ROLLING STONES ALBUMS RANKED
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Search The SiteRolling Stones Albums Ranked Worst to Best
Rolling Stones Albums Ranked Worst to Best
Bryan WawzenekUpdated: September 5, 2023Ultimate Classic Rock
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As the following list of Rolling Stones Albums Ranked Worst to Best makes clear, the Stones really are a band of wealth and taste. We’re not talking money or that iconic tongue logo; this is about the group’s armload of album releases, dating back to 1964. There are many of them, and the vast majority range from pretty good to phenomenally classic. Even the “bad” Stones records manage to showcase a consistency, drive and tunefulness worthy of their creators.
So how do you go about ranking all of the Stones’ LPs? How do you compare an early record of blazing R&B covers to a late-career attempt to show the band could still play with fire? “Little Red Rooster” is amazing. So is “Sway.” So is “She Was Hot.” So is “Love Is Strong.” The great songs don’t work as a barometer. Do you know what does? Filler. No matter where a Stones album sits on the spectrum, it’s bound to include some filler: jams, goofs, pastiches, bizarre meanderings, etc. Yes, even the hallowed Exile on Main St. features some filler, it just happens to be excitingly performed, strangely beguiling … well, junk. If the Stones could create glorious transcendence out of “Monkey Man” or find tattered fun in “Far Away Eyes,” their respective albums only improved. The more killer the filler, the better the record.
Before we begin, we should note that we are using the U.S. editions of the Stones’ albums for this list. Before 1967, the band’s U.K. and U.S. releases differed in track selection, order and number of albums put out. (There are two “extra” U.S. LPs, counterbalanced by non-album singles and EPs in the U.K.) As such, U.S. discography is more comprehensive – although far from perfect – and, regardless, everything from Their Satanic Majesties Request onward is the same.
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Rolling Stones Albums Ranked
Ready to journey through the past (darkly)? Check out Rolling Stones Albums Ranked Worst to Best.
Rolling Stones Records
26: ‘Dirty Work’ (1986)
The engine that drives the Stones has long been the brotherly push-and-pull of Mick Jagger and Keith Richards. But when that necessary tension boils over into deeply felt acrimony, no one benefits. It’s not a surprise that the nadir of Mick and Keef’s partnership coincided with the worst of their band’s recordings. The appropriately named Dirty Work matches the Stones’ weakest batch of tunes with the most cavernous, “big drums” ’80s production, emphasizing the lack of engaging material. The only stuff that leaves a mark was written by other people – lead single “Harlem Shuffle” and Richards’ dub reggae dabbling on “Too Rude.” It would have been a shame if it all ended this way. Thankfully, it didn’t.
Virgin Records
25: ‘Bridges to Babylon’ (1997)
Babylon wasn’t the first time Mick attempted to build a bridge between the Stones’ blues-based rock and contemporary pop music. But by 1997, there was a heck of a gulf in between. On “Anybody Seen My Baby?,” the boys couldn’t have appeared more prehistoric, accidentally cribbing a lite-rock radio staple (k.d. lang’s “Constant Craving”) while adding hip-hop production and a Biz Markie sample to the mix. It’s funny, those “modern” touches are the elements that sound hopelessly dated now, whereas the straightforward “Flip the Switch” and “Too Tight” grind with a clean-burning intensity that remains potent. The Catch 22 of this album is that the rockers aren’t melodically memorable and the more tuneful tracks (“Anybody,” “Saint of Me”) sound like Jagger trying to be Beck. And by the time Bridges to Babylon came out, even Beck was preparing to move on.
Rolling Stones Records
24: ‘Undercover’ (1983)
Here’s another album that finds the Stones torn between staying true to traditionalism and latching on to the latest trends. Although Undercover finds some “we can still do this” swagger on beauties like “She Was Hot” and “Too Tough,” the record is mostly remembered for its new wave affect, Latin rhythms and anything else that Mick could thrust upon Keith to try to get the band in fighting shape for the MTV era. And fighting seemed to be on Jagger’s brain, who sang about violent struggles Central America (the title track), S&M (“Tie You Up”) and The Texas Chain Saw Massacre (the chintzy, but sort of hilarious, “Too Much Blood”). It’s an ugly album.
Virgin Records
23: ‘A Bigger Bang’ (2005)
The Stones’ most recent original studio album (to date, if we’re feeling optimistic) sounds like Mick Jagger looks: old and wrinkled, but still lean and lively. Experimentation is left behind in favor of stripped-down arrangements, raunchy riffs and inviting melodies. It’s not enough to fill 64 minutes, but the uptempo stuff is solid. “Rough Justice” lets Jagger leer, while Ron Wood slides into the stratosphere. “Oh No Not You Again” is a thrilling tug of war between Keef’s laconic twangs and Charlie Watts’ crisp claptrap. But it’s the ballads that linger: the majestic “Streets of Love,” Richards’ soul-baring “This Place is Empty” and Jagger’s “Biggest Mistake” (in which Sir Mick almost admits romantic fallibility). It might not be the biggest bang, but it’ll work as a parting shot.
Virgin Records
22: ‘Voodoo Lounge’ (1994)
The band’s first LP without founding member Bill Wyman has been criticized for being an oh-so-conscious return to the Stones muddy roots. Sure, it sounds more like a “classic Stones” record than it is a classic Stones record, but this is a strong listen that holds up better than most of the band’s late career work. Not only is “Love is Strong” a confident opener, it allows Jagger to showcase corners of his voice we’d never heard before. (How was that possible?) “You Got Me Rocking” is boilerplate brilliance. The rest of the record is fun, if you don’t mind shuffling through faded memories of the Stones’ past in baroque pop, country-rock and R&B. It goes on too long, but it’s worth hanging around for “Thru and Thru,” the best Keef ballad since “You Got the Silver.”
Rolling Stones Records
21: ‘Steel Wheels’ (1989)
After back-to-back disappointments Undercover and Dirty Work, Mick and Keef patched it up, and decided to go for the throat. With a massive arena trek booked, the Stones delivered a record as equally bombastic as their touring plans. When the songs live up to the treatment, Steel Wheels is invigorating. Each side of the album opens with fine metallic riffage from Richards (“Sad Sad Sad” and “Rock and a Hard Place”), plus the weary but winning “Mixed Emotions” serves as Jagger/Richards’s melancholy reunion love letter. When the songs falter (“Can’t Be Seen” “Hearts for Sale”), these Wheels are too slick by half, and the Stones get swallowed in a sea of saxophone, synths and singers.
Rolling Stones Records
20: ‘It’s Only Rock ’n Roll’ (1974)
A decade in, the Stones made the first album where they tried to sound like “the Stones,” or at least the version of the band they thought their fans wanted. The LP’s predecessor – the dark, alluring, Goats Head Soup – only enhances the patina of pretension on It’s Only Rock ‘n Roll, starting with forced opener “If You Can’t Rock Me.” Side One picks up from there: “Ain’t Too Proud to Beg” shimmies and sneers, the title track is a sardonic classic and “Time Waits for No One” is a worthy excuse for Mick Taylor to turn cartwheels on the guitar. The second half is, at best, sleepwalk rock (“Dance Little Sister”), and, at worst, stilted funk (“Fingerprint File”). The Stones’ jams would run deeper on the next record.
Rolling Stones Records
19: ‘Black and Blue’ (1976)
And this was the next record. The loose-limbed Black and Blue is more than the sum of its parts, even though the parts were in motion at the time. After Taylor’s departure, the Stones were auditioning replacement axemen during these sessions, settling on Wood (but not before Harvey Mandel and Wayne Perkins would make contributions to the record). If reggae cover “Cherry Oh Baby” and the jazzy Billy Preston duet “Melody” find the Stones’ reach exceeding their grasp, the grooving “Hey Negrita” and soulful “Fool to Cry” prove the opposite. Outlaw ditties “Hand of Fate” and “Crazy Mama” are sadly overlooked, but “Memory Motel” is Black and Blue in a nutshell. It’s downbeat, too long and doesn’t feature a past, present or future Stones member on guitar (no, not even Keef). Yet, it is indulgence spun into epic perfection. With hungover recollections from Jagger set against Richards’ weeping Fender Rhodes, the song crafts an affecting atmosphere that goes beyond “life on the road.”
Decca Records
18: ‘December’s Children [And Everybody’s]’ (1965)
The least of the Stones’ early releases, the U.S.-only December’s Children has been aptly described by Jagger as “just a collection of songs.” It’s a scattershot concoction of tracks recorded over the course of two years – two years that saw the band mature rapidly. While the 1963 cover of “You Better Move On” is sweet, it sounds almost prehistoric placed alongside the more full-bodied (and 1965-recorded) R&B covers like “She Said Yeah,” let alone originals “Get Off of My Cloud,” “As Tears Go By” or “I’m Free.” Those phenomenal songs, pointing the path towards Aftermath, deserve better surroundings than a leftover hodgepodge, including the incongruous live recordings that close each side.
London Records
17: ‘Their Satanic Majesties Request’ (1967)
The old barb is that the Stones did everything six months after the Beatles did it first. And so, half a year after Sgt. Pepper, they delivered this psychedelic oddity, easily the strangest album the Stones would ever record. When people talk about Satanic Majesties, they focus on its sound. (Easy to understand, with all the vocal effects and Brian Jones playing every instrument he could find.) And all of that sounds pretty cool. The record’s problem isn’t with sonic experimentation, but with a dearth of great songs. Half of the tunes are up to the task (“2000 Man,” “Citadel,” “2000 Light Years From Home,” Bill Wyman’s “In Another Land” and, especially, the glorious “She’s a Rainbow”), and in these moments, the album ranks with the best weird, wild stuff of the era. When there’s no foundation to build upon, you get the eight-minute mess of “Sing This All Together (See What Happens).” Yup, see what happens.
Polydor Records
16. ‘Blue & Lonesome’ (2016)
Recorded in just three days, the Stones’ first album after an 11-year break is an all-covers collection of blues songs from their past. And like a young band finding its groove, the Stones renew themselves on record. The entire group burns, but it’s Mick Jagger’s slippery harmonica solos and howling vocals that impress the most. They haven’t sounded this virile in years. The Stones don’t do anything new here, but they find a sense of purpose — within the music, as well as within themselves — that’s rejuvenating all the same.
Rolling Stones Records
15: ‘Emotional Rescue’ (1980)
As tight as Charlie’s drum skins, Emotional Rescue showed the fellas putting the screws to their sound in the midst of the Stones’ last era of brilliance (1978-81). Watts is on fire throughout the record, whether holding down the beat for the slinky “Dance (Pt. 1)” or letting loose snare firecrackers on the title song or rampaging forward on the shout-along “Where the Boys Go.” Everyone in the band delivers similarly crisp performances, from Jagger’s staccato spurting to Keith and Ronnie’s wound-up chiming. Just listen to the engine that drives “She’s So Cold,” Richards’s twiddling rhythm guitar, perfectly paired with Woody’s glistening twang. Then, Keef sings about trying to rescue himself from a relationship on the delightfully languid “All About You,” which seems to conflate the guitarist’s difficult relationships with his criminal partner, Anita Pallenberg, and his partner in crime, Mick Jagger.
London Records
14: ‘12X5’ (1964)
The Stones’ second LP – in America, at least – features a tracklist split between blues, R&B and rockabilly covers and the latest fruits of the burgeoning Jagger/Richards songwriting partnership (along with some band compositions, credited to the fabled Nanker Phelge). As it was still pretty early for these young tunesmiths, the originals can’t touch the hair-raising covers, although each are worthy genre exercises. But “worthy” is a far cry from the bottled lightning contained inside the electric jangle of “It’s All Over Now” (Bobby Womack) or the hypnotizing sway of “Time is on My Side” (Norman Meade), presented here in the lesser-known “organ intro” version. The Stones made them their own.
Geffen
13. ‘Hackney Diamonds’ (2023)
The Stones’ first album of new material in 18 years, and first following the death of Charlie Watts, arrived at a curious stage in their long career: with both nothing and, for the first time in decades, something to prove. And they stepped up for the occasion, delivering their most committed set of songs and performances in years. Producer Andrew Watt never gets in the way of the songs, while still infusing tracks with nods to the band’s storied past. Maybe it’s the renewal of their fighting spirit, or perhaps they realize that because it took nearly two decades to get here, this could be their last album. Whatever the reason, Hackney Diamonds found the Rolling Stones sublimely reclaiming a crown they relinquished long ago.
Rolling Stones Records
12: ‘Tattoo You’ (1981)
A decade of toss-offs and unpolished tracks somehow managed to improve on nearly every album recorded during the same time period. Associate producer Chris Kimsey deserves plenty of credit for assembling the best of the rest, and seeing classic potential in “Waiting on a Friend” and, with a stadium-shaking riff, “Start Me Up.” Jagger recorded some new vocals, Sonny Rollins played some sax and presto – the band had plenty of “new” songs to play on their big 1981 tour. The quality of the Tattoo You material is borne out by how much of the record the Stones played at those shows, from the Chuck Berry wind-up of “Little T&A” to the insistent drive of “Neighbours” to the doo-doo-spiked charge of “Hang Fire.” It’s a strong batch of songs, even if it never coalesces into something greater.
Rolling Stones Records
11: ‘Goats Head Soup’ (1973)
Goats Head Soup is the big comedown from the grandeur of Exile, a depraved descent into the realm of starf–ers and murderers, cheating and aging, and even death. The shadowy depths of human behavior have often enticed the Stones – and not just in their songs – so it’s only appropriate that Jagger would be found “Dancing with Mr. D” while Keith is “Coming Down Again” and telling us how he stole his dead friend’s girl. Meanwhile, “Angie” finds Mick letting a girl down easy, although he rebounds quickly to obsess over the obscene subject of “Star Star.” The Stones discover beauty in the cold nights of “Winter,” where Mick Taylor lays waste to snow drifts with an incandescent solo, and lurid thrills in the sinister “Doo Doo Doo Doo Doo (Heartbreaker),” where Taylor and guest Billy Preston’s sinister wah-wah entices us into the alleyways of New York City.
Decca Records
10: ‘England’s Newest Hitmakers’ (1964)
If the Rolling Stones’ first record isn’t one of the all-time great debut albums, it’s a solid B+ effort that captures the nervy energy and rough-around-the-edges aesthetic that would carry through to the band’s golden age. The American version, titled England’s Newest Hitmakers to piggyback on Beatlemania, is slightly stronger than the U.K. edition because it replaces the solid “Mona (I Need You Baby)” with the stellar “Not Fade Away,” a bruised and blues-ed Buddy Holly cover wisely placed in the opening slot. The selection of early rock and R&B covers is strong, proving what taste these guys had, even if the approaches were sometimes staid. “Carol,” for instance, sounds like it was played by a straightjacketed band. They were learning, after all, but rather quickly as evidenced by the sandpaper-scraping pop of the LP’s sole Jagger/Richards original, “Tell Me.”
London Records
9: ‘The Rolling Stones Now!’ (1965)
The first of the Stones’ three albums released in the U.S. in 1965, Now! showed the band’s rapid growth as a rock outfit and, to a lesser extent, songwriters. There’s an extra swagger to the tunes here: “You Can’t Catch Me” swings as it chugs along, “Down Home Girl” builds a supple groove and “Down the Road Apiece” is a greasy boogie-woogie that could almost fool fans into thinking these were good ol’ boys. The originals are getting more interesting too, particularly the country soul tune “Heart of Stone,” and the dichotomy of Richards’ chiming guitar and Brian Jones’ menacing lines. Still, the most obvious example of the Stones’ confidence is how they choose not to rev up Willie Dixon’s “Little Red Rooster,” but let it slither on the back of Brian’s slide playing.
Decca Records
8: ‘Out of Our Heads’ (1965)
No disrespect to the excellent covers here – “Mercy Mercy” is an emphatic R&B opener and “That’s How Strong My Love Is” might be Jagger’s best soul send-up – but here’s where the Stones’ own songs begin to take prominence. It’s easy to hear why in the stinging strains of “The Last Time,” the mood-altering menace of “Play with Fire” and even the lackadaisical country blues of “The Spider and the Fly,” on which Richards and Jones’ guitars combine to form one ramshackle jalopy. Of course, the treasure of all treasures is “(I Can’t Get No) Satisfaction,” as perfect a rock song that has ever existed – from the bumblebee buzz of a riff to Wyman’s zooming bass and from Watts’ unstoppable snare to Mick’s enunciated sexual (and consumer) frustration. That a track as illustrious as “Satisfaction” sounds perfectly placed among the other 11 songs, is a tribute to the supreme quality of Out of Our Heads.
Decca Records
7: ‘Aftermath’ (1966)
This is probably the only instance in the Stones’ discography where the U.K. version trumps the U.S. edition, which trades four songs (including “Mother’s Little Helper” and “Out of Time”) for one (the untouchable “Paint, It Black”). It’s actually a pretty good deal, either way. The album’s bounty is even more impressive, seeing as Aftermath was the first time Jagger/Richards wrote all the songs. And they challenged themselves to craft honky-tonk blues (“Doncha Bother Me”), English folk (“Lady Jane”), country jangle (“High and Dry”) and fragile pop (“I Am Waiting”). While Mick and Keef were coming up with first-class tunes, Brian added dulcimer, sitar and marimba (“Under My Thumb”) to his repertoire, Bill fuzzed out his bass (“Flight 505”) and Charlie was as sharp as ever. Even the 11-minute jam “Going Home” works.
Decca Records
6: ‘Between the Buttons’ (1967)
The band’s sound was never as pretty as it was in 1967, and Between the Buttons strikes the perfect balance between sublime melodies, emotional lyrics, sonic experimentation and the drive that keeps the Stones rolling. Few songs in the group’s catalog are as affecting as the church organ lilt of “She Smiled Sweetly” or the recorder-fluttering “Ruby Tuesday.” But the record (the U.S. version, at least), kicks off with the full-bodied attack of “Let’s Spend the Night Together,” as if to prove the boys hadn’t gone soft. Is there a Stones record that contains so many hidden gems? “Connection” stomps along on the strength of Keef’s co-lead vocal (his first). “Cool, Calm & Collected” brings together dissonant chords with a music hall goofiness. “Complicated” embraces fuzz, a roller rink organ and some great Charlie Watts bashing. “Who’s Been Sleeping Here?” mixes the rusty roots of Dylan recordings with Beatlesque exploration. The Stones would lose their way into the wilderness of weird later this year, but they were cool, calm and collected in Between the Buttons.
Rolling Stones Records
5: ‘Some Girls’ (1978)
For decades, Some Girls has borne the burden of being “the last great Stones album,” so much that it’s easy to forget it was something of a comeback. Absorbing the ferocity of punk and the intensity of disco, the guys showed up lean and mean, especially when it came to the sinewy guitar entanglements of the newly formed partnership of Richards & Wood. The pair wind like vines through the entire album, showcasing what Keef likes to call “the ancient art of guitar weaving.” But the record also belongs to the brisk percussion of Charlie Watts, who turns out a four-to-the-floor beat (“Miss You”), launches rat-a-tat fills (“Respectable”) and plays tug of war with Keith and Ron (“Beast of Burden”) with sharp skill. And Mick’s rarely been more captivating on record, getting sly on “Far Away Eyes,” going full-lothario on “Some Girls” or expectorating his tales of the naked city on “Shattered.” And there’s the boozy Temptations cover. And the punky “Lies.” And Keef’s modus operandi “Before They Make Me Run.”
Decca Records
4: ‘Beggars Banquet’ (1968)
What a giant leap forward for the Stones. With Jimmy Miller in the producer’s chair, the group embarked on their biggest winning streak, as they took their foot off the pedal of continued experimentation and made a U-turn back to the Americana that inspired them to form a band in the first place. Yet, the blues-covering Stones of 1964 are quite different from the blues-oriented Stones of 1968, who are more confident in their songwriting talents, recording skills and prowess as a fantastic band. The Stones unleashed an entire album of nasty hard rock, grimy blues and lived-in country songs. Beggars Banquet would be a fine record if it just contained spine-tingling genre exercises such as “Parachute Woman” and “Stray Cat Blues” or Dylanesque rambles like “Jigsaw Puzzle,” but the record’s best tracks build on that legacy. The band combines Robert Johnson-like starkness with Nicky Hopkins’ Nashville piano on the strung-out “No Expectations.” Keith Richards discovered how to make an acoustic guitar sound like a switchblade army on the clarion call riff of “Street Fighting Man.” And then there’s “Sympathy for the Devil,” an unfathomable epic that sashays its way into your blood, never to escape. Mick matches his best set of lyrics with his most rambunctious vocal performance – enough to trick the old folks into thinking the Stones were devil worshipers. Woo-woooo!
Rolling Stones Records
3: ‘Sticky Fingers’ (1971)
The Stones’ first album of the ’70s set the decade’s standard for cock rock (and not just because of the Andy Warhol cover art). But Sticky Fingers goes beyond the mere joy of sex. “Can’t You Hear Me Knocking” is about exactly what you’d think from the title, with Mick Taylor’s and Bobby Keys’ solos leaving the act to your imagination. “Bitch” pertains not to desire but all-out need, aided by gunslinger twangs from Keef. In “Brown Sugar,” Mick has the audacity to deal in sex and slavery. Because of that jabbing riff and rollicking groove, a song with the lyrics “Hear him whip the women just around midnight” still gets played on the radio. But Sticky Fingers also might be the band’s most deeply sensitive album. “I Got the Blues” uses Stax soul as a template for desperate longing. Jagger has an existential crisis in the sledgehammer ballad “Sway” and “Wild Horses” contains earnest devotion within the rare event of a country ballad that the Stones play straight. These are often druggy tales of love and sex and hope and dreams, from the nod to heroin on “Dead Flowers,” the outright mentions of cocaine and morphine (“Can’t You Hear Me Knocking” and “Sister Morphine”) or the lyric about a “head full of snow” on “Moonlight Mile.” It all comes together on this wistful, epic closer, which seems to stretch out past the horizon.
Decca Records
2: ‘Let it Bleed’ (1969)
The Stones’ 10th album is a transitional one. It’s the only record that features work by both Brian Jones (who had died earlier that year) and new guitarist Mick Taylor (who was brought on board in the final days of recording). But Let it Bleed – released mere days before the band’s Altamont disaster – also served as a transition between the idealism of the ’60s and the crushing realities of the ’70s. If you weren’t already scared, the apocalyptic “Gimme Shelter” would give you something to be scared about. It’s a towering, shrieking opener, as rapturously enticing as the Stones’ best moments. “Live with Me” became their most aggressively sexual (or sexually aggressive?) song to date, making “Let’s Spend the Night Together” look like “I Want to Hold Your Hand.” But Let it Bleed is not all jagged edges and hard corners. The album also shows the group building upon the country leanings of Beggars Banquet, and expanding those sounds beyond pastiche. “Love in Vain” combines Robert Johnson’s midnight blues with Richards’ bleating slide guitar and chiming mandolin from Ry Cooder. On “You Got the Silver,” Keef’s first full solo vocal, the man’s weary devotion dovetails perfectly with torn and frayed strains of nasal guitar. The title song is a loosely strung sing-along, made for sharing moonshine around the campfire. After sharpening the knives and digging up the roots, Let it Bleed ultimately offers transcendence with closer “You Can’t Always Get What You Want.” The truth might be hard, but the music isn’t. The seven-and-a-half minute opus piles on organ, French horn and a cartwheeling piano (all played by Al Kooper) along with the London Bach Choir in order to create the Stones’ most triumphant track. Jagger proves wiser than his years, as he suggests that things weren’t going to get easier, but that most of us would survive anyway. And most of the Stones, somewhat miraculously, did just that.
Rolling Stones Records
1: ‘Exile on Main St.’ (1972)
The top works on this list aren’t just the best Stones albums, they are among the best albums ever made. And sitting in the No. 1 position is Exile, a masterpiece of strung-out soul, grinding guitars, soothing highs and punishing lows. The entire mythos of the Stones is rolled up in this double album. And it achieves this with nary a hit – only “Tumbling Dice” slid its way into the Top 10 on both sides of the Atlantic. Exile isn’t about piling up great song after great song, although it collects more than its share of gems. To borrow a Keith Richards phrase, it’s about weaving together sounds, from the slinky blues of “Casino Boogie” to the clicking paean of “Sweet Black Angel” to the punked-up rockabilly of “Rip This Joint” to the underwater gospel of “I Just Want to See His Face” to the pumping drive of “All Down the Line.” From the minute Keef turns the engine over on “Rocks Off” (one of the most under-appreciated Stones classics, if only for Mick’s rock and roll declaration: “The sunshine bores the daylights out of me“) until the band worms their way through finale “Soul Survivor,” Exile takes us on a journey. We go from the grimy riffs and blurting sax in heroin-laced Nellcote to something approaching salvation (“Shine a Light”), by way of gospel churches in the City of Angels. And in that arc, the perfect dynamic of the Richards-Jagger partnership is revealed: outlaw artist Keith stays up all hours, finding rugged brilliance in a hazy basement, then professional Mick takes it back to L.A. to sculpt this stuff into an actual record. Co-dependency, it’s what often makes the best rock records … even when they’re created in exile.
Next: Top 100 Rolling Stones Songs
Filed Under: The Rolling Stones, UCR
Categories: Galleries, Original Features, Worst to Best
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