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Most bands would have treated a Motown classic like Going to a Go-Go with reverence; The Rolling Stones decided to treat it like a riot. By 1981, they didn’t just cover Smokey Robinson—they kidnapped the track, injected it with stadium-sized adrenaline, and turned it into the swaggering centerpiece of their Still Life era. It’s a masterclass in musical alchemy where soul meets grit, proving that even a polished dance-floor staple can be transformed into a snarling rock anthem when the right band decides to tear it apart and rebuild it for an arena.
It doesn’t matter if you’re black/ It doesn’t matter if you’re white…
Written by: Robinson/Moore/Rogers/Tarplin Recorded: Live at Capitol Center, Largo, Maryland, USA, December 9 1981
Mick Jagger: vocals Keith Richards: guitar Bill Wyman: bass Charlie Watts: drums Ronnie Wood: guitar Guest musicians: Ian McLagan (piano), Ernie Watts (sax)
More about The Rolling Stones’ take on Going To A Go-Go
*By Marcelo Sonaglioni
A Soulful Hit Reimagined on Stage
When The Rolling Stones rolled into Largo on November 3, 1981, they didn’t just play their own hits—they borrowed a page from Motown’s playbook. That night at Freedom Hall, the band was introduced to a groovy classic: Going to a Go Go, originally recorded by Smokey Robinson and the Miracles. Sixteen years after its original release, the Stones transformed the soul tune into a stadium-shaking rock number. Their energized version became the A-side of the first single from Still Life(American Concert 1981), their 1982 live album. Paired withBeast of Burden as the B-side, the single climbed to number 25 on the Billboard chart in July of that year. The Stones’ interpretation injected new life into the dance-floor favorite, proving the song’s timeless appeal and showcasing the band’s knack for honoring American rhythm and soul traditions while adding their own swagger.
Motown Roots and Go-Go Groove
Going to a Go Go was originally penned by Pete Moore, Bobby Rogers and Marv Tarplin—key members of The Miracles, alongside Smokey Robinson. Known for his emotionally intense ballads, Robinson also had a lighter side, and this track was pure fun: a call to dance. Recorded in August 1965 by the Reed Tamla Motown Band with Claudette Robinson on backing vocals and the legendary Funk Brothers on instruments, the single was released on December 6 and hit number 11 on the Billboard Pop Charts by February 1966. It also lent its name to the group’s first album, released in November 1965. The song’s title nods to go-go music, a soul-infused dance genre that lit up Washington, D.C. nightclubs in the mid-‘60s, with Chuck Brown as its most iconic figure.
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