The
Rolling Stones and I have something in common – we were both “established” in
1962. I saw a documentary on the Stones
on HBO a couple of nights ago – Crossfire
Hurricane. It was a good
documentary, though it didn’t go into the years after 1981. So while I was watching I thought “there’s a
blog I need to update. A couple of years
ago I wrote a blog about what I thought were really cool Rolling Stones
songs. The criterion was simple - if you never tire of hearing the song, then it’s
cool. It’s the kind of song you want to
have stuck in your head. My first list
was thirty four songs, but after looking at the list I noticed a few glaring
omissions.
Here
are my updated picks, in no order whatsoever – fifty songs for fifty years of
rock ;n roll.
Gimme Shelter [Let It Bleed, 1969] – There are no words to describe the coolness of Gimme Shelter. It’s so cool that Keith once recorded it live for a B-side for one of his own singles [Eileen if you’re looking…]. This song is Keith Richards’ vision of the apocalypse. Merry Clayton did the female vocals. They were so good that this song is primarily for what she is known. Once you hear the arpeggioed beginning, you know something ominous is about to happen.
Gimme Shelter [Let It Bleed, 1969] – There are no words to describe the coolness of Gimme Shelter. It’s so cool that Keith once recorded it live for a B-side for one of his own singles [Eileen if you’re looking…]. This song is Keith Richards’ vision of the apocalypse. Merry Clayton did the female vocals. They were so good that this song is primarily for what she is known. Once you hear the arpeggioed beginning, you know something ominous is about to happen.
Can’t
You Hear Me Knockin’
[Sticky Fingers, 1971] – Play this one back-to-back [this one first]
with Sister Morphine. The classic Keith Richards human-riff rhythm
playing sets the table, and then keeps the song going while first Bobby Keys
delivers a blistering sax solo, to be followed by Mick Taylor soloing out of
his mind. By the time it’s over after seven minutes of jamming, you think the
song was over too soon. It ends with you wanting more.
Sister Morphine [Sticky Fingers, 1971] – This song is best heard while driving around Los Angeles at night. If you can’t get to LA, just turn off all the lights, sit back and enjoy this very dark overdose tale. The scream of the ambulance is sounding in my ears/Tell me, Sister Morphine, how long have I been lying here? What am I doing in this place? Why does the doctor have no face? Sticky Fingers has lots of songs with a drug reference or two. Ry Cooder plays the slide guitar, Jack Nitzsche on piano. Both of these contributions contribute to the scary atmosphere [which seems to work better for me after dark].
Live With Me [Let It Bleed, 1969] – What makes this song cool? It starts with the very first notes played on the bass by Keith Richards. When he felt like it, he'd relieve Bill Wyman of the bass and play it himself. This is one of those times. The bass is very prominent in the mix – it’s like he’s playing “lead bass.” Bobby Keys takes the solo instead of one of the guitar players. Live With Me is one of the first songs recorded with Mick Taylor. Mick Jagger’s lyrics are about as racy as they come. This song was never released as a single [not in the US anyway], but it should have been. In my humble opinion, the only song better than this from Let It Bleed is Gimme Shelter.
Sister Morphine [Sticky Fingers, 1971] – This song is best heard while driving around Los Angeles at night. If you can’t get to LA, just turn off all the lights, sit back and enjoy this very dark overdose tale. The scream of the ambulance is sounding in my ears/Tell me, Sister Morphine, how long have I been lying here? What am I doing in this place? Why does the doctor have no face? Sticky Fingers has lots of songs with a drug reference or two. Ry Cooder plays the slide guitar, Jack Nitzsche on piano. Both of these contributions contribute to the scary atmosphere [which seems to work better for me after dark].
Live With Me [Let It Bleed, 1969] – What makes this song cool? It starts with the very first notes played on the bass by Keith Richards. When he felt like it, he'd relieve Bill Wyman of the bass and play it himself. This is one of those times. The bass is very prominent in the mix – it’s like he’s playing “lead bass.” Bobby Keys takes the solo instead of one of the guitar players. Live With Me is one of the first songs recorded with Mick Taylor. Mick Jagger’s lyrics are about as racy as they come. This song was never released as a single [not in the US anyway], but it should have been. In my humble opinion, the only song better than this from Let It Bleed is Gimme Shelter.
Stray
Cat Blues
[Beggars Banquet, 1968] – Before Live With Me, there
was this tale of backstage debauchery with under-aged girls. This is Mick
Jagger at his sleaziest. He was 25 when he first sang it – now he’s 69 [ew...].
About the only thing missing from the lyrics are the words “would you like some
candy little girl?” Keith Richards played all the guitars, and I think he
played the bass as well.
No Expectations [Beggars Banquet, 1968] – Brian Jones played a very good acoustic slide here. It’s one of the last best things he did before he left Planet Earth. Nicky Hopkins accompanies with an understated piano that doesn’t get in Brian Jones’ way. The song has the feel of an old-time blues classic.
You Got the Silver [Let It Bleed, 1969] – Keith Richards takes the lead vocal for the first time on this tune. Critic Richie Unterberger from Allmusic describes this song as the closest the Stones would get to the roots of acoustic home-down blues. I disagree – it could be the flip side to No Expectations. Keith performs it on-stage today, and without a guitar! Ron Wood plays acoustic slide on the Shine a Light version.
Sweet Virginia [Exile on Main St, 1972] – the Stones go country. Here the influence of Gram Parsons emerges [he might even be in the chorus]. Got to scrape that shit right off your shoes…
Turd on the Run [Exile on Main St, 1972] – no particular reason – I just like the song, and it segues into…
Ventilator Blues [Exile on Main St, 1972] – I think of all the songs on Exile this one captures the essence of the whole thing.
No Expectations [Beggars Banquet, 1968] – Brian Jones played a very good acoustic slide here. It’s one of the last best things he did before he left Planet Earth. Nicky Hopkins accompanies with an understated piano that doesn’t get in Brian Jones’ way. The song has the feel of an old-time blues classic.
You Got the Silver [Let It Bleed, 1969] – Keith Richards takes the lead vocal for the first time on this tune. Critic Richie Unterberger from Allmusic describes this song as the closest the Stones would get to the roots of acoustic home-down blues. I disagree – it could be the flip side to No Expectations. Keith performs it on-stage today, and without a guitar! Ron Wood plays acoustic slide on the Shine a Light version.
Sweet Virginia [Exile on Main St, 1972] – the Stones go country. Here the influence of Gram Parsons emerges [he might even be in the chorus]. Got to scrape that shit right off your shoes…
Turd on the Run [Exile on Main St, 1972] – no particular reason – I just like the song, and it segues into…
Ventilator Blues [Exile on Main St, 1972] – I think of all the songs on Exile this one captures the essence of the whole thing.
Salt of the
Earth
[Beggars Banquet, 1968] - The last
song from Beggars Banquet, I remember
Mick & Keith played this at the Concert for New York after 9/11. The original from Beggars Banquet sounded
both country and blues at the same time [to me anyway]. Keith played the slide because Brian Jones
didn't show up.
Street Fighting Man [Beggars Banquet, 1968] – This one is inspired by riots in London and Paris during the summer of 1968. The cool factor - the song sounds electric, but in fact the only electric instrument was the bass. Keith played an acoustic guitar into an overloaded cassette player that gave it a metallic sound, and Brian Jones provided the sitar and tambura. The rhythm section was solid. The drums were very loud and in your face. It’s a very good song that starts off Beggars Banquet.
Jumpin’ Jack Flash [single – 1968] – This one was recorded during the Beggars Banquet sessions but released only as a single. It took me many years to figure out what Mick Jagger was singing. I could not for the life of me decipher the words. But then Al Gore invented the Internet, and presto…instant comprehension! What makes this song cool – the riff. It’s one of the most indestructible riffs in rock music, like Sunshine of Your Love or Smoke on the Water. Once you hear the riff, you never forget it.
Honky Tonk Women [single, 1969]
- I think this is the first of many songs Keith Richards used the "open
G" that he admitted to ripping off from Ry Cooder. Who knew the Stones could be so country? This song has the beefy horns that would
partially define the Stones sound in the early 1970s.
Get Off of My
Cloud
[December's Children, 1965] - How
does one follow-up a monster hit like Satisfaction? You write a song that expresses the desire to
be left alone, like this one. The line about living on the 99th floor of his block
didn't make any sense to me until the first time I went to the UK. When I found the words “building” and “block”
were interchangeable, it made perfect sense.
That’s one tall block he lived in…
Have
You Seen Your Mother, Baby? [single, 1966] - This is the
first Stones song to use horns. It
definitely sounds like it is of its time, not that there's anything wrong with
that. It's a strange one but I like it
anyway.
Little Red
Rooster
[single, 1964] - This is the only cover on my list. The Stones started out as a
blues band [if Brian Jones had it his way, they would have stayed a blues
band], as this homage to Howlin' Wolf demonstrates. Brian Jones' slide playing is brilliant. The Stones would later release a live version
on Flashpoint in 1991. Eric Clapton stole the show, and Jagger knew
it. Look at the video [about the 3:00
mark] - Jagger's expression speaks volumes.
You Can't Always
Get What You Want
[Let It Bleed, 1969] - The story of
everyone's lives... The choir part is
so...British.
Sympathy for the
Devil
[Beggars Banquet, 1968] - IMHO,
these are Jagger's best lyrics. The
studio version from Beggars Banquet
was ok, but I like the version from the live Get Yer Ya-Yas Out better.
After Lucifer talks of all his misdeeds throughout history, here's the
bit I like -
Just
as every cop is a criminal
And
all the sinners saints
As
heads is tails
Just
call me Lucifer
Cause
I'm in need of some restraint
So
if you meet me
Have
some courtesy
Have
some sympathy, and some taste
Use
all your well-learned politesse
Or
I'll lay your soul to waste, um yeah
Midnight Rambler [Let It Bleed, 1969] - Have you heard
about the Boston Strangler? Why Mick
Jagger chose Albert DeSalvo as inspiration for a song baffles me, but a cool
song came out of it. Keith referred to this as a "blues opera." Keith plays a slide, which he rarely
does. But seeing as how Brian Jones was
no longer a functional musician he had little choice. I like all the time changes.
The
Last Time
[Out Of Our Heads, 1965] – This is the first big UK single written by
Mick & Keith. The reason for this song’s coolness is the same as Jumpin’
Jack Flash – the riff. It digs into your ear and stays there for several
years.
Play With Fire [B side, 1965] -
This was the flip side of The Last Time
- these two songs couldn't be more different.
There's just an acoustic guitar, tambourine, and a harpsichord {?!?).
The singer is not very impressed with his girl's diamonds, pretty clothes, the
chauffeurs, the whole high society lifesyle.
He's not trying to hide his disdain.
Perhaps this is where the Stones' misogyny begins...
Paint It Black [Aftermath, 1966] – Another great riff, but with a twist; Brian Jones plays the riff on a sitar, which gives the song a Middle Eastern flair. This song has death written all over it - I see a line of cars and they're all painted black…With flowers and my love both never to come back…I could not foresee this thing happening to you…You’ll find it at the end of Full Metal Jacket.
Under My Thumb [Aftermath, 1966] – This is the musical equivalent of The Taming of the Shrew. Brian Jones shows off his musical versatility again by playing the signature riff of this song on marimbas.
2000 Light Years From Home [Their Satanic Majesties Request, 1967] – the Stones succeed at getting trippy. It’s a bit dated, with Brian Jones getting to show off on the mellotron. This is the furthest that the Stones would stray from their blues roots, a mistake they would correct with Beggar’s Banquet. But despite the album’s flaws, I love this song.
Satisfaction [Out Of Our Heads, 1965] – Do I really need to explain this one? Even my mother liked this one. This is probably the best rock-and-roll song ever done. Period. End of discussion.
Bitch [Sticky Fingers, 1971] - the riff, the horns, Charlie Watts kicking the band’s ass.
Moonlight Mile [Sticky Fingers, 1971] - one of the best ballads the Stones ever recorded about life as a rock star on the road. It closes Sticky Fingers.
Wild Horses [Sticky Fingers, 1971] – a country ballad written originally by Keith about him missing his son Marlon. This is one of two country songs on the album, the other one being Dead Flowers.
Dancing With Mr D [Goats Head Soup, 1973] – This is the leadoff song from the first of the Junky Trilogy, Goats Head Soup. The song begins and ends with a riff that repeats often throughout the song. Mick Taylor plays a stinging electric slide as well as the bass. Charlie is flawless as always. Mick Jagger’s lyrics allude to dalliance with death: Down in the graveyard where we have our tryst/The air smells sweet, the air smells sick/He never smiles, his mouth merely twists/The breath in my lungs feels clinging and thick/But I know his name, he's called Mr. D/And one of these days, he's going to set you free. I wonder if Keith’s descent into full-blown heroin addiction prompted this song.
Doo Doo Doo Doo Doo (Heartbreaker) [Goats Head Soup, 1973] – This song tells two stories: the accidental shooting in New York of a ten-year-old boy, and a ten-year-old girl dying in an alley of a drug overdose. Billy Preston plays clavinet on the intro, then is joined by Mick Taylor playing wah-wah guitar in unison. Keith plays the bass. But what makes the song standout from other Stones songs is the horns. Usually they’d have Bobby Keys’ sax, but this song uses sax and trumpet giving the horns a beefier sound. Underneath it all is Keith’s bass playing holding down the fort while Mick Taylor plays one of his many lyrical solos.
Time Waits For No One [It’s Only Rock ‘n’ Roll, 1974] – There are two cool songs on It’s Only Rock ‘n’ Roll; this is one of them. Why is this song cool? Mick Taylor. Like Can’t You Hear Me Knockin’, Mick Taylor starts his solo about 2/3 of the way through the song and carries it to the end. He just carries the song, period. Jagger should have given him credit for writing the song, but Mick being Mick he didn’t. I think this is why Mick Taylor left the band.
Hand of Fate [Black and Blue, 1976] – After finishing Exile on Main St, the Stones recorded three more albums which I have dubbed The Junkie Trilogy. I gave these albums this name because they were made as Keith Richards slipped deeper and deeper into the grips of heroin addiction. This had the effect of Mick Jagger taking over as the Stones’ musical director. Mick Taylor left the band after the release of It’s Only Rock ‘n’ Roll [the second of the Junkie Trilogy], so the Stones used several lead players to make Black and Blue, the third and last Junkie Trilogy installment. Who else but the Stones would use recording sessions as auditions for a departed guitarist? American Wayne Perkins did the honors on this song. His solos are as fluid and blistering as anything Mick Taylor laid down during his tenure in the band. In fact, the first time I heard it I thought it was Mick Taylor. The ever-present Keith Richards rhythm playing locks in tightly with Charlie Watts. Hand of Fate is without a doubt the best song from Black and Blue.
Fingerprint File [It’s Only Rock ‘n’ Roll, 1974] – This is the other cool song from It’s Only Rock ‘n’ Roll, the second installment of The Junkie Trilogy. Mick Jagger plays the heavily-phased rhythm guitar, Keith plays the guitar with the wah-wah pedal, Mick Taylor plays the bass, Bill Wyman on synthesizers, and Billy Preston and Nicky Hopkins also join in the fun. The lyrics express paranoia about wiretapping and other FBI surveillance activity, which actually did happen to John Lennon. The funky/dance sound of this song is so uncharacteristic of the Stones one has to put it in the “cool” category.
Thru and Thru [Voodoo Lounge, 1994] – Another Keith vocal, quiet and menacing, this one sounds like it was recorded in a small blues club after hours. There’s minimal instrumentation – one or two guitars, piano, bass & drums. Keith uses that nasty rhythm tone of his again. Why is this one cool? It appeared on The Sopranos, dammit. What could be cooler?
Too Much Blood [Undercover, 1983] – This song has Mick Jagger written all over it. It’s a horn-driven dance song where Mick Jagger laments the amount of violence depicted in pop culture [wanna dance, wanna sing, wanna bust up everything…]. Consider this pseudo-rap from Sir Mick:
Did you ever see "The Texas Chain Saw Massacre"? Horrible, wasn't it. You know, people ask me "is it really true where you live in Texas, is that really true what they do around there, people?" I say, "yea, every time I drive through the crossroads I get scared, there's a bloke running round with a fucking chain saw. Oh! Oh! oh No, he's gonna cut off, Oh no. Don't saw off me leg, don't saw off me arm.
Ok, it might not fit any definition of “cool,” but it’s damn funny and that’s good enough.
One Hit (To The Body) [Dirty Work, 1986] – This is the lead-off track from Dirty Work. This was recorded at a time when Mick Jagger and Keith Richards couldn’t stand to be in the same room. The cause of so much discontent? Mick Jagger wanting a solo career. Keith’s guitar tone throughout is big, nasty, loud and very angry. Ron Wood’s acoustic backing cuts through the noise like the Grim Reaper wielding a scythe. Jimmy Page provides all the solo work. Mick Jagger spits out the lyrics with much vitriol. Put all these pieces together and you’ve got a very aggressive track. The video that was filmed for this song barely disguises the ill-will between Mick & Keith. This is a great song from an otherwise crappy album.
Worried About You [Tattoo You, 1981] – This was an outtake from Black and Blue. I can’t figure out why it was an outtake because this song is far better than Black and Blue [with the exception of Hand of Fate]. This is a “sleeper” track on Tattoo You. Start Me Up and Waiting on a Friend were the singles that got all the radio airplay. Worried About You sticks out from the rest of Tattoo You, but in a good way. As with Hand of Fate, Wayne Perkins provides the soloing. That’s the bit that sticks out for the listener because when you hear it, you know immediately it isn’t Keith or Ron playing the solo. Neither of those guys could play as fluidly as what you hear Wayne Perkins doing on this song.
Almost Hear You Sigh [Steel Wheels, 1989] – This one is a leftover from Keith’s Talk Is Cheap album from 1988. A song about a difficult breakup, this one is a very melodic, medium tempo song with an acoustic guitar solo from Keith. It also has the classic Keith Richards rhythm guitar sound that I have no idea how to replicate. Charlie’s timekeeping is flawless.
Slipping Away [Steel Wheels, 1989] – Keith sings! I guess having done Talk Is Cheap the year before gave Keith the confidence to sing more on Stones albums. Both Slipping Away and Almost Hear You Sigh are excellent ballads. Both songs are tearjerkers without a doubt – a sign of a great song.
Love Is Strong [Voodoo Lounge, 1994] – this slow, snaky song kicks off Voodoo Lounge. To me it sounds a lot like Keith’s Wicked As It Seems from his second solo album [Main Offender]. Where Steel Wheels had a fairly slick production, Voodoo Lounge sounded like the producer [Don Was] was trying to get back to the Exile on Main Street sound. It has the same dry, sparse sound of Keith’s Main Offender, which is ok with me.
Low Down [Bridges to Babylon, 1997] – on Bridges to Babylon, there were really two albums in one. Mick worked with the Chemical Brothers [he was always trying to get the latest club sounds onto a Stones album], and Keith worked with Rob Fraboni to keep the Stones doing what they do best. This one is one of the Fraboni tracks. Big, beefy horns, and Keith’s snarling rhythm guitar – just what a good Stones song needs. How does he get that sound? I know he plays in Open G with only five strings, but he has a very distinct sound I would kill for.
It Won’t Take Long [A Bigger Bang, 2005] – see Low Down, only without the horns. Keith and Ron Wood practice their ancient form of weaving.
Paint It Black [Aftermath, 1966] – Another great riff, but with a twist; Brian Jones plays the riff on a sitar, which gives the song a Middle Eastern flair. This song has death written all over it - I see a line of cars and they're all painted black…With flowers and my love both never to come back…I could not foresee this thing happening to you…You’ll find it at the end of Full Metal Jacket.
Under My Thumb [Aftermath, 1966] – This is the musical equivalent of The Taming of the Shrew. Brian Jones shows off his musical versatility again by playing the signature riff of this song on marimbas.
2000 Light Years From Home [Their Satanic Majesties Request, 1967] – the Stones succeed at getting trippy. It’s a bit dated, with Brian Jones getting to show off on the mellotron. This is the furthest that the Stones would stray from their blues roots, a mistake they would correct with Beggar’s Banquet. But despite the album’s flaws, I love this song.
Satisfaction [Out Of Our Heads, 1965] – Do I really need to explain this one? Even my mother liked this one. This is probably the best rock-and-roll song ever done. Period. End of discussion.
Bitch [Sticky Fingers, 1971] - the riff, the horns, Charlie Watts kicking the band’s ass.
Moonlight Mile [Sticky Fingers, 1971] - one of the best ballads the Stones ever recorded about life as a rock star on the road. It closes Sticky Fingers.
Wild Horses [Sticky Fingers, 1971] – a country ballad written originally by Keith about him missing his son Marlon. This is one of two country songs on the album, the other one being Dead Flowers.
Dancing With Mr D [Goats Head Soup, 1973] – This is the leadoff song from the first of the Junky Trilogy, Goats Head Soup. The song begins and ends with a riff that repeats often throughout the song. Mick Taylor plays a stinging electric slide as well as the bass. Charlie is flawless as always. Mick Jagger’s lyrics allude to dalliance with death: Down in the graveyard where we have our tryst/The air smells sweet, the air smells sick/He never smiles, his mouth merely twists/The breath in my lungs feels clinging and thick/But I know his name, he's called Mr. D/And one of these days, he's going to set you free. I wonder if Keith’s descent into full-blown heroin addiction prompted this song.
Doo Doo Doo Doo Doo (Heartbreaker) [Goats Head Soup, 1973] – This song tells two stories: the accidental shooting in New York of a ten-year-old boy, and a ten-year-old girl dying in an alley of a drug overdose. Billy Preston plays clavinet on the intro, then is joined by Mick Taylor playing wah-wah guitar in unison. Keith plays the bass. But what makes the song standout from other Stones songs is the horns. Usually they’d have Bobby Keys’ sax, but this song uses sax and trumpet giving the horns a beefier sound. Underneath it all is Keith’s bass playing holding down the fort while Mick Taylor plays one of his many lyrical solos.
Time Waits For No One [It’s Only Rock ‘n’ Roll, 1974] – There are two cool songs on It’s Only Rock ‘n’ Roll; this is one of them. Why is this song cool? Mick Taylor. Like Can’t You Hear Me Knockin’, Mick Taylor starts his solo about 2/3 of the way through the song and carries it to the end. He just carries the song, period. Jagger should have given him credit for writing the song, but Mick being Mick he didn’t. I think this is why Mick Taylor left the band.
Hand of Fate [Black and Blue, 1976] – After finishing Exile on Main St, the Stones recorded three more albums which I have dubbed The Junkie Trilogy. I gave these albums this name because they were made as Keith Richards slipped deeper and deeper into the grips of heroin addiction. This had the effect of Mick Jagger taking over as the Stones’ musical director. Mick Taylor left the band after the release of It’s Only Rock ‘n’ Roll [the second of the Junkie Trilogy], so the Stones used several lead players to make Black and Blue, the third and last Junkie Trilogy installment. Who else but the Stones would use recording sessions as auditions for a departed guitarist? American Wayne Perkins did the honors on this song. His solos are as fluid and blistering as anything Mick Taylor laid down during his tenure in the band. In fact, the first time I heard it I thought it was Mick Taylor. The ever-present Keith Richards rhythm playing locks in tightly with Charlie Watts. Hand of Fate is without a doubt the best song from Black and Blue.
Fingerprint File [It’s Only Rock ‘n’ Roll, 1974] – This is the other cool song from It’s Only Rock ‘n’ Roll, the second installment of The Junkie Trilogy. Mick Jagger plays the heavily-phased rhythm guitar, Keith plays the guitar with the wah-wah pedal, Mick Taylor plays the bass, Bill Wyman on synthesizers, and Billy Preston and Nicky Hopkins also join in the fun. The lyrics express paranoia about wiretapping and other FBI surveillance activity, which actually did happen to John Lennon. The funky/dance sound of this song is so uncharacteristic of the Stones one has to put it in the “cool” category.
Thru and Thru [Voodoo Lounge, 1994] – Another Keith vocal, quiet and menacing, this one sounds like it was recorded in a small blues club after hours. There’s minimal instrumentation – one or two guitars, piano, bass & drums. Keith uses that nasty rhythm tone of his again. Why is this one cool? It appeared on The Sopranos, dammit. What could be cooler?
Too Much Blood [Undercover, 1983] – This song has Mick Jagger written all over it. It’s a horn-driven dance song where Mick Jagger laments the amount of violence depicted in pop culture [wanna dance, wanna sing, wanna bust up everything…]. Consider this pseudo-rap from Sir Mick:
Did you ever see "The Texas Chain Saw Massacre"? Horrible, wasn't it. You know, people ask me "is it really true where you live in Texas, is that really true what they do around there, people?" I say, "yea, every time I drive through the crossroads I get scared, there's a bloke running round with a fucking chain saw. Oh! Oh! oh No, he's gonna cut off, Oh no. Don't saw off me leg, don't saw off me arm.
Ok, it might not fit any definition of “cool,” but it’s damn funny and that’s good enough.
One Hit (To The Body) [Dirty Work, 1986] – This is the lead-off track from Dirty Work. This was recorded at a time when Mick Jagger and Keith Richards couldn’t stand to be in the same room. The cause of so much discontent? Mick Jagger wanting a solo career. Keith’s guitar tone throughout is big, nasty, loud and very angry. Ron Wood’s acoustic backing cuts through the noise like the Grim Reaper wielding a scythe. Jimmy Page provides all the solo work. Mick Jagger spits out the lyrics with much vitriol. Put all these pieces together and you’ve got a very aggressive track. The video that was filmed for this song barely disguises the ill-will between Mick & Keith. This is a great song from an otherwise crappy album.
Worried About You [Tattoo You, 1981] – This was an outtake from Black and Blue. I can’t figure out why it was an outtake because this song is far better than Black and Blue [with the exception of Hand of Fate]. This is a “sleeper” track on Tattoo You. Start Me Up and Waiting on a Friend were the singles that got all the radio airplay. Worried About You sticks out from the rest of Tattoo You, but in a good way. As with Hand of Fate, Wayne Perkins provides the soloing. That’s the bit that sticks out for the listener because when you hear it, you know immediately it isn’t Keith or Ron playing the solo. Neither of those guys could play as fluidly as what you hear Wayne Perkins doing on this song.
Almost Hear You Sigh [Steel Wheels, 1989] – This one is a leftover from Keith’s Talk Is Cheap album from 1988. A song about a difficult breakup, this one is a very melodic, medium tempo song with an acoustic guitar solo from Keith. It also has the classic Keith Richards rhythm guitar sound that I have no idea how to replicate. Charlie’s timekeeping is flawless.
Slipping Away [Steel Wheels, 1989] – Keith sings! I guess having done Talk Is Cheap the year before gave Keith the confidence to sing more on Stones albums. Both Slipping Away and Almost Hear You Sigh are excellent ballads. Both songs are tearjerkers without a doubt – a sign of a great song.
Love Is Strong [Voodoo Lounge, 1994] – this slow, snaky song kicks off Voodoo Lounge. To me it sounds a lot like Keith’s Wicked As It Seems from his second solo album [Main Offender]. Where Steel Wheels had a fairly slick production, Voodoo Lounge sounded like the producer [Don Was] was trying to get back to the Exile on Main Street sound. It has the same dry, sparse sound of Keith’s Main Offender, which is ok with me.
Low Down [Bridges to Babylon, 1997] – on Bridges to Babylon, there were really two albums in one. Mick worked with the Chemical Brothers [he was always trying to get the latest club sounds onto a Stones album], and Keith worked with Rob Fraboni to keep the Stones doing what they do best. This one is one of the Fraboni tracks. Big, beefy horns, and Keith’s snarling rhythm guitar – just what a good Stones song needs. How does he get that sound? I know he plays in Open G with only five strings, but he has a very distinct sound I would kill for.
It Won’t Take Long [A Bigger Bang, 2005] – see Low Down, only without the horns. Keith and Ron Wood practice their ancient form of weaving.
Miss You [Some Girls, 1978] - Sure, it's a disco
song with the four-on-the-floor bass drum, but so what? I always thought the part in the middle [the
whole "I was walking Central Park, singing after dark..." bit] was
what made the song anyway.
When the Whip
Comes Down
[Some Girls, 1978] - Some Girls was the first Stones album
after Keith kicked heroin. The musical
"whip" here is Charlie Watts.
The Keith Richards/Ron Wood guitar tandem begins to click here.
Before They Make
Me Run
[Some Girls, 1978] - Keith's defiant
commentary about his 1977 heroin bust in Toronto.
Beast of Burden [Some Girls, 1978] - When the Stones
played in Boulder in 1981, Mick Jagger dedicated this to all the women in
Boulder. The Stones got really good at
doing the slow ballads. This is one of
them.
Waiting on a
Friend
[Tattoo You, 1981] - I read somewhere
this was a Goats Head Soup
outtake. This song always reminds me of
the time I spent in Boulder, which was a tough learning experience but I
discovered a new world. It didn't get
worn out like Start Me Up. An interesting note: the video for this song was filmed at the same building depicted on the cover of Led Zeppelin's Physical Graffiti.
If You Can't
Rock Me
[It's Only Rock 'n Roll, 1974] - If
you can't rock me, somebody will...so sayeth Mick Jagger. It has a cool groove to it.
Hey Negrita [Black and Blue, 1976] - Keith Richards
once said the Black and Blue album was about auditioning guitar players to
replace Mick Taylor, who left after It's Only Rock 'n Roll. Here the Stones try their hand at
reggae. The songwriting is credited to
Jagger/Richards with "inspiration by Ron Wood."
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