Composer: Lindon
Roberts
Original performer: Half
Pint (1983)
Recording date: April-December
1985
Recording location: Pathé
Marconi Studios, Paris, France; RPM Studios & Right Track Studios,
New York City, USA
Producers: Steve
Lillywhite & The Glimmer Twins
Chief engineer:
Dave Jerden
Never performed onstage
Probable line-up:
Drums: Ron Wood
Bass: Ron Wood
Electric guitars: Keith
Richards & Ron Wood
Lead vocal: Keith
Richards
Background vocals:
Keith Richards, Ron Wood & Jimmy
Cliff
Electric piano: Chuck
Leavell
Girl, you're too bad, girl, you're too rude
Every man I speak to say he wants you
Girl, you're too bad, girl, you're too rude
Every man I speak to say he wants you
Ah yeah
Everywhere, all over the place
Every man he has a picture of your face
Hey little girl, don't you realize
This is a goddamn disgrace
Girl, you're too bad, girl, you're too rude
Every man I speak to say he wants you
Girl, you're too bad, girl, you're too rude
Every man I speak to say he wants you
Ah yeah
Ooh little girl, you never want me
Tomorrow night you say you need my key
Hey little girl, go and have a ball
You know one day, girl, you're bound to fall
Girl, you're too bad, girl, you're too rude
Every man I speak to say he wants you
Girl, you're too bad, girl, you're too rude
Every man I speak to say he wants you
Mmm, ah yeah
Girl, you're too bad, girl, you're too rude
Every man I speak to say he wants you
Girl, you're too bad, girl, you're too rude
Every man I speak to say he wants you
Everywhere, all over the place
Every man he has a picture of your face
Hey little girl, don't you realize
This is a goddamn disgrace
Girl, you're too bad, girl, you're too rude
Every man I speak to say he wants you
Girl, you're too bad, girl, you're too rude
Every man I speak to say he wants you
Girl, you're too bad, girl, you're too rude
Every man I speak to say he wants you
Girl, you're too bad, girl, you're too rude
Every man I speak to say he wants - he wants - he wants...
TrackTalk
Too Rude is a song I picked up in Jamaica when I was living there in the summer of '84. When we were starting these sessions five months later, I found the tape and this song was driving into my brain. I drove everybody mad with it. I had no intention of cutting it, but it was my own little talisman. I made a tape of it going around and around that I'd play on the way to the studio. Every day I'd jump in the car and put on this stape of Too Rude for the twenty-minute drive. After about six weeks of this, nobody wanted to drive with me. Then it started to get to Woody. One night he and I had gotten there first, Charlie walked in, and we started to play it. By now this song is insisting on being on this album. That song said, I'm in! It wasn't anything to do with me. I believe that songs arrive at your doorstep and all you do is give them an airing.
In that respect we were lucky. The Stones
have always toured around reggae here and there for quite a few years,
because we've always listened to it and love it. PLAYING it is another
thing, but after all I've lived in Jamaica off and on for 14 years, I've
recorded in Kingston with Sly
&
Robbie, so
I know the techniques of playing it. Oddly enough, another attribute of
Steve Lillywhite is that when he was first starting as an engineer, he
worked for Island Records and used to have to dub out Steel Pulse and various
other reggae bands for Chris Blackwell. So he is very familiar with the
process of MIXING a reggae track, which is the key thing, because reggae
tracks are ALWAYS in the mix.
On Too Rude, I got to play the drums.
That was when Charlie was going through a terrible time with Shirley. They
were having lots of heavy arguments and so Charlie was often late, or Shirley
would come into the studio and forcibly drag him out. On one of those nights
Keith said, All right, you're on drums, Ronnie... The drum sound
was very dynamic: I ended up sounding like Solomon Burke's drummer. I was
very proud of it, actually.
(The sound coming in the second breakdown
is) the echo track of the bass - not the actual track, just the echo track.
We let it flood across everything... (The floating guitar on the rideout)
was an overdub I did over the top of everything else.