The Rolling Stones

Sensacional. La primera época de los Rolling Stones, llena de imaginación y de buenísimas canciones.

One of the most addictive qualities to a new romance is the opportunity to reinvent yourself. New couples exchanges personal histories when acquainting themselves with one another and, of course, histories get reinterpreted and subsequently recast. Once a couple completes the process of individual explication, then, alas, reality, the new narrative, proceeds, fixing itself in quotidian praxis. Boo hoo. It's so hard to change identities when the significant other knows so much. Consider happily ever after. If happiness is so desirable, then why does it END the story? These are some of the themes contained within Hot Rocks. If we ever wondered what might have become of Byron, had he lived, look no further than Mick. Now, if you'll excuse me, the wife is screaming something from the other room.

This is a must own double CD of The Stones early work and is as timeless as any album they have ever released. I own the album version of this gem but no longer have the capability to play it so...to replace it I bought this DSD remastered set and the sound quality is excellent. However, this is not an SACD if that is what you are expecting!! For those who want a quality sound and to hear songs from their beginning up until 1971, this is an excellent choice...

Early Stones at their best. You can understand the lyrics! That alone was worth the purchase.

what can I say? This is exactly what it is supposed to be. It is exactly what I ordered and what I expected, what more could I ask?

"Let It Bleed" is no less than the best album The Rolling Stones have ever recorded. Of course, these things are subjective and always open to dispute (even unto myself), but I put this album to play and I am immediately transported back to the future. I can remember exactly where I was and what I was doing when the first, ominous chords that open "Gimme Shelter" (the album's first song) start to chime through the speakers (or headphones). And yet, each time I listen to this album, it is like I have never heard it before. Like a great novel or film, "Let It Bleed" never fails to entertain, amaze or inspire. The music is transcendent--its simplicity reveals layers and layers of complexity, both in feeling and musicianship. Recorded during times of turmoil for the band (primarily the failure of founding member and resident decadent, Brian Jones, to show up in the studio even when he did show up in the studio and the realization that in order to survive as a band, they had to get out there and perform live again after a self-imposed two-year layoff), the music nevertheless is focused, urgent and immediate. Jagger and Richards (and Watts and Wyman with help from Mick Taylor, Ry Cooder, Al Kooper and even the beleaguered Mr. Jones) compose, play and sing like their very lives depended on it. The result is a collection of songs that are more like a suite of music--it is an album that one cannot just start and stop at random. It must be played from beginning to end with no pauses. When the last notes of "You Can't Always Get What You Want" fade away, I am transported, refreshed and ready to face the world without fear. I think to myself: "Again?" I decide to wait for another day before I play "Let It Bleed" yet one more time as I savor the aural beauty of this album. As Oscar Wilde once said about cigarettes, the same could be said about "Let It Bleed": "A cigarette is the perfect type of a perfect pleasure. It is exquisite, and it leaves one unsatisfied. What more can one want?" Hard Knox and Durty Sox, indeed! (And, yes! This Album MUST Be Played LOUD!)

I am the Stones Authority. This is my personal favorite. Everything from the album artwork, the inner sleeve that came with the vinyl that admonishes the listener to play the record loud, to the opening track, which in my opinion is not only the best Rolling Stones song, period, but the best representation of what a rock song should be in general - the incomparable "Gimme Shelter". If you could only pick one song as the best in the genre then in my mind "Gimme Shelter" is it. Again, there are others who make the case for the album and the individual tracks - and they do a fine job. So I have nothing to add - be sure to read their reviews for the history and critiques, as most of them are quite good and insightful.

And I will not debate which is the better album, Sticky Fingers or Let It Bleed - I will leave that debate to others. My position is stated above. It is subjective. The two albums are very different from one another, but there is little doubt that these are the two best Stones albums. People can have their personal favorites, but no serious fan or critic of the Stones can be taken seriously if the say that the best Stones album is not one of these two albums. Period.

However, what I must address here, as I did with my review of Sticky Fingers, is what kind of rope are the 13 reviewers who rated this album as 1 Star smoking? What sort of scarey and abysmal music collection adorns their rooms and iPods? What, pray tell, rates a 5 Star album in their world? Is there any endeavor in their lives in which they engage in that others actually take them seriously? Are they allowed to influence others? These are the important questions that must be asked. Again, if this album is not in your collectin or you are not at least familiar with this work then you have no business discussing music as a serious subject with others. Period.

I got nasty habits. Small town boy, hung up on the only decent girl around. Eyes so blue they shoot me dead, the sky is grey with jealousy. Queue up for the bathroom 'round about 7:35, every Tuesday's early but her bad mood just makes me smile. Vain, private, recondite. Stylish! Why can't I resist this creature? Got class, cool, history. I actually cook for her. Think about her all the time. Sang to her once but she didn't hear. What's wrong with me? I should say it, I should blow it: "Don't you wanna live with me?" Yes is pop; no is rock ~ and bad news always travels faster than good.

Released just before the infamous Altamont debacle of December, 1969, "Let It Bleed" signals farewell to the peace-and-love Sixties in no uncertain terms. Once again, following "Beggars Banquet", an entire year went by until the release of the next Rolling Stones album. That year was 1969, and it had seen the death of Brian Jones, under suspicious circumstances, earlier that summer. Jones is present, posthumously, on "Bleed", participating in both the vicious "Midnight Rambler" (percussion), and "You Got The Silver" (autoharp), the latter track featuring Keith Richards' first solo lead vocal. Jones' replacement, the young Mick Taylor, was firmly in place, playing on "Live With Me" and "Country Honk"; though his relatively-unsullied image did not fit in with the rest of the group, he was probably the best guitarist the band ever had. In Jimmy Miller, who would work with them through 1973, the group also found its finest producer, a man who knew how to get the most out of their once-again-blues-based material. (With a cover of Robert Johnson's "Love In Vain", featuring Ry Cooder on mandolin, the band went straight to the motherlode.) "You Can't Always Get What You Want" is NOT blues, but, recorded with the London Bach Choir, it resonates, mournfully, as an end-of-an-era anthem. The Seventies lay ahead; the Stones, always bad boys and outlaws, were ready.

If you're wondering which CD of this Stones classic to get, get this one. The digitalized remastering process here sounds almost as good as pristine heavyweight vinyl. And for younger listeners, if you've never heard "Let It Bleed", you're in for a ride. From the first quiet haunting notes of "Gimme Shelter" to the tongue in cheek choral intro and outro of "You Can't Always Get What You Want" - with plenty of hard rockin' in between - it's the Stones at one of their all-time peaks.

I am the Stones Authority. This is a very special album for a number of reasons. It is the first album of the Stones second era. It is really the first post Brian Jones album. Sure he was there for the sessions, but so was the janitor, and that doesn't make him relevant. And, even though this is 1968, it is in a way the first post Sixties album by the Stones. This was the album that defined what the new Rolling Stones band would be as it transitioned to the Seventies, while the other great acts of the Sixties were coming apart or finding it impossible to make the transition to relevancy outside the context of the Sixties, this album established the fact that the Stones would remain relevant for some time to come. They would survive - and before this album this was not at all a certainty. This album is the Rolling Stones grown up, mature and very, very good at what they do. The album represents a watershed in the band's history, and as such many aficionados rate it quite high and sometimes as their best album ever. I understand their emotion, but outside of its context, which is how all work should be judged in my humble opinion, is it relevant to another listener who is not a product of the context in which the work is done? I appreciate Mozart. I understand that his work is great. I do not have an understanding of the context in which the work was composed. The music is so good that it transcends the limitations of my understanding. Beggars Banquet is a very good album in any context. It is one of their four best albums. It is not their best. It is not their second best. They would get even better. Much better. I do love this album and for these songs: "No Expectations", Parachute Woman", "Jigsaw Puzzle", "Stray Cat Blues", "Factory Girl" and "Salt Of The Earth". The others are not too bad either. A must have album for the serious rock music fan.

Ain't reviews; these is messages.

Anyway, musta been '71 or '72, I was 11 or 12, just some nerdy kid with big glasses and short hair living in an econo-apartment complex. The kool boy, cigarettes and harness boots, broken home and little supervision, was right down the hall. Bored occasionally, the dude would have me over, showing off with tough talk about "getting some" and playing the "bitchin'" solo from Grand Funk's "Inside Looking Out." One day, I brought over a record to hear, he was real skeptical, rolls eyes, but what so, here comes "Sympathy For The Devil" which, incomprehensibly, he never heard. Dude was working hard to look bored and hip but, splonk, by the time the guitar comes in, he's got this look on his face ~ stunned.

Dude got punked.

Following the bad year of 1967, which saw drug busts and the unsuccessful attempt to one-up the Beatles with "Their Satanic Majesties Request", the Rolling Stones needed to regroup. They did, spectacularly. The group made its fans wait an entire year for its next album, but when "Beggars Banquet" was finally released in December, 1968, it was evident from the very first track, the instantly-unforgettable samba "Sympathy For The Devil", that the wait was worthwhile. The material is strong, and utterly without the psychedelic affectations which had weakened the previous LP. As if to offset the references to the diabolic, "Banquet" includes a cover of the Reverend Robert Wilkins' Gospel parable "Prodigal Son". "Street Fighting Man" (though it backs off from advocating any type of actual revolution) is an anthem of the times, and "Jigsaw Puzzle" a cryptic little portrait of the late Sixties. "Parachute Woman" and "Stray Cat Blues" reflect the group's return to its bedrock blues base. In Jimmy Miller, who would work with them through 1973, the band found the best producer it would ever have. "Beggars Banquet", in short, marks the beginning of the roughly four-year period when the Stones were, both live and in the studio, the finest, most powerful rockers in the world.

This legendary album was hailed both by critics and Stones fans alike whom consider it one of the very best efforts of their illustrious careers, although commercially it would be the worst performing record of the 24 albums issued between 1963 and 2005 reaching only #5 on the charts. Although it sounds absurd now, it was also considered a comeback by a band that at the time appeared doomed after their previous album Their Satanic Majesties Request was the weakest of their career and several members of the band were involved in high profile drug arrests and the band's founder Brian Jones sank further into the morass of drugs. Furthermore, the band had not toured since 1966, an eternity back in that era, mostly due to issues related to the decline of Jones. The band was also nearly bankrupt due to a combination of a terrible recording contract, lack of touring, outrageous tax rates in England at the time and excessive spending on their part.

Against this beak backdrop and behind the scenes the band was about to rebound to spectacular creative heights over the next 4 years that would forever give them deserving claim to "The Greatest Rock `N Roll Band in the World". Mick Jagger would maintain his wild image, but behind the scenes he gave up drugs and smoking and reverted to his roots of exercising regularly as taught by his Phys-Ed instructor dad. In an interview in the 1990s Jagger said "I was too smart to fall victim to drugs".

He also became a voracious reader of scores of classic novels, and spent hours learning how to play guitar, both of which had a profound effect on his song writing ability. It would no longer be Jagger exclusively writing the lyrics and Keith Richards exclusively writing the music. The band also marginalized Jones' involvement as he had become a liability. Between mid '68 and mid '69 they recorded 25-30 songs, many of which would ultimately be among the greatest Rock `N Roll songs of all time. The songs would be divided into 2 albums, 2 separate singles, and another classic that would be released on a later album. Jagger later explained that Beggar's Banquet and Let It Bleed were recorded over the same extended 12 months of recording. It was decided that for the most part, the songs that were predominantly acoustic would be on Beggar's Banquet and the songs that were predominantly electric would be on Let It Bleed. For example, "You Can't Always Get What You Want" was one of the first songs recorded and was played live in '68 at the Rolling Stones Rock `N Roll Circus, but its release was delayed (with a boy's chorus intro added) until the fall of '69 on Let It Bleed. That is why Brian Jones and his replacement Mick Taylor both appear on Let It Bleed.

It was also decided, in a rare promotional blunder by the Stones, that "Jumping Jack Flash" would be left off of Beggar's Banquet and instead would be only available as a single, preceding the release of the album. JJF was an instant hit (#3 on the singles chart) and is unquestionably an all time rock classic. Critics and fans hailed that the Stones were back and "they had returned to their roots". Jagger disputes that saying that yes it was a turn away from the psychedelic failure of Their Satanic Majesties Request and the Pop sound of Between the Buttons, but in fact it was quite unlike any song they had done before. It was not psychedelic or Pop, but is was also not blues based rock like many of their earlier recordings, it was pure Rock `N Roll. The release of the single was complimented for the first time with a music video that was seen by few due to censorship because as Richards says "it was a pretty wicked video". Also absent from the record would be the classic "Sister Morphine" that was delayed until Sticky Fingers in 1971 because Jagger's ex girlfriend Marianne Faithful had made claims she wrote the song.

Despite the absence of these songs, and the relative poor sales for the album, Beggar's Banquet is a landmark album. The opening song "Sympathy for the Devil" is musically and lyrically unlike any song ever written and is on everyone's top 10 all time rock songs. Another hard rock classic, and perhaps the only hard rock acoustic classic, was Street Fighting Man, a reflection of the student riots taking place on both sides of the Atlantic at the time. The remaining tracks are acoustic songs that have never gotten radio play then or now, but every one of them is a hidden gem. There is the soulful ballad "No Expectations" and the cleverly comical country influenced songs "Dear Doctor" and "Factory Girl". There is the "Sympathy for the Devil" antithesis redemption in the Jesus parable from the Bible "Prodigal Son" followed by the savagely hard rock "Stray Cat Blues", which was easily the hardest edge rock song recorded at that point in time and is one of the top 10 most underrated songs ever. Have you ever heard it on the radio? "Jig Saw Puzzle" and "Salt of the Earth" with Richards singing the intro, are exclamation points for this masterpiece in which the Stones took acoustic songs well beyond the usual background sound for soft rock ballads.

So why was it tied with Now! (1964) as the poorest charting Stones album in their careers? To this day it has barely sold 1 million copies compared to the nearly 8 million copies of Some Girls (1978). There are multiple reasons, the hit "Jumping Jack Flash" was not included, it followed the much high charting Satanic (#2) which disappointed most buyers, the original bathroom graffiti album cover was rejected by the record company and instead they went with a bland white jacket, albums that are primarily acoustic don't sell well (for example Led Zeppelin III and Pink Floyd's Meddle) and lastly the album was not promoted/backed by a tour. An example of the reaction is documented in Bill Wyman's book in which members of the Stones and Beatles were at the same party. Jagger played an advance copy of "Sympathy" and the muted reaction by the partygoers were that it was "cool" and "unique", then Paul McCarthy put on an advance of "Hey Jude" and all the hippest of the hip flower children of the day got much more excited and all "oohed" and "aahed" about how great it was.

Despite the lack of sales, I rank this album surely in their top 10 and close to the top 5. I will note that many "hardcore Stones fans" typically rate it in their top 3 or 4. Maybe if "Jumping Jack Flash" were included I would have rated it as high. Regardless, it is a must have Masterpiece. Overall grade: A

Other Stones album ratings

1) Some Girls (1978) A+
2) Let It Bleed (1969) A+
3) Sticky Fingers (1971) A+
4) Exile on Main Street (1972) A+
5) Voodoo Lounge (1994) A
6) Beggar's Banquet (1968) A
7) Black and Blue (1976) A
8) It's Only Rock `N Roll (1974) A
9) Bridges to Babylon (1997) A-
10) Out of Their Heads (1965) A-
11) Goat's Head Soup (1973) A-
12) Aftermath (1966) A-
13) A Bigger Bang B+ (2005)
14) Between the Buttons (1967) B+
15) Tattoo You (1981) B+
16) Now! (1964) B+
17) Emotional Rescue (1980) B
18) Steel Wheels (1989) B
19) Dirty Work (1986) B-
20) Undercover (1983) B-
21) England's Newest Hit Makers (1963)B-
22) December's Children (1965) B-
23) 12 X 5 (1964) B-
24) Their Satanic Majesties Request (1967) C

It is hard to argue that this is not the Stones finest (I love "Let It Bleed" and most Mick Taylor Stones.) I won't.

This is, simply, the greatest Stones album and one of the greatest complete albums of all time, period. One can draw a direct line from Robert Johnson to the Stones with no apologies. It takes several listens to fully appreciate the absolute genius but is well worth the time. I bought my first copy around 1980 on the recommendation of a friend who swore if I didn't like it, he'd buy it back from me. At first I was not impressed and almost took him up on the offer but over time I came to understand what he saw in it and now without question list this as my all time favorite album. Boy, am I glad I kept it. This is NOT a rock and roll album, it is a pure blues album. Personally I physically cannot sit still while listening to Ventilator Blues. The herky-Jerky feel and anticipation of the dropped snare shots is classic delta. Buy this album, you will not be disappointed.

The Rolling Stones are garbage for old dorky hippies! Don't waste your money on this generic garbage. Listen to some awesome music like 50 Cent, Soulja Boy, Carrie Underwood or Green Day instead. You know why this band sucks? Besides every song sounding the same, they never got any MTV or BET airplay. What gives?!

Completing the sequence from Beggars Banquet, Let it Bleed, Sticky Fingers (which was filled with drug references) to Exile (which exuded the stuff).
First off, the LP double is a masterpiece. The CD is not bad, but does not compare, being thin and lacking balls. When this came out, and today a lot of people complain about the muddy, impenetrable sound. Compared to Sticky Fingers or Let It Bleed, Exile on Main Street was tightly wrapped and everything seemed to be coming at you compressed in space. This was the complexity of the arrangements. A high quality turntable and ampflier demonstrate that both the recording of the individual instruments and voices and the mix are superb. The problem is, no cheap turntable and certainly no cheap plastic rack CD player has any hope of making sense of the dense mix.

"Rocks Off", Mick's voice is center stage and in front of the band. If you can't make out the words its because he's purposefully slurring them.
This is one of the great Stones albums, four high energy sides.

Exile shines with a sparkle of cocaine while at hanging under the weight of heroin.

A superb effort, but not what you would call "accessible".

I am the Stones Authority. Whenever I listen to this album I cannot help but think of Keith's rented villa in the south of France with the strange comings and goings and open doors and music being created as they passed the time in pleasant weather and decadence wondering what future lay before them after departing England and the oppresive liberal tax regime. If you have never read "Up And Down With The Rolling Stones" by Tony Sanchez, then you should. I think it probably does paint a rather accurate picture of what the atmosphere behind this album was, the atmosphere that shaped what this album became. It is essential reading, I believe, especially if you want to fully understand where this album's genesis came from. The strong reaction of the Stones camp and some of their kep boosters against this book leads me to believe that the book hit a nerve and is probably closer to the mark than any other account of that time.

Now to the album. Really it should be judged as a whole, that is where it stands the strongest. Some people love to cherry pick and nit-pick this album to death and dog it. That is their perogative, but it does miss the beautiful tapestry that is the journey that this album represents. If you don't get it, then you just don't get it. I understand that this album is not as accessible as many would like. I know they like "Brown Sugar", wish there was another "Gimme Shelter" on here somewhere - feel like there is not enough of that Rock 'N' Rolling Stones sound. Sorry, can't help you, you're right. But there is "Tumbling Dice", "Casino Boogie", "Torn And Frayed", "Sweet Black Angel", "Loving Cup", "Turn On The Run", "Let It Loose" and "Shine A Light". These rythms will stick in your head and haunt you after just a couple of listens. In fact, with each hearing of the album you sink deeper under its spell. And then soon you find yourself fully convinced that this is their best work ever. I am not one of those, because I am biased in favor of the Rock 'N' Rolling Stones, but I will say this about the album. It stands alone among all Stones albums. You can compare and contrast other Stones albums, but it is very difficult to do that with this album. It was almost as if they were channeling spirits while they recorded thses tracks. Channeling the spirit of the Mississippi River of the early 20th Century. And though these influences had always been there and would be there even after Exile, they would never quite be as "Under the Influence" as they were for this album. A psychic journey to the Crossroads and back again.

What you have here is the Rolling Stones giving us back exactly what we had been missing right under our noses, and taking it to places that the creators never could have possibly imagined. Every element of pure American music is here and there isn't a sour note. From the smoke filled juke joints of the deep south, to the slick blues of Chicago's West Side, to a Texas roadhouse, to a gospel choir, right back to Chuck Berry, it's all here. Everything great about American music deconstructed and built back up to reach places never before imagined.
This is music one could imagine spilling out into Beale Street in 1955 or shaking the rafters of a Mississippi blues hall or belting out of some Baptist church. It's what every Saturday night should sound like. No need to break down each song here. They all have their charms. Needless to say no music collection is complete without it, and if you don't get it, you don't get American music and you surely don't get Rock and Roll.

Forty Licks just has so many of my favorite Stones songs that the two cd's are among my must-haves for tunes for a road trip!

Ok this is a good stones compilation. If you ever listen to any classic hits station you have most likely heard all these songs.

Fantastic journey through the blues soaked soul of the greatest rock band of the 60's through 90's. Amazing to see how their sound evolved through time- maintaining a tight signature sound that seems to always remain fresh. Truly a band- in that the sum of their parts far exceeds the contributions of each Rolling Stone! Simply Delicious...

For a band with such far reaching influence, catalog, and musical tastes- a two disc set can't possibly comprise their musical genius. For those wishing to put together a Rolling Stones Career Retrospective of their most enduring tracks- I humbly submit you add the following MP3 downloads to this fine two disk set:


As Tears Go By
Get Off of My Cloud
Harlem Shuffle
Heart Of Stone
Heartbreaker: Doo Doo Doo Doo
Midnight Rambler
Moonlight Mile
Play With Fire
Rock and a Hard Place
Sway
Time Is On My Side
Ventilator Blues

Hope you don't get Sticky Fingers as you enjoy what assuredly is not a
"Beggar's Banquet!!" Goats Head Soup for All....

Forty Licks is probably one of the most listenable Stones collections available. Worth getting but sorely missing one of my favourite tracks: Time is On My Side. This is a poppier upbeat collection rather than the ballads route. Most importantly, it does a good job of mixing the old with the newer tracks - not an easy feat, but tracks like "You Got Me Rocking" and "Don't Stop" blend in well. Agree that this could've and should've probably been 3 discs. But it's a nice punchy mix as it is. There will probably never be a perfect Stones collection, but this works for me. Viva Rock and Roll!

Forty Licks is an excellent sampler of the Stones' long and varied career. Anyone who loves the Stones or just wants dip the toe into their history will love this collection.

It is absurd to hear 60-year-old men performing "Some Girls" and "Little T&A." Their first round of kids almost are as old as they were when they wrote these songs. They know what they're doing, that's fo sho, but very little about this is truly intimate or remotely creative. I'd love to hear this lot pick up a bunch of R&B songs they'd barely played and have a go, but everything is geared to making the maximum buck so the spontaneity and creativity are histor-y. There is no comparison to "Ya Ya's," and even "Still Life" is better because at least they mattered back then and were still pushing the culture at least a little. As for "Ya Ya's," they were the culture then, the very tip of it, the best band on the orb. They may be the best band for their age right now, maybe. The whole Scorcese thing, clearly intended in part to give this some actual drama, makes it even more ridiculous. Still, I bought the tongue-shaped edition for the collection and got this version for Father's Day, so Mick as usual gets the last laugh and the last cent. Oh, and Mr. Watts is from some other universe, he truly is unbelievable and the engine of this outfit still.

I don't know exactly why I expected this album to be something special. It's just a regular live album, after all, Martin Scorsese or not, and the Stones have released a LOT of live albums, some mediocre, some good, a few of them absolutely magnificent.

This one is basically a minor item. It's the Stones, so it's good, but it's not truly great as far as Stones albums go.
I have every live album the Stones ever released, and to me "Get Your Ya-Yas Out" and "Stripped" are still by far the best, and "Love you Live" is the one that comes closest to matching those two. Too many of the others suffer from sloppy vocals from Mick Jagger, who can be the greatest rock n' roll singer in the world when he puts his mind to it, but he can also sound so annoyingly arrogant, like he really can't bother to put any real effort into singing the same song for the 1,000th time.

The Stones are great, mind you. I love the Stones. Which is why I feel entitled to complain when their performance is below par.
"Shine a Light" is not a dismal failure, far from it, but it isn't one of those live albums that makes you go "wow!" either. There are some rare performances here which are really enjoyable, like the powerful, driving rendition of "She Was Hot" on disc one, and a great "Paint it Black" on disc two. And Keith Richards gets three lead vocals, "You got the Silver", all gritty, stripped-down slide guitar blues, "Connection", a tough, hook-laden rocker, and the lightweight but fun "Little T&A".

But if Mick Jagger is so tired of singing "Jumpin' Jack Flash" and "Brown Sugar", maybe he should just stop. I've heard him do so much better with those songs, which makes these half-hearted performances all the more annoying.
Fortunately the band is exellent almost all the way through. As far as I can tell. The vocals in particular are very sharp and clear, but the guitars are a little bit murky at times, and the rhythm section is frequently just a distant thumping, which is disappointing. But again, they all play well, as far as I can tell, not least the great pianist Chuck Leavell who adds extra fire to a rollicking "All down the Line" and a rather soulful "Loving Cup". And Jagger is almost not annoying on the somewhat uncharacteristic oldie "As Tears go By".

Oh, and fans of albums like "Some Girls" and "Black and Blue" (isn't that what it's called? I hate it, I threw it out a while back) should be thrilled to find relatively rare performances of "Some Girls" and "Faraway Eyes" on here. I've never been particularly fond of the "Some Girls" album, I think it's overrated, and I absolutely loathe Jagger's moronic faux-country slur on "Faraway Eyes", a hideous parody of a hideous 60s country & western song. Ew!

Blues great Buddy Guy guests on "Champagne & Reefer", recorded in the late 70s by Muddy Waters, and out-sings Jagger, who can be a great, great rock n' roll singer but isn't much of a blues singer. And after a so-so "Tumbling Dice" comes a little Keith-set which, to me, is as good as anything sung by Jagger and better than most of it.

Disc two opens with a really good, solid "Sympathy for the Devil" (well, it opens with a few words by Martin Scorsese, actually), followed by a lousy "Live with Me". The band is great, Jagger is okay, but Christina Aguilera, who can sing, and sing very well, doesn't. She yells. Yeah, yeah, yeah. Yeah, yeah-a-yay. Shut up, will you.

The rest of disc two is like disc one, some highlights, some mediocrities. On the plus side, the band is good, as I said, and pianist Chuck Leavell is great. And there are some real highlights along the way, but "Shine a Light" is ultimately a minor pleasure with few truly magic moments. If this is your first live Stones album you may think I'm an idiot for not giving it five stars, but really...there is significantly better live Stones out there. Go get "Stripped"!

Honestly I didn't expect another live album from the stones. Thanks I was wrong!. The Stones really rocks on the small venues like Beacon Teathre. There are some jewels like:

- She was Hot: first time they include it on a live album.
- Some girls section (Faraway Eyes, Just My Imagination, Some Girls, Shatteres).
- As Tears Go By. what a beauty!!!

The low points to me are:

- Little T&A. I love that song, but what a shame with this version
- Sympathy For The Devil: I don't know but I feel something missing on it!

I really was looking forward to listening to this album, having spent most of my life a fan. I bought sticky fingers when it came out and pretty much everything else since. Boy was I disappointed with this one. I've seen them live, so I know the tempos are different live ... but crikey ... they rush through some of these songs as if they're late for something important. Mick's voice is poor ... really, I couldn't listen to the album all the way through and tried several times. Buy something else if you don't ave everything else yet.

Die hard fans of the Stones will be disappointed with this CD. It is comprised of clips of weathered looking Stones interspersed with some abbreviated interviews. The overall affect was was boring. The only redeeming points were the duet with Christina Aguilera and Bill Clinton introducing and hugging the band members. Mick never looked so bad, but he can still move.
If there was a point that Sorcese was trying to make, I missed it.
I'm sorry I bought into all the presale hype. It wasn't worth it for me.

I am the Stones Authority. This was for me the first album of theirs to come out after becoming fully aware of who the band were and buying it at its point of release. Prior to this I was buying history lessons. I bought the original cover. Still got it. I have no use for "Miss You", but everything else on this album is solid, whether it be "When The Whip Comes Down", "Respectable", "Far Away Eyes", "Just My Imagination", or "Shattered" and "Beast of Burden". Often compared to Between the Buttons because of its raw, straight ahead rock sound and approach - a comparison I endorse with caveats - I like to compare it to A Bigger Bang, or rather vice versa. Of course, I did not have that comparison at my disposal until recently, but I think the aficionados understand what I mean. The history and tumult surrounding this album is interesting history. Read about it from others. The album is so good in fact that I rate it as high as Beggars Banquet, while understanding that Beggars is a more important album, but only slightly. For me not quite as good or creative as Tattoo You, but these are fine hairs I am splitting. Suffice it to say that after the five album run that started with Beggars and finished with Goats Head Soup, this album and Tattoo You obviously follow next in the Stones Best In Class Albums. Why don't you have it?

This is one of the best Stones albums ever!!! I love the way they poke fun (especially about New York in Shattered.) Every song on this album is different in its own way and you just cannot sit still. If you can sit still during this album you are surely dead. After dancing around for the whole album I am pooped. It is GREAT. One of their best.

I've always found The Rolling Stones to be a great singles band whose albums often come up a bit short. SOME GIRLS does not suffer from this let down as all the songs are of premium quality. Starting out with the proto-disco of "Miss You," There really isn't a let down throughout. From the wicked "When The Whip Comes Down" to the intense "Shattered," this is a recording that is Stones classic. Mick is fully engaged, vocals that go from the conceit of "Some Girls" to the country croon of "Far Away Eyes" without a hitch. He sells the sexual growl as easily as the bluesy asides; few rockers can compare with Mick when he's at the top of his game. Richards' works with his usual assurance; with Wood fleshing out the sound to create a slashing force across all the rockers and laying back when restraint is called for, like on Beast of Burden." Wyman and Watts continue their eternal support with Watts holding everything together with his tight drumming. Even a casual fan needs to make this one part of their collection.

Here's where the Stones mythology enters their modern era of decay, the "Start Me Up" admission of impending codgerdom ("I just don't have that much jam"). They even managed a banned cover, not so easy in the late 70's. Impervious, oblivious, grunting, grumpy and leering, they grind through a bar band's second-rate set of grimacing guitar rockers, slouchy and tired. That is the beauty of it, the Stones finally become those ancient jaded bluesmen they once emulated. It's diabolical to be so old and utterly immature.

this is a nice album. there are nice songs on this album. the cover art is nice. the cut-out jacket with the interchangeable sleeve promotes an element of fun. the musical contributors are very talented with their upbeat songs and childish humor. the singer is particularly enthusiastic with finger-snapping guitar music.

You will become addicted to this soundtrack. It actually surpasses the movie in that respect (although the movie is great too). I'm ready to start searching the cable channels or Netflix looking for these old Satyajit Ray movies.

Loved the movie, the soundtrack is not that great. The quirkiness of the movie does not translate well to the CD. The indian music selections on the disc leave much to be desired.

Granted, granted, This Time Tomorrow and Strangers are fantastic songs desperately thirsting for greater attention, probably two of the best you've never heard. However, all of the Kinks songs on this soundtrack are from Lola vs. the Powerman, The Kinks most famous (not saying much) album. That album is a moving experience in itself and a better purchase than this album. In fact, go buy the old Kinks catalogue (at least Arthur, Village Green, and Face) if you're turned on by this stuff. Wes has great taste, but this is somehow lazy in selection (for the love of Pete, Tea plays an enormous role in the the movie and the Kinks classic, 'Have a cuppa tea' is not used because it's on a different album). At least take this as an opportunity to be guided to one of the great albums of all time. Great music, but you can get it in a better form.

I have found a new artist to like because of this movie and soundtrack. Peter Sarstedt is amazing. I love the Kinks in this soundtrack along with some of the "room" tracks. LOVE IT!

I have to admit that I haven't seen THE DARJEELING LIMITED. The reason I have picked up the soundtrack is for the music, especially by Sathajit Ray. I am fascinated by Indian music and that fascination is what led me to pick up THE DARJEELING LIMITED. I love how the soundtrack is mixed between Satyajit Ray's film scores, classical music, and classic rock songs by The Rolling Stones and The Kinks. Surprisingly enough, the combinations of these diverse sounds really worked for me. I love how the soundtrack starts off with the lovely folk song "Where Do You Go to (My Lovely)" by Peter Sarstedt. There isn't a single song on the entire soundtrack that made me want to hit the skip button on my stereo.

I am the Stones authority. But I am not going to give you a blow by blow analyzing each of the tracks, many of the 4 & 5 star posters here have already made fine arguments and cases for the album and the individual tracks. My post here is to address the handful of nuts out of more than two hundred reviews here who somehow rate this album as 1 or 2 stars. The mind boggles. Even a non-fan, but someone with a general appreciation for music, should be able to walk away with at least 3 stars and respect for this album. What I am wondering about is what would rate 5 stars in the world of a reviewer who gave this album 1 star? Five stars for Babs? Bee Gees? Kiss? Ratt? Michael Bolton? Michael Jackson? Kenny G? What rates 5 stars in your world?

Simply put this is one of two Stones albums that is arguably their best, and certainly an album the figures automatically into the top ten of any list of the best albums ever - by anyone. If you don't have it and are not familiar with it - then you have no business talking about music - with anyone. Period.

A must for anyone with an interest in The Rolling Stones. This is a great album

Sticky Fingers is a landmark Stones recording, rivaled and perhaps surpassed, only by Let It Bleed. Mick Jagger's performance on Sticky Fingers was a perfect rock'n'roll 10. Great album.

For my money, the Stones never put out a better album than 1971's "Sticky Fingers". I know, I know, 1968's "Beggar's Banquet" and 1972's "Exile On Main Street" have their devotees, but "Sticky Fingers" is the World's Greatest Rock And Roll Band at its absolute zenith in the studio. Though he never really fit into the group's aesthetic, the young Mick Taylor was, technically, the best guitarist the band ever had, and helped return them to their blues base after Brian Jones died. And, in my opinion, Jimmy Miller was the best producer to ever work with them. The record kicks off with the filthy "Brown Sugar," the group's best Seventies single, and continues from strength to strength. "Moonlight Mile" is ravaged and lovely, as is "Wild Horses," the best ballad Jagger and Richards ever wrote. The Stones were at their nastiest on "Bitch" and "Can't You Hear Me Knocking." Everything released from 1968 to 1972 is essential, but "Fingers" is, quite simply, the best rock band on earth at its height.

Misanthropic, gothic, indestructable. Purists will inevitably favor Exile over Sticky, and it's true we've heard "Brown Sugar" and "Wild Horses" 'til we're dizzy with indifference, BUT, there's something to be said about that 3:52 residing between. And I'll say it: "Sway" is the quintessential Stones session and, most likely, the perfectest damaged purebloodedest rock song ever recorded. It's got that underhanded epic quality, coming way down , which nobody else (like, GnR) could ever effect. Sounds basement, haphazard, intoxicated until the coda, just a sliver of cleverness, suggests the majesty of pure poetic dissolution. Key ingredient, Mick Taylor, no stompboxes, all feel ~ plus Nicky Hopkins and Jimmy Miller strings, plus the boys, just invented the power ballad for the 1st time. As a fadeout, an afterthought! Slippery guitars, barroom piano and careening drums, it's church of roadhouse. I bet Chuck Berry threw a tantrum. Not only THAT, but "You Gotta Move" which shames Led Zeppelin III and "I Got The Blues," Mick's supersingularest rave soul vocal. NO band ever got so much with so little exertion. Bad badder baddest.

I wish someone would get it through the ROLLING STONES...."heads"... that the song (UNDERCOVER OF THE NIGHT), is not a "HIT" song. In fact, it is one of there most stupid, terrible songs ...EVER. WHY, it is on every hits album...I don't know. BUT. Replace it with "SHE'S SO COLD ", and then you got a REAL hit. Which is never on the hits albums. Which is a MAJOR dissapointment every time the STONES release a hits CD. Just ask all there real fans.........they'll agree with me.

Good, but not great collection of later Stones tunes. You might be better served by purchasing "Forty Licks" if it is still in pring.

without another VOL.2 of this hits album ( One that has the 80's and 90's stuff and maybe "one shot to the body, and she's so cold" ) this album is really pointless. It's good but needs another. The rolling stones still do not have a later day hits album. STILL. Another volume of this would be PERFECT.Why set on the 80's and 90's song's hit albums. The rolling stones DON'T need the money. Cd's are going out real fast, so they better make the money off "VOL.2" real FAST. So listen-up RECORD COMPANY and MICK.

The Stones Rock! What a great collection!!! Can't go wrong with the STONES!

I think this is really a good CD, very well mastered, however it reminds me very much of "the CD "Remakes and Outfakes" The Rolling Stone tribute CD on
Amazon!