Comments, input and alterations are very welcome!
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Thru And Thru
(Mick Jagger / Keith Richards)

Windmill Lane Recording Studios, Dublin, Ireland,
November 3 - December 11, 1993 and Don Was’ Private Studio &
A&M Recording Studios, Hollywood, Los Angeles, California, US,
January 15 - April 23, 1994

Keith Richards - lead vocals, backing vocals, electric guitar, piano
Mick Jagger - backing vocals
Charlie Watts - drums
Darryl Jones - bass
Pierre De Beauport - acoustic guitar
Ivan Neville - backing vocals
Bernard Fowler - backing vocals

You know that we do take-away, we deliver too
Open 24 hours, babe, just waiting on a call from you, waiting on a call from you

Well, I'm in the yellow pages, you just take a look
Look me up under services, you know it's just an open book
Babe, it's just an open book, yeah, it's just an open book

Well, baby, any minute, any hour, I'm waiting on a call from you
And you know this heart is constant, babe
I'm your lover, baby, thru and thru, lover, baby, thru and thru

I only found out yesterday, I heard it on the news
What I heard really pissed me off, ‘cause now I got those @#$%& blues
Really got those awesome blues, babe I got those nothing blues

But, any minute, any hour, I'm waiting on a call from you
And you know this heart is constant, babe
I'm your lover, baby, thru and thru, your lover, baby, thru and thru

You know that we do take-away, that we deliver too
We're open 24 hours, baby, we're waiting on a call from you
Oh, waiting on a call from you
But any minute, baby, any hour, I'm waiting on a call from you
Yeah, you know this heart is constant, I'm your lover baby, thru and thru
Lover, baby, thru and thru, yeah, lover, baby, thru and thru, lover, baby, thru and thru
Yeah, look me up, yes, open 24 hours, baby, it’s under services
I’m really waiting on a call from you…

Produced by Don Was & The Glimmer Twins

First released on:
The Rolling Stones - “Voodoo Lounge” 2LP
(Virgin Records V 2750) UK, July 11, 1994

Quite probably the most modern and forward looking song the Stones have created since Undercover Of The Night.

And more amazingly is that it's one of Keith's. Mick always is the one pushing for modern sounds and rhythms and yet up comes Keith with an absolutely ground-breaking slice of musique-noire.

It took me a while to get to grips with this one but boy, when it did it hit home big time.

For me it sounds like something that could be the imaginary soundtrack to an as yet unreleased David Lynch surreal film chiller with uncertainty, desperation, paranoia and a constant feeling of floating and falling creating a hallucinatory backdrop.

And should it really seem so strange that Keith has written this track? When you dissect it Thru And Thru is really an update of the blues. It's a future blues - updating the form just like Sister Morphine did 25 years earlier - with a similar nightmarish effect.

While the album version is great it's the 8.30 minute outtake on Voodoo Brew, I believe, that is the masterpiece.

It's a perfect piece of chill out, post late night come down music. And it's crying out to be used in a movie.



Edited 1 time(s). Last edit at 2015-07-06 12:23 by Silver Dagger.

This one and Thief in the Night (and Keith's solo albums) showed that he was really onto something new and good in the 90's. On ABB there was not much proof of that anymore, but I hope he's still got it, and either on the next Stones album or on his next solo album it will come out again.

Interesting experiment that doesn't quite work, in my opinion. Sounds like a leftover from a Winos record.

Drew

A not very convincing track located between ballad and blues, also much too long and so a little bit boring.

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Silver Dagger
Quite probably the most modern and forward looking song the Stones have created since Undercover Of The Night.

And more amazingly is that it's one of Keith's. Mick always is the one pushing for modern sounds and rhythms and yet up comes Keith with an absolutely ground-breaking slice of musique-noire.

It took me a while to get to grips with this one but boy, when it did it hit home big time.

For me it sounds like something that could be the imaginary soundtrack to an as yet unreleased David Lynch surreal film chiller with uncertainty, desperation, paranoia and a constant feeling of floating and falling creating a hallucinatory backdrop.

And should it really seem so strange that Keith has written this track? When you dissect it Thru And Thru is really an update of the blues. It's a future blues - updating the form just like Sister Morphine did 25 years earlier - with a similar nightmarish effect.

While the album version is great it's the 8.30 minute outtake on Voodoo Brew, I believe, that is the masterpiece.

It's a perfect piece of chill out, post late night come down music. And it's crying out to be used in a movie.

It was used in the sopranos - and will be in a movie I agree

...loved it on the Sopranos episode...

Nicely put, Silver Dagger.

Someone once said they added Mean Disposition to Voodoo Lounge because if the album had closed with Thru & Thru
none of the listeners would be able to pull themselves back together and get up off the floor
where they'd been gloriously splatted by this ominous thundering masterpiece

Wonderful 'new' sound for the Stones 'ballad-ery'. Adore it.

Appalling.

Mathijs

Love it! Keith's singing is great, and quite unique for a Stones track. And Charlie is great as always!

A great one...

One of my Keith faves. Love the vocal, the lyrics, the massive kicks from Charlie. Truly wish Keith would do this, and Slipping Way, as his set.

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SomeTorontoGirl
One of my Keith faves. Love the vocal, the lyrics, the massive kicks from Charlie. Truly wish Keith would do this, and Slipping Way, as his set.

He just did that one in Indy.

I actually like the guitar on this one and think it shows Keith's soft soul pretty well, but it kind of devolves into something else and goes somewhere it doesn't belong...or something.

from [www.timeisonourside.com] :

"(The monster drum sound) is the stairwell. It's on four or five songs on the album ...
It (was) a 4-flight stairwell, and I started off at the top, which is Moon Is Up,
and I ended up at the bottom playing You Got Me Rocking and Thru and Thru...
The studio's at the top. ...So we started off out by the door there, and then Don Smith said,
Would you go to the bottom and try it? It was a bit small down there, but it was all right.
The problem is you can't hear anything down there except drums. Such tremendous sound."
- Charlie Watts, June 1994


"(It's a s)trange little riff. And you know, the actual basis of it comes off of a Jimmy Reed blues,
a special trick that Jimmy Reed had when he would play the V chord (motions his hand like he's swiping something, then laughs).
And suddenly it just flooded back to me. Of course, it's not even a blues, but it was just that one figure on guitar.
Then I said, If I slide it down there (slides hand down an imaginary fingerboard),
it would still keep going. And I go, Ahhh...
- Keith Richards, June 1994

Love the slow build, Charlie's big BAMS, and then, just when you think it's over, it takes off in another direction. Keith gets an A+ for creativity on this one.

I don't feel anything when Keith plays slow songs.........he really should do more uptempo songs with more aggression

__________________________

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latebloomer
He just did that one in Indy.

D'Oh!!!!

Maybe there's hope for the next 3 shows. Keith, baby honey sweetie, show me I'm your girl...

Loved seeing Keith sing it 25 feet from me at the Joint club (Hard Rock Hotel) in Vegas, but thought really great his singing SLIPPING AWAY just before it.

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with sssoul
from [www.timeisonourside.com] :

"(The monster drum sound) is the stairwell. It's on four or five songs on the album ...
It (was) a 4-flight stairwell, and I started off at the top, which is Moon Is Up,
and I ended up at the bottom playing You Got Me Rocking and Thru and Thru...
The studio's at the top. ...So we started off out by the door there, and then Don Smith said,
Would you go to the bottom and try it? It was a bit small down there, but it was all right.
The problem is you can't hear anything down there except drums. Such tremendous sound."
- Charlie Watts, June 1994

Well, unfortunately for me that monster drum sound brings back unpleasant memories of the booming 80s drums on "Sleep Tonight" and the whole Dirty Work album.

Drew

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NICOS
I don't feel anything when Keith plays slow songs.........he really should do more uptempo songs with more aggression

I can certainly relate, Nicos. Where is Keith the outlaw, the rebel, the pirate in this track? It's like he's been neutered!

Drew

great summary, sivlerdagger.

I really can't into the BtoB Keith tracks that most seem to love, and compare Thru to, but this, from a couple of years before is great, particularly that long (more) trippy version from the boot

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SomeTorontoGirl

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latebloomer
He just did that one in Indy.

D'Oh!!!!

Maybe there's hope for the next 3 shows. Keith, baby honey sweetie, show me I'm your girl...

Sorry to let y'all down, but, no, he didn't. I was there.

[www.non-filters.com].

Quote
nonfilter

Quote
SomeTorontoGirl

Quote
latebloomer
He just did that one in Indy.

D'Oh!!!!

Maybe there's hope for the next 3 shows. Keith, baby honey sweetie, show me I'm your girl...

Sorry to let y'all down, but, no, he didn't. I was there.

[www.non-filters.com].

Wait! Was that a joke about him falling? I'm slow!

[www.non-filters.com]

Meandering track that goes nowhere. This, Infamy, How could I Stop, You Don't Have To Mean It.......etc. Not into Keith the Crooner.

Love it. Great tune.

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latebloomer

Quote
SomeTorontoGirl
One of my Keith faves. Love the vocal, the lyrics, the massive kicks from Charlie. Truly wish Keith would do this, and Slipping Way, as his set.

He just did that one in Indy.

Did what?

Last great Keith song.

One of the two Stones songs ever praised by my ex-wife. (The other was Start Me Up which she first heard on the Apple commercial. Despite my impassioned attempts to convert her she stubbornly dismissed the Stones as overrated. I suppose I should've started her off with Tattoo You instead of Exile. Oh well. After she asked me if I knew who that band was on the Apple commercial our days were numbered.) I'm not that fond of it on those grounds alone save for about a 4-second stretch near the end when Keith has kicked it into high gear and sings 'but any minute, baby, any hour' - he is totally riding the groove. If only he could sing like that all the time...