In August 2002, ABKCO Records reissued Beggars Banquet as a newly remastered LP and SACD/CD hybrid disk. [55] This release corrected a flaw in the original album by restoring each song to its proper, slightly faster speed. Due to an error in the mastering, Beggars Banquet was heard for over thirty years at a slower speed than it was recorded. This had the effect of altering not only the tempo of each song, but the song's key as well. These differences were subtle but important, and the remastered version is about 30 seconds shorter than the original release.

Davis, Stephen (2001). Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones. New York, NY: Broadway Books. ISBN 0-7679-0312-9.The singer looks angry at being thrown to the lions,” he sings. “The bass player, he looks nervous about the girls outside.” If that line is a dig at bassist Bill Wyman’s womanizing nature, it takes one to know one. In a 1995 interview with Rolling Stone, Jagger said: “I think that was taken from an old idea of Baudelaire’s, I think, but I could be wrong.”

The beauty of the Stones was never their reverence, but their cheek at genre conventions. On “Factory Girl,” the Stones knew country and western so well that they weren’t afraid to play it with Eastern, West Indies, or any other kinds of instruments. Street Fighting Man was released as Beggars Banquet’s lead single on August 31, 1968, in the US, but was kept out of the Top 40 (reaching #48) of the US charts in response to many radio stations’ refusal to play the song based on what were perceived as subversive lyrics. The band had never been political per se. Instead, politics had been sublimated in the music, whose punch and swagger suggested violence even if the lyrics didn’t call for it. That Jimmy Miller—their new producer—had been a drummer helped: Even Jagger’s voice sounded like a percussion instrument now, hitting words and syllables (“…but what’s PUZZ-ling you is the NA-ture OF my GA-me,” he says on “Sympathy for the Devil”) like they were detonators. At a time when the culture was acclimating to the reality that the personal would always be political and vice versa, the Stones always remained a little detached, careful not to lay too heavy a hand on any part of the scale. The band weren’t freedom fighters and Beggars Banquet wasn’t a manifesto—they were keen onlookers, and here was the picture from the window.Gibbs, Christopher Henry. "Beggars Banquet" (PDF). Archived (PDF) from the original on 4 November 2021 . Retrieved 18 February 2021. Christgau, Robert (16 February 2022). "Xgau Sez: February 2022". And It Don't Stop . Retrieved 18 February 2022. Over a clattery, ominous samba rhythm, Jagger hands the mic to Satan on “Sympathy for the Devil.” It’d take on a second life both in cinema and myriad cover versions: it could be the only song championed by both Martin Scorsese and Axl Rose. On “Parachute Woman,” Jagger works the only way he knows how: blue. “I’ll make my blow in Dallas / And get hot again in half the time,” he yowls. As usual, you can’t accuse him of being too subtle.

Canadian album certifications – The Rolling Stones – Beggars Banquet". Music Canada . Retrieved 11 June 2016. Fifty years on, this Stones classic remains daring and enveloping; almost nothing sounds like it. This even goes for the rest of Beggars Banquet—“Devil” is a strangeopener for this otherwise spare, minimal album. The song uses a quote that refers to a passage in the Bible where Jesus is trying to encourage people to give the best of themselves Hayward, Mark; Evans, Mike (7 September 2009). The Rolling Stones: On Camera, Off Guard 1963–69. Pavilion. pp.156–. ISBN 978-1-86205-868-2. Archived from the original on 15 February 2017 . Retrieved 17 July 2011.

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On “Brown Sugar,” Jagger buried offensive lyrics under the Stones’ most kinetic groove, but “Stray Cat Blues” is just plain lecherous. Myers, Marc (11 December 2013). "Keith Richards: 'I Had a Sound in My Head That Was Bugging Me' ". The Wall Street Journal. Archived from the original on 4 November 2021 . Retrieved 11 March 2018. With Richards at the helm, the Stones would begin to emphasize his encyclopedic knowledge of early blues. “Prodigal Son” was originally by Reverend Robert Wilkins, a Memphis bluesman who was a senior citizen by the time the Stones got rolling.

Ultratop.be – The Rolling Stones – Beggars Banquet" (in French). Hung Medien. Retrieved 22 December 2022.Glyn Johns, the album's recording engineer and a longtime collaborator of the band, said that Beggars Banquet signalled "the Rolling Stones' coming of age.... I think that the material was far better than anything they'd ever done before. The whole mood of the record was far stronger to me musically." [5] Producer Jimmy Miller described guitarist Keith Richards as "a real workhorse" while recording the album, mostly due to the infrequent presence of Brian Jones. When he did show up at the sessions, Jones behaved erratically due to his drug use and emotional problems. [5] Miller said that Jones would "show up occasionally when he was in the mood to play, and he could never really be relied on: