The Rolling Stones had almost nowhere to go but up after Emotional Rescue. With the exception of Some Girls, the band had spent nearly a decade floundering. Five studio albums of varying quality and a mediocre live album had tarnished the reputation of what had once been considered The Greatest Rock ‘N’ Roll Band In The World. Their singles could still be counted on to chart, and their albums were still selling, but Emotional Rescue proved to be the final nail in the coffin for many fans who were put off by the icy disco and rote rockers. For the next record, the Stones needed to recapture what made them so good.
They succeeded. Partially.
The first single, and leadoff track, was a return to full-on rock, led by a choppy Keith Richards riff, Charlie Watts in full swing, and a Mick Jagger vocal that combined humor and raunch. “Start Me Up” was such a refreshing change after Emotional Rescue that it instantly became a Stones classic. The band, it seemed, was back with three and a half minutes of reckless abandon. To my ears the song hasn’t held up as well, over 30 years later. The lyric is repetitive, the riff a bit too simple. At the time, the song was a cause for celebration for Stones fans everywhere. It’s now a staple of their concerts, along with “Satisfaction” and “Jumping Jack Flash” but it doesn’t belong in that category.
“Hang Fire”, the song that follows, is better. It’s shorter, punchier, with a better lyric, and better guitar interplay between Richards and Ron Wood. The wordless backing vocal provides the real hook in the song. Both “Hang Fire” and “Start Me Up” rock with total abandon, like the best of Some Girls did. And there’s a good reason for that.
Tattoo You, it turns out, was not a real album at all, in the sense that it was not a collection of new songs. Tattoo You was compiled by Chris Kimsey, the engineer, from the Stones’s musical vault. In most cases, the songs were incomplete. Jagger had to write lyrics and record vocals and some overdubs were added, but the basic recordings on the album go all the way pack to 1972. That’s Mick Taylor playing guitar on “Tops” and “Waiting On A Friend”, both originally cut during the Goats Head Soup sessions. Wayne Perkins, who played the extraordinary solo on Black and Blue‘s “Hand Of Fate” is the guitarist on “Worried About You”, originally recorded in 1975. “Slave” was also cut during those sessions. Other songs were from the Some Girls sessions, and even the Emotional Rescue sessions.
It didn’t matter. The instrumental tracks from those sessions were given new life by Jagger in 1980 and 1981, as the band prepared a massive tour. Tattoo You‘s sole reason for existing is the 1981 tour. The shows were booked and the band felt they had no time to write and record new material, so the vaults were plundered. Chris Kimsey chose wisely for the most part.
Side one of the album is one of the best sustained slices of music the Stones have released post-Exile. There simply isn’t a bum track. From “Start Me Up” through “Neighbours”, Tattoo You sounds like the World’s Greatest Band having fun again. “Slave” is a mostly instrumental groove piece (you can tell it’s from the Black and Blue sessions), but the groove is irresistible and the minimal vocals that are there (including backing vocals from the Who’s Pete Townshend) are a hoot. There’s also a sax solo from jazz legend Sonny Rollins as the cherry on top. There’s nothing much to the lyrics; it’s basically a chant of “Do it! Don’t wanna be your slave!” with a funny mini-rap from Jagger thrown in, but in this case the song stands on the music, which is terrific.
The obligatory Keith Richards-sung track, “Little T&A” is another superior rocker with what may be Keith’s best vocal since “Happy”. What would have easily been the best song on Emotional Rescue was, strangely, left off that album. The lyrics keep the song from being as good as “Before They Make Me Run” or “Happy” but it’s still very close to that standard, and features a throbbing bass line (played by Keith). It’s followed by “Black Limousine” a blues powered by Ian Stewart’s masterful boogie-woogie piano, a terrific guitar solo, and Jagger’s harmonica. It’s often overlooked, but Mick Jagger is one of the premier blues harmonica players, as his playing here proves.
That great side of music ends with “Neighbours”, a Some Girls-style rocker that’s one of the band’s fastest songs. Jagger’s vocal is wonderfully hammy and fun while the band plays as if they’re careening down a curvy road at ninety miles per hour. Side one ends in crashing chords and howled vocals and it was clear that the Stones were back after the misstep that was Emotional Rescue.
Then, there’s side two.
Tattoo You was released in 1981, but in some ways it’s a perfect summation of the post-Exile Stones in the 1970s. With the exception of Some Girls, the Seventies Stones swung wildly between moments of greatness and uninspired banality. Goats Head Soup, It’s Only Rock ‘N’ Roll, Black and Blue, and Emotional Rescue all had high points worth hearing and low points worth ignoring. Tattoo You has the same issues, but in this case the highs and lows are equally divided and split into different halves of the album.
Not everything on side two of Tattoo You is bad, and none of it is truly awful. “Waiting On A Friend” is considered a Stones classic ballad, with another sax break from Sonny Rollins, but nobody is ever going to confuse it with “Wild Horses” or even “Angie”. As Stones “classics” go, “Waiting On A Friend” is strictly second rate. It’s good, but not much more.
Probably the best song on the side is the opener. “Worried About You”, which dates back to the Black and Blue sessions, has the same keyboard sound (played by Billy Preston) as the songs from that earlier album, and a mostly falsetto vocal from Jagger. It also has a fiery lead guitar solo from Wayne Perkins. And in the final two minutes Jagger mostly drops the falsetto and brings it all home. It’s a far better song and performance than the hit single “Waiting On A Friend”, but the song clearly harkens back to an earlier time. It’s also better than everything on Black and Blue except the mighty “Hand Of Fate”.
“Tops” goes all the way back to 1972 and has Mick Taylor on guitar, but stylistically it sounds more like mid-70s Stones. There’s an undeniable dance groove and the falsetto (again) vocals recall the Seventies Soul pastiches that featured on Goats Head Soup and It’s Only Rock ‘N’ Roll. Again, it’s not a bad song but it sounded dated in 1981 and sounds even more dated today. The same goes for “Heaven”, recorded right after the Emotional Rescue sessions and featuring yet another falsetto vocal from Jagger over an admittedly slinky reggae/dance groove. The only Stones on the song are Jagger, Bill Wyman, and Charlie Watts, but the main sound you hear is the high vocals awash in Wyman’s synthesizer. “Heaven” could have been better with a full band backing and the vocals less processed. As it stands, it sounds like the drugged homecoming from a night at Studio 54.
Before “Waiting On A Friend” ends the album on a high note, “No Use In Crying” is another ballad from the Emotional Rescue sessions. For the fourth song in a row Jagger breaks out the falsetto, though sparingly this time. I guess even Jagger probably didn’t think the song was worth straining to hit those high notes. It’s no wonder after this that “Waiting On A Friend” sounded so good: it shuffles where the earlier songs lay there, the falsetto is relegated to a few “doo doo doo” backing vocals, and there’s Rollins’s terrific sax solo.
The second half of Tattoo You doesn’t ruin the album. Of the five songs, two are very good and the other three are not as bad as almost anything on Emotional Rescue. But Jagger’s overuse of the falsetto and a reliance on keyboards and dance ballads to close the album can certainly leave the listener feeling disappointed. Side one is fantastic; side two is mediocre. The only other album I can think of that is this evenly divided between wheat and chaff is John Lennon’s Double Fantasy, and that’s because half of those songs are Yoko’s. Tattoo You would probably have been served better by nixing “No Use In Crying” and “Heaven”, adding two more rockers (they had plenty of great ones in the can from the Some Girls sessions), and mixing the album up to blend rockers and ballads. As it stands, it brings the Stones back, and drops them down again.