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And the whole world lies sleeping/ There’s a gypsy all dressed in white…
Also known as: CALL GIRL BLUES Written by: Jagger/Richards Recorded: Air Studios, Montserrat, March 29-Apr. 1989; Olympic Sound Studios, May 15-June 29 1989 Guest musicians: Matt Clifford (keyboards) *Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012
From the The Rolling Stones – All the Songs book: Following their detour to Morocco, the Stones stopped off in the southern United States, where they have some of their deepest roots. “Break the Spell” is a real blues, with a spritely rhythm, whose hero is a gypsy all dressed in white. When the elements are raging—the glacial winter wind or the floods that accompany the beginning of spring—does the gypsy have the power to ward off bad luck? With this material, we have strayed a long way from the title originally envisioned for this low-down blues: “Call Girl Blues.” “Break the Spell” was chosen as the B-side of the single “Almost Hear You Sigh,” which was marketed in continental Europe. It has never been performed live, however.
This excellent blues number, of a kind that nobody but the Stones could make (as they had been doing for decades) is apparently launched by Mick Jagger on guitar. Keith joins him straightaway (on the left), and together they construct a fantastic, very Muddy Waters–like intro with a sonority that could almost have been created at Chess Studios with Ron Malo at the helm. Ronnie accompanies them from 1:02 with a Dobro slide part, but is too recessed in the mix. In the absence of Bill, Ronnie is also on bass, but unfortunately he cannot stop himself from trying to play too many notes, coming up with a riff that may be ideal for a rhythm guitar, but is certainly not right for a bass. Charlie chooses to play softly and simply, caressing the skins of his Gretsch kit with brushes. Matt Clifford is credited with keyboards, but his contribution seems to have been buried in the mix. It is Mick who literally dominates “Break the Spell,” initially with a surprising, very bass voice closer to Keith’s tonalities, before modulating skillfully toward a more familiar style of delivery. He also plays some very good distorted harmonica that is reminiscent of Little Walter, performing a superb solo at 1:21 and helping to make this track one of the triumphs of the album
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