I'd like to hear the original Slave as mentioned above. Is it available online?



Edited 1 time(s). Last edit at 2016-12-31 01:19 by exilestones.

Floating Mick by Scott Smith

Start Me Up promo 45 Italy 1981

Philip Kamin

The Rolling Stones at S.I.R. Studios on June 30, 1981 in New York City where they shot four promotional videos to support the Tattoo You album.


G

Drummer Charlie Watts gets ready to shoot a promotional videos for Tattoo You.



Ron and Keith share a moment before shooting the "Start Me Up" promo video.



Mick looks well rested and ready to go!

--------------


Bassist Bill Wyman plays bass during the "Start Me Up" video at S.I.R. Studios in New York City.









Guitarist Ron Wood (in the center), Bill Wyman (L) and Keith Richards (R) take a break after shooting the promom vieo for "Start Me Up."




David Gahr



Edited 1 time(s). Last edit at 2017-01-04 07:54 by exilestones.

[www.youtube.com]
"Start Me Up" Official Promo Video

[www.youtube.com]
Billy Joel and Jimmy Fallon 'Start Me Up' (MSG - January 7, 2016)

SAN FRANCISCO








Special Thanks to Palace Revolution 2000 and Jean Marie

[yesterdayspapersoftherollingstones.blogspot.fr]

Quote
exilestones
SAN FRANCISCO








Special Thanks to Palace Revolution 2000 and Jean Marie

[yesterdayspapersoftherollingstones.blogspot.fr]

I would kill for that T Shirt. The modern era TShirts I couldnt care less for, but this one is primo.



Edited 1 time(s). Last edit at 2017-01-09 21:13 by Palace Revolution 2000.

1983





Guitarist Ronnie Wood of the Rolling Stones, his wife Jo Wood and singer Tina Turner in New York City, 1983. (Photo by Denis O'Regan/Getty Images)




Mick Jagger laughs with papparazzi photographers while leaving a London nightclub in 1983. Credit: Tom Stoddart/Getty Images






Rolling Stones Let’s Spend the Night Together (1983)





Listed as 1983







Keith Richards dad Bert Richards 1983 NYC cliff











Rolling-Stones-SS-1983-Vintage-Party-Set
1 tablecloth, 1 pack of 8 invitations,
1 pack of 16 small napkins,
1 pack of 8 dessert (small) plates,
1 pack of 8 cups.

Still Life 1983 West German Import Target CD


1983 original West German import CD with yellow/red "target" label.
Manufactured by Polygram for export to the US and international markets.
"Printed in West Germany" inlay.
See tray card scan for track listing and recording info.
Matrix: 7567 90102-2 2893 043 02.
No barcode.

This disc was withdrawn shortly after release when Atlantic/Warner
lost the distribution rights to Rolling Stones Records.

Includes original "smooth edge" jewel case.


[www.ebay.com]

1983 Stickers




VIDEO: [www.youtube.com]










1983

Quote
exilestones
1983





Guitarist Ronnie Wood of the Rolling Stones, his wife Jo Wood and singer Tina Turner in New York City, 1983. (Photo by Denis O'Regan/Getty Images)

This is backstage in New Jersey, 1981.

Mathijs

Quote
Mathijs

Quote
exilestones
1983


Guitarist Ronnie Wood of the Rolling Stones, his wife Jo Wood and singer Tina Turner in New York City, 1983. (Photo by Denis O'Regan/Getty Images)

This is backstage in New Jersey, 1981.

Mathijs

Thank you! We have a great community here at IORR with everyone helping and being nice to each other.


It looks like Tone is wearing a back stage pass. Is this East Rutherford?



Edited 1 time(s). Last edit at 2017-01-10 19:16 by exilestones.

Ronnie Wood and Keith Richards of the Rolling Stones with musician Julian Lennon, circa 1983. (Photo by Denis O'Regan/Getty Images)



This photo was also listed as 1983. Any idea when and where it's really from? Thanks!

The photo above looks like it was taken in the same day as the ones below due to the clothes they were wearing.




Ronnie Wood and Keith Richards of the Rolling Stones with Jamaican ska and reggae performer Jimmy Cliff, 1982. (Photo by Denis O'Regan/Getty Images)






Edited 1 time(s). Last edit at 2017-01-10 19:55 by exilestones.

1982 Denis O'Regan

Denis O'Regan 1982

Keith with knife 1982 Denis O'Regan


Which show did Keith wear this shirt?

Journalist Lisa Robinson with Keith Richards in 1980.

Few people can say they’ve gone on tour with The Rolling Stones and hung out at the Ritz with Keith Richards.

January 27, 1983: Tina performing at The Ritz

"Every Tina Turner appearances there between 1981 & 1983 were crucial in terms of friendship and business. From appearing on stage with Rod Stewart and touring with The Rolling Stones to finally getting Capitol Records attention thanks to David Bowie, it all happened there in New York. The Ritz would become the nest of 'the Phoenix that would rise from her own ashes.'"
[tinaturnerblog.com]


Keith Richards, Tina Turner & David Bowie Backstage - The Ritz, NYC, 1983



















Bob Gruen photos (except top photo)



Edited 1 time(s). Last edit at 2017-01-11 07:59 by exilestones.

Steve Forbert and Keith Richards at the Ritz in 1983



Keith Richards, Lisa Robinson and John McEnroe backstage at the Ritz in New York City after a Tina Turner show in 1983.

CLASSIC TRACKS: The Rolling Stones 'Start Me Up'
Engineer: Chris Kimsey
Recording
Published April 2004
By Richard Buskin



Chris Kimsey


In 1981, 'Start Me Up' became one of the Rolling Stones' biggest hit singles. Yet it was actually
a reject from a previous session, and only saw the light of day because its infamous co-writers had fallen out...

Released in August 1981, Tattoo You is widely regarded as the Rolling Stones' last great album; an ingenious division of rock tracks on one side and ballads on the other captures "the world's greatest rock & roll band" close to their best. Nevertheless, despite the confident musicianship and apparent consistency of material, the record was actually little more than a compilation of tracks that had been discarded from previous albums, with virtually no new input from the musicians themselves. And it was Chris Kimsey who devised this idea out of necessity.

Mick Jagger and Keith Richards, you see, were no longer on the best of terms. While the guitarist wanted the band to remain true to its rock and R&B roots, the frontman was more interested in movie acting and following contemporary trends, and the result was that neither fancied spending their nights together in the studio. So when the band's financial adviser, Prince Rupert Loewenstein, decreed that it was time to deliver a new album, Kimsey came up with the solution.

"Since I'd recorded a number of songs during Some Girls and Emotional Rescue that they'd never used, I assumed there must be other bits and pieces lying around," he explains. "So, I spent a couple of months going through all their tapes and I found these gems: 'Waiting On A Friend' and 'Tops' were from the Goat's Head Soup sessions; 'Slave' and 'Worried About You' were from Black & Blue; 'Start Me Up' was from Some Girls; and 'Hang Fire', 'Little T&A', 'Black Limousine', 'Neighbors', 'Heaven' and 'No Use In Crying' were from Emotional Rescue. I did rough mixes at Olympic of everything I'd found, sent them to the band members, and then began working on the tracks.
CLASSIC TRACKS: 'Start Me Up'

"Only 'Waiting On A Friend' was already complete. The main thing missing from most of them was Sir Mick's vocal, because he hadn't finished writing the lyrics, so those parts were recorded in Paris in mid-1981. They'd rented a bloody warehouse on the edge of the Peripherique [ring road] in a horrible part of the city — all industrial sites and train sidings... no restaurants! I don't know who'd found the warehouse, but it was big and cheap, they put the mobile truck inside there, and it was so cold that, when Mick did the vocals, you could see icy breath coming out of his mouth. I remember that place to this day. It was absolutely diabolical."

Not that the other band members were too concerned about this. After all, none of them showed up — Keith, who lived in Paris, would only show his face during the New York mix sessions. Instead, Kimsey was pretty much left to his own devices, and, fortunately for his blasé employers, he turned out an album that would top the US charts for nine weeks on the strength of an extensive stadium tour and the smash hit singles 'Start Me Up' and 'Waiting On A Friend'.





Orange Hessian Cubes

The definitive latter-day Stones rocker, 'Start Me Up' is distinguished — like many of the band's other classic tracks — by an instantly recognisable opening guitar riff. However, it actually started life as a reggae song, committed to tape in March 1975 during the Black & Blue sessions, before being cast aside and re-recorded with a totally different arrangement at EMI's Pathé Marconi Studios in Paris in January and March 1978.

"That was another bizarre environment," Kimsey remarks. "The live area was a huge oblong, but you couldn't see the left-hand side of it at all from the control room at the far end. What's more, the walls were decorated with these goddamn awful orange hessian cubes and white pegboard — a classic case of the French going for moderne and getting it horribly wrong. It was awful. The only thing I liked was that, despite the floor being shiny graphite, those orange hessian cubes soaked up any reverb and so the huge room wasn't at all echoey.

"There were loads of screens, as well as three or four booths dotted around the place. When party guests turned up, they were put in those booths. Otherwise, they were never used. I set up the band in a semicircle facing the control room, with the drums in the middle, Keith to the left of Charlie from my perspective, Ronnie's amp next to Keith, and then, to the right of Charlie, Mick's guitar and Bill on the end. The keyboards were in front of the control room window. Screens were placed behind the band and used as divisions between each amp, so that each of the guys were in their own little booths without anything in front of them. That meant they could actually hear what was coming out of their amps, and I also put up a little Shure PA for them to hear Mick's vocals as well as Charlie's snare and kick.

"There's quite a characteristic drum sound on Some Girls, and as the guitars were so loud it helped to have Charlie's snare fill up the room a bit more. I didn't really want them to use headphones, I wanted to create sort of a live atmosphere, and they went along with that. I remember being terrified the first time Mick and Keith ever came in the control room, because they just stood at the back and whispered. But then they said, 'Yeah, it sounds great. OK, next.' That was it. They knew it sounded great.

"That having been said, God knows how anybody knew it sounded good, because the control room was the weirdest place of all. For one thing, you couldn't fit more than four people in it. And for another, the wall slanted outwards as it went towards the door, with the desk placed at an angle to the speakers so that the left-hand speaker was closer to you than the right-hand speaker. It looked like a complete shit-hole, yet somehow it sounded amazing. There were these huge great JBLs that could tear your ears off, and it was very rock & roll."


A Great Sound At A Cheap Price

Jagger's background at the London School of Economics was playing its part. "Mick had got that room for, like, 200 quid a day," Kimsey states, "and after having been there for about three weeks I was really enjoying myself, working with a lovely old 16-track EMI desk and recording to a Studer A80 with Dolby A at 15ips. I'd got used to the sound and was having a great time, at which point Mick said, 'Er, we're going to move into the real room.' I said, 'What do you mean? What real room?'


The layout of Pathé Marconi Studios in Paris for the Some Girls sessions, when 'Start Me Up' mutated
from a reggae song into a rock & roll number. The PA was a Shure column with a small horn at the top
and two bass units below, raised 7 feet into the air.


"Next door, the studio area was just as huge, and the control room had this absolutely enormous Neve — you had about 70 channels in front of you and a whole sidecar to the left of the monitoring that went back another four feet. In fact, the control room was the complete opposite to the one I'd been using. You could put a hundred people in there, but it sounded awful and I hated it. So, I talked to Keith and said, 'Do we have to move? It sounds so good where we are and the band sounds great.' Well, given the price, I don't think it took very much to talk Mick into staying. He kept asking, 'Does it sound all right in here? Does it sound all right?' and I'd say, 'Yeah, it sounds great. We're getting great results.' Thank God we stayed there."

With the songwriting taking place in the studio, tracks would be worked on for a couple of days, left alone for a while, and then worked on again, sometimes ad nauseam.

"'Miss You' took quite a time to come together," Kimsey remembers. "Bill needed to go to quite a few clubs before he got that bass line sorted out. But he did sort it out, and bless him, it made that song. Then, immediately after 'Miss You' was recorded, 'Start Me Up' got straightened out. They'd been throwing it around as a reggae song, but they rearranged it and, within 24 hours of 'Miss You', 'Start Me Up' was recorded."



No Reggae, No Like


"After they cut it, I said, 'That's bloody great! Come and listen,'" Kimsey recalls. "However, when I played it back, Keith said, 'Nah, it sounds like something I've heard on the radio. Wipe it.' Of course, I didn't, but he really didn't like it, and I'm not sure whether he likes it to this day. I don't think it's one of his favourite songs, although it's obviously everyone's favourite guitar riff; his guitar riff. Maybe because Keith loves reggae so much, he wanted it to be a reggae song."

As part of the aforementioned semicircle facing the control room, Mick Jagger recorded a guide vocal, singing into a Shure SM58 that was going through the PA; Charlie Watts was captured with a single Neumann U47 valve mic above his maple Gretsch kit, a Neumann U67 to the side of his floor tom in order to provide a stereo effect — a technique borrowed from Glyn Johns, who would record the drums with a total of four microphones — a Sennheiser 421 on the top tom, an AKG D25 on the kick (with a Shure SM57 going to the PA), an SM58 on the snare and an AKG 451 on the hi-hat.

"The PA was aiming at the drums, so the snare would actually come back through the overhead mic and create this quite unique sound," Kimsey explains.

While Bill Wyman's Fender Mustang bass was DI'd and going through an Ampeg Portaflex amp, the Mesa Boogie amps of Keith Richards and Ron Wood were close-miked with valve U47s, and Jagger's with a U87. Richards alternated between a Gibson Les Paul Junior and his red and cream Fender Telecasters; Wood played a Strat, a Zemaitis, a Fender B-Bender Tele and a pedal steel. "I used the 87 on Mick's guitar because his sound was always so loud," says Kimsey. "With Keith and Ronnie it was 47s, padded down and using the desk compression which was amazing."

While no keyboards were played on 'Start Me Up', the setup for other tracks comprised a couple of AKG 414s on the piano, a DI'd Wurlitzer, and a Hammond miked with a pair of SM58s on top and a U87 below.



All On Edge

"Including run-throughs, 'Start Me Up' took about six hours to record," says Kimsey. "You see, if they all played the right chords in the right time, went to the chorus at the right time and got to the middle eight together, that was a master. It was like, 'Oh, wow!' Don't forget, they would never sit

down and work out a song. They would jam it and the song would evolve out of that. That's their magic. So, for Charlie it was especially difficult, because he would never know where anything was unless Mick was doing a guide vocal — that's why I got him to sing through the PA setup. Charlie would follow Mick to determine where the chorus was or whatever, and sometimes Mick would change it, confusing everybody even more. They'd all be on the edge, and that's why it was so great when they did get it right together.




The EMI desk used to record 'Start Me Up' now resides in the studio of songwriter and producer Terry Britten,
who has added the additional sidecar modules.



"After that, they would leave the song, listen to it over the course of several days, and if they did come back to it they'd generally change it. I mean, Mick would want to come back and do everything faster, but generally they would come back and do something completely different. That was a good lesson: if you're going to do it different, change the key, change the tempo. What's the point in redoing it two beats faster?"

Whatever the point, 'Start Me Up' was not revisited once the master take had been achieved, possibly because of Keith's indifference towards it. Instead, it was left with a fairly raw and basic rock sound.

"Throughout the recording, Charlie kept it very straight ahead and Keith just went for it," Kimsey recalls. "It was like 'Oh, I remember this,' as they played along, and it just stuck together with a lot of space. That's the song's magic, really."

At the same time, the engineer was having a fine old time, adding reverbs and delays while leaving very little to the mix. "They'd be in the middle of a take, and I'd never know if it was going to be the master, so I'd try all sorts of things," he says. "As it was quite a discrete desk, I could do that kind of stuff, meaning that I'd be changing sounds during a performance that might turn out to be the master. Still, they always left me to get on with my job and never, ever mentioned anything about the sound."



Industrial Heaters

Now fast-forward three years to the vocal sessions in that freezing cold Paris warehouse, and once again Chris Kimsey was left alone... almost totally alone, hanging around for hour after hour, day after day, while Mick Jagger checked out the city's social scene. Consequently, what could have been achieved in a matter of days ended up taking six weeks.

"I rented a flat, and I wouldn't leave that flat until I knew he was on his way, because it was so bloody cold down there," Kimsey says. "We had to hire industrial heaters to warm the place up before we got there. It didn't make any sense at all, aside from the fact that Mick loved Paris and their truck was parked there inside a warehouse that cost next to nothing.

"We put some screens around him, otherwise it would have sounded ridiculous in that giant place, and I recorded all of his vocals with a valve 47. That's what I always used when he was overdubbing without the band, whereas the Shure SM58 is a lot more direct and therefore ensured far less leakage. If you're pumping it through a PA and put a 47 through there, you'd start getting feedback and it just wouldn't work."

What did work, when Jagger showed up for a session, was his ability to perform quickly and effectively, completing a song within four or five takes once he'd sorted out the lyrics. In most cases, he already had a verse as well as an idea of the chorus, and he'd repeat the same verse until he came up with more words.

"He'd give it the full performance, moving all over the place," Kimsey confirms. "It was great to watch and equally great to record. He knows how to work a microphone. He might be at the back of the control room, just a bar before the verse, and all of a sudden he's in front of the mic. He backs off in the chorus when he's singing loud, he gets in close when he's singing soft, and he knows what to do. Keith, on the other hand, is the complete opposite. You need a shotgun to get him in front of the mic. He'll wander all over the place while singing, taking an attitude of 'You do your job, you record me.'"

This was never an issue on 'Start Me Up', which, regardless of the image conveyed in the promotional video, actually features Jagger performing all of the backing vocals as well as the lead. "He's very good at sounding like Keith on harmonies," remarks Kimsey.



Power Mixing

Once the vocals were completed, mix sessions for Tattoo You took place in New York at Electric Ladyland and the Hit Factory, with Bob Clearmountain also taking care of some mixes at the Power Station. Among the latter was 'Start Me Up'. "Bob's and my mixes were so very close, there were a few times when I listened to what I thought was his mix and it turned out to be mine," Kimsey says. "I remember driving down LA's Pacific Coast Highway shortly after Some Girls had been released, and hearing 'Miss You' on the radio. In his version of the mix, Bob had edited out the sax solo, and this was what I thought I was listening to on my hire car's great stereo system. I was thinking, 'Wow, this sounds amazing. Bob really is a genius!" But then the sax solo came on and I nearly left the road. I couldn't believe it. That taught me to not get too precious about my own work."

[www.soundonsound.com]



Edited 1 time(s). Last edit at 2017-01-12 08:57 by exilestones.

MATS BÄCKER, "KEITH RICHARDS, ULLEVI June 19, 1982"



Edited 1 time(s). Last edit at 2017-01-14 21:35 by exilestones.

Rolling Stones, Ullevi, Göteborg, 20.06.1982. Foto: Helge Øverås.





[csblogg.ufo.se]

On June 19, 1982 , I was and Anneli and 56,000 at the Ullevi Stadium in Gothenburg and saw the Rolling Stones. Then I took the picture of Mick Jagger above. Now it's time again, 32 years

later, though at Tele2 Arena in Stockholm. Will be fun!

Have had a part to do in the morning when I was first brought and interviewed by Metro who wanted to talk International ufodagen which for me is just a nätgrej no basis in reality. Now it's

all the same to an article by me in tomorrow's paper. Since emailed Radio Kristianstad who wants to interview me on the same subject tomorrow morning at 8:30 and then called SVT on the same

thing. But there, I managed to avert it all so there will be an interview about my new book 07.50 August 11 in "Good morning Sweden" instead.

Has worked a little with the expedition to Nammajaure also plus I have cleaned without paper both in the study and in the basement.

When we left for the Tele2 Arena rained but luckily it would be on the roof and the weather does not play any role. But before we went into the arena we met Ylva Carlsson and Eva Mattsson

at the Globe Thai to have time to eat a little, too. And this little Thai restaurant, which did not look much to the world and where the staff spoke poor Swedish so that they do not even

understand Annelis question if it was really the Globe Thai we come to, turned out to serve really good food.

On the way to the stadium, it was security in the open space outside and there it was close that I got rid of my folding umbrella that was first considered to be a weapon but as I got to

take after some discussion between the two guards. A dustbin with umbrellas next spoke for themselves when it came to others who have not passed the eye of the needle.

It was the first time we were in any event whatsoever Tele2. The stadium is beautiful on the outside but a concrete and plastics inside the bunker. Pure hideous fact and not a penny seems

to have been spent on doing the looking.

We had seats part way up the Z-section, which meant that we sat almost as far away it was from the scene. Pretty big difference from 1982! As you can see in the picture below so we relied

on the excellent big screens when it came to see one of the performers. But it went well also, and the concert was really good. Mick Jagger, 70 years now, ran for the full and it was not

noticed very much that the years passed. Although he took a break in the middle and let Keith Richards and Ron Wood to drive a couple of songs but the voice and commitment was absolutely

nothing wrong. In addition, he talked a little "Swedish" and then: "You sing wonderfully," he said, for example!

The funny thing was that the band members seemed to have genuinely nice on stage. Many smiles and hugs to each other.

The concert lasted from 21:10 to 23 approximately and then it became two extra songs where "Satisfaction" became the last - to general acclaim.

We went in anyway pleased from the concert and managed to come up with the other train from the Globe. Smockat course. Arriving at Central Station I said Anneli hello to Ylva and Eve and

took us quickly (!) On a pendulum that we had time just. This small float meant that I reached home in time until the match United States-Belgium was over. Mark sat up there had taped for

me and since it was 0-0 at full time, I looked at the extension that was exciting. Belgium eventually won 2-1 and I could go to bed at 01:30.

This time we sat some distance away and got help from the big screens to see Mick Jagger. Anneli, Eva and Ylva before we go into.

William Klein, Concert des Rolling Stones, Longchamp, Paris, 1982



Fashiom model Jerry Hall at a Rolling Stones concert in Paris, 1982.



Les Rolling Stones sur scène à Auteuil dans Paris le 13 juin 1982

Quote
exilestones
Rolling Stones, Ullevi, Göteborg, 20.06.1982. Foto: Helge Øverås.





[csblogg.ufo.se]

On June 19, 1982 , I was and Anneli and 56,000 at the Ullevi Stadium in Gothenburg and saw the Rolling Stones. Then I took the picture of Mick Jagger above. Now it's time again, 32 years

later, though at Tele2 Arena in Stockholm. Will be fun!

Have had a part to do in the morning when I was first brought and interviewed by Metro who wanted to talk International ufodagen which for me is just a nätgrej no basis in reality. Now it's

all the same to an article by me in tomorrow's paper. Since emailed Radio Kristianstad who wants to interview me on the same subject tomorrow morning at 8:30 and then called SVT on the same

thing. But there, I managed to avert it all so there will be an interview about my new book 07.50 August 11 in "Good morning Sweden" instead.

Has worked a little with the expedition to Nammajaure also plus I have cleaned without paper both in the study and in the basement.

When we left for the Tele2 Arena rained but luckily it would be on the roof and the weather does not play any role. But before we went into the arena we met Ylva Carlsson and Eva Mattsson

at the Globe Thai to have time to eat a little, too. And this little Thai restaurant, which did not look much to the world and where the staff spoke poor Swedish so that they do not even

understand Annelis question if it was really the Globe Thai we come to, turned out to serve really good food.

On the way to the stadium, it was security in the open space outside and there it was close that I got rid of my folding umbrella that was first considered to be a weapon but as I got to

take after some discussion between the two guards. A dustbin with umbrellas next spoke for themselves when it came to others who have not passed the eye of the needle.

It was the first time we were in any event whatsoever Tele2. The stadium is beautiful on the outside but a concrete and plastics inside the bunker. Pure hideous fact and not a penny seems

to have been spent on doing the looking.

We had seats part way up the Z-section, which meant that we sat almost as far away it was from the scene. Pretty big difference from 1982! As you can see in the picture below so we relied

on the excellent big screens when it came to see one of the performers. But it went well also, and the concert was really good. Mick Jagger, 70 years now, ran for the full and it was not

noticed very much that the years passed. Although he took a break in the middle and let Keith Richards and Ron Wood to drive a couple of songs but the voice and commitment was absolutely

nothing wrong. In addition, he talked a little "Swedish" and then: "You sing wonderfully," he said, for example!

The funny thing was that the band members seemed to have genuinely nice on stage. Many smiles and hugs to each other.

The concert lasted from 21:10 to 23 approximately and then it became two extra songs where "Satisfaction" became the last - to general acclaim.

We went in anyway pleased from the concert and managed to come up with the other train from the Globe. Smockat course. Arriving at Central Station I said Anneli hello to Ylva and Eve and

took us quickly (!) On a pendulum that we had time just. This small float meant that I reached home in time until the match United States-Belgium was over. Mark sat up there had taped for

me and since it was 0-0 at full time, I looked at the extension that was exciting. Belgium eventually won 2-1 and I could go to bed at 01:30.

This time we sat some distance away and got help from the big screens to see Mick Jagger. Anneli, Eva and Ylva before we go into.

Of course the tunnelbana was smockfull with fans!