16 Rolling Stones Tracks Fans Tend To Skip

Six decades of music will fill more than a few playlists.

With a catalog as enormous as The Rolling Stones built, not every song can sit next to classics like Gimme Shelter or Sympathy for the Devil in the spotlight.

Some tracks end up hiding in the shadows between the big hits, skipped over while the famous riffs grab all the attention.

A few of these songs are so easy to skip that even devoted fans might hear them and think, “Wait, did Mick sneak this one in while nobody was looking?”

1. Sing This All Together (See What Happens)

Music app buffering on this track while a kettle clicks off in the background sets the scene perfectly.

Clocking in at about 8 minutes 33 seconds, the 1967 psychedelic jam from Their Satanic Majesties Request feels like the Rolling Stones attempting a Beatles-style experiment during a very long dinner party.

Many fans quietly reach for the skip button once the track settles in. Even devoted listeners often describe it as the band’s most puzzling detour.

2. In Another Land

Lead vocals from Bill Wyman already place this track in unusual territory for a Rolling Stones record.

Dreamy and slightly unsteady in tone, the song appeared on Their Satanic Majesties Request in 1967 and drifts along like a fever dream interrupted by an alarm clock. The studio vibe around the album has been described as loose and hazy, which fits the track’s dreamy drift.

That small bit of trivia alone deserves a slow clap.

3. Gomper

Certain songs give the impression that a band wandered into the studio after an extremely long afternoon in the park.

“Gomper” unfolds as a slow, droning, sitar-heavy track from Their Satanic Majesties Request that even curious fans admit can be difficult to finish. Word “skippable” seems almost tailor-made for moments like this.

Calendar reminder might pop up before the song finally reaches the end.

4. Dear Doctor

Country-flavored storytelling takes center stage in “Dear Doctor,” a Beggars Banquet track about a man desperate to avoid marriage.

Mick Jagger delivers the lyrics with total seriousness, turning the whole performance into something delightfully awkward.

Plenty of playlists jump straight to “Street Fighting Man” before the second verse even settles in. The result feels like the musical equivalent of socks sliding across a tile floor.

5. Country Honk

Fiddles at a Stones concert? Bold move.

“Country Honk” is the acoustic country version of “Honky Tonk Women” from Let It Bleed, and while the original is an all-time classic, this rustic sibling feels like a rough draft left on the cutting room floor. Fans tend to treat it like a bag left by the door.

Sweet idea, but most listeners just want the original back.

6. I Just Want To See His Face

Midway through Exile on Main St., a short gospel-soul fragment drifts past like a hallway rather than a fully furnished room.

Legendary Nellcote basement sessions gave the track a murky, hypnotic charm that some listeners breeze past. Many fans treat it as a quick breather before “Let It Loose” finally arrives.

Quiet space between two louder conversations sums up the moment perfectly.

7. Casino Boogie

Lyrics assembled through a cut-up method of scattering words on the floor and arranging them at random give this Exile on Main St. track a chaos that mirrors the process.

Experimental instincts from Keith Richards and Mick Jagger were clearly in charge that day. Resulting sound remains fascinating even if it rarely becomes the song someone plays on a quiet morning.

Debate continues between listeners who hear experimental brilliance and others who suspect a lucky accident.

8. T*rd On The Run

That title alone has pushed the track off more than a few polite playlists. Frantic, speedy rocker tucked into Exile on Main St. tears through two minutes with genuine energy.

Sharp guitar work from Mick Taylor stands out even as the song often gets the skip-button treatment during casual listening sessions. Shame about the title, really.

9. Hot Stuff

Rolling Stones experimenting with disco created a brief and complicated chapter in 1976, and “Hot Stuff” from Black and Blue stands as the clearest example.

Plenty of energy pours from Mick Jagger during the performance, yet longtime rock listeners greeted the dance-ready groove with cautious confusion.

Uneasy reactions from purists almost felt loud enough to hear on release day. Disco Mick remains unmistakably Mick, simply entertaining a different crowd.

10. Cherry Oh Baby

A reggae cover on Black and Blue, this track has an easygoing Caribbean bounce that sounds pleasant enough the first time around.

By the second listen, though, most fans realize they would rather hear the original by Eric Donaldson. The Stones do their best, but covering reggae is a bit like wearing someone else’s shoes on a busy day.

Comfortable for them, awkward for everyone watching.

11. Hold Back

Track “Hold Back” from the 1986 album Dirty Work arrives wrapped in thick 1980s production that aged about as gracefully as a neon leg warmer.

Heavy synth tones dominate the mix while the energy lands a little forced. Even fans who enjoy the album often skip past this one without hesitation.

Certain sonic choices belong firmly inside their decade and nowhere else.

12. All The Way Down

Brilliant highlights appear throughout Tattoo You, yet “All the Way Down” often feels like the band drifting along on autopilot somewhere above the Atlantic. Steady groove and dependable energy carry the track forward, though very little lingers in memory once it ends.

Entire experience lands closer to the musical equivalent of a forgettable Tuesday.

Nothing truly wrong with the song, only a quiet disappearance beside the album’s bigger standouts.

13. Neighbors

“Neighbors” from Tattoo You crashes in loud and repetitive, riding a riff that seems to outstay its welcome by about two minutes.

Energy lands somewhere between urgent rock and someone banging on a wall at midnight. Intentional choice, most likely.

Enjoyable for more than one spin feels like a stretch. Many fans acknowledge it once before scrolling ahead to “Waiting on a Friend,” where the real magic waits.

14. Winning Ugly

The title is almost too honest.

From the 1986 album Dirty Work, “Winning Ugly” leans hard into mid-eighties rock production with crunchy guitars and a chorus that never quite lands the punch it is winding up for. Even fans who defended Dirty Work at the time tend to leave this one off their road-trip playlists.

The title may be the most memorable thing about it.

15. Sweet Neo Con

Political commentary sometimes fits the Rolling Stones perfectly, yet this 2005 track from A Bigger Bang lands with the subtlety of a billboard in a quiet neighborhood.

Reported reservations from Keith Richards about including the song add an interesting footnote. Many listeners seem to share that instinct and move on before the second chorus arrives.

Bold and blunt energy leaves an impression that works better as a headline than as a song.

16. Sparks Will Fly

Voodoo Lounge had some genuinely strong moments in 1994, and “Sparks Will Fly” was not among the brightest of them.

A straightforward rocker with a slightly aggressive edge, it feels like a rough sketch left in the margins of a better song. Fans who revisit Voodoo Lounge on a calm Sunday morning tend to treat this one as background noise at best.

Sparks flew, but the fire never quite caught.

Important: Song popularity and “skip” tendencies are subjective and can vary by era, platform, and listening habits, and track perceptions often shift over time as albums get reassessed.

This article reflects fan commentary themes and general listening patterns for entertainment and music-discussion purposes, not definitive measurements of quality or popularity.