SONG
TITLE:
WILD
HORSES
PERFORMER:
THE
ROLLING
STONES
SONGWRITER:
MICK
JAGGER
/
KEITH
RICHARDS
YEAR
OF
RELEASE:
1971
-----------------------------------------------
SONG
TITLE:
RUBY
TUESDAY
PERFORMER:
THE
ROLLING
STONES
SONGWRITER:
MICK
JAGGER
/
KEITH
RICHARDS
YEAR
OF
RELEASE:
1967
-----------------------------------------------
SONG
TITLE:
MEMORY
MOTEL
PERFORMER:
THE
ROLLING
STONES
SONGWRITER:
MICK
JAGGER
/
KEITH
RICHARDS
YEAR
OF
RELEASE:
1976
COMMENTS:
The
Stones
are
known
as
the
greatest
hedonistic
party
band
of
all
time
-which
reputation
they
richly
deserve,
but
it
only
tells
one
side
of
the
story.
All
that
partying
and
carrying
on
left
them
with
more
to
regret
than
most
bands.
For
every
night
of
snorting,
smoking
and
screwing
everything
in
sight,
there
will
eventually
be
a
morning
of
reckoning.
Naturally
they
learned
to
harness
the
hangovers,
breakups
and
general
dissipation
for
artistic
purposes.
They
wrote
a
number
of
classic
breakup
songs,
which
constitute
an
under-appreciated
aspect
of
their
work.
These
songs
constitute
some
of
the
best
work
of
their
late
prime
period,
that
is
to
say
the
'70's.
"Ruby
Tuesday"
is
the
original
model
Stones
breakup
ballad.
It
is
probably
the
least
emotionally
deep
of
these
picks.
It
is
a
beautiful,
wistful
song,
but
it
is
not
really
heartbreak.
It
is
more
a
tribute
to
a
free
spirit
than
a
description
of
suffering.
"Good-bye,
Ruby
Tuesday.
Who
could
hang
a
name
on
you?"
The
acceptance
comes
fairly
easy.
Apparently
the
narrator
felt
great
affection,
but
not
particularly
great
need
or
attachment.
The
structure
and
presentation
of
the
song
were
especially
unique.
They
weren't
rock
and
roll,
or
blues,
but
some
kind
of
stately
Elizabethan
English
ballad,
especially
the
verses.
By
the
time
Brian
Jones
laid
the
recorder
part
on
the
top,
you
might
be
expecting
to
hear
it
at
a
Renaissance
festival.
By
the
time
they
pick
up
the
tempo
for
the
big
sing-along
chorus,
all
her
old
paramours
at
ye
olde
pub
have
joined
in
to
pay
their
respects.
One
particularly
good
aspect
of
these
Stones
ballads
is
their
emotional
honesty.
Mick
Jagger
loves
his
role
as
rock
music's
Master
Thespian,
usually
playing
villainous
roles
as
Satan
or
Jack
the
Ripper.
This
is
all
well
and
good,
but
tends
to
encourage
emotional
withdrawal,
and
lack
of
commitment
to
his
material.
"Dancing
with
Mr.
D,"
for
example,
is
just
going
through
the
motions;
it's
pure
schtick.
Mick
would
come
in
and
write
those
songs
of
broken
romance,
though,
and
they
were
real
and
straight
from
the
heart
with
no
sign
of
affectation.
That's
why
"Angie"
was
the
big
hit
single
from
the
album,
and
hardly
anyone
remembers
"Mr.
D."
"Memory
Motel"
just
aches
with
pure
loneliness.
After
the
years
of
partying
down,
the
things
that
Mick
has
passed
up
start
mattering
more,
things
like
family
and
a
stable
supportive
romantic
relationship
through
all
the
ups
and
downs.
The
lack
of
permanence
has
finally
started
to
get
to
him.
"You're
just
a
memory
of
a
love
that
used
to
mean
so
much
to
me."
He's
over
even
being
in
love
with
her.
He
doesn't
miss
her
so
much
as
he
misses
having
someone
who
means
something.
Now
he's
just
sitting
here
alone.
The
song
is
an
r&b
ballad.
It
sounds
quiet
in
the
isolation
of
his
motel
room,
but
it
has
a
good
pulse
and
outstanding
dynamics.
He
builds
it
up,
then
drops
it
back
a
little
and
takes
it
home.
Credit
must
in
significant
part
go
to
Charlie,
as
always,
for
knowing
just
how
to
finesse
it.
The
most
distinctive
aspect
of
the
recording
is
in
Jagger's
vocal.
He
works
his
way
up
past
his
normal
range,
pushing
himself.
He
does
not
end
up
with
a
gimmicky
falsetto
like
"Emotional
Rescue,"
though,
but
with
the
nearest
effect
to
vulnerability
he
ever
achieved.
This
is
as
close
as
Jagger
ever
got
to
the
famous
high
lonesome
sound
of
Bill
Monroe,
though
this
is
certainly
not
specifically
bluegrass.
He
ends
up
with
a
unique
personal
style
for
his
effort.
"Wild
Horses"
is
the
deepest
and
most
emotionally
complex
song
of
this
lot.
It
has
alternating
strands
of
loneliness,
regret,
judgement,
resignation
and
hope.
"Faith
has
been
broken.
Tears
must
be
cried.
We
have
our
freedom,
but
we
don't
have
much
time...Wild
horses
couldn't
tear
us
apart.
Wild
horses,
we'll
ride
them
someday."
Besides
being
nicely
poetic,
how
many
different
directions
does
that
go
at
once?
This
song
is
also
the
most
rhythmically
compelling
of
the
bunch.
The
simple
quiet
acoustic
guitar
changes
form
an
instant
undertow
that
will
drag
you
down
into
this
world.
I
couldn't
tell
you
why,
but
these
elementary
chords
have
haunted
me
for
years.
This
is
before
Charlie
and
Bill
start
working
their
magic,
and
you
know
they
do.
By
the
time
they
all
work
up
their
full
head
of
steam
for
the
last
chorus,
the
whole
effect
is
distinctly
that
of
a
sweeping
epic.
It
sure
seems
like
it
is
describing
a
real
relationship.
Who
has
broken
faith
in
what
way?
Why
don't
they
have
time?
It
is
enigmatic,
but
the
melody
is
so
quietly
urgent
and
indelible
that
anyone
would
surely
assume
that
this
is
about
a
real
life
relationship
of
Mick's.
I
don't
know,
nor
these
decades
later
care
who
Mick
was
addressing.
I'll
just
say
this
is
totally
convincing,
and
if
this
was
just
a
made
up
dramatic
scenario
then
Mick
really
is
the
Master
Thespian.
Acting!
Genius!
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Rolling Stones 1964 The Big Beat 2 3 4 5
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