With him drawing influence from dance music, most notably disco, the recording sessions were highly productive, resulting in numerous outtakes that appeared on subsequent albums.

It became the band's top-selling album in the United States, having been certified by the Recording Industry Association of America (RIAA) for selling six million copies by 2000 in the country.

[4] Retrospectively, it has continued to receive acclaim, with many commending the band's ability to blend contemporary music trends with their older signature style.

The group had also failed to produce a critically acclaimed album since 1972's Exile on Main St.[5] On 7 February 1977, the Stones were scheduled to play El Mocambo in Toronto, Ontario; however, Keith Richards and his partner Anita Pallenberg were arrested for possession of heroin and suspected of drug trafficking.

[12] For the first time since 1968's Beggars Banquet, the core band – now Jagger, Richards, Wood, Charlie Watts, and Bill Wyman – were the main musicians on a Rolling Stones album, with few extra contributors.

[11] Jagger's guitar contributions caused the band's road manager, Ian Stewart, to be absent from many of the sessions, as he felt piano would be superfluous, making this a rare Rolling Stones album on which he did not appear.

Rehearsals for Some Girls began in October 1977 and lasted a month before recording commenced in November,[11] breaking before Christmas and starting up again after New Year's before finishing in March 1978.

[5][21] An elaborate die-cut design, with the colours on the sleeves varying in different markets, it featured the Rolling Stones' faces alongside those of select female celebrities inserted into a copy of an old Valmor Products Corporation advertisement.

[22] The cover design was challenged legally when Lucille Ball, Farrah Fawcett, Liza Minnelli (representing her mother Judy Garland), Raquel Welch, and the estate of Marilyn Monroe threatened to sue for the use of their likenesses without permission.

The lead single, "Miss You", was released on 19 May 1978 by the band's own Rolling Stones label, with the album track "Far Away Eyes" as the B-side; a longer, 12" edit appeared on 2 June.

Incidentally, black-oriented radio stations began to boycott "Some Girls", leading Jagger to tell Rolling Stone: "Atlantic tried to get us to drop it, but I refused.

'"[33][34][35] On 6 October 1978, Ertegun met with Reverend Jesse Jackson, then leader of Operation PUSH (People United to Save Humanity) to discuss the lyric.

The meeting ended with Jackson declaring the song to be a "racial insult" that "degrades blacks and women", threatening to boycott the record until a resolution was met.

After discussing the matter with Atlantic officials, who considered censoring the line, Earl McGrath, president of Rolling Stones Records, released a statement on 12 October on behalf of the band:[33][34] It never occurred to us that our parody of certain stereotypical attitudes would be taken seriously by anyone who heard the entire lyric of the song in question.

[39] Robert Hilburn ranked Some Girls one of the band's best works in the Los Angeles Times, calling it a "splendid return to form".

They haven't gone for a knockdown uptempo classic, a 'Brown Sugar' or 'Jumpin' Jack Flash'—just straight rock and roll unencumbered by horn sections or Billy Preston.

Even Jagger takes a relatively direct approach, and if he retains any credibility for you after six years of dicking around, there should be no agonizing over whether you like this record, no waiting for tunes to kick in.

Lyrically, there are some bad moments—especially on the title cut, which is too fucking indirect to suit me—but in general the abrasiveness seems personal, earned, unposed, and the vulnerability more genuine than ever.

[...] Some Girls is like a marriage of convenience: when it works — which is often — it can be meaningful, memorable and quite moving, but it rarely sends the arrow straight through the heart.

He heaped praise on the "Miss You" single, writing that the song "exemplifies the polish, power, and passion of the Stones", equalled 'Tumbling Dice' and 'Brown Sugar', and "may even set new standards for the band.

[50][51] Some Girls has continued to receive critical acclaim, with many reviewers commending the band's ability to blend punk and disco influences with their older signature style.

[60][61] Writing for AllMusic, Stephen Thomas Erlewine praised the album, calling it "a tough, focused, and exciting record, full of more hooks and energy than any Stones record since Exile on Main St." Commending the group's performance compared to their previous works, Erlewine felt the rock tracks sound "harder and nastier than they have in years."

He concluded his review stating: "Some Girls may not have the back-street aggression of their '60s records, or the majestic, drugged-out murk of their early-'70s work, but its brand of glitzy, decadent hard rock still makes it a definitive Stones album.

"[1] After a period of decline due to emerging music trends, Jeff Giles of Ultimate Classic Rock credits Some Girls as successfully reinvigorating the band's sound and keeping its own identity, writing: "While the record incorporated elements familiar to longtime Stones fans...it infused the group's staid sonic aesthetic with disco rhythms and a dash of jagged punk aggression."

Giles concluded that the album proved that "when they put their minds to it, the Stones were still capable of earning the title of the World's Greatest Rock 'n' Roll Band.

She further commented that it stands as one of few Stones albums to have "held up as sonically, and still sound as gritty and urban and sexy and just downright cool, as their 1978 disco/punk/country/blues masterwork".

Club, Steven Hyden commented that the record was not a case of selling out, but rather showcased that the band "could pull off the old magic using some flashy new tricks."

Some Girls was re-issued on 21 November 2011 as a 2-CD deluxe edition, including twelve songs originally recorded during the two sessions for the album (with the exception of "Tallahassee Lassie" from August–September 1978 and "We Had It All" from 1979).

A Super-Deluxe edition also included a DVD with live footage & promo videos, a 100-page book, five postcards, a poster, and a 7" 180-gram replica vinyl single of "Beast of Burden".

All tracks are written by Mick Jagger and Keith Richards, except where notedNote Album credits per the 2011 deluxe edition liner notes.