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The Rolling Stones have never been particularly good at staying in their lane, and Where the Boys Go proves they weren’t about to start in the late 1970s. While punk was shaking up British rock, Mick Jagger and Keith Richards were paying attention—and apparently decided to have a go at it themselves. The result is a scrappy, cheeky track packed with working-class swagger, pub culture and just enough attitude to make you wonder what they were thinking. Recorded during the Some Girls sessions but left off the album, it sits in that fascinating category of Stones songs that almost got away. Almost.
Look here, darlin’, I know the score/ Paint your face, dye your hair, I’ll see you round the back!…
Written by: Jagger/Richards Recorded: RCA Studios, Los Angeles, Aug. 26-Sept. 6 1978; Pathé Marconi Studios, Boulogne-Billancourt, France, June 21-July 7 and late July; Aug. 25 and Sept. 12-Oct. 19 1979
Mick Jagger: vocals, rhythm guitar Keith Richards: lead guitar, backing vocals Charlie Watts: drums Ron Wood: rhythm guitar, bass, backing vocals Guest musicians: Ian Stewart (piano), Jo Karslake and Jerry Hall (backing vocals, unconfirmed)
More about Where the Boys Go by The Rolling Stones
*By Marcelo Sonaglioni
A Snapshot of British Youth
Mick Jagger’s vocals in Where the Boys Go channel the cadence and slang of everyday working-class Brits. The lyrics paint a vivid picture: weekdays dominated by football, mornings spent nursing pints in the local pub, and Saturday nights reserved for dancing and chasing romantic adventures. The girls are equally carefree, focused solely on having fun. In essence, the track captures the youthful rituals of an entire generation, rendered with sly humor and a sense of authenticity.
This playful approach fits the pub rock vibe of the late 1970s, subtly nodding to artists like Dr. Feelgood and Nick Lowe. Mick Jagger’s performance serves as both storytelling and social commentary, offering listeners a glimpse into the routines, nightlife, and escapist desires of British working-class youth. Through his cheeky vocals and lively delivery, the track captures the era’s energy, blending humor, rebellion, and musical experimentation into a brief but vivid snapshot of contemporary life.
Studio Struggles and Production
Despite its lively concept Where the Boys Go struggled to coalesce in the studio. Recorded under the supervision of Chris Kimsey during the Some Girls sessions, the track retains a raw, garage-band atmosphere but lacks the cohesive punch expected of the Stones. The guitars—played by Mick, Ron, and Keith—often sound thin, with parts that fail to fully synchronize. Although Keith’s Chuck Berry-inspired solo emerges two minutes later, yet the track is still searching for momentum. Bass duties, likely handled by Ronnie Wood, provide a serviceable foundation, but the groove is not fully realized, and Ian Stewart’s piano is almost imperceptible in the mix. Even Jagger, usually the master of stylistic nuance, seems uncertain at times, though the refrains—which may be reminiscent of The Clash—stand out as a high point, reinforced by the surprising entry of two female backing singers in the coda.
Musical Context and Style
Where the Boys Go was a deliberate nod to the contemporary punk and pub rock movements, a statement that the Stones could still engage with new trends. The song’s rawness and unpolished energy reflect both the genre’s aesthetic and the band’s attempt to experiment outside their comfort zone. While it may appear conventional on paper, the track carries a subtle vitality through its playful lyrics, cheeky accent, and dynamic vocal refrains. In many ways, it’s a cultural snapshot as much as a musical one: a document of late-1970s British youth culture, filtered through the lens of one of rock’s most enduring bands.
Behind the Voices: The Mystery of Where the Boys Go
Fans and insiders have long speculated about the backing vocals in Where the Boys Go. Chris Kimsey suggested that Jerry Hall and Jo Karslake—partners of Mick Jagger and Ron Wood—might have contributed, but Mick later clarified in 1980 that the singers were two unknowns recruited specifically for the session, struggling to hit the higher notes (“The backup vocalists were just little girls who live up the road. In New York… Central Park West”, he said at the time. “They had all the attitudes off, it was the notes they couldn’t get”) This anecdote emphasizes the experimental, slightly chaotic nature of the recording, underscoring the Stones’ willingness to improvise and embrace spontaneity. Although left off Some Girls, the track remains a curious and playful artifact for collectors and die-hard fans, illustrating a lighter, more humorous side of the band while connecting them to the punk-influenced music of the period.
Ronnie Wood and Mick Jagger (1980) Ronnie: “That will be very popular in England and here, I suppose. But on a Saturday night the boys all go somewhere and it’s usually down to where they can go out of their brains… drinking,” Mick:“And the pub.”
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