Blues rock would form the foundations of many early greats from The Rolling Stones. There’s nothing wrong with that, and in small doses, these riffs on Chuck Berry are still enjoyable. Some, more than others. 19th Nervous Breakdown is a thrill from start to finish. A song that was released just when the Mick Jagger-fronted group were preparing to play second fiddle to The Beatles by ripping psychedelic tones and continental influences. It’s a style which did not suit the band but, on reflection, was a necessary period of lesser work. Like any great piece of work from The Rolling Stones in the 1960s, the brilliance is not in the writing or instrumentals, but in the little flickers of studio innovation. For all those Bo Diddley rips from Brian Jones, the faster tempo for the blues original brings out a raw side to the band which would form a huge part of their sound in the years to come. An exceptional precursor to Paint It, Black.
Crucial to the song is Keith Richards, whose fuzz guitar work sprinkled throughout 19th Nervous Breakdown is nothing short of mesmerising. It’s those brilliant details which only come to light because the band were capable of doing the basics well. Richards and Jones’ lead and rhythm guitar respectively have such a chemistry, while Charlie Watts’ crashing drum work is delightful. Those cymbals punctuate the song better than any other instrument here, and it’s that steadiness in the studio which provides Jagger and the band a chance to demonstrate some of their cooler, unique grooves. Bill Wyman is ever the innovator too, his bass line towards the end of 19th Nervous Breakdown a truly great moment from him. Pair all those groovy strengths together and you have a song worthy of its messy story; its wilder charm found in Jagger and Richards’ lyrics.
19th Nervous Breakdown may be catchy and cool, but its lyrical work is sinister. It’s a song of turning your back on the right path, the demonstrably correct choice, for the sake of causing thrills down the road. Those who try to help put this person on the right path find themselves convinced of this devilish walk of life. That nervous breakdown is not so much a sudden effect as it is a slow-burning, cool alternative to the right actions. 19th Nervous Breakdown thrives on that energy, and it’s a rebellious tone which matches up with The Rolling Stones’ image at the time. But it’s a song outshined by its B-side, As Tears Go By. An all-time great not just from the band, but in general. A crucial heartbreaker which heard Jagger touch the softer side of his vocal abilities.
As Tears Go By is a whole other side to The Rolling Stones. On the A-side is the rocking classics you would expect of a band whose influences were rooted in rock and roll. But the B-side is a chance to hear the band strip back their instrumental volatility and get their hands on a softer tone, a classic to wash over the teary-eyed in the crowd. It works. Both songs are all-time great efforts from the band. 19th Nervous Breakdown is a temptation, As Tears Go By feels like the inevitable result of following such suggestiveness. You can’t always get what you want, as the band would go on to warn. That’s very much the case for this two-song pairing, an all-time great A-side and B-side showcase. Few artists would as effectively show their talents and range as The Rolling Stones do here.
