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Rolling Stones songs: Mean Disposition
*Click for MORE ROLLING STONES SONGS 1962-PRESENT
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
From the The Rolling Stones – All the Songs book:
The tempo picks up considerably for the last song on Voodoo Lounge.
Originally a simple rockabilly-style instrumental, Mick Jagger then added
the lyrics, which deal once again with the tempestuous story of a man and a
woman: I never close my eyes, I never sleep; I never trusted you and you
never trusted me. Humor is never very far away, however: She’s got a mean
disposition/Got a big shooter too… to such an extent that the unfortunate
narrator feels like Davy Crockett at the Battle of the Alamo.
“Mean Disposition” is a good old-fashioned boogie-woogie with a rock ’n’
roll feel that provides the perfect conclusion to the Rolling Stones’
twentieth album. The machine is running smoothly and the musicians give
the impression of jamming, rather than recording a definitive take, but they
nevertheless play with spirit and an infectious energy. Mick Jagger is
excellent, his voice relaxed and under control and when, like any self-respecting
rock singer, he needs to force his vocal cords, he is clearly up to
the task. The rhythm section is impeccable, with Charlie laying down a fast
and furious groove on his 1957 Gretsch kit and Darryl Jones keeping up
with him effortlessly on Ronnie’s fretless Zemaitis acoustic bass. It is just a
pity that the bassist is slightly recessed in the mix. Chuck Leavell plays a
very good boogie-woogie piano part that to some extent recalls the style of
Stu, who had died years nine years before. Ronnie is on the distorted-sounding
rhythm guitar, while Keith plays lead, split between a rhythm part
on what sounds like Woody’s 1957 Gretsch White Falcon, and two solo
passages, the first at 1:51 and the second throughout the coda, in other
words continuing for 1:15. The style is deliberately Chuck Berry–like, and
Keith gives the impression of enjoying his instrument. “Mean Disposition”
may not be the best track on Voodoo Lounge, but the sense of spontaneity it
exudes makes for a very enjoyable conclusion to the album.
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