Mick Jagger / Keith Richards / Steve Jordan / 4:37
Musicians
Mick Jagger: vocals
Keith Richards: acoustic guitar, rhythm guitar, backing vocals
Bill Wyman: bass
Charlie Watts: drums
Ron Wood: rhythm and lead guitar, backing vocals
Chuck Leavell: keyboards
Matt Clifford: keyboards
Luís Jardim: percussion
Sarah Dash, Lisa Fischer, Bernard Fowler: backing vocals
Recorded
AIR Studios, Montserrat: March 29–May 5, 1989
Olympic Sound Studios, London: May 15–June 29, 1989
Technical Team
Producers: Chris Kimsey, the Glimmer Twins
Sound engineer: Christopher Marc Potter
Assistant sound engineer: Rupert Coulson
Mixing: Michael H. Brauer
“Almost Hear You Sigh” is a ballad written by Keith Richards in collaboration with the drummer Steve Jordan for Keith’s first solo album Talk Is Cheap, although not ultimately used. Keith proposed the song to Mick Jagger when they got together in Barbados. The singer was won over by it, but nevertheless changed some of the words. I can almost hear you sigh/I can almost hear you cry/On every crowded street/All the places we would meet. The narrator cannot get over the departure of his loved one, whose kisses were silky smooth like wine, and begs her to come back. “Almost Hear You Sigh” was the A-side of the third single from Steel Wheels. Released in January 1990 with “Break the Spell” as its B-side, it progressed as far as number 31 on the British charts on July 7 and number 50 in the United States. It was also nominated for a Grammy Award in the category “best vocal rock performance by a duo or group” in 1991.
This is only the second time the Glimmer Twins had shared the writing of a song with a musician from outside the band. After Chuck Leavell with “Back to Zero” on Dirty Work, the honor this time goes to Steve Jordan, who was also the co-producer of Keith’s solo album. “Almost Hear You Sigh” is one of the triumphs of Steel Wheels. This rock number showcases Mick’s excellent performance, the singer having rediscovered his full range of vocal expression. It is also an opportunity for Keith to unveil a recent acquisition, his sublime 1956 Velázquez, a classical guitar with an exceptionally beautiful tone recorded by Potter using a Sanken mic. He plays a few solo phrases on it in the intro and again at 2:58. Keith seems a little reserved in his phrasing, as if not yet fully at ease with the instrument. He also plays a rhythm part on his 5-string Telecaster through his vintage Fender Twin amp, doubling this in places with another Telecaster, this time a 6-string one. Ronnie also supports him on rhythm, before in turn playing a very good electric solo, probably on a Strat (3:35). Bill and Charlie are as brilliant as ever, assisted by Luís Jardim on percussion (congas, tambourine). The various keyboards played by Leavell and Clifford contribute to the song’s wonderful textures, as do the excellent and indispensable backing vocals.