It’s drawn from a studio jam that I assume the band capitalized on due to its infectious feel.
There’s not much to it, a two-chord workout with Mick barking along, backing vocals providing some semblance of a hook, and a sax-solo bridge broadening the picture. If you’re carried in its current, by the end it seems downright epic.ĬM: This artifact sits outside the margins, only accentuating its scraggly appeal far as I’m concerned. Nonstop Keef/Ron guitar ties in with disco-fied bass and drums, sax riffs, and Mick singing about being your own boss rather than inhabiting someone else’s fantasy. 1” is kind of goofy, and that’s because it’s a reduction of “If I Was a Dancer”, a longer (yet more focused) non-album track that has different vocals and flows much better. Girls is superior, sure, but the sequel plays in the same ballpark and has a decent on-base percentage. Sucking in the Seventies compilation (released 1981)ĬM: This isn’t the place for me to ward off derision for Emotional Rescue, but I wonder why it’s often considered an unworthy followup to Some Girls when the contents are quite similar. It still sounds raunchy to this day live versions are good but miss the edge of the studio recording. Much of the Stones’ work to date adhered to pop-rock protocol with every element in place, but in this song a particular group sound emerges, specifically Keith’s guitar and Charlie’s drums in tight-but-loose tandem, laced with Bill Wyman’s bass and Mick’s snarl (and Nicky Hopkins’ piano, bless that brother).
Given that album’s holiness, “Stray Cat” isn’t exactly unknown but neither is it mentioned as often as the two hits. It would have been a great addition to Exile had they finished it, but then it wouldn’t have the overdubs that make it so fitting now, like the line about “glad to hear my heart still ticking.” Hooray for a healthy time-traveler.ĬM: A precursor to their ‘70s style that scratches its nails down the back half of Beggars Banquet. Sexy as Sophia Loren, “Wine” pours out a party-ready groove with chin-up lyrics – don’t let disappointments get you down, be merry when you can. deluxe edition (released 2010)ĬM: As an outtake dressed up as a reissue bonus, “Pass the Wine” hasn’t been widely tasted, but it’s from a vintage any connoisseur would enjoy (as is “Plundered My Soul”). Jagger sings it well, Mick Taylor adds memorable guitar, and even the quick-tapered ending is part of its charm.Įxile on Main St. It’s passionate but not over the top, going from a quiet first verse to exuberant choruses. “Shine a Light” touches on gospel to become the album’s benediction, an otherwise modest song robed in piano, organ, tambourine, and churchy background vocals. It exemplifies their style at the time yet connects in a different way, particularly in the “gonna be the death of me” hook.ĬM: Exile’s virtue appears when you soak in the whole shebang (optimally with beer and friends), a double LP that captures the boys letting loose on blues, boogie, country, rock, soul, and other roots. Which is fine I’d just as soon this song skirt the main radar because it’s great to encounter and “get” as one explores the Stones. The chorus is straightforward – based a staccato guitar motif Keith would reuse later (hear “It Must Be Hell”) – but even that appears too sporadically for popular expectations. That live performance and the initial “Slave” jam were recorded in the same time frame, so I suspect one may have been the inspiration or further investigation of the other.ĬM: Murky grunge with seafaring imagery stuck at the end of four vinyl sides.maybe that’s why “Survivor” never gained much traction. Born circa Black and Blue, it found home a few years later on Tattoo You, which spit-shined leftover tracks into a superb album.Īs an aside, a lot of “You Can’t Always Get What You Want” on Love You Live sounds quite akin to “Slave” (albeit in a different key), particularly after the 3-minute mark. It’s also an example of how much they can wring from a riff when the vibe is right, locking in, pulling back, rising up, and so forth. Yet it overflows with the inimitable sensuality of The Stones in their zone, always an appeal however informal the song. Instead, here are some underrated, overlooked, or seemingly forgotten Stones songs, 15 picks each.ĬM: “Slave” may be unceremonious on paper, just a guitar/drum vamp with keyboards, sax, the “don’t wanna be your slave” refrain, and stray Mick lines about running someone else’s errands. The canon of “the greatest rock and roll band in the world” has been assessed so much (by pros, amateurs, illiterates, etc.) that there’s no need to rattle cages with a best-of ranking. The Rolling Stones: Underrated, Overlooked, Etc.
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