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Released: September 23, 1997

Rating: 3.453 (average of 15 ratings)

Genre: rock

Quotable: --

Album Tracks:

  1. Flip the Switch [3:28]
  2. Anybody Seen My Baby? (Jagger/ Lang/ Mink/ Richards) [4:31]
  3. Low Down [4:26]
  4. Already Over Me [5:24]
  5. Gunface [5:02]
  6. You Don't Have to Mean It [3:44]
  7. Out of Control [5:02]
  8. Saint of Me [5:15]
  9. Might As Well Get Juiced [5:23]
  10. Always Suffering [4:43]
  11. Too Tight [3:33]
  12. Thief in the Night (DeBeauport/ Jagger/ Richards) [5:15]
  13. How Can I Stop [5:53]
Songs written by Jagger/ Richards unless indicated otherwise.

Total Running Time: 61:20


sales in U.S. only 1 million
sales in U.K. only - estimated 100,000
sales in all of Europe as determined by IFPI – click here to go to their site. 1 million
sales worldwide - estimated 4.5 million


peak on U.S. Billboard album chart 3
peak on U.K. album chart 6

Singles/Hit Songs:

  • Anybody Seen My Baby? (9/20/97) #22 UK, #3 AR
  • Saint of Me (11/22/97) #94 US, #26 UK, #13 AR
  • Flip the Switch (11/22/97) #14 AR
  • Out of Control (8/22/98) #51 UK

Bridges to Babylon
The Rolling Stones
Voodoo Lounge confirmed that the Stones could age gracefully, but it never sounded modern; it sounded classicist. With its successor, Bridges to Babylon, Mick Jagger was determined to bring the Rolling Stones into the '90s, albeit tentatively, and hired hip collaborators like the Dust Brothers, Beck, the Beastie Boys, and Danny Saber (of Black Grape) to give the veteran group an edge on their explorations of drum loops and samples. Of course, the Stones are the Stones, and no production is going to erase that, but the group is smart enough -- or Keith Richards is stubborn enough -- to work within their limitations and to have producer Don Was act as executive producer. As a result, Bridges to Babylon sounds like the Stones without sounding tired. The band is tight and energetic, and there's just enough flair to the sultry "Anybody Seen My Baby?," the menacing "Gunface," and the low-key, sleazy "Might as Well Get Juiced," to make them sound contemporary. But the real key to the success of Bridges to Babylon is the solid, craftsman-like songwriting. While there aren't any stunners on the album, nothing is bad, with rockers like "Flip the Switch" and "Low Down" sounding as convincing as ballads like "Already Over Me." And, as always, Keith contributes three winners -- including the reggae workout "You Don't Have to Mean It" and the slow-burning "How Can I Stop" -- that cap off another fine latter-day Stones record” (Erlewine).

“It's no use comparing Stones albums to Exile on Main Street anymore; the world's greatest rock & roll band clearly substitutes finances for passion these days. But compared to, say, Soul Asylum or the Black Crowes, the band still produces worthwhile records--"Flip the Switch," "Out of Control," and the closing Keith Richards suite all give Bridges the edge over the Stones' spotty previous Voodoo Lounge. Despite dross like the plagiarized hit "Anybody Seen My Baby," and the underutilization of the talented Dust Brothers production team, the Stones don't deserve our indifference just yet” (Knopper).

Bridges to Babylon was nominated for a 1998 Grammy for Best Rock Album. "Anybody Seen My Baby?" was nominated for a 1998 Grammy Award for Best Pop Performance By A Duo Or Group With Vocal. Kicking off with Charlie Watt's whip-smart timekeeping, Bridges to Babylon finds the Rolling Stones swaggering towards the millenium with a record that confidently asserts that rock & roll is far from a young person's game. Don Was returns behind the boards, and joining him at Mick Jagger's behest are uber-technophiles The Dust Brothers. Rather than leaping headlong onto an ill-fitting bandwagon, The Stones wisely gild their rock & roll lily with subtle electronic nuances. The sampled rap tossed into the the noirish mood of "Anybody Seen My My Baby?" and the swooshing laser sounds of "Might As Well Get Juiced" are present-day window dressing for a legacy deeply rooted in rhythm and blues. The Stones stop long enough to cleverly acknowledge their past by dropping a harp playing the main riff of "Papa Was a Rolling Stone" into the mid-tempo "Out of Control" and using "Saint of Me" to revel in their bad-boy persona. Keith Richards remains the soul of the Stones. His riffing and his endearing rasp continue to stand out, and his crooning on "You Don't Have to Mean It" demonstrates his deep love of reggae. The emotive one-two punch of "Thief in the Night" and "How Can I Stop" shows Keef to be a closet romantic camouflaged by a bad-ass strut” (

Review Source(s):
  • Stephen Thomas Erlewine, All Music Guide
  • Steve Knopper,

Related DMDB Links:

Previous Album: Voodoo Lounge (1994) The Rolling Stones’ DMDB page Next Album: A Bigger Bang (2005)

Last updated April 1, 2008.