The Rolling Stones Voodoo Residue(VG156-157)

"Voodoo Residue" is the third installment of "Voodoo Lounge" studio outtakes from the label that brought us the unforgettable "Voodoo Brew" and "Voodoo Stew". Not a box set worth of songs this time, but a double CD-R with a nicely packaged sleeve and booklet. It's been two years since the release of "Voodoo Stew" and one might ask what could possibly be left from the "Voodoo Lounge" sessions? The answer is tracks that are the most primal beginnings of what would become "Voodoo Lounge" that have surfaced to date. This could be a very interesting manifestation to some, but for most these tracks are in their infancy. They are on par with the likes of "hotel room" tapes that have come out over the years. Simple chord progressions and rambling and/or mumbling for lyrics. For the "hard core" these are rare glimpses into the early creative processes between the Glimmer Twins. The "Voodoo Residue" recordings are nowhere near the Barbados DAT's found on disc #3 of "Voodoo Stew" with respect to maturity and production. Jagger/Richards work very differently from one another as these and many other recordings reveal, but together they make music that they are not capable of producing on their own. The sound quality of "Voodoo Residue" is what we have come to expect from this "trilogy" of releases . . . crystal clear DAT's from the mixing board.

"Voodoo Residue" Vigotone (VIGO 156 - 157)

The packaging includes outside color pictures of porcelain dolls and gothic motif in the standard red, orange, and yellow hues that are the familiar trade mark of the artwork related to this series. The inside of the booklet is black and white with photos taken from the "Kruger Stones" book.

CDR 1: "Jammin' With Richard"

1. Randy Whore #1 (7:57): Keith and his guitar in Open G. Charlie comes in with the drums at :41 to a to give the track some kick. The riff is very similar to the opening of Take It So Hard except that it continues to repeat. Jagger joins in at 2:48 by making various sounds. The track pauses at 5:02 and Jagger comments on the song:

"It's good . . . yeah it sounds as if, that (you) have to sing the whole thing, you know, maybe, you know like the whole lick of where you're playing. You know, like you do like, half of it, you know. Yeah, is that it? You leave some gap. Yeah, yeah, yeah well enough, around for the middle."

Just fragments of the song are played from 5:35 onward. At one point in this section it starts sounding like Honky Tonk Women.

2. Thru and Thru (4:45): There is talking at the beginning of this song and it the same as that which opened the "Voodoo Brew" box set:

A woman (Josephine Wood) asks:

"How many songs are you gonna do?"

Jagger replies:

"Oh, Boxed sets worth. Boxed sets"!

With additional dialogue... Clearly this tape was in possession of Vigotone at the time of the original release. They claim in the liner notes that these are newly discovered, but this is not the case, because this dialogue was spliced into the opening of the very first release.

Electric guitar and vocal on a remarkably finished version of the song, which Richards clearly had ready prior to rehearsals. It's only the slower tempo section of what would become the opening to the track. Charlie's crashing drum beat was still to be discovered as the essential closing staccato to the song.

Jo Wood begins talking again at the close of the song. The fact that Jo is present at this session leads me to believe that this take is not from Blue Wave Studios, Barbados as the liner notes have labeled these tracks, but a session either at Ron Woods home in Kildare, Ireland or Windmill Lane Studios, Dublin, Ireland.

3. He Loves You So (5:55): Keith on vocal for this slower number. Nice chord sequence reminiscent of the Nashville acoustic guitar work he does on Sparks Will Fly (and Wild Horses), but this time on a six string electric. A soft strum probably played with the swipe of his fingers near the bridge of the guitar. Jagger and Richards discuss the chord changes and a keyboard is added (probably Jagger). Jagger eventually comes in to start sounding out what may eventually become a vocal. He does this often as songs develop. Keith will try much harder to place vocals in the early stages where Jagger will hum out the bars and make noise to get a feel for the music. A revealing look at Jagger, Richards & Watts at work with each playing keyboards, guitar, and drums respectively. The song ends on a sour note and then a short jam begins.

4. My Love Is My Love (9:20): This starts with the same chord sequence as Under My Thumb (and therefore second cousin to Gimme Shelter & Sympathy for the Devil)! As it goes on the music becomes less familiar sounding. Jagger comes in at around 4:30 to make some sounds. The outro is an interesting jam with Jagger adding keyboard at around 8:00.

5. Disposition Boogie (1:33): A faster blues baring some similarity to the song Mean Disposition. Watts shows that he is capable of getting the feel of the song with just a couple of notes and provides the momentum to being the track farther than it otherwise would have gone. This one is just a fragment of an idea.

6. Goodbye to Love (2:29): The Marcels (b-side to "Blue Moon") song that Keith sings with acoustic guitar on disc 2 of "Voodoo Brew". This time with electric guitar and the drumming of Charlie Watts. Jagger joins in, but doesn't seem to know the song. A sad love song as only Richards can do. Keith comments that it's a lovely song.

7. Alteration Boogie (4:46): This starts with Richards and a simple bluesy riff. He sings about cloths, wardrobe, and fashion statements and hence the questionable title of the song. A vocal that I would have expected from Jagger, "rag trade girls" and all. He laughs at his own improvised lyrics. Watts starts hammering the skins and the song picks-up at 1:48.

8. Get Your Hands Off #2 (3:42): The opening riff reminds me of old Credence Clearwater song Bootleg from "Bayou Country". The "human metronome" livens up the song with a solid rhythm after the opening string bending. Jagger is making sounds at various points. This one is really just a jam.

9. Make It Now (9:16): This is a groove track vocal on "Voodoo Stew". The instrumental version of this one is also on CD 3, track 11, of "Voodoo Brew". This particular take was probably recorded at a later date then the rest of the tracks on this disc. It is much more produced and includes a developed bass line. The song starts as an extended jam with Richards on vocal, and then the basic riff begins at 1:07 and fades out. This leads me to believe that this is a playback of the instrumental from "Brew" with added live percussion breaks and a vocal take.

10. Slips Away (16:01): This is no relation to Keith's Slipping Away from "Steel Wheels". A beautiful slow lullaby of a song with jazz like chords and phrasing. Keith sings a faint vocal in the background. He pauses at 4:44 to say "no way Buddy (Holly?), I'd like to take this opportunity to say hello to my mum" ... and a number of other people before starting the song again at 5:18. Another pause at 10:21, Richards is upset about something and he transitions into the Delta Blues riff he played on disc 2 of "Voodoo Brew" titled Keith's Boogie. Then back again to Slips Away.

CDR 2: "Definite Possibilities"

1. Get Your Hands Off #1 (6:38): The bluesy riff is similar to Brand New Car, but with different vocal and instrumental bridge. Richards leads off the singing. A microphone is plugged-in at 2:08 and Jagger joins in at 2:24 with an improvised vocal.

2. Glimmer Twins Boogie (1:37): A 12 bar electric guitar blues chug. There are two guitars present with one playing rhythm and the second playing lead lines. I believe Jagger is playing the rhythm guitar! No sign of Ron Wood's vocal presence on any of this stuff.

3. Why You Runnin'? (4:55): It is very possible that this song is the basis for Gunface in its most embryonic form! The verses are played with a syncopated guitar riff, much like the center section Fingerprint File. The un-Stones-like instrumental bridge is the recognizable clincher. Three of the four chords played are used to form the bridge on Gunface. The syncopated guitar is replaced by a drum beat and bass line on "Bridges To Babylon". The guitar plays the fills between the rhythm rather than laying it down. Coincidence? Maybe . . .

4. You Got Away With Murder (4:42): Keith announces "An idea" - A slow fingerpicked (with unison notes) song on electric guitar.

You got away with murder

You got a way with words

You've got a way of knowing

Keith: "I'm going to have to recollect the idea again...it's coming".

Jagger is singing and sounding along.

Keith: "Definite possibility...very pretty". Absolutely, please finish this one.

Keith speeds up the riff for the verse section, Jagger adds keyboard, they slow it down for the chorus. Then the verses turn into a chant. The creative juices flow.

5. Look Out Baby (10:24): Jagger as one-man-band. He is vocalizing with an interesting distorted keyboard riff:

Well look out baby, 'cause here we go

Well look out baby, what's wrong with you

A drum machine kicks-in with percussion at 5:08, Jagger continues vocalizing with added variation on the keyboard riff.

6. Randy Whore #2 (3:58): A more developed version of the song first heard on disc #1 of this set. The song has greater space with voids left for vocal work that could be added at a later take. Richards has an endless supply of catchy riffs, and at times it sounds as if several different songs could be developed from the chords played in these demo tracks.

7. Untitled #1 (6:55): An meandering jazzy little riff with Watts grooving away. There is also some keyboard playing along with an accordion like effect. Jagger vocalizes and hums along at various point along the way in search of a vocal line. This sounds a bit like Zulu from disk #3 of "Voodoo Stew".

8. I'm Fallin' (6:36): Richards starts a riff and Watts locks-in on it, encouraging "The Human Riff" to take it farther than he probably otherwise would have gone. Jagger feels out the song for a vocal.

9. Keith's Blues (3:33): This starts-off as an electric guitar version of the song that is listed on disc 2 of "Voodoo Brew" as Scotty Moore Riffs, but it transitions into a straight blues rather than a "reverse boogie". Keith can conjure up the Delta Blues at will.

10. It's Funny (2:39): This song compared to track 11, disc 3 of "Voodoo Brew" and track 7, disc 1 of "Voodoo Stew" (Keith's vocal version) which have the same title, reveals that this is indeed the earliest version of this track. Listen for the lead guitar line played at the :26 & :53 points!

Funny how it seems

That it's just a dream

And yet there's no one there

Now I hear your voice

And still I know

That there's no one there

The soul in Rock 'n Roll ... for sure.

11. Anything For You (5:49): Keith on vocal and keyboard with an almost harpsichord like tone. Jagger is present. A very pretty melody. This could be the next soundtrack for the Titanic sequel . . . Let's not forget the Britannic (a sister ship which also sank). Jagger asks if the tape is on to make sure the moment is captured for later reference.

12. Untitled #2 (1:52): A melodic ballad-like track with much potential. Similar to, but not the same as Out Of Tears. Jagger is on keyboard and Richards noodles in fills on the guitar. The Glimmer Twins have the uncanny ability to pull up the ballads which are arguably the strongest songs of these early sessions.

13. Thru and Thru #2 (3:17): A different take than track 2, disc 1 of this set. Again, only the slow section of the song played on electric guitar and sung by Richards. The most developed lyric of this set of songs. Waiting on a call from you . . .

Charlie Watts is very much a part of the drive and inspiration on many of these primal takes. He's a member of the front-end scouting team that does the song writing research and development. Ron Wood is missing in action. A rare and intimate look at the genesis of an album that could only be created by the wisdom and genius of The Rolling Stones. They seem to be having fun with the creative process and also seem to enjoy each others company. Caveat Emptor: These tracks are raw and material of this nature may not be of interest to those just beginning to explore the area of unreleased Stones recordings.

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