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Rolling Stones songs: Mean Disposition

I never close my eyes/ I never sleep/ I’m staying on my guard/ Waiting for my flesh to creep…

Written by: Jagger/Richards
Recorded: Windmill Lane Studios, Dublin, Ireland, Nov. 3-Dec. 10 1993; Ronnie Wood’s Sandymount Studios, Kildare, Island, July 9-Aug. 6 and Sept. 1994; Don Was’ Studio and A&M Studios, Los Angeles, USA, Jan. 15-Apr. 1994
Guest musicians: Darryl Jones (bass), Chuck Leavell (piano)
*Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012

*Click for MORE ROLLING STONES SONGS 1962-PRESENT

More about Mean Disposition by The Rolling Stones

*By Marcelo Sonaglioni

Mean Disposition: A Rockin’ Finale with a Twist of Danger and Humor

Voodoo Lounge closes on a high-voltage note with Mean Disposition, a track that perfectly captures the Rolling Stones’ knack for blending old-school rock energy with tongue-in-cheek storytelling. The tempo cranks up noticeably for this final cut, driving the album home with a burst of boogie-woogie swagger and rockabilly grit. It’s the kind of raw, no-frills rock and roll that the Stones do best—fast, loose, and loaded with attitude.

Interestingly, the song didn’t begin as the punchy, lyric-driven closer we know. It originally started life as a simple rockabilly-style instrumental jam, a nod to the band’s early influences. But it wasn’t until Mick Jagger stepped in and added his lyrics that the track took on a life of its own, transforming into a fiery back-and-forth tale of a man caught in a love story filled with mistrust and tension.

Jagger’s vocals deliver lines that drip with suspicion and resentment: “I never close my eyes, I never sleep” or ” I never trusted you and you never trusted me.” It’s classic Stones—sharp, cynical, and relatable. Yet, true to form, the band can’t resist adding a touch of humor to the chaos. The lyrics veer into almost cartoonish territory with the cheeky line: “She’s got a mean disposition, got a big shooter too.” The imagery is so over the top that the poor narrator likens himself to Davy Crockett at the Battle of the Alamo—hopelessly outgunned and backed into a corner by a wild, unpredictable woman. As the album’s curtain call, Mean Disposition is the perfect send-off: playful, punchy, and proof that even after twenty albums, the Stones could still surprise you.

The Rolling Stones’ Spirited Jam That Closes Voodoo Lounge with a Bang

There’s something unmistakably loose and joyful about the way the Rolling Stones close out their twentieth studio album. Mean Disposition doesn’t sound like a band meticulously crafting every note—it sounds like a band jamming in full flight, feeding off each other’s energy, and having a damn good time while they’re at it. The groove feels spontaneous, almost off-the-cuff, but behind that carefree vibe lies the precision of seasoned musicians who know exactly how to lock in and let loose at the same time.

At the heart of the track is a rhythm section firing on all cylinders. Charlie Watts drives the song forward with his signature swing and subtle aggression, pounding away on his trusty 1957 Gretsch kit. Beside him, Darryl Jones lays down a fluid, unstoppable bass line on Ronnie Wood’s fretless Zemaitis acoustic bass, matching Charlie’s pace effortlessly and giving the song a bouncing, boogie-woogie pulse.

Meanwhile, Mick Jagger delivers one of his most controlled and playful vocals on the record. His voice glides easily over the rollicking beat, relaxed but razor-sharp. When the song demands a little extra grit and growl, Jagger doesn’t hold back—he pushes his vocal cords to the edge like a proper rock ‘n’ roll frontman.

The result is a good old-fashioned rock ‘n’ roll romp, with a clear nod to the band’s early influences but played with the ease and confidence of a group that’s been doing it better than anyone for decades. Mean Disposition is the perfect send-off to Voodoo Lounge—a high-spirited, no-frills jam that reminds you why the Stones are still the greatest rock and roll band in the world.

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