20 Rolling Stones album cuts that are worth discovering

Some latter-day Stones material. The Bridges to Babylon album, from the late 1990s, continued to open the band up to the masses, as well as a new generation of fans. It was slickly produced and a host of guest musicians were brought onboard for the project. "Too Tight" was not released as a single from the record, but encapsulates the Rolling Stones' songs of the time. More polished, but still rocking stronger than ever, even as the years of the individual band members continue to rise. 

The opening number from the Rolling Stones' comeback album Steel Wheels, "Sad Sad Sad" really should be more popular as the years go by. However, it was not released as a single from the record, which had produced popular Stones' tracks in "Mixed Emotions" and "Rock and a Hard Place." But, it can be argued that this unabashed, straightforward rocker is the best song on the entire record. It also proved the Stones still had the chops to remain the biggest rock band in the world. 

Written by Mick Jagger  and Keith Richards, with Marianne Faithfull, it was a hit for the longtime Jagger girlfriend in 1969, then for the Stones a couple of years later off the Sticky Fingers record. Considered perhaps the darkest of the band's compositions, "Sister Morphine" speaks somewhat autobiographically about dependence on said drug while hospitalized. The song also reportedly led Faithfull into her lengthy spell of addiction.

Though never a hit, or even a track that received consistent airplay, "Moonlight Mile" is still considered to be one of the Rolling Stones' most unheralded melodic tunes — a ballad, if one will, but with a healthy dose of subtle bombast. From Sticky Fingers, "Moonlight Mile" has the vibe of a tale of the rigors and isolation while touring. Yes, even Mick Jagger yearns to return home and leave the good times on the road.  

Perhaps the best word to described the closer from 1967's Between the Buttons album is "whimsical." There is certainly a ragtime feel to this cut, which features Keith Richards singing the chorus, with Mick taking care of the verses. It marked the first time on a Rolling Stones song that Richards provided vocals on his own. Other highlights include the venerable Jack Nitzsche on piano, Brian Jones on the trumpet, trombone, and tuba, and some closing spoken words from Jagger. This is truly a musical good time for the ears. 

A beautiful song from the band's early days, off 1967's Between the Buttons. The organ underlay is the star of the song, but this poignant, almost psychedelic ballad is a true gem that casual fans of the band should seek out and enjoy. So enamored by the track, former Fleetwood Mac legend Lindsey Buckingham decided to record a cover. In all its acoustic greatness, Buckingham picks his way through a stellar version of a song that shines, whether played in a coffee house or on stage in front of thousands.

Another under-the-radar moment of brilliance from Exile on Main St. While the core Stones deliver another high-level musical performance, the band's dependable backing musicians are once again at their best on this undeniable, spirited rocker filled with respectable bombast. Nicky Hopkins is his usual best on the piano, while, of course, Bobby Keys comes through with another notable saxophone effort. Not to mention, Jim Price's dual delight on trumpet and trombone.

Like others on this list, there is a debate as to whether "Midnight Rambler" should be considered a deep cut. From Let It Bleed, the tune is an example of the band's heavy blues influence. And, clocking in at nearly seven minutes long, it just might be the Stones' most in-depth blues track. Standout moments include Mick Jagger's harmonica performance and Keith Richards on the slide guitar. An almost perfect effort from the famed duo, in terms of both creation and execution. 

The song that became "Tops" was actually concocted and initially put together in 1972, during the sessions for Goats Head Soup. However, it was never released until its inclusion on 1981's Tattoo You. "Tops" has essentially been a forgotten track within the Stones' vast and legendary catalog, but this pseudo-bluesy piece has the ability to stay in one's head. Plus, its inclusion in the underrated 2009 romantic-comedy Adventureland provides one of the movie's undeniable highlights. 

A true Stones deep — and severely underrated — cut, this is one of the band's most unique tunes, from 1967's Their Satanic Majesties Request. It begins with Jagger's vocals over Brian Jones' electric dulcimer and Keith Richards' acoustic work. From there, the listener is taken on a rather trippy, distortion-fueled romp. For a cleaner, heavier take, check out the faster, plugged-in Kiss cover of the song, with Ace Frehley on vocals, which became a popular deep cut for Kiss, as well, and remains one of Frehley's great musical contributions.

Another standout moment from Tattoo You. Perhaps the best way to describe "Little T & A" is that it has sort of cult-classic status within Rolling Stones fandom. The song, about more good times while enjoying some casual female companionship, features more exceptional riff work from Keith Richards. For those who still listen to classic rock radio, this tasty Stones gem will pop up on the air, and is always worth the time invested. 

From 1967's Between the Buttons album, "Miss Amanda Jones" checks in at a little under three minutes, but is fast-paced, guitar-heavy and complete with plenty of blues to fuel the journey. For those fans of 1980s' teen dramas of the John Hughes variety, both the original version and an above-average cover can be found in the 1987 film Some Kind of Wonderful. It's sort of an '80s-infused homage to the co-female lead of the movie: Amanda Jones, played by Lea Thompson.

More unadulterated female exploitation from Mick and Keith. In this case, they want scantily clad ladies dancing for them as they continue to celebrate their unbridled and casual love of rock-star intimacy. Oh yeah, then there is the actual sound of the song — which can be found on 1974's It's Only Rock 'n Roll — which should be considered one of the band's best overall guitar efforts. While Richards grooves in the rhythm position, the lead work from Mick Taylor remains some of his best with the band. 

Along the line of the aforementioned "Sister Morphine," "Dead Flowers" is a completely dark track off of Sticky Fingers (sense a pattern?). The references to heroin highlighted Richards' state of mind at the time. Meanwhile, it's also one of the Rolling Stones' most impressive country-style songs. Richards and Mick Taylor deliver a true honky-tonk vibe to their playing, which doesn't stand out as much as the depressing lyrics, but is notable nonetheless.  

The B-side to "Wild Horses," and also from Sticky Fingers, "Sway" is another exceptional blues number from the Stones. Perhaps one reason for the lack of attention the song suffered from with the masses was because it was only released in the United States as a single. However, hardcore fans of the Rolling Stones know that it remains a serious highlight on Sticky Fingers — and beyond, for that matter.

One of the great album openers of all time, "Rocks Off" kicks off Exile on Main St. In many ways, the song exemplifies everything that's great about this classic album, from Nicky Hopkins' stellar piano work to the brass brilliance of both Jim Price and Bobby Keys. Now, it can be argued that "Rocks Off" isn't a true Stones deep cut. However, it's always been overshadowed, not just by other songs on the album, but those more prominent classic songs produced by the band during the first half of the '70s.

"All Down the Line" was certainly good enough to be released as a single from Exile on Main St. — and, according to Rolling Stone, it was initially slated to be. Yes, that's saying a lot, but the song is that good, and it can hold its own with any of the more popular tracks on the record. In the end, it turned out to be the B-side to "Happy." The epitome of a classic Rolling Stones track, "All Down the Line," as time has passed, seems to receive more just praise — as should have been the case all along. 

By now, it's easy to see, or hear, why Exile on Main St. was such an exceptional record. Reworked following Brian Jones' 1969 death, "Shine a Light" is a raucous gospel-filled, blues-filled track that was essentially put together by Jagger. Though Richards is naturally credited on the writing. If "Shine a Light" was released on any Stones' record that followed Exile, it likely would have been a lauded single, instead it should be considered one of the most underrated songs in the band's musical arsenal. Of course, it was the title of the 2008 Stones documentary directed by Martin Scorsese.

The Stones had a collective fancy for country music. "Sweet Virginia," off the classic Exile on Main St., might truly capture the Stones' love of that country sound as well as any other related tune in their catalog. A Jagger/Richards production, it features the great Bobby Keys on saxophone, Charlie Ward's "shuffle" rhythmic drumming, and a harmonica solo from Jagger himself. Easily one of the band's unbridled tunes when it comes to celebrating the influences that led to its greatness.

This just might be the most beautiful song, lyrically and musically, that the Rolling Stones ever delivered. Not to mention, the whimsical, psychedelic pop/rock features some exceptional musical performances. Notably Nicky Hopkins' brilliant piano playing and the late Brian Jones' work on a unique instrument known as the mellotron. "She's a Rainbow," which can be found on the Rolling Stones Their Satanic Majesties Request studio album, was a Top 40 hit for the band and a real treat any time played live, yet it tends to get lost in the greatness of the rest of the legendary catalog.