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Rolling Stones songs: Black Limousine
We used to shine, shine, shine, shine/ Say what a pair, say what a team…
Original title: Broken Head Blues Written by: Jagger/Richards/Wood Recorded: Musicland Studios, Munich, Germany, Nov. 13-24 1973; EMI Pathé Marconi Studios, Boulogne-Billancourt, France, Jan. 5-March 2 1978 and June 10-Oct. 19 1979 *Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012
Mick Jagger: vocals, harmonica Keith Richards: rhythm guitar Bill Wyman: bass Charlie Watts: drums Ron Wood: lead guitar Guest musicians: Ian Stewart (piano)
The wild swirl of nightlife, luxury, and youthful recklessness hovers over Black Limousine like a fading photograph—one soaked in the excesses that once defined what it meant to live as a Rolling Stone. In this retelling of past decadence, Mick Jagger sings as though waking from a dream that dissolved the moment he opened his eyes. The imagery of glamorous girls, glittering limousines, and endless drinks captures a lifestyle that felt both untouchable and temporary, a kind of fever dream that now exists only in memories and newspaper exaggerations. But beneath this glamorous surface lies a quiet ache: the sense that time has chipped away at those nights, leaving behind something more reflective than triumphant. Jagger’s delivery hints at the melancholy of someone looking back at a version of himself that no longer exists, wrapping nostalgia and regret into the bluesy heart of the song.
Ronnie’s Riff and the Blues That Sparked It
Long before the song became a Tattoo You staple, Ron Wood stumbled upon a slide-guitar riff that lit the fuse. It came from a 45 rpm given to him by Eric Clapton, featuring players he barely knew—Hop Wilson, maybe Johnny ‘Big Moose’ Walker—musicians rooted in deep Chicago blues traditions. That spark became the backbone of Black Limousine (originally Broken Head Blues), a track steeped in swaggering rhythms and gritty emotion. Ronnie claimed the riff with pride, insisting on a songwriting credit he felt he earned note by note. When he doubles down on the idea—“I wrote that!”—it reveals how personal the piece was to him. The Stones transformed that idea into something unmistakably theirs: blues that growls rather than mourns, a riff that feels both classic and restless, and a melody that channels the band’s earliest musical DNA without sounding trapped in the past.
A Studio Battle, A Harmonica Cry, And A Tight Rhythm Core
When recording resumed during the Tattoo You sessions, the song began to evolve into the sharp, swaggering track fans know today. Jagger recorded both lead and backing vocals alone in a cavernous Paris warehouse, pouring rawness into every line. His harmonica intertwines with Wood’s riff like a challenge and a tribute at once. Meanwhile, Keith Richards anchors everything with a rugged rhythm guitar that glues the song together. Charlie Watts, opting for brushes instead of sticks, adds a smoky, late-night texture, while Bill Wyman crafts a bass line that slinks and pulses with quiet authority. Ian Stewart’s boogie-style piano—barely audible but unmistakably essential—completes the architecture. The musical chemistry feels spontaneous yet deliberate, as if the band were rediscovering the joy of creating something gritty, fast, and unapologetically bluesy.
Legacy, Influence and A Song That Refused to Fade
Though Jagger himself claimed he never cared much for Black Limousine, the fans thought otherwise. The song surged in popularity through the 1981–82 tours and resurfaced again in 1995, proving its staying power. It appears throughout Stones history—live recordings, film footage, B-sides—each version adding another layer to its legend. The track stands as a tribute to the band’s blues roots, to Ronnie Wood’s persistence, and to the chemistry that made even their overlooked songs burn bright. Black Limousine isn’t just nostalgia; it’s a reminder of where the band came from and how their past continually reshapes their future.
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