The Rolling Stones的信条是：或许你可以这么做。队员的头发潮湿凌乱，大家相处得也不是十分融洽，甚至连他们的笑容都很少能见到。不过乐队始终保持着传统的态度：‘我们从事的不是商业娱乐，我们不是流行音乐。’而米克·贾格尔歌声中透露出来的欲望是成人性质的。这不是像拉拉手、转转瓶子这样一般的欲望，这是真实的东西。大众电台接受贾格尔的歌声是摇滚乐的一个转折点——他为其他所有人敲开了这所大门。突然之间，Eric Burdon和Van Morrisson不再那么古怪了——甚至Bob Dylan。
他们是独特的：白人像黑人那样表演。Elvis Presley这样干了，接下来就是贾格尔，再没有其他的白人男孩这样干了。白人歌手都在像the Beatles那样歌唱。与黑人表演者之间的共同点使我们回归到教堂之中——让身体的热情感动你，抛开社会的约束，抛开任何形式的阻碍与羞辱。不受控制——这正是米克·贾格尔要传达的。其中或多或少地有一些James Brown和Tina Turner的舞步成分，而贾格尔所设计的那些奇怪舞步是来自灵魂的。虽然Iggy Pop和Jim Morrisson将这舞步提高到了另一个层次之上，但一切源于贾格尔。”
The Rolling Stones were the original Bad Boys of rock. The Beatles and other groups of the early and mid-60s had a clean-cut image that The Rolling Stones deliberately flaunted with their facial expressions, appearance, and blues-influenced music that lyrically was more challenging than most other popular contemporary groups. The closest contemporary group to The Rolling Stones was Aerosmith, before they too became more commercial. Now so many groups attempt to affect a bad boy image that the image has been watered down and no longer has much meaning. But in the 60s, The Rolling Stones were the definition of rebellion and thinly veiled sexuality.
This collection of hits recalls The Rolling Stones at their most rebellious and cutting edge. In the still relatively proper (read Victorian-like) year of 1965 the song "(I Can't Get No) Satisfaction" bordered on being scandalous. When the boys sang with their shirts open with movements that pushed beyond Elvis Presley, you knew that these lads were something different. Later songs such as "Let's Spend the Night Together" pretty much threw the remnant of a veil away.
As The Rolling Stones moved into the late 60s their music changed steadily, frequently anticipating the direction of music. The ubiquitous sitar of psychedelic 60s music makes an incredible appearance in "Paint It, Black." Their music became heavily blues influenced in songs like "You Can't Always Get What You Want" and "Wild Horse." The vocals on the last song particularly were heavy, plaintive and emotional, very different from The Stones early music.
The re-mastering of this CD onto SACD will likely be a big plus for neo-audiophiles. The clarity of the sound is excellent. Many early recordings sound one-dimensional because of the quality of the masters. This production benefits from a lot of editing work as the earliest recordings sound very good with no indication of hiss or other defects that often creep into forty year old master tapes.
There is an on-going debate over the value of this CD versus "40 Licks." I do not have "40 Licks," which is also a fine CD. Many of the songs on this CD are represented on "40 Licks." However, "40 Licks" seems to me to belie the original Stones bad boy image because of the inclusion of so many commercial songs from the later decades of their career. "Hot Rocks" still provides the illusion of the original Bad Boy Stones at their 60s anti-establishment rebellious best. "40 Licks" is too commercial for the bad boy image to be other than a commercial façade. Understanding the flavor you get from each CD, pick the one that fits what you want to hear.
The Rolling Stones were heavily influential in the 60s. The music on this CD represents that influence, and shows The Rolling Stones during their most consistently creative and stylistically unique best. This CD is a valuable recording for any collector of Rolling Stones music or cutting edge music of the 60s.
1. Time Is On My Side
2. Heart Of Stone
3. Play With Fire
4. (I Cant Get No) Satisfaction
5. As Tears Go By
6. Get Off My Cloud
7. Mothers Little Helper
8. 19th Nervous Breakdown
9. Paint It Black
10. Uinder My Thumb
11. Ruby Tuesday
12. Lets Spend The Night Together
1. Jumpin Jack Flash
2. Street Fighting Man
3. Sympathy For The Devil
4. Honky Tonk Woman
5. Gimme Shelter
6. Midnight Rambler (Live)
7. You Cant Always Get What You Want
8. Brown Sugar
9. Wild Horses