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Rolling Stones songs: Highwire
Get up, stand up, who’s gonna pay/ I wanna talk to the boss right away…
Written by: Jagger/Richards Recorded: Hit Factory Studio, London, England, Jan. 7-18 1991 Guest musicians: Bernard Fowler (backing vocals) *Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012
The Rolling Stones’ Highwire: Politics, Power, and Protest in a Song
Released in March 1991, The Rolling Stones’ Highwire was far more than just another single—it was a bold political statement. Known for his social awareness, Mick Jagger tackled the Gulf War head-on, questioning the real motives behind the conflict. While the invasion of Kuwait was the official catalyst, Jagger suggests it was really about oil and arms deals, pointing to a deeper hypocrisy in global politics.
Still, Highwire isn’t blindly idealistic. Jagger acknowledges the complexity of war, noting that some dictators do need a slap on the wrist and warning against the dangers of repeating history, referencing Munich. The song was featured on the live album Flashpoint and released as a single in both the UK and US, reaching number 29 on the British charts. In Europe, it appeared as a maxi single with powerful live B-sides including 2000 Light Years from HomeandSympathy for the Devil.
Strings in Sync: The Rolling Stones’ Triple-Guitar Powerplay
Mick Jagger opens Highwire with a riff that might catch even die-hard fans off guard—not because it’s unusual, but because it sounds remarkably like Keith Richards. In a later interview, Jagger admitted he had learned to replicate many of Keith’s iconic five-string, open-G riffs, and it shows. His performance on this track is so convincing, it becomes nearly impossible to distinguish the student from the master. Richards, never one to coast, adds a rich rhythm layer full of subtle licks that mesh beautifully with Jagger’s lines. Meanwhile, Ron Wood’s contributions—though not fully confirmed in the studio past January 12—are likely those melodic touches that sit between Keith and Mick, rounding out the guitar section with fluid interplay. The solo section stands as the song’s crowning moment: not one, but three guitars—Jagger on the left, Richards on the right, and Wood presumably in the middle—create a seamless, energetic dialogue that avoids chaos and delivers cohesion. It’s a small masterclass in collaborative musicianship.
The rhythm section keeps everything tight and grounded. Charlie Watts and Bill Wyman play with their usual unfailing precision, never overstepping, always supporting. If there’s a slightly weaker link, it might be Jagger’s vocal delivery, which feels somewhat restrained. This may stem from the track’s intricate structure and polished production, which risk sounding a bit over-calculated compared to the rawer, more instinctive Stones cuts. Still, the chemistry among the guitarists carries the tune, making it an intriguing entry in the band’s catalogue, full of subtle surprises for the attentive listener.
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