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Rolling Stones songs: Slipping Away
Just as you have touched my heart/ I wake up babe and we’re apart…
Written by: Jagger/Richards Recorded: Air Studios, Montserrat, March 29-Apr. 1989; Olympic Sound Studios, May 15-June 29 1989 Guest musicians: Chuck Leavell (organ and piano), Matt Clifford (electric piano), The Kick Horns (brass), Lisa Fischer, Sarah Dash and Bernard Fowler (backing vocals) *Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012
Slipping Away brings Steel Wheels to a haunting and soulful close, its emotional weight anchored by Keith Richards’ distinct voice and touch. More than just a ballad, the track feels like a gentle farewell—whether to a love that’s fading or to something even deeper. It’s one of those songs where Richards lets the vulnerability show, asking through melody if happiness might be just a fleeting illusion. His gravel-toned delivery adds emotional depth, while the arrangement—subtle strings, floating organ, and layered vocals—adds a kind of dreamlike haze. Backing vocals from Mick Jagger and three seasoned singers help elevate the track’s poignancy, turning it into something almost hymn-like. As the lyrics drift between the real and the imagined, the title itself—Slipping Away—becomes a soft echo of inevitable goodbyes, of time sliding out of reach.
Keith’s Moment, Bill’s Goodbye
Though Richards was known for his riffs, his growing passion for ballads gave Stones fans a new angle on his artistry. He once noted that writing slow songs helped him craft better rock ones. Slipping Away proves his point with grace. It also marks a quiet milestone: the last Stones album track featuring bassist Bill Wyman, who left the band in 1993. His bassline here, met with Charlie Watts’ gentle swing, brings warmth and balance. Chuck Leavell adds rich textures on piano and organ, while Matt Clifford’s synth pads and The Kick Horns’ tasteful brass add a bittersweet glow. Ronnie Wood joins Keith on rhythm guitar, while Richards delivers a tender solo on his nylon-string Sadowsky. It’s a subtle arrangement, full of details, fitting for a song about love’s impermanence—and the quiet power of letting go.
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