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A little rain fallin’, little clock keep away the time/ Well the rain keep a-fallin’, on this little love of mine…
Written by: Ewart G. Abner Jr./Jimmy Reed Recorded: British Grove Studios, London, England, Dec. 11, 14–15 2015 Guest musicians: Darryl Jones (bass)/ Matt Clifford (keyboards) *Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012
“Little Rain” was a joint composition by Ewart G. Abner Jr. and Jimmy Reed. Abner was one of the members of Vee-Jay Records, established in Chicago 1953 by Vivian Carter and James C. Bracken; Jimmy Reed was a talented bluesman, one of the few musicians who could rival the Chess stable with names like Muddy Waters and Howlin’ Wolf. “Little Rain” was recorded on January 9, 1957, and then came out as a single (with “Honey, Where You Going?”), climbing to number 7 on the Billboard R&B charts. Jimmy Reed sings of love: The little flowers bloomin’, little birds keep-asingin’ tune / I would like to love ya baby, underneath the shinin’ moon.
A love song that Reed probably wrote for his wife, who was always at his side when his health began to decline. Jimmy Reed was one of the major influences on the Rolling Stones, who produced several cover versions of his songs, including “Bright Lights, Big City”, “Ain’t That Lovin’ You Baby”, “The Sun Is Shining” (at the Altamont concert in 1969) and “Honest I Do”. “Little Rain” is another heartfelt tribute from the world’s greatest rock band to the master of blues.
In Keith Richards’s view, “Little Rain” is definitely the most successful song on the album. It is certainly true that the mood of melancholy of the marshy Mississippi Delta created by the Stones from the extraordinary original version by Jimmy Reed is spellbinding. The whole song rests on a stripped-down accompaniment. The guitars interact with one another, delivering a sober but solid rhythm, the two motifs played by Keith and Ronnie being almost identical. The lightly saturated sounds coming through the amps is warm and totally vintage. Mick’s singing is restrained—a far cry from his usual vocal style—and given a marked reverb.
The entries by Charlie and Darryl in the second verse carry on in the same way: nothing overwhelming, everything nuanced. And their contribution is essential, giving the piece an extraordinary and subtle pulsating feel. We also hear Darryl on bass—something absent from the Jimmy Reed version—with a line that is unobtrusive but deep and clear. Once again, Mick has a fine harmonica solo, reproducing that of the original and, he was to acknowledge, was probably learned from Brian Jones. “Little Rain” is a worthy tribute to Jimmy Reed. The Rolling Stones at their best.
