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Rolling Stones unreleased: Still in Love

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Not many unreleased Rolling Stones tracks feel as oddly alive in their unfinished state as Still In Love. Instead of a neatly packaged studio cut, it exists like a collection of alternate realities where Keith Richards and the band keep testing different emotional angles until the tape runs out of patience. One version leans into stripped-back guitar grit and uneasy vocal charm, while other takes drift into skeletal instrumentals that feel more like ideas thinking out loud than finished songs. The charm here is almost accidental: a glimpse of The Rolling Stones not polishing perfection, but circling around it, refusing to settle too soon.

Also known as Still In Love With You
Written by: Jagger/Richards
Recorded: Compass Point Studios, Nassau. Bahamas, January 22-February 12 1979

From Martin Elliott’s book The Rolling Stones Complete Recording Sessions 1962-2012:
Still In Love was worked on over two sessions, ending up as a possibility for the Undercover album. The Compass Point outtake is a guitar version with vocals including falsetto while two outtakes from Paris are instrumentals. It seemed to be typical Keith Richards’ melody which worked slightly better on a piano version rather than just electric guitar.

Still in Love and almost there

Still In Love is one of those Rolling Stones near-misses that makes you wonder how many classics are quietly hiding in the cutting room floor. Developed during the wider Undercover era sessions, the track never quite made the final album, but it clearly spent enough time hanging around to develop a personality of its own. Across multiple recording stages, it shapeshifts rather than settles, as if the song itself couldn’t decide which version of the Stones it wanted to be. One take leans into a guitar-led arrangement with Keith Richards stepping up on vocals, adding those slightly fragile falsetto moments that somehow feel both accidental and intentional at the same time. Other versions from Paris strip everything back into instrumentals, revealing a more skeletal structure. It’s not exactly a finished jewel, but more like a sketchbook of ideas that refuses to be boring, even when unfinished.

Different versions, different moods

What makes Still In Love interesting is not polish, but the way it mutates depending on who’s driving the session. The Compass Point Studios version pushes the guitar forward, leaning into a raw, late-night intimacy that feels almost like the band forgot the studio was still rolling. Keith’s vocal approach here isn’t about perfection—it’s about mood, texture, and that slightly bruised emotional tone he does better than most people on their best day. Then there are the Paris outtakes, existing only as instrumentals, which feel more like blueprints than songs, hinting at directions the track could have taken but never fully commits to. It’s the musical equivalent of a conversation that changes topic halfway through and somehow still makes sense.

Piano, groove and unfinished legacy

Some listeners argue the song truly comes alive when imagined through piano rather than guitar, where the melody gains warmth and a more natural emotional arc. That version, even if never fully realized in official form, highlights how flexible the composition really was. Instead of locking into a final identity, Still In Love stays fluid, existing more as a creative crossroads than a finished statement. And maybe that’s exactly why it remains compelling: not because it was perfected, but because it wasn’t. In the vast Rolling Stones archive, it stands as one of those quietly fascinating fragments where process matters more than product, and imperfection ends up being the point.

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