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

[Dr. Octopus]

Seen a lot of It's Only Rock 'n Roll songs in here and gleaned a lot of love for Richards, I think. Love for the Richards songwriting? Tell someone who checks in periodically...

It's a very good record but far from their best which is why you've probably seen a lot of songs from it, since we just recently cracked the top 100.

Keith is just the epitome of rock and roll in my mind. Lays down so great riffs, adds a darkness to the band and just loves what he does. He's written many great iconic guitar riffs and songs and has even contributed some beautiful lyrics.

 

[Dr. Octopus]

Well, well, well - is there some sort of euphemism being used here? 

I can't be sure of course but I think when he says "rock me" he may not be talking about music but maybe another four letter word that ends in "ck".

 

[Man of Constant Sorrow]

I can't be sure of course but I think when he says "rock me" he may not be talking about music but maybe another four letter word that ends in "ck".

Thanks. I ponder it.

 

[Bonzai]

Great thread, man.  Thanks for doing this.

Can't help but compare this to the Beatles countdown.  I consider myself a huge Stones fan and even I see most of the songs listed thus far as non-essential.  At this point in the Beatles thread, some of my favorites had already been listed.  Testament to just how incredible that Beatles run was. I still think the best of the Stones beats the best of the Beatles though.  Interested to see how this top 100 shakes out.

No Expectations, Salt of the Earth, Dear Doctor, Shake Your Hips, Parachute Woman, Rip this Joint, and Hang Fire the ones I like best listed so far.  

 

[Man of Constant Sorrow]

I can't be sure of course but I think when he says "rock me" he may not be talking about music but maybe another four letter word that ends in "ck".

Thanks. I ponder it.

The band's on stage and it's one of those nights, oh yeah
The drummer thinks that he is dynamite, oh yeah

Mick is clearly "mocking" Charlie here.



You lovely ladies in your leather and lace
A thousand lips I would love to taste, I've got one heart and it hurts like hell

If you can't mock me somebody will
If you can't mock me somebody will

Now, who's that black girl in the bright blue hair? Oh yeah
Now, don't you know that it's rude to stare? Oh yeah
I'm not so green but I'm feelin' so fresh, I simply like to put her to the test
She's so alive and she's dressed to kill, but

If you can't mock me somebody will
If you can't mock me somebody will
If you can't mock me somebody will
If you can't mock me somebody will

Now I ain't lookin' for no pretty face, oh no
Or for some hooker workin' roughish trade
And there ain't nothing like a perfect mate
And I ain't lookin' for no wedding cake

But I been talkin' 'bout it much too long
I think I better sing just one more song
I've got one heart and it hurts like hell
I'm simply dying for some thrills, spills, oh yeah

If you can't mock me, if you can't mock me
Somebody will, somebody will, somebody will
If you can't mock me
Well, well, well, well

 

[Dr. Octopus]

86. Connection

Year: 1967

US Album: Between the Buttons

Songwriter: Jagger/Richards

“Everything is going in the wrong direction.
The doctor wants to give me more injections.
Giving me shots for a thousand rare infections
And I don't know if he'll let me go”

This one was written mostly by Keith and he shares lead vocals with Mick on this. I always loved their harmonies as their voices are so dissimilar and work well together (especially for two guys that aren’t technically good singers). It’s a pretty simple song in that lyrically it is based on rhyming the word “connection” and structurally it’s a simple chord progression and steady drum pattern. In his typical eclectic fashion (especially on the record) Brian adds tambourine and organ into the mix – with Bill Wyman adding hand claps as percussion.

This one is a hidden gem in their catalogue.

 

[Dr. Octopus]

85. Play With Fire

Year: 1965

US Album: Out of Our Heads

Songwriter: Nanker Phelge (Jagger/Richards/Jones/Watts/Wyman/Stewart)

“Now you've got some diamonds and you will have some others
But you'd better watch your step, girl
Or start living with your mother
So don't play with me, 'cause you're playing with fire”

Oddly enough this one is credited to Nanker Pehlge, the pseudonym used where the entire band contributed to the songwriting, despite the fact that only Mick and Keith appear on the recording. Richards plays acoustic guitar behind Mick’s vocals and tambourine, while the song’s producer Phil Spector plays bass and Jack Nitzsche plays the harpsicord.

It’s a song about the narrator’s relationship with a girl from high society and is a play on the phrase “if you play with fire, you’re going to get burned”.  Very pretty.

 

[otb_lifer]

85. Play With Fire

Year: 1965

US Album: Out of Our Heads

Songwriter: Nanker Phelge (Jagger/Richards/Jones/Watts/Wyman/Stewart)

“Now you've got some diamonds and you will have some others
But you'd better watch your step, girl
Or start living with your mother
So don't play with me, 'cause you're playing with fire”

Oddly enough this one is credited to Nanker Pehlge, the pseudonym used where the entire band contributed to the songwriting, despite the fact that only Mick and Keith appear on the recording. Richards plays acoustic guitar behind Mick’s vocals and tambourine, while the song’s producer Phil Spector plays bass and Jack Nitzsche plays the harpsicord.

It’s a song about the narrator’s relationship with a girl from high society and is a play on the phrase “if you play with fire, you’re going to get burned”.  Very pretty.

Play With Fire > Light My Fire

sinister enuff lil' ditty here - it's got that right touch of evil brewing throughout - the old man took her diamonds/and Tiaras/by the score/now she gets her kicks in Stepnee/not in Knightsbridge anymore

 

[Man of Constant Sorrow]

86. Connection

Year: 1967

US Album: Between the Buttons

Songwriter: Jagger/Richards

“Everything is going in the wrong direction.
The doctor wants to give me more injections.
Giving me shots for a thousand rare infections
And I don't know if he'll let me go”

This one was written mostly by Keith and he shares lead vocals with Mick on this. I always loved their harmonies as their voices are so dissimilar and work well together (especially for two guys that aren’t technically good singers). It’s a pretty simple song in that lyrically it is based on rhyming the word “connection” and structurally it’s a simple chord progression and steady drum pattern. In his typical eclectic fashion (especially on the record) Brian adds tambourine and organ into the mix – with Bill Wyman adding hand claps as percussion.

This one is a hidden gem in their catalogue.

1st - this is a new one to me. I really like it. 

But, just like my hearing irt an earlier song (can't even remember which) that you posted near my lunch time, I keep hearing the word confection.

All i want to do is get back to you
Confections, I just can't make no confections.
But all I want to do is to get back to you.
Everything is going in the wrong direction.

The doctor wants to give me more injections.
Giving me shots for a thousand rare infections
And I don't know if he'll let me go
Confections, I just can't make no confections.

But all I want to do is to get back to you.
Confections, I just can't make em, confections.
But all I want to do is to get back to you.
My bags they get a very close inspection.

I wonder why it is that they suspect 'em
They're dying to add me to their collection
And I don't know if they'll let me go

Confections, I just can't make no confections.
But all I want to do is to get back to you.
Confections, I just can't make no confections.
But all I want to do is to get back to you.

Diabetes sux. :(

 

[Dr. Octopus]

84. Live With Me

Year: 1969

US Album: Let It Bleed

Songwriter: Jagger/Richards

 

“I got nasty habits, I take tea at three
Yes, and the meat I eat for dinner
Must be hung up for a week
My best friend, he shoots water rats
And feeds them to his geese
Don'cha think there's a place for you
In between the sheets?”

This was the first song recorded with Mick Taylor, despite Brian Jones still being an official member of the band on the Let It Bleed album. He rarely showed up to the recording sessions as he was too plastered on booze and drugs so the recording would take place without him. Taylor later described the recording of "Live with Me" as "kind of the start of that particular era for the Stones, where Keith and I traded licks."

This song also features the late great Leon Russell on piano and Bobby Keys on saxophone. The amazing bass on this track is Keith, not Bill.

 

[Dr. Octopus]

1st - this is a new one to me. I really like it. 

But, just like my hearing irt an earlier song (can't even remember which) that you posted near my lunch time, I keep hearing the word confection.

This One

 

[Man of Constant Sorrow]

This One

LOL!

Yeah - my obsession seems to be confections.

 

[otb_lifer]

84. Live With Me

Year: 1969

US Album: Let It Bleed

Songwriter: Jagger/Richards

 

“I got nasty habits, I take tea at three
Yes, and the meat I eat for dinner
Must be hung up for a week
My best friend, he shoots water rats
And feeds them to his geese
Don'cha think there's a place for you
In between the sheets?”

This was the first song recorded with Mick Taylor, despite Brian Jones still being an official member of the band on the Let It Bleed album. He rarely showed up to the recording sessions as he was too plastered on booze and drugs so the recording would take place without him. Taylor later described the recording of "Live with Me" as "kind of the start of that particular era for the Stones, where Keith and I traded licks."

This song also features the late great Leon Russell on piano and Bobby Keys on saxophone. The amazing bass on this track is Keith, not Bill.

down and dirty and grimey and filthy and nasty - this one is a big favorite of mine - frenetically wicked, love when they butch it the #### up

 

[wikkidpissah]

85. Play With Fire

Year: 1965

US Album: Out of Our Heads

Songwriter: Nanker Phelge (Jagger/Richards/Jones/Watts/Wyman/Stewart)

“Now you've got some diamonds and you will have some others
But you'd better watch your step, girl
Or start living with your mother
So don't play with me, 'cause you're playing with fire”

Oddly enough this one is credited to Nanker Pehlge, the pseudonym used where the entire band contributed to the songwriting, despite the fact that only Mick and Keith appear on the recording. Richards plays acoustic guitar behind Mick’s vocals and tambourine, while the song’s producer Phil Spector plays bass and Jack Nitzsche plays the harpsicord.

It’s a song about the narrator’s relationship with a girl from high society and is a play on the phrase “if you play with fire, you’re going to get burned”.  Very pretty.

Top ten for me. Spent an entire year imagining what 'playing with me' might entail

 

[Man of Constant Sorrow]

85. Play With Fire

Year: 1965

US Album: Out of Our Heads

Songwriter: Nanker Phelge (Jagger/Richards/Jones/Watts/Wyman/Stewart)

“Now you've got some diamonds and you will have some others
But you'd better watch your step, girl
Or start living with your mother
So don't play with me, 'cause you're playing with fire”

Oddly enough this one is credited to Nanker Pehlge, the pseudonym used where the entire band contributed to the songwriting, despite the fact that only Mick and Keith appear on the recording. Richards plays acoustic guitar behind Mick’s vocals and tambourine, while the song’s producer Phil Spector plays bass and Jack Nitzsche plays the harpsicord.

It’s a song about the narrator’s relationship with a girl from high society and is a play on the phrase “if you play with fire, you’re going to get burned”.  Very pretty.

I've always loved the harpiscord in this.

 

[Dr. Octopus]

83. I Wanna Be Your Man

Year: 1963

US Album: Singles Collection: The London Years

Songwriter: Lennon/McCartney

Just to show there’s no hard feelings in the great debate, this Lennon/McCartney penned song cracks the top 100. The Stones recording features Jones on the slide guitar and a driving bass by Bill.

According to various accounts, either the Rolling Stones' manager/producer Andrew Loog Oldham or the Rolling Stones themselves ran into Lennon and McCartney on the street as the two were returning from an awards luncheon. Hearing that the band was in need of material for a single, Lennon and McCartney went to their session at De Lane Lea Studio and finished off the song – whose verse they had already been working on – in the corner of the room while the impressed Rolling Stones watched.

McCartney stated in 2016:

“We were friends with them, and I just thought "I Wanna Be Your Man" would be good for them. I knew they did Bo Diddley stuff. And they made a good job of it.”

Released only as a single, the Stones' rendition did not appear on a studio album until it showed up on a Compilation album of their London/Abkco singles

For comparison's sake: I Wanna Be Your Man - Beatles

 

[Dr. Octopus]

82. 2000 Light Years From Home

Year: 1967

US Album: Their Santanic Majesties Request

Songwriter: Jagger/Richards

“Sun turnin' 'round with graceful motion
We're setting off with soft explosion
Bound for a star with fiery oceans
It's so very lonely

You're a hundred light years from home”

Brian on the mellotron and theremin are the prominent instruments with Nicky Hopkins on piano for the intro and outro in this spacey psychedelic number from the Satanic Majesties record.

The working title of the instrumental backing track first laid down was "Toffee Apple" until Mick wrote the lyrics while in prison on drug possession charges (apparently they let him keep some).

 

[otb_lifer]

82. 2000 Light Years From Home

Year: 1967

US Album: Their Santanic Majesties Request

Songwriter: Jagger/Richards

“Sun turnin' 'round with graceful motion
We're setting off with soft explosion
Bound for a star with fiery oceans
It's so very lonely

You're a hundred light years from home”

Brian on the mellotron and theremin are the prominent instruments with Nicky Hopkins on piano for the intro and outro in this spacey psychedelic number from the Satanic Majesties record.

one of my all time go to staples of theirs - was one of the first songs i ever remember hearing ("Hey, Jude" the other) and it's been with me ever since ... quite a long journey, i have never tired of it - Brian all over this one - doubt Mick and Keef coulda crafted any of this particular era's tunes without Jonesy in tow ... his pop/psychedelia sensibilities were so crucial.  

woulda slotted higher, but we gon' quit that game forthwith. 

 

[rockaction]

86. Connection

Year: 1967

US Album: Between the Buttons

Songwriter: Jagger/Richards

I love this song. Enough honky-tonk and Brit pop to keep attuned.  I love the Aftermath-Between The Buttons duo of albums. 

 

[Dr. Octopus]

I love this song. Enough honky-tonk and Brit pop to keep attuned.  I love the Aftermath-Between The Buttons duo of albums. 

I love both as well. Buttons is terribly under-rated in the grand scheme of things. Perfect pre-psychedelic pop.

I also think Mick-Keith harmonies have been terribly under-rated. Their voices work very well together despite the limitations of both. This song embodies it since they do it for the entire track. 

 

[rockaction]

I love both as well. Buttons is terribly under-rated in the grand scheme of things. Perfect pre-psychedelic pop.

I also think Mick-Keith harmonies have been terribly under-rated. Their voices work very well together despite the limitations of both. This song embodies it since they do it for the entire track. 

i think so, too. When they harmonize that means both are singing. Those songs tend to swing a little more than their others for some reason. Richards' songs tend to swing anyway, from what I can gather from limited info. 

 

[Dr. Octopus]

81. Imagination

Year: 1978

US Album: Some Girls

Songwriter: Norman Whitfield/Barret Strong

80. Ain't Too Proud To Beg

Year: 1974

US Album: It’s Only Rock ‘n Roll

Songwriter: Norman Whitfield/Eddie Holland

Covering classic songs by the Temptations may seem daunting to a lot of bands but the Stones bore full speed ahead while making them their own, but still maintaining respect for the originals. From the beginning with the Blues, the Stones always held great reverence for America’s black musicians and made it a mission to bring their music to the masses. The Temptations didn’t necessarily need the exposure that Slim Harpo or Robert Johnson did but it still helped open a new audience to their music.

These are great versions of great songs.

 

[zamboni]

85. Play With Fire

Year: 1965

US Album: Out of Our Heads

Songwriter: Nanker Phelge (Jagger/Richards/Jones/Watts/Wyman/Stewart)

“Now you've got some diamonds and you will have some others
But you'd better watch your step, girl
Or start living with your mother
So don't play with me, 'cause you're playing with fire”

Oddly enough this one is credited to Nanker Pehlge, the pseudonym used where the entire band contributed to the songwriting, despite the fact that only Mick and Keith appear on the recording. Richards plays acoustic guitar behind Mick’s vocals and tambourine, while the song’s producer Phil Spector plays bass and Jack Nitzsche plays the harpsicord.

It’s a song about the narrator’s relationship with a girl from high society and is a play on the phrase “if you play with fire, you’re going to get burned”.  Very pretty.

I like the name check here of London regions: St. John's Wood, Stepney, Knightsbridge. 

Visited SJW last time I was in London in large part due to the tune (and the location of Abbey Road and the studio). 

 

[Dr. Octopus]

There are now only five more cover songs left in the rankings. 3-4 should be very obvious with one of them a little more obscure. The obscure one is a great version but the sad story that is linked to it propels it up the list a little - the other 4 are seminal Stones' tunes despite being covers.

 

[wikkidpissah]

82. 2000 Light Years From Home

Year: 1967

US Album: Their Santanic Majesties Request

Songwriter: Jagger/Richards

“Sun turnin' 'round with graceful motion
We're setting off with soft explosion
Bound for a star with fiery oceans
It's so very lonely

You're a hundred light years from home”

Brian on the mellotron and theremin are the prominent instruments with Nicky Hopkins on piano for the intro and outro in this spacey psychedelic number from the Satanic Majesties record.

The working title of the instrumental backing track first laid down was "Toffee Apple" until Mick wrote the lyrics while in prison on drug possession charges (apparently they let him keep some).

Points out the vital cultural difference between the Beatles & Stones and the reason the sixties needed both to negotiate its way. Just as the Beatles romantic wanderings always seemed to end with them tucked safely in and kinda wondering at the ceiling at night but the Stones chased stuff far enough that they'd sing their songs from a loft far from home with several birds, odd substances, a midget with a giant jar of mayonnaise and a goat, the Beatles may have indulged far more psychedelia than their rivals, but it never left Abbey Road, where the Stones sent us postcards from Mars.

 

[wikkidpissah]

81. Imagination

Year: 1978

US Album: Some Girls

Songwriter: Norman Whitfield/Barret Strong

80. Ain't Too Proud To Beg

Year: 1974

US Album: It’s Only Rock ‘n Roll

Songwriter: Norman Whitfield/Eddie Holland

Covering classic songs by the Temptations may seem daunting to a lot of bands but the Stones bore full speed ahead while making them their own, but still maintaining respect for the originals. From the beginning with the Blues, the Stones always held great reverence for America’s black musicians and made it a mission to bring their music to the masses. The Temptations didn’t necessarily need the exposure that Slim Harpo or Robert Johnson did but it still helped open a new audience to their music.

These are great versions of great songs.

*splat*

ETA: although NOWHERE NEAR as bad as the Ain't Too Proud jukebox musical i just saw numbers from on the Tony Awards. Not only am i sure that has the late members of the group spinning like fracking drills in their graves, but i'm pretty sure Ruffin & Kendrick would have shot up the festivities had they been here to witness.

 

[Dr. Octopus]

*splat*

I like 'em, dammit

 

[otb_lifer]

Points out the vital cultural difference between the Beatles & Stones and the reason the sixties needed both to negotiate its way. Just as the Beatles romantic wanderings always seemed to end with them tucked safely in and kinda wondering at the ceiling at night but the Stones chased stuff far enough that they'd sing their songs from a loft far from home with several birds, odd substances, a midget with a giant jar of mayonnaise and a goat, the Beatles may have indulged far more psychedelia than their rivals, but it never left Abbey Road, where the Stones sent us postcards from Mars.

notable exception from the Fabs (well, George) "It's All Too Much" - imo

 

[Uruk-Hai]

81. Imagination

Year: 1978

US Album: Some Girls

Songwriter: Norman Whitfield/Barret Strong

80. Ain't Too Proud To Beg

Year: 1974

US Album: It’s Only Rock ‘n Roll

Songwriter: Norman Whitfield/Eddie Holland

Covering classic songs by the Temptations may seem daunting to a lot of bands but the Stones bore full speed ahead while making them their own, but still maintaining respect for the originals. From the beginning with the Blues, the Stones always held great reverence for America’s black musicians and made it a mission to bring their music to the masses. The Temptations didn’t necessarily need the exposure that Slim Harpo or Robert Johnson did but it still helped open a new audience to their music.

These are great versions of great songs.

Doc Oc, wanted to say you're doing a great job in this thread. I haven't commented until now because.....life or whatever..... but I've followed along every day I've been able to. Appreciate you, man.

I posted in krista's Beatles thread how important I thought cover versions - even if they sucked - were to the Beatles (& the rest of the Brits, including the Stones) making it in the US in the mid-60s. 

That said:

The Stones don't get that benefit of the doubt here. Both of these covers are lazy and sleazy. I can (almost) forgive them for "Ain't Too Proud To Beg", but their weak-assed cover of "Just My Imagination" is just awful. They didn't even try to make a good record. 

 

[Dr. Octopus]

79. Something Happened To Me Yesterday

Year: 1967

US Album: Between the Buttons

Songwriter: Jagger/Richards

"Well thank you very much and now I think it's time for us all to go. So from all of us to all of you, not forgetting the boys in the band and our producer Reg Thorpe, we'd like to say God bless. So if you're out tonight, don't forget, if you're on your bike, wear white. Evening all."

This song is the first officially released Rolling Stones track to feature Keith Richards on separate lead vocal. Jagger sings the verses; Richards sings the chorus (and plays the electric and acoustic guitars)

Brian plays trumpet, trombone and tuba on this one as well as providing the whistles.

The theory is this song is a narrative about the first time Mick dropped acid. But at the time of the song's release, Jagger coyly said: "I leave it to the individual imagination as to what happened.”

As I stated Mick sings the verses “Something happened to me…” while Keith sings the chorus “He's not sure just what it was….”

 

[Dr. Octopus]

The Stones don't get that benefit of the doubt here. Both of these covers are lazy and sleazy. I can (almost) forgive them for "Ain't Too Proud To Beg", but their weak-assed cover of "Just My Imagination" is just awful. They didn't even try to make a good record. 

Thanks for the props.

I would have guessed that you would not have liked them knowing your musical preferences - and there's no doubt they are not as good as the originals, but I like them.

I like how the guitars in "Imagination" give it that Stones feel and I really think Mick in particular tries very hard to sincerely pay tribute. "Ain't Too Proud" is a lot of fun as well.

When I was a kid I always loved "Imagination" and it's stuck with me.

 

[Uruk-Hai]

Thanks for the props.

I would have guessed that you would not have liked them knowing your musical preferences - and there's no doubt they are not as good as the originals, but I like them.

I like how the guitars in "Imagination" give it that Stones feel and I really think Mick in particular tries very hard to sincerely pay tribute. "Ain't To Proud" is a lot of fun.

When I was a kid I always loved "Imagination" and it's stuck with me.

I hear ya. And I should have added that I think most of the Stones mid/late '70s stuff is sleazy and lazy. Don't get me wrong - I love a lot of it. But, to me, they weren't paying tribute at this time. They just knew it would sell since it was the Stones.

 

[Dr. Octopus]

78. Heart of Stone

Year: 1964

US Album: The Rolling Stones, Now!

Songwriter: Jagger/Richards

"There've been so many girls that I've known
I've made so many cry and still I wonder why
Here comes the little girl
I see her walking down the street
She's all by herself
I try and knock her off her feet"

This is the Stones attempt to create their own version of the American soul ballads that were popular at the time. This has some nice guitar work with Keith playing lead and Brian playing the low baritone guitar with Bill laying down a cool bassline.

The harmony vocals on the choruses supplied by Bill really help give this song it’s soulful feel.

There is an alternate longer version of this song on the Metamorphosis record where Jimmy Page plays the guitar solo which sounds like it should be on Led Zepplin II: Heart of Stone, V.2.

 

[Man of Constant Sorrow]

82. 2000 Light Years From Home

Year: 1967

US Album: Their Santanic Majesties Request

Songwriter: Jagger/Richards

“Sun turnin' 'round with graceful motion
We're setting off with soft explosion
Bound for a star with fiery oceans
It's so very lonely

You're a hundred light years from home”

Brian on the mellotron and theremin are the prominent instruments with Nicky Hopkins on piano for the intro and outro in this spacey psychedelic number from the Satanic Majesties record.

The working title of the instrumental backing track first laid down was "Toffee Apple" until Mick wrote the lyrics while in prison on drug possession charges (apparently they let him keep some).

That  vid is whooop-dee-doo sweet! 

Love this song - go figure.

Imma watch again now/

Edit: My use of "whooop-dee-doo" should be understood as positive - I exclaim that in glee often - no irony. 

 

[Man of Constant Sorrow]

notable exception from the Fabs (well, George) "It's All Too Much" - imo

It's all too much, the love that's shining all around you - it's all too much ... floating down the stream of time. All the world's a birthday cake - everywhere. It's what you make. Makes no difference where you are or where you'd like to be. So take a piece but not too much.

Show me that I'm everywhere - the more I am, the more there is to see. The less I know of life, and the more I go inside, I know that I'm free on a silver sun, home for tea. Set me and get me the love that's shining all around here for us to take everywhere. It's what you make that's shining all around you.

Too much. 

 

[Dr. Octopus]

77. Doo Doo Doo Doo Doo (Heartbreaker)

Year: 1973

US Album: Goats Head Soup

Songwriter: Jagger/Richards

Wicked wicked guitars in this one with Taylor making heavy use of the wah wah pedal.

From wiki:
 

Written by Mick Jagger and Keith Richards, "Doo Doo Doo Doo Doo (Heartbreaker)" 's lyrics relate two stories: one is a story of New York City police shooting a boy "right through the heart" because they mistook him for someone else, and the second of a ten-year-old girl who dies in an alley of a drug overdose. Neither of these events are known to be factual. However, it is certainly possible that Jagger incorporated into the lyrics some elements of a notorious police shooting that took place around the time the song was released.

In April 1973 a ten-year-old boy named Clifford Glover was with his father when plainclothes police stopped them at gunpoint in Queens, in New York City, supposedly having mistaken the two for suspects in an armed robbery (the robbers were described as being about one foot taller than the boy). The boy and his father ran, fearing that they were about to be victims of a robbery. The police chased them and one officer shot the 10-year-old boy in the back, killing him. The bullet entered Glover's lower back and emerged at the top of his chest (i.e., went through his heart). The case resulted in riots and a murder indictment against the officer, who was later acquitted in a jury trial.[1]

After telling the story of the police shooting the wrong person, Jagger sings,

You heartbreaker, with your .44, I want to tear your world apart.

The .44 magnum cartridge had been recently made famous by the 1971 film Dirty Harry, in which Harry Callahan uses "the most powerful handgun in the world" to cleanse the streets of crime. The lyrics complement the music, which Rolling Stone magazine described as "urban R&B", due to its funk influence and prominent clavinet part (played by Billy Preston).[2]

 

[Dr. Octopus]

76. Melody

Year: 1976

US Album: Black and Blue

Songwriter: Jagger/Richards

“I took her out dancing but she drank away my cash
She said, "I'm going to fix my face don't you worry I'll be back"
I'm looking for her high and low like a mustard for a ham
She was crashed out in the bathroom
In the arms of my best friend”

It’s a Billy showcase!!!! Preston, that is, who plays piano, organ and sings a duet with Mick.

Everything about this song is just so ####### cool including the mental image of mustard looking for a ham.

 

[Dr. Octopus]

75. I Don't Know Why

Year: 1975

US Album: Metamorphosis

Songwriter: Stevie Wonder/Paul Riser/Done Hunter/Lula Hardaway

The Stones version of this Stevie Wonder song was not released until 1975 on their ABKCO outtake album Metamorphosis. However it was recorded on 3 July 1969 during the sessions for Let It Bleed.  The story is they were recording this song the night that they got the call informing them of Brian Jones’ death.

 

[ProstheticRGK]

75. I Don't Know Why

Year: 1975

US Album: Metamorphosis

Songwriter: Stevie Wonder/Paul Riser/Done Hunter/Lula Hardaway

The Stones version of this Stevie Wonder song was not released until 1975 on their ABKCO outtake album Metamorphosis. However it was recorded on 3 July 1969 during the sessions for Let It Bleed.  The story is they were recording this song the night that they got the call informing them of Brian Jones’ death.

I feel like less of a fan, but I don't ever remember hearing this song. Or, even this album. Thanks, Doc- great little shot of Stones esoterica, for me.

 

[simey]

77. Doo Doo Doo Doo Doo (Heartbreaker)
 

This song is one of my favorite intros of theirs. Love those guitars, and the horns too. I like "Heart of Stone" a lot too.

 

[Dr. Octopus]

I feel like less of a fan, but I don't ever remember hearing this song. Or, even this album. Thanks, Doc- great little shot of Stones esoterica, for me.

Metamorphosis isn’t really a Stones album per se. Allen Klein put it out after the Stones left Abkco to form their own label. One side is demos they recorded in order to sell the songs to other musicians (on some of the songs it’s only Mick and Keith and studio guys) and the other side is outtakes from other recording sessions. It’s an interesting record.

 

[krista4]

89. Midnight Rambler

Year: 1969

US Album: Let It Bleed

Songwriter: Jagger/Richards

“I'm called the hit-and-run raper in anger The knife-sharpened tippie-toe... Or just the shoot 'em dead, brainbell jangler You know, the one you never seen before”

I’m sure many would expect this song to be much higher up the list as it is one of their iconic songs, but truth be told it doesn’t do all that much for me. Obviously, I do not dislike it or it wouldn’t be this high on the list even, but it’s a song I only really listen to when I listen to the Let It Bleed album or if it’s on the radio. In other words, I do not think I have ever played this song individually or sought it out.

The song is said to be a loose biography of Albert DeSalvo, who confessed to being the Boston Strangler amd Keith Richards has called it "a blues opera"

There is plenty to like about it, Mick’s harp playing, the buildups and crescendos, the groove of the rhythm section. However, this is one song where I don’t appreciate Mick’s voice all that much and, forgive the pun, but it rambles a little too much.

All that said, for many bands this would be the highlight of their careers and it surely rocks.

It's your "Penny Lane"!

(I'm catching up on four days' worth right now.)

 

[Long Ball Larry]

85. Play With Fire

Year: 1965

US Album: Out of Our Heads

Songwriter: Nanker Phelge (Jagger/Richards/Jones/Watts/Wyman/Stewart)

“Now you've got some diamonds and you will have some others
But you'd better watch your step, girl
Or start living with your mother
So don't play with me, 'cause you're playing with fire”

Oddly enough this one is credited to Nanker Pehlge, the pseudonym used where the entire band contributed to the songwriting, despite the fact that only Mick and Keith appear on the recording. Richards plays acoustic guitar behind Mick’s vocals and tambourine, while the song’s producer Phil Spector plays bass and Jack Nitzsche plays the harpsicord.

It’s a song about the narrator’s relationship with a girl from high society and is a play on the phrase “if you play with fire, you’re going to get burned”.  Very pretty.

I like the stones ok, but never could get that into them.  I do dig this song, though.

i actually first heard it after figuring out what the sample was in this great Song by styles of beyond 

 

[krista4]

87. Who's Been Sleeping Here?

Year: 1967

US Album: Between the Buttons

Songwriter: Jagger/Richards

“What you say girl, you see what is wrong You, must be joking, you was led alone But the butler the baker, the laughing cavalier Will tell me now, who's been sleeping here”

Another from the pre-psychedelic Between the Buttons. Like the rest of the record the lyrics are fanciful and the music is eclectic. There’s some great piano work by Jack Nitzsche on this one and Brian’s harmonica is outstanding. Keith throws in a very spacey guitar jam and Mick as with most of this record gives his all and has fun with the style and feel.

I need to spend some time with this album, based on this and "My Obsession" alone.  Your description was spot-on.  Spacey guitar, great off-kilter piano, and I even love what Mick did in this one.  (Note to MoCS:  this does not mean I've given in and love Mick or his voice.)

ETA:  Add the bouncy, fun "Connection" to the list, too.

ETA2:  Will NOT add "Something Happened to Me Yesterday" on the list.  Essence of that Paul vaudeville crap I don't like.  Not even a tuba could save it.

 

[simey]

Top ten for me. Spent an entire year imagining what 'playing with me' might entail

It would definitely be in my top 20. Doo Doo Doo Doo Doo (Heartbreaker) would be too.

 

[Wrigley]

Going to be a good couple weeks.   Saw Paul Tuesday, and then stones next week 

life is good 

 

[Dr. Octopus]

ETA2:  Will NOT add "Something Happened to Me" on the list.  Essence of that Paul vaudeville crap I don't like.  Not even a tuba could save it.

It’s the last song on the record so you can just skip it.

There’s 4 more songs still to come from Buttons with 2 of them iconic parts of their catalog and the other 2 more hidden gems.

 

[krista4]

75. I Don't Know Why

Year: 1975

US Album: Metamorphosis

Songwriter: Stevie Wonder/Paul Riser/Done Hunter/Lula Hardaway

The Stones version of this Stevie Wonder song was not released until 1975 on their ABKCO outtake album Metamorphosis. However it was recorded on 3 July 1969 during the sessions for Let It Bleed.  The story is they were recording this song the night that they got the call informing them of Brian Jones’ death.

Ok, I was very skeptical of this, as a huge Stevie fan.  And while of course the Stones version can't compare, it was surprisingly good, and the sound made me forget it was a cover at all.  I approve.

 

[Dr. Octopus]

74. Tops

Year: 1981

US Album: Tattoo You

Songwriter: Jagger/Richards

“Step on the ladder
Toe in the pool
You're such a natural you don't need no acting school
Don't need no casting couch
Or be a star in bed
And never, never, never let success go to you pretty head
'Cause I'll, I'll take you to the top, baby”

This song appeared on Tattoo You in 1981 but was recorded in late 1972 during the Goats Head Soup sessions so it’s Mick Taylor appearing on lead guitar. Taylor was not credited on the record for playing on this song, and also “Waiting on a Friend” which was also recorded in 1972, but later demanded and received his share of royalties.

It’s a very mellow and different sounding song for them with nice backing vocals (a large part of which is Mick backing up his lead vocals using falsetto). The part when he moans “ahhh Sugar” and it’s followed by the backing vocals coming in with “Hey sugar” kills me every time for some reason.

The premise of the song is the “casting couch” scenario of producers making all sorts of outrageous promises to female entertainers. 

 

[Dr. Octopus]

73. All Down the Line

Year: 1972

US Album: Exile on Main St.

Songwriter: Jagger/Richards

“Well you can't say yes, and you can't say no
Just be right there when the whistle blows
I need a sanctified mind to help me out right now”

Another killer opening riff from Keef Riffchards and some great slide work from Mick Taylor are the driving force behind this straight ahead rocker. Once again Keith also offers some killer backing vocals (with help from Kathi McDonald) behind Mick. There’s also two bass parts on this with Bill playing electric and Bill Plummer playing stand up acoustic. Like most of Exile there’s also a killer horn section led by Bobby Keys on sax and Jim Price on trumpet and trombone.