Label: ABKCO - TA-1077 • Format: 2x, Vinyl LP, Compilation • Country: Canada • Genre: Rock • Style: Rock & Roll, Classic Rock
To make the list, we asked each of these Stones experts to rank their 50 favorite songs, then tabulated the results. This rockabilly jump-blues blaster — with session man Bill Plummer on upright bass and two kick-ass Bobby Keys solos — is a crazy American travelogue in which even President Nixon is holding dope for the band. If it's not the fastest Stones song ever, it's one of the hottest. Even in the Summer of Love, the Stones weren't the types to put on a smiley face.
At the height of flower power, fresh out of jail, they were more interested in singing "Blow away, dandelion. We're outlaws. At the dawn of the Eighties, the music world Honky Tonk Women - The Rolling Stones - 30 Greatest Hits full of young post-punk bands trying to fuse rock energy with disco momentum — but it took the Stones to get it right like Honky Tonk Women - The Rolling Stones - 30 Greatest Hits . Like so many of the cuts on Emotional Rescueit's a deceptively breezy mix of the blues and contemporary dance music.
So this is what it felt like to be the Rolling Stones in — dark, jumpy, surly, a little bit paranoid, barely a step ahead of the law. Jagger and Richards sum up their jangled nerves in "Connection," one of their Buffalo Twist - Various - Great Country Hits Vol.8 searing vocal duets, over a staccato rhythm-guitar riff.
It's one of the first Stones songs to feature Richards' voice so prominently. Yet the paranoia turned out to be totally justified in real life. Soon after "Connection" came out on Between the Buttons in Januarythe Stones found themselves targeted by the police and facing the prospect of jail time.
During their drug-possession trial later that year, Jagger and Richards flaunted their outlaw defiance — as Jagger announced to the press, after Honky Tonk Women - The Rolling Stones - 30 Greatest Hits bail, "There's not much difference between a cell and a hotel room in Minnesota.
And I do my best thinking in places without distractions. Although it's barely two minutes long, and never became any kind of Sandstorm - Various - DJs Party, "Connection" has always been a favorite of Stones connoisseurs — including Richards: This was the Stones song he picked to bust out on his first solo tour, in Augmented by Jones' innovative use of dulcimer and Jack Nitzsche's harpsichord, the decorously pretty song showed that rock could look to England's cultural heritage for influence, in the same way the sitar on "Paint It, Black" alluded to its colonial past.
InJagger was reportedly inspired by John Lennon to write a working-class Left To My Owen - Various - The Hangman Compilation: A Journey Into House & Trance. Featuring a cracked, soulful vocal from Richards during the intro, "Salt of the Earth" ascends to gospel reverie.
Jagger's tributes to the common foot soldier and lowly of birth are tinged with harsh irony "They don't look Honky Tonk Women - The Rolling Stones - 30 Greatest Hits to me". In the summer ofRichards started hanging out with the Byrds' Gram Parsons.
Those Honky Tonk Women - The Rolling Stones - 30 Greatest Hits harmonies come to life on "Torn and Frayed," an endearingly sloppy juke-joint singalong about a ragged, well-meaning rambler touring ballrooms and smelly bordellos. The debauched character sounds a lot like Richards, who reportedly was Honky Tonk Women - The Rolling Stones - 30 Greatest Hits detox and couldn't complete the guitar overdub on the song — Parsons' friend Al Perkins was called in to handle the job.
Richards stabbed his Telecaster in newly discovered open-G tuning he learned from Ry Cooder. The music's dark vibe has an appropriately droogy influence. Arguably the prettiest track ever by a crew not known for "pretty" — a pastoral piano melody wrapped in chamber-music strings arranged by a pre- Led Zeppelin John Paul Jones, with child-like la-la-la 's swooping through like gnomes in a playground.
Brother Of Dusk And Umber - Origamibiro - Collection the one essential track on Satanic Majestiesa beautifully constructed piece of psychedelic pop. But the dissonant breakdown and the faintly lewd vision of a girl who "comes in colors everywhere" a line possibly bitten off Love's "She Comes in Colors" reminds you who is behind it. Fans speculated Exile on Main Street 's gospel masterpiece — a heartbreaking portrait of a wasted loved one in twilight — was about Jones.
But Jagger had completed a version as early asa year before Jones' death. The band resurrected the song in July during the Sticky Fingers sessions. It's basically a Jagger solo track, with Taylor on guitar and bass, Jimmy Miller on drums and Billy Preston on haunting organ and keyboard — Jagger added the elegiac gospel choir after Preston took him to hear music at the Los Angeles church of the Rev.
James Cleveland. The title track was written by Jaggerwho cut a demo with David Bowie. When Richards heard it, he demanded they "steal that motherfucker back. Jones' mournful slide guitar on this quiet masterpiece would be one of his final major contributions.
When the Stones decided to have a bash at mega-sincerity, they really went all the way — like in this extravagantly sentimental road ballad, which they stretch out to seven minutes. Jagger and Richards trade off lead vocals in the tale of a guitar-toting hippie girl named Hannah with hazel eyes, curved teeth and a pickup truck who meets Jagger at a cheap motel on Long Island and leaves him drunk and crying — "a real, independent American girl," Jagger said in Cut on a late January night as a janitor swept up at L.
Released as the B side of "The Last Time," the song is a takedown of a spoiled aristocratic woman, which fit the band's anti-establishment image. It name-checks California wine, alludes to pills "Drop your reds, drop your greens and blues"and in what might be the album's most memorable line — "Got to scrape that shit right off your shoes!
Taylor's liquid guitar runs make it a candidate for the greatest acoustic song in the Stones catalog. Speaking of waiting, the Stones kept this song in the vaults for almost a decade before releasing it as the grand finale on Tattoo You. They originally cut it in Kingston, Jamaica, during the sessions for Goats Head Soupwith Nicky Hopkins playing graceful piano runs against Richards' fragile strumming.
Jagger went back years later, finished up the lyrics and delivered one of his masterfully soulful vocal performances, ruminating over a case of grown-up loneliness. As Jagger recalled, "I said, 'Would you like me to stay out there in the studio? The famous video features Jagger and Richards hanging out with some buddies including reggae great Peter Tosh on a stoop on New York's St.
It still sounds impressively nuts — from its long, vaguely scandalous title to its five-alarm horn blasts to its early use of guitar feedback to its haywire tempo to its decadent noir-psych lyrics. It was especially controversial for its cover, an image of the bandmates dressed in drag. After they shot it, they went to a bar, still dolled up in dresses and wigs.
The Stones worked on the title track to Let It Bleed for so long that Richards' fingers literally started bleeding from playing its acoustic-guitar riff over and over. Yet the finished product has an intimate raggedness, with Ian Stewart's roadhouse piano and Taylor's country-tinged leads perfectly complementing Jagger's evocations of degradation and salvation, "coke and sympathy. This campy honky-tonk jam is part sendup — "[I] think a lot of country music is sung with the tongue in cheek, Monarch Wings - Greycoats - Setting Fire To The Great Unknown I do it tongue-in-cheek," Jagger said.
Yet it's utterly convincing: a boozy dressing-down of a former girlfriend that doubles as a kiss-off to the flower-power Sixties, recorded under the clear influence of Richards' drug buddy Gram Parsons. That balance of revelry and mourning, in fact, is what makes it a great country tune, and why Townes Van Zandt and Steve Earleamong the many who have covered it, helped to make it a genre classic. Richards' exuberantly sung anthem happened "in one grand bash," according to the guitarist.
It was only [saxophonist] Bobby Keys and Jimmy Miller, who was producing. I was like, 'I got this idea, let's just put it down for when the guys arrive. Jagger added harmonies later. The song was originally a reggae tune recorded during the sessions for 's Black and Blue. It was reworked into a rocker at the Some Girls sessions, before finally landing on Tattoo You in When Stones manager Andrew Loog Oldham Stargazer - Rainbow - Live In Germany 1976 locked Jagger and Richards in a kitchen and ordered them to start writing original material, Richards began picking guitar chords, and this melancholy ballad magically appeared.
Richards says he and Jagger weren't initially knocked out by it — "We thought, 'What a terrible piece of tripe'" — but Oldham knew a hit when he heard it and cut a version with Jagger's girlfriend, Marianne Faithfull, which hit Number 22 on the U.
The Stones cut their own strings-drenched rendition the following year. But "It's All Over Now" was one of the moments where they found their voice Honky Tonk Women - The Rolling Stones - 30 Greatest Hits a band, especially in the final minute, with its apocalyptic rhythm-guitar duel between Richards and Jones.
The original is laid-back and funky, but the Stones crank up the aggression, with Jagger slurring the line about "high-class game" so it sounds like "half-assed game. It's also one of the Stones' most uproarious rockers, with a sludge-guitar riff and a flurry of "sha-doobie" grunts that steal some thunder back from punk rock.
As Jagger said, "How I remember it is Keith had this riff and this line, 'sha-doobie,' and I came up with the melody and the lyrics, all that stuff about New York, after the track was cut. The most irresistible song on Exile has a deceptively chill midtempo groove, in Richards' open-chord signature, that shuffles and weaves with a stoned, balletic grace. Jagger may have been riffing on the region's casino culture, together with the song's slurred rambling-man persona, when he sang, "Keep on rolling.
The Stones' second American Top 10 single was also the first great Jagger — Richards song — a crystallization of their confrontational magnetism. And it had the first classic-Stones riff, a steely, gliding lick, played by Jones.
Everything else is the Stones: the taunting locomotion, Richards' slicing high-treble guitar break, Jagger's dismissive electricity. Andrew Loog Oldham also credited the stormy live sound of L. The six-minute epic that closes Sticky Fingers sounds like nothing else in the Stones' songbook.
Jagger sings about being lost "under strange skies" on the long road home to his lover, playing a melody influenced by Japanese music yet still straight from the blues, as he doubles his vocals on acoustic guitar. The song builds with the strings-and-horns orchestrations of Paul Buckmaster adding to the dramatic tension of Watts' cymbals, then Taylor takes over for the instrumental finale.
Richards isn't on the track — although he and the Stones must've spent years living it out. Staying up all night. The guitar sound marks a turn for Richards. One of the Stones' heaviest, most devastating songs, "Sway" looks down the barrel of personal apocalypse with grim abandon.
Despite having a deeply Keith-like vibe of lordly wastedness, Richards doesn't play on it — though he did punch in some backing vocals later on, as part of a chorus that included Pete Townshend and the Faces' Ronnie Lane. Yet the song is more of a nod to the hippie-era female free spirit than an angry blues rant or tortured kiss-off. Just as surprisingly, the ballad is not defined by Richards' guitar but by Jones' plaintive recorder, along with the piano of Jack Nitzsche and an upright bass fingered by Wyman, bowed by Richards.
But I always enjoy singing it. Jagger came up with the title phrase after five weeks of an exhausting U. He spun it into lyrics about the trendy neurosis of posh London girls, sung over jagged Bo Diddley-style riffing.
As the song fades out, Wyman uncorks a wild dive-bombing bass sound that ups the sense of harried intensity. Maybe it isn't surprising, then, that the recording came about almost entirely by chance. The first third of the song is an elemental blues rocker rooted in a vintage fist-in-your-chops Richards riff and a funky, tight-coiled groove from Watts and Wyman. The extended instrumental section that comes in at the mark happened because the band thought the song was over: "Toward the end of the song, I just felt like carrying on playing," Taylor recalled later.
It just happened, and it was a one-take thing. Saxophonist Bobby Keys adds a blues-wailing solo. Inthe band's existence was threatened by Richards' drug problems. As Richards put it, "It was a rejuvenation, surprisingly for such a dark moment, when it was possible I would go to jail and the Stones would dissolve. But maybe that was part of it. Let's get something down before it happens.
It is the song that told the world that Wood was in the band, just as "Honky Tonk Women" had for Taylor.
So we said, 'Let's get it on.
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