2. 15th British and 17th American
studio
Released 20 June 1980
Recorded 5 January-2 March,
23 August-6 September 1978
and 18 January-12 February,
10 June-19 October, and
November-December 1979
Topped charts in both the U.S.
and UK upon release
First album recorded following
Richards’ exoneration from
Toronto drugs charge that
could have put him in jail for
years
3. 16th British and 18th American
studio album
Released 24 August 1981
Recorded November-December
1972, January-March 1975,
January-March 1978, January-
October 1979, October 1980-June
1981
Proved to be both critically and
commercially successful as follow-
up to Emotional Rescue
Last Stones album to reach top of
the U.S. charts, concluding a string
of #1’s dating back to Sticky
Fingers, released a decade before;
remains most popular Stones
album ahead of A Bigger Bang
4. 17th British and 19th American studio
album
Released 7 November 1983
Recorded 11 November-17
December 1982 and May-August
1983
First release of all new recordings in
the 1980s after predecessor Tattoo
You was patched together with
mostly outtakes from Exile on Main
St., Black and Blue, Some Girls, and
Emotional Rescue sessions
Received generally warm reviews;
reached #3 in the UK and #4 in the
U.S., but was a relative
disappointment and broke a streak
of eight #1 albums (not including
compilations and live albums) in the
U.S., failing to spawn any huge
singles
5. 18th British and 20th American
studio album
Released 24 March 1986
Recorded 8 April-17 June and 16
July-17 August 1985
Recorded during the period
when tensions between Jagger
and Richards increased,
according to Richards’
autobiography Life
Produced a hit for the Stones,
their cover of “Harlem Shuffle”;
featured a number of guest
appearances and included
contributions by Tom Waits, Patti
Scialfa, Bobby Womack, and
Jimmy Paige on opening track
“One Hit (To the Body)”
6. 19th British and 21st American studio
album, released 29 August 1989
Final studio album of the 1980s;
notable for patching up relationship
between Jagger and Richards, which
saw a reversion to more classical
music style and the launching of the
Steel Wheels/Urban Jungle Tour, the
band’s biggest world tour at that
time
Was also long-time bassist Bill
Wyman’s final album with the band,
preceding his departure in January
1993
Was released just before the Stones
were inducted into the Rock and Roll
Hall of Fame
Was promoted with launch of Steel
Wheels/Urban Jungle Tour
Critical reaction was warm; the album
reached #2 in the UK and #3 in the
U.S., where it went double-platinum
7. 20th British and 22nd
American studio album
Released 11 July 1994
Recorded September, 3
November-11 December
1993 and 15 January-23
April 1994
First release under the band’s
new alliance with Virgin
Records; ended five-year
period since predecessor
Steel Wheels
Is also the group’s first
album without long-time
bassist Bill Wyman, who
departed early in 1993
8. Released 29 September 1997 by
Virgin Records
Recorded 13 March-July 1997 in
Los Angeles, California
Would prove to be final studio
album of the 1990s and the
band’s last full-length release
until 2005’s A Bigger Bang
Supported by 1997-1998
Bridges to Babylon Tour that
proved to have significant
success
Contains three solo vocals by
Richards, the most on any
Stones album
Went on to reach #6 in the UK,
#2 in France and #3 in the U.S.,
where it was certified platinum
by RIAA in November 1997
9. 22nd British and 24th American
studio album
Released 5 September 2005 on
Virgin Records
Recorded September 2004-June
2005
First full-length album since
predecessor Bridges to Babylon;
this period of eight years was by
far the longest of the group’s
recording career of over 40 years
Was noted for the track “Sweet Neo
Con”, even before release, which
criticizes then American President
George W. Bush and U.S. politics in
general, causing minor controversy
Critical reaction was overall
positive; the album was touted as
best Stones album since Tattoo
You
10. Interviewer: “Mr. Jagger, how much longer are
you going to go?”
Mick Jagger: “Maybe just one more year.”
Keith Richards: “It’s good to be here; it’s
good to be anywhere.”