People seem to endlessly argue which is the “best” Rolling Stones album. It’s hard to disagree that this one from 1968, and the last one with the original band including Brian Jones, is their bluesiest, if not only their most acoustic. Almost all of the songs are dominated by the acoustic guitars of Jones and Keith Richards, making the 38 minutes on this album feel like you’re sitting in some smoky highway lounge late at night, or early in the morning (to be more accurate).
Contrasted with this concept is the opening track that is probably the most quoted rock song of all time, “Sympathy for the Devil,” complete with African rhythms, Jagger’s ominous lyrics about Satan being part of many a historic tragedy, and Richard’s searing electric solo. The other “rocker” would be the anthem “Street Fighting Man” (complete with Jones’ sitar) with Jagger sounding like he’s leading a revolution; maybe he was!
For the other eight songs, you get the agonizing folk blues of “No Expectations,” a Dylanesque “Jig-Saw Puzzle”, the misogynist “Parachute Woman” and “Stray Cat Blues,” a sitting by the fireside fun “Dear Doctor” and “Prodigal Son and a pint raising “Salt of the Earth,” with Jagger and Richards most laconic on “Factory Girl.” The slide guitar work on these tunes, particularly during the climax of “Jig-Saw Puzzle” is agonizingly poignant. Nicky Hopkins sits in on piano to add some honky tonk to the atmosphere here as well, as well as adding ominous darkness to the beginning of “Sympathy,” (with no guitars to be heard until Richard’s solo) with the band never reaching this consistently deep level of roots again. This is an essential album for mood, music and mirth.