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Ruby Tuesday
(Mick Jagger / Keith Richards)

Pye Studios & Olympic Sound Studios, London, UK, November 8 - 26, 1966

Mick Jagger - lead vocals, tambourine
Keith Richards - acoustic guitar, bass, harmony vocals
Charlie Watts - drums
Bill Wyman - bass
Brian Jones - recorder, piano
Jack Nitzsche - piano

She would never say where she came from
Yesterday don't matter if it's gone
While the sun is bright or in the darkest night
No one knows, she comes and goes

Goodbye Ruby Tuesday, who could hang a name on you?
When you change with ev'ry new day
Still I'm gonna miss you

Don't question why she needs to be so free
She'll tell you it's the only way to be
She just can't be chained to a life where nothing's gained
And nothing's lost, at such a cost

Goodbye Ruby Tuesday, who could hang a name on you?
When you change with ev'ry new day
Still I'm gonna miss you

There's no time to lose, I heard her say
Catch your dreams before they slip away
Dying all the time, lose your dreams
And you will lose your mind, ain't life unkind?

Goodbye Ruby Tuesday, who could hang a name on you?
When you change with ev'ry new day
Still I'm gonna miss you

Goodbye Ruby Tuesday, who could hang a name on you?
When you change with ev'ry new day
Still I'm gonna miss you

Produced by Andrew Loog Oldham

First released on:
The Rolling Stones -
“Let’s Spend The Night Together / Ruby Tuesday” 7” single
(Decca F 12546) UK, January 13, 1967



Edited 1 time(s). Last edit at 2014-02-17 09:57 by René.

Hey, isn't this one one of the greatest ballads then!

2 1 2 0

ROCKMAN

ROCKMAN

ROCKMAN

In one word: perfection. As some of you know, I’m no fan of the “pop” phase the Stones went through between their early blues genius and their rebirth as the greatest rock and roll band in the world.

But I would be a fool not to recognize this track for the sublime work of genius that it is. What an incredibly sweet, sad, and haunting piece of music. The verses, in which Brian’s recorder and the double bass (or is it a cello?) create an enchantingly delicate, almost psychedelic mood, are balanced perfectly by the world-famous, utterly irresistable chorus. And those lyrics, man – absolutely heartbreaking, and inspired by Keith’s break-up with Linda Keith. To quote the man himself…

“That's one of those things - some chick you've broken up with. And all you've got left is the piano and the guitar and a pair of panties. And it's goodbye you know. And so it just comes out of that. And after that you just build on it. It's one of those songs that are easiest to write because you're really right there and you really sort of mean it. And for a songwriter, hey break his heart and he'll come up with a good song."

Simply marvelous stuff, sounding as fresh today as it did 47 years ago.

Drew



Edited 1 time(s). Last edit at 2017-03-05 22:43 by drewmaster.

A masterpiece! The only thing I'm not too crazy about (and that's knitpicking) is Charlie's multiple "machine gun" drum rolls.

The song could have used a lighter touch from him, as he's done in concert, imo.

Brilliant songwriting, singing and playing. The atmosphere one gets from this track is nothing but awesome

Ruby Tuesday is a work of staggering beauty. It's one of their absolute finest songs, the melody is classical in every sense of the word. I think even Mozart or Bach would have been proud to have written this gem.

There is such restraint in the playing, the way Brian's recorder gracefully underpins the melody and gives the whole song a breath-taking counterpoint is a stroke of genius.

It's a fantastic song on so many levels - lyrically, melodically, the sound of the instruments and the restrained playing.

Lyrically, women hadn't been objects of affection in Stones' songs until now - more figures of lust or disgust with Aftermath and Between The Buttons taking their misogny to new heights - Stupid Girl, Backstreet Girl,Under My Thumb, Out Of Time - to name but a few.

But Ruby Tuesday was not just a song, it was more like a 16th century poetic ode by Andrew Marvel or John Donne or even a Shakespearian sonnet.

And it's interesting to see that we get a different musing on womanhood because the song was written by Keith instead of Mick!

When Mick broke up with Chrissie Shrimpton she became the Stupid Girl...when Linda Keith, if it is indeed she who is Ruby Tuesday, broke up with Keith she was lovingly remembered and perhaps even greatly missed.

Keith's lyrics achieved a fabulous highpoint in popular music culture right up there with God Only Knows, Visions Of Johanna or Yesterday.

Musically, the song swoops and soars like a swallow on a fine summer's day with the music perfectly equalling the mysticism of the lyrics. Ruby Tuesday must have been a very exotic creature indeed!



Edited 3 time(s). Last edit at 2014-02-10 13:33 by Silver Dagger.

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DandelionPowderman
A masterpiece! The only thing I'm not too crazy about (and that's knitpicking) is Charlie's multiple "machine gun" drum rolls.

The song could have used a lighter touch from him, as he's done in concert, imo.

Brilliant songwriting, singing and playing. The atmosphere one gets from this track is nothing but awesome

Hey, Dandy,you don't like Charlie's drum rolls on this? I always thought they were put in to wake people up out of the reverie the general song weaves in order to give it a general dynamic.



Edited 1 time(s). Last edit at 2014-02-10 13:26 by Silver Dagger.

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Silver Dagger

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DandelionPowderman
A masterpiece! The only thing I'm not too crazy about (and that's knitpicking) is Charlie's multiple "machine gun" drum rolls.

The song could have used a lighter touch from him, as he's done in concert, imo.

Brilliant songwriting, singing and playing. The atmosphere one gets from this track is nothing but awesome

Hey, Dandy,you don't like Charlie's drum rolls on this? I always thought they were put in to wake people up out of the reverie the general song weaves in order to give it a general dynamic.

It's not that I don't like them. More like it could have been great had he done it once

Genius

Perfect!

My favourie Rolling Stones song, performances and recording.

Ruby Tuesday: Eight collectible versions (full-time collectors only)

(I should know). Who wants to shine?

Their rendtion of this song at Hyde Park 2 was my personal highlight of both Hyde Park Shows. I thought it was tremendous.

After all, he's a "full-time" collector...

Do you mean this one?

Along with "We Love You," "2000 Light Years from Home," and "No Expectations" this is my favorite Brian Jones moment.

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Silver Dagger
Do you mean this one?

Yeah, I was thinking of the snippets of Brian's piano playing - thanks!

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His Majesty
Perfect!

My favourie Rolling Stones song, performances and recording.

One of their very greatest, I would say. Extremely atmospheric and catching the time so well. Indeed a perfect song.

In my top 5 of favourite Stones songs. Saw it performed in Copenhagen in 2007 and it was one of those moments were it felt like time stood still. If 1967 were a year of frustration and questionable songs from this band, 'Ruby Tuesday' makes it all worthwhile.

It's some where in my TOP 10 one of the greatest melody they written....and I think it's one of the few Stones singe-long songs

__________________________




Edited 1 time(s). Last edit at 2014-02-10 22:24 by NICOS.

Somehow the general picture is that the flower power hippie year 1967 didn't quite suited to the mean-spirited, aggressive Stones, but still this particular is one of the best time-capturing masterpieces the era produced. Is there better musical testimony to capture the free-going hippie girl spirit than this one does? It is even better than Dylan's "Just Like A Woman". It actually is one of the most important songs ever to show how incredibly talented the band is/was. What would be the Stones legacy without this beauty? A melody equal to best Lennon/McCartney masterpieces, lyrics not one inch lesser than Dylan's best, and the instrumental arrangement, including the genious counter-melody.. well.. pure Brian Jones. Can pop be any better than this? Even Jagger's struggling with the low note in the beginning does not bother, but makes it more human and touchy...

To my eyes "Ruby Tuesday" is a swang song of early adventurous Brian Jones era Stones. More than anything it is Keith Richard's (no "s"!) graduate work as a traditional song-writer. After this perfect gem the route was ready to deconstruct the traditional pop song structure in SATANIC MAJESTIES and after that to reconstruct the idea of a song from guitar riffs and experiments.

And didn't the song sounded so damn great when they re-introduced it in STEEL WHEELS tour after so many many years? Almost brought a tear to this fan's eye... Like it did last summer at Hyde Park...

- Doxa



Edited 2 time(s). Last edit at 2014-02-10 22:06 by Doxa.

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Doxa

More than anything it is Keith Richard's (no "s"!) graduate work as a traditional song-writer. After this perfect gem the route was ready to deconstruct the traditional pop song structure in SATANIC MAJESTIES and after that to reconstruct the idea of a song from guitar riffs and experiments.


- Doxa

That's a great insight Doxa. Never thought of them de-constructing or re-constructing pop song structure from pure riffs but that is exactly what they did. Really well put.

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grzegorz67
Their rendtion of this song at Hyde Park 2 was my personal highlight of both Hyde Park Shows. I thought it was tremendous.

I came to Hyde Park 2 with a couple of friends who are not particular Stones fans (and much younger than me!) This was one of their highlights - they couldn't believe it was a Stones melody. My favourite version was at Twickenham in the rain as it was the first time I heard it live.

I know there has been lots of talk here in the past about whether Brian should have received a writing credit for this song. Also, has it ever been decided as to who played piano? 40 Licks credits Brian as did Bill's book but others credit Nitzsche.
2002 SACD hybrids have the chorus missing some vocals but the GRRR release have the full vocals back on the chorus.

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Lady Jayne
I came to Hyde Park 2 with a couple of friends who are not particular Stones fans (and much younger than me!) This was one of their highlights - they couldn't believe it was a Stones melody.

I have similar experiences with non-Stones fans as well. Funnily, if "Helter Skelter" is usually the weapon the Beatles fans use to show that The FabFour can also rock like a hell (as The Stones), this song is a counter example by the Stones fans that also the Stones can really write beautiful catchy pop songs with genious melodies...

- Doxa

There's a pastoral lilt to Brian's recorder, followed by a disturbing darkness that adds a whole new layer to the song and carries it forever out of it's flower power era.

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Silver Dagger

Quote
Doxa

More than anything it is Keith Richard's (no "s"!) graduate work as a traditional song-writer. After this perfect gem the route was ready to deconstruct the traditional pop song structure in SATANIC MAJESTIES and after that to reconstruct the idea of a song from guitar riffs and experiments.


- Doxa

That's a great insight Doxa. Never thought of them de-constructing or re-constructing pop song structure from pure riffs but that is exactly what they did. Really well put.

Thanks. I think that that particular period from AFTERMATH and BETWEEN THE BUTTONS via THEIR SATANIC MAJESTIES to BEGGARS BANQUET is extremily intersting period from song writer's point of view. The so called experimentalism didn't only belonged to the choice of instruments and use of arrangements, but also to the very nature of the song structures themselves. There was something in teh air at the time (and not only LSD). I see there a clear development, and I think without SATANIC MAJESTIES or the more traditional pop songs of AFTERMATH, mature sounding, 'less is more' reduced BEGGARS BANQUET wouldn't have been possible. The route from a 'lucky' "Satisfaction" or other early riff-based r&b originals to "Jumpin' Jack Flash" and "Street Fighting Man" needed that kind of progression and thorough-going reflection in song-writing department. SATANIC MAJESTIES especially is very important.

- Doxa



Edited 3 time(s). Last edit at 2014-02-10 23:01 by Doxa.

A great song. In my top 5 list for Stones songs. An overall beautiful sound, a perfect melody, featuring lyrics evocative of the spirit of the whole 1960s era.

In short, I love the song.



Edited 2 time(s). Last edit at 2014-02-11 02:24 by nightskyman.

Loved it from the first.
In those days it was all about the song, the hit single, not the band.
When I was 10 years old, my baby sitter gave me her copy of Ruby Tuesday because I wouldn't quit playing her 45 when she stayed over with us.
Then when I was 12, I bought the Honky Tonk Women single from our local department store because I loved it.
Then when I looked at my entire 45 RPM collection, I noticed that Ruby Tuesday and Honky Tonk Women and Get Off Of My Cloud were all done by the same band.
It blew my 12 year old mind.