Rolling Stones songs: Anyway You Look at It
*Click for MORE ROLLING STONES SONGS 1962-PRESENT

And people say I’m cynical/ They never want the truth…

Written by: Jagger/Richards
Recorded: Ocean Way Recording Studios, Hollywood, USA, March 13-July 1997
*Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012

From the The Rolling Stones – All the Songs book:
“Anyway You Look at It” is a ballad recorded during the Bridges to Babylon sessions. Rarely had the Glimmer Twins revealed themselves to be this romantic. The protagonist in the song tells his girlfriend that he has been very lucky to fall in love with her and that whatever he does and wherever he goes, he will always come to the same conclusion: she is the one he loves.
Although it dates from the second half of the 1990s, this tender declaration of love would not have looked out of place in the Stones’ sixties catalog—the period of Aftermath and Between the Buttons—in terms of the writing, if not the form. “Anyway You Look at It” was released as the Bside of the single “Saint of Me” (Radio Edit) in January 1998. It was subsequently included in the Rarities compilation and the box set The Singles Collection 1971–2006.

“Anyway You Look at It” comes as something of a surprise from the Stones. Jazzy in terms of musical color, it is melancholy in atmosphere. This superb song bears a certain resemblance to “Losing My Touch” on Forty Licks, not least because of Charlie’s use of the brushes, which is absolutely perfect. This time, however, the bass is not acoustic, although it does seem to be played again by Darryl Jones, his phrasing simultaneously melodic and rhythmic. The influence of Jaco Pastorius, the bassist so
admired by Darryl Jones, can be detected in the lick he plays at 3:50 and in the harmonics he adds at the very end of the track (4:11). Keith plays an acoustic part full of nuance, and Ronnie supports him on acoustic. A cello reinforces the nostalgic side and lends a romantic air to the whole song. It is most likely a live musician playing rather than a sample, although it has not
been possible to confirm this. Mick sings with abundant emotion, almost as if in confidence, and Keith takes over from him on lead vocal in the bridge (2:33). They complement each other perfectly. It is understandable that the Stones only reserved a B-side for this—excessively atypical—ballad, even if it did deserve better.