rolling stones fightCan You Hear the Music?


Rolling Stones songs: Fight
*Click for 

What I want is power, more power/ What I need is an innocent life…

Written by: Jagger/Richards
Recorded: Pathé Marconi Studios, Paris, France, Apr. 8-June 17 1985; RPM Studios, NYC, USA, July 16-Aug. 17 & Sept. 10-Oct. 15 1985; Right Track Studios, NYC, USA, Nov. 5-Dec. 15 1985
Guest musicians: Chuck Leavell (keyboards), Patti Scialfa and Kirsty MacColl (backing vocals)
*Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012

From the The Rolling Stones – All the Songs book:
There was nothing doing between the Glimmer Twins. The Stones singer wanted to go off and record his first solo album with musicians such as Jeff Beck, Pete Townshend, and Nile Rodgers. For his part, Keith wanted to stay true to the Stones tradition, and reproached Mick for not putting enough effort into Dirty Work. Gonna pulp you to a mass of bruises; Gonna blow you to a million pieces; What I want is power, more power… if there is one song that embodies the tensions between Mick and Keith in the studio, this is it. “‘Fight’ gives some idea of the brotherly love between the Glimmer Twins at this juncture,” observes Keith wryly in Life.

“Fight” is a highly energetic rock song clearly in keeping with the feelings expressed by Keith above. The guitarist would explain that he wrote it in anger after Mick walked out of a session prematurely when the band was struggling to make headway. His inspiration was therefore dictated by a red mist of anger… and the results are very good. The intro begins with a
succession of chords supported by Ron Wood on bass. Keith then delivers an excellent rhythm guitar part that is solid, aggressive, and in places seems to have something of Pete Townshend about it. In fact, the track as a whole calls to mind the Who—at least as far as the break at 1:56, where the pickup has overtones of Roger Daltrey in “Won’t Get Fooled Again” (1971). It seems to be Keith who takes the highly effective and spirited solo at 1:36. According to Alan Rogan, Ron Wood plays a guitar part using a Parsons BBender, which is a mechanical device fitted to the guitar that allows pedal steel guitar effects to be obtained. To tell the truth, this cannot be heard, and if it is used, must be buried in the mix. On the other hand, it is definitely
Ronnie playing bass in the absence of Bill. Charlie, meanwhile, has rediscovered the touch that was eluding him in “One Hit (to the Body)” and this is nicely enhanced by Steve Lillywhite. Chuck Leavell is excellent on the organ, and Mick delivers a very good, highly inspired vocal performance, presumably goaded into action by the prevailing tension. Keith has even conceded as much himself!

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