Hot Rocks 1964-1971

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So the Stones, beginning with Beggar’s Banquet, moved into a strong new phase where they are beginning to let their fantasies run free, and, if something like “Memo From Turner” from Performance is any indication, Jagger may have even darker dreams than “Midnight Rambler” in store. Unhealthy, perhaps, but undeniably pertinent. Robert Christgau rated the album a B−, writing "If you don't like the Stones, this might serve as a sampler... Look, here's how it works. Except for Satanic Majesties, which isn't represented here, all of their '60s studio albums are musts." Walsh, Christopher (24 August 2002). "Super audio CDs: The Rolling Stones Remastered". Billboard. p.27.

The Rolling Stones - Hot Rocks: 1964-1971 Album Reviews

This is the complete listing with the dates of all the Rolling Stones studio albums. The Rolling Stones EP (U.K) ARIA Charts – Accreditations – 1995 Albums" (PDF). Australian Recording Industry Association . Retrieved 21 July 2021. The album is the best selling of the numerous Decca/ ABKCO releases after the Rolling Stones lost control of their pre-1971 catalogue to their former manager Allen Klein. As with all of such releases, the Stones had no control over the collection or its release. It would be nice to be able to call it something like The Rolling Stones‘ Golden Decade, for the Stones have been the most enduringly prolific highwire act of their time, both reflecting and surpassing the era with a deadly accuracy that can make them seem more dangerous than they really are. But somehow this album merely falls into that venerable Stones tradition of supra-throwaway albums, collections like December’s Children and Flowers that by their very slapdash cynicism validate themselves and charm us into feeling that they’re as sure a representation of the Stones ethos as brand-new and more unified efforts like Let It Bleed.

Flowers

The crucial thread running through almost all of the Stones’ early work, and much of what has followed, is the tension in the alternation of themes of utter arrogance and disdain, and of the sense of ennui and frustration deriving from living, however highly, in these desperate times. “Get Off Of My Cloud” brought the former razzberry to a pinnacle of derisive noise that many, including Jagger himself, found excessive, while “I Can’t Get No Satisfaction” was, of course, the primal and perhaps still definitive statement of the latter condition. The balancing of these two senses is at once the strength and limitation of the Stones: strength, because nothing is more universal now than boredom and dissatisfaction and the Stones’ particular brand of charismatic swagger has been affected by more adolescents than any other posture of the generation: limitation, since yesterday’s outrageous strut is today’s cornball signal to get the hook, and keeping a sure grasp on the shifting modes in malaise o’ the day is one of the most difficult feats for any artist to maintain in this fast-mutating era. Either “She’s a Rainbow” or the great, roaring “Have You Seen Your Mother, Baby, Standing in the Shadow” would have been more fun than the always lame “As Tears Go By” and the socially incisive but musically slight “Mother’s Little Helper,” both of which were included. And “We Love You,” the brilliant “jail-single” of the summer of ’67 which may be the most musically adventurous thing the Stones have ever recorded, has never been on an album released in this country (There are also the great B sides like “Who’s Drivin’ My Plane,”“Child of the Moon” and “Sad Day,” but they deserve a different sort of album. Maybe someday they’ll get it.) Kent, David (1993). Australian Chart Book 1970–1992 (illustrateded.). St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6. I Can’t Get No) Satisfaction / Outro: Star Spangled Banner – The Rolling Stones; Jimi Hendrix Flashpoint French album certifications – The Rolling Stones – Les Années Stones 1" (in French). Syndicat National de l'Édition Phonographique.