top of page


Jack Brooks
Jack Brooks

Roll The Dice (Extended Mix)

The song was completed at Sunset Sound Studios in Los Angeles between November 1971 and March 1972.[4] Jagger had finished the lyrics after speaking with a housekeeper about gambling in LA. He explained, "she liked to play dice and I really didn't know much about it. But I got it off of her and managed to make the song out of that." According to music journalist Bill Janovitz, it was "not pure kismet" that Jagger thought to speak to the housekeeper, saying he was "consciously turning over rocks, looking for something specific". Janovitz believes Jagger may already have had the idea for the "well-worn lover/gambler/rambler trope, but needed the particulars to come up with something like, 'I'm all sixes and sevens and nines'."[21]

Roll The Dice (Extended Mix)


The song's lyrical structure is irregular. While many songs have the same number of lines for the verse or chorus, the first verse of "Tumbling Dice" has eight, the second six, and the third two lines. The song's first chorus has two lines, the second has three, and the third has twelve lines. At the beginning of each chorus, the piano, bass and drums drop out and the backing vocals sing "you got to roll me" as the guitar plays the song's signature guitar figure.[26] The third chorus leads into the song's coda. Slowly, the band's rhythm section works its way back into the song. The coda includes a call and response with the backing vocals singing "you got to roll me" as Jagger and Richards respond by singing "keep on rollin'."[26][29]

Several critics loved the tempo and groove of the single. Music critic Jack Garner asserted in a review for Courier Newsthat the song featured a "marvellous tempo".[60] Shipley felt the song has an "irresistible singalong energy", describing the "breakdown and buildup into the final 'you got to roll me' refrain" as "sublime".[58] Critic Bill Janovitz described "Tumbling Dice" in his 2014 book Rocks Off as the "Holy Grail of grooves".[19]

Critics frequently considered "Tumbling Dice" to be one of the best songs on Exile. Oster asserted that "Tumbling Dice" was among the eight songs he would keep on Exile, using the others for "hairspray or frisbees".[61] Kaye considered the single to be "a cherry on the first side" of Exile and the only song on the album that made "real moves towards a classic".[62] Ultimate Classic Rock critic Kyle Dowling agreed, calling it a "true standout" of the album and calling it a "classic piece of rock and roll music", noting that it was a persistent favourite in live performances.[63] Morgan agreed with Dowling, calling it a "classic".[59] David Marchese wrote for Vulture that the song "achieves choogle nirvana", expressing surprise that despite a "near-consensus" that Exile on Main St. was the best Stones album, it did not produce any other big singles.[64][65]

In 1977, Linda Ronstadt covered the song "Tumbling Dice" for her Simple Dreams studio album. In an interview with Hit Parader magazine, she said that her band played "Tumbling Dice" for sound checks, but nobody knew the words. Jagger thought Ronstadt should sing more rock and roll songs, suggested "Tumbling Dice", and wrote out the lyrics for her.[102]

All hail the weight of 140bpm! It's definitely been getting more difficult to find forward thinking tracks at typical dubstep tempo, with the prevailing climate in 2011 seeing house and techno exert an irresistible gravitational pull upon most 'UK bass' producers. But there's something about the form's sheer density that can't be replicated as pace drops. That's partially down to its half-time/double-time dichotomy; as a fast dance music made to feel slow, it exerts a strange force on the body that seems to demand action at two speeds at once. While it can't help but recall the darkened days of 2005-6, and the intensity of early Loefah, Commodo's debut for Deep Medi is an reminder of just how fucking destructive dubstep can be when it's done well. The crunch of heavy machinery cuts through 'Saracen's featureless expanse; it's like the last two years of shimmering melodic fireworks never happened. 'Uprising' is another rarity these days, a roller without the slightest glimmer of two-step in sight. Its drive instead comes from the constant roll of congas, pushing the track incessantly forward.

Martin's first vinyl release as Hodge, for the ever-excellent Immerse imprint, is far darker, but no less slinky. Both 'Crush' and 'The Fall' take the traits that defined his music from the off - sliced 'n' diced vocals, a freewheeling, fits and starts approach to rhythm - and utilise them more successfully than ever before. Everything is beautifully integrated, jagged synths standing out in sharp relief against delicately swung percussion - these two tracks are simultaneously his most welcoming and most ruthlessly efficient so far. A fitting addition to the Immerse label's impeccable run of 2011 releases. 041b061a72




bottom of page