Bombastic and squirm-inducing at times see the ankle-shattering "Stray Cat Blues" and wistfully modest at others "Factory Girl"it's all anchored by the stone-cold anthems "Sympathy for Album) Devil" and "Street Fighting Man. Has a title ever reflected an era or ethos better than Let It Bleed? While the western world was Album) up in flames, the Stones were cutting diamond-hard tracks with Brian Jones who died before it was released and new member Mick Taylor.
The band's barely controlled mania helped channel the late '60s kaleidoscopic chaos, while the shadowy edges of the Stones' comfort zones beckoned them into pioneering new realms of psycho-sexual frenzy. This would be the Stones' finest hour or so if it didn't go on for so long, and to many, that's part of the appeal. Its 18 songs take time to sink in, rewarding close listens decades after first exposure. The Stones' equivalent of an epic novel, Exile 's storied and tortured creation precedes it to such a degree that it's refreshing to go back and absorb the work on its own merits.
The fact that the Stones released this 10 years after forming is some kind of all-time record of artistic growth and development, even if the leisurely sequencing obscures the emotional roller coaster. Everyone still gets off in the end, it just takes awhile to get there. Title aside, Sticky Fingers snaps like a thundercrack.
No matter how many times you hear Charlie Watts' snare kick in on "Can't You Hear Me Knocking," or the way it stands firm against Keith's squirrelly riff, your limbs can't help but respond at a molecular level. Any band that can convincingly put excellent but tonally antithetical songs like "Bitch" and "Moonlight Mile" on the same platter is full of goddamned sorcerers.
And the range of emotions displayed — from the jaunty satire of "Dead Flowers" to the mournful, gorgeous and immortally proud "Wild Horses" — makes the fact that this hangs together the more impressive. Sticky Fingers manages to rise above its time, subject matter, and circumstances of its creation by reveling fully in their messy and unsettling contradictions.
Mick, Keith and the rest have spent their creative careers looking for grace in the gutter. This is its heavenly wail. United States. Type keyword s to search. Today's Top Stories. Richer Poorer's Short-Sleeve Sweatshirt. The Shakedown at Sing Sing. Advertisement - Continue Reading Below. Bridges to Babylon Dirty Work Rolling Stones Records.
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Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Andrew Loog Oldham. The Rolling Stones Out of Our Heads Tom Hull. Jerry LeiberArtie Butler. Norman Meade a. This fairly vague and innocuous song about yearning turns into something special when the bridge hits. This is a straightforward, rough-and-ragged rocker bolstered by horns that seem to come out of nowhere.
The lyrics are flowery nonsense, but at least the band sounds semi-sincere in their sentiment. Aside from Simon Kirke on congas, this LP the just the five Stones in a deep, loosey-goosey groove. A little outside inspiration never hurt. He sounds like your buddy whose wife finally let him out for a night with the guys, brags about how he can do whatever he wants, then gets called home to put the kids down an hour later. This is also the last song Meredith Hunter heard in his too-short life.
The title track is nutty, but this straightforward rocker redeems the entire endeavor. Longtime associate Ian Stewart makes a welcome return to the keys, and the band lets it all hang out in classic Stones fashion. But did you know it was almost recorded as a reggae song? The boys at their bratty best. This countrified rockerwith its casual allusions to heroin use, makes giving up sound like a party. Another classic Stones track with two distinctly different versions.
The song that launched a restaurant chain! It seems to be a very personal song for Keith who was writing about his girlfriend at the timebut Marianne Faithfull claims it was a collaboration between her and Brian Jones.
As is the case with most Stones songs of that era, Jones was the special sauce in this case, he played LP recorder.
The track keeps building in intensity until the horns kick in and the revelries are renewed. The party must go on. This is the Stones at their bluesy, boozy best. The lick-trading chemistry between Keith and Wood is effervescent, Album) never overwhelms the laidback vibe. The tempo shift three minutes in takes this Album) to a completely different, funkier level.
A minute later, it turns downright sinister. So much cowbell. This is The Rolling Stones at their hybrid best. You can play this as a country song, a rock song or a rhythm-and-blues song.
And a quick gender switch turns this into a feminist or a gay anthem.
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