Their last global hit. I find the studio-release to still hold some magic. It can sound a little tired and lethargic in a live-setting recently, though.

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RomanCandle
Am I the only one who doesn't like this song?

No. It's wafer thin to me. All style, no substance. At BEST, it sounds like The Stones.

Rod



Edited 1 time(s). Last edit at 2018-11-19 12:53 by bitusa2012.

This one from 1998 sounds pretty good... the intro is hilarious.

At 1:08:15
[www.youtube.com]

RomanCandle
Am I the only one who doesn't like this song?


No there's an old Grandma upstate who's banned
it from her family saying its just too sexual for her daughter-in-law ….



ROCKMAN

what a solid groove;
what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.
oh yeah.
the guitars on this are triumphant.
a resurgence and reanssaince however you mispell it; it or mispell misspell.
if they gonaa come up with a red unerline then the robots can fix it thermselves.
is the way hopkins sees it.

yeh they red inderlining 'hopkins' too; frickin robots...
anyway,
good tune.
they probably gonna air it out the new tour...i'm guesssin...

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hopkins
what a solid groove;
what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.
oh yeah.
the guitars on this are triumphant.
a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

yep you can give that little midget a world of credit.
i'd join right in; i've several versions of whole lotta rose with the original crew pretty much; don't have to convince old hoppy on that one...

yeh throw that little guy a sandwich as well as some credit.
it's like the incredible shrinking man video...
i mean the Stones are not the size of normal peepole, we all know that.
that's part of why we love them; we know when theyu say 'get down' it's a challenge to meet them on their own level . sorta...
kjust go with it ok...
ok..


so...

yeh; angus; sure; throw malcolm in ther for all i care.
miss that boy; miss him a lot. God rest his beautiful soul.

---

rock and roll soldiers on the firing line decade after decade.
always bare bonesin' it...
i've never seen them live but have a world of respect and love for them...
they are this beautiful beautiful reliable awesome thing forever.



Edited 1 time(s). Last edit at 2018-12-07 02:26 by hopkins.

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drewmaster

Quote
hopkins
what a solid groove;
what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.
oh yeah.
the guitars on this are triumphant.
a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

Even though SMU was recorded in 1977? That's funny.

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GasLightStreet

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drewmaster

Quote
hopkins
what a solid groove;
what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.
oh yeah.
the guitars on this are triumphant.
a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

Even though SMU was recorded in 1977? That's funny.

Early reggae-style takes yes but not the version where everything suddenly gelled.

Drew

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drewmaster

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GasLightStreet

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drewmaster

Quote
hopkins
what a solid groove;
what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.
oh yeah.
the guitars on this are triumphant.
a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

Even though SMU was recorded in 1977? That's funny.

Early reggae-style takes yes but not the version where everything suddenly gelled.

Drew

Which was in... 1977.

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drewmaster

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GasLightStreet

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drewmaster

Quote
hopkins
what a solid groove;
what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.
oh yeah.
the guitars on this are triumphant.
a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

Even though SMU was recorded in 1977? That's funny.

Early reggae-style takes yes but not the version where everything suddenly gelled.

Drew

Both versions are from 1977.

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bitusa2012

Quote
RomanCandle
Am I the only one who doesn't like this song?

No. It's wafer thin to me. All style, no substance. At BEST, it sounds like The Stones.

Agreed. There's really not much to it. As someone here once pointed out, with Exile the band achieved what they had set out to do in 1962. I think that after that point, there was nothing left for them to do. It's not a bad record, but you can kind of sense them sort of flailing around with GHS, and after that they settled into being a good time party band. This song is the apotheosis of that phase.

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GasLightStreet

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drewmaster

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GasLightStreet

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drewmaster

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hopkins
what a solid groove;
what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.
oh yeah.
the guitars on this are triumphant.
a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

Even though SMU was recorded in 1977? That's funny.

Early reggae-style takes yes but not the version where everything suddenly gelled.

Drew

Which was in... 1977.

Well I'll be damned, it sure was. Always thought it was just a reggae track until they started assembling Tattoo You in '81, but after some online sleuthing I've learned that you're absolutely right, there were indeed a couple of rocking versions recorded in the 70's, like this one.

[www.youtube.com]

I'm really surprised they shelved it.

Drew

the final archetypal stones classic.

a lot of great songs after, but none that match.

Quote
drewmaster
Well I'll be damned, it sure was. Always thought it was just a reggae track until they started assembling Tattoo You in '81, but after some online sleuthing I've learned that you're absolutely right, there were indeed a couple of rocking versions recorded in the 70's, like this one.

[www.youtube.com]

I'm really surprised they shelved it.

Drew

That's a working mix from 1981 that has vocal parts that were kept for the final version. So it's the same as the LP take. It's cool to hear how he was working out the vocals though, they're all over the place. Look at how long he worked on those songs, it's no wonder it took 3 months to do the vocals on the album, with supposedly the final touches for SMU done in NYC and who knows what else (that's been documented).

They were most likely using 24 track at that point but left a lot open for comping things like vocals and guitars, which is obvious with that working mix of SMU.

Good find!

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GasLightStreet
That's a working mix from 1981

So it's '81 even though the clip title says '78?

Not doubting, just askin' ...

Drew

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drewmaster

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GasLightStreet
That's a working mix from 1981

So it's '81 even though the clip title says '78?

Not doubting, just askin' ...

Drew

A lot of the titles on YouTube are wrong. "Demo" when it's clearly an album session, even the actual LP track - like that one - that's a work in progress, a playback, a work mix, etc. The vocals Jagger did for Start Me Up were done in 1981. The track was recorded in 1977. So yeah, no way it's from 1978 since Mick hadn't recorded vocals on it yet.

Am I the only one who would still love to hear what "Start Me Up" sounded like when it was turned into a reggae song after the second take during the SOME GIRLS SESSIONS?

Well, it's their last big hit. A 1981 warhorse. Some say it's generic Stones - but what's wrong with that? Never liked the live versions though. Doesn't come near the original.
Which is still often played at sports arenas around the world. 1981 was the last year the Rolling Stones mattered when it comes to making hits.

The first Stones intro/ hit that really gave me the feeling: "Okay Keith, by now I believe you can do the open G thing". Good song though



Edited 1 time(s). Last edit at 2019-09-02 13:48 by TheflyingDutchman.

Great 80s (yes I know) production of a pretty bad song with a great and at the same time weak riff. Lyrics are a joke. But it is uplifting. It does what it was meant to do. The only reason it works is the way Keith w overdubs and Ronnie plays the riff and around it. The slap back is crucial.

The guitars that circle around the main riff are vital to the song. I have never been wild about the song. I actually like all the live versions a lot more. But I think the fact that this was actually at core a Reggae groove, is what gives it depth.

Matter of fact it is what IMO non-Stoners always miss: that he Stones are not a hard rock band. They play Country, Blues and Soul, and infuse it with the secret sauce.

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drewmaster

Quote
hopkins
what a solid groove;
what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.
oh yeah.
the guitars on this are triumphant.
a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

Start Me Up was nearly finished already in mid 78 (version II or III if you count Never Stop as version I) - two years before the release of Back In Black. By the way: I still believe Never Stop is from the Black And Blue sessions. It doesn't sound like 77/78 at all.

www.nzentgraf.de



Edited 1 time(s). Last edit at 2019-09-02 16:22 by Monsoon Ragoon.

The secret is the interplay between Keith and Bill.

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Monsoon Ragoon

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drewmaster

Quote
hopkins
what a solid groove;
what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.
oh yeah.
the guitars on this are triumphant.
a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

Start Me Up was nearly finished already in mid 78 (version II or III if you count Never Stop as version I) - two years before the release of Back In Black. By the way: I still believe Never Stop is from the Black And Blue sessions. It doesn't sound like 77/78 at all.

www.nzentgraf.de

I originally thought the same thing. I realized now that even their memories of things should be taken with a grain of salt. Either Mick or Keith said it was worked on during the EMOTIONAL RESCUE sessions, which it wasn't. Mick I think had the right story. It was worked on for two takes in 77/78 with a straight up rock sound. Take one would be "Never Stop" (commonly misinterpreted as reggae) and Take 2 is the same basic track as the finished version. It was then turned into a reggae song for like 40 takes. Nobody ever went back to Take 2 until they were gathering songs for TATTOO YOU.

Maybe it was an idea or a simple jam during the BLACK AND BLUE sessions, but "Never Stop" is definitely from the SOME GIRLS sessions.

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Monsoon Ragoon

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drewmaster

Quote
hopkins
what a solid groove;
what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.
oh yeah.
the guitars on this are triumphant.
a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

Start Me Up was nearly finished already in mid 78 (version II or III if you count Never Stop as version I) - two years before the release of Back In Black. By the way: I still believe Never Stop is from the Black And Blue sessions. It doesn't sound like 77/78 at all.

www.nzentgraf.de

Listen to the two slow reggea versions -that's both guitars through Boogie MK1 amps, so can only be after March 1977. I also think that Bill Wyman's bass is the Travis Bean, meaning it was recorded in early 1978 and not late 1977.

Mathijs



Edited 1 time(s). Last edit at 2019-09-03 15:06 by Mathijs.

Start Me Up was a gift from the Rock Gods...that silly song was a practically a career saver for the band that propelled them through for the next 20 years...

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24FPS
The secret is the interplay between Keith and Bill.

Without Bill the riff is dead.

No Bill no Start me up.

I know the person who is at the present playing bass with the band is technically ahead from Bill. Ok. This person played with miles davis and so on. Ok. Awesome.

BUT without Charlie and Bill there would not exist the stones sound. At all.

And Bill somehow took over the song.



Edited 1 time(s). Last edit at 2019-09-03 18:24 by emotionalbarbecue.

Quote
ThePaleRider
Start Me Up was a gift from the Rock Gods...that silly song was a practically a career saver for the band that propelled them through for the next 20 years...

So true!