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We counted down the complete Beatles’ catalog, and now we take on their rivals for title of best rock band ever – The Rolling Stones. This time we’re going to break down the band’s 40+ year career in easily digestible chunks. Because Universal will be reissuing the Stones’ studio albums from the seventies, we figured that would be a great place to start. Besides, it was arguably their most fertile decade, at least in terms of variety. Their output ranged from the ragged brilliance of 1971’s Sticky Fingers to the unbridled energy of 1978’s Some Girls. In between we find the sprawling Exile on Main Street, the decadent Goats Head Soup, the fiery It’s Only Rock and Roll and the soulful Black and Blue. Keep in mind, the countdown only includes studio album cuts, no live or unreleased tracks. Check back each day for the next five songs on the list, prepare to hit the message boards to defend your favorites, and follow the countdown all the way to Number 1.

The complete list to date.

The Last Five:

25. “Ain’t To Proud to Beg” (from It’s Only Rock ‘N Roll)

24. “Time Waits for No One” (from It’s Only Rock ‘N Roll)

23. “Winter” (from Goats Head Soup)

22. “Ventilator Blues” (from Exile on Main St.)

21. “Sweet Virginia” (from Exile on Main St.)

20. “It’s Only Rock ‘N Roll (But I Like It)”

From It’s Only Rock ‘N Roll

LISTEN HERE  

We’re getting down to the nitty and the gritty of it now, and Mick’s getting all defensive on us. I’ve heard numerous explanations for the origins of this song. Jagger was quoted as saying that the song was a jibe at those members of the press who were always comparing the Stones’ most recent music with their past triumphs; hence the lines about impaling himself with a pen.

I’ve also heard that Jagger was at a party with his wife Bianca and some of the other hoi polloi, and they were all taking shots at Mick’s chosen mode of expression, suggesting that rock music wasn’t as culturally relevant. Apocryphal though it may be, I like this version of events, because it proves that Jagger, who’s dabbled in enough of the arts that he would know, had his heart in his day job.

And even if the defense is a little half-hearted lyrically, his forceful singing gets the point across just fine. The stinging guitars do a lot of the talking as well, on a track that includes the odd lineup of a pre-Stones Ronnie Wood on 12-string guitar, session man Willie Weeks on bass, and future Who member Kenney Jones on drums. Apparently, David Bowie sang back-up on the original demo (cut at Wood’s house), but was later edited out.

Out of all that madness came a song that’s one of the Stones’ signature numbers in terms of serving as a motto. Mick had nothing at all to be ashamed of.

19. “I Got the Blues”

From Sticky Fingers

LISTEN HERE  

The song might be entitled “I Got The Blues,” but at its core, it’s pure soul. Mick Jagger turns in a perfectly tempered performance, doing a soul man turn that’s up to the task of a song that seems like it rolled off the Stax assembly line. Notice how he keeps himself restrained early on, allowing the tension to build, rather than spending himself before the payoff.

Meanwhile, the band turns in a nuanced performance, allowing plenty of open spaces in this languid tune. The arpeggiated guitar staggers forward but props Jagger up. The horns keep their mournful commentary to a minimum. Only Billy Preston is allowed to speak up with a brief but blistering organ solo, conveying all the pain that Jagger tries to hide.

It all builds up to a classic soul finish, with the closing musical line repeated several times for effect. Charlie Watts keeps setting the table, the horns blast through, and Jagger pours his heart out for the girl who’s moved on to someone new. You can almost picture in your mind’s eye Jagger doing a James Brown bit, pretending to leave the stage only to break away from his handlers to grasp the microphone one more time. The Stones honor their influences here and then leave them behind for a performance that transcends tribute and becomes uniquely their own.

18. “Let it Loose”

From Exile on Main St.

LISTEN HERE  

You might consider “Let It Loose” a cousin, in spirit, to “I Got The Blues.” The similarities come in Jagger’s soulful wailing and the basic guitar underpinning. They differ in the way they’re presented, but even though they take different paths, they both arrive and deliver the goods.

“Let It Loose” is a perfect example of the unique conditions that made Exile on Main St. so special. As opposed to their British Invasion peers, the Stones were never averse to bringing in studio guests, especially in the 70’s when their recording budget was practically limitless. This song features a virtual All-Star team of backing vocalists. One of those, Dr. John, also contributes his inimitable piano talent for a little New Orleans flavor.

When you throw in the powerful horns of Jim Price (on trombone and trumpet) and Jagger’s pained testifying, you end up with a much more overpowering statement then “I Got The Blues,” if a bit more heavy-handed.

The other nifty thing about the song is the way it backs up lyrics about lust and betrayal with gospel-flavored music. Jagger puts it succinctly when he songs, “I ain’t in love,” but he can’t follow his own friendly advice and quit the woman causing him pain. Unable to remedy his anguish, Jagger finds redemption in the abandon of the refrain: “Let it loose, let it all come down.” It’s a one-of-a-kind song, lightning in a bottle that the Stones had access to while making that extraordinary album.

17. “Fool to Cry”

From Black and Blue

LISTEN HERE  

There has to be points given for sing-along-ability. That may not be a word; in fact I only skirted spell-check by my brazen use of hyphens. But I’m damn sure it applies to this solid hit off Black And Blue (it reached #6 in the UK and #10 in the US.) I do a mean version in the shower myself. I liken my performance to a macaw being garroted while attempting to swallow a corn cob.

But enough about me. Mick Jagger’s charming falsetto is the drawing card here, projecting a vulnerability that’s a nice change from the cocksure bravado we expect. He gets to be front and center on this light track, with keyboards being the only competition for most of the song (Jagger’s electric piano early, Nicky Hopkins with synthesizer late and piano tinkling throughout.)

All of the reassurance that Jagger seeks throughout from the various women in his life; it all seems to fade in the song’s run-out. The music turns darker, with Wayne Perkins’s guitar and Charlie Watts’ drums stepping to the forefront after lying dormant for much of the track. Suddenly, the falsetto is gone, replaced by strangled cries. That bold finish steers the song away from adult contemporary territory into a much deeper and more powerful place, a place where even the sweetest cries for consolation and comfort go unheeded.

16. “When The Whip Comes Down”

From Some Girls

LISTEN HERE  

It’s easy to get caught up in the adrenaline rush of this ripper off Some Girls, and just enjoy it at that level. This is the epitome of the twin-guitar sound that the Stones stumbled upon when Ronnie Wood joined the ranks. “When The Whip Comes Down” is also one of Charlie Watts’ finest moments as a Stone; even at the rapid pace he never falters one iota, and then he leads the group through a furious double-time coda with his machine-gun snares.

This song was hailed as the group’s answer to punk. You can see why, what with Jagger’s sneering vocals and the two-chord bashing of the band. The solos are also kept to a minimum, just a brief run by Ronnie Wood on pedal steel.

It’s easy to miss therefore, with the pace of the music, the fact that the song is about a gay male prostitute. You have to give Jagger credit for embodying a character that a large portion of his audience wouldn’t understand. Granted, his singing in the verses is near unintelligible, so provocative lines like “I was gay in New York/Which is a fag in LA” can slip by unnoticed. But, still, it’s an eye-opener.

What makes these lyrics so effective is that Jagger doesn’t walk on eggshells with this character. He gives him that prototypical swagger that he pulls off so well, and he throws him into the chaos of the street-life and trusts him to fend for himself. There is no patronizing at all because it’s a gay man being portrayed; the matter-of-factness of it all is refreshing even now, some 30 years after the song’s release. The fact that it’s one of the Stones’ toughest songs is so counter intuitive and forward-looking that it’s practically revolutionary.

The complete list to date.

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