Probably my all time favorite album side of Stones music: Worried About You, Tops, Heaven, Ain't No Use in Crying, and Waiting on a Friend.

It will always remind me of Labor Day weekend in Boston, 1981, when it first came out. My wife and I always play these tunes sometime every Labor Day.

I know they were actually recorded in previous sessions in the 70s, because I hear Nicky Hopkins and others on the tracks.

Has anyone researched when and where these tunes were recorded? I've always been curious about that, because I don't think most of these tunes were "new" at the time they went into the Tattoo You sessions.

Thanks, and cheers....

No Use In Crying 1979-06-10 Pathé Marconi Studios, Boulogne-Billancourt,Paris.
Tops 1972-11-25 Dynamic Sound Studios, Kingston, Jamaica.
Waiting On A Friend 1972-11-25 Dynamic Sound Studios, Kingston, Jamaica.
worried about you 1975-01-22 RS Mobile Record Studio, Rotterdam, Holland
Heaven 1980-10-11 Pathé-Marconi Studios, Boulogne-Billancourt, France.

Tops, Waiting on a friend, both during Goats Head Soup.
Ain't no use in Crying was during Emotional Rescue
Heaven was a new one done by Jagger and Wyman (Jagger on guitar).
Worried About You done during Black and Blue.



Edited 1 time(s). Last edit at 2013-09-02 03:27 by whitem8.

Basic tracks :
Worried About You - Black and Blue sessions, Rotterdam early '75. Wayne Perkins - lead guitar
Tops & WOAF - GHS sessions, Kingston late 72. Taylor on guitar
Heaven - Paris, late 1980. Its a new song.
No Use in Crying - ER sessions, Paris, summer 1979

Overdubs were generally done in Paris & new York 1979 - spring 1981.

Quote
Godxofxrock9
No Use In Crying 1979-06-10 Pathé Marconi Studios, Boulogne-Billancourt,Paris.
Tops 1972-11-25 Dynamic Sound Studios, Kingston, Jamaica.
Waiting On A Friend 1972-11-25 Dynamic Sound Studios, Kingston, Jamaica.
worried about you 1975-01-22 RS Mobile Record Studio, Rotterdam, Holland
Heaven 1980-10-11 Pathé-Marconi Studios, Boulogne-Billancourt, France.

Those were the start dates of the sessions. The songs werent actually recorded on those exact dates. The exact dates arent available

I knew I could count on you folks.....thanks!

What I miss about vinyl: 2 sides. And Tattoo You was amazing in that regard. Two very distinct sides, with different moods. I never knew the record was basically outtakes until joining this board a few years ago..but whoever really picked out the songs/running order did an amazing job.

Well, there's this:

1972
25th - 30th November & 6th - 21st December: Kingston, Jamaica, Dynamic
Sound Studios. Producer: Jimmy Miller. Sound engineer: Andy Johns (with
Carlton Lee). Additional musicians: Nicky Hopkins (p; first three weeks)/Billy
Preston (keyb; last week)

- Tops I (MJ/KR) -instrumental
- Waiting On A Friend I (MJ/KR) -Nicky Hopkins on piano, Jimmy Miller on
percussion; "Waiting On My Friend"-version


1975
22nd January - 9th February: Rotterdam, Holland, De Doelen, Mobile Record Unit.
Additional musicians: Billy Preston (p, org, string synthesizer, bvoc)/
Wayne Perkins (gtr)/Robert A. Johnson (gtr; 6.-9.2.)/Jeff Beck (gtr; 6.-9.2.)/
Rory Gallagher (gtr; 27.1.; unrecorded)/Mick Ronson (gtr; unconfirmed)/Peter
Frampton (gtr)
- Slave I (MJ/KR) -instrumental
- Slave II (MJ/KR) -instrumental, Billy Preston on piano
- Worried About You I (MJ/KR) -Billy Preston on piano

25th March - 4th April: Munich, Germany Musicland Studios. Producer: The Glimmer
Twins. Sound engineer: Keith Harwood.
Additional musicians: Billy Preston (p, org)/Ollie Brown (perc, cowbell)/Wayne Perkins
(gtr)/Harvey Mandel (gtr)/RW (gtr, bvoc; 30.3. - 4.4.75)

- Start Me Up I (MJ/KR) -Reggae-version, under title Never Stop

1977
10th October - 25th November and 5th - 21st December: Boulogne Billancourt (near
Paris), France, Pathé Marconi Studios. Producer: The Glimmer Twins. Sound engineer:
Additional musicians: Ian McLagan (piano on Miss You, organ on Just My
Imagination)/Sugar Blue [James Whiting] (harm)/Mel Collins (sax)/1 Moroccan
[=Hassan], 1 Jew (=Simon Kirke?), 1 WASP (perc)/Simon Kirke (perc)

- Black Limousine II (MJ/KR/RW) -early lyrics, unusual intro
- Start Me Up II (MJ/KR) -very early, less lyrics, no backing vocals
- Start Me Up III (MJ/KR) -early version, with backing vocals

1979
18th January - 12th February: Nassau, Bahamas, Compass Point Studios.
Producers: The Glimmer Twins. Sound engineer: Chris Kimsey.
Additional musicians: Boz Scaggs (voc, gtr)/Michael Shrieve (perc)/
Sugar Blue (harm)

- Little T & A I (MJ/KR) -instrumental
- Little T & A II (MJ/KR) -early lyrics

10th June - 7th July & late July - 25th August & 12th September - 19th October:
Boulogne-Billancourt (near Paris), France, Pathé Marconi Studios. Producer: The
Glimmer Twins. Sound engineer: Chris Kimsey. Additional musicians: Bobby Keys
(sax)/Sugar Blue (harm)/Martin Gordon (bass; two days in September)

- Hang Fire II (MJ/KR) -with some falsetto vocals
- Hang Fire III (MJ/KR) -first version with ‘Doo Doo Doo’-chorus

- No Use In Crying I (MJ/KR/RW) -shorter early version
- No Use In Crying II (MJ/KR/RW) -longer early version
- No Use In Crying III (MJ/KR/RW) -with additional organ on version II
- No Use In Crying IV (MJ/KR/RW) -better backing vocals, more piano

1980
11th October - 12th November: Boulogne-Billancourt (near Paris), France,
Pathé-Marconi Studios. Producer: The Glimmer Twins. Sound engineer: Chris Kimsey.
- Heaven I (MJ/KR) -early version with guide vocals
- Heaven II (MJ/KR) -first version with real lyrics
- Neighbours I (MJ/KR) -different solos, no sax

1981
April - June: Paris, Mobile Recording Unit in some unlocated warehouse (only
MJ, ca. six weeks in April & May) & New York, Atlantic Studios. Producers:
The Glimmer Twins. Sound engineer: Chris Kimsey. Additional musicians:
Sonny Rollins (sax on Neighbours, Slave and Waiting On A Friend); Mike
Carabello (perc on Start Me Up, Slave & Waiting On A Friend), Chris Kimsey &
Barry Sage (handclaps on Start Me Up), Jennifer & Susan McLean backing vocals
on Neighbours and maybe Pete Townshend (bvoc on Slave).
- Black Limousine VI (MJ/KR/RW) -’Tattoo You’-version
- Hang Fire IV (MJ/KR) -’Tattoo You’-version
- Heaven III (MJ/KR) -’Tattoo You’-version
- Let’s Do It Right II -remixed version 1
- Little T & A III (MJ/KR) -’Tattoo You’-version
- Munich Reggae II (MJ/KR) -remixed version I
- Neighbours II (MJ/KR) -different sax
- Neighbours III (MJ/KR) -’Tattoo You’-version
- No Use In Crying V (MJ/KR/RW) -’Tattoo You’-version
- Slave IV (MJ/KR) -different sax
- Slave V (MJ/KR) -’Tattoo You’-version
- Slave VI (MJ/KR) -longer version V, remastered ‘Tattoo You’-version
- Start Me Up V (MJ/KR) -‘Tattoo You’-version
- Tops IV (MJ/KR) -’Tattoo You’-version
- Waiting On A Friend III (MJ/KR) -different sax
- Waiting On A Friend IV (MJ/KR) -’Tattoo You’-version
- Waiting On A Friend V (MJ/KR) -edited promosingle-version
- Worried About You II (MJ/KR) -with different falsetto vocals and backing vocals
- Worried About You III (MJ/KR) -’Tattoo You’-version

[www.nzentgraf.de]

Keep in mind that during various sessions some of the tunes were worked on further. All I've listed is the original session they were started. One of them had Cellophane Trousers which wound up being Too Tough on UNDERCOVER. The 1977 recording of Start Me Up is the one on TATTOO YOU.

This has been posted here before, but this excellent interview with Chris Kimsey gives a great insight into his collaboration with Mick on finishing the album in a little studio outside Paris

[www.soundonsound.com]

I recall being dismayed the first time I turned the vinyl over and played side two. ALL SLOW SONGS?!?!

Very quickly though this became an essential part of the catalogue for me, and amongst my favourite.

great side nongoose,indeed.

i like it too

Side two does have a better cover...

Side 2 is the dreamy side. I listen to it as a whole piece of music...like side 2 of Abbey Road.

when it came out I much preferred side one. now I like side two better. I love Tops, Worried About You and Waiting On A Friend. Heaven is interesting and No Use In Crying is a good tune as well. Mind you I still love side one as well Slave is one of my favorite Stones songs ever and I have always liked Little T&A.

Quote
Gazza
Basic tracks :
Worried About You - Black and Blue sessions, Rotterdam early '75. Wayne Perkins - lead guitar
Tops & WOAF - GHS sessions, Kingston late 72. Taylor on guitar
Heaven - Paris, late 1980. Its a new song.
No Use in Crying - ER sessions, Paris, summer 1979

Overdubs were generally done in Paris & new York 1979 - spring 1981.

I am convinced Taylor does not play on Waiting on a Friend. There is just ONE guitar to be heard: the electric guitar by Keith Richards. All outtakes available, of which some do not circulate widely, show there is one main electric guitar, and several other guitars (6 and 12 string acoustic mainly) have been added either on the original take or during the overdub sessions, but ALL have been removed on the final, released version.

Mathijs

I agree - I do not hear Taylor on WOAF, Tops yes but not WOAF.

Quote
Mathijs

Quote
Gazza
Basic tracks :
Worried About You - Black and Blue sessions, Rotterdam early '75. Wayne Perkins - lead guitar
Tops & WOAF - GHS sessions, Kingston late 72. Taylor on guitar
Heaven - Paris, late 1980. Its a new song.
No Use in Crying - ER sessions, Paris, summer 1979

Overdubs were generally done in Paris & new York 1979 - spring 1981.

I am convinced Taylor does not play on Waiting on a Friend. There is just ONE guitar to be heard: the electric guitar by Keith Richards. All outtakes available, of which some do not circulate widely, show there is one main electric guitar, and several other guitars (6 and 12 string acoustic mainly) have been added either on the original take or during the overdub sessions, but ALL have been removed on the final, released version.

Mathijs

Yes I agree; he's not on it.
I think it's Taylors 12 string that was added but later removed.

On the one audible guitar, there are lots of the well-known licks that Keith plays on live rendition of the song.

Whether Taylor's guitar is buried deep down in the song is hard to tell...

Quote
DandelionPowderman
On the one audible guitar, there are lots of the well-known licks that Keith plays on live rendition of the song.

Whether Taylor's guitar is buried deep down in the song is hard to tell...

Well, there's 8 or so outtakes, of which 5 are from 1981, and there you can hear that only drums, guitar and piano are from 1973, and all vocals, percussion and sax are added in 1981.

Released version: The percussion is claves, conga, guiro and cabasa, all by a professional player. The other bit of percussion is snare rim shots and bass drum by Charlie. The tambourine heard in one outtake is not in the final version. The acoustic guitars heard in the outtakes has been taken out of the final mix. There is only ONE electric guitar which is clearly Keith Richards. This means Mick Taylor, if he ever was on the track (acoustic?), has been left out of this final mix. Mike Carabello of Santana has been credited with the percussion, Kasper Winding with the deleted tambourine.

Mathijs

Quote
Mathijs

Quote
DandelionPowderman
On the one audible guitar, there are lots of the well-known licks that Keith plays on live rendition of the song.

Whether Taylor's guitar is buried deep down in the song is hard to tell...

Well, there's 8 or so outtakes, of which 5 are from 1981, and there you can hear that only drums, guitar and piano are from 1973, and all vocals, percussion and sax are added in 1981.

Released version: The percussion is claves, conga, guiro and cabasa, all by a professional player. The other bit of percussion is snare rim shots and bass drum by Charlie. The tambourine heard in one outtake is not in the final version. The acoustic guitars heard in the outtakes has been taken out of the final mix. There is only ONE electric guitar which is clearly Keith Richards. This means Mick Taylor, if he ever was on the track (acoustic?), has been left out of this final mix. Mike Carabello of Santana has been credited with the percussion, Kasper Winding with the deleted tambourine.

Mathijs

Thanks. I have tried so many times to detect more guitars in there without succeeding, so this must be correct.

All the comments about the beautiful and subtle playing by Taylor on this tracks is rather funny

Quote
DandelionPowderman


All the comments about the beautiful and subtle playing by Taylor on this tracks is rather funny

All the comments? I don't see any in this thread nor recall any from the past. Probably there might have been, but you need to make notes to keep them in your mind...

Man, you don't waste an opportunity to say something anti-Taylorian if there is any little chance to do so... Almost an agenda...

- Doxa

Quote
Doxa

Quote
DandelionPowderman


All the comments about the beautiful and subtle playing by Taylor on this tracks is rather funny

All the comments? I don't see any in this thread nor recall any from the past. Probably there might have been, but you need to make notes to keep them in your mind...

Man, you don't waste an opportunity to say something anti-Taylorian if there is any little chance to do so... Almost an agenda...

- Doxa

You're not a living encyclopedia, Doxa, though you're pretty close

This time you're wrong, though. I've been ridiculed before when saying Taylor didn't play on this track. Mentioning it doesn't make me anti-anything. Chill down, brother

EDIT: I would really like to hear how Taylor's guitar track was, if it exists.



Edited 1 time(s). Last edit at 2013-09-03 11:06 by DandelionPowderman.

Me too! Based on this discussion and the "topless" one, tt seems new uncirculated outtakes are about to see the light of the day...nice, when was the last time? 2003 for the "reggae" SMU? Well there was the 2006 SW stuff too that leaked thanks to a friend of CM's wife but that was a bit different.

--------------
IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio

I've been making notes of your anti-Taylorian comments lately, Dandie... I think you really have an issue with these so called "Taylorites" (which might go way back): in this sense you are in my eyes about the leading "anti-Taylorite" here (and also the most gentle one with best arguments). Not against Taylor per se, but Taylorites, that is, the fans who dig damn deeply Taylor or Taylor-era and see the Stones in a peculiar way through that (an important difference)... And nothing wrong with that at all, always interesting to follow the arguments by both sides...

But okay, that's was a remark of IORRIAN fan meta-talk, and shouldn't be taken too seriously. Let's now talk about music.

As far as I can hear, no Taylor in the final version of "Waiting On A Friend", even though we don't know how much he was involved in the actual process of making the song. It really has a thick GOTS HEAD SOUP era atmosphere in it, and Taylor was then there. I suppose if they had worked the song further back then, we might have heard a classical Taylor guitar solo in it instead of sax (I do remember Kleermaker once dreaming of that). But my personal take is that like most TATTOO YOU tracks it cannot have sounded any better if released earlier. I think it is the opposite; it was good for the songs to have some time "to rest"", and treated differently - and probably more freshly - in a new context.

Which brings me to the topic of this thread. We were discussing in GOATS HEAD SOUP thread that they couldn't quite make the "blue song" nature of the album to the core, but made compromises with more "traditional" Stones sounds. In a way, I think the B-side of TATTOO YOU is that idea finally realized. The two 1972 songs creates a ground for it, for which the other songs nicely are build on, and a lost gem from BLACK AND BLUE sessions - another era of strong, reflective ballads - makes a great opening. For a "greatest rock and roll band in the world" it was a kind of daring move to release a side full of slow songs. A great artistic choice.

- Doxa

Quote
Doxa
I've been making notes of your anti-Taylorian comments lately, Dandie... I think you really have an issue with these so called "Taylorites" (which might go way back): in this sense you are in my eyes about the leading "anti-Taylorite" here (and also the most gentle one with best arguments).
- Doxa

I can't fathom why you insist I'm being "anti" anything. I have lots of friendly and fruitful discussions with Taylor-ists/ites/ians on and off this site.

However, when I think something is plain wrong, I speak up. Maybe some posters have problems with that? If so, I expect them to tell me - here or via e-mail. Usually we get this sorted out pretty quickly here or other places.

The problem with your labeling of me, just because I disuss a bit harder with a VERY few people here, is that many others (who also love Taylor, but doesn't behave fanatically) actually believe I am against Mick Taylor. And THAT is hilarious!

BTW, they could make a part II of this

I expect them to tell me - here or via e-mail. Usually we get this sorted out pretty quickly here or other places.


Hey DandelionPowderman

...Hope ya don't mind but I reckon your a rock-n-roll cat...



ROCKMAN

Purr, purr, Rockie!

...... and when I met ya ... you weren't drinkin' milk ...



ROCKMAN

Ha ha, neither were you