5 Amazing Songs from The Rolling Stones’ Baroque Pop Period

The Rolling Stones were seen by many to be the blues-rocking alternative to The Beatles’ more melodic brand of pop music. That’s a bit of an oversimplification, however, because there was a stretch of time when the Stones showed they could pen quite the tune and adorn it with some of the baroque pop flourishes that were common in the mid-1960s.

When they made the album Beggars Banquet in 1968, the Stones largely left those kinds of songs behind for good. But we found five examples of the more flowery side of the Stones that are as good as anything from that era.

“As Tears Go By” from December’s Children (And Everybody’s) (1965)

Mick Jagger and Keith Richards were watching their counterparts in The Beatles (John Lennon and Paul McCartney) making a mint as songwriters, not just for their own band but for other artists as well. “As Tears Go By” was written in that spirit and given originally to Marianne Faithfull to record. When the Stones did their version, they largely aped the format The Beatles used on “Yesterday,” introducing strings into a simple acoustic structure. But that wouldn’t have worked if the core songwriting wasn’t so strong on the track.

“Ruby Tuesday” from Aftermath (1966)

Mick Jagger has copped to the fact he had nothing to do with the writing of this hit ballad. Instead, it was all Keith Richards, who was inspired by a girl who left him behind to take up with Jimi Hendrix. He manages to write a character sketch that expertly captures the kind of person who will never truly be tied down for too long in any one situation because their wanderlust is too strong. “Ruby Tuesday” boasts a lovely recorder part played by Brian Jones. And although Jagger might not have written any of it, he sings the stuffing out of the song.

“Back Street Girl” from Between the Buttons (1967)

This is one of those Stones songs where Mick Jagger is playing a character who comes across as quite insensitive and heartless. Some critics would take him to task for this, although no one claims this is autobiographical, and pop and rock music would be quite dull if only honorable, forthright characters were included. In any case, the music for “Back Street Girl,” a song where the narrator tries to keep his mistress out of his everyday world, is as lovely as the band has ever produced, with Brian Jones chipping in on vibraphone and session player Nick DeCaro adding the evocative accordion part.

“She’s a Rainbow” from Their Satanic Majesties Request (1967)

The Stones employed certain guest musicians on the regular. Nicky Hopkins was one of the most notable of these, a piano ace who often handled the ivories on the band’s sadder, slower stuff. But on this single from Their Satanic Majesties Request, Hopkins is given the opportunity to work in a more playful manner. His playing is unforgettable, especially when the production contrasts the spare piano work with the blasts of horns that follow it up. While most of the Satanic Majesties album was a bit of a mess, this song gets it just right.

“Dandelion” (B-Side, 1967)

Their Satanic Majesties Request would have received a nice boost if this song, which was recorded during the sessions, had been included. Instead, it was chosen as the B-side of the non-album single “We Love You.” That it has ended up garnering a fair amount of airplay over the years, despite its unheralded release, should tell you something about its quality. The hippie-dippie lyrics are propped up by a lilting melody and a wonderful chorus, the latter of which is aided by guest vocals from none other than John Lennon and Paul McCartney.

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