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Rolling Stones songs: I Love You Too Much
THE ROLLING STONES TAKE PARIS When the Stones hit Paris to record Some Girls, it wasn’t just a backdrop—it was a creative playground. They knew Pathé Marconi EMI Studios from Exile on Main St., and its cozy 16-track room ended up being the secret sauce, despite Mick dreaming of flashy tech. Between the rooftop vibes, old-school charm, and their love for France, the band cooked up raw, gritty tracks that still crackle with energy decades later. Paris wasn’t a detour—it was the vibe.
You call it morbid fascination/ I call it nasty education…
Also known as: I Can’t Help It ; Shaved Stone Written by: Jagger/Richards Recorded: EMI Pathé Marconi Studios, Paris, France, Oct. 10-Dec. 1977; Jan. 5-March 2 1978; Jan. 15-March 3 1985. Overdubs by Mick at Le Fork Studios, Pocé sur Cisse, France and La Fourchette (Mick’s homestudio) in Sept. 2011 and by Keith at Electric Lady Studios, NYC and Berkeley St. Studios, Los Angeles, Sept. 2011 *Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012
More about I Love You Too Much by The Rolling Stones
*By Marcelo Sonaglioni
Paris, Technology, and a Rolling Stones Reunion
When The Rolling Stones decided to record Some Girls, Paris wasn’t just a scenic detour—it was almost like a homecoming. The Pathé Marconi EMI Studios on rue de Sèvres in Boulogne-Billancourt offered more than just a rooftop view of the city; it was a space they had already trusted during Exile on Main St., and they would return for the next four albums. Despite the album’s gritty New York inspiration, the Stones’ bond with France ran deep. EMI owned the studios, and with a fresh worldwide agreement in place (except for North America), they had options: two large, high-ceilinged 24-track rooms and a smaller 16-track studio.
Mick Jagger initially dismissed the petite 16-track room for recording, eager to embrace the latest technology, while Keith Richards and sound engineer Chris Kimsey saw potential where Jagger saw limits. This tension between comfort and innovation, past familiarity and future ambition, would shape the album’s energy.
The 16-Track Dilemma
The studio choice became a microcosm of the Stones’ creative process. The 16-track room was cozy, almost confining: the control room barely fit four people, and the JBL speakers weren’t perfectly aligned. Kimsey argued that these limitations might actually enhance the sound, capturing a raw, intimate vibe that a sprawling studio could never replicate. Mick, however, was impatient, seeing only the numerical limitation: “We can’t use that, it’s 16-track!” He was focused on the modern equipment of the day, convinced that bigger technology equaled better results.
Finding the Groove
Keith Richards, ever the advocate for feeling over technical perfection, sided with Kimsey: the smaller room was “great to play in. For him, a recording session was not just about tracks and consoles; it was about energy, mood, and the physical space that allowed the music to breathe. Ultimately, Mick’s push for high-tech luxury gave way to a simpler truth: Some Girls thrived in the intimacy and immediacy of a room where the Stones could truly connect with their music. By choosing the 16-track studio, they captured a sound that was as raw and alive as the city streets that inspired the album.
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