The Rolling Stones songs represent more than half a century of rock and roll excellence that continues to define what it means to be a legendary band. From the moment Mick Jagger’s voice pierces through Keith Richards’ iconic guitar riffs, you’re transported into a world where blues meets rock, where rebellion meets artistry, and where timeless melodies meet raw energy. These British rock legends have crafted a catalog so vast and influential that selecting just 20 tracks feels like an impossible task, yet these selections showcase the band’s unparalleled ability to evolve while maintaining their signature sound that’s influenced countless artists across generations.
Paint It, Black
The haunting sitar opening of “Paint It, Black” immediately sets this 1966 masterpiece apart from everything else in rock music at that time. Brian Jones’s pioneering use of the sitar created an otherworldly atmosphere that perfectly complemented the song’s dark lyrical content about grief and depression. The driving rhythm section propels this track forward with relentless energy while Jagger’s vocals shift between desperation and anger, creating one of the most emotionally raw performances in the Stones’ entire catalog. This song’s influence on psychedelic rock and world music fusion cannot be overstated, and its appearance in numerous films and television shows has cemented its status as a cultural touchstone.
(I Can’t Get No) Satisfaction
Nothing encapsulates the frustration of modern consumer culture quite like “Satisfaction,” which became the Stones’ first number-one hit in America in 1965. Keith Richards famously conceived that legendary three-note riff in his sleep, and it remains one of the most recognizable guitar hooks in rock history. The distorted fuzz tone that Richards achieved created a sound that was simultaneously aggressive and infectious, perfectly matching Jagger’s sneering delivery about commercial jingles and sexual frustration. Beyond its commercial success, this track established the Rolling Stones as genuine rock rebels who could articulate youth dissatisfaction with sharp wit and undeniable groove.
Gimme Shelter
The apocalyptic opening of “Gimme Shelter” featuring Merry Clayton’s spine-tingling vocal performance creates an atmosphere of impending doom that perfectly captured the violent end of the 1960s. This 1969 track showcases the Stones at their most politically aware and musically sophisticated, with Richards’ menacing guitar work weaving through the ominous soundscape. Clayton’s piercing backup vocals, particularly her cracking voice on the phrase “rape, murder,” add an element of raw emotion that elevates this beyond typical rock fare. The song’s themes of war, violence, and the search for safety remain disturbingly relevant, making it one of the band’s most enduring and powerful statements.
Sympathy For The Devil
Beginning with percussion that sounds like ancient tribal rhythms, “Sympathy For The Devil” takes listeners on a journey through history from Lucifer’s perspective. The gradual build from restrained verses to chaotic, samba-influenced finale showcases the Stones’ ability to create dynamic tension within a single track. Jagger’s vocals drip with theatrical menace as he recounts historical atrocities, while the layered percussion and increasingly frenzied instrumentation mirror the chaos described in the lyrics. This 1968 masterpiece demonstrated that rock music could tackle complex literary and philosophical concepts while remaining utterly danceable and engaging.
Wild Horses
The tender vulnerability displayed in “Wild Horses” reveals a side of the Rolling Stones often overshadowed by their harder-edged material. This 1971 ballad features some of Jagger’s most emotionally sincere vocal work, while Richards’ acoustic guitar work provides a delicate foundation that builds toward the sweeping chorus. The song’s origins as a reflection on touring life and relationships gives it an authenticity that resonates deeply with anyone who’s experienced the pain of separation. The interplay between the acoustic verses and the fuller band arrangement in the choruses creates a dynamic that perfectly mirrors the emotional push and pull described in the lyrics.
Jumpin’ Jack Flash
The distorted, almost prehistoric guitar sound that opens “Jumpin’ Jack Flash” announced the Stones’ return to raw rock and roll after their psychedelic experiments. Released in 1968, this track features one of Richards’ most memorable riffs and Jagger’s most confident vocal performances, celebrating resilience and survival with infectious energy. The production, handled by Jimmy Miller, captured a garage band rawness that made the song feel immediate and vital despite being recorded in a professional studio. This single marked a turning point where the Stones fully embraced their identity as the world’s greatest rock and roll band, and the swagger in every note backs up that claim.
Start Me Up
The deceptively simple riff that drives “Start Me Up” proved that even three decades into their career, the Stones could still craft arena-ready anthems. Originally conceived as a reggae track during the “Some Girls” sessions, the song was transformed into a straight-ahead rocker that became one of their biggest hits in 1981. Richards and Ronnie Wood’s interlocking guitar work creates a perpetual motion machine that’s impossible to resist, while Jagger’s suggestive lyrics and charismatic delivery make every listener feel personally addressed. The song’s commercial success, including its use in Microsoft’s Windows 95 campaign, introduced the Stones to entirely new generations of fans.
Brown Sugar
The controversial but undeniably powerful “Brown Sugar” opens with one of rock’s most explosive intros before settling into a groove that’s both funky and aggressive. Released in 1971, this track features lyrics that touch on slavery, interracial relationships, and drug use with a frankness that sparked debates about its appropriateness even at the time. Musically, however, there’s no denying the track’s power, with Richards’ alternating rhythm and lead guitar parts creating a complete sonic landscape without overdubs. The saxophone work adds a raw, honky-tonk flavor that grounds the song in American blues traditions while the band pushes it into entirely new territory.
You Can’t Always Get What You Want
Beginning with the London Bach Choir singing a stirring introduction, “You Can’t Always Get What You Want” builds from orchestral grandeur to full-band rock over its seven-plus minute runtime. This 1969 epic showcases the Stones’ ambition and arranging skills, incorporating French horn, gospel choir, and multiple distinct sections that feel like a complete musical journey. The lyrics, allegedly inspired by a chance encounter at a Chelsea drugstore, contain some of Jagger’s most philosophical and resigned observations about life’s disappointments and small victories. The song’s placement as the closing track on “Let It Bleed” gives it added weight, serving as a mature reflection on the decade’s tumultuous end.
Angie
The achingly beautiful “Angie” demonstrates that the Rolling Stones could craft a tender ballad as effectively as any of their rock contemporaries. Richards’ delicate acoustic guitar work, possibly influenced by his relationship with Anita Pallenberg, creates an intimate foundation for Jagger’s yearning vocal performance. The string arrangement adds cinematic sweep without overwhelming the song’s emotional core, while the chord progression contains unexpected turns that keep the melody from becoming predictable. Released in 1973, this track topped charts worldwide and showed audiences that the Stones’ musical vocabulary extended far beyond blues-based rock, though the song’s subject remains somewhat mysterious.
Honky Tonk Women
The cowbell opening of “Honky Tonk Women” is one of rock’s most instantly recognizable intros, immediately setting up the swaggering country-rock groove that follows. Released in 1969, this single captures the Stones channeling American roots music through their British rock sensibility, creating something that honors its influences while remaining distinctly their own. Richards’ guitar tone throughout this track is remarkably clean compared to much of their work, allowing the rhythmic aspects of his playing to shine through with crystalline clarity. The lyrics paint vivid portraits of encounters with women in different cities, delivered with Jagger’s characteristic blend of appreciation and detachment.
Miss You
The Stones’ embrace of disco influences on “Miss You” could have been a disaster, but instead became one of their most successful singles of the late 1970s. The track’s hypnotic bass line, played by Bill Wyman, drives the entire arrangement while Sugar Blue’s harmonica work adds blues authenticity to the disco framework. Jagger’s falsetto vocals and the extended instrumental sections showed the band willing to experiment with current trends without sacrificing their essential identity. This 1978 hit proved the Stones could adapt to changing musical landscapes while maintaining the groove and attitude that defined their best work.
Street Fighting Man
The acoustic guitars recorded through a cassette player give “Street Fighting Man” its distinctive, compressed sound that paradoxically makes it feel bigger and more urgent. This 1968 single emerged from the political upheaval of that year, particularly the protests in London and Paris, though the lyrics express frustration rather than clear revolutionary sentiment. The sitar and tabla incorporated into the arrangement add texture without dominating, allowing Richards’ central acoustic riff to remain the song’s driving force. The controversial nature of the lyrics led to radio bans in some American cities, which only enhanced the song’s reputation as a genuine statement of youth rebellion.
Beast of Burden
The weary, soulful delivery Jagger brings to “Beast of Burden” creates an emotional vulnerability that contrasts with the Stones’ usual swagger. Released on the “Some Girls” album in 1978, this track features Richards and Wood’s guitars in perfect harmony, creating a warm, enveloping sound that supports rather than dominates the vocal melody. The lyrics explore relationship dynamics with more nuance than typical rock fare, acknowledging mutual need without the usual power dynamics that characterized many Stones songs. The subtle use of percussion and the restrained arrangement demonstrate the band’s growing sophistication in their mature period.
Tumbling Dice
The loose, rambling feel of “Tumbling Dice” belies the meticulous construction that went into creating its seemingly effortless groove. Recorded during the marathon “Exile on Main St.” sessions in 1972, this track captures the band’s ability to make complex arrangements sound natural and spontaneous. The gospel-influenced backup vocals, provided by numerous singers including Clydie King, add spiritual uplift to lyrics about gambling and risk-taking. Richards’ guitar work throughout uses open tunings to create a jangly, cascading effect that perfectly matches the tumbling imagery in the title and lyrics.
It’s Only Rock ‘n Roll (But I Like It)
The title track from their 1974 album features a self-referential declaration that simultaneously celebrates and dismisses the importance of their work. David Bowie’s contribution to the song’s development during informal sessions shows through in the glam-rock influences that flavor the arrangement. The tentmaker effect used during recording, where the band played inside a tent to achieve a specific drum sound, adds to the track’s unique sonic character. Jagger’s vocals shift between defensive and celebratory, acknowledging critics while asserting the fundamental joy and validity of rock and roll as an art form.
Emotional Rescue
The falsetto-heavy “Emotional Rescue” found the Stones exploring disco and new wave territories while maintaining their rhythmic sophistication. Released in 1980 as the title track of their album, this song features a pulsing bass line and electronic textures that reflected contemporary production trends. The slightly tongue-in-cheek lyrics, with Jagger offering himself as an “emotional rescue” from loneliness, walk a line between sincerity and parody that characterizes much of the band’s later work. The extended dance-oriented arrangement proved the Stones could compete commercially in the changing landscape of early 1980s popular music.
Dead Flowers
The country-rock leanings of “Dead Flowers” showcase the Stones’ deep appreciation for American roots music filtered through their unique perspective. Appearing on “Sticky Fingers” in 1971, this track features some of Jagger’s most affecting vocal work, adopting a drawl that honors country traditions without mocking them. Richards’ acoustic guitar work and the pedal steel contributions create an authentic country sound, while the lyrics about heroin, Kentucky bourbon, and failed relationships maintain the band’s rock and roll edge. The song’s popularity was later revived through its inclusion in “The Big Lebowski” soundtrack, introducing it to new audiences.
Waiting on a Friend
The jazz-influenced “Waiting on a Friend” marked a departure from the Stones’ typical hard-charging approach, offering instead a mellow reflection on friendship over romance. Featuring an extended soprano saxophone solo by Sonny Rollins, this 1981 track demonstrated the band’s willingness to feature other musicians prominently rather than dominating every second of their recordings. The song’s origins in the “Goats Head Soup” sessions from 1972 show how the band would sometimes revisit and refine ideas years later, finding the perfect context for tracks that didn’t fit their initial albums. The video, featuring the band casually hanging out in New York City, reinforced the song’s relaxed, authentic friendship themes.
She’s So Cold
The new wave-influenced guitars and driving rhythm of “She’s So Cold” captured the Stones adapting to early 1980s rock sounds while maintaining their essential identity. Released on the “Emotional Rescue” album in 1980, this track features sharp, cutting guitar tones from Richards and Wood that reflect the angular approach of contemporary bands. Jagger’s lyrics express frustration with an emotionally distant partner using metaphors of temperature and weather, delivered with the exasperation that makes the situation both comic and tragic. The song’s commercial success on rock radio proved the Stones could still craft radio-friendly singles without compromising their edge.
For music enthusiasts looking to explore more classic tracks that defined generations, discovering how legendary bands crafted their signature sounds can deepen your appreciation for the evolution of rock music across decades. The Rolling Stones’ influence extends beyond their own recordings into the very DNA of modern rock music.
The sonic quality of these recordings deserves proper attention, which is why serious listeners invest in equipment that can reproduce the subtle dynamics and layered arrangements that make these tracks special. Whether you’re comparing high-quality earbuds for mobile listening or evaluating premium headphones for home use, experiencing these classics through quality audio equipment reveals nuances that casual listening might miss.
Frequently Asked Questions
What is considered the Rolling Stones’ greatest song of all time?
While opinions vary among critics and fans, “(I Can’t Get No) Satisfaction” is most frequently cited as the Rolling Stones’ greatest song due to its revolutionary guitar riff, cultural impact, and role in establishing the band as rock and roll icons. However, “Gimme Shelter,” “Sympathy For The Devil,” and “Paint It, Black” are also strong contenders depending on whether you prioritize commercial success, musical complexity, or cultural significance. The band’s catalog is so deep that any of these tracks could legitimately claim the top spot.
What Rolling Stones song stayed on the charts the longest?
“Start Me Up” from the 1981 “Tattoo You” album enjoyed remarkable chart longevity, spending weeks on various Billboard charts and experiencing renewed commercial success through its licensing for major advertising campaigns. The song reached number two on the Billboard Hot 100 and demonstrated the band’s commercial viability well into their fourth decade. Its straightforward rock structure and memorable riff made it a favorite for radio play, sports arenas, and commercial use, extending its cultural presence far beyond its initial chart run.
Which Rolling Stones album contains the most classic songs?
“Exile on Main St.” (1972) is widely regarded as containing the densest concentration of classic tracks, though “Sticky Fingers” (1971) and “Let It Bleed” (1969) are nearly tied for that distinction. “Exile” features “Tumbling Dice,” “Happy,” and numerous deep cuts that have gained classic status over time, while its raw, sprawling double-album format captures the band at their most creatively adventurous. The album’s influence on subsequent rock music and its consistent appearance on greatest-albums-of-all-time lists solidifies its position as perhaps their most important work.
Did the Rolling Stones write all their own hit songs?
While the Rolling Stones wrote the vast majority of their hits under the Jagger-Richards songwriting partnership, their early career featured numerous covers of American blues and R&B songs. Tracks like “Not Fade Away” (Buddy Holly), “It’s All Over Now” (The Valentinos), and “Time Is On My Side” (Irma Thomas) were significant hits before the band fully developed their songwriting abilities. By 1965’s “(I Can’t Get No) Satisfaction,” however, original Jagger-Richards compositions dominated their output, and they rarely recorded outside material thereafter, establishing themselves as one of rock’s premier songwriting teams.
What makes Keith Richards’ guitar playing so distinctive on these tracks?
Richards’ distinctive sound comes from his innovative use of open tunings (particularly five-string open G tuning), his rhythmic approach that blurs the line between rhythm and lead guitar, and his ability to create complete sonic landscapes with economical playing. His technique of weaving rhythm and riffs together means Stones songs often don’t have distinct “rhythm guitar” and “lead guitar” parts, instead featuring interlocking patterns that create a fuller sound. Additionally, his choice of guitars (particularly Telecasters) and amplifiers, combined with his preference for slightly behind-the-beat timing, creates the swagger that defines the Rolling Stones sound.
How has the Rolling Stones’ sound evolved from the 1960s to now?
The Rolling Stones began as British blues revivalists heavily influenced by Chuck Berry, Muddy Waters, and American R&B before developing their signature rock sound by the mid-1960s. Their late 1960s work incorporated psychedelia, country, and gospel influences, while the 1970s saw them perfecting a rootsy, riff-based rock approach exemplified by “Exile on Main St.” The late 1970s and 1980s found them experimenting with disco, punk, and new wave influences while maintaining their core sound. Their later work has largely returned to straightforward rock while incorporating modern production techniques, showing a band comfortable with their legacy while remaining vital performers.