The Rolling Stones: Unreleased ‘Blues No. 3’ (1967)

By Marcelo Sonaglioni on June 17, 2025

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Rolling Stones Unreleased: Blues No. 3

Also known as: Blues 3
Written by: Jagger/Richard
Recorded: Olympic Sound Studios, London, England, July 7-22 1967 (Satanic Majesties sessions)
Guest musicians: Nicky Hopkins (organ)

From Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012:
This track was extensively worked upon but did not fit in with the other tracks. Six outtakes exist as the tapes keep running on the multiple try again takes. It was a blues rock R&B song with Nicky Hopkins on organ. It had a strong lead riff which on some takes went into a jam like heavy blues boogie a la Rock Me Baby.

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rolling stones unreleased blues no. 3 1967

Lost in the Studio: The Untold Tale of Blues No. 3

In the thick of the experimental chaos that was Their Satanic Majesties Request, the Rolling Stones found themselves veering into unexpected territory — including a gritty, R&B-laced jam known as Blues No. 3, or simply Blues 3. Recorded during sessions at Olympic Sound Studios in London between July 7 and 22, 1967, this unreleased track saw the Stones momentarily return to their roots amid their psychedelic detour. Written by the core duo of Mick Jagger and Keith Richards, the song featured the unmistakable touch of legendary session pianist Nicky Hopkins, whose soulful organ work added depth and swagger to the track’s bluesy backbone.

Though never officially released, Blues No. 3 wasn’t just a tossed-off idea. The band put serious time into shaping it, exploring different arrangements and moods. Multiple outtakes — six, to be exact — captured the band in raw form, as the tape kept rolling through various takes. At its core, it was a blues-rock groove built around a bold lead riff. On some versions, the song spilled into full-on heavy blues jams reminiscent of Rock Me Baby, letting the band stretch out and lose themselves in a grinding, boogie-fueled haze.

A Misfit with Soul: Why It Stayed in the Vault

Despite the clear energy and promise behind Blues No. 3, the song ultimately didn’t make the final cut for Satanic Majesties. Its gritty blues-rock vibe clashed with the cosmic, effects-heavy palette the band was aiming for on the album. As Martin Elliott notes in his great book The Rolling Stones Complete Recording Sessions 1962–2012, the track was “extensively worked upon” — suggesting that the Stones saw something in it worth pursuing — but it simply didn’t fit.

Still, these unearthed takes reveal a band not only willing to experiment with sitars and Mellotrons, but also capable of slipping right back into a sweaty, smoky blues club when the moment called for it. Blues No. 3 might not have seen the light of day, but it lingers as a reminder of the Stones’ deep roots and restless creativity.

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