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Rolling Stones songs: Money
Money don’t buy everything it’s true/ What it don’t buy I can’t use…
Before The Rolling Stones ever laid their stamp on it, Money (That’s What I Want) had already carved out a unique journey through music history. Originally recorded by Barrett Strong in the summer of 1959, the song didn’t make an immediate splash. It was only after being re-released in early 1960 on Anna Records—run by Berry Gordy’s sisters alongside songwriter Billy Davis—that it finally began climbing the charts. Co-written by Gordy and Janie Bradford, the track cleverly flipped the old proverb about money not buying happiness, turning it into a bold anthem of desire. At just 18 years old, Barrett Strong’s voice brought a raw urgency that resonated with young listeners. And while it became his one and only solo hit, Money laid the foundation for Motown’s rise while giving Strong a stepping stone toward an even greater legacy as a songwriter.
Barrett Strong’s Unexpected Legacy
Although Strong never repeated that early chart success as a solo performer, he went on to become one of Motown’s greatest creative forces. Partnering with Norman Whitfield, he co-wrote a string of socially charged, era-defining tracks: Papa Was a Rollin’ Stone, I Heard It Through the Grapevine and the protest anthem War, to name a few. That’s quite a résumé for someone who once fronted a gospel group as a teenager and stepped into the studio to record Money almost by chance. His later work showed just how far-reaching his musical instincts were, making his initial hit feel less like a fluke and more like a starting point.
Jagger, the Beatles, and the Stones’ Turn
Mick Jagger once recalled buying Strong’s American hit version of Money, noting that it never caught fire in England. Spotting its potential for the British scene, he and the Stones decided to give it a shot. Interestingly, The Beatles had already recorded the tune in July 1963 for their second album With The Beatles, released that November. But the Stones weren’t deterred. Their approach injected a rough-edged, free-spirited feel into the track. Brian Jones’ harmonica playing stitched the whole thing together, while Jagger’s vocals teetered on the edge of chaos—raw, imperfect, yet full of attitude. For a band only in their second or third studio session, the Stones already sounded like a group finding its chemistry. The song didn’t just showcase their energy; it hinted at the swaggering, rule-bending identity they would soon make their own.
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