that it doesn't matter what you say wiuth the most intellectual words in the page 97 if you don't have your face on the cover! The magic of Brian Jones was that what he did was always front cover material. And it still, after all these yaers, shines.

If Keith would have come with the riff I am sure we would hear nowadays stories how all the other riffs of him would be derivatives of it, starting with "Satisfaction"...

- Doxa

If it is Taylor who plays the riff on Bitch, I would at least put that one up there near Brian's TLT-riff. Ronnie's Hey Negrita wouldn't be that far off, either.

However, the riff is genius and hard to surpass, that's for sure.

Quote
Doxa
This is a place to thank the critical crowd of IORR and especially His Majesty for finally proven true that the magical riff was not only played by Brian, but also invited by him.

With that singlular riff Brian actually made bigger and more well-known guitar contribution to the music of The Rolling Stones than any of the guys fullfilling his shoes later would do. I leave the guitar nerds to wank whatever and wherever but the truth is that it doesn't matter what you say wiuth the most intellectual words in the page 97 if you don't have your face on the cover! The magic of Brian Jones was that what he did was always front cover material. And it still, after all these yaers, shines.

If Keith would have come with the riff I am sure we would hear nowadays stories how all the other riffs of him would be derivatives of it, starting with "Satisfaction"...

- Doxa

I have never been impressed with the riff per se -it is another take on some well known blues fill. What really impressed me, and still impresses me, is the production of it: the piercing sound, loud as hell, panned right in the middle of the stereo image. This was not R&B anymore, but this was a guitar driven rock band puting color in a B&W music scene. It still sounds very, very modern -and it's 48 years old.

Mathijs

As song it is - okay, a rip off - but that doesn't mean anything. Like "I Wanna be Your Man" it is rather mediocre song, but like the Lennon/McCartney original, it is the performance that counts here. I think the greatness of "The Last Time" derives from three different sources.

The first is the over-all sound, the production. It is Andrew's version of "wall sound" - be it inentionala or not - but the whole atmopshere with all the echo and is so thick but still earthy, so raw, dangerous... That's so original, and still it distinguishes the Stones sound reamarkably from their contemporaries, especially from the Beatles. The sound. Just heard it from radio recently, and it still sounded awesome. Still 'eternal' and a bit mystical.

The second is, of course, the guitar riff. Simply hypnotic and the instrumental essence of the song. Still most of people think it is Keith Richards here, since its works similarly way as Keith's riffs in so many oher distinguished Stones songs. But this is a typical Brian manaouvre here - when he doesn't play just the rhythm guitar, he does something innovative and almost genious-like that really stands out from the song - be it fisrt harmonica, slide guitar solo - of which many of the early Stones singles are famous for. Playing a guidance riff like this was just another move like that, nothing sort of "I am riff master". A year ot two later whe could have done it wih a sitar or a marimba or a flute. It is him tehre fighting there with Jagger of the spotlight. The tension creates wonderful results, "The Last Time" being one of the greatest.

The third is the other distinguihed instrument, namely, Jagger's vocals. The tone and color in his voice.... Damn he sounds angry, frightening, dark; stemming partly from his training in the blues classics, but now finding his own sound and delivery... The words that are quite simple and starightforward grow up in his interpretation to almost harsh statements. Keith's more tender background voice softens the chorus and makes it more pop but unfortunately not too much. It is the angst in Jagger's naturally aggressive voice that gives the edge to the song, and lifts is unique high. No any Johnny Rottens with all their voice tricks would ever make such a natural impression of aggression.

I think it is due to those three elements - the authentic atmopshere of the song, very much made possible by the day's technology and luck; Brian's touch in the riff; and Jagger's youthful angry vitalness - any attempt to play the song since its heyday is doomed to fail. You can't copy the context.

- Doxa

Quote
Doxa
As song it is - okay, a rip off - but that doesn't mean anything. Like "I Wanna be Your Man" it is rather mediocre song, but like the Lennon/McCartney original, it is the performance that counts here. I think the greatness of "The Last Time" derives from three different sources.

The first is the over-all sound, the production. It is Andrew's version of "wall sound" - be it inentionala or not - but the whole atmopshere with all the echo and is so thick but still earthy, so raw, dangerous... That's so original, and still it distinguishes the Stones sound reamarkably from their contemporaries, especially from the Beatles. The sound. Just heard it from radio recently, and it still sounded awesome. Still 'eternal' and a bit mystical.

The second is, of course, the guitar riff. Simply hypnotic and the instrumental essence of the song. Still most of people think it is Keith Richards here, since its works similarly way as Keith's riffs in so many oher distinguished Stones songs. But this is a typical Brian manaouvre here - when he doesn't play just the rhythm guitar, he does something innovative and almost genious-like that really stands out from the song - be it fisrt harmonica, slide guitar solo - of which many of the early Stones singles are famous for. Playing a guidance riff like this was just another move like that, nothing sort of "I am riff master". A year ot two later whe could have done it wih a sitar or a marimba or a flute. It is him tehre fighting there with Jagger of the spotlight. The tension creates wonderful results, "The Last Time" being one of the greatest.

The third is the other distinguihed instrument, namely, Jagger's vocals. The tone and color in his voice.... Damn he sounds angry, frightening, dark; stemming partly from his training in the blues classics, but now finding his own sound and delivery... The words that are quite simple and starightforward grow up in his interpretation to almost harsh statements. Keith's more tender background voice softens the chorus and makes it more pop but unfortunately not too much. It is the angst in Jagger's naturally aggressive voice that gives the edge to the song, and lifts is unique high. No any Johnny Rottens with all their voice tricks would ever make such a natural impression of aggression.

I think it is due to those three elements - the authentic atmopshere of the song, very much made possible by the day's technology and luck; Brian's touch in the riff; and Jagger's youthful angry vitalness - any attempt to play the song since its heyday is doomed to fail. You can't copy the context.

- Doxa

That alone would have been a bit boring, methinks.

For me, it's the combination of Mick's and Keith's vocals that makes the track hypnotic.

Quote
DandelionPowderman
If it is Taylor who plays the riff on Bitch, I would at least put that one up there near Brian's TLT-riff. Ronnie's Hey Negrita wouldn't be that far off, either.

This was my point about the front cover stuff - B-side or an album filler is miles a far from a song that is A-side of their most sold English single ever, and a guide-line for almost any "guitar-band" at the time, including The Beatles. Just putting the things to a perspective.

- Doxa

It's f u c k i n g great!

Quote
DandelionPowderman
[For me, it's the combination of Mick's and Keith's vocals that makes the track hypnotic.

I can see your point but what is striking is the color and tone of Jagger's voice. That is unique element there. Keith's voice is nice but like "anyone's". I admit that soft, Beatle-like harmony element is important in the over-all sound, (like Charlie's drums in the whole musical track), but it is Jagger's unique voice that makes the difference BIG TIME. He is BIG VOICE; the aggressive element that is so essential in the track. Keith's normal 'white boy's voice' has has only point against Jagger' dark distinguished voice - the voice of The Rolling Stones.

Sometimes I feel, DP, that you don't appreciete Jagger's unique contribution enough in the sound, history and significance of the Rolling Stones. Comparing Keith's conribution in vocals to Jagger's is like claiming Taylor's guitar contribution is as essential to the Stones sound - say, in "Honky Tonk Women" or "Brown Sugar" - as Keith's guitar. Mick Jagger is the greatest rock and roll singer ever, and "The Last Time" is one the first proofs of that.

- Doxa



Edited 2 time(s). Last edit at 2012-04-10 14:24 by Doxa.

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Doxa

Quote
DandelionPowderman
[For me, it's the combination of Mick's and Keith's vocals that makes the track hypnotic.

I can see your point but what is striking is the color and tone of Jagger's voice. That is unique element there. Keith's voice is nice but like "anyone's". I admit that soft, Beatle-like harmony element is important in the over-all sound, (like Charlie's drums in the whole musical track), but it is Jagger's unique voice that makes the difference BIG TIME. He is BIG VOICE; the aggressive element hat is essenmtial in he track. Keith's normal 'white boy's voice' has has only point against Jagger' dark distinguished voice - the voice of The Rolling Stones.

Sometimes I feel, DP, that you don't appreciete Jagger's unique contribution enough in the sound, history and significance of the Rolling Stones. Comparing Keith's conribution in vocals to Jagger's is like claiming Taylor's guitar contribution is as essential to the Stones sound, say, "Honky Tonk Women" or "Brown Sugar" as Keith's guitar. Mick Jagger is the greatest rock and roll singer ever, and "The Last Time" is one the first proofs of that.

- Doxa

I'm not comparing, but fulfilling, and I'm saying that Mick's voice enhances with Keith's BU-vocals on this particular track. I've heard several renditions where Keith's harmony is low in the mix. Then we don't get to hear the full potensial of Mick's verse line on this track, that's why.

You're swearing in church on my behalf, Doxa! No Jagger, no Stones - my favorite vocalist, period

I think "The Last Time" sounds very early 60s.

Without the riff, it would have been a lot less.

The Chorus is the ripoff bit and the verses are original.

It's also interesting because of it's call answer structure.

The Blues usually has a call that sets up the tension and then an (mostly immediate) answer that resolves and releases the tension.

All of the verse vocals in "The Last Time" are calls that consist of tension and it's not until the Chorus vocal that the answer part comes into it and resolves the tension.

But even though the verse vocals are all calls, there is the riff that runs continuously side by side with the verse vocals and the riff is a call and immediate answer riff that is constantly repeating and going around and around.

So the verse vocals are all calls and the riff is continuously calling and answering at the same time and then the riff drops out for the Chorus and the Chorus vocals are the answer to the verses repeated vocal calls.



Edited 2 time(s). Last edit at 2012-04-10 14:35 by howled.

Always loved it, and it never fails to life my spirits. There is such a mood of vitality and happiness in the chorus, quite at odds with the lyrics.

Quote
Mathijs

Quote
Doxa
This is a place to thank the critical crowd of IORR and especially His Majesty for finally proven true that the magical riff was not only played by Brian, but also invited by him.

With that singlular riff Brian actually made bigger and more well-known guitar contribution to the music of The Rolling Stones than any of the guys fullfilling his shoes later would do. I leave the guitar nerds to wank whatever and wherever but the truth is that it doesn't matter what you say wiuth the most intellectual words in the page 97 if you don't have your face on the cover! The magic of Brian Jones was that what he did was always front cover material. And it still, after all these yaers, shines.

If Keith would have come with the riff I am sure we would hear nowadays stories how all the other riffs of him would be derivatives of it, starting with "Satisfaction"...

- Doxa

I have never been impressed with the riff per se -it is another take on some well known blues fill. What really impressed me, and still impresses me, is the production of it: the piercing sound, loud as hell, panned right in the middle of the stereo image. This was not R&B anymore, but this was a guitar driven rock band puting color in a B&W music scene. It still sounds very, very modern -and it's 48 years old.

Mathijs

But have you been impressed with the riff of "Satisfaction" per se either? I think the same arguments hold for both riffs - and I think league of the guitar riffs - that it is basically the sound how they are accomplished in the studio that makes the trick. But both riffs - "The Last Time" and "Satisfaction" - sound catchy and modern. Timeless. But over-all, I think the Stones very quickly learn the significance and possibilities of the 'tricks' of the studio and production - that very much of the effectness of the song derives from behind the desk. They had preety much their ears in the finished product, how it ends up sounding. Even the first singles - "I Wanna Be Your Man, "Not Fade Aawy", "It's All Over Now" - contain incredible sound experiments by the standards of the day. Maybe some of it by accident but I think there was also ear and intention for that as well. I especially think that Brian Jones had some special talent in that direction in studying "sounds".

- Doxa



Edited 1 time(s). Last edit at 2012-04-10 14:41 by Doxa.

Quote
howled
I think "The Last Time" sounds very early 60s.

Without the riff, it would have been a lot less.

The Chorus is the ripoff bit and the verses are original.

It's also interesting because of it's call answer structure.

The Blues usually has a call that sets up the tension and then an (mostly immediate) answer that resolves and releases the tension.

All of the verse vocals in "The Last Time" are calls that consist of tension and it's not until the Chorus vocal that the answer part comes into it and resolves the tension.

But even though the verse vocals are all calls, there is the riff that runs continuously side by side with the verse vocals and the riff is a call and immediate answer riff that is constantly repeating and going around and around.

So the verse vocals are all calls and the riff is continuously calling and answering at the same time and then the riff drops out for the Chorus and the Chorus vocals are the answer to the verses repeated vocal calls.

Very cool!!

Drew

Quote
Mathijs

I have never been impressed with the riff per se -it is another take on some well known blues fill. What really impressed me, and still impresses me, is the production of it: the piercing sound, loud as hell, panned right in the middle of the stereo image. This was not R&B anymore, but this was a guitar driven rock band puting color in a B&W music scene. It still sounds very, very modern -and it's 48 years old.

Mathijs

The riff is clever, how he plays it further up the neck, but incorporates open strings. It's not just yet another take on some well known blues fill, but a creative twist which both looks back, but also forward. Noone had done it quite like that before.

In a way, the essence of the band is in the riff and how he plays it.

+1 on Doxas posts.

What struck my innocent ears as a 7 year old son of a Rolling Stones fan was
1. Brian's riff
2. Micks vocals (totally underrated as his singing in 1964-1965 is)

I pictured five really old men, surely over 20, standing on a stage, in black and white TV light, repeating a sharp riff - one of the best ever regardless the production - and with a singer who's really fed up with everything that is wrong in his life.

Today I hear the pop attitude and prefer the adult Little Red Rooster with Brian's first riff (he changed it).

Quote
His Majesty
The riff is clever, how he plays it further up the neck, but incorporates open strings. It's not just yet another take on some well known blues fill, but a creative twist which both looks back, but also forward. Noone had done it quite like that before.

In a way, the essence of the band is in the riff and how he plays it.

+1

Satisfaction is similar in some ways to "The Last Time" when Mick is singing calls (When I'm driving in my car etc etc) over the riff that is calling and answering continuously side by side with Micks vocal calls in a similar way to "The Last Time" verses.

The verse vocals are a call and answer structure with no riff ie the Call (I can't get no) and the Answer (Satisfaction).



Edited 1 time(s). Last edit at 2012-04-10 14:53 by howled.

The whole band is great on this one of course. A complete package of well written, arranged, played and produced R&B inspired pop music.

One more thing @ Doxa:

Mick and Keith are singing the whole song together, if memory serves? That is also something that makes the song for me; that powerful harmony throughout the song + Mick's "oh, no..-stuff"

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Doxa

Quote
Mathijs

Quote
Doxa
This is a place to thank the critical crowd of IORR and especially His Majesty for finally proven true that the magical riff was not only played by Brian, but also invited by him.

With that singlular riff Brian actually made bigger and more well-known guitar contribution to the music of The Rolling Stones than any of the guys fullfilling his shoes later would do. I leave the guitar nerds to wank whatever and wherever but the truth is that it doesn't matter what you say wiuth the most intellectual words in the page 97 if you don't have your face on the cover! The magic of Brian Jones was that what he did was always front cover material. And it still, after all these yaers, shines.

If Keith would have come with the riff I am sure we would hear nowadays stories how all the other riffs of him would be derivatives of it, starting with "Satisfaction"...

- Doxa

I have never been impressed with the riff per se -it is another take on some well known blues fill. What really impressed me, and still impresses me, is the production of it: the piercing sound, loud as hell, panned right in the middle of the stereo image. This was not R&B anymore, but this was a guitar driven rock band puting color in a B&W music scene. It still sounds very, very modern -and it's 48 years old.

Mathijs

But have you been impressed with the riff of "Satisfaction" per se either? I think the same arguments hold for both riffs - and I think league of the guitar riffs - that it is basically the sound how they are accomplished in the studio that makes the trick. But both riffs - "The Last Time" and "Satisfaction" - sound catchy and modern. Timeless. But over-all, I think the Stones very quickly learn the significance and possibilities of the 'tricks' of the studio and production - that very much of the effectness of the song derives from behind the desk. They had preety much their ears in the finished product, how it ends up sounding. Even the first singles - "I Wanna Be Your Man, "Not Fade Aawy", "It's All Over Now" - contain incredible sound experiments by the standards of the day. Maybe some of it by accident but I think there was also ear and intention for that as well. I especially think that Brian Jones had some special talent in that direction in studying "sounds".

- Doxa

Well, it's going to blasphemy of course, but I have never liked Satisfaction that much....The riff is just a horn riff, and the rest of the track has always sounded very much like a demo, with that stupid tambourine. Sure I acknowledge the importance of the track, but it's never been much of favourite.

The Last Time has always sounded much more mature, and much darker and gloomy. I love Jagger's vocals, I love the production. And sure it is a great riff, but it has never blown my socks off in a way JJF did, or the intro to Rocks Off or All Down the Line has done.

Mathijs

In addition to the riff and the great vocals, I've always liked Keith's solo on this.

I also like that Bill doesn't go to the D note during the verses like most folks would do when the others are on D chord. His verse bassline consists of a basic 4 note phrase E B E A. He plays the highlighted E note when the others play D chord, using the E as pedal point creates a nice clash at D chord, but also serves to add to the hypnotic feel of the verses. This in turn gives his move to A and D for the chorus that extra something.

Very subtle, but very effective.



Edited 2 time(s). Last edit at 2012-04-10 15:21 by His Majesty.

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Redhotcarpet

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His Majesty
The riff is clever, how he plays it further up the neck, but incorporates open strings. It's not just yet another take on some well known blues fill, but a creative twist which both looks back, but also forward. Noone had done it quite like that before.

In a way, the essence of the band is in the riff and how he plays it.

+1

agree 100%

the song grabbed me and I've been hooked ever since.

about this time of year, 1965. I was 9.

The level of some of the comments in this thread really impress me.

And they make this forum a great place for fans.

The first Jagger-Richards classic in my opinion. The tease we got of Brian's cool "chooglin'" guitar along with Keiths stinging lead in "Its All Over Now" matures fully here with role reversal (well, at least until the "break"!)

Defines the essence of the Stones. Great song, cool sound.