Thru and Thru

Composers: Mick Jagger & Keith Richards
Recording date: September 1993, November 1993-April 1994
Recording locations: Sandymount Studios, Ron Wood's home, St. Kildare, Ireland; Windmill
Lane Recording, Dublin, Ireland; & A&M Recording Studios, Los Angeles, USA
Producers: Don Was & The Glimmer Twins        Chief engineer: Don Smith
Performed onstage: 2002-03


Drums: Charlie Watts
Bass: Darryl Jones
Acoustic guitar: Pierre de Beauport
Electric guitars: Keith Richards
Lead vocals: Keith Richards
Background vocals: Mick Jagger, Keith Richards, Bernard Fowler & Ivan Neville
Piano: Keith Richards

You know that we do take-away
We deliver too
Open 24 hours, baby
Just waiting on a call from you
Waiting on a call from you

Hell, I'm in the yellow pages
You just take a look
Look me up under Services
You know it's just an open book
Baby, it's just an open book
Yeah, it's just an open book

But, baby, any minute, any hour
I'm waiting on a call from you
And you know this heart is constant
I'm your lover, baby, through and through
Lover, baby, through and through - mm-mm

Ooh ooh-ooh ooh ooh

I only found out yesterday
I heard it on the news
What I heard really pissed me off
Cause now I've got those fucking blues
You've really got those awesome blues
Baby, I've got those loving blues

But any minute, any hour
I'm waiting on a call from you
And you know this heart is constant, baby
I'm your lover, baby, through and through
Your lover, baby, through and through

(Whoo ooh ooh)

(Ah ah ahh) Baby

(Whoo ooh ooh) Mm

You know that we do take-away    (ah ah ahh)
That we deliver too
We're open 24 hours, baby
But we're waiting on a call from you - oo-ooh
Waiting on a call from you

Ooh but any minute, any hour
I'm waiting on a call from you
Yeah, you know that this heart is constant
I'm your lover, baby, through and through
Lover, baby, through and through - hey, hey

Lover, baby, through and (through) - I don't want to shoot it

Lover, baby, through and through

(Lover, baby, through and through)
Baby, through and through, oh yeah   (ooh baby, baby, I got... through and through)
Mm-mm, look me up, look me, yes, open    (...)
24 hours, baby, mm-mm
Baby, it's under Services, I'm really waiting on a call from you - through and through
    (baby, leaving me alone... waiting on a, waiting on a)
Waiting on a call from you, mm-mm, mm-mm    (waiting on a call from you)
Waiting on a call - ah ha
Waiting on a call from...



Thru and Thru is one (I wrote all by myself).

- Keith Richards, June 1994

I was pissed out of my brain (when I wrote that)! (laughs) This is the weirdest thing, the circumstances. We were in Barbados early last year, writing songs, Mick and I. Charlie was there, and also Pierre de Beauport, my guitar man, who's also on Thru and Thru - he's the guitar at the end. And we'd been out to a club in Bridgetown. Tropical night. We had a night off, you know. And we get back to Eddy Grant's studio, which is where we were living and working, at 5 in the morning and get out of the car. And I start staggering in, and suddenly I turn around to Pierre. I said, Switch the stuff on, man. Incoming, incoming. I guess maybe in the car... But I just went into the studio and laid it all down in one take. There it was. I don't know if it was just in the car, but suddenly it came. And that's really, to me, what songwriting is. I have very little do with it, it comes on the wave.

- Keith Richards, June 1994

You love 'em when they come like that. I didn't think it would turn up on this record. It would've probably been a backburner job if it hadn't been for Charlie, once again, saying, Let me take the drums down in the stairwell... Charlie provided me with the whole means of getting through it and out the other end.

- Keith Richards, 1994

(The monster drum sound) is the stairwell. It's on four or five songs on the album - You Got Me Rocking... It (was) a 4-flight stairwell, and I started off at the top, which is Moon Is Up, and I ended up at the bottom playing You Got Me Rocking and Thru and Thru... The studio's at the top. It's like going down, then? So it's open all the way down. So we started off out by the door there, and then Don Smith said, Would you go to the bottom and try it? It was a bit small down there, but it was all right. The problem is you can't hear anything down there except drums. Such tremendous sound.

- Charlie Watts, June 1994

(It's a s)trange little riff. And you know, the actual basis of it comes off of a Jimmy Reed blues, a special trick that Jimmy Reed had when he would play the V chord (motions his hand like he's swiping something, then laughs). And suddenly it just flooded back to me. Of course, it's not even a blues, but it was just that one figure on guitar. Then I said, If I slide it down there (slides hand down an imaginary fingerboard), it would still keep going. And I go, Ahhh...

- Keith Richards, June 1994

(Pierre de Beauport) works for me; he's my guitar man, mechanic, and a damn good player, too. He happened to be the only guy around that night, and he's been with me from when I first came across that song. We cut the first demo of it together, so I thought he deserved to have his mark on it. As we were finishing the record, I said, Pierre, by the way, your acoustic's on. He said, You've got to be kidding! I told him, No, go for it.

- Keith Richards, June 1994

I thought it was dead and gone. If it's a good song, it doesn't matter whether it immediately comes out of the starting gate. Our songs take a while to fall in. (Laughs) We're way ahead of people, and they need time to catch up.

- Keith Richards, 2002, on the song showing up
on the soundtrack to the TV show The Sopranos

On an album like Voodoo Lounge there are songs that people won't get for 10 years... and then suddenly they realise what I've been doing. Thru and Thru was exactly like that. It took off when it was put on the soundtrack of The Sopranos... Suddenly everybody was saying What's that wonderful record? and I'd say, Well, it's the last track on Voodoo Lounge.

- Keith Richards, 2003

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