Jagger & Keith Richards
Recording date: June 1979-January 1980 & April 1980
Recording locations: Pathé Marconi Studios, Paris, France & Electric Lady Studios, New York City
Producers: The Glimmer Twins Associate producer & chief engineer: Chris Kimsey
Performed onstage: 2013-14
Bass: Ron Wood
Electric guitars: Mick Jagger & Keith Richards
Vocals: Mick Jagger
Electric piano: Mick Jagger
Synthesizer: Bill Wyman
Saxophone: Bobby Keys
Percussion: Michael Shrieve
I wrote that on an electric piano in the studio, then Charlie and Woody and I cut it immediately, live. It was all done very quickly. I think the vocals could've been better. It's just one of those recording-studio things. You would NEVER really write a song like that in REAL LIFE. Comes out in the studio, 'cause it's all ad-libbed, the end part. It was never planned like that... Yeah, it's all a joke, really.
When we did Emotional Rescue, that particular track, it was me and Charlie and Woody. And just on our own. And, it was like towards the end of the sessions and Bill was - I don't think - there. Keith wasn't there. We just did it... We'd done it before, all together actually, in Nassau. We all knew the song. But the actual one that we liked was the one that we just did kind of...
This was done mostly by me, Bill and Charlie with loads of overdubs. I'm not the only person to have sung in falsetto - Prince did three albums singing like that around this time. I learned the trick from Don Covay. I got it from the record Mercy, Mercy where he sings falsetto as a harmony. By the end, I've gone off into another more reggae-inspired voice, but at the end of a track lasting 5 minutes and 43 seconds, you have to try everything.
I always found (the falsetto) a bit twee, myself. It was a novel idea. A lot of that album was going that way. It was very experimental, that album.
(I)n the '80s... (a) lot of the stuff, the material that Mick wanted to do, was not particularly guitar-oriented. We were trying to, like, wedge guitars into places where they're not necessary, like Emotional Rescue and Undercover. Around that time we were doing a lot of material that was not necessarily made for guitars. Mick wanted to get into that dance thing and, you know, OK, here we go.
This was all Mick. He wanted to go that way, with the clubby, disco-stuff. I didn't particularly, but it was a good song. This was shortly after I'd cleaned up my act, and nobody was taking a lot of notice of what I said at this point, because I didn't say much. I was trying to re-establish myself as co-leader of the band.
Undercover of the Night, Emotional Rescue, these are all Mick's calculations about the market. And they're not the best records we've made. See, Mick listens to too much bad shit.
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