The Rolling Stones, rock and roll legends known for their memorable hits and groundbreaking performances, have an extensive discography that spans decades. However, not every track the band has released turned to gold. In their long and storied career, there have been a few missteps along the way. This article shines a light on ten songs from The Rolling Stones that, for various reasons, didn’t quite hit the mark. From misguided experiments to lyrical faux pas, here are the tracks that even die-hard fans might agree are not the band’s finest moments.
‘Cherry Oh Baby’
Diving headfirst into reggae, The Rolling Stones attempted a dramatic shift from their rock roots with ‘Cherry Oh Baby’. The effort to embrace this genre resulted in an awkward fusion that didn’t resonate well. Mick Jagger’s adoption of a Jamaican accent was perceived as overreach, detracting from the authenticity the band typically brought to their music. This song serves as an example of how venturing too far from one’s established sound can sometimes lead to unfortunate results.
The Rolling Stones’ exploration of reggae with ‘Cherry Oh Baby’ demonstrates the complexities of genre experimentation. While artists’ evolution is inevitable and often celebrated, it requires a careful balance between innovation and authenticity. In this case, the band’s approach came off as forced, leaving fans and critics alike puzzled over the choice.
‘It’s Only Rock ‘n’ Roll (But I Like It)’
Released in 1974, at a time when rock ‘n’ roll itself was undergoing significant changes, ‘It’s Only Rock ‘n’ Roll (But I Like It)’ faced criticism for appearing complacent. The track was seen as a self-indulgent anthem that failed to add anything new or interesting to the discussion of rock music’s essence. Despite its catchy refrain, the song was criticized for its lack of depth and perceived as the band simply going through the motions.
The song’s playful nature and the Rolling Stones’ defensive stance on rock ‘n’ roll could have been an opportunity to reassert their relevance. Instead, it fell flat, overshadowed by the evolving musical landscape and emerging punk movement that demanded more than just a love for the genre.
‘Fool to Cry’
1976’s ‘Fool to Cry’ attempted to showcase the band’s softer side but ended up overreaching into sentimentality. The track, featured on the album “Black and Blue,” features Jagger crooning over the complexities of fatherhood and emotional vulnerability. While the intent to explore more tender themes was clear, the execution was met with mixed reactions, with some finding the portrayal of sensitivity overdone and lacking subtlety.
This venture into a more reflective and emotional territory could have been a moment for the Stones to connect with their audience on a different level. However, ‘Fool to Cry’ struggled to find its footing, teetering between genuine emotion and a caricature of tenderness.
‘Wanna Hold You’
‘Wanna Hold You’ epitomizes the risk of resting on one’s laurels. Coming from a band known for groundbreaking music, this song disappoints with its reliance on clichés and lackluster execution. The content seems repetitive and uninspired, which is surprising for artists like The Rolling Stones, who have a rich history of innovative and influential music.
The 1983 track from their album “Undercover” represents a missed opportunity for the band to reinvent or challenge themselves musically. Instead, it comes across as an uninspired effort that fails to resonate or add anything of value to their impressive catalogue.
‘Sing This Song All Together (See What Happens)’
‘Sing This Song All Together (See What Happens)’ from “Their Satanic Majesties Request” is a bewildering inclusion in The Rolling Stones’ discography. Aimed at being experimental, the track instead comes across as disjointed and directionless. The band’s attempt at creating a psychedelic experience feels forced, losing the cohesive sound that fans admire in their work.
The Stones’ foray into psychedelia with this track underscores the challenges of genre experimentation. While innovation is crucial for artistic growth, it requires a nuanced understanding and execution that ‘Sing This Song All Together (See What Happens)’ unfortunately lacks.
‘Indian Girl’
‘Indian Girl’ is a track fraught with issues, primarily due to its narrative content and superficial treatment of serious themes. This song from the 1980 album “Emotional Rescue” paints a troubling picture with its simplistic and somewhat patronizing lyrics. The attempt to address geopolitical issues came off as naïve, and the musical arrangement did little to elevate the song.
The inclusion of inappropriate cultural references only added to the song’s problems, making it a track that many prefer to skip. It’s a reminder that even the most successful bands can misstep, especially when tackling subjects that require a delicate and informed approach.
‘Dirty Work’
1986’s ‘Dirty Work’ is often cited as one of The Rolling Stones’ less memorable efforts, both as an album and a title track. The song suffers from an overbearing ’80s production that hasn’t aged well, coupled with a lack of the band’s characteristic edge. It stands as an example of how external trends can sometimes dilute a band’s iconic sound.
The lack of enthusiasm evident in the song’s delivery suggests a disconnect between the band and the music they were creating at the time. ‘Dirty Work’ lacks the passion and raw energy fans had come to expect from The Rolling Stones, making it a forgettable entry in their catalog.
‘Cocksucker Blues’
‘Cocksucker Blues’, despite its shocking title and controversial lyrics, is perhaps most notable for the circumstances surrounding its creation rather than its musical content. Intended as a final contractual obligation to their record label, the song’s explicit content ensured it would never receive airplay, serving as a defiant gesture from the band.
The track’s legacy is tied more to its rebellious backstory and less to its place within The Rolling Stones’ discography. It’s a reminder of the band’s penchant for controversy and defiance, even if the song itself doesn’t stand out musically.
‘Sex Drive’
Released in 1991 on the album “Flashpoint,” ‘Sex Drive’ is a quintessential example of an aging rock star misfiring in a bid to maintain a youthful, provocative edge. The song was met with raised eyebrows and cringes rather than applause. Mick Jagger, then nearly 50, attempted to exude the same sexual bravado that characterized much of his younger persona, but the effort felt out of place and awkwardly executed.
‘Sex Drive’ attempts to ooze seductive charm but instead comes off as a tone-deaf rendition of what once might have been considered sexy. The mismatch between Jagger’s aging rock star image and the song’s attempt at sultry themes creates a disconnect, making it hard for listeners to buy into the fantasy. Moreover, the production choice to float the lyrics disjointedly over the music underscores this gap, highlighting the unnatural fit of libido-driven words with a melody that fails to support them.
‘Stray Cat Blues’
‘Stray Cat Blues,’ found on the 1968 album “Beggars Banquet,” stirs controversy not for its musical composition—which is in line with the band’s better works—but for its lyrics that uncomfortably toy with themes of underage sexual encounters. While rock ‘n’ roll often pushes boundaries, the explicit content of this song ventures into objectionable territory, with lyrics that appear to glorify relations with minors.
The deliberate choice to lower the age of the girl in live performances only intensified the problematic nature of the song. Unlike Nabokov’s “Lolita,” which presents its narrative with a critical lens on its protagonist’s morally reprehensible behavior, ‘Stray Cat Blues’ lacks any discernable condemnation or critique of its subject matter. Instead, it risks being perceived as utterly tone-deaf or, worse, as endorsing the exploitation it describes. The lack of narrative depth or moral framework leaves the song devoid of redeeming qualities, making it a stark misstep in The Rolling Stones’ catalog.