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Rolling Stones songs: When You’re Gone

*Click for MORE ROLLING STONES SONGS 1962-PRESENT

I don’t want to read about you when you’re gone/ I don’t want to hear about the things you’ve done…

Original title: Redeyes
Written by: Jagger/Richards
Recorded: EMI Pathé Marconi Studios, Paris, France, Jan. 5-March 2 1978. Overdubs by Mick at Le Fork Studios, Pocé sur Cisse, France and La Fourchette (Mick’s homestudio) in Sept. 2011 and by Keith at Electric Lady Studios, NYC and Berkeley St. Studios, Los Angeles, Sept. 2011

From Martin Elliott’s book The Rolling Stones Complete Recording Sessions 1962-2012:
A slow boogie with a pronounced bass sounding guitar by Ron and a lead guitar furter back in the mix.

Mick Jagger: vocalks, guitar, harmonica
Keith Richards: guitar
Ronnie Wood: guitar
Bill Wyman: bass
Charlie Watts: drums

Some songs don’t make the album—not because they’re weak, but because timing gets in the way. That’s exactly the case with When You’re Gone, a track by The Rolling Stones that stayed hidden for decades before finally surfacing on the Some Girls deluxe edition.

There’s a loose, late-night feel running through it, built on groove more than structure. With Mick Jagger sounding distant and worn-in, and Keith Richards holding back instead of stepping forward, the song leans into mood rather than spotlight. It’s subtle, but it sticks.

What makes it even more interesting is how it bridges eras—recorded in 1978, finished decades later, and still sounding completely at home. Not bad for a “leftover.” In fact, it raises the question: how many more hidden gems are still out there?

More about When You’re Gone by The Rolling Stones

*By Marcelo Sonaglioni

When You’re Gone: A Hidden Pulse from Some Girls

Tucked away for decades, When You’re Gone feels less like an outtake and more like something that simply missed its cue the first time around. Emerging officially on the 2011 deluxe edition of Some Girls, the track reveals The Rolling Stones leaning deep into a smoky, late-night groove that sounds almost too loose to be accidental. Originally titled Redeyes, it carries that unmistakable blend of swagger and weariness, driven by Ronnie Wood’s bass-heavy guitar line and a rhythm that drifts rather than pushes. Mick Jagger delivers a vocal that feels distant but cutting, while Keith Richards hangs back, letting his guitar color the edges instead of taking over. It’s the kind of track that doesn’t demand attention—it just quietly pulls you in.

A Groove Left in the Shadows

There’s something almost stubborn about the way When You’re Gone unfolds. It doesn’t rush, doesn’t build in obvious ways, and definitely doesn’t try to be a hit. Instead, it sits comfortably in its own hazy mood, somewhere between blues and boogie, with a loose structure that feels more like a jam caught at the right moment. The sound leans heavily into atmosphere, with that slightly “drunken” feel that defined parts of the Some Girls era. Rather than standing out in a flashy way, it lingers—subtle, understated, and oddly memorable for exactly that reason.

Studio Alchemy Across Decades

The track’s journey is as layered as its sound. Recorded between January 5 and March 2, 1978, at EMI Pathé Marconi Studios in Paris, it was left unfinished, sitting quietly in the archives while the band moved on. More than thirty years later, in September 2011, the song was revisited and completed, bridging two very different eras of the Stones. New vocals and overdubs blended with the original sessions, creating something that feels both vintage and strangely current without losing its original spirit.

A Late Arrival That Fits the Blues

What’s striking is how naturally When You’re Gone slips into the Some Girls world, despite arriving decades late. It doesn’t feel like a discarded idea or a second-tier track—it feels intentional, even if it wasn’t at the time. The groove, the restraint, and the mood all line up with the band’s late-’70s direction, just from a slightly different angle. There’s also a clear lineage running through the track, echoing the influence of Muddy Waters in its tone and pacing. It’s not imitation—it’s more like a quiet nod, woven into the DNA of the song. In the end, When You’re Gone stands as a reminder that sometimes the songs left behind aren’t unfinished—they’re just waiting for the right moment to be heard.

Miuck Jagger (2011): “Some of the blues outtakes were almost done, like So Young, and then others were really not done at all, like When You’re Gone.. didn’t have anything.”

Like what you see? Help keep it going! This site runs on the support of readers like you. Your donation helps cover costs and keeps fresh Rolling Stones content coming your way every day. Thank you!

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