It's generally common belief that the albums made by The Stones between 1968 and 1972 (Beggars Banquet, Let it Bleed, Sticky Fingers, and Exile on Main St.) are the best albums they ever released to the public. Now, I'm not here to diminish that opinion. In fact, if you asked me my favorite Stones album, I'd probably tell you Beggars Banquet, and my second favorite, Sticky Fingers. However, try asking someone what their favorite early Stones song is. "Satisfaction" will probably be the most popular answer, then maybe "Paint It Black", or "Under My Thumb", or even "Ruby Tuesday". There are definitely plenty of choices as far as hits go regarding those early years, but what about those songs that didn't become the hits? What about the songs that just barely made it onto Hot Rocks or some other greatest hits compilation after doing somewhat well on the charts in the 60s and have since been shoved aside for their more popular counterparts? What about the B-sides? What about album cuts that haven't seen the face of classic rock radio in years? You don't hear about them much anymore, and I feel like some of that may be the Stones' own doing. I mean, if they play "Tell Me" instead of "Brown Sugar" or their latest comeback record, what would the fans say?
None of this is to demean the Stones or their wide and ranging fanbase. The purpose is to bring these overlooked and forgotten tracks back into the playlists of Stones fans everywhere. Some of these songs aren't necessarily overlooked, in fact...maybe just underplayed. Perhaps you'll find your new favorite Stones song along the way. Thanks for reading!
(Note: The songs are all listed in a roughly chronological order, not necessarily by my opinion of the song.)
One of the Stones' earliest singles, this one will always have a soft-spot in my heart. It's easily one of their most carefully crafted pop songs, grabbing inspiration from their blues idols while also creating a Beatles-like catchiness to it all, complete with a sing-along chorus and everything. The reason for my fondness of this one is probably the scene from Charlie is My Darling where Keith begins to play it on his acoustic while in the band's hotel room, and Mick begins to sing along while then-manager Andrew Loog Oldham keeps the beat on his lap. Keith and Mick both giggle their way through the number, obviously still giddy from having lampooned The Beatles a few seconds earlier, but there's something heart-warming about the whole moment: two boys fresh from their skyrocket to fame, with a guitar and a voice in a hotel room. Little did they know, right?
"Congratulations" (1964)
Initially finding its way onto the B-side of "Time is On My Side", this one is especially overlooked; you certainly won't be hearing it on any radio station, even the most wide-ranging of classic rock channels. It's a mid-tempo, bluesy shuffle with some interesting guitar riffs, but what really makes it for me are the biting lyrics that would serve as a precursor to the signature Jagger-Richards bitch-slap lines that we're so familiar with now. This was "Under My Thumb" in the making, people. Cherish it.
"Play With Fire" (1965)
This is one of the more well-known songs on this list, as it was released as the B-side to "The Last Time", and is known to be a personal favorite of Mick Jagger's. The guitar sound is similar to that of "Congratulations", but the mood is quite different; the instruments used include only Keith Richards on acoustic, Phil Spector (Yes, that Phil Spector) on a tuned down guitar to act as a bass, Jack Nitzsche (Yes, that Jack Nitzsche) on those spine-tingling harpsichord lines, and Mick playing some echo-heavy tambourine. The result, with yet another killer lyric and phenomenal vocal performance from Mr. Jagger, is nothing short of spectacular, and even haunting. I get chills every time.
"The Spider and The Fly" (1965)
At first, you might be suspicious about why I love this song so much, because The Stones recorded a lot of songs that kind of sounded like this early in their career, but it's not even the music that makes this one; this time around, it's all down to Mick's spot-on vocals. There are almost too many favorite moments to list here: the way he drawls, "My, my, my, don't tell lies", the little laugh he gives at the end of the second verse, basically his entire delivery of the third verse...I could go on and on, but maybe you should just listen and experience the magic instead.
"She Said Yeah" (1965)
Only The Stones could take a piano-heavy, laid-back R&B number and turn it into a proto-punk masterpiece, filled with so much energy, you feel like the song itself could explode any second. From beginning to end, it's a mad dash to the finish line, and even when the last winding guitar note is played, you feel like they still have energy to keep going.
"Hitch Hike" (1965)
Here's yet another instance of the Stones taking a contemporary R&B song (this time, it's the legendary Marvin Gaye they're pinching from) and replacing horns with guitars to create a completely different sound to the track. It was only recently that I rediscovered this song, but I do remember listening to it often in elementary school. After I got into the Velvet Underground, every time I heard the intro to "There She Goes Again" (a great song in its own right), I would think, "Where have I heard this intro before?" The answer is here. I will admit, I have to commend Lou Reed for having such great taste when it came to what he stole. This version certainly equals the original, if not improves upon it.
"Heart of Stone" (1965)
I kind of wrote this song off for a while, always kind of hearing it, and never really listening to it. Upon listening to it for the first time in a long time recently, I noticed so many little things that sort of make it great instead of just good: the hesitant little "oohs" that come in the middle of the first and third verse, Mick's strong vocal delivery, the charming fact that the tambourine is completely and unashamedly off-beat, and the wonderful guitar parts, reportedly played by Keith. I honestly think my favorite part of the song starts with the second verse, with Mick singing spot-on, "What's different about her?/I don't really know/No matter how I try/I just can't make her cry", followed by a muffled "Mmph!", then soaring into Keith's amazing solo. It's quite magical, really.
"Doncha Bother Me" (1966)
Slide guitar by Brian. Falsetto by Mick in the chorus. The freaking harmonica solo. Need I say more?
"Think" (1966)
Ah, yes, Aftermath. Between "Under My Thumb", "Stupid Girl", and "Mother's Little Helper", this album certainly cemented The Stones' reputation as the "anti" band. One of the things the Stones were most "anti" about was love, and that certainly is evident on this track. Musically, this song is especially interesting, with all the guitar weaving, inclusion of fuzz guitar that almost sounds like a horn, and a notably solid bass line. A hidden gem, indeed.
"Out of Time" (1966)
This actually might be one of my favorite songs on this list, because I really do feel it deserves to be much more popular than it is, though over time, the popularity seems to have grown. It's another "put the stupid society girl down" song, but done in such an elegant way, complete with marimbas and all. Unlike the marimbas in "Under My Thumb", which sound a bit creepy and ominous in the context of the song, the marimba line here sounds almost jubilant, juxtaposing the dark, dismissive nature of this tune, and I love it. Same thing with the sing-along quality of the chorus; you'd think they were singing "Kumbaya" with the enthusiasm and even joy in the vocals. It's so infectious, you can't help but yell out "Baby, baby, baby/You're out of ti-i-i-me!" every time it comes along.
"I Am Waiting" (1966)
This one is mostly known for being on the soundtrack for Rushmore, which I love, and I suggest you all go watch. There's an almost wistful feeling about this song, from the tentative gentleness of the intro to Mick and Keith's beautiful harmonies, to the drums finally coming in during the bridge, creating a desperate feeling that wasn't present before, only to disappear seconds later. Another small touch I love: near the end when Mick and Keith sing "Oh, we're waiting", and then one of them echoes it with a "-ting!" It happens twice, and then it's gone. It's interesting to me what a difference those little changes can make.
"Who's Driving Your Plane?" (1966)
This was the B-side to one of my favorite Stones singles, "Have You Seen Your Mother Baby, Standing in the Shadow?", and unlike that song, I will admit that this song is a shameless rip-off of golden era Bob Dylan ("Leopard-Skin Pillbox Hat", anybody?), which isn't a bad thing. The piano and harmonica are great, the lyrics are solid, and Mick completely sells it with his vocal delivery. If you haven't noticed already, I love Mick's falsetto, so the third "plaaaane" in the chorus is obviously a highlight for me.
"My Obsession" (1967)
It's my belief that Between the Buttons is the most underrated Stones album, absolutely filled with hidden gems (I included five songs from it on this list, which should say something about it). This is supposedly Brian Wilson's favorite Stones song, as he was in the studio when they recorded it, and believed it would be the groundwork for the "future of rock music". As someone who values Brian Wilson's genius over almost everything, it shocks me that this song has been tossed aside over time. I can see why he thought it was revolutionary, because it's actually quite strange, when you get down to it. It has a definite R&B groove, with a nice touch of boogie-woogie piano, but the constant starts and stops and restarts and shifts make it much more of a product of the experimental year of 1967 than anything else. Also, the bass and tuned-down electric guitars on this track are absolutely killer.
"Back Street Girl" (1967)
God, what a beautiful song...degrading the "Other Woman" in an affair, in true Stones fashion. The guitars and percussion that open the song are beautiful, and Brian Jones adds a little bit of child-like whimsy, starting in the verses, with some ethereal-sounding vibraphone. Mick's vocals mimic the instruments, almost whispering the lyrics during the verses with the vibraphone, and growing in strength and volume as the harpsichord and accordion are added in the chorus. The whole concoction sounds wonderfully archaic. I've figured out that one of the Stones' greatest talents is making terrible statements sound beautiful. How many artists do you know that could make the line, "Please, don't you bother my wife/That way, you won't get no help", sound almost prayer-like?
"All Sold Out" (1967)
A biting rocker that features some of Mick's most vicious vocals he ever committed to tape. The way he almost yells out, "I've never seen/a mind so tangled/A GIRL SO STRANGLED!" should be enough to prove that to you. The guitars completely let loose here, creating some absolutely insane licks throughout the track. Other fun details include the hey-heys that sound a little bit like "Island in the Sun" (and predate it by, like, almost 40 years), and the hilariously 60s-sounding flute in the chorus.
"Who's Been Sleeping Here?" (1967)
This Goldilocks-inspired tale can also be traced back to Dylan's influence, but I feel like they make this one their own, once again, mostly due to Mick's absolutely biting vocal. I'm gonna go back and count how many times I bring up Mick sounding bitchy on a song when I'm done writing this, but this song and "All Sold Out" probably take the cake. I mean, listen to the way he growls the line "You must be JOK-ING", in only the first twenty seconds of the song. Despite its viciousness, there are very few Stones songs that are as fun as this song; listen to the playfulness in Mick's voice when he taunts, "Was it your mommy?/Your daddy?" over Keith's searing electric guitar during the closing. If you're going to rip from a fairy tale, you might as well have fun with it.
"Complicated" (1967)
Whenever I play BTB, I always find myself getting up and dancing to this song. There's really nothing overly complicated about the song itself (unlike the song's subject), but there's something about the combination of the pounding piano riff, the fuzz guitar, the grooving bass line, and the crashing cymbals throughout the verses that make you want to at least nod your head to the beat, if not flail around like a dead fish, like I do.
"Child of the Moon" (1968)
I feel like not many people know about this song because by the time it was released as the B-side to "Jumping' Jack Flash", The Stones were through with their little psychedelic experiment that was Satanic Majesties, and wanted to bury this song and the project as if the whole thing never happened. I mean, besides "She's a Rainbow", have the Stones ever played another song from that album again? This track is certainly as good as "Rainbow", and should be just as popular, really. Maybe TSMR would've been better received and easier to swallow for listeners, then and now, if this little gem had been included on the album instead of, perhaps, "Sing This All Together (See What Happens)"? C'est la vie.
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