Sticky Fingers is no more a drug album than the world is a heavy place, or so Keith Richards once said. One of the handful of greatest albums of any genre, Sticky Fingers defies criticism. From the opening suspended chord of Brown Sugar to the final strings of Moonlight Mile, on Mick Taylor's first Stones album proper (he played a few notes on Let It Bleed) everything is right. The funk break in Can't You Hear Me Knocking, the mean woman blues of You Gotta Move, the Otis Redding copy I Got The Blues, Paul Buckmaster's strings on Moonlight Mile, the Gram Parsons's "influenced" Dead Flowers and Wild Horses (Keith recently admitted that he can't recall the extent of Parsons's writing those songs due to the drug haze surrounding the sessions), the harrowing heroin horror-show of Sister Morphine, and the violent R&B/Rock that the Stones had perfected and were more than happy to flaunt on Sway (my personal favorite), Bitch, and Brown Sugar offer an encyclopaedic masterful display of music. The fact that this baby opens with greatest single ever only seals its fate and every serious (or even joking) record collection should reserve an important place for Sticky Fingers. If you don't own it, you don't enjoy rock music.