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Ying yang, you’re my thing/ Oh, now, baby, won’t you hear me sing…
Written by: Jagger/Richard Recorded: Rolling Stones Mobile, Nellcote, France, Jun.-Nov. 1971; Sunset Sound Studios, Los Angeles, USA, Dec. 1971-March 1972; RCA Studios, Los Angeles, USA, March 1972 *Data taken from Martin Elliott’s book The Rolling Stones Complete Recording Sessions 1962-2012
Mick Jagger: vocals Keith Richards: rhythm guitar, backing vocals Mick Taylor: slide guitar Charlie Watts: drums Guest musicians: Bobby Keys (sax), Nicky Hopkins (piano), Bill Plummer (upright bass)
Rip This Joint hits like a shot of pure adrenaline in the world of The Rolling Stones—fast, loose, and impossible to ignore. It’s the kind of track that doesn’t just play; it charges forward, capturing the band at their most unhinged and alive, both on record and on stage.
Back in the ’70s, it tore through live sets and even made its way into Ladies and Gentlemen: The Rolling Stones, leaving a lasting impression before quietly slipping out of rotation. Still, its absence only added to its mystique among fans.
When it roared back during the 1995 Voodoo Lounge Tour and later appearances, it proved its staying power. As the closer of Made in the Shade compilation in 1975 it remains a fierce snapshot of the band in overdrive.
More about Rip This Joint by The Rolling Stones
*By Marcelo Sonaglioni
A Wild Ride: The Story Behind The Rolling Stones’ Rip This Joint
Rip This Joint explodes like a red-hot engine inside Exile on Main St. (the second song in the album, 1972), with Mick Jagger and Keith Richards pushing the limits of speed and intensity. From the very first second, the song refuses to slow down—a reckless journey across the United States linking Tampa, Florida; Memphis, Tennessee; Santa Fe, New Mexico; and Dallas, Texas, all seen through the eyes of a British outsider. Packed with wordplay, hidden meanings, and barely decipherable lines, Jagger builds a narrative full of tension, humor, and attitude. The result isn’t just a song—it’s a warped, high-velocity snapshot of America itself.
Lyrics decoded: humor, politics, and double meaning
The lyrics of Rip This Joint unfold like a chaotic collage where every reference counts. The line “Dick and Pat in ole D.C.” points to Richard Nixon and his wife, while echoing “Ole Dixie” to reinforce the Deep South imagery. The Butter Queen blends Southern beauty pageant culture with groupie lore, referencing Barbara Cope. Lines like “Wham, bam, Birmingham” push the song’s suggestive tone, while “Short, fat Fanny is on the loose” nods to Larry Williams, tying the track back to early rock ’n’ roll tradition.
A runaway sound: pure musical adrenaline
Musically Rip This Joint is a full-throttle storm. Born from late-night sessions at Nellcôte, it channels pioneers like Chuck Berry but at near-breaking speed. Keith Richards drives the track with his open G rhythm, while Charlie Watts delivers a relentless shuffle. Nicky Hopkins adds a blazing boogie-woogie piano, and Bobby Keys injects sharp brass energy. Notably, Bill Wyman missed the original session, leaving Bill Plummer to handle bass duties later in Los Angeles under Jimmy Miller.
Keith Richards (1997): “Actuall, Rip This Joint was the fastest track the Stones ever cut – until Flip the Switch, which is a couple of beats faster. There’s something about that speed when you cut it in half and the acoustic bass plays that tempo. I just love the air that you get. Same as the acoustic guitar. There’s a power you can get from an upright bass if you record it right. It just has a different feel than electric bass. It doesn’t thump so much. And it doesn’t have such a precise note sound. There’s a wider, fatter bounce on it. It puts the roll back into the rock.”
Excess, attitude, and rock ’n’ roll culture
The song also captures the wild spirit of its era. Recorded in the basement of Keith Richards’ villa in the South of France, during marathon sessions fueled by excess, its energy mirrors that environment. Jagger’s vocals—low in the mix and slightly slurred—hide obscenities and sexual references, adding to the track’s chaotic charm. Ironically, Jagger himself was never fond of the song, largely due to its extreme tempo. Yet for artists like Steven Tyle, it became a source of pure adrenaline, even during challenging personal moments.
A musical road trip across America
Beyond its speed Rip This Joint plays a key role in shaping the identity of the album. It acts as a turbocharged Route 66, racing through America’s musical landscape—from rockabilly and blues to country and soul. Following “Rocks Off,” it sets the tone for everything that follows, hinting at a deeper exploration of roots music. Whether intentional or not, The Rolling Stones managed to capture the restless spirit of a nation in motion, turning Rip This Joint into one of the most electrifying statements in their catalog.
A live wire that kept coming back
Rip This Joint was a staple in The Rolling Stones’ early–mid ’70s shows and even showed up in the Ladies and Gentlemen: The Rolling Stones movie before disappearing from setlists for years. It made a surprise comeback during club gigs on the 1995 Voodoo Lounge Tour (later featured on Totally Stripped), and returned again on the Licks Tour in 2002–2003. Back in the day, it also closed the 1975 compilation Made in the Shade, sealing its place as a high-energy favorite.
Keith Richards (2002): “The Butter Queens… They did loads of wonderful things with butter, apparently. I used to see them around all the time, but they never buttered me up. I used to avoide them like the plague. Anything that smacked of professionalism. ‘We’ve got a plaster cast of Robert Plant’s cock. Would you like to add yours to the collection?’ No, I never wanted to be part of anybody’s collection. But mind you, there were some great individual operators out there.”
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