I’ve been listening to all my Rolling Stones albums recently with an eye and ear to reviewing them. I’ve listened to them all many times and while I am a big fan of the band, I do try to maintain objectivity because, like any band, not every song and album knocks it out of the park. “Tattoo You” does. Released on August 24, 1981, “Tattoo You” is a testament to the band’s enduring vitality and creativity. This album, their 16th studio effort in the United States and 18th in the United Kingdom, emerged during a period when the Stones were grappling with internal tensions and the changing musical landscape of the 1980s. Despite these challenges, the band’s resilience not only led to the commercial and critical success of “Tattoo You” but also reaffirmed the Rolling Stones’ place in rock history.
The album is notable for its dualistic nature, effectively split into two distinct halves: the rock-driven first half and the mellower, more soulful second half. This division is evident from the outset, with “Start Me Up” opening the album. This track, with its memorable riff and infectious energy, quickly became one of the band’s most enduring hits. Initially conceived as a reggae tune during the “Some Girls” sessions, it morphed into a rock anthem that perfectly captures the Stones’ swagger and charisma. Mick Jagger’s exuberant vocals, Keith Richards’ crisp guitar work, and the tight rhythm section of Charlie Watts and Bill Wyman make “Start Me Up” a quintessential Rolling Stones song.
Following this energetic opener, the album continues with “Hang Fire,” a shorter, punchy track that critiques British socio-economic issues of the time. Its upbeat tempo and catchy chorus provide a contrast to the more laid-back tracks that follow. “Slave,” a song characterized by its bluesy groove and extended instrumental sections, highlights the band’s versatility and willingness to experiment, blending rock with funk and soul influences. The contributions from saxophonist Sonny Rollins add a rich, jazzy layer to the track, further showcasing the Stones’ musical range.
“Little T&A,” featuring Keith Richards on lead vocals, is another standout on the first side. Richards’ raw, gravelly voice and the song’s loose, almost garage-band feel give it a distinct charm. It’s a testament to Richards’ role as the band’s rock ‘n’ roll heart. “Black Limousine” with its Chicago blues style and “Neighbours” round out the first side with their bluesy rock and punk-tinged energy, respectively, maintaining the album’s high energy and robust sound.
The second half of “Tattoo You” shifts gears significantly, offering a series of slower, more introspective tracks. “Worried About You” is a soulful ballad that showcases Jagger’s falsetto and emotional depth. The song’s contemplative lyrics and understated instrumentation contrast sharply with the more aggressive tracks on the first side. Another ballad, “Tops,” recorded in 1972, features a memorable guitar solo by Mick Taylor.
“Heaven,” a dreamy, almost ethereal track, stands out as one of the more experimental pieces on “Tattoo You.” The atmospheric synthesizers and Jagger’s soft, soothing vocals create a serene, almost hypnotic effect. This song and “Heaven” mark a departure from the band’s traditional sound, highlighting their ability to innovate and adapt.
The album concludes with “No Use in Crying” and “Waiting on a Friend.” The former is a melancholy ballad with a soulful feel, while the latter, recorded in 1972 with Mick Taylor, ends the album on a poignant and reflective note but at the same time, drones on and on and to this reviewer’s ears, is boring and even the accompanying video can’t save it. The track may have worked better as a B side.
“Tattoo You” is often regarded as a “patchwork” album, mainly because it consists of outtakes and previously unfinished songs from earlier sessions. However, this approach, rather than detracting from the album’s cohesion, adds to its eclectic charm. The careful selection and reworking of these tracks under the guidance of producer Chris Kimsey, Jagger, and mixed by Bob Clearmountain with reportedly little input from the four other Stones, resulted in an album that feels both fresh and familiar, evoking a sense of nostalgia and excitement in the audience.
Commercially, “Tattoo You” was a resounding success, topping the charts in several countries. “Start Me Up” becoming a staple at concerts and in popular culture. Critically, the album was praised for its energy, diversity, and the band’s ability to deliver high-quality music even as they navigated internal and external challenges.
In the broader context of the Rolling Stones’ discography, “Tattoo You” holds a special place. It bridges the raw, edgy sound of their early years and the more polished, diverse styles they explored in subsequent albums. It celebrates their past achievements while simultaneously pushing forward into new territories.
John Berkovich Talks 