![]() “ Start Me Up had been in the can for five or six years. As Keith Richards, in his own inimitable style, explains. ![]() I remember it was so cold when we did the handclaps on Start Me Up that you could see the breath coming out of everyone’s mouth.”ĭespite the fact that Start Me Up is so intrinsically rock as to be a virtual caricature, with its slack-jawed, two-chord, staccato riffing allied to Mick Jagger’s irretrievably priapic, oiled-up sex machine of a lyric (which culminates in the venerable vocalist’s priceless deployment of the assertion that ‘ you make a dead man come’), its original incarnation was a different kettle of fish. And then when he did the vocals he was so budget-conscious that we ended up in the Stones’ mobile in a railway warehouse on the periphery of Paris in winter. “Once I found everything,” Kimsey continues, “I had to try to drag Mick in to put the vocals on, which he didn’t really want to do. While Tattoo You was a relatively low maintenance album for the Stones to make, going back into the studio to touch up out-takes wasn’t exactly a task that filled any hearts with gladness. A wonderful collection of songs that, once augmented with fresh vocals and the odd overdub, would go quadruple platinum while topping the Billboard charts under the title Tattoo You. ![]()
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