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This song, released as a single in 1960 (with “Love Affair” as the A-side), was originally recorded by Muddy Waters, the bluesman whose influence helped the Rolling Stones to become the number one British blues-rock group. In it the guitarist from Rolling Fork, Mississippi, confides his troubles. His wife or girlfriend has left him, leaving him all alone with a permanently broken heart. Left with nothing but memories, he hears a bird crying in the distance as night falls…
Ray Manzarek, the future keyboard player with the Doors, said that “Look What You’ve Done” was actually written not by Muddy Waters but by a pair of young songwriters, one of whom was himself, who supposedly sent a demo of their song to Chess in Chicago only to discover some time later, to their enormous delight, that it had been recorded by none other than Muddy Waters. The only problem is that it was credited not to them but to a certain McKinley Morganfield…
The Rolling Stones recorded this version of “Look What You’ve Done” during a two-day spell (June 10 and 11, 1964) at Chess Studios, the fief of Muddy Waters. Once again it is Brian Jones who lends the number its distinctive color, with harmonica playing that soulfully evokes a person carrying all the troubles of the world on his shoulders. It is worth stressing again just how good Jones was on this instrument. As if further proof were necessary, he plays an absolutely superb solo (1:05). The group’s gradual abandoning of the blues, a genre that Brian Jones so loved, and for which he had a passion that he was so good at transmitting, is without a doubt a cause for regret.
On this number he shares the glory with Ian Stewart, who plays an excellent boogie-woogie piano, likewise demonstrating his love of the genre. Keith, playing rhythm on his Epiphone Casino, is the only guitar. He is supported by Bill and Charlie, who play their parts with the utmost serenity, providing Mick with a solid foundation for the lyrics, which the singer nevertheless delivers with a certain restraint. The result of the supposed presence of Muddy Waters at the recording? The Stones’ version is in no way unworthy of the original. On the contrary, they contribute a subtly British feel to the number that differentiates them from their US elder.
