rolling stones pretty beat up undercoverCan You Hear the Music?


Rolling Stones songs: Pretty Beat Up
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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

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.

From the The Rolling Stones – All the Songs book:
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 battered
baby 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.”

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