Over the fifty years of their existence, the Rolling Stones have only released 22 studio albums in the UK, but within this catalogue can be found some of the most influential, game-changing and iconic recordings of the rock ânâ roll era. From the moment they exploded from the sweaty, smoke-filled clubs of Londonâs visceral early sixtiesâ rhythmânâblues scene, the Stones defined a hitherto unprecedented rebel sensibility thatâs since become accepted as an essential ingredient of all subsequent rock. But it wasnât exclusively cavalier swagger, belligerent attitude, fearless ingestion of sundry intoxicants and an uncanny ability to tie superfluous scarves to their legs that earned the band their enviable reputation as âthe greatest rock ânâ roll band in the worldâ.
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While The Beatles, under the enabling tutelage of George Martin, embraced strings, woodwind, piano-based melodies, Tin Pan Alley populism, music hall Englishness and European classical elements to create their blueprint for mainstream pop, the Stones remained true to their rânâb roots by looking across the Atlantic for the raw materials of the music that we now recognise as rock.
Roughneck electric Chicago blues, booty-loosening soul syncopation, edgy urban funk and the righteous sedition of a burgeoning civil rights movement collided with the dustbowl-born, bourbon-soaked grit and painfully raw, blue collar emotions of country music as the Stones unified previously mutually exclusive genres against the political backdrop of a steadily dissolving racial divide.
Uncontaminated by the limiting baggage of segregational convention, the band swept across America voraciously accumulating new sounds and new styles at every truck-stop and juke joint that they encountered on the road. Back in the studio they combined these elements to create a succession of career-defining albums - Beggars Banquet (â68), Let It Bleed (â69), Sticky Fingers (â71), Exile On Main St. (â72) â that introduced mainstream America to Americana, the folk music that had existed under their very noses since time immemorial, and they loved them for it. They still do.
But thereâs far more to the Rolling Stones than this core quartet of releases, both before and since. Their sixties hits never lose their potency, theyâre still one of the greatest live bands ever to grace a stage and, beyond this lot there are enough bootlegs to keep you entranced until doomsday. Some of their superior live recordings are being accorded official release via the bandâs website but there are countless others (along with TV appearances, radio sessions and studio out-takes) that are readily available by nefarious means and well worth a listen. That withdrawn, contract-fulfilling Decca single Schoolboy Blues (AKA Cocksucker Blues) with Andrewâs Blues on the flip? Youâve gotta hear that.
But in the meantime, thereâs this. Enjoyâ¦
26) Emotional Rescue (1980)
Not so much âavoidâ as âbuy lastâ, Emotional Rescue marks the Stonesâ ill-advised immersion in the world of disco. Though it has to be noted a good five years after the rest of the planet. As Jagger goes all high-pitched, self-grabbing and Gibbsy, itâs all the self-respecting Rolling Stones aficionado can do not to weep. Dance (Pt. 1) is right up there on the rotten front as well, which is a shame as it marks Ronnie Woodâs only writing credit alongside Jagger and Richards. Some might say it sounds an awful lot like Led Zeppelinâs Trampled Underfoot⦠That said, Keithâs All About You is something of a classic and deserves better company.
25) Dirty Work (1986)
Hobbled by a debilitating mid-80s production, Dirty Work finds the Stones in turmoil, Richards livid at Jagger for releasing Sheâs The Boss, his first solo album, and the pair barely speaking. Charlie meanwhile was in the grip of unlikely mid-life addictions to heroin and booze. Listening to the album now itâs unsurprisingly poor. Obviously itâs the Stones so itâs not without charm, but you have to look extremely hard for any. Its single, a weary cover of Bob & Earlâs Harlem Shuffle, is dispiritingly similar to Jaggerâs Dancing In The Street Live Aid Bowie duet. On the plus side? As itâs not for charity, you donât have to pretend to like it.
24) Steel Wheels (1989)
Endeavouring to set animosity aside, Jagger and Richards set to work on a post-Dirty Work comeback that pretty much set a template for all that was to follow. An album where the Stones largely rock out in familiar, even caricature style, thereâs a fragile Keith lead vocals to add country-tinged piratical whimsy to the mix and, production-wise, itâs hard not to notice that everything appears anchored to, and built around, Charlieâs snare. And, of course, thereâs an accompanying tour, not least it seems, to test just how high a ticket price the contemporary market can take. Continental Drift, their last great sonic experiment (featuring, with no little historic significance, the Brian Jones-favoured Master Musicians Of Jajouka) passed almost unnoticed, while the albumâs three accompanying singles all failed to make the UK top thirty.
23) Bridges To Babylon (1997)
Itâs all very well being The Greatest Rock âNâ Roll Band In The World but what do you do for your next trick? On 1997âs Bridges To Babylon the Stones elected to conjure up more of the same⦠but different. They experimented with sampling and Jagger - always with his eye on the contemporary - brought in The Dust Brothers to add some production magic. Meanwhile, Keith â always with his eye on Jagger â brought in Dylan/Band/Clapton traditionalist Rob Fraboni to produce his tracks, an unprecedented three of which made the final cut. Danny Saber and Don Was also garnered production credits, and no less than eight bass players endeavoured to lock down the bandâs bottom end. Cooks? Broth? Thereâs probably some kind of kitchen-based analogy crying out to be be deployed here, but in all honesty thereâs a lot to love about Bridges To Babylon. Having said that, Keith and reggae? Never the easiest of bedfellows.
22) Voodoo Lounge (1994)
The Stones suffered a difficult 1980s. Who didnât? But the band emerged from their mid-life crisis and mid-career divorce from departing bassist Bill Wyman in 1993, refreshed and ready to go back to work. Mick and Keith had both got their extra-marital solo flirtations out of their systems, Darryl Jones was in place to take care of the bottom end, and Voodoo Lounge captures a band revitalized. Producer Don Was squeezed contemporary sparks from Love Is Strong, as he reset the crown jewels of the bandâs sound into a sophisticated nineties setting more becoming a band of their vintage. Even when their pedalâs to the metal, as on You Got Me Rocking, the band come off sounding dignified and distinguished.
21) Black And Blue (1976)
With Mick Taylor calling it a day at the conclusion of Itâs Only Rock âN Roll, the Stones were scoping about for a replacement, and auditions for the vacant position can be heard on Black And Blue. Based purely on their contributions, you could see why Muscle Shoals sideman Wayne Perkins or Canned Heatâs Harvey Mandel were considered â the former for the killer chops ânâ syrupy soul of Hand Of Fate and Fool To Cry, the latter for Hot Stuffâs punchy funk, both for their sterling work on album highlight Memory Motel, but Ronnie Wood got the job for a couple of lukewarm portions of cod reggae and a by-numbers Crazy Mama. He must have nailed a better interview. Or hairstyle.
20) Between The Buttons (1967)
Recorded on the hoof in Hollywood and London during the latter half of 1966, Between The Buttons gave clear indication that Brian Jones was fast becoming a marginalised creative force in the band that he once called his own. Other than a vibraphone clanging awkwardly across album opener Yesterdayâs Papersâ misogynistic lyrics, Between The Buttons was stripped of almost all exotic instrumentation. The full-tilt a-ronk-a-ronk of Miss Amanda Jones and barreling Berry-isms of Keithâs Connection sparked with a freshness and lack of contrivance that mirrored the permissiveness of their time. Although frequently overlooked by the received wisdom of accepted critical opinion, Between The Buttons was the first album to capture the classic post-Jones Rolling Stonesâ sound as ultimately perfected on Sticky Fingers.
19) Goats Head Soup (1973)
Always determined to assimilate contemporary elements into their trademark sound, Goats Head Soup finds the Stones (whoâd just come off the road with support act Stevie Wonder) newly in thrall of urban funk. Doo Doo Doo Doo Doo (Heartbreaker) with its driving Billy Preston clavinet and strident Jim Price horn arrangement is the class act here, Dancing With Mr. D menaces nicely but, at heart, Goats Head Soup is an album of ballads. The best, Angie, is arguably the Stonesâ finest, so more than worthy of inclusion, but unremarkable space fillers like Winter and Coming Down Again will have you running into the arms of the wonderful, if hackneyed, Star, Star.
18) Undercover (1983)
While Undercover may not have been the final occasion The Rolling Stones aimed for relevance it marked the last time the global zeitgeist was prepared to suspend its disbelief and allow them the luxury of appearing so. Lead single Undercover Of The Nightâs Julien Temple-directed promo was even deemed too controversial for MTV. Following,Tattoo Youâs archival water-tread, Undercover was the Stonesâ first album of all-new material since Emotional Rescueâs disco hiccup, and re-emerging in a post-Smash Hits landscape, where synth-pop was king, rap on the rise and youth at a premium, rockâs elder statesmen had a lot to prove. A contemporary, Chris Kimsey co-production brought the Stonesâ sound bang up to date and as before they endeavoured to cover all bases: funk (Undercover Of The Night), rock (She Was Hot), reggae (Feel On Baby), Jagger even rapped (Too Much Blood). Ultimately though, Undercover, while a commercial success, was to be the Stonesâ last truly ambitious album. With pop already starting to split along generic lines, it was no longer possible for one band to be all things to all men.
17) Itâs Only Rock âN Roll (1974)
The ongoing funking of the Rolling Stones continues on Itâs Only Rock âN Roll with the extended groove of Fingerprint File but, while an eminently satisfying collection of tracks, the album as a whole continues the rudderless drift of Goats Head Soup. Luxury finds the band, at Keithâs behest no doubt, turning their attention toward reggae, Time Waits For No One utilizes a gentle Latin lilt and If You Canât Rock Me⦠rocks, but the title track, credited to Jagger/Richard but actually co-written by Jagger and Ronnie Wood during sessions for the future Stoneâs solo album, is the song that ultimately defines the album, and with its sentiment, the bandâs entire oeuvre.
16) Their Satanic Majesties Request (1967)
Though certainly not a classic, Their Satanic Majesties Request is far from the ill-conceived psychedelic folly that received critical wisdom might have you believe. Recorded hot on the heels of unremarkable time-marker Between The Buttons, it was the inevitable product of barely-restrained experimentation (both musical and chemical) and the unavoidable fallout of both. Drug busts, court cases, jail terms and general partying saw the band rarely in the studio as a unit, and solo indulgences by those that did make it had a tendency to rob the material of its intrinsic Stones-ness. That said 2000 Light Years From Home, Citadel and Sheâs A Rainbow (complete with John Paul Jones string arrangement) stand as bona fide psych classics.
15) Out Of Our Heads (1965)
As non-album hits and tabloid rancor continued to ramp up the Stonesâ domestic reputation as the anti-Beatles their third covers-heavy long player reflected mod-propelled changing times by shifting its attention from blues to soul. Don Covayâs Mercy Mercy, Marvin Gayeâs Hitch Hike and Sam Cookeâs Good Times find the Stones mastering a fresh discipline. With each successive tour of the States (the Promised Land so compellingly mythologized in the songs of their musical idols), these insatiable students of Americana soaked up fresh inspiration, broadened their palette of influences and ultimately tore down generic boundaries to define rockâs future. Progressive yes, but they still find room for a sprightly romp through Chuck Berryâs Talkinâ Bout You.
14) The Rolling Stones No. 2 (1965)
This feet-finding exercise ostensibly captured the Stones living their dream (recording at Chess Studios in Chicago and RCA in Hollywood between dates on their debut US tour). Yet their first taste of America was not quite as sweet as they may have hoped. A chance encounter with Muddy Waters was counterbalanced by a derisive on-air roasting from TV host Dean Martin. Mocked as neanderthals by a conservative establishment they poured their passion into career-defining takes of Norman Meadeâs Time Is On My Side and Don Rayeâs Down The Road Apiece while the nascent Jagger/Richard songwriting partnership gained confidence with the assured if derivative What A Shame, Grown Up Wrong and Off The Hook.
13) Shine A Light (2008)
The audio soundtrack to Martin Scorseseâs exceptional cinematic document of a pair of 2008 gigs at New York Cityâs comparatively intimate Beacon Theater captures the stately Stones at the latter-day zenith of their live powers. Itâs the best recorded example of what Keith Richards likes to call âthe ancient art of weavingâ, the intuitive, almost telepathic interplay between RockâNâRoll Himself and Honest Ron. A beautifully paced career-encompassing set-list finds all of the central protagonists on rare form: Mick Jaggerâs unmistakably mannered vocal delivery, Charlieâs trademark swinging precision, admirable support from veteran sidemen Bobby Keys (sax) and Chuck Leavell (keyboards), but itâs the magic sparking between Keith and Ron that truly dazzles.
12) Tattoo You (1981)
Who would have thought it? Sent into the vaults to conjure up an album for the band to tour behind in 1981, producer Chris Kimsey returns with pure gold. Tops and Waiting On A Friend date back to 1972âs Goats Head Soup sessions and feature Mick Taylor, while the career-reinvigorating star of the show, Start Me Up found its unlikely genesis in the single rock take of a Black And Blue-era reggae cast-off by the name of Never Stop. Long forgotten songs, instrumentals jams and choice snippets are recalibrated with contemporary vocal performances, but little production sheen and the end result gives the impression of a band returning to both their roots and their very best form.
11) A Bigger Bang (2005)
Despite flitting from genre to genre, soaking up inspiration like a sponge, and producing authentic, often exemplary, instances of blues, country, funk, rock ânâ roll, soul and rânâb along the way, somewhere along the line the Stones stumbled upon an instantly identifiable and utterly inimitable Rolling Stones sound. While itâs devilishly hard to describe, itâs also instantly recognizable, and itâs never been nailed to better effect or quite so precisely as it is on Rough Justice, the opening track of the Stonesâ latest studio offering of 2005. Oh No Not You Again is, as unlikely as it might seem, similarly insuppressibly excellent, and proves beyond doubt that no one does the Rolling Stones quite like the Rolling Stones.
10) Aftermath (1965)
Marking an enormous artistic leap, Aftermath (recorded entirely in Los Angeles) was the first Stones album to exclusively consist of Jagger/Richard compositions. Still firmly based in rânâb, itâs Brian Jonesâs visionary instrumentation thatâs truly driving the band forward at this juncture. Following the lead of George Harrison, Jones closely mimicked a sitar on Motherâs Little Helper by a applying a slide to his electric 12-string, before ultimately upgrading to the real thing for non-album single Paint It Black. Brian similarly enhanced Lady Jane by bringing an other-worldly, Elizabethan shimmer to proceedings with an Appalachian dulcimer and made the humdrum misogyny of Under My Thumb extraordinary by transposing its signature guitar riff onto African marimbas.
9) Brussels Affair (Live 1973) (2011)
Official recognition and release has been a long-time coming, but most Stones fans in the know have owned âofficialâ bootleg Brussels Affair (AKA Bedspring Symphony) in some form or other since highlights of the show were originally broadcast in the mid-seventies. Recorded in 1973 with Mick Taylor at the very peak of his form itâs, quite simply, the best Stones live performance available. Ironically, it could have been even better. The unofficial version, taken from a BBC radio edit, substitutes superior versions of Rip This Joint, Jumping Jack Flash and Street Fighting Man, from a different show. The Official Brussels Affair is available to download from The Rolling Stones official online archive.
8) The Rolling Stones (1964)
Often overlooked, invariably under appreciated, the Stonesâ eponymous debut album â inexplicably unavailable with its original UK track-listing on CD, though iTunes can still oblige with an accurate download â captures the band in their original incarnation as evangelical purveyors of authentic rhythm and blues. Tell Me, an engaging Brill Building pop facsimile, bodes well as an early sighting of a soon-to-be gilt-edged Jagger/Richards compositional credit, but three-quarters of the albumâs dozen songs are rânâb covers. The lazy shuffle of Jimmy Reedâs Honest I Do, Brian Jonesâs slide stings on Slim Harpoâs Iâm A King Bee, Keithâs delinquent swagger through Chuck Berryâs Carol: formative foundations upon which the Stones were to build the greatest rock ânâ roll band in the world.
7) Some Girls (1978)
The Stones were never more titanic and ubiquitous than they were in the mid-seventies, but their game had wavered slightly since delivering Exile On Main St. Ron Wood had stepped in for Mick Taylor, but their albums had been patchy; until 78âs Some Girls. Despite Jaggerâs optimistic aspirations, the Stones were never going to attempt to take on the punks at their own game, but disco? They could do that. Miss You owned that summer. Its Bill Wyman-via-Billy Preston bass-lope, when allied to Charlieâ Wattsâ four-to-the-floor backbeat, was irresistible. Elsewhere, a strong supporting cast of Respectable, When The Whip Comes Down, Far Away Eyes and Beast Of Burden similarly deliver.
6) Get Yer Ya-Yas Out! (1970)
No other live album captures the raw, visceral excitement of a rock show quite as succinctly as Ya-Yas. Its no-frills vérité approach suits the Stonesâ style perfectly. Here were a band recently up-graded into American arenas, but with the girlish screams of provincial Odeons still echoing in their ears and the sweaty intimacy of the Crawdaddy Club fresh in their memory. Jaggerâs on rare crowd-pleasing form and Richards (finally freed up from carrying a half-cocked Brian Jones) is on fire, sparring confidently with prodigious rookie, Mick Taylor. Introduced as âthe greatest rockânâroll band in the worldâ for the very first time they donât disappoint. Robert Johnsonâs Love In Vain flies, Midnight Rambler astounds and a brace of Berryâs delight⦠Charlie good tonight, ainât he?
5) Singles Collection: The London Years (1989)
While the Stonesâ 1960s albums invariably delivered, building on the bandâs higher profile singles output in a way that contemporary long players from The Who and Small Faces didnât, the bandâs greatest Decca-era work was captured on 7â vinyl. Contemporary hits albums (High Tide And Green Grass,Through The Past Darkly, Flowers) are fondly remembered, but in the CD era, all the very best stuff can be found on this one-stop 3-disc set. An uncharacteristically polite, debut canter through Chuck Berryâs Come On; a savage breakthrough assault on Lennon and McCartneyâs I Wanna Me Your Man; the world-conquering, slack-jawed riffs and petulant, anti-establishment sentiments of (I Canât Get No) Satisfaction, Get Off Of My Cloud and 19th Nervous Breakdown⦠All here and all, still, brilliant.
4) Beggarâs Banquet (1968)
Though Brian Jonesâ contributions - tambura here, mellotron there - occasionally haunt proceedings, his narcotic- and paranoia-debilitated state essentially left the band one man down during the Beggars sessions. And yet, with assistance from first-time Stones producer Jimmy Miller, Keith Richards stepped up to the plate to deliver one of their best albums. Beggars followed Satanic Majestiesâ unfocussed psych with a confident redefinition of all rock could be. From the tribal anti-gospel insistence of Sympathy For The Devil, through the Zeitgeist-defining sedition of Street Fighting Man, to the libertine salaciousness of Stray Cat Blues, Beggars hardened the Stonesâ bad boy image into a vision of amoral excess that rock ânâ rollâs been trying to live up/down to ever since.
3) Let It Bleed (1969)
Arriving in the final month of the sixties, Let It Bleed served to cement the Stonesâ reputation as deliciously diabolic harbingers of counter-cultural doom. Looking back, it seems almost unbelievably prescient that the albumâs ominous opening track, Gimme Shelter, should have been released the very day before Altamont. âA storm is threateningâ indeed: Merry Claytonâs extraordinary backing vocals are worth the price of admission alone. Elsewhere extensive brooding psychodrama, Midnight Rambler ramps up the darkness, Live With Me confirms suspicions that the Stones are modern-day Hellfire Club libertines before You Canât Always Get What You Want closes proceedings on an epic, if bittersweet, fin de siecle choral crescendo.
2) Exile On Main St. (1972)
Exile enjoys an unassailable position in accepted Stones lore as their crowning achievement, yet while it captures a crack unit at the peak of their form, theyâve produced better work in terms of core material. Exileâs legend has grown more around the chaotic circumstances of its birth, its accompanying U.S. tour and contemporary photographic portfolio, than the power of its constituent songs. That said there are a fair few bona fide classics here: Tumbling Dice represents rock as she should be rolled, Rocks Off slips up a gear with every crash of Charlieâs cymbal and All Down The Lineâs driving groove defines the compelling corvine swagger of Keith â72. Rip This Joint? Forget about it. Exileâs incorrigible.
1) Sticky Fingers (1971)
Housed in an iconic Andy Warhol-designed sleeve that, during the vinyl age, viciously assaulted all of your other records with its unashamedly impractical metal zipper, Sticky Fingers exemplifies all the Stonesâ best qualities over the course of ten essential selections. From the strident opening riff of evergreen party-starting staple Brown Sugar (arguably the Stonesâ ultimate defining moment), through the Gram Parsons-inspired, country rock paradigm Wild Horses, to the coked-out dreamscape of Moonlight Mile, Mick Taylorâs studio debut never lets up. Canât You Hear Me Knockingâs one-take extended coda, with its Santana-styled congas, propels Bobby Keysâ sax improvisation and Taylorâs inspired fluidity to dizzy heights. Bitchâs brassy arrogance, Sister Morphineâs opiate oblivion: the Stones were never better than this.
The English rock group the Rolling Stones has released 30 studio albums, 28 live albums, 26 compilation albums, three extended play singles, and 120 singles. The early albums and singles released from 1963 to 1967 were originally on Decca Records in the United Kingdom, and on their subsidiary label London Records in the United States.
It was common practice in the music industry, prior to 1967, for British releases to be reconfigured for the American market. In some cases, the US version would be an entirely different album with different tracks, cover photos and liner notes. The first five British Rolling Stones albums were converted into seven LPs for the American market, adding material from singles and the UK EPs. The two Big Hits singles packages, from 1966 and 1969 respectively, differ in each nation, and in the case of December's Children (And Everybody's) and Flowers there are no UK counterparts. The Rolling Stones' LP releases from Their Satanic Majesties Request in 1967 forward are uniform in both the UK and the US, except for Through the Past, Darkly (Big Hits Vol. 2).
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Albums[edit]Studio albums[edit]
Live albums[edit]
Official bootlegs; from The Vault and combo DVD+CD[edit]
Compilation albums[edit]
Other albums[edit]
Box sets[edit]
Extended plays[edit]
Singles[edit]
1963â1979[edit]
1980â1993[edit]Beatles Discography
1994â2006[edit]
2007âpresent[edit]
Other charted songs from 2016[edit]
Videos[edit]Video albums[edit]
Music videos[edit]
See also[edit]References[edit]
Rolling Stones Discography Torrent DownloadExternal links[edit]
Rolling Stones Discography Download
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