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Rolling Stones unreleased: Gold Painted Fingernails
Hidden deep in Their Satanic Majesties Request sessions, Gold Painted Fingernails remains one of The Rolling Stones’ most intriguing and experimental tracks. Recorded at Olympic Sound Studios in London during the summer of 1967, this instrumental pulses with eerie atmosphere, driven by Nicky Hopkins’ swirling organ and possibly Brian Jones on mouth organ, while Keith Richards adds subtle acoustic layers, guiding the band through psychedelic textures far from their usual bluesy comfort zone. Despite its obscurity, Bill Wyman championed it for the unreleased The Black Box compilation. With over 30 takes and outtakes circulating, none deemed “perfect,” the track captures a band teetering on the edge of reinvention, studio obsession, and internal tension, making it a rare bootleg treasure for fans and collectors alike.
Also known as: Gold Painted Nails Written by: Jagger/Richard Recorded: Olympic Sound Studios, London, England, July 7-22, Aug. 1967 (Satanic Majesties sessions) Guest musicians: Nicky Hopkins (piano)
From Martin Elliott’s book The Rolling Stones Complete Recording Sessions 1962-2012: Evidently a favourite of Bill Wyman’s since he wanted it to be included on The Black Box project. Again this track was worked upon extensively since there are 10 outtakes and 23 takes of the track available on bootlegs. It’s an instrumental only and features the heavy organ of Nicky Hopkins, and mouth organ. Keith Richards plays on acoustic. Brian Jones contributes something since he is mentioned in the studio backtrack. It could have been the mouth organ. There does not seem to be any take that is passable for release, so one wonders which one Bill was partial to.
Gold Painted Fingernails, also known as Gold Painted Nails, is one of those hidden curiosities from Their Satanic Majesties Request sessions that never made it out of the vaults. Recorded at Olympic Sound Studios in London during the summer of 1967, the track showcases The Rolling Stones at their most experimental. Although it remains an instrumental, the piece pulses with atmosphere—largely due to Nicky Hopkins’ swirling organ work and what appears to be a mouth organ, possibly played by Brian Jones. Keith Richards adds texture with acoustic guitar, weaving in subtle layers while the group explores sonic terrain outside their usual blues-based comfort zone. Despite its obscure status, the track was notably favored by Bill Wyman, who lobbied for its inclusion on The Black Box, an unreleased compilation of rarities. With no final take considered polished enough for official release, the song remains a bootleg treasure with over 30 takes and outtakes in circulation.
The Studio That Birthed Chaos
What’s most fascinating is how much effort went into a track that never officially saw the light of day. Between July and August of ’67, The Stones weren’t just toying with psychedelia—they were immersed in it, layering sound experiments with the help of studio wizardry and guest players. The studio chatter even confirms Brian Jones’ involvement, though the exact instrument remains uncertain. The fact that so many versions exist speaks volumes about how invested the band was in capturing something elusive. Yet, for all that effort, no take stood out as “the one.” It makes you wonder—what did Bill Wyman hear in it that no one else did? Perhaps its unfinished quality is part of its strange charm, a snapshot of a band on the verge of both musical reinvention and internal fracture.
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