9th June 1978
LP (Rolling Stones Records CUN 39108). Producer: The Glimmer Twins.
CD- November 1989 (US COL/EPIC 40449 -UK CBS 4501972)
Highest Charts Position : US 1 - UK 2
Contributing musicians: Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman, Ron Wood, Ian McLagan, Sugar Blue, Mel Collins.
- Miss You (MJ/KR)
- When The Whip Comes Down (MJ/KR)
- Just My Imagination (Norman Whitfield/Barrett Strong)
- Some Girls (MJ/KR)
- Lies (MJ/KR)
- Far Away Eyes (MJ/KR)
- Respectable (MJ/KR)
- Before They Make Me Run (MJ/KR)
- Beast Of Burden (MJ/KR)
- Shattered (MJ/KR)
During the mid-'70s, the Rolling Stones remained massively popular, but their records suffered from Jagger's fascination with celebrity and Keith's worsening drug habit. By 1978, both punk and disco had swept the group off the front pages, and Some Girls was their fiery response to the younger generation. Opening with the disco-blues thump of "Miss You," Some Girls is a tough, focused, and exciting record, full of more hooks and energy than any Stones record since Exile on Main Street. Even though the Stones make disco their own, they never quite take punk on their own ground. Instead, their rockers sound harder and nastier than they have in years. Using "Star Star" as a template, the Stones run through the seedy homosexual imagery of "When the Whip Comes Down," the bizarre, borderline-misogynistic vitriol of the title track, Keith's ultimate outlaw anthem, "Before They Make Me Run," and the decadent closer, "Shattered." In between, they deconstruct the Temptations' "(Just My) Imagination," unleash the devastatingly snide country parody "Far Away Eyes," and contribute "Beast of Burden," one of their very best ballads. Some Girls may not have the backstreet aggression of their '60s records, or the majestic, drugged-out murk of their early-'70s work, but its brand of glitzy, decadent hard rock still makes it a definitive Stones album
10th October - 25th November and 5th - 21st December1977 Boulogne Billancourt
Paris), France, Pathé Marconi Studios. Producer: The Glimmer Twins. Sound engineer:
Chris Kimsey. Additional musicians: Ian McLagan (piano on Miss You, organ on Just
My Imagination)/Sugar Blue (harm)/Mel Collins (sax)/1 Moroccan [=Hassan], 1 Jew
(=Simon Kirke?), 1 WASP (perc)/Simon Kirke (perc)
- Beast Of Burden III (MJ/KR) -’Some Girls’-version
- Just My Imagination V (Norman Whitfield/Barrett Strong) -’Some Girls’-version
- Miss You VI (MJ/KR) -’Some Girls’-version
- Respectable IV (MJ/KR) -’Some Girls’-version
- Shattered III (MJ/KR) -’Some Girls’-version
- When The Whip Comes Down IV (MJ/KR) - ‘Some Girls’-version
5th January - 2nd March 1978 Boulogne-Billancourt, France, Pathé
Producer: The Glimmer Twins. Sound engineer: Chris Kimsey (and Dave Jordan for Before They Make Me Run).
Additional musicians: STU (p)/Bobby Keys (sax)
- Before They Make Me Run III (MJ/KR) -’Some Girls’-version
- Far Away Eyes IV (MJ/KR) -’Some Girls’-version
- Lies IV (MJ/KR) - ‘Some Girls’-version
- Some Girls II (MJ/KR) -’Some Girls’-version
I'd moved to New York at that point. The inspiration for the record was really based in New York and the ways of the town. I think that gave it an extra spur and hardness. And then, of course, there was the punk thing that had started in 1976. Punk and disco were going on at the same time, so it was quite an interesting period. New York and London, too. Paris - there was punk there. Lots of dance music. Paris and New York had all this Latin dance music, which was really quite wonderful. Much more interesting than the stuff that came afterward.
If I had any plan at all regarding sound, it was simply to get more of a live sound. Before I began working with them, their last few albums like Black And Blue and Goats Head Soup had sounded too clean in places, almost clinical. When I first went to Paris to set up the room at Pathé Marconi, it was intended for rehearsals only. But the room had such a good sound even though the disk was only 16-track, they began to feel comfortable. It made for a more relaxed atmosphere which led to a certain spontaneity in the music.
I think a lot of (the reasons for the album's quality) was Chris Kimsey. We were at a point where we asked ourselves, Are we just going to do another boring Stones-in-the-doldrums sort of album? First of all those mid-70s LPs remind me of being a junkie (laughs). What happened was I'd been through the bust in Canada which was a real watershed - or WaterGATE - for me. I'd gone to jail, been cleaned up, done my cure, and I'd wanted to come back and prove there was some difference... some... some reason for this kind of suffering. So Some Girls was the first record I'd been able to get back into and view from a totally different state than I'd been in for most of the 70s. We're talking about that post-Exile period: Goats Head Soup, Black And Blue, which was really an audition for a new guitar player, and Only Rock 'N Roll. We were dealing with a whole load of problems that built up from being who we were, what the '60s were. There was the fact that we all had to leave England if we wanted to keep the Stones going, which we did, and then trying to re-deal with each other when suddenly we were scattered half-way around the globe instead of see you in half an hour. Also dealing with a lot of success and a lot of money over a long period. We'd been working non-stop and then suddenly had to deal with a backlog of problems that had built up because nobody'd had time to deal with them.
Mick or Keith would come in with a riff or an idea. No one else in the band had heard it until that moment. Paris is a very good environment for them. It was a great place for them to work... A lot of that album was so much fun. It was like being at a club every night, like a nightclub atmosphere. What they would do - it was either Mick or Keith's song - was to jam it for a couple of hours and then fine tune it and get it down.
(I didn't want to make a disco album.) I wanted to make more of a rock album. I just had one song that had a dance groove: Miss You. But I didn't want to make a disco album. I wrote all these songs - like Respectable, Lies,When the Whip Comes Down.
The main reason (for the album's success) is and was that I'd kicked junk (heroin), and that we hadn't worked, we hadn't been in the studio for a long time and everybody, including most of the Stones, were thinking, Ah well, Keith's finally rode himself into the dirt, and we got together for that - and thanks to the incentive the Canadians have given me (giggles). It's another one of those impossible things to put your finger on because it was a great studio, first time that we'd worked with Kimsey, who was one in a long line of Olympic Studios (engineers) - that's in England, folks, for you that don't know - T-boys, who've always been our best engineers. Keith Harwood is another one. And it all came together very nicely and also you gotta remember it was Ronnie's first full album, first real album with the Stones. Some Girls was kind of like Beggars Banquet. Like we'd been away for a bit, and we came back with a bang.
There's so much energy on the tape and on the record. It's - I mean, when I listen to it, you compare with other bands and people say, It makes me sound like the Rolling Stones but, you know, there's an energy they have that no one else really capture. There's a rawness and - I haven't got it down yet but the Stones certainly HAVE got it down (laughs).
I think Some Girls is a good record to party to. It's not one of my favorite Stones albums, because some of the other ones have been so much better.
(My favorite Stones album ) with me (is) Some Girls.
There's quite a few songs on that album I think are good. I still like things like Miss You... The whole album has something in it.
It was a really great record. I seem to like records that have one overriding mood with lots of little offshoots. Even though there's a lot of bases covered, there's lots of straight-ahead rock and roll. It's very brass-edged. It's very Rolling Stones, not a lot of frills.
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