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In this thread I rank my favorite Rolling Stones songs: 204-1: Four Musketeers Get Their Ya-Yas Out (2 Viewers)

Dr. Octopus said:
57. Miss Amanda Jones

Year: 1967

US Album: Between the Buttons

Songwriter: Jagger/Richards

Another sonic tour de force from the Buttons album – albeit this one a little more straight forward rocker. Keith lays down some great guitar tracks on this one and Ian Stewart really bangs the keys.

The Stones' song was used in a montage in the John Hughes film  Some Kind of Wonderful , as the Eric Stolz character, "Keith" Nelson, was infatuated by the "it girl" at high school, played by Leah Thompson, named, not so subtlely, "Amanda Jones". Keith's tomboy best friend (Mary Stuart Masterson) who was secretly in love with him and of course he realized he truly loved her and not Amanda Jones all along at the end of the film (this was an 80s movie afterall) was a drummer named "Watts" - so I think just maybe Hughes was a Stones fan. ;)

There was also a cover used in the movie by some band called the March Violets which is pretty poor.
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Think I got this soundtrack from BMG or Columbia House specifally for the Elvis cover by Lick the Tins. (Cheesy and a little too Renaissance Festy, but I have a weakness for that for some reason).

 
Dr. Octopus said:
60. She Smiled Sweetly

Year: 1967

US Album: Between the Buttons

Songwriter: Jagger/Richards

"Where does she hide it inside of her?
That keeps her peace most every day
And won't disappear, my hair's turning grey"

This song features only Mick (lead vocals), Keith (acoustic guitar, bass, organ and piano) and Charlie (drums) and is a pretty sparse ditty from the great Between the Buttons record. Mick’s vocals are right on point.

Another Stones song featured in a Wes Anderson movie (like "I Am Waiting" in Rushmore a while back) this time, The Royal Tenebaums:   What are you doing in my tent?

P.S. "Ruby Tuesday" does not follow "She Smiled Sweetly" on Between the Buttons (it's actually two songs before it).
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Love this tune. Just enough pre-psychedlia not to drown the basic structure out, but to infuse it with a little bit of the baroque. Nice work by the guys.

 
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Dr. Octopus said:
60. She Smiled Sweetly

Year: 1967

US Album: Between the Buttons

Songwriter: Jagger/Richards

"Where does she hide it inside of her?
That keeps her peace most every day
And won't disappear, my hair's turning grey"

This song features only Mick (lead vocals), Keith (acoustic guitar, bass, organ and piano) and Charlie (drums) and is a pretty sparse ditty from the great Between the Buttons record. Mick’s vocals are right on point.

Another Stones song featured in a Wes Anderson movie (like "I Am Waiting" in Rushmore a while back) this time, The Royal Tenebaums:   What are you doing in my tent?

P.S. "Ruby Tuesday" does not follow "She Smiled Sweetly" on Between the Buttons (it's actually two songs before it).
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"Blue Jay Way" / "Just Like a Woman" mashup - hybrid.

IN.

 
shuke said:
For some reason I can't stand this song. 
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I can see that. It's not necessarily a great song. I do like it a lot but I'm also a bit swayed by the ubiquitous nature of it - it pumps me up to hear the Stones blasting at a sporting event. Those first chords are enough for me to rank it so high.

 
53. Tumbling Dice

Year: 1972

US Album: Exile on Main St.

Songwriter: Jagger/Richards

“Always in a hurry, I never stop to worry,
Don't you see the time flashin' by.
Honey, got no money,
I'm all sixes and sevens and nines.
Say now baby, I'm the rank outsider,
You can be my partner in crime.”

This song, like most of Exile, was recorded in a basement in Keith’s French chateau. The band would sleep all day and record all night with whoever was around. Bill Wyman showed up a little late to this session to find Mick Taylor playing bass. He hung around until 3:00 am and then left and does not appear on the song.

It’s a boogie based number with a non-traditional lyrical structure. Most songs have the same number of lines for the verse and for the chorus. The first verse of this song has eight lines, the second verse has six lines, and the last verse has two lines.

This is also the only song where Charlie overdubbed a second drum part to create a bigger drum sound. It was also later revealed that Jimmy Miller stepped in on drums to complete the song’s coda because Charlie left in frustration that he could not get it right.

As with most of the record it’s Bobby Keys (saxophone) and Jim Price (trumpet and trombone) on the horns.

 
Dr. Octopus said:
53. Tumbling Dice

Year: 1972

US Album: Exile on Main St.

Songwriter: Jagger/Richards

“Always in a hurry, I never stop to worry,
Don't you see the time flashin' by.
Honey, got no money,
I'm all sixes and sevens and nines.
Say now baby, I'm the rank outsider,
You can be my partner in crime.”

This song, like most of Exile, was recorded in a basement in Keith’s French chateau. The band would sleep all day and record all night with whoever was around. Bill Wyman showed up a little late to this session to find Mick Taylor playing bass. He hung around until 3:00 am and then left and does not appear on the song.

It’s a boogie based number with a non-traditional lyrical structure. Most songs have the same number of lines for the verse and for the chorus. The first verse of this song has eight lines, the second verse has six lines, and the last verse has two lines.

This is also the only song where Charlie overdubbed a second drum part to create a bigger drum sound. It was also later revealed that Jimmy Miller stepped in on drums to complete the song’s coda because Charlie left in frustration that he could not get it right.

As with most of the record it’s Bobby Keys (saxophone) and Jim Price (trumpet and trombone) on the horns.
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Mmm yeah! (Woo, woo)
 

Baby, I can't stay, you got to roll me
And call me the tumblin' dice
Always in a hurry, I never stop to worry
Don't you see the time flashin' by

Baby I'm down

 
52. When the Whip Comes Down

Year: 1978

US Album: Some Girls

Songwriter: Jagger/Richards

“Yeah, mama and papa told me I was crazy to stay. I was gay in New York, a ### in L.A.”

 I think I feel safe in saying that this is probably the only song who’s hero is a gay man that moves from LA to New York and becomes a garbage man.

From wiki:

In a 1978 interview with Rolling Stone magazine to mark the release of Some Girls, Jagger responded to questions regarding the song's lyrics: "...There is one song that's a straight gay song—"When the Whip Comes Down"—but I have no idea why I wrote it. It's strange - the Rolling Stones have always attracted a lot of men... I don't know why I wrote it. Maybe I came out of the closet {laughs}. It's about an imaginary person who comes from L.A. to New York City and becomes a garbage collector... I sure hope the radio stations will play [it]." The lyrics could be taken to imply that the singer becomes a male prostitute,
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Like a few other songs from the Some Girls album this is the Stones playing punk music, while still keeping much of their trademark sound. It also fits in with the theme of the album which is very New York City centric.

ETA: wow the disparaging term for a gay man that rhymes with "bag" is not ever language filtered it is completely left out of the post. Not complaining about it, was just surprised. I added the "###" as a placeholder.

 
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51. As Tears Go By

Year: 1965

US Album: December’s Children (And Everybody’s)

Songwriter: Jagger/Richards/Oldham

“My riches can't buy everything
I want to hear the children sing
All I ever hear is the sound of rain falling on the ground
I sit and watch as tears go by”

This is one of the first original compositions by Jagger and Richards, as until that point the Stones had mostly been performing blues and rock standards. A story surrounding the song's genesis has it that Rolling Stones manager Andrew Loog Oldham locked Jagger and Richards in a kitchen in order to force them to write a song together.

Mick and Keith originally hated the result, thinking it was a “terrible piece of tripe”, but Oldham responded “it’s a hit”. After it was a hit (by Marianne Faithfull) that made them money, Keith colorfully called it “money for old rope”.

The song was first sold to and recorded by Marianne Faithful in 1964 and the Stones released their version in 1965. While many critics that only heard the Stones version called it “an answer to the Beatles ‘Yesterday’”, it was written one year before the Beatles song was released.

The Stones song is just Mick on vocals, Keith playing a 12 string acoustic guitar and a string arrangement. No other Stone is part of the record.

 
A preview of the Top 50:

  • There are two cover songs left, but both are seminal Stones songs and are considered to be theirs by the masses.
  • There are only two songs that were released post-1980 (and one of them was actually recorded in late '72).
  • There will be plenty of big hits in the Top 50, but there will also still be some deeper cuts, that I obviously love, as well. Those deep cuts will be well known by Stones fans generally, but a few reading this thread may have never heard them. Hopefully they are appreciated and deemed worthy to fall amongst "Satisfaction",  "Gimme Shelter" and "Honky Tonk Women" et. al.
  • There are two songs where Keith sings lead exclusively and two more where he shares lead vocals (one in harmony and one where alternates verses).
  • There are two songs where Mick uses his "country voice" which may turn some off but I love them. On one I think it's done for humor and one it is more genuine.
  • There is one song, that is not technically a Rolling Stones song but is considered to be one by most and has appeared on Rolling Stones compilation records.
  • Six songs will be from Exile on Main St., six from Sticky Fingers, five from Let It Bleed, four from Beggars Banquet (which is probably expected as those four albums are considered among their best records by fans and critics) and four from Goats Head Soup (which may surprise some as it's an afterthought to the masses).
  • And for @otb_lifer 40% of the remaining songs will be from the Brian Jones era (although his role on a handful of them was diminished).

 
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Dr. Octopus said:
53. Tumbling Dice
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confirming - Torrid Zone

Dr. Octopus said:
52. When the Whip Comes Down

Year: 1978

US Album: Some Girls

Songwriter: Jagger/Richards

“Yeah, mama and papa told me I was crazy to stay. I was gay in New York, a ### in L.A.”

 I think I feel safe in saying that this is probably the only song who’s hero is a gay man that moves from LA to New York and becomes a garbage man.

From wiki:

Like a few other songs from the Some Girls album this is the Stones playing punk music, while still keeping much of their trademark sound. It also fits in with the theme of the album which is very New York City centric.

ETA: wow the disparaging term for a gay man that rhymes with "bag" is not ever langue filtered it is completely left out of the post. Not complaining about it, was just surprised. I added the "###" as a placeholder.
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Time for my Some Girls story.

When my HS sweetheart lured me to her commune in the mts above Santa Fe, i found it to be a row of homesteaded miners' shack on a forest-fire road overlooking a heavenly slice of nothing called Tesuque. Tesuque had two distinguishing features besides it's natural beauty - it was where most of the exteriors of Bowie's Man Who Fell to Earth was shot and was home to a 10,000-acre ranch owned by one of life's truly singular individuals.

Winnie Beasley was a character+3/4. An OG aviatrix, she turned that notoriety into a place among Manhattan's Cafe Society and turned that into a marriage to a rich midwestern dullard whom she talked into setting up a O'Keefe/Stieglitz kinda life with in northern NM. She had three sons to whom she'd parceled out adjoining estancias and all of whom were tremendously interested in our li'l commune (mostly because it consisted of like 6 dudes and over 30 offdee9 naked hippie chicks). I first met Winnie when we were invited over for basketball & bbq. Playing on their dirt court, we were approached by Winnie, about 70yo, calling for her son Dennis. When she got closer, i saw that she had a 7-foot bull snake around her neck. "Denny, my Butchie's feeling a little peaked - would you walk him for me?" I watched in utter amazement, as Dennis lifted the snake and Winnie attached a leash which had also been around her shoulders to the snake (who knew they had necks?! - but they do) so her boy could walk him. She hosted two magnificent parties - Halloween & New Years - in her gold lamé mini-skirt each year, could be seen tooling around Santa Fe plaza on her '27 Indian motorcycle and the most fashionable b'day gift of the year was to arrange Winnie to take your loved one up in her Cessna Cherokee and divebomb the Placita til they puke. 

The other interesting thing about Tesuque was that cast & crew of Man Who Fell to Earth went back to Hollywood raving about this li'l slice o' heaven where the desert met the Rockies and, within a year or so, Merv Griffin, Steve Spielberg & Amy Irving, an Italian prince, Sam Shepherd & Jessica Lange etc etc built homes there. Suddenly, land going for less than $1000 acre was selling for six figs for knolltop properties. And the Beasley brothers owned most of the land for sale. And the Beasley brothers loved cocaine. And Hollywood brought cocaine, eventually trading kilos of powder directly for acres of dirt. And Tesuque became party central and, within five years, two of the three Beasley brothers succumbed to drug-related deaths.

But one of those Beasley brothers, Dennis, had more fun dying than anyone this side of Belushi. The party was always on, a binge was always going, Dennis was the Jagger of Jags. Two of my commune friends were getting married and Dennis hosted the reception @ his ranch w fancy folk, fancy food, fancy substances. Wonderful fool that he was, he thought it would be a wonderful idea to spike the wedding punch with DARPA-grade LSD.

Young wikkid had already moved to Albuquerque to resume his career in radio and his first gf there was a co-ed who didn't party. wikkid didn't know the extant that she didn't party, did not know that she had never even been high. Jenny thought she was too young & square for this high trade but this was an important wedding to wikkid and he wanted to show off his sweet new friend. So Jenny found a corner after the service and intros, the corner happened to be next to the punch bowl and wikkid didn't pay her the attention he shoulda. Soon Jenny was suffering the surprise effect of three glasses of LSD punch.

The thing i forgot to add is that the band was the bride's acoustic band, but Dennis had wired his stereo thru a PA and spun discs thru the many breaks. And the hot new record was Some Girls and i guess Some Girls was Dennis's favorite record cuz he played it like 40 times - Miss You & Shattered & this song - and that became the soundtrack of the worst day of my Jennifer's life. She bad-tripped like crazy, all to the Whip Coming Down & such. Fortunately brother Pat had a whole badtrip kit of vitamins and sedatives and shot her up to take the worst edge off, but it was pretty rough for several hours (i remember there was an immense sunset for her to chill to after she got out of bed). We became friends over the years, she became my chiropractor and really my medical advisor when my heart first went kerflooey and we still email (she is a descendent of poet Robby Burns and i've composed & sent a love poem to her every Burns Night (which Scots & poetry aficionados all know about) for 25 yrs. But, to this day, she nearly has a psychotic break every time she hears a song from Some Girls.

 
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50. 100 Years Ago

Year: 1973

US Album: Goats Head Soup

Songwriter: Jagger/Richards

“Mary and I, we would sit upon a gate  Just gazin' at some dragon in the sky  What tender days, we had no secrets hid away  Well, it seemed about a hundred years ago”

This song is like three songs in one. It starts off in a wistful country-ish style where Mick sings some very poetic lyrics about a better time in life, slows down and Mick breaks into a heavy drawl with lyrics seemingly unrelated to the rest of the song and then breaks out into a Mick Taylor lead funky jam.

Taylor’s guitar playing is amazing on this one – but I would love this song even without the coda – but with it, Top 50.  

 
49. Love In Vain

Year: 1969

US Album: Let It Bleed

Songwriter: Robert Johnson

The Stones covered this Robert Johnson delta blues classic for their Let It Bleed album. This is their definitive blues cover and as authentic as a bunch of white boys from across the pond could ever get.

Keith on their version:

For a time we thought the songs that were on that first album [King of the Delta Blues] were the only recordings (Robert Johnson had) made, and then suddenly around '67 or '68 up comes this second (bootleg) collection that included Love in Vain. Love in Vain was such a beautiful song. Mick and I both loved it, and at the time I was working and playing around with Gram Parsons, and I started searching around for a different way to present it, because if we were going to record it there was no point in trying to copy the Robert Johnson style or ways and styles. We took it a little bit more country, a little bit more formalized, and Mick felt comfortable with that.
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And Mick:

We changed the arrangement quite a lot from Robert Johnson's. We put in extra chords that aren't there on the Robert Johnson version. Made it more country. And that's another strange song, because it's very poignant. Robert Johnson was a wonderful lyric writer, and his songs are quite often about love, but they're desolate
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Keith plays both electric and acoustic guitar on this one with Ry Cooder on the mandolin and Charlie and Bill rounding out the rhythm section.

 
Dr. Octopus said:
49. Love In Vain
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####! i got another grrrreat story about this song but it involves a girl (not perjorative - we were 14) and i never tell stories about different loves on the same day (unless a glorious substance of some kind lubricates it outta me). It's only right and part of the Storyteller's Code, man. Tomorrow i will tell my Love in Vain story. I may have to see a schedule from here on out....

 
48. Mother's Little Helper

Year: 1966

US Album: Flowers

Songwriter: Jagger/Richards

“What a drag it is getting old.”

The song deals with the at the time sudden popularity of prescribed calming drugs among housewives, and the potential hazards of overdose or addiction. Who knew that was a problem?

It’s a folksy pop song with a guitar riff that sounds like a sitar but is actually a dual-slide riff played on two electric 12-string guitars by Brian and Keith. There is also a great pounding bass behind it played by Bill, who Keith credited with being the one who came up with the idea behind ending the song.

 
47. Jig-Saw Puzzle

Year: 1968

US Album: Beggars Banquet

Songwriter: Jagger/Richards

“Oh the singer, he looks angry
At being thrown to the lions
And the bass player, he looks nervous
About the girls outside
And the drummer, he's so shattered
Trying to keep on time
And the guitar players look damaged
They've been outcasts all their lives”

This country-blues song is one of the longer in the Stones catalogue at over six minutes and features Keith on acoustic and electric slide guitar while that distinctive “whine” throughout the song is Brian on Mellotron. Nicky Hopkins piano is also prominent on the track.

The lyrics have been described as Dylan-esque  by some critics in that the song is very wordy and follows the narrator who finds himself surrounded by all sorts of misfits, outcasts and freaks in a slice of daily life including a tramp, a bishop’s daughter, a gangster, grandmas, a queen and a rock band (that may be somewhat autobiographical.

 
Dr. Octopus said:
48. Mother's Little Helper

Year: 1966

US Album: Flowers

Songwriter: Jagger/Richards

“What a drag it is getting old.”

The song deals with the at the time sudden popularity of prescribed calming drugs among housewives, and the potential hazards of overdose or addiction. Who knew that was a problem?

It’s a folksy pop song with a guitar riff that sounds like a sitar but is actually a dual-slide riff played on two electric 12-string guitars by Brian and Keith. There is also a great pounding bass behind it played by Bill, who Keith credited with being the one who came up with the idea behind ending the song.
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Salem was a very two-sides of the track town. Half Irish, Portuguese & Quebequois harbor & mill workers and then the Mayflower families with night-lit tennis courts. The Mayflower moms were all valium addicts, which was no prob - i intentionally avoided having a Boston accent just to get invited back to these far-less-strict houses - but, when women's lib inspired these ladies to do more than arrange flowers & teas, it required not that they cut back on the valium but augment w dexedrine instead. The 2nd best thing to hearing "my parents are away" from a rich girl is "Mom's having a crash day" because being audacious right under Mommy's addled nose made them extra saucy.

 
46. Beast of Burden

Year: 1978

US Album: Some Girls

Songwriter: Jagger/Richards

“I'll never be your beast of burden
My back is broad but it's a hurting”

The music and lyrics of this song were mostly written by Keith with Mick, according to Keith, “just filling in the verses”. Many of those verses where improvised by Mick during the recording to fit in with Keith and Ronnie’s guitar licks.

Keith also claims the premise behind the song was to thank Mick for carrying the load and shouldering the burden of the group while he was in the midst of heroin addiction and not contributing his fair share.

It’s a fairly simple song lyrically and musically and is the “calm” among the storm of the mostly loud and angry songs on Some Girls. It just oozes cool and sounds “sexy”.

 
45. Monkey Man

Year: 1969

US Album: Let It Bleed

Songwriter: Jagger/Richards

“Well I hope we're not too messianic
Or a trifle too satanic
But we love to play the blues”

The distinctive sound that starts this song off is Bill Wyman on the vibraphone. Keith plays the lead and slide guitars as Brian was still in limbo. Charlie adds a very distinctive drum beat and Nicky Hopkins is on piano.

Supposedly written about Italian pop artist Mario Scifano who Mick and Keith met on his movie set, the lyrics are very out there and random – but also conjure up some interesting images.

 
Dr. Octopus said:
48. Mother's Little Helper

Year: 1966

US Album: Flowers

Songwriter: Jagger/Richards

“What a drag it is getting old.”

The song deals with the at the time sudden popularity of prescribed calming drugs among housewives, and the potential hazards of overdose or addiction. Who knew that was a problem?

It’s a folksy pop song with a guitar riff that sounds like a sitar but is actually a dual-slide riff played on two electric 12-string guitars by Brian and Keith. There is also a great pounding bass behind it played by Bill, who Keith credited with being the one who came up with the idea behind ending the song.
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i much prefer this and "19th NB"  and "P.I.B." to "Satisfaction" & "JJFlash" - so ####### sue me  :shrug:

 
44. It's Only Rock 'n Roll (But I Like It)

Year: 1974

US Album: It’s Only Rock ‘n Roll

Songwriter: Jagger/Richards

“If I could stick my pen in my heart And spill it all over the stage Would it satisfy ya, would it slide on by ya Would you think the boy is strange?”

Mick and Keith both have claimed this song was written as a reaction against people who started taking the band too seriously and unfavorably comparing their current output to their past catalogue – basically throwing the title of the song back at them.

The only members of the Rolling Stones (at the time) to play on it are Mick on vocals and Keith on electric guitar. The rest of the band is Ian Stewart on piano, Ronnie Wood (who was not yet a member of the band) playing 12 string acoustic guitar and adding baking vocals, Willie Weeks on bass, Kenny Jones (who would later replace Keith Moon in the Who) on drums and some guy named David Bowie on backing vocals.

 
the above prolly explains Charlie's incredible deadpan ennui during the suds part of the vid - looked like he'd rather have been gettin' racked  :lol:

 
43. Far Away Eyes

Year: 1978

US Album: Some Girls

Songwriter: Jagger/Richards

“I was driving home early Sunday morning through Bakersfield
Listening to gospel music on the colored radio station
And the preacher said, you know you always have the Lord by your side
And I was so pleased to be informed of this that I ran
Twenty red lights in his honor
Thank you Jesus, thank you Lord”

In a 1978 interview with Rolling Stone magazine, Jagger said, "You know, when you drive through Bakersfield on a Sunday morning or Sunday evening - I did that about six months ago - all the country music radio stations start broadcasting black gospel services live from L.A. And that's what the song refers to. But the song's really about driving alone, listening to the radio."[3] On influences, Jagger stated "I wouldn't say this song was influenced specifically by Gram (Parsons). That idea of country music played slightly tongue-in-cheek - Gram had that in 'Drugstore Truck Drivin' Man', and we have that sardonic quality, too." Asked by the interviewer if the girl in the song was a real one, Jagger replied, "Yeah, she's real, she's a real girl we used to know, we miss her."
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Haters gonna hate - suck it...This song cracks me up and say whatever you want about Mick's "country voice" the band plays the #### out of this one, sounding real authentic playing both kinds of music "country" and "western".

 
otb_lifer said:
the above prolly explains Charlie's incredible deadpan ennui during the suds part of the vid - looked like he'd rather have been gettin' racked  :lol:
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I didn't link that video because the sound isn't as good but always loved it: Stones in Sailor Suits getting soaped

Richards is quoted as saying: "Poor old Charlie (Watts) nearly drowned... because we forgot he was sitting down."

 
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Dr. Octopus said:
48. Mother's Little Helper

Year: 1966

US Album: Flowers

Songwriter: Jagger/Richards

“What a drag it is getting old.”

The song deals with the at the time sudden popularity of prescribed calming drugs among housewives, and the potential hazards of overdose or addiction. Who knew that was a problem?

It’s a folksy pop song with a guitar riff that sounds like a sitar but is actually a dual-slide riff played on two electric 12-string guitars by Brian and Keith. There is also a great pounding bass behind it played by Bill, who Keith credited with being the one who came up with the idea behind ending the song.
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Great song doc.

I only did valium one time in my life. I was at a Halloween Party (yep OTB - same party that I dressed as wizard and posted about years ago - I always dress as a wizard, btw) - and this dood offered mt some of his little helpers. 

They helped a whole whole lot when I was trying to back out of his driveway - hit 4 of my buddies cars.

Thnx fer the help! 👎☹️

 
wikkidpissah said:
Salem was a very two-sides of the track town. Half Irish, Portuguese & Quebequois harbor & mill workers and then the Mayflower families with night-lit tennis courts. The Mayflower moms were all valium addicts, which was no prob - i intentionally avoided having a Boston accent just to get invited back to these far-less-strict houses - but, when women's lib inspired these ladies to do more than arrange flowers & teas, it required not that they cut back on the valium but augment w dexedrine instead. The 2nd best thing to hearing "my parents are away" from a rich girl is "Mom's having a crash day" because being audacious right under Mommy's addled nose made them extra saucy.
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Damn. All I got was a bill fer car damage...

 
Man of Constant Sorrow said:
They helped a whole whole lot when I was trying to back out of his driveway - hit 4 of my buddies cars.
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I did something similar a long time ago in my early 20s. I was at a party at a house where they had this thin steep driveway with the house on one side and a car mechanic shop with cement walls on the other side. When I was leaving I was backing down - too fast - and I just remember seeing my friend Tom at the bottom waving his arms mouthing "nooooooo!!!!" through the rear view mirror when I then heard the scraping of my passenger side going down the concrete wall. Next time I showed up at their house the strip molding from the side of my car was hanging up on their living room wall. :D

 
Dr. Octopus said:
I did something similar a long time ago in my early 20s.
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:hifive:

I was 25 when I did my valium parking eascape.

Thank god we grew out of it. 

I completed my cycle of dui's at 29.

Dr. Octopus said:
- and I just remember seeing my friend Tom at the bottom waving his arms mouthing "nooooooo!!!!"
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That was cool of him. My bud who threw the party had a best friend who owned an auto body shop. Thus, he just observed and laughed as I drove up his "finder's fee".

Dr. Octopus said:
Next time I showed up at their house the strip molding from the side of my car was hanging up on their living room wall. :D
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Now. That is class. 🤣

 
Dr. Octopus said:
45. Monkey Man

Year: 1969

US Album: Let It Bleed

Songwriter: Jagger/Richards

“Well I hope we're not too messianic
Or a trifle too satanic
But we love to play the blues”

The distinctive sound that starts this song off is Bill Wyman on the vibraphone. Keith plays the lead and slide guitars as Brian was still in limbo. Charlie adds a very distinctive drum beat and Nicky Hopkins is on piano.

Supposedly written about Italian pop artist Mario Scifano who Mick and Keith met on his movie set, the lyrics are very out there and random – but also conjure up some interesting images.
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I was waiting until the Thunder and Lightning hit b4 I did this listen. They hit! My sky is a show right now.

I'm a fleabit peanut monkey
All my friends are junkies
That's not really true

I'm a cold Italian pizza
I could use a lemon squeezer
Would you do?

But I've been bit and I've been tossed around
By every she-rat in this town
Have you, babe?

Well, I am just a monkey man
I'm glad you are a monkey woman too

I was bitten by a boar
I was gouged and I was gored
But I pulled it on through

Yes, I'm a sack of broken eggs
I always have an unmade bed
Don't you?

Well, I hope we're not too messianic
Or a trifle too satanic
We love to play the blues

Well I am just a monkey man
I'm glad you are a monkey, monkey woman too, babe

I'm a monkey
I'm a monkey
I'm a monkey man
I'm a monkey man
I'm a monkey...
 

I'm a 🐒 fan!

Yeah, the imagery here is really interesting.

 
Dr. Octopus said:
45. Monkey Man

Year: 1969

US Album: Let It Bleed

Songwriter: Jagger/Richards

“Well I hope we're not too messianic
Or a trifle too satanic
But we love to play the blues”

The distinctive sound that starts this song off is Bill Wyman on the vibraphone. Keith plays the lead and slide guitars as Brian was still in limbo. Charlie adds a very distinctive drum beat and Nicky Hopkins is on piano.

Supposedly written about Italian pop artist Mario Scifano who Mick and Keith met on his movie set, the lyrics are very out there and random – but also conjure up some interesting images.
Click to expand...
I am empowered by @shuke 's choice of Monkey Man as his #1 Stones song to rave about it and Let It Bleed. LiB is the best Stones album and it is not close and Monkey Man is my favorite song on the record. Dont make it my favorite Stones song (although is there ANYTHING more Stonesfan than throat-ripping screamalongs of monkAAAAAAAAAAAAAAY, mumumumumumumunKAAAAAYY with your tongue wagging out?!), but 45 is harsh, my friend.

Uneven as it is, there's anthem after anthem in LiB - Gimme Shelter captures the era better than any song; there simply is no tune where a boy can imagine himself a man - the basic function of rock&roll - better than w Midnight Rambler; even the punkiest record in the world can't spit at everybody as well as Let It Bleed, Live With Me and Monkey Man did; and You Can't Always Get What You Want ends the album better than an album has ever been ended. If one switches out Country Honk for Honky Tonk Woman (even the act of bypassing label pressure by countrifying the album version is cool, if unlistenable)......well, i dont know what to tell you. sry for the spotlighting DocOc, but it's what happens when you underrate a monkAAAAAAAAAAAAAAAAAAAAAAYYYY!!!!

Dr. Octopus said:
49. Love In Vain
Click to expand...


wikkidpissah said:
####! i got another grrrreat story about this song but it involves a girl (not perjorative - we were 14) and i never tell stories about different loves on the same day (unless a glorious substance of some kind lubricates it outta me). It's only right and part of the Storyteller's Code, man. Tomorrow i will tell my Love in Vain story. I may have to see a schedule from here on out....
Click to expand...
And now this. I made a mistake - we were 15.

Groucho Marx Syndrome - not joining any club that would have you for a member - has clouded my entire life. I'm sad & alone because, as much as i love what goes on inside of me, i'm suspect of anyone who wants to show the slightest amount of faith in who i am. Always wanted the fancy, the unattainable, to wrestle down the tease. The honest look of faith that is truly the best thing between people always had me running for the hills like the monkaaaay i am. Woe is that way - 

And it started with Robin.

The fall of '69 i got kicked in the head playing soccer. Not a bad injury,  but it was complicated by the fact that my brain is improperly suspended in my skull (my spine's the same way - stenosis curses my every day) so the swelling pressed my brain right up against my skull so that any sharp movement caused a contrecoup injury on the opposite side. I ended up in cervical traction (about the most uncomfortable a human can be) for a wk to safely reduce the swelling. As soon as that was over, a group of classmates were allowed to visit me (hospitals not only kept you much longer than they do now, but were very squirrely about people under 16yo being around).

One of them was Robin L. A beautiful girl - golden hair & skin, played school sports so she had both field hockey legs & tennis butt, and eyes so blue you wanted to dive into em. Topped with a massive honker that the Wicked Witch of the West would have found excessive. She was not a mouse at all, had plenty boys after her, but she liked me and you can't help who you like.

One of the conversation subjects when classmates came to see me was the pending release of the new Stones record. Because Honky Tonk Woman had been perhaps their biggest single, it caused Let It Bleed to be anticipated on a similar level to how Strawberry Fields/Penny Lane had hyped Sgt Pepper. I made a passing joke about not being able to stand in line @ North Shore Shopping Center for it and somebody remembered.

"You have a visitor, wikkid", said the nurse, and in walked that craggy vision of a girl with her hands behind her back. After registering my surprises and exchanging pleasantries, she gave me one of those looks of faith that began a life of runnings and presented me a copy of Let It Bleed with a bow on it. I really should have stopped loving other women for the rest of my life right then & there (i dont reunion, but my best pal does and says that Robin is easily the most successful & beautiful of our classmates), but my Li'l Bardot was still around to torture me.

I've recounted very recently about my 40+yr history of being Mr Inbetween for my very first sweetheart. My Li'l Bardot is the sexiest human i've ever known, loved me well, loves me still, but almost never loved me first. Years of making out, but she didn't want me to be her first so she went to a concert and groupied a rock god for that, then we could do stuff. When i came home from running away, she had the older, musician boyfriend she was supposed to but, eventually, she let me leak thru the cracks. I quit showbiz to live with her in a mountain commune, but only after her hippiegod boyfriend had taken off to Mexico.

That summer Li'l Bardot had dispatched her cherry so, though i wasn't her official boyfriend, we shonuff got enough sweat on her plush toys. Robin may well have loved me because i was ungainly & ridiculous, but it was more likely because i was the toy of the It Girl of our school. Maybe i wanted to be treated right. I didn't.

I was moved by her gift - i mean, she actually did stand in line and it would have involved parental transportation - and i was more than polite about it, but she had a bigger nose than the Old Man in the Mountain and i was already dabbling with royalty. As you can tell, i think about it still.

The problem with Let It Bleed is how poorly its bad songs fit w the great ones. I think the first thing i ever did w a cassette recorder was zap Country Honk & You Got the Silver out of LiB. i originally felt the same way about Love in Vain (which seemed a carryover of the alleycat yowling of Beggar's Banquet which i didn't care for) but then everytime i listened to it i'd think of Robin & my statusized idiocy with her. Soon enough, i'd end up putting on that song specifically every time Li'l Bardot left me in the lurch and yowling thru my self-pity along to it. Love is as vain as in vain.

 
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Spotlighting is fine - it’s not like there’s an infinite amount of Stones songs.

I can see any stance that says MM should be higher and I wouldn’t argue against it. There’s razor thin lines separating songs at this point though. 

At 45 it still means I love it.

 
42. Jumpin' Jack Flash

Year: 1968

US Album: Through the Past, Darkly (Big Hits Vol. 2)

Songwriter: Jagger/Richards

“I was born in a cross-fire hurricane
And I howled at the morning driving rain
But it's all right now, in fact, it's a gas
But it's all right. I'm Jumpin' Jack Flash
It's a gas, gas, gas”

After dabbling in baroque pop and psychedelia, the Stones returned triumphantly to their blues based rock and roll with the release of this single. It has Keith’s riffs and Mick’s dark swagger.

The legend is the inspiration for the song was Keith’s garner at his country house, Jack Dyer, who woke the boys up one morning with his heavy footedness outside of the window. Mick woke and asked about the noise and Keith said “that’s Jack, that’s Jumpin’ Jack”.

Bill Wyman has claimed that he was the one that came up with the famous guitar riff, on piano but was never given credit for it. That may be accurate as Bill plays the Hammond organ on the track while Keith played bass and lead and acoustic guitars. Brian did contribute on rhythm guitar and Ian Stewart played piano.

Likely one of the top 3-5 songs some one would come up with if asked to name a Rolling Stones song, it’s not only a quintessential Stones song but one in 60s rock as well. The lyrics are a bit abstract yet poignant. For anyone that’s ever tried to emulate Mick’s strut while screaming along with the lyrics, this may just be the song that most embodies it.

 
Dr. Octopus said:
42. Jumpin' Jack Flash

Year: 1968

US Album: Through the Past, Darkly (Big Hits Vol. 2)

Songwriter: Jagger/Richards

“I was born in a cross-fire hurricane
And I howled at the morning driving rain
But it's all right now, in fact, it's a gas
But it's all right. I'm Jumpin' Jack Flash
It's a gas, gas, gas”

...

The lyrics are a bit abstract yet poignant. For anyone that’s ever tried to emulate Mick’s strut while screaming along with the lyrics, this may just be the song that most embodies it.
Click to expand...
I've tried and failed. I had a blast doing it tho.

I think that krista should try the strut and scream -- what ya say, k?

I was drowned, I was washed up and left for dead
I fell down to my feet and I saw they bled, yeah yeah
I frowned at the crumbs of a crust of bread, yeah yeah yeah
I was crowned with a spike right through my head, #### my head

But it's all right now, in fact, it's a gas
But it's all right, I'm Jumpin' Jack Flash
It's a gas, gas, gas

 

 
41. Get Off My Cloud

Year: 1965

US Album: Big Hits (High Tide and Green Grass)

Songwriter: Jagger/Richards

“The telephone is ringing
I say, "hi, it's me, who is there on the line?"
A voice says, "hi, hello, how are you?"
"Well, I guess I'm doin' fine"
He says, "it's three a.m., there's too much noise
Don't you people ever want to go to bed?
Just 'cause you feel so good
Do you have to drive me out of my head?"”

Another classic that showcases Mick’s swagger.

From wiki:

The Stones have said that the song is a reaction to their suddenly greatly enhanced popularity and deals with their aversion to people's expectations of them after the success of "Satisfaction". Richards commented: "'Get off of My Cloud' was basically a response to people knocking on our door asking us for the follow-up to 'Satisfaction' ... We thought 'At last. We can sit back and maybe think about events'. Suddenly there's the knock at the door and of course what came out of that was 'Get off of My Cloud'".[4] In 1971 he added:

I never dug it as a record. The chorus was a nice idea, but we rushed it as the follow-up. We were in L.A. [Los Angeles, where "(I Can't Get No) Satisfaction" was recorded], and it was time for another single. But how do you follow-up "Satisfaction"? Actually, what I wanted was to do it slow, like a Lee Dorsey thing. We rocked it up. I thought it was one of Andrew Loog Oldham's worst productions.[5]

In a 1995 interview with Rolling Stone, Jagger said, "That was Keith's melody and my lyrics ... It's a stop-bugging-me, post-teenage-alienation song. The grown-up world was a very ordered society in the early '60s, and I was coming out of it. America was even more ordered than anywhere else. I found it was a very restrictive society in thought and behavior and dress."[6]

I was sick and tired, fed up with this and decided to take a drive downtown
It was so very quiet and peaceful, there was nobody, not a soul around
I laid myself out, I was so tired and I started to dream
In the morning the parking tickets were just like flags stuck on my windscreen[3]
Click to expand...

 
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