Dance Little Sister

After a break, during which Mick Jagger recorded with both John Lennon in Los Angeles and Ron Wood in London (more on the latter session later on), the Rolling Stones returned to Musicland Studios to continue recordings for a new studio album. During their first visit to Munich, in November 1973, the Stones worked on three songs that would make it to the final album.

This time around (January 14-28, 1974) the band, with Mick Taylor, who missed the first sessions because of illness, back in their ranks worked on five more future album tracks. Once again, Nicky Hopkins and Billy Preston were around to help out on keyboards, but they sat out on 'Dance Little Sister', a no-nonsense rhythm and blues track that appealed to Ian Stewart's perception of what the Stones ought to be.

Dance Little Sister is a typical Keith Richards R&B rocker. After the first few seconds, where the guitar and drums almost struggle to find the exact groove, the song rocks at road-running pace with twin guitar riffs under the bonnet. Stu confirms the song's rock 'n' roll origin capturing a trade-mark bar room piano feel.

Adapted from the following sources:
Martin Elliott, The Rolling Stones Complete Recording Sessions 1962-2002, Cherry Red Books, 2002.
James Hector, The Complete Guide To The Music Of The Rolling Stones, Omnibus Press, 1995.

Says the new guy......

For the general public guitarist Ron Wood and keyboard player Chuck Leavell still are the 'new guys' within the Rolling Stones, despite the fact that they're working with the band since 1973 and 1981 respectively. In a recent interview with Relix, Chuck Leavell sheds light on his predecessors in the band:

The Stones have a history of great keyboardists and piano players: Ian (Stu) Stewart, Jack Nitzsche, Nicky Hopkins, Billy Preston, Ian McLagan and others that made brief appearances - like my pal Mac Rebennack (Dr. John) and another one of my heroes, Leon Russell. In the beginning, it was really Stu’s band, and when I came in, he became my big brother. He treated me so well and looked after me as the “new guy.” He was such a great guy, unique individual and fantastic boogie and rock player.

I got to know Nicky a bit - we were introduced in ‘82 by Ronnie Wood when we played Wembley Stadium. I was such a big fan and was quite nervous when we met. He invited me to lunch the next day, and we went - just the two of us. We traded stories, and we wrote letters to each other after that for years. I always called him “The Master of the Motif.” He had this unbelievable ability to find these little vignettes that just made a song like 'Angie' and 'She’s A Rainbow'. It’s sad that Stu, Nicky, Billy and Jack are no longer with us.

Broken Head Blues

Still hot from their 1973 European tour, the Rolling Stones entered Musicland Studios, Munich, West Germany, to record material for a new album planned for a quick release. Guitarist Mick Taylor missed the sessions (November 13-24) because of illness, but with the help of keyboard players Billy Preston and Nicky Hopkins the band recorded early versions of tracks that would appear on the new album.

Ian Stewart contributed some trademark boogie woogie piano to 'Broken Head Blues', an instrumental jam that would develop into 'Black Limousine', a track from 1981's "Tattoo You" album. The jam also featured Faces guitarist Ronnie Wood, who was present at the sessions for one night, and got a co-credit on the final track. The song symbolized a return to basics, and is said to be a tribute to Muddy Waters and Jimmy Reed, the latter's 'You Don't Have To Go' not being far away.

Adapted from the following sources:
Martin Elliott, The Rolling Stones Complete Recording Sessions 1962-2002, Cherry Red Books, 2002.
James Hector, The Complete Guide To The Music Of The Rolling Stones, Omnibus Press, 1995.