The Rolling Stones (1976) Memory Motel - LOST 70s GEMS

 Definitely the most striking tune the Stones produced during the mid 70s, Memory Motel dominates the album where it is a class above the other tunes. Exceptions could be outlaw rocker Hand of Fate, one of their baddest tunes full of swagger and Black and Blue's twin ballad Fool to Cry with it's melancholic washed organs.
 But this Jagger Richards ballad is still the more iconic and engaging track from the forgettable 76 album as it starts off with some hesitant piano notes. I think of its minor keyed 'teardrop' progression sounding like the opening theme song to a 80s soap opera. I always imagine a graphic of crashing waves when the song plays as titles for "The Days of our Lives" dissolve in overhead shots of ocean spray as credits dissolve in and out.
 The cold synthesizer punches in we hear about Jaggers' lonely thoughts about a peachy kind called Hannah, the detached sentiments match the subtle almost waltz of piano and keyboard. The delicate lyrics start off with the tender descriptions of Hannah before diverging into a running commentary on his desolate surroundings. Incidentally the Memory Motel is a real motel in Montauk New York and was a stop on their tour though it still exists today the place doesn't have good reviews but has its place in Rock n Roll History.

Keith Richards' repeated bridge is the true highlight, amongst Mick' wandering observations, as he remarks on a girl who has a mind of her own and puts it to good use and is truly 'one of a kind'. Most likely referring to Hannah is off to play her song about a distant memory of love while Mick is stuck in ephemeral motels with his cohorts in an ongoing party. Hannah is free and he envies that, not too mention she could be a memory from long ago maybe the innocent romantic early days. Any way you interpret it, Keiths' simple reoccurring couplet is a moment of clarity in this heavy concoction of touching piano, metallic synthesizer and synthesised strings; the latter being used over an actual orchestra is a telling detail to keep the song enclosed and intimate.

The Sha La Las towards the end don't work for me nor the lacklustre choruses of 'you're just a memory'. But the songs power is in its subtle grooves- that's what makes the Stones former while my favourite artists Led Zep had hummable riffs the Stones sought off snuck in and grew on you and this is the best example from a low key period of the band.