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Rolling Stones songs: Infamy
Oh why have you got it in for me/ Things they are not what they seem…
Written by: Jagger/Richards Recorded: Studio France, West Indies, Nov. 2004; Henson Recording Studios, Los Angeles, USA, March 7-9 and June 6-28 2005 *Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012
A Bigger Bang wraps up with a track that showcases the deep musical bond between Mick Jagger and Keith Richards. With lines like, “It’s you that write the song baby/But it’s me who’s got to sing“, the lyrics hinting at a dynamic that’s both playful and profound. The duo recorded the song with minimal support, relying solely on Charlie Watts on drums and Blondie Chaplin on backing vocals. Lyrically, it’s mysterious: “Things they are not what they seem/You’re living in a nightmare, baby/But I mistook it for a dream“. Could this be another take on the complexities of romantic relationships, or is it a nod to the pressures within? It’s hard not to wonder if the “infamy” at play reflects the relationship between the legendary Glimmer Twins themselves!
Aside from its instrumental bridge, Infamy centers on a progression of just three main chords, giving the song a distinctly home-studio feel from start to finish. This isn’t a drawback; rather, it reflects a more hands-on, DIY approach to production, incorporating sequencer programming and a unique recording style. Charlie Watts’ drumming, likely recorded as a rhythm loop, adds an organic groove that a programmed machine could hardly replicate. Both Mick and Keith appear to be playing tambourine, with one of them joining in later in the track. The song opens with a smooth organ tone, setting the stage for Keith’s riff on a loop, distinguished by a phasing or flanging effect that adds depth and texture.
The structure of Infamy brings to mind elements of early work by The Cure, though it’s a bit less moody in tone. Acoustic and electric guitars and various keyboards add layers to the arrangement, with Keith taking on bass duties, though his playing lacks a bit in both impact and volume. Mick contributes solid harmonica phrases and joins Blondie Chaplin on backing vocals, while Keith leads with a raspy, fittingly gritty vocal delivery. This track showcases the Glimmer Twins’ ability to handle almost all instrumental parts on their own—but it raises a question: is this truly the Rolling Stones as we know them?
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