Best singles songs all time rolling stone

best singles songs all time rolling stone

Результатов по запросу: «500 Greatest Songs Of All Time» 1-9 из 9. Имя торрента. Z. Размер. Сидер. Личер. T (Rock'n'Roll, Pop) Rolling Stone Magazine's 500 Greatest Songs Of All Time - 2004, FLAC (tracks), lossless Сборники зарубежного рока (lossless). 11.22 GB. 15. 2. (Rock) VA - NME - The 500 Greatest Songs Of All Time - 1939-2013, MP3, 320 kbps Музыка (lossy). 4.88 GB. 10.

best singles songs all time rolling stone

The Rolling Stones | Matt Cardy/Getty Images The Rolling Stones are not only the band of all-time, but probably the oldest as well, at this point. The Stones have cycled through a fair amount of members over the years, with the core dynamic between strutting and songwriting blues-man guitarist Keith Richards anchoring the group through their many albums and tours over the years.

With such a prolific, long-lived and legendary band, any top 10 list could be made of entirely different songs and still be as valid as the next. The top ten list you see below is subjective and composed of sacrifices — songs it pains me to omit, but omit I must. These are my 10 best Rolling Stones songs. 10. ‘Dead Flowers’ “Dead Flowers” shouldn’t work as well as it does. Listen to Mick Jagger’s swaggering parody of a country accent, and it seems as though the band is having a lark.

This steel-guitar drenched track works well as both a weepy country bar ballad and a parody of one, thanks to the skillful playing — Keith’s guitar has rarely sounded so lovely — and a blend of instrumentation that makes “Dead Flowers” sound like a proper distillation of the “cosmic American music” Stones-collaborator Gram Parsons was working so hard to create. The Stones didn’t even need to be American to manage it. 9. ‘Angie’ One of the Stones’ loveliest, most delicate ballads is predictably about a more lurid subject — a plea to David Bowie’s then-wife when she allegedly caught her husband and Jagger in bed together — but that can’t diminish the sorrow and the longing evident in every strummed note.

The pianos, the acoustic guitar and Jagger’s desperate vocal performance make “Angie” one of the band’s all-time best. 8. ‘Can’t You Hear Me Knocking?’ This spot could have easily one to “Brown Sugar” or virtually any other song from Sticky Fingers, my personal favorite Stones album and a contender for my favorite album of all-time, but “Can’t You Hear Me Knocking?” wins by virtue of its length.

The song begins as a standard rocker, built around a jagged, mean monster of a riff only Richards could have come up with, before breaking down into an epic stretching for seven minutes of guitar riffing, sexy saxophone, conga drums, and more. It’s a true exploration, effortlessly combining two things into one unlikely, endlessly satisfying whole. 7. ‘Beast of Burden’ As with so many Stones songs, “Beast of Burden” is a song whose quality far outpaces its complexity.

It’s just a sexy slow jam, but the swaggering vocals and beautiful guitar interplay make it the sexy slow jam.

There isn’t much to say about a song that works simply because it sounds so deeply felt — a testament to the soulful playing and songwriting of this group of these British boys from Kent. 6. ‘Rocks Off’ The opening track of Exile on Main Street, often considered to be the band’s masterpiece, kicks things off with a barroom brawl of a tune that might have been forgettable with another band playing.

With the Stones, it sounds alive and electric like one of their live shows contained into four-and-a-half minutes of pure auditory bliss — the ripping guitar, the swelling choruses, the horns that come in halfway through to help the song’s epic, satisfying buildup. 5. ‘Paint It Black’ Long before goth and grunge, the Rolling Stones perfected the art of black-hearted depression in musical form with their sitar-infused “Paint It Black.” One of their all-time greatest singles, the moody, poetic lyricism helps to distract the fact that this is essentially a perfect pop song painted in darker colors (get it?), built upon multiple endlessly catchy melodies and a plodding drum beat and guitar riff that gives the whole thing an added, almost primal edge.

4. ‘You Can’t Always Get What You Want’ The Rolling Stones built one of their greatest epics upon a pretty obvious sentiment — yeah, of course you can’t always get what you want, Keith — but they blew it up with heavenly choirs, horn reveries, and a steady build to make it into an earth-shattering realization.

You’re right, Keith, I should try and get what I need! The vocals are poignant and beautiful, and the song’s soloing outro, wherein the heavenly choirs return to complement the sentiment, is nothing short of majestic. 3. ‘Sympathy for the Devil’ This is sort of the Rolling Stones’ anarchic mission statement, outright aligning themselves with a strutting, sarcastic version of Lucifer that would probably look something like Mick Jagger with a pitchfork. The bongo drums set the perfect backdrop for a slowly swelling vocal riddle that finally explodes into a rollicking backup vocal beat (“woo woo!”) and some of Keith’s best ever guitar work — and Mick’s best falsetto.

2. ‘Jumpin’ Jack Flash’ I’m tempted to not even give any sort of adequate reason for “Jumpin’ Jack Flash”‘s inclusion on this list — does it even need it? It just seems to be a perfect distillation of rock music, four minutes of pure power and fun. The only thing that can match the boastful majesty of the central guitar riff are the boastful lyrics.

What more can I say? It’s just perfect. 1. ‘Gimme Shelter’ You had to know this was coming. The cliche pick for the best Stones song is the rare cliche that gets it right.

“Jumpin’ Jack Flash” is rollicking fun, but “Gimme Shelter” is pure menace. From the otherworldly opening riff, we can sense a sort of storm coming, one that’s delivered upon in the final minutes when Mick Jagger and guest singer Merry Clayton shout through a repeated chorus. It’s a song that has a perfect mood, and like the Stones themselves, its crafted from loose ends of other genres — from the soulful vocals to the swampy blues harmonica — into something entirely its own, something earth-shattering.

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best singles songs all time rolling stone

best singles songs all time rolling stone - Rolling Stones songs

best singles songs all time rolling stone

• Of the 500 songs, 351 are from the United States and 120 from the United Kingdom; they are followed by Canada, with 13 (a majority of them by ); Ireland, with 12 entries (of which 8 were composed by ); Jamaica, with 7 (most of them by , , and ); Australia, with two (); Sweden () and France (), each with one (note: if the Anglo-Australian group, the [two entries] were counted as Australian, rather than British (nb. they first achieved success in Australia) the totals would be adjusted to UK - 117, Australia - 4).

• The list includes only songs written in , with the sole exception of "" (number 345), sung in Spanish by the American singer-songwriter . • Few songs written prior to the 1950s are included; some that are listed are 's "" (1936), in the version recorded by , and 's "" (1949). "", listed in the version by English rock band , was recorded at least as early as 1934. ' "" (1950) is based on an earlier song, dating to the 1920s. • There is one instrumental on the list: "" by the American band (number 181).

• The number of songs from each of the decades represented in the 2004 version is as follows: Decade Number of songs Percentage 1940s 1 0.2% 1950s 72 14.4% 1960s 203 40.8% 1970s 142 28.2% 1980s 57 11.4% 1990s 22 4.4% 2000s 3 0.6% • are the most heavily represented musical act, with 23 songs on the list.

, , and are also represented as solo artists. However, Lennon is the only artist to appear twice in the top 10, as a member of the Beatles and as a solo artist. The Beatles are followed by (15); (14); (11); (8); , (7); , , , , (6); , , , , , and (5). • The artists not included on the list of the top 100 artists but having the most songs featured in the list are , , and , each with three songs.

• Three songs appear on the list twice, performed by different artists: "", performed by (number 107) and by (number 79); "" by Presley (number 430) and by (number 95); and "" by (number 346) and by (number 293). • The shortest tracks are "" by running 1:47, "" by (1:52), and 's "" (1:53). • The longest tracks are "" (11:41) by ; "" (11:21) by ; and "" (9:58) by . • Love is the most frequent word used in the songs' lyrics, with 1057 occurrences, followed by I'm (1000 uses), oh (847 uses), know (779 uses), baby (746 uses), got (702 uses), and yeah (656 uses).

In May 2010, Rolling Stone compiled an update, published in a special issue and in digital form for the iPod and iPad. The list differs from the 2004 version, with 26 songs added, all of which are songs from the 2000s except "" by , released in 1994. The top 25 remained unchanged, but many songs down the list were given different rankings as a result of the inclusion of new songs, causing consecutive shifts among the songs listed in 2004.

The highest-ranked new entry was 's "" (number 100). The number of songs from each decade in the updated version is as follows: Decade Number of songs Percentage 1940s 1 0.2% 1950s 68 13.6% 1960s 196 39.2% 1970s 131 26.2% 1980s 55 11% 1990s 22 4.4% 2000s 26 5.2% Two songs by and two by were added to the list.

Jay-Z is featured in two other new songs on the list: "" by , and "" by . The only artist to have two songs dropped from the list is ; their "" (previously number 114) was the highest-ranked song to have been dropped.

best singles songs all time rolling stone

Time doesn’t apply to the Rolling Stones quite like it does to other rock bands. Their longevity is staggering — this band has been around for 55 years. Fifty-five years! Founding members Mick Jagger, Keith Richards, and Charlie Watts have been hitched to each other for far longer than the vast majority of marriages last — longer than a lot of lives last, too.

That staying power is an incredible achievement, and it also has a distorting effect. If you’re a fan of the Stones, it’s hard not to always compare them with their glorious 1968 to 1972 peak, when they fully assimilated all their blues, rock-and-roll, R&B, and country influences and turned it into something decadent, dark, ironic, sexy, and wholly their own.

That leaves 45 ensuing years of gradually declining cultural relevance and, if we’re being honest, more mediocre music than good, and a seemingly ceaseless parade of product — compilation albums, concert films, live albums, and, recently, the traveling “Exhibitionism” display of band memorabilia. In 2017, it seems equally reasonable to think of the Rolling Stones as rock gods or greedy dinosaurs.

Either characterization, though, is inadequate. In all likelihood, the band’s most recent studio album, the all-blues cover effort Blue & Lonesome, is going to be its last. It’d been 11 years since the previous one, and Mick, Keith, and Charlie are north of 70 years old. Guitarist Ronnie Wood, who joined up in 1976, is the youngster at 69.

At some point, time is going to do to them what time always does. Before that though, let’s try and take account of what the Rolling Stones have achieved since they set out from London in 1962. As the following 373 songs attest, it’s been an improbably long, wildly lucrative, bumpy, and very often brilliant rock-and-roll life. Some general notes before we start: — Keith Richards is the Rolling Stone everyone loves, the one with whom you could imagine sharing a beer.

Mick, not so much. If Jagger were even to deign to have a drink with a plebe, I suspect it’d entail something like his sipping a while peering at you through jeweled binoculars and having a Slovenian model smooth anti-aging unguents into his wrinkles.

In other words, he’s not cool and Keith is. The problem with that dynamic is that it diminishes Mick’s contribution. A great Rolling Stones song, unlike a great Beatles song or a great Led Zeppelin song, is the result of the band’s leaders working at a peak at the same time.

Keith Richards knocks out solid melodies and guitar riffs like the rest of us breathe. (Charlie Watts’s drumming is just as consistent.) So what really separates apex Stones from good Stones, and good Stones from bad Stones is Mick Jagger matching Keith’s excellence. When his singing is engaged and his lyrics have purpose, the results are strong.

When he doesn’t, there’s not much Keith can do to help. Keith is the constant; Mick is the variable. (Mick was also the one who pushed the band toward new sounds and styles. Was he a trend chaser? Yes, but he often caught worthwhile sounds.) — We think of the Rolling Stones as a blues-rock band. Over its six-decade existence, though, the outfit has had several distinct musical periods.

From 1962 to 1965, the band — Mick, Keith, Charlie, bassist Bill Wyman, and guitarist Brian Jones, who, along with manager-producer Andrew Loog Oldham, was an important driving force in the early days — was, by design, derivative of its musical heroes. This period includes a lot of music that, to my ears, doesn’t hold up today. When you can easily stream a Muddy Waters or Howlin’ Wolf original, the baby Stones’ covers of mid-century blues material become less enticing.

The real thing is right there waiting for you. The band didn’t put out a fully absorbing album till the second half of 1965, not coincidentally when Jagger and Richards started to consistently generate original material.

— The band’s less blues-oriented material from 1966 and 1967 constitutes a minor peak. These guys were very good at writing and recording pop songs!

Unique ones, too. The Stones’ sound during this mini-era was pop with punkish, at times almost metallic touches, adorned with Brian Jones’s (then at his creative peak) distinctive instrumental textures — textures lost when his time in the band was up.

And once the Stones started down the heavier, harder rocking road, they never really returned to the playful, exuberant atmosphere of albums like Between the Buttons. — The ’80s weren’t as creatively bad for the Stones as is commonly thought.

Mick may have been pandering to glossy production trends in search of a hit, but the material on 1986’s often-maligned Dirty Work, for example, is stronger than the more conventional Stones-isms of better known ’70s albums like It’s Only Rock ‘n Roll.

If you’re not married to a singular idea of how the band should sound, the ’80s Stones have a lot to offer. Once you get to the ’90s though, the best you can do is to cherry-pick the good songs; the albums become interchangeable, marred by musical and lyrical clichés. — The Rolling Stones have multiple songs that are lyrically reprehensible to women and people of color — often both at the same time.

If I were questioned about this topic at the Pearly Gates, I’d suggest that the Stones’ offensive attitudes had more to do with a craven desire to be provocative than any fundamental malignant worldview, but maybe I’m a fool. Whatever the true motivation behind them, a handful of the band’s songs have been tarred by Jagger and Richards’s sex and race insensitivity. There’s no getting around it.

Then there’s the matter of appropriation. Excepting perhaps Elvis, there is no rock act that benefited more from drawing on black music than the Rolling Stones, who have repeatedly talked with respect and deference about how much they’ve taken from their musical idols. I do think that once the band took flight, its music represents a synthesis of their influences, rather than mere mimicry or theft. That said, I don’t know what you do with all these issues other than acknowledge that they’re a problem.

Whether that problem is an aesthetically and/or ethically insurmountable one is up to you. (Perhaps comparison with the other great superstar English blues-appropriators Led Zeppelin is helpful here: The Stones weren’t nearly as blasé about stealing songwriting credits and far more diligent about helping their heroes gain wider exposure.) — This ranking includes covers recorded by the band as well as original compositions.

In both instances, I used the earliest album or EP appearance of a given song as the basis for the ranking. (A lot of Stones songs, especially in the very early days, showed up on multiple albums; there’s also a lot of material included on more than one live album.) I didn’t include songs that were only available unofficially. (So no “Cocksucker Blues.”) There are two legitimately released sources of material I discounted.

Checkerboard Lounge: Live Chicago 1981 is co-credited to Muddy Waters and the Rolling Stones. It’s not a Rolling Stones album. It’s a Muddy Waters album on which different members of the Stones appear at different times. Similarly, there are two songs on the L.A. Friday live recording where Billy Preston sings his own songs while backed by the Stones. Those are Billy Preston performances, not Rolling Stones performances. In both cases to include them in this ranking would’ve felt misleading.

Anyway, enough preamble. Ladies and gentlemen: The Rolling Stones. 374. “,” The gaudy album from which this song comes isn’t nearly as much of a post– Sgt. Pepper’s trend-chasing psychedelic disaster as is commonly believed. Except, that is, for this song, a full eight-and-a-half-minute musical blart. 373. “,” Mick sings to the destitute titular character — a hungry survivor in a war-torn country who, it’s implied, has been raped — that “life just goes on getting harder and harder.” Nice.

Maybe “Indian Girl” works if you read it as an anti-imperialist character sketch, but if you’re willing to give the benefit of that doubt, then try explaining the cartoonishly sentimental music that accompanies Jagger’s lyrics.

Those “Latin” horns? Whatever accent Mick is going for when he sings, “They’re fighting for Mr. Castro / on the streets of Angola”? This song is the pits. 372. “,” Here and there you’ll find people arguing that this clattering jam, the final track on the otherwise excellent Aftermath, is innovative because of its 11-minute length — nearly unprecedented for a rock band in 1966. The first three minutes of “Going Home” consist of a non-awful blues tune.

The following eight are aimless, uninspired, and not especially skillful. 371. “,” Does anybody under 50 much remember Billy Preston these days? For a spell in the late ’60s and ’70s, the singer-keyboardist was a star, one sufficiently esteemed to play with the Beatles on Let It Be and with the Stones on a handful of songs, including this tedious lump of R&B.

It’s based on Preston’s earlier, marginally better song “Do You Love Me?” 370. “,” The original version of this song, recorded in 1963 by Bob & Earl is suave and limber. The Stones’ version is klutzy and overbearing.

The is somehow even worse. 369. “,” Frequent Stones’ sideman Ian Stewart’s boogie-woogie piano playing on this dreck isn’t embarrassing. The rest of the song, the potential entertainment value of which lies in how funny listeners find lines like “She’s got me by the balls,” very much is. 368. “,” Dirty Work This 30-second snippet is maybe too marginal to be ranked so harshly.

Then again, it’s a wordless 30-second snippet that the Stones seemed to feel was worth appending to the end of one of their better albums of the ’80s, so render under Jagger what is Jagger’s. 367. “,” Their Satanic Majesties Request In context as the closing track to a muddled concept album, this twee “see you next time” music-hall number at least makes sense (of a sort).

On it’s own, it’s a flimsy period piece. 366. “,” A mid-tempo blandwich. 365. “,” The Rolling Stones () The most distinctive thing about this organ-driven 1964 instrumental is its title, a reference to Stones’ heroes Gene Pitney and Phil Spector. 364. “ ,” The title of this 1964 instrumental bears the address of Chicago’s Chess Records and recording studio, where so many of the Stones’ blues heroes recorded.

The instrumental itself is almost diverting. 363. “Under the Boardwalk,” If my time machine ever starts working, I’m going to set it for 1964 and tell the Rolling Stones that they weren’t, in fact, required to record nondescript versions of songs that had already been hits for other artists.

362. “,” Aside from a brief jolt when the song modulates to a major key for bridge, this track flatlines. 361. “,” A draggy Marvin Gaye cover.

360. “,” Light the Fuse Otis Redding co-wrote this with Steve Cropper and included it on his brilliant The Great Otis Redding Sings Soul Ballads. The Stones’ cover is skippable. 359. “,” Black and Blue The Stones were casting around for new influences on 1976’s Black and Blue, and “Hey Negrita” is one of the album’s two dalliances with reggae.

But even if you forgive the iffy lyrics — “Negrita” translates to “little black girl” — the song doesn’t do anything interesting with the rhythms. This song is a ponderous five minutes.

Aside from the Clash and Bad Brains, did any rock band figure out how to consistently do something interesting with reggae? 358. “,” A wordless, rudderless doodle from the late ’60s, included for some reason on the 2010 reissue of Exile on Main Street. 357. “” (B-side) An indolent blues song recorded in 1989 and released two years later. 356. “,” Light the Fuse Yep, the Bob Marley anthem. The Stones put a cover of this on a live album recorded in Toronto in 2005, which was only made available as a Google Play Music download.

It is, for this band, an interesting song choice. And it’s an uninteresting performance. If you’re curious Brussels Affair (Live 1973), also a Google Play exclusive, is fantastic. 355. “,” And bottom of the barrel. An inert blues.

354. “” (B-side) A justly forgotten song recorded in 1982 and released in 1989, “Cook Cook Blues” is a lifeless blues shuffle that sounds like a warm-up exercise. Most bands know better than to release this kind of stuff. 353. “” (B-side) The companion to 1997’s “Saint of Me” single, “Anyway You Look at It” is glacial gunk, complete with a maudlin cello part. 352. “,” Their Satanic Majesties Request There are only so many ways to say that ornate psychedelia was not the Stones’ métier.

Guru, how is it that a five-minute song like “Gomper” can feel endless? 351. “,” A Bigger Bang 2005’s A Bigger Bang was a rebound for the band after the shaky Bridges to Babylon. And still there was no earthly reason it needed to be 16 songs long. This pro forma rocker should’ve wound up on the chopping block. (How is there not a Rolling Stones song called “Chopping Block?”) 350. “,” Their Satanic Majesties Request Bill Wyman on lead vocals! Which is something he never again did for the Stones.

Given his his performance on this spaced-out track, that decision was probably for the best. 349. “” (B-Side) Credited to the pseudonym Nanker Phelge, this 1963 band composition is an instrumental loosely based on Booker T. & the M.G.’s hit “Green Onions.” The song has the distinction of being the band’s first non-cover release.

That’s the most interesting thing about it. 348. “” (B-side) Zero-impact blues-rock from 1994. A classic case of the band using a B-side (the flip to “Out of Tears”) as a dumping ground. 347. “,” Steel Wheels Keith’s lyrics are atrociously lazy: “I just can’t be seen with you … I just got obscene with you.” This is the kind of song that, if he’d written it, Eddie Money would’ve thought, I gotta do better.

346. “,” Circa 1983, Huey Lewis and the New

The Rolling Stones - Time Is on My Side (EE.UU, 13 December 1981)
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