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Tattoo You is the sixteenth U.K. and eighteenth U.S. studio album by the English rock band the Rolling Stones, released on 24 August 1981 by Rolling Stones Records.The album is mostly composed of studio outtakes recorded during the 1970s, and contains one of the band's most well-known songs, "Start Me Up", which hit number two on the US Billboard singles charts.
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"Slave" is a song by the English rock band the Rolling Stones from their 1981 album Tattoo You. Written by Mick Jagger and Keith Richards, "Slave" was originally recorded in Rotterdam, Netherlands (under the working title "Vagina"), using the Rolling Stones Mobile Studio in late January or early February 1975.
Left off that album, it re-emerged for Tattoo You just two years later. The Stones began reworking the track in mid-1981. The Stones began reworking the track in mid-1981. "Little T & A" is a straightforward rocker, although Richards claims to have been influenced by rockabilly in his guitar performance.
Tattoo You is a 1981 album by the Rolling Stones. Tattoo You may also refer to: "Tattoo You" (Birds of a Feather), a 2014 television episode "Tattoo You" (Orange Is the New Black), a 2017 television episode "Tattoo You" , a 2016 television episode
Guitar Songs EP by Billie Eilish Released July 21, 2022 Recorded 2022 Length 8: 17 Label Darkroom Interscope Producer Finneas O'Connell Billie Eilish chronology Happier Than Ever (2021) Guitar Songs (2022) Hit Me Hard and Soft (2024) Billie Eilish singles chronology "Male Fantasy" (2021) "TV" / "The 30th" (2022) " Hotline (Edit) " (2023) Guitar Songs is the second extended play (EP) [a] by ...
Emotional Rescue is the fifteenth studio album by English rock band the Rolling Stones, released on 23 June 1980 by Rolling Stones Records. [2] Following the success of their previous album, Some Girls, their biggest hit to date, the Rolling Stones returned to the studio in early 1979 to start writing and recording its follow-up.
Because of its assorted compilation, Flowers was originally disregarded by some music critics as a promotional ploy aimed at American listeners. [5] Critic Robert Christgau, on the other hand, suggested that managers Andrew Loog Oldham and Lou Adler released the album as a "potshot at Sergeant Pepper itself, as if to say, 'Come off this bullshit, boys.