Rolling Stones songs: All Sold Out
*Click for MORE ROLLING STONES SONGS 1962-PRESENT

I hope that you’re having fun with me/ There’s not much left to attack…

Also known as: All Part of the Act
Written by: Jagger/Richard
Recorded: RCA Studios, Hollywood, USA, Aug. 3-7 1966; Olympic Sound Studios, London, England, Nov. 9-Dec. 6 1966
*Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012

From the The Rolling Stones – All the Songs book:
After the mockery of “Cool, Calm and Collected,” the prevailing sentiment
in “All Sold Out” (originally named “All Part of the Act”) is anger. The
narrator effectively indulges in a litany of reproaches. The song opens with
the line: Why put this sadness inside of me? But there is worse to come. He
feels betrayed by his girlfriend, or more precisely, suffers as a result of
falling into the trap she has laid for him: I hope that you’re having fun with
me/There’s not much left to attack.

With “All Sold Out,” the band turns back to rock music. Charlie Watts
opens the number on his bass drum before launching into a heavy rhythm
that, curiously, resembles a mixture of the Small Faces, Cream, and the
Yardbirds. The same goes for the general sound of the number, in which it
is difficult to hear the usual distinctive Stones take on rock ’n’ roll. Keith
Richards seems to be playing both guitars, the first rhythm (his Gibson
Firebird VII?) and the second lead (his Gibson Les Paul Custom Black
Beauty?). Both are distorted, no doubt through his amplifier, the Vox
UL760. Bill’s Vox Wyman bass is hardly recognizable in the overall sound,
which may be Keith’s doing. Mick is supported by very prominent backing
vocals (Keith, Bill, and Brian?) and delivers his lyrics with a degree of
aggression. Jack Nitzsche seems to be on piano and Ian Stewart or Bill
Wyman on organ. Brian Jones, unexpectedly adds the recorder, which he
plays on the two bridges (All sold out… just like that). One has to listen
carefully to hear it (from 0:41 and 1:31) because the sound is pretty small
and does not sit happily with the two distorted guitars. The tuning of the
recorder leaves something to be desired in places, giving rise to a suspicion
that he added it more in order to participate in some way than to really
benefit the track. An instrumental take exists (on the bootleg Have You
Heard the Outtakes, Baby, Recorded in the Shadow?) that was probably
recorded at the RCA Studios in August 1966 and is superior to the version
on the album. With greater cohesion and no backing vocals, the song is
powerful and effective. The London overdubs do not really do it justice.
Most importantly, the stereo version is to be avoided at all costs. “All Sold
Out” should be listened to in mono. And preferably on vinyl.