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Rolling Stones songs: Too Much Blood
Did you ever see ‘Texas Chain Saw Massacre’?/ Horrible, wasn’t it?…
Written by: Jagger/Richards 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 *Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012
Mick Jagger: vocals Bill Wyman: bass Charlie Watts: drums Ron Wood: rhythm guitar Guest musicians: Jim Barber (guitar), Chuck Leavell (keyboards), The Sugarhill Horn Section CHOPS (horns), Sly Dunbar (Simmons drums, percussion), Moustapha Cisse, Brahms Coundoul and Martin Ditcham (percussion)
The Rolling Stones’ Too Much Blood stands out on their 1983 Undercover album as a daring exploration of media-fueled violence. Largely written by Mick Jagger, the track channels both real-world horror and experimental sound, transforming shocking events into rhythmic, almost danceable storytelling. Inspired by the infamous Issei Sagawa case in Paris, Jagger addresses the sensationalism surrounding violent crime while wrapping it in a funky, mid-1980s groove. From the first riff, the song feels restless and urgent, with Jagger improvising lyrics in a semi-rap style over a hypnotic pulse. While Keith Richards and Ron Wood initially stayed away, Jagger, Charlie Watts, and Bill Wyman built the track’s foundation with guitarist Jim Barber contributing (The Police’s) Andy Summers–style riffs. Too Much Blood merges narrative, rhythm, and performance, a daring departure from traditional Stones rock and a snapshot of the band experimenting with dance, funk, and the boundaries of pop culture commentary.
Crafting the Sound: Studio Experiments
In the absence of Keith and Ron, Jagger took control of the studio, guiding Jim Barber on guitar duties while layering his own ideas on top. The rhythm section—Charlie Watts on drums and Bill Wyman on bass—creates a relentless, driving pulse, while percussionist Sly Dunbar adds a dense, almost tribal mix of Simmons drums, congas, and bongos. Ron Wood’s palm-muted rhythm guitars arrive later, adding a funky, textured backdrop. Brass from the CHOPS horn section injects fiery riffs reminiscent of James Brown, and Chuck Leavell’s keyboards add subtle but effective color. Jagger’s half-spoken rap delivery enhances the song’s edgy, experimental feel, turning what could be a straightforward narrative into a dynamic, multi-layered audio statement. The studio session becomes a playground for innovation, blending rock, funk, and dance textures in ways the Stones had rarely explored.
A Long Way from Traditional Rock
Too Much Blood represents a bold stylistic departure, one that Keith Richards reportedly disliked, finding it far removed from the Stones’ rock roots. Its rhythmic similarity to Michael Jackson’s Don’t Stop ’Til You Get Enough places it firmly in dance territory, yet Jagger’s integration of narrative and rap elements makes it uniquely Stones. This divergence highlights the tension between evolution and tradition within the band. Objectively, the track is a solid achievement, balancing experimentation with cohesion. Its thematic focus on media sensationalism, paired with the band’s sonic experimentation, ensures that listeners are confronted with both entertainment and provocation, a hallmark of the Stones’ willingness to push boundaries.
Visual Storytelling and Legacy
Julien Temple’s seven-minute video captures the surreal, violent energy of Too Much Blood, showing Richards chasing Jagger with a chainsaw, with the opening scored by Bartók’s String Quartet Number 3. Multiple versions of the track were released, including a dance remix by Arthur Baker, which emphasized tribal percussion and rhythmic intensity. While never performed live or included in compilations, the song remains a fascinating artifact of the Stones’ 1980s experimentation, illustrating how they adapted contemporary influences while reflecting on darker societal themes. Its layered production, daring performance, and shocking visuals solidify Too Much Blood as an audacious entry in the Stones’ catalog, a track that tests expectations and challenges audiences.
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