(favorite Stones albums: 3-Beggars Banquet 2-Exile On Mainstreet 1-Let It Bleed)
(songs honorable mention: "Miss You"+"Honky Tonk Woman"+"19th Nervous Breakdown")
10--"Can't You Hear Me Knocking" (from Sticky Fingers, 1971)
Love this riff. Heavier than most. Great extensive psychedelic latin jam to boot.
9--"Ruby Tuesday" (from Between The Buttons, 1967)
This is basically the Stones miserably failing at trying to sound like The Beatles & it's kinda funny.
8--"Jumpin' Jack Flash" (from some random UK greatest hits compilation, 1968)
This is respectively of the greatest riffs of all time. It might be ranked higher if it wasn't oh so overplayed. The organs that sound like bagpipes are pretty tight.
7--"Street Fighting Man" (from Beggars Banquet, 1968)
Yes, this song does have a sitar and a shenhai in it. The topic of violent street protests was a pretty hot by '68, but this song makes it sound like something fun. The guitar part is just so crunchy and sounds so aged/vintage. The piano part is surprisingly pretty. Overall, it's a grungy classic.
6--"Rocks Off" (from Exile On Mainstreet, 1972)
If the only Exile tracks you know are "Happy" and "Tumbling Dice," I highly recommend you listen to the whole album. This song represents the album's raunchiness and raw power.
5--"Paint It, Black" (from Aftermath, 1966)
I'm a guitarist. When you learn to play guitar, you have at least one year before you learn how to play "Paint It, Black." The sitar hook is as memorable as "Norwegian Wood" any day of the week. The revolving rhythms throughout the song is impressive for 1966. And in case you were wondering, Jagger wants his whole world to be black. If that's not dark lyricism for ya, I don't know what is.
4--"Sympathy For The Devil" (from Beggars Banquet, 1968)
The Stones lived the definitive "drugs, sex & rock 'n' roll" lifestlye from day 1. But they were always too cool for cultish/satanic worship. They even dedicated an entire 1967 album to making fun of it. While the Beach Boys were losing band members to the Charles Manson family, the Stones focused on the fact that the devil is "cool." So is rock 'n' roll. At over 6 minutes, covered in latin percussion, lengthy memorable guitar solos, a heavy bass line, "woo-hoos" and explosive lyrics, this song is about 5 or 10 years ahead of its time.
3--"You Can't Always Get What You Want" (from Let It Bleed, 1969)
On paper, this song structure could turn out terribly wrong: The London Bach Choir. French horn. Congas. A drugged-up rock band. "Sympathy" is the more surprising track, especially for 1968 record players. On a personal level, this track is a singalong song for the ages. If you don't like this song, you're heartless. It's beautiful, it's fun, and somehow, it's by the Rolling Stones.
2--"(I Can't Get No) Satisfaction" (from Out Of Our Heads, 1965)
I've been calling this song "overrated" for the last 10 years. People, it's not. This is rock 'n' roll songwriting 101. This could easily be considered the greatest rock song ever made and I would not argue. It has the R&B back-beat. Easily the catchiest vocal hooks ever. The most memorable guitar riff. It's about having bad luck with the ladies. It has commercial references. You know all the words. This is how you write a rock single. It still works. But for the last 50 years, this formula has become comparatively unoriginal. Because these guys did it first.
1--"Gimme Shelter" (from Let It Bleed, 1969)
Don't look at me like that. "Satisfaction" is a hit. In the words of James Murphy: "Well maybe I don't do hits!" This song is a creative achievement on every level. It continuously rocks. The opening whispering guitar part adds mystery. The song's dramatic dynamics bests most any 60s songsmith. There's some southern/blues instrumentation in this song, but that's not the vibe you get from it at all. Hearing gospel singer Merry Clayton scream out "RAPE! MURDER!" at the top of her lungs is as bold as it gets. The harmonica part is far from corny. Rock is supposed to be fun, but when you hear this song, you know the Stones mean business. Time to get scared. From a band dedicated (both musically and life-stylistically) to "drugs, sex & rock 'n' roll," this song was a well produced statement of the ultimate equation: Drugs+ Sex+ Rock 'n' roll= Apocolypse.
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