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Since you 86-ed me, pretty beat up/ Yeah you never restitched me…
Also known as: Dog Shit, XXX Written by: Jagger/Richards/Wood Recorded: EMI Pathé Marconi Studios, Paris, France, Nov. 11-Dec. 16 1982; Compass Point Studios, Nassau, Bahamas, May 1983; The Hit Factory, NYC, USA, June-July 1983 Guest musicians: Moustapha Cisse, Brahms Coundoul, Martin Ditcham, Sly Dunbar, Robbie Shakespeare (percussion), David Sanborn (saxophone) *Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012
Some facts about ‘Pretty Beat Up’ by The Rolling Stones (from Songfacts)
This song used a funk/disco beat that was popular at the time. David Sanborn played the sax.
Ron Wood got a rare writing credit on this song. It’s one of the few Stones originals not credited only to Jagger/Richards.
With a chord sequence by Ron Wood, a song title by Keith Richards, and words by Mick Jagger, this song is a good example of teamwork. The lyrics crack like a whip over the pounding, hypnotic—in short, dance—rhythm. The lyrics are clearly about the breakup of a relationship. “She” has left, and “he,” unable to get over it, finds himself in a bad state, like a batteredbaby just left on the street… “Pretty Beat Up” is an album track that has never been performed live by the Rolling Stones. Ron Wood, on the other hand, played it on the tour he undertook in the United States and Japan between October 1992 and January 1994. It is also on his first live solo album, Slide on Live: Plugged In and Standing (1993)
“Pretty Beat Up” is a well-made blues-rock number with a spellbinding rhythm generated mainly by Charlie’s excellent hi-hat work. Keith is on bass, leaving Bill to play the Yamaha electric piano, as stated in the album credits. However hard one listens, though, it is impossible to hear him. The same goes for Stu’s piano, which is presumably buried in the mix. On the other hand, Ronnie’s excellent guitar, rhythm, and a very good blues lick played slide, comes across loud and clear. It is most probably Mick who accompanies him on electric, and Keith may be on acoustic, although drowned in the mass of sound. The talented David Sanborn (who may also have contributed to “Too Much Blood”) has his first proper role on the album.
He delivers a superb saxophone part, which helps the track to really take off from 2:00. Incidentally, it is worth pointing out that the Stones had always had outstanding saxophonists with them in the studio, such as Bobby Keys, Mel Collins, and Sonny Rollins. And to remain with the horns for a moment, the CHOPS contingent can be heard playing some very good rhythm ’n’ blues riffs in the coda (around 3:43). As for the vocals, Mick does not give one of his best performances. Although reasonably good, his voice is not up to the standard of tracks like “Undercover of the Night.”
