1. Sympathy for the Devil - 2. Street Fighting Man 3. Paint It Black 4. Monkey Man 5. Jumpin' Jack Flash 6. Gimme Shelter 7. Under My Thumb 8. Ruby Tuesday 9. Start Me Up 10. Satisfaction 11. It's Only Rock 'N' Roll (But I Like It) 12. You Can't Always Get What You Want 13. I Wish I Could Drum Like Charlie Watts - The Kunks
The opening track on Beggars Banquet is a prime example of the songwriting team of Jagger and Richards. Mick wrote the lyrics based on an idea from a classic Russian novel, and Keith changed the tempo and added percussion, turning Mick's Dylanesque folk song into a samba.
Another song from Beggars Banquet, this one is often called the Stones' most political song, with Mick lamenting the lack of activity in England compared to the dramatic civil unrest occurring at the time in the US and France. The song opens with an springy, jangly guitar riff and is joined by thunderous drums on the offbeat for an unsettling effect.
Released Friday the 13th, in May of 1966, as the first single from their fourth album, Aftermath. With the signature riff performed by Brian Jones, this was the first number one song that featured a sitar. Fearing controversy, the folks at Decca first released the title a "Paint It, Black" with a comma that was later removed at the band's insistence.
From 1969's Let It Bleed, with lyrics reflecting Mick and Keith's view of life on the road and the growing fame and notoriety that came with it, like "Well, I hope we're not too messianic, or a trifle too satanic. We love to play the blues."
Recording for this classic tune began in the Beggars Banquet sessions in 1968 but didn't make that album. It was released as a single later that year and topped the charts in the UK. It remains the band's most frequently played song in concert.
The opening track from 1969's Let It Bleed, this is a dark, apocalyptic song features the vocal accompaniment of Merry Clayton, whose powerful delivery really reroutes the song to its hopeful conclusion, replacing the ominous warnings with the more cheery, "Love, sister, it's just a kiss away."
A popular song from 1966's Aftermath, this song is probably best remembered as the song the Stones were playing at the infamous Altamont Free Concert in 1969 when members of the audience began brawling with the Hells Angels who had been hired as security, resulting in the stabbing death of 18-year-old Meredith Hunter by one of the Angels.
According to Keith, he wrote this song about a groupie, and the song, coupled with "Let's Spend The Night Together," reached number one in the US (and inspired the name for a restaurant chain).
Finally released on 1981's Tattoo You after first being recorded as a reggae-rock track in 1975 for the Black and Blue album released the next year. It was revisited in 1977 for Some Girls , and then again in 1979 for Emotional Rescue, each time being cut by Keith from the final track list. Apparently, he forgot his objection and the riff became a bit of a Richards trademark as the song turned out to be the last big hit the Stones have had.
Originally relegated to pirate radio stations in Europe because of the sexual references and anti-commercialism themes, it became the band's first number one hit in the US, then topped the charts in the UK a few months later. Keith claimed that he came up with it while fast asleep, waking up in the middle of the night, recording the riff and the words "I can't get no satisfaction" on a cassette recorder and promptly falling back to sleep. He would later describe the tape as: "two minutes of 'Satisfaction' and 40 minutes of me snoring."
The title track for the 12th studio album, the album on which Ron Wood replaced Mick Taylor. Intended to be a half-live, half-cover versions of the band's favorite R&B songs, the concept was later scrapped for all new material. This album also marked the return to the role of producer for the Mick and Keith, replacing Jimmy Miller with the pseudonymous "Glimmer Twins."
Listed last because it is one of the few songs ever recorded by The Rolling Stones on which Charlie Watts does not play drums. The drums on this song are played by Jimmy Miller, the producer for 1969's Let It Bleed and the "Mr Jimmy" that Mick sings about in the track. The soaring vocals that open the song and swell up throughout are performed by the London Bach Choir. Despite the complex arrangement, the song wasn't released as a single but rather as the B-Side to "Honky Tonk Women."
According to the band, The Kunks were formed in the 1970's by brothers Dae and Nite Ravens and some childhood friends from the sleepy little UK town of Swell Mum Hill. The drummer, Nick Avarice, joined the band after the original drummer, Henry Bobbit, was kicked out of the British Federation of Musicians for cutting off the president of that organization in his car en route to the studio. This would not happen to Charlie Watts.
2. Street Fighting Man 3. Paint It Black 4. Monkey Man 5. Jumpin' Jack Flash 6. Gimme Shelter 7. Under My Thumb 8. Ruby Tuesday 9. Start Me Up 10. Satisfaction 11. It's Only Rock 'N' Roll (But I Like It) 12. You Can't Always Get What You Want 13. I Wish I Could Drum Like Charlie Watts - The Kunks
3. Paint It Black 4. Monkey Man 5. Jumpin' Jack Flash 6. Gimme Shelter 7. Under My Thumb 8. Ruby Tuesday 9. Start Me Up 10. Satisfaction 11. It's Only Rock 'N' Roll (But I Like It) 12. You Can't Always Get What You Want 13. I Wish I Could Drum Like Charlie Watts - The Kunks
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