"Honky Tonk Women" was the last and one of the greatest of the Rolling Stones' classic 1960s singles, reaching number one in 1969. Most Rolling Stones classics are based around a primal blues-rock riff, and in "Honky Tonk Women," there could have been several: the clipped circular one at the beginning of the song, the responsive ones that echo Mick Jagger's vocal through the verses, or the ones played by a combination of guitars and horns in the instrumental break. Also crucial to the musical greatness of the track was Charlie Watts' funky, no-frills drumbeats, which lead off the song and ricochet throughout the song with great authority but absolutely no bombast. Although "Honky Tonk Women" is rock & roll, there's a lot of country and blues influence, perhaps even more country than blues. That Southern country quality is drawn out by Jagger's drawling vocals, projecting a sense of slight drunkenness and nonchalant angling for a good time. The chorus is one of the easiest to sing along with in any Rolling Stones song, and sounds a bit like mates at a bar or pub getting together for a bit of a shout. Melodically, it is also one of the most country-like sections of the tune; it's not too hard to imagine it being performed, at a slower tempo and with steel guitar, by some Hank Williams-like performer. In fact, the Stones did do a far more country-oriented variation on the song, "Country Honk," on their 1969 album Let It Bleed, although it was much inferior to the arrangement on the "Honky Tonk Women" single. The barroom atmosphere of "Honky Tonk Women" has, naturally, made it a favorite for innumerable bar bands since the late '60s as an obvious song to get the customers in a good flirtin', drinkin', singalong mood. It was also covered, in concert and on record, by plenty of established artists, including Joe Cocker, Mott the Hoople, and, more improbably, Rick Nelson. The most well-known cover may be a silly live one on Elton John's concert album 11-17-70, which highlighted a cappella renditions of the chorus that came to a dead stop, filled in by audience laughter. As such, it reflected the original Rolling Stone Record Guide's description of that Elton John album as "a cheerfully idiotic and self-indulgent mess."