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Rolling Stones unreleased:Mixed Emotions (alternate take)
The Rolling Stones’ Mixed Emotions—and this alternate version—show how a band can reshape the same song into something that feels both polished and intriguingly different. Beneath the surface, Mick Jagger and Keith Richards channel a creative push-and-pull that somehow sharpens the result instead of derailing it. The alternate take strips things back just enough to reveal new textures, making the track feel less like a finished statement and more like a moment in motion. It’s a reminder that with the Stones, even variations aren’t leftovers—they’re part of the story, and sometimes just as compelling.
Written by: Jagger/Richards Recorded: Air Studios, Montserrat, March 29-Apr. 1989; Olympic Studios, London, England, May-June 29 1989 (Steel Wheels sessions) Guest musicians: Chuck Leavell (piano and organ), Luis Jardin (percussion), Sarah Dash, Lisa Fischer and Bernard Fowler (backing vocals), The Kick Horns (brass) *Data taken from Martin Elliott’s book The Rolling Stones Complete Recording Sessions 1962-2012
Mixed emotions or perfect timing?
When The Rolling Stones released Mixed Emotions in August 1989, it didn’t exactly arrive quietly—it came wrapped in tension, speculation, and just enough band drama to keep things interesting. Officially, Mick Jagger played it cool, insisting it was merely a love song about some unnamed woman. Sure, Mick. Meanwhile, Keith Richards wasn’t buying that version for a second, convinced it was a not-so-subtle reply to his own solo swipe, You Don’t Move Me. And honestly, with lines like “You’re not the only one with mixed emotions,” it’s hard not to raise an eyebrow. Fans certainly did, quickly reframing the title into things like “Mick’s Emotions” or the slightly harsher “Mick’s Demotion.” Whether intentional or not, the track blurred the line between personal friction and polished pop-rock, turning backstage tension into chart-friendly intrigue.
Back to business in Montserrat
Long before hindsight made everything look poetic, the track took shape in Montserrat under circumstances that now feel almost surreal. Keith Richards would later recall that The Rolling Stones were among the last to record there before volcanic eruptions changed the island forever—because of course they were. According to Keith, the music came first, something he brought to Mick as part of what he called a “two-way street,” even though the two hadn’t exactly been sharing studio space—or friendly conversations—for months. Still, when it came time to work, whatever friction existed offstage didn’t seem to matter. The chemistry clicked in that frustratingly effortless way only they could manage, proving once again that, feud or not, The Rolling Stones knew exactly how to turn conflict into something that sounded suspiciously like unity.
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