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It’s Only Rock ‘n Roll

Release Date: October 18, 1974

Label: Rolling Stones

Popular Songs:

  • It’s Only Rock ‘n Roll (But I Like It) (YouTube)
  • Ain’t Too Proud to Beg (YouTube)
  • Till the Next Goodbye (YouTube)

Songs You Need to Listen To:

Written By: Andy Trcka

February 12, 2025

Bursting with opulence and hubris via songs like “Luxury,” “Dance Little Sister,” “Short and Curlies,” It’s Only Rock ‘n Roll is where the Rolling Stones firmly embraced the role of “World’s Greatest Rock and Roll Band.” From this moment onwards, Mick and the boys never look back from center stage. However, to focus solely on It’s Only Rock ‘n Roll’s over-the-top pop theatrics and innuendo would be to overlook the album’s nuance and at times, considerable emotional heft. Simply put, there’s more to It’s Only Rock ‘n Roll than the frivolity its title track would indicate.

We are greeted to the album by a trio of rock tunes seeping with a distinctive 70s feel. “If You Can’t Rock Me” pushes high RPMs but doesn’t gallop at the frenetic pace as some other album openers, such as Sticky Fingers’ “Brown Sugar.” Nonetheless, it is unmistakably a rock tune, a 70s rock tune where hefty doses of funk and disco combine to set a bouncy dance floor tempo. “If You Can’t Rock Me” sets the pace for what is to come – fun.

Contributing to the pulsating 70s atmosphere heard throughout IORNR, Billy Preston provides clavinet on “Ain’t Too Proud to Beg.” A clavinet is a keyed instrument that has a more electronic resonance than a piano. “Ain’t Too Proud to Beg” continues the rock’ish orientation of the intro track, but also expresses genuine emotion, the sort of expression necessary when pursuing a dalliance, or trying to communicate with a partner. Relationships, even for famous rock stars, take work. This much is obvious as the tune is essentially Mick proclaiming he isn’t “too proud to beg” for affection. Pardon me…he AIN’T too proud to beg; who am I to grammatically correct Mick? With its straightforward plea, “Ain’t Too Proud to Beg” is genuine, playful, honest, and one the album’s best tunes. As we shall see, this is not the only moment of emotional earnestness on IORNR.

Stevie Wonder is a fan of the clavinet

Isolated clavinet version of “Superstition”: https://youtu.be/T7qX7OBgOMw?si=ucUaW-xSpxSnTlkZ

Photo Source: https://www.thedocproject.com/blog/more-clavinet-please

The Stones are without subtlety when telling people to not hoist too much existential importance upon them. “It’s Only Rock ‘n Roll (But I Like It),” a chart-topping single that doesn’t take itself too seriously, delivers a grounded message; the music, the lifestyle, the larger-than-life theatrics, is all…only rock and roll. The message is crafted for those hoisting too much meaning, grandiosity, or significance on the band.. “It’s Only Rock ‘n Roll (But I Like It)” essentially restates the message Kieth and company offered in 1965 with “Get Off of My Cloud!” An instant hit upon release (top 10 in the USA), subsequent decades have seen “It’s Only Rock ‘n Roll (But I Like It)” blossom into a megahit. Today it is ubiquitous, to the point of garnering references on the Simpsons. To reacquaint yourself with the magic of “It’s Only Rock ‘n Roll (But I Like It),” I suggest listening to it for its components. Keith’s infectious hook, a thumping bass line, the boys harmonizing the refrain, all while Ian Stewart’s piano serves as connective tissue…this really is a good song. In less capable hands the song would be a cheeky missive that would fall flat. Instead, we are treated to well-constructed entertainment. Not too shabby for a song that is essentially a middle finger to critics!

Arguing it’s been her jam all along, Sister Rosetta Tharpe might beg to differ, but generally speaking, rock entered its third decade in the 1970s. Less than twenty years earlier, the generation who watched Mr. Sullivan, under the auspices of censors, televise a certain Memphis musician ABOVE his waist, was now raising children of their own. The world of rock and pop was changing, rapidly and in every manner imaginable. In the face of an evolving pop landscape, rockers from the 50s and 60s were tasked with trying to stay relevant. In this regard, the Rolling Stones literally reminded folks, “It’s Only Rock ‘n Roll.” In addition to that thematic shrug of the shoulders, this album incorporated some of the musical influences and innovative sounds of the moment. One of the most lighthearted, adaptive, and enjoyable songs within IORNR is the reggae influenced “Luxury.” Like waves crashing on a Caribbean beach, “Luxury” is percussive and relaxing, with Kieth’s guitar stealing the song. “Luxury” is a rare, special treat when part of a setlist – check out El Mocambo for a good version.

In 1977 the Stones treated roughly 300 people in Toronto’s El Mocambo club to a Rolling Stones concert. The show resulted in the live record, El Mocambo 1977. This is a gem of the Stones’ live catalog. On El Mocambo they jam considerably longer than arena shows and alter orchestrations to resonate better in an intimate setting. The true depth of their talent is on display. “Tumbling Dice,” “Luxury,” and “Hand of Fate” are highlights. Give this a listen!

Photo Source: https://rollingstones.com/

Change wasn’t just active in the musical styles circulating the Stones, change was also afoot within their ranks – Mick Taylor departed the Rolling Stones after IORNR. Joining the Stones full-time after Brian Jones death in 1969, Taylor’s tenure coincided with what many consider the Stones finest work and most enduring albums. But Mick’s influence waned as the band moved further into the 70s. Amongst other stresses or distractions, including drug use, disagreements over songwriting credits also fueled the separation. According to “Society of Rock’s” website, “In October 1974 ahead of the release of It’s Only Rock ‘n Roll, Taylor told NME’s Nick Kent that he co-wrote two songs with Mick Jagger – “Till the Next Goodbye” and “Time Waits for No One.” But when Kent showed him the record sleeve, Taylor’s name didn’t get any songwriting credits. More than that, Jagger actually promised Taylor that he would get the credit.” Perhaps sometime in our future Andy’s Stones will explore exactly what drove Mick away, but for now, as far as IORNR is concerned, we note his departure and significant contribution to the Rolling Stones and rock music. Thank you, Mick.

Down the road Taylor will occasionally join the band…2013 in San Jose, CA

Photo Source: https://www.hennemusic.com/2013/05/video-mick-taylor-rocks-with-rolling.html

It’s Only Rock ‘n Roll, but it’s a Fan Favorite!

For many within the Stones community, It’s Only Rock ‘n Roll has a piece of their heart; leaning into the comfort of it, fondness surrounds this album. Personal affections aside, as far as critics are concerned, this is not their best work. For example, if there were a Mt. Rushmore of Stones albums, this wouldn’t be chiseled alongside Aftermath. So why does this effort endure? As the album witnesses Mick and the boys emotionally opening up, perhaps the answer is buried within our own experiences with the album?

My dive into the world of the Stones began in the early 2000s. Which, in geological time, places my adventure only hours before the streaming era. My brother Joe and I took on the Yeoman’s work of collecting all of the Rolling Stones’ albums. We divided their catalog in two with the aim of burning and exchanging our respective collections upon completion. The agreement was to not listen to anything from the opposite brother’s collection until the exchange went down. Basically, we created American and National Leagues of their catalog. Professional baseball is an apt analogy because unlike nowadays, in the early 2000s, inter-league play was largely restricted to the World Series. Nonetheless, like MLB, we generated a few excuses to cross tracks. Occasionally we would host “concerts.” Essentially listening sessions, at these “concerts” we would play two songs from each album, alternating between each other’s stacks…and sipping a few beverages.

Truth be told, I mildly pitied Joe. My collection included Beggars Banquet, Aftermath, and Exile on Main St. I was convinced to the point of guilt that my stack was superior! To even the playing field, I offered a few proposals –”hey, how about we exchange one album early?” Joe never bit on such proposals, but more importantly, he never felt the need to. He insisted, “I’ve got It’s Only Rock ‘n Roll.” That speaks to this album – folks love it. This album circulates good times like champagne on New Years Eve. Here are a couple examples where I’ve stumbled across appreciation for IORNR:

I loathe to pay him a compliment, but my friend Casey hosts a quality backyard get-together. His “Days Between” soiree is a coveted summer invite. At these affairs, music is the evening’s glue – much is listened to and discussed. The reverence for Jerry Garcia is obviously thick at these celebrations, but in parallel to that reverence, more than once I’ve heard It’s Only Rock ‘n Roll enter conversation.

Clanking cold brews, celebrating a job well done, rehashing the tales of two-wheeled battle, treating my car as a boombox; It’s Only Rock ‘n Roll bellowed from my Ford Focus as we relaxed after a bike race. “This is the album of my high school years,” my buddy shouted…a sort of “endless youth” memory for him.

Make-believe concerts, high school reminisces, soundtracks for summer parties…for an album that saw the Stones codify and inflate their image as A-list, stadium-filling performing artists, it’s amazing this album is so pervasive. Given the hype and circumstances surrounding their fame, IORNR could exist exclusively in Friday evening, high-octane sorts of situations. But in addition to the indulgent, bravado-laden theatrics of rock star life, this record is authentic and introspective, resulting in a product that is: bombastic, approachable, and highly enduring. Simply put, they are singing big stage songs, but you can envision Mick and the boys playing their hearts out at the local tavern. Let’s look at some of the thematically mature songs within IORNR.

                   Mick and Kieth hobnobbing with Homer Simpson

Photo Source: https://simpsons.fandom.com/wiki/The_Rolling_Stones

Emotional Heft – It’s Only Rock ‘n Roll’s Emotionally Substantive Tunes

Before we dive into IORNR’s denser songs, let’s look at a couple tracks that serve as connective tissue. “Short and Curlies,” and “Dance Little Sister” leave little to suggestion; a prude would blush if their imagination frolicked in either tune. Here we are treated to a couple masterful interstitial songs. The barmy spaces they occupy brilliantly guide the listener in and out of the weightier “If You Really Want to Be My Friend.”

“If You Really Want to Be My Friend,” sandwiched between a pair of light-minded songs, is conversive; you hear Mick pour his heart out. He explains what he needs from a partner, a partner he cares about, and fears false expectations will cause separation. In an album bursting with laxity regarding sexuality, “If You Really Want to Be My Friend” is a display of vulnerability. Promiscuity, affluence, and adoration aside, the life of the lead singer of a major touring act would be full. Constant recording sessions, piles of promotional commitments, frequent travel, business meetings, rehearsals, and practice…it isn’t all sports cars, girls, and palm trees. Flexibility in many regards would be necessary, especially if one expects to maintain a committed relationship. This song is a plea for a partner to be flexible. Jagger is obviously front and center, but Mick Taylor’s guitar and Nicky Hopkins’ piano provide a sound landscape where one can easily relax. The song is a highlight of side two.

The brilliance of “If You Really Want to Be My Friend” is that it is crafted in a manner that it could apply to everyday people. Most assuredly, if it were I as the protagonist within the tune, Chelsea would be less than receptive, but that is hardly relevant. Besides, in a world complete with billions of relationships, certainly, Mick’s argument would resonate with at least a few couples. Effectively we are witnessing a reflective moment in a relationship that demonstrates the depth of Mick’s character and ultimately, in terms of sincerity, adds emotional depth to the record and subsequently, is one of its finest tracks.

Waiting…

As a regular church goer, I’ve digested excellent lectures and homilies on the topic of waiting. All that aside, I contest that the Rolling Stones, especially in the pop world, are without equal when they sing about “waiting.”  Jump ahead a few years from It’s Only Rock ‘n Roll, to 1981, where we join Mick while he’s “Waiting on a Friend.” Entering into that song literally feels as if you are waiting on the same friend. In IORNR, with simple and powerful emotion, via a pair of tracks, we join Mick as he waits not for a friend, but a lover. A sulking Mick calls out, “till the next goodbye I’ll be thinking of you.” Hoping, waiting, longing to be with your special someone is an experience like none other – giddy melancholy. Even a text message is greeted with a thousand internal smiles. The instrumentation matches the mood, Richards’ guitar greets you like distant thunder on a dreamy morning. As is customary with longing, time just sort of drags, thus the tune never rips fully open. The emotion present within “Till the Next Goodbye,” coupled with some of the best guitar work on the album, combine to produce one of the album’s highlights. In fact, I consider “Till the Next Goodbye” to be one of the most overlooked gems of the entire Stones catalog.

On “Time Waits for No One,” the waiting continues. While “Till the Next Goodbye” puts us on the path of longing, “Time Waits for No One” represents the moments where you are waiting, but somehow manage to fill time, somehow distracting yourself from the melancholy. Guitars, again lead the way, including two impressive solos by Taylor. Each note within these solos is distinctive, grabbing your attention like the rung of a ladder…emotionally you’ll climb up and down. This is one of the most pronounced 70s feeling songs on the album and they pull the sound off perfectly – they don’t steal from the decade as much as assimilate into it. “Time Waits For No One” creates a brilliant surrealistic landscape you will delight in traversing…a pleasing distraction from the angst-filled melodrama of waiting.

                Folks distressed at the state of affairs nowadays can relax their anxieties…the world of the late 1960s and 1970s was equally topsy turvy. For example, it was routine for the FBI to surveil popular types – rockers, actors, etc. For God’s Sake, Hoover and his cronies even had a file on John Lennon. It’s impossible to imagine someone more oriented in the direction of peace than Lennon. It’s frustration over nonsense such as FBI surveillance that inspired the Stones to record “Fingerprint File.” This funk-drenched closing track picks up on the dreamlike environ generated in “Time Waits For No One.” Dreamy, because the pieces don’t quite add up; the lyrics protest the overhanded theatrics of the government, but the music is danceable, and funky, with doses of electronic influence. Despite these disparate components, the tune works; you won’t understand why you want to dance, but you will! This tune, and the space it puts you in, speak to not only the strength of the song itself but also to the raw ability of the Stones to adapt and contribute to the changing rock and roll genre. Here they prove, beyond doubt, they are both relevant and “The Greatest Rock and Roll Band in the World.”

                Within It’s Only Rock ‘n Roll, the Blues, the Stones oldest friend, takes a back seat as the boys explore the 1970s. The result is an effort that reflects the diverse world surrounding the Stones; an album fueled by reggae, funk, and contemporary instrumentation. Diverse and varied at its core, it isn’t a surprise that It’s Only Rock ‘n Roll is enjoyable in almost any situation. IORNR ought to have been sold in car dealerships because other than a folding map, nothing pairs more perfectly with a road trip. IORNR would please the crowd at any denomination of party but also it is interesting enough for a couple buddies to sequester themselves for a listening session. A delight front to back, It’s Only Rock ‘n Roll is strongest when at its most vulnerable. With tunes like “Luxury,” “Time Waits for No One,” “Ain’t Too Proud to Beg,” and “If You Really Want to Be My Friend,” we are invited into the Stone’s orbit and offered a glimpse at their humanity…the result is a fun and enduring album. Go ahead and like it, maybe even love it, but remember… “It’s Only Rock ‘n Roll!”

Track #TitleNotes
Side One
1If You Can’t Rock Me 
2Ain’t Too Proud to Beg!
3It’s Only Rock ‘n Roll (But I Like It)!
4Till the Next Goodbye! +
5Time Waits For No One+
Side Two
6Luxury+
7Dance Little Sister 
8If You Really Want to Be My Friend+
9Short and Curlies 
10Fingerprint File 

It’s Only Rock ‘n Roll: Released October 18, 1974 by Rolling Stones Records – reviewed by Andy Trcka of Andy’s Stones

Legend: ! = hit, single or famous track, + = top track recommended by Andy’s Stones, all songs written by Mick Jagger/Kieth Richards. Note – B sides were not included within the album.

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