Tattoo You

Overview
Tattoo You (1981) is The Rolling Stones’ sixteenth studio album, a late-period canvas built from older recordings and fresh overdubs. It yielded two major hits and helped reestablish the band at stadium scale.

Recording History
- The album threads material from disparate sessions: Tops and Waiting on a Friend began during the Goats Head Soup era (late 1972) with Mick Taylor; Slave and Worried About You come from Black and Blue sessions; No Use in Crying, Neighbours, Heaven and Little T&A derive from Emotional Rescue sessions; Hang Fire spans Some Girls and Emotional Rescue periods.
- Start Me Up was developed from the Some Girls/Paris era, with later overdubs added in New York, and the album’s other components were finished there as well. The project was completed with overdubs and vocal work in 1980–1981. Mixing took place in New York at Atlantic Studios, Electric Lady Studios, The Hit Factory and Power Station.
- Producers are credited as The Glimmer Twins (Mick Jagger & Keith Richards) across the tracks, with session musicians including Billy Preston, Nicky Hopkins, and Sonny Rollins appearing on various songs.

Chart Performance & Recognition
- US: Tattoo You reached No. 1 on the Billboard 200 and held the top spot for a nine-week run.
- UK: The album peaked at No. 2 on the Official Albums Chart.
- Certifications: United States – 4× Platinum; United Kingdom – Gold. The set has earned multiple global certifications.
- Awards: Tattoo You received a Grammy nomination in 1982 for Best Rock Performance by a Duo or Group with Vocal.

Cultural Impact & Legacy
- Tattoo You is regarded as a strong late-era Stones album, helping sustain their commercial peak; it appears in Rolling Stone’s 500 Greatest Albums of All Time lists (2003 and 2012 editions).
- Notable singles: Start Me Up became an enduring sports anthem with an iconic MTV–driven video, while Waiting on a Friend remains a fan favorite, originally cut in Jamaica in 1973 and later overdubbed for Tattoo You.
- The album’s kaleidoscopic recording history and polished production illustrate the Stones’ ability to fuse archival material with contemporary 1981 sensibilities.