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Get up, get up, into something new/ Get up, get out, down into something new…
Written by: Jagger/Richards/Wood Recorded: Compass Point Studios, Nassau, Bahamas, Jan. 18-Feb. 12 1979; EMI Pathé Marconi Studios, Paris, France, June 10-Oct. 10 1979; Electric Lady Studios, NYC, USA, Nov-Dec. 1979 *Data taken from Martin Elliott’s book The Rolling Stones Complete Recording Sessions 1962-2012
Mick Jagger: vocals, percussion Keith Richards: rhythm and lead guitar, backing vocals Ron Wood: rhythm and lead guitar, sax Bill Wyman: bass Charlie Watts: drums Guest musicians: Bobby Keys (sax), Max Romeo (backing vocals), Michael Shrieve (percussion)
The groove hits first—and it doesn’t let go. When The Rolling Stones opened Emotional Rescue in 1980 with Dance (Pt. 1), they weren’t just kicking off an album, they were setting a mood. Funky, loose, and unapologetically rhythmic, the track pulls you straight onto the dance floor while hinting at a band still eager to experiment.
Born from a riff by Ronnie Wood and shaped in the studio by Mick Jagger and Keith Richards, the song evolved from a jam into something more layered. With its roots in funk and its structure built around groove rather than chorus, it captures a different side of the Stones—one driven by feel as much as form.
Decades later, Dance (Pt. 1) still stands as a bold opener and a reminder that even at their peak, the Stones were never content to stand still.
More about Dance (Pt. 1) by The Rolling Stones
Dance (Pt. 1): A Groove That Sets the Tone (1980)
Released in June 1980 as the opening track of Emotional Rescue, Dance (Pt. 1) wastes no time signaling a shift in direction for The Rolling Stones. Built around a hypnotic, funk-driven groove rooted in African American influences, the track invites listeners straight onto the dance floor while subtly echoing earlier experiments like Hot Stuffand Miss You. The narrative voice—Mick Jagger—places itself at the corner of West Eighth Street and Sixth Avenue in New York City, even calling out Keith Richards as if urging both bandmate and audience toward something new. What began as a simple riff quickly evolved into a full-band statement, capturing a moment where instinct, rhythm, and reinvention collided at exactly the right time.
Origins of the groove
The foundation of Dance (Pt. 1) came from Ronnie Wood, who introduced a strong, infectious riff that immediately sparked a reaction. According to Wood, the track was born without lyrics—just a groove designed to get bodies moving. Jagger’s instant response, literally getting up to dance, defined the track’s purpose from the outset. Unlike traditional song structures, it developed without a clear chorus, relying instead on shifting patterns and rhythmic momentum. This approach made it feel spontaneous, almost like a jam session refined into a studio recording, yet still retaining that loose, kinetic energy.
Production and musical layers
From a production standpoint, the track stands as a layered rhythmic engine driven by multiple contributors. Charlie Watts delivers a steady, dance-friendly beat, while Bill Wyman anchors the groove with a fluid bassline—though some debate suggests Wood may also have contributed on bass. Additional percussion from Michael Shrieve, alongside elements handled by Jagger himself, adds texture through congas, shaker, tambourine, and cuíca. Guitar interplay between Wood and Richards injects a sharp, funky edge, all overseen by Jagger’s engaged vocal performance. Supporting harmonies include Max Romeo, blending reggae tones into the track’s sonic palette.
Keith Richards: “I saw Dance as more of an instrumental, like Junior Walker’s Shotgun. And Mick immediately came up with reams of paper and lyrics. I thought it should be a minimal lyric, and Mick comes up with Don Giovanni.”
Creative tensions and decisions
Despite its infectious groove Dance (Pt. 1) was not without internal debate. As the first officially co-written track by The Glimmer Twins and Wood, it marked a collaborative milestone, yet also revealed differing artistic instincts. Richards reportedly preferred the piece as an instrumental, believing the addition of lyrics altered its original feel. Jagger, however, pushed forward with vocal development, unwilling to leave a track unfinished on an album with limited space. The result reflects both perspectives: a rhythm-first composition that still carries a vocal identity, balancing experimentation with accessibility.
Alternate versions and legacy
For dedicated fans, Dance (Pt. 1) extends beyond its album version through alternate mixes that highlight its evolving nature. Dance (Pt. 2) also known as If I Was a Dancer appeared on the 1981 compilation Sucking in the Seventies and also on Rarities 1971-2003 in 2003. These versions reinforce the track’s identity as a flexible, groove-driven piece rather than a fixed composition. More broadly, it stands as a snapshot of the Stones embracing rhythm, collaboration, and change—proving their ability to adapt without losing the essence that made them endure.
Ronnie Wood (2003): “Dance Pt. 1 was one strong riff where Mick immediately took the bait, literally got up and danced to it, which was the whole idea of the track: it’s a catchy riff. That was an example of a song that originated without words, just a groove with various changes, but never a chorus. We did have various alternative mixes going at the time, but I can’t really tell the difference between Part I or Part II or Part III. It was just a novelty, the Pt. 1 bit.”
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