Rooted in blues and early rock and roll, the Rolling Stones started out playing covers and were at the forefront of the British Invasion in 1964, becoming identified with the youthful and rebellious counterculture of the 1960s. They then found greater success with their own material, as "(I Can't Get No) Satisfaction" (1965), "Get Off of My Cloud" (1965), and "Paint It Black" (1966) became international number-one hits. Aftermath (1966) – their first entirely original album – is considered by The Daily Telegraph to be the most important of their formative records. In 1967, they had the double-sided hit "Ruby Tuesday"/"Let's Spend the Night Together" and experimented with psychedelic rock on Their Satanic Majesties Request. They returned to their rhythm and blues roots with hit songs such as "Jumpin' Jack Flash" (1968) and "Honky Tonk Women" (1969), and albums such as Beggars Banquet (1968), featuring "Sympathy for the Devil", and Let It Bleed (1969), featuring "You Can't Always Get What You Want" and "Gimme Shelter". Let It Bleed was the first of five consecutive number-one albums in the UK.
Jones left the band shortly before his death in 1969, having been replaced by guitarist Mick Taylor. That year they were first introduced on stage as "The Greatest Rock and Roll Band in the World". Sticky Fingers (1971), which yielded "Brown Sugar" and included the first usage of their tongue and lips logo, was their first of eight consecutive number-one studio albums in the US. Exile on Main St. (1972), featuring "Tumbling Dice", and Goats Head Soup (1973), yielding the hit ballad "Angie", were also best sellers. Taylor was replaced by Ron Wood in 1974. The band continued to release successful albums, including their two largest sellers: Some Girls (1978), featuring "Miss You", and Tattoo You (1981), featuring "Start Me Up". Steel Wheels (1989) was widely considered a comeback album and was followed by Voodoo Lounge (1994), a worldwide number-one album. Both releases were promoted by large stadium and arena tours, as the Stones continued to be a huge concert attraction; by 2007 they had recorded the all-time highest-grossing concert tour three times, and as recently as 2021 they were the highest-earning live act of the year. From Wyman's departure in 1993 to Watts' death in 2021, the band continued as a four-piece core, with Darryl Jones playing bass on tour and on most studio recordings, while Steve Jordan became their touring drummer following Watts' death. Their 2016 album, Blue & Lonesome, became their twelfth UK number-one album.
The Rolling Stones' estimated record sales of 200 million make them one of the best-selling music artists of all time. The band has won three Grammy Awards and a Grammy Lifetime Achievement Award. They were inducted into the Rock and Roll Hall of Fame in 1989 and the UK Music Hall of Fame in 2004. Billboard magazine and Rolling Stone have ranked the band as one of the greatest of all time.
Full Wikipedia article: https://en.wikipedia.org/wiki/The_Rolling_Stones
Studio albums
The Rolling Stones / England's Newest Hit Makers (1964)
12 X 5 (1964)
The Rolling Stones No. 2 / The Rolling Stones, Now! (1965)
Out of Our Heads (1965)
December's Children (And Everybody's) (1965)
Aftermath (1966)
Between the Buttons (1967)
Their Satanic Majesties Request (1967)
Beggars Banquet (1968)
Let It Bleed (1969)
Sticky Fingers (1971)
Exile on Main St. (1972)
Goats Head Soup (1973)
It's Only Rock 'n Roll (1974)
Black and Blue (1976)
Some Girls (1978)
Emotional Rescue (1980)
Tattoo You (1981)
Undercover (1983)
Dirty Work (1986)
Steel Wheels (1989)
Voodoo Lounge (1994)
Bridges to Babylon (1997)
A Bigger Bang (2005)
Blue & Lonesome (2016)
Hackney Diamonds (2023)
Do You Really Think I Care
The Rolling Stones Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Do you think that I really care
About a girl who's never there
Do you think that I ever care
About a girl who's never there
But I see you on the subway
Hey, see her in the afternoon
Just after the Giants game
I see her on the freeway
Long Island Expressway
Hey, give me a break, baby
Help me get out of this rain
Ah, do you think that I really care
About a girl who's never there
Do you think that the clothes she wears
Make me forget she ain't never there
I saw her on a runway
Saint Patrick's on a Sunday
I saw her eating pizzas
On 57th and Broadway
I see her on the highway
I see her on the SkyTrain
Yeah I need a Yellow Cab, hey
Help me get out of this rain, yeah
Whoa baby
I saw you in The Factory
Like it's some kind of allergy
I saw you in the back of Max's Kansas City
Propping up the bar on Saturdays
Met you at the gallery
It ended up in anarchy
You was spray painting silk screens
And double dosed up with flattery
Do you think that I would ever care
For a girl who's never there
Is it possible that the jewels she wears
Change my mind if she dyed her hair
Do you think that the clothes she wears
Make me forget that you're never, never there
Do you think that I really care?
See her hanging out on 57th and Broadway
Hey, do you think I would ever care
For a girl, for a girl who's never there
Wait a minute, I need a Yellow cab, let me get out of this rain
Hey, put your umbrella up your ass, baby, whooo!
Do you think I could ever ever care
about a girl who's never there? From the opening lines of "Do You Really Think I Care," The Rolling Stones sing about a girl who seems to be elusive and absent from their life. This song speaks to a particular kind of distance that can emerge between people who are physically present but emotionally detached. The lyrics illustrate that the singer has seen this girl multiple times on the subway, on the highway, in the Factory, at the gallery, and elsewhere. But despite these sightings, the girl remains a mysterious, distant entity. The Stones suggest that even though she may be physically present in the world, her lack of emotional presence renders her inaccessible and ultimately irrelevant.
Throughout the song, the Stones imbue their lyrics with a sense of dry humor and world-weary cynicism. They joke about the girl's fashion choices, suggesting that the clothes she wears couldn't possibly make them forget that she's never around. They also poke fun at their own frustrations with the girl's absence, suggesting that they need a Yellow Cab to escape the rain and get away from her. Through all of this, the Stones convey a sense of distance and detachment that can make even the most tangible things in life seem meaningless and unimportant.
Line by Line Meaning
Yeah here I come
The singer is approaching and ready to address a topic.
Do you think that I really care
About a girl who's never there
Do you think that I ever care
About a girl who's never there
The singer is questioning whether someone believes they care about a girl who is absent from their life, indicating that they do not.
But I see you on the subway
I see you on the D train
Hey, see her in the afternoon
Just after the Giants game
I see her on the freeway
Long Island Expressway
Hey, give me a break, baby
Help me get out of this rain
The singer acknowledges they have seen the girl in question in various places, but does not appear to have any sense of attachment or sentimentality towards her, and is looking for a way out of the current situation.
Ah, do you think that I really care
About a girl who's never there
Do you think that the clothes she wears
Make me forget she ain't never there
The singer reiterates that they do not care about the girl in question, even if she wears expensive clothes.
I saw her on a runway
Saint Patrick's on a Sunday
I saw her eating pizzas
On 57th and Broadway
I see her on the highway
I see her on the SkyTrain
Yeah I need a Yellow Cab, hey
Help me get out of this rain, yeah
The singer continues to list various places they have seen the girl, but remains disinterested and focused on leaving the current situation.
Whoa baby
The singer expresses a moment of excitement, possibly sarcastic.
I saw you in The Factory
Like it's some kind of allergy
I saw you in the back of Max's Kansas City
Propping up the bar on Saturdays
Met you at the gallery
It ended up in anarchy
You was spray painting silk screens
And double dosed up with flattery
The singer illustrates that they have had past encounters with the girl, painting her as something of a wild and unpredictable figure.
Do you think that I would ever care
For a girl who's never there
Is it possible that the jewels she wears
Change my mind if she dyed her hair
The singer questions whether the girl's appearance or material possessions might be enough to make them care about her, but ultimately concludes that they would not.
Do you think that the clothes she wears
Make me forget that you're never, never there
Do you think that I really care?
See her hanging out on 57th and Broadway
The singer notes that the girl's stylish clothing does not distract from the fact that she is not present in their life, and once again asserts that they do not care about her.
Hey, do you think I would ever care
For a girl, for a girl who's never there
Wait a minute, I need a Yellow cab, let me get out of this rain
Hey, put your umbrella up your ass, baby, whooo!
The singer once again emphasizes that they do not care about the girl, and are more preoccupied with finding transportation to leave the current situation. The closing line is dismissive and conveys a sense of irritation or frustration.
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC
Written by: Keith Richards, Mick Jagger, Ronald David Wood
Lyrics Licensed & Provided by LyricFind
eight inches
omg, I'm a huge Stones fan and I just came across this song. Didn't even know it existed or was written so long ago. It goes to show you learn something new everyday. The Stones were always good at Country music.
Thomas Bindesbøll
Steel Guitars & Stones Rhythm, plus Jagger at his best, that's just a awesome combination, Thanks for posting this !!!
Mark Duncan
This is awesome! Mick and Keith must have been partying and talking about Gram Parsons
Luke Hall
@prod. For sure. But I think Some Girls captures more of the "universal" New York City. That being said, if you've lived down and dirty in NYC, you're right, that Velvet album is about as real as it gets.
prod.
@Luke Hall the velvet underground’s debut album was also very nyc
Thomas Bindesbøll
@Luke Hall Oh, sure, this album really catch some "mood", energy, including in your own NYC. at the time. Maybe "Coney Island Baby" from the great hands of Lou Reed (RIP!) , catches some other "mood" from a cosmopolitical city.... Just as Springsteen cover his dreams, all along from New Jersey - over Atlantic City, all along to the "Badlands". Last great musician -- often forgotten -- is Willie Nile. Maybe time to cattch up on him.
Take Care, these damned Corona-times. Cheers from Copenhagen, Denmark ;-)
Luke Hall
@Thomas Bindesbøll I agree. My view is that, with this album, they totally captured and channelled the hyper, gritty energy of New York City, and that's why it's so good. I live in NYC, and I happen to believe Some Girls is the greatest NYC album of all time. No Billy Joel song has ever captured the energy of NYC like this track—and it's an outtake!—dynamism, hyperactivity, superficiality, big-heartedness, thick skin.
Carlos terán
How A Really Great Stones tune got out of the reccord????? Cheeers mate !!! Iǘe been playing over it for a whole year now with piano, keyboards, guitars..electric, acustic...I do Love this Tune !!!
Todd Molinari
Somebody better call Billy Shears and ask about this. Its too good!!
Anne Chacon
This goes out to my mother, my brother, my sister and my mothers BF