jagger wandering spirit

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When Mick Jagger Went Solo Again on ‘Wandering Spirit’

It took him three tries, but on Feb. 9, 1993,  Mick Jagger finally released a solo album Rolling Stones fans could get behind: Wandering Spirit .

On his previous two efforts – 1985's She's the Boss  and 1987's Primitive Cool  – Jagger was seemingly too concerned with reaching a wider, pop-loving audience. Perhaps this was to prove he didn't need longtime Stones partner Keith Richards , with whom he was feuding with quite publicly at the time.

But after the pair mended fences to release 1989's Steel Wheels  and mount a year-long Stones tour, Jagger was free to express himself without any such pressure. As he put it , “I was very relaxed about this record. No overall atmosphere of hostility. The rest of the Stones had all made solo LPs. Charlie [Watts] made his Charlie Parker album. Keith made his second solo album and Ronnie [Wood] made a record. Even Bill [Wyman] made a record. In the process of writing my record there were a couple of songs where I said, 'That’s going to sound great with the Stones,' so I won’t use it."

Even though Wandering Spirit found Jagger abandoning the slick keyboard-tinged sounds of his previous records for a raw, guitar-based palette, he doesn't consider it a straight-up rock album. "If you look at it, there are only maybe three rock songs on it in the traditional form," he said. "The rest is R&B, or country, or gospel influenced, or rockabilly, or whatever."

The album showcases Jagger's abilities in those genres quite nicely, from the covers of R&B classics such as "Think" (made famous by James Brown) and Bill Withers' "Use Me" and to the country-leaning "Hang On to Me Tonight" and the gospel-inspired chorus of the title track. It also finds him stubbornly (and quite successfully) sticking to his love of dance-rock with the album's lead single, "Sweet Thing."

Watch Mick Jagger's 'Sweet Thing' Video

The only way the album could be considered a failure was if Jagger's primary goal was to once again avoid clashing with his lead collaborator, in this case producer Rick Rubin . The pair apparently bumped heads more than once during the recording process. As Rubin told the Los Angeles Times , "At one point while we were making the record, Mick pulled me out of the control room and talked to me in the hallway ... one of the things he told me in that conversation was I was worse than Keith. I took that as a compliment. That was the nature of the relationship, and I definitely think good things came out of it."

Interestingly, there was reportedly another, completely different album created during this time period. Jagger recorded 13 tracks of blues classics with a group known as the Red Devils in a marathon one-day recording session in May 1992. So far only one song from those sessions, "Checking Up on My Baby," was released, as part of Jagger's 2007 The Very Best Of  collection.

Years after it was recorded, Rubin was still lobbying publicly for the full record, apparently named King King , to be released: "It's incredible, [but] it's up to Mick. He's the artist. ... He gets to do what he wants to do. But it's great, and I hope it comes out."

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Mick Jagger- Wandering Spirit 30th anniversary

Unlike his previous two solitary efforts in the Eighties,  Wandering Spirit   clearly was not being perceived as a pale stand-in for a Rolling Stones album since, three years earlier, Keef and Co. had buried the hatchet and picked up their axes to restore their rightful claim to “World’s Greatest Rock’n’Roll Band”. This in turn had both freed Mick Jagger to explore less self-consciously as well as more confidently on his third effort as a Stone alone ( sorry, Bill Wyman) on Wandering Spirit , safe in the knowledge that, with his side project “…I knew that I didn’t want to have a band, as I already had one in the Rolling Stones “, something Mick  couldn’t have said with certainty when making either of his two preceding solo albums. Jagger is in fine voice throughout and surrounded by crack studio musicians who bring their “A” game because, well hey, it’s Mick bleedin’ Jagger, okay? All captured by producer/alchemist Rick Rubin on one of his most successful efforts, Wandering Spirit barely missed the coveted Billboard Top Ten album sales by only one, and easily went gold with a hit single, “Sweet Thing”.

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Jagger’s body of work in his own name is full of delights, detours, and surprises.

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No one could accuse Mick Jagger of rushing into a solo career. From the point of The Rolling Stones ’ debut single, “Come On” , released in June 1963, it was more than seven years before his own name appeared on an album cover, and almost 15 more before he released his first solo album. But his body of work across four solo albums is full of delights, detours and surprises.

After “Memo From Turner,” his 1970 song from the movie Performance , Jagger’s name appeared on Jamming With Edward , the 1972 collaboration with fellow Stones Charlie Watts and Bill Wyman, as well as Ry Cooder and Nicky Hopkins. In 1978, with reggae star Peter Tosh, there was the one-off single remake of The Temptations ’ “Don’t Look Back,” styled as “(You Gotta Walk And) Don’t Look Back.” In 1984, he guested on the Jacksons ’ late-period Michael Jackson co-write “State Of Shock.”

She’s The Boss (1985)

Then, finally, February 19, 1985 saw Jagger’s first full-length solo adventure in the shape of the album She’s The Boss . It was released during what became recognized as a chill in communications with Keith Richards , and at a time when the Stones weren’t recording. Thankfully, they would achieve a rapprochement and a resumption of their working partnership, but 1985 marked the frontman’s opportunity to shine in his own light, and She’s The Boss wasted no time in making the Top 10 in both the UK and Australia. It was gold in America by May, and turned platinum just a few weeks later.

She’s The Boss was recorded at Compass Point Studios in Nassau and co-produced by Mick with Nile Rodgers and Bill Laswell. Billboard observed that it was set to confirm Rodgers as the hottest producer in the world, as he had come into the year with the top two singles of the time to his name, Madonna ’s “Like A Virgin” and Duran Duran’s “Wild Boys.”

Perhaps ironically, the album began with a lively opening track carrying a Jagger-Richards writing credit, “Lonely At The Top.” Its first single, “Just Another Night,” was a No.1 hit on Billboard ’s Rock Tracks chart and a No.12 on the Hot 100. Longtime compadre Jeff Beck contributed guitar, with Robbie Shapespeare, of reggae bastions Sly and Robbie, on bass and Who sideman John “Rabbit” Bundrick on synthesisers. Billboard dance editor Brian Chin said that what made She’s The Boss a great album was that “its rhythms are smooth and rigid, with the long grooves of dance music rather than the spurts and starts of rock‘n’roll.”

A raucous call to arms

For a man who has never done things by halves, it was appropriate that Jagger’s one and only live performance around the album came in front of an estimated television audience of 1.9 billion. He played the Philadelphia leg of Live Aid on July 13, 1985, in a five-song set that started with “Lonely At The Top” and “Just Another Night” and featured the Stones’ staples “Miss You” and “It’s Only Rock‘n’Roll (But I Like It).”

That short performance also contained a duet version of “State Of Shock,” featuring another old friend, Tina Turner . It wasn’t Jagger’s only Live Aid-related duet; he had, of course, swiftly recorded the flagship single for the epic charity event, remaking Martha Reeves And The Vandellas ’ Motown  hit ‘Dancing In The Street’  as an unashamedly raucous call to arms with David Bowie .

She’s The Boss had a robust rock demeanor, decorated by the synth textures of the day and driven by Jagger’s indefatigable ear for melody and a sharp lyric. “Half A Loaf” was a frustrated depiction of a stolen relationship (“I can’t go on seeing you like this!”) while the superstar’s expertise in bluesy, soulful flavours shone through on the likes of “Turn The Girl Loose” and “Lucky In Love,” the latter released as the album’s second single.

Primitive Cool (1987)

After contributing “Ruthless People” to the 1986 film of the same name, and after the Stones had returned to the studio (but not the road) with Dirty Work , Jagger was back in action as early as 1987 when Primitive Cool hit the shelves on September 14 that year. Made in the Netherlands and Barbados, it found him sharing production duties with Keith Diamond and Eurythmics’ David A. Stewart, with Jeff Beck assuming more prominence as the album’s chief guitarist.

Stewart, who in the 00s would become Mick’s bandmate in the one-off project SuperHeavy, co-wrote three Primitive Cool songs with him, including the lead single, “Let’s Work.” That became another Top 10 rock radio success from an album of sturdy, guitar-driven pieces such as “Radio Control” and somewhat poppier tracks like “Say You Will.” Of particular interest was the title track, which began in reflective mood before picking up speed, as a younger man muses on the nature of fashion and asks his father about his own salad days.

“Kow Tow” and “Shoot Off Your Mouth,” both among the album’s strongest tracks, may have been fuelled by the stalled relationship with Richards. The “human riff” didn’t hold back in expressing his dissatisfaction that Jagger toured She’s The Boss (albeit only for shows in Japan and Australia) rather than reconvening with the Stones. “The wicked lay stones in my path/And friends who are snakes in the grass” was a particularly noticeable lyric in the former song.

There was later endorsement of the attractively Celtic-inspired “Party Doll” when it was remade by American singer-songwriter Mary Chapin Carpenter; Jagger’s original featured whistle and Uillean pipes by Chieftains leader Paddy Moloney. Primitive Cool concluded with “War Baby,” a comment on the arms race of the 80s by a man who was himself a World War II baby (“The war made us poor/Made our future unsure”). In an interview at the time with European trade weekly Music & Media , Jagger said: “I don’t like to be a slave to what’s current, because I don’t really feel that it does me any good.”

Wandering Spirit (1993)

The Stones’ return to active service, in a period during which they would define the best aspects of stadium and arena rock, meant that Jagger didn’t resume his solo work in earnest until 1993. Wandering Spirit was recorded over a seven-month period before the band started making Voodoo Lounge . Jagger’s third solo album was co-produced by Rick Rubin , who by now had long since extended his creative reach beyond his Def Jam origins, and had overseen rock releases by the likes of the Black Crowes, Danzig, Slayer, and Red Hot Chili Peppers .

“Sweet Thing” was the lead single, a Jagger composition with a knowing blend of funk and acoustic elements which he sang in a “Miss You”-style falsetto. It became a Top 10 hit in several European countries and led the way for an album including ten originals among its 14 tracks, of which two were written with New York artist-producer Jimmy Rip.

Three covers on Wandering Spirit laid bare Mick’s love of vintage soul. “Use Me,” his version of the much-covered Bill Withers song, included guest vocals by Lenny Kravitz and had Cashbox admiring the way it “takes on a new life with the venerable rocker at the mic.” There were remakes of Frederick Knight’s 1972 Stax gem “I’ve Been Lonely For So Long” and Lowman Pauling’s “Think” – not the Aretha Franklin  song, but the one recorded by The “5” Royales and given a second lease of life by one of Jagger’s favourite artists, James Brown .

All the way around, the album made a broader sweep of the star’s inspirations, with further elements of gospel (“Don’t Tear Me Up”), country (“Evening Gown,” featuring Jay Dee Maness’ pedal steel), rootsy, bluesy rock’n’roll (the title track) and folk (“Handsome Molly”). They sat alongside some straightahead rockers like “Put Me In The Trash” and “Mother Of A Man,” the latter with Jagger’s nimble harmonica. Longtime sideman Matt Clifford played harpsichord on one of the most affecting pieces, “Angel In My Heart.”

Goddess In The Doorway (2001)

Jagger’s most recent solo studio release was 2001’s Goddess In The Doorway , chiefly produced with Clifford and Marti Frederiksen, but also featuring credits for Chris Potter, Wyclef Jean and Jerry Duplessis. Kravitz returned on the rock hit “God Gave Me Everything,” which he co-produced, and there were cameos by Bono, Pete Townshend and Rob Thomas. Dot Music described it as an “energetic, intelligent and fairly modern rock album.”

In 2004, Jagger was back at the movies for the soundtrack of the romantic comedy drama Alfie , teaming with Stewart for a score including “Old Habits Die Hard,” which won the Golden Globe for Best Original Song. The pair were together again in 2011, in the aforementioned, genre-straddling SuperHeavy, with Joss Stone, A.R. Rahman and Damian Marley.

The rest of the decade would be dominated by extensive touring with the Stones. But in 2017 Jagger released the double-sided “Gotta Get A Grip”/“England Lost” as another reminder of an artist who, true to his word, remains a wandering spirit with infinitely more to offer than merely being the world’s most famous rock star. He resumed his acting career in the 2020 thriller The Burnt Orange Heresy , and the spring of 2021 brought the surprise collaboration with Dave Grohl, “Eazy Sleazy.”

The spring of 2022 had Jagger releasing “Strange Game,” his impressive theme song for the Apple Original series Slow Horses , co-written with film composer Daniel Pemberton. There are doubtless further unpredictable adventures to come.

Listen to the best of Mick Jagger on Apple Music and Spotify .

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1993 Mick Jagger – Wandering Spirit

Benmont Tench , Billy Preston , Jim Keltner , John Pierce , Mick Jagger

Wandering Spirit is the third solo album by Mick Jagger . Released in 1993, it was his only solo album release of the 1990s.

Following The Rolling Stones’ Steel Wheels (1989), Jagger began writing new material for what would become Wandering Spirit. In January 1992, after landing Rick Rubin as co-producer, Jagger recorded the album in Los Angeles over seven months until September 1992, recording simultaneously as Keith Richards was making Main Offender.

Jagger kept the celebrity guests to a minimum on Wandering Spirit, only having Lenny Kravitz as a vocalist on his cover of Bill Withers’ “Use Me” and bassist Flea from Red Hot Chili Peppers on three tracks.

Following the end of The Rolling Stones’ Sony Music contract and their signing to Virgin Records, Jagger elected to sign with Atlantic Records (which had signed the Stones in the 1970s) to distribute what would be his only album with the label.

1  Wired All Night (Mick Jagger) 04:06 2  Sweet Thing (Mick Jagger) 04:19 3  Out Of Focus (Mick Jagger) 04:35 4  Don’t Tear Me Up (Mick Jagger) 04:12 5  Put Me In The Trash (Mick Jagger; Jimmy Rip) 03:35 6  Use Me (Bill Withers) 04:28 7  Evening Gown (Mick Jagger) 03:32 8  Mother Of A Man (Mick Jagger) 04:17 9  Think (Lowman Pauling) 02:59 10  Wandering Spirit (Mick Jagger; Jimmy Rip) 04:18 11  Hang On To Me Tonght (Mick Jagger) 04:36 12  I’ve Been Lonely For So Long (Jerry Weaver; Posie Knight) 03:29 13  Angel In My Heart (Mick Jagger) 03:28 14  Handsome Molly (Traditional) 02:06

Other Musicians

1 wired all night, 2 sweet thing, 3 out of focus, 4 don’t tear me up, 5 put me in the trash, 7 evening gown, 8 mother of a man, 10 wandering spirit, 11 hang on to me tonght, 12 i’ve been lonely for so long, 13 angel in my heart, 14 handsome molly, liner notes.

Producer – Mick Jagger, Rick Rubin Arranged By – Jimmy Rip Arranged By – Mick Jagger (Track 14) Arranged By (Strings) – Matt Clifford Conductor – Matt Clifford Coordinator – Janice Crotch, Arnold Dunn Engineer – David Bianco (Tracks 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12) Engineer – Manu Guiot (Track 13) Engineer – John Brough (Track 14) Engineer [Assistant] – Andy Bradfield, Jim Champagne, Peter Lewis, Steve Holroyd, Steve Musters Mastered By – Stephen Marcussen Mixed By – David Bianco Technician (Assistant) – Dave Rouze

Art Direction – Melanie Nissen Design – Richard Bates Design (Assistant) – Valerie Wagner Photography By – Annie Leibovitz

Mastered At Precision Mastering Phonographic Copyright (p) Warner Music Copyright (c) Promotone B.V

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Wandering Spirit

February 9, 1993 14 Songs, 54 minutes ℗ 2019 Promotone B.V., under exclusive licence to Universal International Music B.V.

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Wandering Spirit

Released in February 1993

Wired All Night Sweet Thing Out Of Focus Don't Tear Me Up Put Me In The Trash Use Me Evening Gown Mother Of A Man Think Wandering Spirit Hang On To Me Tonight I've Been Lonely For So Long Angel In My Heart Handsome Molly

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Moscow Metro – Spirit of a City EP | Review

Article Published: April 3, 2014

That populist revival hasn’t really let up since – just look at White Lies, Airbourne Toxic Event, and too many other bands to name here – and, with the release of their debut EP, ‘Spirit of a City’, Limerick band Moscow Metro are the latest to join the cause. Here, they’ve offered up four tracks in that dark and brooding vein, which, although solid and polished in their own right, sound perhaps too close to the myriad of others that have gone before them to leave any real lasting mark.

What the four-piece has produced is an exploration of the kind of themes perfect for moody posturing (death, break-ups, social ennui), underpinned by an expansive and echo-laden soundscape. Drums pound and crash behind speedy, driving guitars and synths, building towards almost-anthemic hooks. Seán Corcoran’s vocals, meanwhile, take on rich, sober tones uncannily close to Matt Berninger of The National, which often counteract the insistence of the music behind them.

It’s a well-constructed, well-produced and confident record, but the problem is that there’s not enough distinction between the tracks to make any particular one stand out, and they sound so close to their influences that it actually gets distracting. Opener Spirit of a City ? It may as well be that Editors track being belted out on a dancefloor back in the day. Future Fades and Where It All Ends ? They could be old lost demo tapes from The National. If you toned the synth down, you could probably even throw the remaining track, Headlights , into that latter category as well.

Is it a bad thing to know what you like and be influenced by that? No. Is it a bad thing to know what you like so well that it becomes less of an influence and more of an identity? Probably. It’s a pity that Moscow Metro haven’t pushed outside the post-rock revivalist boundaries with this EP. There’s clearly a lot of talent and energy there; it would be good to see that used to make something other than the well-worn sound of ten years ago.

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Friday 11 April 2014

Moscow metro - spirit of a city (e.p).

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