In this thread I rank my favorite Rolling Stones songs: 204-1: Four Musketeers Get Their Ya-Yas Out (4 Viewers)

[Dr. Octopus]

72. Fool To Cry

Year: 1976

US Album: Black and Blue

Songwriter: Jagger/Richards

“Well, when I come home, baby
And I've been working all night long
I put my daughter on my knew
And she says, daddy, what’s wrong?”

A mellow pretty little ditty from the Black and Blue record. Mick plays the electric piano on this one as well as singing the lead in regular and falsetto.

 

[Dr. Octopus]

71. Some Girls

Year: 1978

US Album: Some Girls

Songwriter: Jagger/Richards
 

"White girls they're pretty funny
Sometimes they drive me mad
Black girls just wanna get ####ed all night
I just don't have that much jam"

Musically this song is dominated by droning steel guitars and Sugar Blue on harmonica (who was previously mentioned for his contribution on “Down in the Hole” a ways back in the countdown).

Lyrically this can be interpreted as yet another slam of women with Mick rambling on about what a drag they can be. It also defines them by their racial make-up which is always a good thing of course.

The line "black girls just want to get ####ed all night" enraged civil rights leaders particularly the reverend Jesse Jackson (now that truly is a good thing). The "hypocrite" Jackson met with Ahmet Ertegun, chair of the board of Atlantic Records (the record's distributor). The record company refused to edit the song for future releases and the band issued a statement saying the lyrics actually mocked stereotypical feelings towards women.

 

[wikkidpissah]

71. Some Girls

Year: 1978

US Album: Some Girls

Songwriter: Jagger/Richards
 

i'm gonna try to step lightly here cuz there are those would be happy for new reasons to hate on our boys and to edumecate your humble servant for the awful caveman he is, but i looooooooooooooooooooooooooooooooooooooooooooooooove salacious wimmens. groupies, party girls, coke whores.

not golddiggers or sexpros, tho they got their reasons, too, but females who respond to a world designed to overwhelm them by daring the principals in their path to actually overwhelm them. be a toy for starboys, madboys, or badboys, test every social perimeter and parameter for the danger in it, go as far out there - not w a plan for getting back like men do, just go - as the force will let em, show good girls what fun is. little men, powerless prisoners, never get that chance and i think there's some nyaahnyaah in it for powerless women who do. 

the remarkable thing is that the survivors of this pursuit come to their reckoning years with a lot less tired bitterness than pros do. i've told the tale of HOLIDAY GIRL - a woman who'd settled down from the cokewhore life but each Sunday night of minor holiday wkends, turn herself out to whoever could show her the weirdest time - in my story thread and she turned out to raise several kids well and open a martial arts academy. i've also written here of my great friend, Fancy, my best gamblin pal's gf who was a jet hostess for the casinos. if she didn't like you there wasnt enough money in the world could make her make you but if she showed someone a good time and they left a stack o purple on the dresser she'd accept it. she died on one of those jets - some say ODed, some say strangled by a southern Governor, my pal say exploded liver from all the partying. all i know is Fancy would do EXACKLY the same thing if she had it to do again. i've told my EIGHT-AT-ONCE tale about the musician who would handle the multiple women who would storm him backstage by instructing up to a dozen of em to go up to his room and enjoy each other til he got there and would enter the room naked but a bowler hat and, if they'd made a proper snakepit of themselves, dive into the sea of wimmens from a hotel chair like a kid yelling "look, Mommy!" (one time there wasnt so he marched out of the room, threw me his key as i approached and instructed me to enjoy them by saying "insufficient writhing"). just as i think when i look at the girls at the rock festivals from 50 years ago and wonder which ones are in front of or behind a judge's bench today, overdoses & soccermoms, sales clerks & CEOs, teachers and victims, just like everybody else, i think of the dozens of nameless pixies who sparked my wildride the same way.

i've known SOME GIRLS. glad i have.

 

[Dr. Octopus]

70. Back Street Girl

Year: 1967

US Album: Flowers

Songwriter: Jagger/Richards

“I don't want you to be high. I don't want you to be down. Don't want to tell you no lie. Just want you to be around. Please come right up to my ears. You will be able to hear what I say.”

We’ve heard the Stones do it all in this thread and now it’s time for a waltz. Brian plays the vibraphone while Nicky Hopkins contributes on the harpsichord and Nick de Caro plays accordion.

This is a very pretty song with emotional vocals from Mick. This song was on the British release of Between the Buttons but was not included on the US version. It appeared on the 1967 record Flowers which was a compilation of singles and songs from other recording sessions.

Bonus cover: Golden Smog - Back Street Girl

 

[Man of Constant Sorrow]

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:
 

This song really rocks.

Oh yeah, oh yeah
Want to tear your world apart
Oh yeah, oh yeah
Want to tear your world apart

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.

In regard to the bold: You can tell yourself whatever you like ... but your posting love betrays your inner Mick-ness.

 

[Man of Constant Sorrow]

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.

This is a Stones song I have not heard before. 

Preston really takes it over the top imo. The piano is just right for my listen.

Melody, it was her second name 
Melody, it was her second name 
Melody, it was her second name 
Melody, it was her second name

I never caught her first name.

EDIT: OH - THE HORNS ROCK! 

 

[Man of Constant Sorrow]

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. 

I like this song. The lyrics you quote are my fav also. 

The piano is nice. Is that Ian Stewart? I can't understand the way Wikipedia lists it. 

 

[Dr. Octopus]

I like this song. The lyrics you quote are my fav also. 

The piano is nice. Is that Ian Stewart? I can't understand the way Wikipedia lists it. 

Nicky Hopkins

 

[Dr. Octopus]

69. Star Star

Year: 1973

US Album: Goats Head Soup

Songwriter: Jagger/Richards

"Baby, baby, I've been so sad since you've been gone
Way back to New York City
Where you do belong
Honey, I missed your two tongue kisses
Legs wrapped around me tight
If I ever get back to Fun City, girl
I'm gonna make you scream all night"

Lyrics NSFW

Second dirtiest lyrics to a Stones song ever. The first being "########## Blues" which was only recorded to fulfill their obligation to ABKCO records before jumping ship. With a chorus that repeated "I need my #### sucked, I need my ### ####ed" that one was never released.

From wiki
 

"Star Star" is a song by The Rolling Stones that appeared on their 1973 album Goats Head Soup. In some European countries, including France and Germany, it was released as a single backed with "Doo Doo Doo Doo Doo (Heartbreaker)." One of the raunchiest songs in the band's catalogue, the song was originally titled "Star####er" until Atlantic Records owner Ahmet Ertegün (Atlantic was the distributor of Rolling Stones Records) insisted on the change.

The song gained notoriety not only for explicit lyrics alluding to sex acts involving fruit (among other things) but also for controversial mentions of such celebrities as John Wayne and Steve McQueen. It was released about nine months after Carly Simon's affair with Jagger and the release of the song, "You're So Vain" on which Jagger provided background vocals. Simon, who was by now married to fellow singer-songwriter James Taylor, had moved to Hollywood, which is mentioned in the lyrics of "Star Star". The lyric "Yeah, you and me we made a pretty pair" also echoes the verse "well you said that we made such a pretty pair" in "You're So Vain." While discussing the song, the band members have always referred to the song by its original title. A live performance was captured and released on 1977's Love You Live. Atlantic tinkered with the mix in order to suppress the key expletives, but the very first promo copies were pressed unaltered.

"Star Star" is a classic Chuck Berry-style rocker that slowly increases in momentum as the song progresses. The opening lick, stabs in the verses and solo are played by Keith Richards and the rhythm guitar by Mick Taylor. Bill Wyman's bass line is postponed until the second verse.

I swear I just realized this now and it's purely coincidence that this song comes in at 69 - even with lyrics like "And lead guitars and movie stars
Get their tongues beneath your hood".

 

[Dr. Octopus]

68. Not Fade Away

Year: 1964

US Album: England’ Newest Hit Makers

Songwriter: Buddy Holly/Norman Petty

The Stones covered this Buddy Holly song adding a strong Bo Diddley beat to it. It was their first U.S. single but only hit 48 on the charts.

This one showcases Brian on the harp and the tightness of the rhythm section.

 

[simey]

71. Some Girls.

This song isn't the best on the album, but it is tied for my favorite (my other favorite is sung by KR). I love the groove.

 

[Dr. Octopus]

my favorite (my other favorite is sung by KR).

Still to come...

 

[otb_lifer]

69. Star Star

Year: 1973

US Album: Goats Head Soup

Songwriter: Jagger/Richards

"Baby, baby, I've been so sad since you've been gone
Way back to New York City
Where you do belong
Honey, I missed your two tongue kisses
Legs wrapped around me tight
If I ever get back to Fun City, girl
I'm gonna make you scream all night"

Lyrics NSFW

Second dirtiest lyrics to a Stones song ever. The first being "########## Blues" which was only recorded to fulfill their obligation to ABKCO records before jumping ship. With a chorus that repeated "I need my #### sucked, I need my ### ####ed" that one was never released.

From wiki
 

I swear I just realized this now and it's purely coincidence that this song comes in at 69 - even with lyrics like "And lead guitars and movie stars
Get their tongues beneath your hood".

TRICKS WITH FRUIT/ARE KINDA CUTE ... I BET YOU KEEP YOUR CLEAN 

 

[otb_lifer]

68. Not Fade Away

Year: 1964

US Album: England’ Newest Hit Makers

Songwriter: Buddy Holly/Norman Petty

The Stones covered this Buddy Holly song adding a strong Bo Diddley beat to it. It was their first U.S. single but only hit 48 on the charts.

This one showcases Brian on the harp and the tightness of the rhythm section.

fantastic - again, as good as anything the Fabs were churning out - Jonesy killin' it

 

[wikkidpissah]

68. Not Fade Away

Year: 1964

US Album: England’ Newest Hit Makers

Songwriter: Buddy Holly/Norman Petty

The Stones covered this Buddy Holly song adding a strong Bo Diddley beat to it. It was their first U.S. single but only hit 48 on the charts.

This one showcases Brian on the harp and the tightness of the rhythm section.

Well i wasn't prepared for this because, Not Fade Away being the song that served notice that the Stones were gonna change music, i expected it to be much higher in the countdown. Then i remember that, because of his age, our listmaster encountered our favorite band readymade and never felt the wash of sexrhythmvoodoo crash down on his short & curlies as the warning thunder of a tsunami tide.

OK, fair enough, it's Monday and i like a weekstarter project so i'll oldsplain to y'all now. Not Fade Away is where headbanging began. We knew what sexrhythmvoodoo was because Elvis had it, but we didn't nor expected to feel it for ourselves. Songs that popped still got us in our feet cuz swing had us used to reacting to upbeat music thataway. The Twist integrated the torso a lilbit and then pop bands and them spunky Beatles got our shoulders shimmy shakin' to it. All the other stuff was what Negroes did and our folks aint paying for college if'n we go there.

And then these punks came along with a song all of us had heard Buddy Holly do, with a beat some of us had heard Bo Diddley do. And it was pretty cool.

But then a turrible thing happened. We'd bob along until that harmonica wail, but then there was this awful twitch in our crown jewels......there it is again. And then, the twitch gathered itself and thrust our entire pelvis out. Then it happened again....again....and again. Uh.uh.uh.uhuh.uh. All of a sudden our hips were thrusting & locking in a way that was almost as if we were waving our frank & beans like they was a flag. And nothing ever would be the same.

p.s. How that began headbanging. I got maybe forty pages on how you can class people on the melodic/rhythmic spectrum and type their personalities accordingly, but i won't bore you with that. All i'll say for now is that hyperactivity disorders are sublimations of early sex drive. Because a young man, even those cleverly wearing long Irish sweaters to cover boner eruptions, cant go waving his frank & beans all over the place and once sexrhythmvoodoo was out of the bag, a boy would distract himself by bobbing his head, tapping his feet, drumming with his pencil and once those sublimations sweep a boy up, the voodoosexrhythms & their sublimations are too loud for him to listen to anything else. tada! When metal came along, fist-shaking, dervish-bobbing & moshpitting were added to the sublimations. Maybe we shoulda allowed the frank&bean flag to fly.

 

[Dr. Octopus]

67. Out of Time

Year: 1966

US Album: Flowers

Songwriter: Jagger/Richards

 “You thought you were a clever girl
Giving up your social whirl
But you can't come back and be the first in line, oh no
Youre obsolete my baby
My poor old-fashioned baby
I said baby, baby, baby you're out of time”

How many songs rock with the marimba as a lead instrument? Brian, of course, plays it as well as the piano. Ian Stewart plays the Hammond organ and Keith plays all electric and acoustic guitars.

Mick’s words to the woman who left him and is looking to come to him back are direct and biting – and Keith’s backing vocals are as usual fantastic.

 

[otb_lifer]

67. Out of Time

Year: 1966

US Album: Flowers

Songwriter: Jagger/Richards

 “You thought you were a clever girl
Giving up your social whirl
But you can't come back and be the first in line, oh no
Youre obsolete my baby
My poor old-fashioned baby
I said baby, baby, baby you're out of time”

How many songs rock with the marimba as a lead instrument? Brian, of course, plays it as well as the piano. Ian Stewart plays the Hammond organ and Keith plays all electric and acoustic guitars.

Mick’s words to the woman who left him and is looking to come to him back are direct and biting – and Keith’s backing vocals are as usual fantastic.

man, this period of theirs is my wheelhouse - prime Jonesy, gorgeous pop sensibilities ... tight as #### production - would have slotted top 25, but, that's just me 

DumDum Boyz Homage

 

[Dr. Octopus]

66. It's All Over Now

Year: 1964

US Album: 12 x 5

Songwriter: Womack/Womack

This song was written by Bobby Womack and Shirley Womack and recorded by Bobby’s band with his brothers, the Valentinos.

From wiki

The Valentinos' original version of the song was played to the Rolling Stones during their first North American tour in June 1964 by New York radio DJ Murray the K. Murray the K had an extended series of interviews with the Stones on his WINS Swinging Soiree hit radio show following his similar success as the first radio DJ in the USA to have the Beatles with him on the air (February 1964). He played the Valentinos' song to the Stones, who "raved on it" and said "it was their kind of song".[citation needed] He also played the Stones' "King Bee" (their Slim Harpo cover) the same night and remarked on their ability to achieve an authentic blues sound. After hearing "It's All Over Now" by the Womack Brothers (aka the Valentinos) on the WINS show, the band recorded their version nine days later at Chess Studios in Chicago. Years later, Bobby Womack said in an interview that he had told Sam Cooke he did not want the Rolling Stones to record their version of the song, and that he had told Mick Jagger to get his own song. Cooke convinced him to let the Rolling Stones record the song. Six months later on, after receiving the royalty check for the song, Womack told Cooke that Mick Jagger could have any song he wanted.

The Stones’ version is rollicking fun with Mick’s confidence and Keith and Brian adding backing vocals.

 

[Dr. Octopus]

65. Before They Make Me Run

Year: 1978

US Album: Some Girls

Songwriter: Jagger/Richards

“Booze and pills and powders, you can choose your medicine”

This one was written and sung by Keith and relates to his arrest for heroin possession in Toronto. The criminal charges and the prospect of a long prison sentence loomed over the recording on the Some Girls record.

The song was recorded in five days without Keith getting any sleep and without Mick being at sessions at all. Only Keith, playing electric and acoustic guitar and bass, Ronnie on pedal steel and slide guitar and backing vocals and Charlie on drums played on it – although Mick’s backing vocals were added later.

The line “it’s another goodbye to another good friend” is said to be in reference to Gram parsons who dies in 1973 from an overdose.

 

[Dr. Octopus]

64. I'm Free

Year: 1965

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

Songwriter: Jagger/Richards

“I'm free to choose what I please any old time
I'm free to please what I choose any old time
So hold me, love me, love me, hold me
I'm free any old time to get what I want, yes I am”

This is one of those songs that everyone has likely heard but do not know by title or even that it is/was a Rolling Stones’ song (there have been a few covers, and it’s been used in commercials). It’s a folk rock song reminiscent of what the Byrds would be doing a few months later. It was a bit more political, albeit in a libertarian kind of way, than most of their music and should have been a bigger sixties anthem when considering the message it was putting forth.

The Stones also “borrow” a line from the Beatles “Eight Days a Week” including "Hold me, love me, hold me, love me." into this song.

 

[Dr. Octopus]

63. She's So Cold

Year: 1980

US Album: Emotional Rescue

Songwriter: Jagger/Richards

“I'm so hot for her and she's so cold”

I think Mick may think this chick is a bit cold, but he’s being a little cryptic about it. This is a typical Stones rocker with excellent work from Bill on bass and Charlie on drums.

We know there is some people out there that are not fans of Mick’s vocals, but songs like this show he can deliver and elevate a song into more than it is.

@wikkidpissah earlier eluded to our age differences and how it may affect how we each feel about certain songs, and while I am not young, he is right in that by the time I started getting into the Stones (around the sixth grade) this is what the Stones were about to be putting out. So songs from Emotional Rescue and Tattoo You have some nostalgia effects on my rankings – even though I recognize their true greatness was years before. So while I was discovering Sticky Fingers and Let It Bleed (after being introduced to the “old” Stones music through Hot Rocks), this was being played on MTV and the radio and further cemented my love for the band.

 

[Dr. Octopus]

With that said, there are only four more songs left to go from their 1980/1981 output (Emotional Rescue and Tattoo You) and everything else will precede (many by considerable margins) those years. Oh, and as eluded to earlier in the "Tops" write up, once of those songs released on Tattoo You was actually first recorded in late 1972.

 

[wikkidpissah]

63. She's So Cold

Year: 1980

US Album: Emotional Rescue

Songwriter: Jagger/Richards

“I'm so hot for her and she's so cold”

I think Mick may think this chick is a bit cold, but he’s being a little cryptic about it. This is a typical Stones rocker with excellent work from Bill on bass and Charlie on drums.

We know there is some people out there that are not fans of Mick’s vocals, but songs like this show he can deliver and elevate a song into more than it is.

@wikkidpissah earlier eluded to our age differences and how it may affect how we each feel about certain songs, and while I am not young, he is right in that by the time I started getting into the Stones (around the sixth grade) this is what the Stones were about to be putting out. So songs from Emotional Rescue and Tattoo You have some nostalgia effects on my rankings – even though I recognize their true greatness was years before. So while I was discovering Sticky Fingers and Let It Bleed (after being introduced to the “old” Stones music through Hot Rocks), this was being played on MTV and the radio and further cemented my love for the band.

Yeah, if the Beatles discography had extended out to the 70s & 80s and beyond i would likely have had many more tiffs w @krista4 over generational biases as well. Stones & Beatles & Elvis are set above almost any other artistic revelations because they were actually establishing generations as true cultural entities with what they did. Swing kicked the whole thing off, actually, but didn't have the corresponding icons. Since the world looked different before & after those three acts made the scene, the witnesses will always be possessive of the fact that the first time music made them feel a twitch in their switch was the same time that the whole world felt it for the first time, too. It's all just luck of timing, but the positive charge that the Liverpudlians put into the post-assassination world and the negative charge the Stones shocked it up with to make rock such a dynamic element will always be most special to those who were there, especially if they were in the awakening point of their lives when it happened.

That said, Jagger might have been better suited to the glam-to-punk 70s. He could not, of course, have the nihilism about sound that the punks did because he had made some the music they were reacting to, but their 'tudeful rhythms were well suited to him and he always had fun with em, like here.

ETA: After all, Mick's the burning bush, the burning fire, he's the bleeding volcano....

 

[Dr. Octopus]

ETA: After all, Mick's the burning bush, the burning fire, he's the bleeding volcano....

 

[Dr. Octopus]

62. I Got the Blues

Year: 1971

US Album: Sticky Fingers

Songwriter: Jagger/Richards

“At three o'clock in the morning, babe, well I'm singing my song for you”

Music critic Richie Unterberger describes this song musically as falling into “the school of slow STAX ballads, by Redding and some others”. It’s a very beautiful blues ballad anyway you look at it.

Regular Stones’ contributors Billy Preston (Hammond organ), Bobby Keys (saxophone) and Jim Price (trumpet) play major roles in this one behind Mick’s soulful wailing.

 

[Dr. Octopus]

61. #####

Year: 1971

US Album: Sticky Fingers

Songwriter: Jagger/Richards

“Yeah when you call my name, I salivate like I’m Pavlov’s dogs”

This song IS the Rolling Stones – Keith with his riffs, Taylor and Keith with the screaming solos, Charlie pounding on the skins, Bill thumping on bass, and the blistering brass section (Keys and Price once again) – all over Mick’s possessed vocals.

Originally the B-side to “Brown Sugar” prior to the album’s release this song garnered major airplay despite not being the single.

Keith helped shape the song that was just a loose jam when he showed up to the studio by incorporating his trademark riffs into the mix.

 

[Dr. Octopus]

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).

 

[wikkidpissah]

61. #####

Year: 1971

US Album: Sticky Fingers

Songwriter: Jagger/Richards

“Yeah when you call my name, I salivate like I’m Pavlov’s dogs”

This song IS the Rolling Stones – Keith with his riffs, Taylor and Keith with the screaming solos, Charlie pounding on the skins, Bill thumping on bass, and the blistering brass section (Keys and Price once again) – all over Mick’s possessed vocals.

Originally the B-side to “Brown Sugar” prior to the album’s release this song garnered major airplay despite not being the single.

Keith helped shape the song that was just a loose jam when he showed up to the studio by incorporating his trademark riffs into the mix.

It's also right in the wheelhouse of when Jagger was the most evocative lyricist there ever was. not Dylan, not Smokey, not Cole Porter nor Luigi Illica. Sir Michael Phillip Jagger. i'm gonna wait for the A-side to go into this, though.

 

[brianj74]

61. #####

Year: 1971

US Album: Sticky Fingers

Songwriter: Jagger/Richards

“Yeah when you call my name, I salivate like I’m Pavlov’s dogs”

This song IS the Rolling Stones – Keith with his riffs, Taylor and Keith with the screaming solos, Charlie pounding on the skins, Bill thumping on bass, and the blistering brass section (Keys and Price once again) – all over Mick’s possessed vocals.

Originally the B-side to “Brown Sugar” prior to the album’s release this song garnered major airplay despite not being the single.

Keith helped shape the song that was just a loose jam when he showed up to the studio by incorporating his trademark riffs into the mix.

The guitar work in this song alone makes it easily a top 20 Stones tune.

 

[Man of Constant Sorrow]

61. #####

Year: 1971

US Album: Sticky Fingers

Songwriter: Jagger/Richards

“Yeah when you call my name, I salivate like I’m Pavlov’s dogs”

This song IS the Rolling Stones – Keith with his riffs, Taylor and Keith with the screaming solos, Charlie pounding on the skins, Bill thumping on bass, and the blistering brass section (Keys and Price once again) – all over Mick’s possessed vocals.

Originally the B-side to “Brown Sugar” prior to the album’s release this song garnered major airplay despite not being the single.

Keith helped shape the song that was just a loose jam when he showed up to the studio by incorporating his trademark riffs into the mix.

I said hey, yeah I feel alright now
Got to be a
Hey, I feel alright now
Hey hey hey
Hey hey yeah
Hey hey hey
Hey hey yeah
Hey hey hey
Hey hey yeah
Hey hey hey
Hey hey yeah
Hey hey hey

 

[Man of Constant Sorrow]

62. I Got the Blues

Year: 1971

US Album: Sticky Fingers

Songwriter: Jagger/Richards

“At three o'clock in the morning, babe, well I'm singing my song for you”

Music critic Richie Unterberger describes this song musically as falling into “the school of slow STAX ballads, by Redding and some others”. It’s a very beautiful blues ballad anyway you look at it.

Regular Stones’ contributors Billy Preston (Hammond organ), Bobby Keys (saxophone) and Jim Price (trumpet) play major roles in this one behind Mick’s soulful wailing.

I  this one!

As I sit by the fire
Of your warm desire
I've got the blues for you, yeah




In the silk sheet of time
I will find peace of mind
Love is a bed full of blues

 

 

[Man of Constant Sorrow]

63. She's So Cold

Year: 1980

US Album: Emotional Rescue

Songwriter: Jagger/Richards

“I'm so hot for her and she's so cold”

I think Mick may think this chick is a bit cold, but he’s being a little cryptic about it. This is a typical Stones rocker with excellent work from Bill on bass and Charlie on drums.

We know there is some people out there that are not fans of Mick’s vocals, but songs like this show he can deliver and elevate a song into more than it is.

@wikkidpissah earlier eluded to our age differences and how it may affect how we each feel about certain songs, and while I am not young, he is right in that by the time I started getting into the Stones (around the sixth grade) this is what the Stones were about to be putting out. So songs from Emotional Rescue and Tattoo You have some nostalgia effects on my rankings – even though I recognize their true greatness was years before. So while I was discovering Sticky Fingers and Let It Bleed (after being introduced to the “old” Stones music through Hot Rocks), this was being played on MTV and the radio and further cemented my love for the band.

Yeah, the time of my initiation into the Stones is about the same as yours. I definitely watched this on MTV quite a bit. It is part of what pulled me in deeper.

 

[krista4]

64. I'm Free

This is one of those songs that everyone has likely heard but do not know by title or even that it is/was a Rolling Stones’ song (there have been a few covers, and it’s been used in commercials).

I like this version much better than any other I've heard.

62. I Got the Blues

Music critic Richie Unterberger describes this song musically as falling into “the school of slow STAX ballads, by Redding and some others”. It’s a very beautiful blues ballad anyway you look at it.

Can definitely see (hear?) the Stax comparison, though the horns would be bigger.  Would that I could hear Otis singing this one...

60. She Smiled Sweetly

Year: 1967

US Album: Between the Buttons

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.

Continuing to find a lot to like on this album.  The sparseness you mention really works here.  I could hear it even with just the drums, piano, and vocal and would still like it quite a lot.

 

[Dr. Octopus]

Continuing to find a lot to like on this album.  The sparseness you mention really works here.  I could hear it even with just the drums, piano, and vocal and would still like it quite a lot.

3 more to come - 2 of which you’ve surely heard before.

 

[Dr. Octopus]

59. Heaven

Year: 1981

US Album: Tattoo You

Songwriter: Jagger/Richards

“You're my saving grace
Saving grace
Nothing will harm you
Nothing will stand in your way”

I’m sure most will think this song is too high on the list, but it just blows me away. There is no other Stones song that sounds like this one. I’m not even sure what “genre” you would label it, but it’s just very mystical/dreamy and sounds like music to meditate to.

Part of the reason it may sound so different is that none of the Stones real guitarists play on it. Mick and Bill Wyman play the electric guitar and Bill also plays synthesizer and percussion. Charlie plays percussion as well and the record's associate producer, Chris Kimsey, plays the electric piano.

 

[Dr. Octopus]

58. The Spider and the Fly

Year: 1965

US Album: Out of Our Heads

Songwriter: Jagger/Richards

 

Sittin', drinkin', sinkin', thinkin'
Wonderin' what I'd do when I'm through tonight
Smokin', mopin', maybe just hopin'
Some little girl will pass on by
Don't wanna be alone but I love my girl at home
I remember what she said (what she said)
She said, ‘my, my, my, don't tell lies, keep fidelity in your head
My my my, don't tell lies, when you're done you should go to bed
Don't say hi, like a spider to a fly
Jump right ahead and you're dead’ “

An early blues original by the Stones tells the story about a musician on the road trying to stay faithful to his girl back home but finding it extremely difficult.

Mick plays some great harmonica on this one while Keith and Brian weave in and out of the lead on guitar

When they re-recorded this song in 1995 for their Stripped record Mick showed enough self-awareness at his advanced age to change this line from the 1965 original:

“She was common, flirty, she looked about thirty
I would have run away but I was on my own”

to

“She was common, nifty, she looked about fifty
I would have run away but I was on my own”

 

[Dr. Octopus]

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.

 

[wikkidpissah]

*wikkid throws tomatoes at the movie screen*

 

[Dr. Octopus]

*wikkid throws tomatoes at the movie screen*

We'll get you back on track...

 

[Dr. Octopus]

56. The Last Time

Year: 1964

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

Songwriter: Jagger/Richards

From wiki:

Although "The Last Time" is credited to Jagger/Richards, the song's refrain is very close to "This May Be the Last Time", a 1958 song by the Staple Singers. In 2003, Richards acknowledged this,[3] saying: "we came up with 'The Last Time', which was basically re-adapting a traditional gospel song that had been sung by the Staple Singers, but luckily the song itself goes back into the mists of time." The Rolling Stones' song has a main melody and a hook (a distinctive guitar riff) that were both absent in the Staple Singers' version. Phil Spector, whose "Wall of Sound" approach can be heard on the recording, assisted with the production.

Also from Wiki regarding the Verve copyright infringement controversy:

In 1965, Andrew Oldham Orchestra recorded the song for the album The Rolling Stones Songbook. The recording and its distinctive passage for strings was written and arranged by David Whitaker.[14][15]

In 1997, former Rolling Stones business manager Allen Klein, whose company ABKCO Records owns the rights to all Rolling Stones material from the 1960s, sued English rock band the Verve for using a sample of the Andrew Oldham Orchestra recording of "The Last Time" in their hit song "Bitter Sweet Symphony". The Verve had obtained a licence to use the sample, but Klein successfully argued that the band used more than the licence covered. The Verve were required to relinquish 100% of their royalties from their hit song to ABKCO and the songwriting credit was changed to Jagger/Richards/Ashcroft. This led to Andrew Loog Oldham, who owns the copyright on the orchestral rendition that was sampled, also suing the Verve.[16]

In May 2019 Ashcroft announced that the Stones had handed over their copyrights on this song to him.[17]

So for the record contrary to stories out there it was never actually the Stones who sued the Verve over the song, it was Allen Klein.

Here is the Andrew Oldham Orchestra version of the song (which you can see the Verve used quite extensively):  The Last Time

The Who also covered this song: The Last Time

 

[wikkidpissah]

56. The Last Time

Year: 1964

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

Songwriter: Jagger/Richards

From wiki:

Also from Wiki regarding the Verve copyright infringement controversy:

So for the record contrary to stories out there it was never actually the Stones who sued the Verve over the song, it was Allen Klein.

Here is the Andrew Oldham Orchestra version of the song (which you can see the Verve used quite extensively):  The Last Time

The Who also covered this song: The Last Time

best sample ever. some one, female i think, should sing The Last Time as a torch song to some approximation of the Oldham arrangement

ETA: i can hear her: *declarativo* "this could be the last time...........bay-BEE..*descending staccato* i dont know" *string, on "know" dundundun-dadada-deedada-dadada

 

[Dr. Octopus]

55. Sweet Black Angel

Year: 1972

US Album: Exile on Main St.

Songwriter: Jagger/Richards

“Well de gal in danger, de gal in chains, but she keep on pushin', would you do the same?
She countin' up de minutes, she countin' up de days.
She's a sweet black angel, not a gun toting teacher, not a Red lovin' school marm;
Ain't someone gonna free her, free de sweet black slave, free de sweet black slave “

One of the most overtly political songs the Stones have ever written and recorded, this beautiful country-blues (and perhaps even a little reggae) song is about civil rights activist Angela Davis who was facing murder charges at the time.

Critic Steve Kurutz wrote in his review of the album:

Having never heard of Angela Davis, a listener could easily overlook the political lyrics and get lost in the circular acoustic plucking or the washboard rhythm that propels the song so well. Yet, by knowing the case history one realizes how deft and clever Mick's lyrics could be, even if he hides behind his best backwoods diction and garbled annunciation [sic] obscure the point.

Mick plays the harmonica and Keith offers his typically complimentary backing vocals that are sung in harmony on most of the song.

 

[Dr. Octopus]

54. Start Me Up

Year: 1981

US Album: Tattoo You

Songwriter: Jagger/Richards

One of the most famous opening riffs gets this stadium anthem started. Originally recorded during the Some Girls sessions as a reggae rock tune called “Never Stop”, it was abandoned and re-worked for the Tattoo You record.

Besides Keith’s anthematic riff, the track is mostly just Charlie’s steady backbeat and Bill’s thumping bass. Plus COWBELL!!!!

The song spent three weeks at No. 2 on the Billboard Hot 100 chart being kept from reaching No. 1 by “Arthur’s Theme (The Best That You Can Do)” by Christopher Cross and “Private Eyes” by Hall & Oates.

 

[Man of Constant Sorrow]

54. Start Me Up

Year: 1981

US Album: Tattoo You

Songwriter: Jagger/Richards

One of the most famous opening riffs gets this stadium anthem started. Originally recorded during the Some Girls sessions as a reggae rock tune called “Never Stop”, it was abandoned and re-worked for the Tattoo You record.

Besides Keith’s anthematic riff, the track is mostly just Charlie’s steady backbeat and Bill’s thumping bass. Plus COWBELL!!!!

Great song.

And this:

The song spent three weeks at No. 2 on the Billboard Hot 100 chart being kept from reaching No. 1 by “Arthur’s Theme (The Best That You Can Do)” by Christopher Cross and “Private Eyes” by Hall & Oates.

Lord - I remember those. We were playing Dungeons & Dragons in a friends basement singing "Private Eyes". I can't remember if we found what we were looking for, but my wizard survived the investigation.

 

[wikkidpissah]

55. Sweet Black Angel

Year: 1972

US Album: Exile on Main St.

Songwriter: Jagger/Richards

54. Start Me Up

Year: 1981

US Album: Tattoo You

Songwriter: Jagger/Richards

We hittin the torrid zone. Angel is my favorite post-Jonesy acoustic Stones

 

[Man of Constant Sorrow]

56. The Last Time

Year: 1964

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

Songwriter: Jagger/Richards

From wiki:

Also from Wiki regarding the Verve copyright infringement controversy:

So for the record contrary to stories out there it was never actually the Stones who sued the Verve over the song, it was Allen Klein.

Here is the Andrew Oldham Orchestra version of the song (which you can see the Verve used quite extensively):  The Last Time

The Who also covered this song: The Last Time

The Last Time - Live

Like all the versions you link.

 

[Man of Constant Sorrow]

59. Heaven

Year: 1981

US Album: Tattoo You

Songwriter: Jagger/Richards

“You're my saving grace
Saving grace
Nothing will harm you
Nothing will stand in your way”

I’m sure most will think this song is too high on the list, but it just blows me away. There is no other Stones song that sounds like this one. I’m not even sure what “genre” you would label it, but it’s just very mystical/dreamy and sounds like music to meditate to.

Part of the reason it may sound so different is that none of the Stones real guitarists play on it. Mick and Bill Wyman play the electric guitar and Bill also plays synthesizer and percussion. Charlie plays percussion as well and the record's associate producer, Chris Kimsey, plays the electric piano.

Yeah. Very different imo. I like the overall flange effect.

 

[krista4]

55. Sweet Black Angel

Year: 1972

US Album: Exile on Main St.

Songwriter: Jagger/Richards

“Well de gal in danger, de gal in chains, but she keep on pushin', would you do the same?
She countin' up de minutes, she countin' up de days.
She's a sweet black angel, not a gun toting teacher, not a Red lovin' school marm;
Ain't someone gonna free her, free de sweet black slave, free de sweet black slave “

One of the most overtly political songs the Stones have ever written and recorded, this beautiful country-blues (and perhaps even a little reggae) song is about civil rights activist Angela Davis who was facing murder charges at the time.

Critic Steve Kurutz wrote in his review of the album:

Mick plays the harmonica and Keith offers his typically complimentary backing vocals that are sung in harmony on most of the song.

Fantastic;  by far my favorite of today's picks.

 

[shuke]

54. Start Me Up

Year: 1981

US Album: Tattoo You

Songwriter: Jagger/Richards

One of the most famous opening riffs gets this stadium anthem started. Originally recorded during the Some Girls sessions as a reggae rock tune called “Never Stop”, it was abandoned and re-worked for the Tattoo You record.

Besides Keith’s anthematic riff, the track is mostly just Charlie’s steady backbeat and Bill’s thumping bass. Plus COWBELL!!!!

The song spent three weeks at No. 2 on the Billboard Hot 100 chart being kept from reaching No. 1 by “Arthur’s Theme (The Best That You Can Do)” by Christopher Cross and “Private Eyes” by Hall & Oates.

For some reason I can't stand this song. 

 

[shuke]

56. The Last Time

Year: 1964

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

Songwriter: Jagger/Richards

Top 5-10 easily.