Tell Me :
Talk
Well, especially Taylor has been saying quite strange things in interviews, even back in the 70's. Stating that he played certain parts that in reality he clearly didn't, or first stating that he wrote a certain song and later saying it was a complete Jagger or Richards song. Jagger interviews up to 1995 or so can be interesting, since then he just acts like he doesn't remember. Richards up to 1990 or so was interesting, since then he rehashes the same old garble and keeps making things up.
Mathijs
Agree, especially with the latter.
They make it hard for us fans, indeed...
Yes! Sends you gently away into the clouds. Perfect.
Here is Keith's quote again from 71: I thought I wasn't on Moonlight Mile but the last riff everybody gets into playing is a riff I'd been playing on earlier tapes before I dropped out.
So the only part Keith wrote (and the reason he gets a song writing credit) is the last 20-30 seconds of the song? Is this true? Something tells me that even if this last part was not on the song, he would still get a songwriting credit!
So really Mick wrote 100% of the words and 95% of the music. Or maybe Taylor had some songwriting input into Jagger's 95% part! Thoughts?
The Glimmers always share songwriting credits, regardless of who did what or how much. It's been like that since the beginning, and always will be.
Drew
Seemingly, they had been playing the ending theme that Keith wrote, and decided to end the song with it. According to Taylor himself, he suggested to let the strings play it.
Keith's quote is old news here, and we don't know anything about how the song was WRITTEN, only how it was performed in the studio. If they start out playing a new song with Keith's cassette recording, and use that theme, of course he should be credited.
Taylor supposedly helped ARRANGING the tune (the strings) and should have been credited with that.
Edited 1 time(s). Last edit at 2013-02-13 17:22 by DandelionPowderman.
My thought is that if this song were written in today's world, Taylor would have gotten a song writing credit along with Jagger. They further would have stated 'inspired by Keith Richards'.
No one has stated MT wrote MM. But many have stated he co-wrote it with the other Mick and that Keith had nothing to do with it, which is very probably true, except for the Keith fans, who believe in Japanese fairytails.
Drew - Nice MM summary on the 1st page.
Yeah, I think most/all know about the Jagger/Richards agreement since probably 1965, but that actually becomes the problem when trying to determine which band members wrote what through the years. We are always saying what constitutes a song writing credit (you must have written a riff, a chord sequence, a melody or written some or all of the words) and then some argue Taylor/Wyman/Jones surely did not, they just added some colo(u)r. However, if Richards (or Jagger) had nothing to do with a song, that's a different story, they get credit. Of course the Jagger/Richards credits are probably accurate on 98% of the songs!
Take JJF - did Bill write the riff?
From songfacts :
Bill Wyman wrote some of this song, but it was still credited only to Mick Jagger and Keith Richards, which Wyman was never happy about. He explained: "We got to the studio early once and... in fact I think it was a rehearsal studio, I don't think it was a recording studio. And there was just myself, Brian and Charlie - the Stones NEVER arrive at the same time, you know - and Mick and Keith hadn't come. And I was just messing about and I just sat down at the piano and started doing this riff, da-daw, da-da-daw, da-da-daw, and then Brian played a bit of guitar and Charlie was doing a rhythm. We were just messing with it for 20 minutes, just filling in time, and Mick and Keith came in and we stopped and they said, 'Hey, that sounded really good, carry on, what is it? And then the next day we recorded it. Mick wrote great lyrics to it and it turned out to be a really good single."
Thanks man. And I realized in retrospect that your earlier comment about Keith getting songwriting credits (regardless of whether he contributed) was tongue-in-cheek ...
Drew
Do remember that basically up until 1968 / 1969 it was ALL Richards...
Mathijs
Yep, Stones fans like Charlie and Bill believe in the japanese tales as well
Pretty hard to neglect, kleerie.
Edited 1 time(s). Last edit at 2013-02-13 23:45 by DandelionPowderman.
Yeah, there is a bit too manufactured feel in the song, and it doesn't 'flow' so naturally and effortlessly as "Moonlight Mile" does. In "Winter" they do better I think, even though the song is rather one dimensional compared to "Mile" (but as effective in expressing feelings).
Dandie, you have said that "Moonlight Mile" is your favourite Stones song. I find that curious, since it typically do not fit to the 'raunchy' features I always hear you praising in the Stones. I think the reason why I tended to 'neglect' before or initially the song, does actually derive from it sounding 'too sophisticated', or 'too professional' and so 'non-Stonesy' for my taste (the problem I also had with some other STICKY FINGERS tracks as well). Any comment?
- Doxa
Edited 2 time(s). Last edit at 2013-11-20 11:31 by Doxa.
There is a typical "Stones sound", and obviously I love that sound.
However, that is not the only sound I love, as I listen to lots of different musical genres.
Moonlight Mile, to me, sounds like the best ever U2 song that Bono and The Edge never wrote (or were capable of writing). It's dreamy, dynamic, hopeful and brilliant. Mick took a giant step with this one.
It's nice that someone, except for me, catches this
Talk about your favorite band.
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Re: Track Talk: Moonlight Mile
Posted by:
Mathijs
()
Date: February 13, 2013 15:58
Quote
DandelionPowderman
There are many funny quotes from back in the day, too, Mathijs.
The best one is perhaps from Taylor, stating that he wrote all the ballads in the early 70s
Well, especially Taylor has been saying quite strange things in interviews, even back in the 70's. Stating that he played certain parts that in reality he clearly didn't, or first stating that he wrote a certain song and later saying it was a complete Jagger or Richards song. Jagger interviews up to 1995 or so can be interesting, since then he just acts like he doesn't remember. Richards up to 1990 or so was interesting, since then he rehashes the same old garble and keeps making things up.
Mathijs
Re: Track Talk: Moonlight Mile
Posted by:
DandelionPowderman
()
Date: February 13, 2013 16:12
Quote
MathijsQuote
DandelionPowderman
There are many funny quotes from back in the day, too, Mathijs.
The best one is perhaps from Taylor, stating that he wrote all the ballads in the early 70s
Well, especially Taylor has been saying quite strange things in interviews, even back in the 70's. Stating that he played certain parts that in reality he clearly didn't, or first stating that he wrote a certain song and later saying it was a complete Jagger or Richards song. Jagger interviews up to 1995 or so can be interesting, since then he just acts like he doesn't remember. Richards up to 1990 or so was interesting, since then he rehashes the same old garble and keeps making things up.
Mathijs
Agree, especially with the latter.
They make it hard for us fans, indeed...
Re: Track Talk: Moonlight Mile
Posted by:
jpasc95
()
Date: February 13, 2013 16:30
Sticky Fingers is full of beautiful jewels and this song is a mesmerizing masterpiece.
Maybe Fool To Cry comes close to it.
Maybe Fool To Cry comes close to it.
Re: Track Talk: Moonlight Mile
Posted by:
gimmelittledrink
()
Date: February 13, 2013 16:39
A part of it could have been based on or influenced by a 'Japanese thing' written by Joe Shmoe. Doesn't really matter.
Re: Track Talk: Moonlight Mile
Posted by:
VT22
()
Date: February 13, 2013 16:49
Quote
gimmelittledrink
A part of it could have been based on or influenced by a 'Japanese thing' written by Joe Shmoe. Doesn't really matter.
Re: Track Talk: Moonlight Mile
Posted by:
71Tele
()
Date: February 13, 2013 16:53
Quote
DD
Hello.
The last 5 seconds are my favourite ending to any album ever.
Declan.
Yes! Sends you gently away into the clouds. Perfect.
Re: Track Talk: Moonlight Mile
Posted by:
2000 LYFH
()
Date: February 13, 2013 16:58
Quote
DandelionPowdermanQuote
with sssoul
The trouble with Stones research is that the sources quote each other so much
that seemingly well-sourced statements turn out all to be based on some single remark
that may well have been confused, misremembered, misinterpreted, misheard or whatever.
I recall reading an interview where Bill said that Moonlight Mile started off as "Keith's Japanese Thing",
but the jumble of contradictory statements that Mathijs quoted from [www.timeisonourside.com]
is pretty clear evidence that at this point we can find firsthand eyewitness accounts
in support of whatever we want to believe about the track.
Which is gorgeous in any case.
Thanks!!! THAT was the quote I was looking for. You have made my day, dear with sssoul
Here is Keith's quote again from 71: I thought I wasn't on Moonlight Mile but the last riff everybody gets into playing is a riff I'd been playing on earlier tapes before I dropped out.
So the only part Keith wrote (and the reason he gets a song writing credit) is the last 20-30 seconds of the song? Is this true? Something tells me that even if this last part was not on the song, he would still get a songwriting credit!
So really Mick wrote 100% of the words and 95% of the music. Or maybe Taylor had some songwriting input into Jagger's 95% part! Thoughts?
Re: Track Talk: Moonlight Mile
Posted by:
drewmaster
()
Date: February 13, 2013 17:04
Quote
2000 LYFH
Something tells me that even if this last part was not on the song, he would still get a songwriting credit!
The Glimmers always share songwriting credits, regardless of who did what or how much. It's been like that since the beginning, and always will be.
Drew
Re: Track Talk: Moonlight Mile
Posted by:
DandelionPowderman
()
Date: February 13, 2013 17:19
Quote
2000 LYFHQuote
DandelionPowdermanQuote
with sssoul
The trouble with Stones research is that the sources quote each other so much
that seemingly well-sourced statements turn out all to be based on some single remark
that may well have been confused, misremembered, misinterpreted, misheard or whatever.
I recall reading an interview where Bill said that Moonlight Mile started off as "Keith's Japanese Thing",
but the jumble of contradictory statements that Mathijs quoted from [www.timeisonourside.com]
is pretty clear evidence that at this point we can find firsthand eyewitness accounts
in support of whatever we want to believe about the track.
Which is gorgeous in any case.
Thanks!!! THAT was the quote I was looking for. You have made my day, dear with sssoul
Here is Keith's quote again from 71: I thought I wasn't on Moonlight Mile but the last riff everybody gets into playing is a riff I'd been playing on earlier tapes before I dropped out.
So the only part Keith wrote (and the reason he gets a song writing credit) is the last 20-30 seconds of the song? Is this true? Something tells me that even if this last part was not on the song, he would still get a songwriting credit!
So really Mick wrote 100% of the words and 95% of the music. Or maybe Taylor had some songwriting input into Jagger's 95% part! Thoughts?
Seemingly, they had been playing the ending theme that Keith wrote, and decided to end the song with it. According to Taylor himself, he suggested to let the strings play it.
Keith's quote is old news here, and we don't know anything about how the song was WRITTEN, only how it was performed in the studio. If they start out playing a new song with Keith's cassette recording, and use that theme, of course he should be credited.
Taylor supposedly helped ARRANGING the tune (the strings) and should have been credited with that.
Edited 1 time(s). Last edit at 2013-02-13 17:22 by DandelionPowderman.
Re: Track Talk: Moonlight Mile
Posted by:
treaclefingers
()
Date: February 13, 2013 17:24
Quote
DandelionPowdermanQuote
2000 LYFHQuote
DandelionPowdermanQuote
with sssoul
The trouble with Stones research is that the sources quote each other so much
that seemingly well-sourced statements turn out all to be based on some single remark
that may well have been confused, misremembered, misinterpreted, misheard or whatever.
I recall reading an interview where Bill said that Moonlight Mile started off as "Keith's Japanese Thing",
but the jumble of contradictory statements that Mathijs quoted from [www.timeisonourside.com]
is pretty clear evidence that at this point we can find firsthand eyewitness accounts
in support of whatever we want to believe about the track.
Which is gorgeous in any case.
Thanks!!! THAT was the quote I was looking for. You have made my day, dear with sssoul
Here is Keith's quote again from 71: I thought I wasn't on Moonlight Mile but the last riff everybody gets into playing is a riff I'd been playing on earlier tapes before I dropped out.
So the only part Keith wrote (and the reason he gets a song writing credit) is the last 20-30 seconds of the song? Is this true? Something tells me that even if this last part was not on the song, he would still get a songwriting credit!
So really Mick wrote 100% of the words and 95% of the music. Or maybe Taylor had some songwriting input into Jagger's 95% part! Thoughts?
Seemingly, they had been playing the ending theme that Keith wrote, and decided to end the song with it. According to Taylor himself, he suggested to let the strings play it.
Keith's quote is old news here, and we don't know anything about how the song was WRITTEN, only how it was performed in the studio. If they start out playing a new song with Keith's cassette recording, and use that theme, of course he should be credited.
Taylor supposedly helped ARRANGING the tune (the strings) and should have been credited with that.
My thought is that if this song were written in today's world, Taylor would have gotten a song writing credit along with Jagger. They further would have stated 'inspired by Keith Richards'.
Re: Track Talk: Moonlight Mile
Posted by:
DandelionPowderman
()
Date: February 13, 2013 17:33
I give up the MM-song writing debate.
If so many of you are convinced that Mick Taylor WROTE this song, so be it.
I suggest you go through his catalogue of the songs that he has written, and form your own opinion, though - instead of stating he wrote this one, just because Keith wasn't present in the studio
Edited 1 time(s). Last edit at 2013-02-13 17:44 by DandelionPowderman.
If so many of you are convinced that Mick Taylor WROTE this song, so be it.
I suggest you go through his catalogue of the songs that he has written, and form your own opinion, though - instead of stating he wrote this one, just because Keith wasn't present in the studio
Edited 1 time(s). Last edit at 2013-02-13 17:44 by DandelionPowderman.
Re: Track Talk: Moonlight Mile
Posted by:
VT22
()
Date: February 13, 2013 18:47
And there you have it, ... 
Re: Track Talk: Moonlight Mile
Posted by:
kleermaker
()
Date: February 13, 2013 18:58
Quote
DandelionPowderman
I give up the MM-song writing debate.
If so many of you are convinced that Mick Taylor WROTE this song, so be it.
I suggest you go through his catalogue of the songs that he has written, and form your own opinion, though - instead of stating he wrote this one, just because Keith wasn't present in the studio
No one has stated MT wrote MM. But many have stated he co-wrote it with the other Mick and that Keith had nothing to do with it, which is very probably true, except for the Keith fans, who believe in Japanese fairytails.
Re: Track Talk: Moonlight Mile
Posted by:
2000 LYFH
()
Date: February 13, 2013 20:08
Quote
drewmasterQuote
2000 LYFH
Something tells me that even if this last part was not on the song, he would still get a songwriting credit!
The Glimmers always share songwriting credits, regardless of who did what or how much. It's been like that since the beginning, and always will be.
Drew
Drew - Nice MM summary on the 1st page.
Yeah, I think most/all know about the Jagger/Richards agreement since probably 1965, but that actually becomes the problem when trying to determine which band members wrote what through the years. We are always saying what constitutes a song writing credit (you must have written a riff, a chord sequence, a melody or written some or all of the words) and then some argue Taylor/Wyman/Jones surely did not, they just added some colo(u)r. However, if Richards (or Jagger) had nothing to do with a song, that's a different story, they get credit. Of course the Jagger/Richards credits are probably accurate on 98% of the songs!
Take JJF - did Bill write the riff?
From songfacts :
Bill Wyman wrote some of this song, but it was still credited only to Mick Jagger and Keith Richards, which Wyman was never happy about. He explained: "We got to the studio early once and... in fact I think it was a rehearsal studio, I don't think it was a recording studio. And there was just myself, Brian and Charlie - the Stones NEVER arrive at the same time, you know - and Mick and Keith hadn't come. And I was just messing about and I just sat down at the piano and started doing this riff, da-daw, da-da-daw, da-da-daw, and then Brian played a bit of guitar and Charlie was doing a rhythm. We were just messing with it for 20 minutes, just filling in time, and Mick and Keith came in and we stopped and they said, 'Hey, that sounded really good, carry on, what is it? And then the next day we recorded it. Mick wrote great lyrics to it and it turned out to be a really good single."
Re: Track Talk: Moonlight Mile
Posted by:
pinkfloydthebarber
()
Date: February 13, 2013 20:21
one of the best stones tracks there is. evokes powerful images, jagger's singing is emotional and gut wrenching. the orchestration is beautiful.
i could care less who 'wrote' it. i'm sure it was formed from bits and pieces of this and that by who knows who and by him and him and him and him... and even him. who cares.
it's a masterpiece nonetheless.
i could care less who 'wrote' it. i'm sure it was formed from bits and pieces of this and that by who knows who and by him and him and him and him... and even him. who cares.
it's a masterpiece nonetheless.
Re: Track Talk: Moonlight Mile
Posted by:
drewmaster
()
Date: February 13, 2013 21:47
Quote
2000 LYFH
Drew - Nice MM summary on the 1st page.
Yeah, I think most/all know about the Jagger/Richards agreement since probably 1965, but that actually becomes the problem when trying to determine which band members wrote what through the years. We are always saying what constitutes a song writing credit (you must have written a riff, a chord sequence, a melody or written some or all of the words) and then some argue Taylor/Wyman/Jones surely did not, they just added some colo(u)r. However, if Richards (or Jagger) had nothing to do with a song, that's a different story, they get credit. Of course the Jagger/Richards credits are probably accurate on 98% of the songs!
Thanks man. And I realized in retrospect that your earlier comment about Keith getting songwriting credits (regardless of whether he contributed) was tongue-in-cheek ...
Drew
Re: Track Talk: Moonlight Mile
Posted by:
Mathijs
()
Date: February 13, 2013 22:37
Quote
drewmasterQuote
2000 LYFH
Drew - Nice MM summary on the 1st page.
Yeah, I think most/all know about the Jagger/Richards agreement since probably 1965, but that actually becomes the problem when trying to determine which band members wrote what through the years. We are always saying what constitutes a song writing credit (you must have written a riff, a chord sequence, a melody or written some or all of the words) and then some argue Taylor/Wyman/Jones surely did not, they just added some colo(u)r. However, if Richards (or Jagger) had nothing to do with a song, that's a different story, they get credit. Of course the Jagger/Richards credits are probably accurate on 98% of the songs!
Thanks man. And I realized in retrospect that your earlier comment about Keith getting songwriting credits (regardless of whether he contributed) was tongue-in-cheek ...
Drew
Do remember that basically up until 1968 / 1969 it was ALL Richards...
Mathijs
Re: Track Talk: Moonlight Mile
Posted by:
DandelionPowderman
()
Date: February 13, 2013 23:42
Quote
kleermakerQuote
DandelionPowderman
I give up the MM-song writing debate.
If so many of you are convinced that Mick Taylor WROTE this song, so be it.
I suggest you go through his catalogue of the songs that he has written, and form your own opinion, though - instead of stating he wrote this one, just because Keith wasn't present in the studio
No one has stated MT wrote MM. But many have stated he co-wrote it with the other Mick and that Keith had nothing to do with it, which is very probably true, except for the Keith fans, who believe in Japanese fairytails.
Yep, Stones fans like Charlie and Bill believe in the japanese tales as well
Pretty hard to neglect, kleerie.
Edited 1 time(s). Last edit at 2013-02-13 23:45 by DandelionPowderman.
Re: Track Talk: Moonlight Mile
Posted by:
VT22
()
Date: February 14, 2013 00:07
It turned into a two guitar country/ballad version here.
Moonlight Mile, the lite-version. Hatts off to Jagger, he's not very audible here,
but it's definitely his song.
Moonlight Mile, the lite-version. Hatts off to Jagger, he's not very audible here,
but it's definitely his song.
Re: Track Talk: Moonlight Mile
Posted by:
Doxa
()
Date: November 20, 2013 10:47
I listened the 'definitive collection' I made of 'most profilic Stones' (there is a thread of it somewhere) the other day and realized that this gem is missing there, and also that I haven't contributed to this track-talk thread either. What unforgettable idiocy from my side!
Anyways, I read the wonderful descriptions here (especially in the first page until the thread is reduced to the endless crediting battles), and realized that there is nothing to add what is already said here, and much better than what I can. What a relief, since what the hell to say for such a masterpiece? One of those very rare songs that go absolutely beyond the realm of words. So instead of saying anything of it, I try to praise it by locating it to the great universe of memorable Rolling Stones songs.
Firstly, I need to confess that I have neglected and ignored "Moonlight Mile" seriously during my life as a Rolling Stones fan. Yes, I have liked its etheric, delicated atmosphere very much, but it was not until very recently I finally realized what a unique, transcendental masterpiece it is. I think in that sense it belongs to the very privileged class in which probably the only other song is "Gimme Shelter". Or to put it other way: I have always tried to figure out if there is any equal to “Gimme Shelter” in Stones catalogue. The question with both of these songs is: where the hell that came from? A real touch of muse in action. If “Gimme Shelter” is Keith’s biggest creative hour, “Moonlight Mile” is Mick’s. Probably “Sympathy for The Devil” is a ‘better’ song, taking the composition and lyrics, but here Jagger steps into deeper musical landscapes, the world of feelings - such as “Gimme Shelter” does in expressing different kind of feelings - in the way the BEGGARS BANQUET masterpiece do not. Here Jagger drifts us to the emotions reflected in music only he and no one else in the world is able to do. And with such honesty and conviction that is extraordinary even for him. I liked the analogy someone mentioned to “A Day In The Life”, but I add another one: if “Sympathy For The Devil” is “Desolation Row”, “Moonlight Mile” is “Like A Rolling Stone”.
To me “Moonlight Mile”, like “Gimme Shelter”, is a mystery. What chemicals Jagger used to come up with this one? And just a few years earlier he just added lyrics to Keith’s songs and finished up melody lines. Trying to compose a pop song by his own, coming up with “Yesterday’s Papers”, then heading to “Sympathy For The Devil” just a year later. Then someone showing him an open guitar tuning, and all of sudden, he comes up with “Brown Sugar”. And then this. No matter how much Mick Taylor had a helping hand here, the guy simply is a genius.
“Moonlight Mile” is the most perfect and most professional sounding piece in their most perfect and most professional sounding album ever. The ‘perfect’ in the traditional sense of the word that does not require any Rolling Stones idiosyncrasy trained ears (such as EXILE, BEGGARS or SOME GIRLS need). It is just great songs and awesome – perfect and tight – delivery of them. Their stylistic touch is as close to perfection that is almost odd to think it is The Rolling Stones we talk here, be the genre they want to master country, soul ballad, hard rock, you name it… and then “Moonlight Mile” whatever it is, would most likely charm even the most trained Pink Floyd/Mike Oldfield spoiled ‘progressive rock’ ears. To my ears STICKY FINGERS is the album in which the claim “greatest rock and roll band in the world” is stated in vinyl, using the highest criteria available in the peak age of ‘classic rock’. If GET YER YA-YA’S OUT! had shown their live credibility to the claim, this makes it in studio output.
So one way is to see “Moonlight Mile” as one kind of career highlight, the very top they reached in their career by then. Think the route from ”Tell Me” and “As Tears Go By” to “Satisfaction” and “Paint It Black” , from “Ruby Tuesday” and “2000 Light Years From Home” to “Gimme Shelter” and, yes, “Moonlight Mile”… Album like EXILE ON MAIN STREET was a kind of reaction to the ambitious, forward-looking drive that had kicked their asses up until then, and don’t even trying to touch such high creative mountains any longer – but just “let it go” with a free spirit. Even though EXILE might be their biggest artistic statement ever – the Rolling Stones in their most essential non-compromised, relaxed, down to earth, chaotic nature – it lacks not just distinguished big radio hits a’la “Jumpin Jack Flash”, “Honky Tonk Women” or “Brown Sugar”, but also the striking, ambitious space-needing album highlights such as “Moonlight Mile”, “Gimme Shelter”, “Sympathy For The Devil”, “Midnight Rambler”, “Can’t You Hear Me Knocking?” and “You Can’t Always Get What You Want” the other ‘golden era’ albums were famous for. The era of making epic songs was over. “Moonlight Mile”, with “Can’t You Hear Me Knocking?”, is the Last of the Mohicans. They would later occasionally still try to over-come the three/four minute song barrier with bigger musical statements – say “Fingerprint File”, “Memory Motel” and even “Miss You” – but more or less they have followed the route of EXILE ON MAIN STREET relying on their natural groove and instinct ability to create a short coherent musical piece out of simple elements.
Let the last word go to Mick Taylor. No matter how much he was involved in writing the song, what we can hear in the final version could be his greatest contribution in any Stones studio song. Here Taylor, if ever, is stepping to Brian Jones's shoes, by adding a dimension by his own unique touch, which lifts up the song higher, as Jones would do in his best days. So, to my ears "Moonlight Mile" is regards to Taylor, the same as "Ruby Tuesday" is regards to Jones.
That will do.
- Doxa
Edited 3 time(s). Last edit at 2013-11-20 10:57 by Doxa.
Anyways, I read the wonderful descriptions here (especially in the first page until the thread is reduced to the endless crediting battles), and realized that there is nothing to add what is already said here, and much better than what I can. What a relief, since what the hell to say for such a masterpiece? One of those very rare songs that go absolutely beyond the realm of words. So instead of saying anything of it, I try to praise it by locating it to the great universe of memorable Rolling Stones songs.
Firstly, I need to confess that I have neglected and ignored "Moonlight Mile" seriously during my life as a Rolling Stones fan. Yes, I have liked its etheric, delicated atmosphere very much, but it was not until very recently I finally realized what a unique, transcendental masterpiece it is. I think in that sense it belongs to the very privileged class in which probably the only other song is "Gimme Shelter". Or to put it other way: I have always tried to figure out if there is any equal to “Gimme Shelter” in Stones catalogue. The question with both of these songs is: where the hell that came from? A real touch of muse in action. If “Gimme Shelter” is Keith’s biggest creative hour, “Moonlight Mile” is Mick’s. Probably “Sympathy for The Devil” is a ‘better’ song, taking the composition and lyrics, but here Jagger steps into deeper musical landscapes, the world of feelings - such as “Gimme Shelter” does in expressing different kind of feelings - in the way the BEGGARS BANQUET masterpiece do not. Here Jagger drifts us to the emotions reflected in music only he and no one else in the world is able to do. And with such honesty and conviction that is extraordinary even for him. I liked the analogy someone mentioned to “A Day In The Life”, but I add another one: if “Sympathy For The Devil” is “Desolation Row”, “Moonlight Mile” is “Like A Rolling Stone”.
To me “Moonlight Mile”, like “Gimme Shelter”, is a mystery. What chemicals Jagger used to come up with this one? And just a few years earlier he just added lyrics to Keith’s songs and finished up melody lines. Trying to compose a pop song by his own, coming up with “Yesterday’s Papers”, then heading to “Sympathy For The Devil” just a year later. Then someone showing him an open guitar tuning, and all of sudden, he comes up with “Brown Sugar”. And then this. No matter how much Mick Taylor had a helping hand here, the guy simply is a genius.
“Moonlight Mile” is the most perfect and most professional sounding piece in their most perfect and most professional sounding album ever. The ‘perfect’ in the traditional sense of the word that does not require any Rolling Stones idiosyncrasy trained ears (such as EXILE, BEGGARS or SOME GIRLS need). It is just great songs and awesome – perfect and tight – delivery of them. Their stylistic touch is as close to perfection that is almost odd to think it is The Rolling Stones we talk here, be the genre they want to master country, soul ballad, hard rock, you name it… and then “Moonlight Mile” whatever it is, would most likely charm even the most trained Pink Floyd/Mike Oldfield spoiled ‘progressive rock’ ears. To my ears STICKY FINGERS is the album in which the claim “greatest rock and roll band in the world” is stated in vinyl, using the highest criteria available in the peak age of ‘classic rock’. If GET YER YA-YA’S OUT! had shown their live credibility to the claim, this makes it in studio output.
So one way is to see “Moonlight Mile” as one kind of career highlight, the very top they reached in their career by then. Think the route from ”Tell Me” and “As Tears Go By” to “Satisfaction” and “Paint It Black” , from “Ruby Tuesday” and “2000 Light Years From Home” to “Gimme Shelter” and, yes, “Moonlight Mile”… Album like EXILE ON MAIN STREET was a kind of reaction to the ambitious, forward-looking drive that had kicked their asses up until then, and don’t even trying to touch such high creative mountains any longer – but just “let it go” with a free spirit. Even though EXILE might be their biggest artistic statement ever – the Rolling Stones in their most essential non-compromised, relaxed, down to earth, chaotic nature – it lacks not just distinguished big radio hits a’la “Jumpin Jack Flash”, “Honky Tonk Women” or “Brown Sugar”, but also the striking, ambitious space-needing album highlights such as “Moonlight Mile”, “Gimme Shelter”, “Sympathy For The Devil”, “Midnight Rambler”, “Can’t You Hear Me Knocking?” and “You Can’t Always Get What You Want” the other ‘golden era’ albums were famous for. The era of making epic songs was over. “Moonlight Mile”, with “Can’t You Hear Me Knocking?”, is the Last of the Mohicans. They would later occasionally still try to over-come the three/four minute song barrier with bigger musical statements – say “Fingerprint File”, “Memory Motel” and even “Miss You” – but more or less they have followed the route of EXILE ON MAIN STREET relying on their natural groove and instinct ability to create a short coherent musical piece out of simple elements.
Let the last word go to Mick Taylor. No matter how much he was involved in writing the song, what we can hear in the final version could be his greatest contribution in any Stones studio song. Here Taylor, if ever, is stepping to Brian Jones's shoes, by adding a dimension by his own unique touch, which lifts up the song higher, as Jones would do in his best days. So, to my ears "Moonlight Mile" is regards to Taylor, the same as "Ruby Tuesday" is regards to Jones.
That will do.
- Doxa
Edited 3 time(s). Last edit at 2013-11-20 10:57 by Doxa.
Re: Track Talk: Moonlight Mile
Posted by:
DandelionPowderman
()
Date: November 20, 2013 11:02
Maybe they tried something similar with Time Waits For No One, but imo without succeeding.
<and realized that there is nothing to add what is already said here>
Great post, Doxa
<and realized that there is nothing to add what is already said here>
Great post, Doxa
Re: Track Talk: Moonlight Mile
Posted by:
Doxa
()
Date: November 20, 2013 11:29
Quote
DandelionPowderman
Maybe they tried something similar with Time Waits For No One, but imo without succeeding.
Yeah, there is a bit too manufactured feel in the song, and it doesn't 'flow' so naturally and effortlessly as "Moonlight Mile" does. In "Winter" they do better I think, even though the song is rather one dimensional compared to "Mile" (but as effective in expressing feelings).
Dandie, you have said that "Moonlight Mile" is your favourite Stones song. I find that curious, since it typically do not fit to the 'raunchy' features I always hear you praising in the Stones. I think the reason why I tended to 'neglect' before or initially the song, does actually derive from it sounding 'too sophisticated', or 'too professional' and so 'non-Stonesy' for my taste (the problem I also had with some other STICKY FINGERS tracks as well). Any comment?
- Doxa
Edited 2 time(s). Last edit at 2013-11-20 11:31 by Doxa.
Re: Track Talk: Moonlight Mile
Posted by:
DandelionPowderman
()
Date: November 20, 2013 12:04
Quote
DoxaQuote
DandelionPowderman
Maybe they tried something similar with Time Waits For No One, but imo without succeeding.
Yeah, there is a bit too manufactured feel in the song, and it doesn't 'flow' so naturally and effortlessly as "Moonlight Mile" does. In "Winter" they do better I think, even though the song is rather one dimensional compared to "Mile" (but as effective in expressing feelings).
Dandie, you have said that "Moonlight Mile" is your favourite Stones song. I find that curious, since it typically do not fit to the 'raunchy' features I always hear you praising in the Stones. I think the reason why I tended to 'neglect' before or initially the song, does actually derive from it sounding 'too sophisticated', or 'too professional' and so 'non-Stonesy' for my taste (the problem I also had with some other STICKY FINGERS tracks as well). Any comment?
- Doxa
There is a typical "Stones sound", and obviously I love that sound.
However, that is not the only sound I love, as I listen to lots of different musical genres.
Moonlight Mile, to me, sounds like the best ever U2 song that Bono and The Edge never wrote (or were capable of writing). It's dreamy, dynamic, hopeful and brilliant. Mick took a giant step with this one.
Re: Track Talk: Moonlight Mile
Posted by:
Doxa
()
Date: November 20, 2013 12:21
Nice one that U2 comparison - I get what you mean, and I agree.
Anyway, of those 'Moonlight Mile Moments' later, we need to remember that also Keith was drifting somewhere nearby in "How Can I Stop"; at least the cymbal ending (and the builded-up atmsophere) reminded me immedeatily of "Moonlight Mile" when I first heard it!
- Doxa
Edited 1 time(s). Last edit at 2013-11-20 12:23 by Doxa.
Anyway, of those 'Moonlight Mile Moments' later, we need to remember that also Keith was drifting somewhere nearby in "How Can I Stop"; at least the cymbal ending (and the builded-up atmsophere) reminded me immedeatily of "Moonlight Mile" when I first heard it!
- Doxa
Edited 1 time(s). Last edit at 2013-11-20 12:23 by Doxa.
Re: Track Talk: Moonlight Mile
Posted by:
DandelionPowderman
()
Date: November 20, 2013 12:24
Quote
Doxa
Nice one that U2 comparison - I get what you mean, and I agree.
Anyway, of those 'Moonlight Mile Moments' later, we need to remember that also Keith was drifting somewhere nearby in "How Can I Stop"; at least the cymbal ending (and the builded-up atmsophere) reminded me immedeatily of "Moonlight Mile" when I first heard it!
- Doxa
It's nice that someone, except for me, catches this
Re: Track Talk: Moonlight Mile
Posted by:
liddas
()
Date: November 20, 2013 13:40
What truly makes MM something else are those 30 seconds starting at the 4 min. mark.
Probably the highest moment in Jagger's singing career. The growl, the desperation, the delicacy ... It just defines the song. It gives a sense to the string arrangement, to Charlie's pounding drumming, to the dreamy outro.
Without those 30 seconds, MM would have been "just" a good ballad. Nothing more nothing less.
The stones are about heart and guts, when they are able to translate this to tape, as is the case of MM, there you have a masterpiece!
C
Probably the highest moment in Jagger's singing career. The growl, the desperation, the delicacy ... It just defines the song. It gives a sense to the string arrangement, to Charlie's pounding drumming, to the dreamy outro.
Without those 30 seconds, MM would have been "just" a good ballad. Nothing more nothing less.
The stones are about heart and guts, when they are able to translate this to tape, as is the case of MM, there you have a masterpiece!
C
Re: Track Talk: Moonlight Mile
Posted by:
treaclefingers
()
Date: November 20, 2013 18:59
In a crowded list of songs that for any other band would better than a greatest hits package, Moonlight Mile stands out as the best cut on Sticky Fingers.
They could never be this good again.
They could never be this good again.
Re: Track Talk: Moonlight Mile
Posted by:
runaway
()
Date: November 20, 2013 19:09
This is one of the tracks where Mick T and Mick J have found each other in pure magic heights with haunting guitar sounds and vocals to become One in his finest moments. Sticky Fingers was an Album I was listening to day and night at the time.
Re: Track Talk: Moonlight Mile
Posted by:
triceratops
()
Date: November 20, 2013 19:55
Sticky is their real Exile. Meaning their real best album. Just my opinion. My fallback is that Sticky is their best Mick Taylor album.
wikipedia
11th American studio album by English rock band The Rolling Stones, released in April 1971
And how old were they at Sticky Fingers?
So Mick Jagger 28 years old
Mick Taylor 22 years old
Keith 28
Bill 35
Charlie 30
wikipedia
11th American studio album by English rock band The Rolling Stones, released in April 1971
And how old were they at Sticky Fingers?
So Mick Jagger 28 years old
Mick Taylor 22 years old
Keith 28
Bill 35
Charlie 30
Re: Track Talk: Moonlight Mile
Posted by:
latebloomer
()
Date: November 20, 2013 20:05
A stunningly beautiful song...exotic and mysterious. The perfect ending to a perfect album. Best heard at night, preferably when driving. Especially good when your soul needs some soothing.
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