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There is no dramatizing or whining the lyric just presents a side that was theretofore scarce in pop music. Jagger lets down his guard a little and thus lets us in on the hoax there really is a man behind the curtain.

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Letting down his mask a little here, Jagger displays a yearning to get back home from the road and, more generally, to a domestic life: 'The sound of strangers sending nothing to my mind/Just another mad, mad day on the road/I am just living to be lying by your side/But I'm just another moonlight mile down the road.' Though the song still referenced drugs ('a head full of snow.') and the road life of a pop-music celebrity, it really is a rare example of Jagger letting go of his public persona ('.In the window, there's a face you know/Don't the nights pass slow?'), offering a behind-the-scenes glimpse of the weariness that accompanies the pressures of keeping up appearances as a sex-drugs-and-rock & roll star. The variation on the lick that Richards referred to gets picked up by the lush Paul Buckmaster string ensemble, building the song into a dramatic climax before drifting away quietly in a beautiful atmospheric outro section, featuring the lovely piano of Jim Price - mostly known as a trumpet player - finally concluding with a regal string flourish. Making up the dominant theme of the song is a beautiful acoustic guitar riff - played by Mick Jagger - that has a vaguely Asian feel. Richards believes that some of his original idea may have survived on the end of the recording. The initial guitar part of the song was apparently written by him and put down on tape but left incomplete (working title: 'Japanese Thing') until an uncredited Mick Taylor developed it into a full song. Lehane is not too shy to use his characters to tackle some real ethical questions, and it’s hard not to consider them yourself while reading.It seems as 'Moonlight Mile' may be one of the rare songs that does not include the presence of Keith Richards.

It’s a compelling book, and while it wasn’t maybe not quite as good as Gone, Baby, Gone, it was still superior to most of the detective fiction I’ve read. Amanda has gone missing again, and her aunt believes Kenzie owes the family to at least try to find her again. Kenzie is confronted by Amanda’s aunt, who called in the original case without knowing that her husband was the kidnapper. Kenzie and Gennaro are married with a little girl, and struggling to make ends meet taking PI jobs that are of a safer, more family-friendly variety. Moonlight Mile is number six, and takes place 10 years later. I can’t really remember the plot of the fifth book, but Kenzie and Gennaro get back together. The uncle went to jail, lives were ruined, and Patrick lost his girlfriend/partner. Patrick Kenzie made the decision to do the “right” thing and return Amanda to her real mother. In the end, it turns out that Amanda was “kidnapped” by her uncle and given to a family to raise her, since Amanda’s mother was a drugged out piece of shit. In it, the PIs are called in to investigate the disappearance of a four year old named Amanda McCready. I may reread my collection just for a chance to review them for CBR).

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Gone, Baby, Gone was Lehane’s fourth installment in the Kenzie/Gennaro series (quick aside: everything I’ve ever read by Lehane has been golden. If you haven’t read Gone, Baby, Gone, or seen the fabulous cinematic adaptation, I’m about to spoil the ending, so back off.

So here’s a slightly different take on the PI lifestyle - Kenzie and Gennaro are quite a bit different than Izzy and the Spellmans.

Moonlight mile