10 October - 29 November, 6 - 15 December 1977, 5 January - 2 March 1978: Place: EMI, Pathé Marconi Studios, Paris, France.
Rolling Stones with Mel Collins.
Producer: The Glimmer Twins.
Engineer: Chris Kimsey, Barry Sage.
USA B-side Shattered: 29 November 1978
USA Compilation LP SUCKING IN THE SEVENTIES: 12 March 1981: No. 15 - 5 weeks
UK Compilation LP SUCKING IN THE SEVENTIES: 13 April 1981
USA CD FLASHPOINT (COLLECTIBLES): 20 May 1991
UK Compilation CD RONNIE WOOD ANTHOLOGY THE ESSENTIAL CROSSEXION: 26 June 2006
USA Compilation CD RONNIE WOOD ANTHOLOGY THE ESSENTIAL CROSSEXION: 26 September 2006
UK CD box set THE SINGLES COLLECTION 1971-2006: 45 X 45s: 11 April 2011
USA CD box set THE SINGLES COLLECTION 1971-2006: 45 X 45s: 26 April 2011

The band performed as a unit on SOME GIRLS and session players were kept to a minimum, though there was a separate booth for family and guests. The Paris location assisted this anonymity. Chris Kimsey set up the small £200-a-day studio in a semi-circle with the EMI TG 16-track control booth opposite, a line-up originally designed for Abbey Road Studios. He listened to the playbacks with JBL wall-mounted speakers and, due to a slant of the walls, the left one was closer to the right.

It was all a little quirky but, for all that, the sound was amazing. From left to right, Kimsey positioned the keyboards then timpani, Ron Wood, Keith Richards, Charlie Watts' Gretsch kit, Mick Jagger plus amp in the floor centre, Bill Wyman, an acoustic guitar station and finally a bar complete with ice machine. Screens divided each performer's work station to prevent too much leakage and a Shure PA was used to convey Mick's vocals and Charlie's snare and kick drums to the rest of the band.

It was a golden rule not to use headphones unless absolutely necessary to encourage a live band environment. The floor was graphite and there were horrible orange hessian cushions on the walls to counter the reverb. A good atmosphere was created and most tracks were, therefore, Jagger, Richards compositions just involving the five instrumentalists. Ron was co-composer on Everything Is Turning To Gold - he wrote the melody and chorus while Mick took care of the verses.

The song came about as a direct result of the birth of his first son, Jesse James Wood who was born on 1 November 1976, in Los Angeles. The birth was long and required a caesarean to complete. Mick was in the car that took Krissie Wood to hospital and stayed for more than 20 hours supporting both parents. The track evaded album recognition, the Mel Collins saxophone work again being destined only to appear as a single flip-side (like his contribution on I Think I'm Going Mad).

Mel Collins was the sax player for King Crimson but also a session artist for Bad Company, Humble Pie, Alexis Korner, Bryan Ferry and Eric Clapton, amongst others. He was introduced to the band by his friend Chris Kimsey, who remembered him being particularly nervous for the session. In Britain, the track was not released until the 1981 collection of 70s material, SUCKING IN THE SEVENTIES. A longer ten-minute out-take (without sax) from the session was titled Time To Go (* a - 9.51) and there is also an extended version of the released cut (* b - 4.28).