Muhammad Ali<\/h2>\n\n\t\t\t![\"LAS](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-muhammad-ali.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Stanley Weston\/Getty Images)\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nChuck D once hosted an ESPN documentary that made the case for Ali’s influence on hip-hop, but before the heavyweight champ claimed to have tussled with a whale, handcuffed lightning and thrown thunder in jail, he recorded this Ben E. King cover. The track appeared toward the end of his modestly-titled 1963 LP I Am the Greatest!<\/em> and nearly cracked the top 100.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nOtis Redding<\/h2>\n\n\t\t\t![\"1964:](\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\")
![\"1964:](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-otis-redding.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nOtis Redding cut “Stand By Me” in 1964, just three years after Ben E. King, so maybe that’s why he doesn’t treat the song like a sacred text. The bass line remains, but the overall attitude is lighter, even mischievous, thanks to a horn section that offers color rather than punctuation. Steve Cropper spins out winding, inventive riffs on his guitar, and then there’s Otis, who sings with passion but pointedly avoids turning the lyrics into a desperate plea: He seems to be enjoying the groove as much as the rest of us.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nThe Kingsmen<\/h2>\n\n\t\t\t![\"CIRCA](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-kingsmen.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nThe Kingsmen were just two years past “Louie Louie” when they cut “Stand by Me.” In the Sixties, that was an eternity, but where other garage bands had gotten tougher, aiming to sound like the Yardbirds or Rolling Stones, the Kingsmen stayed true to their frat roots, layering cheapo organ over an insouciant crawl through the classic bass riff. It sounds like the obligatory slow number at a Saturday night dance where the band is anxious to return to the ravers.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nIke & Tina Turner<\/h2>\n\n\t\t\t![\"Ike](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-ike-and-tina-turner.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Peter Bischoff\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nIt\u2019s not easy to find the funk in \u201cStand by Me,\u201d but leave it to Ike & Tina Turner to discover it in a place where nobody else was looking. Slowing the tempo down and adding thick washes of organ (plus Ike\u2019s chicken-scratch guitar), this groove is so heavy that it almost makes Tina\u2019s vocals seem beside the point. That\u2019s not to say she doesn\u2019t tear into them: Tina sings with so much passion that you have to wonder whether she needs somebody to stand by her at all.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nGene Clark<\/h2>\n\n\t\t\t![\"UNSPECIFIED](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-Gene-Clark.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nFormer Byrd Gene Clark recorded his version of “Stand by Me” during the sessions for 1971’s White Light <\/em>and while it lay in the vaults until 2002, it’s a thing of beauty. Clark is faithful to the fragile sentiment of the song but he completely recasts composition, abandoning the signature bass line and gospel undertones as he turns it into a loping country-rock song for southern Californian canyons.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nJohn Lennon<\/h2>\n\n\t\t\t![\"Singer,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-John-Lennon.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Tim Boxer\/Archive Photos\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nThe Beatles rambled through a shambolic version of “Stand by Me” during the never-ending Get Back<\/em> sessions, a bunch of old friends obliviously singing about friendship. Half a decade later, John Lennon and Paul McCartney brought this same vibe to an even looser rendition ultimately released on aptly-titled bootleg A Toot and a Snore in ’74<\/em>. Recorded during the Lennon-produced sessions for Harry Nilsson’s Pussy Cats<\/em>, this was the last time John, Paul and Ringo were ever in the studio together, and a blitzed Lennon keeps haranguing the engineer about his headphone mix, eventually badgering the crew to adjust the levels so his vocals can’t be heard at all.<\/p>\nHe redeemed himself when he revived “Stand by Me” for his 1975 Rock ‘n’ Roll<\/em>. Repeating some of the superstar jam excesses of A Toot and a Snore<\/em>, the production is sharpened by Phil Spector, and Lennon’s vocals tap into an inner anguish absent on his previous attempts. This time around, it feels like he’s offering a plea for the friends he once took for granted.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nMickey Gilley<\/h2>\n\n\t\t\t![\"Mickey](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-Mickey-Gilley.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Paul Natkin\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nJohn Travolta steps into a nightclub, walks over to a girl and asks her to dance. Three years earlier, the couple would have boogied to the Bee Gees, but here, in Urban Cowboy<\/em>, they sway to Mickey Gilley’s country cover of “Stand by Me” \u2013\u00a0painfully ironic because Travolta’s Bud has pulled this maneuver in order to make Debra Winger’s Sissy, posted up across the bar, feel jealous.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nThe Isley Brothers, \u201cMy Little Girl\u201d<\/h2>\n\n\t\t\t![\"(L-R)](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-isley-bros.jpg?w=300\")
\n\t\t\t\t\tImage Credit: PoPsie Randolph\/Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nLong before Kendrick Lamar’s “i” sampled the guitar line from A side “Who’s That Lady,” the Isleys ripped Ben E. King’s bass groove for B side “My Little Girl.” Harmonies boom over the track, and the sweet, romantic arrangement gives it a gospel-gone-pop feel. An alternate take even speeds up the tempo.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nMeat Loaf<\/h2>\n\n\t\t\t![\"(Original](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-meatloaf.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Lynn Goldsmith\/Corbis\/VCG\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nMeat Loaf cut one of the weirdest versions of “Stand by Me” song during the sessions for The Rocky Horror Picture Show<\/em> soundtrack. It sat in the vault for another decade, and maybe for good reason: Loaf gives the elegant original an ornate reggae reinvention filled with over-the-top accents: the overheated backing vocals, a liquid fretless bass that mimics a French horn and a saxophone ripped from Aladdin Sane<\/em>. Just when you think things can’t get any more ridiculous, his voice gets phased through a tremolo, the desperation palpable from every angle.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nU2 and Bruce Springsteen<\/h2>\n\n\t\t\t![\"U2](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-springsteen-bono.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Images Press\/IMAGES\/Getty Images; Neil H Kitson\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nAfter Bono broke his shoulder on U2’s Joshua Tree<\/em> tour, he began inviting fans to come onstage and play guitar. When he made this offer to Philadelphia’s JFK Stadium, one Bruce Springsteen took him up on it, joining the band for a performance of “Stand by Me.” “I guess you guys know him,” Bono quipped. “Is he a local boy or something?”<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nMaurice White<\/h2>\n\n\t\t\t![\"LOS](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-Maurice-White.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Harry Langdon\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nMaurice White’s “Stand by Me” \u2013\u00a0a Top 10 R&B hit in 1985 \u2013 is full of surprises. The track opens with smooth Lionel Richie synths, but much like Lionel himself, it can’t slow down: A small drop introduces a new dance rhythm, then White adds an extra verse to the original lyrics. “Lets keep on believin’\/you give me a reason,” he sings before jumping into that Earth, Wind and Fire falsetto. “A reason to smile!”<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nStephen Wilson Jr.<\/h2>\n\n\t\t\t![\"Stephen](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/11\/BUC_7179_878624.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Michael Buckner\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tThe country singer and guitarist, who mixes grunge with twang, is renowned for his highly personal, yet relatable, songwriting on albums like Son of Dad<\/em>. But Wilson is expert in reimagining classics too, from Temple of the Dog\u2019s \u201cHunger Strike\u201d to Ben E. King\u2019s signature. \u201cI knew it was something very special to me when I first started playing it,\u201d he told RS<\/em> of \u201cStand by Me.\u201d Performing it onstage at the 2025 CMA Awards, the song helped introduce Wilson to a wider audience, one mesmerized by his howling vocal and otherworldly stare. <\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nJunior Murvin<\/h2>\n\n\t\t\t![\"Reggae](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-junior-murvin.jpg?w=300\")
\n\t\t\t\t\tImage Credit: David Corio\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nRecorded for the Bam on the Roof<\/em> compilation in 1992, Junior Murvin<\/span>‘s “Stand by Me” is a rare rendition that strips away the trademark bass line, a move that forces attention elsewhere. Here, the focus is on a tight rhythm anchored by a drum machine and an insistent single-note guitar riff, a spare bed that gives Murvin<\/span> plenty of room to roam. He doesn’t plead, he seduces: There’s never a doubt that his intended won’t stand by him, at least for the night.\u00a0<\/span><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nTimon and Pumbaa<\/h2>\n\n\t\t\t![\"THE](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-timon-and-pumba.jpg?w=300\")
\n\t\t\t\t\tImage Credit: \u00a9 Disney Channel\/Everett Collection \t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nThe Lion King<\/em>‘s Timon and Pumbaa helped bring “Stand by Me” to a new generation of young cartoon-watchers. In a music video that preceded theatrical showings of 1995’s Tom and Huck<\/em>, the inseparable meerkat-warthog combo traverse Pride Rock while Timon sings King’s tune. Along the way, Pumbaa is struck by lightning, shot from a cannon and trampled by a stampede, but that doesn’t stop him from sticking close to \u2013 standing by, if you will \u2013 his best friend.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nStephen King<\/h2>\n\n\t\t\t![\"Stephen](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2018\/06\/rs-194528-h_00000219243730.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Franz Bischof\/laif\/Redux\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nIn 1998, Don’t Quit Your Day Job Records released a covers compilation recorded by a collection of writers and rock critics. Alongside Ben Fong-Torres’ parody of “Rainy Day Women” (titled “Rainy Day Bookstores”) and Maya Angelou’s “Right, Said Fred,” Stephen King does “Stand by Me” Lou Reed-style, adding some spoken word over Warren Zevon keys.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nSean Kingston, \u201cBeautiful Girls\u201d<\/h2>\n\n\t\t\t![\"ANAHEIM,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-sean-kingston.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Jesse Grant\/WireImage\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\nWill someone please stand by Sean Kingston? On “Beautiful Girls,” the then 17-year-old used Ben E. King’s riddim to express his high school self-pity, warning a possible girlfriend that her good looks will make him want to kill himself if they break-up. Teenage angst paid off well, though: The song went to Number One on three continents.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nLemmy Kilmister<\/h2>\n\n\t\t\t![\"LONDON,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-lemmy.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Marc Broussely\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\t<\/p>\n
Chuck D once hosted an ESPN documentary that made the case for Ali’s influence on hip-hop, but before the heavyweight champ claimed to have tussled with a whale, handcuffed lightning and thrown thunder in jail, he recorded this Ben E. King cover. The track appeared toward the end of his modestly-titled 1963 LP I Am the Greatest!<\/em> and nearly cracked the top 100.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n Otis Redding cut “Stand By Me” in 1964, just three years after Ben E. King, so maybe that’s why he doesn’t treat the song like a sacred text. The bass line remains, but the overall attitude is lighter, even mischievous, thanks to a horn section that offers color rather than punctuation. Steve Cropper spins out winding, inventive riffs on his guitar, and then there’s Otis, who sings with passion but pointedly avoids turning the lyrics into a desperate plea: He seems to be enjoying the groove as much as the rest of us.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n The Kingsmen were just two years past “Louie Louie” when they cut “Stand by Me.” In the Sixties, that was an eternity, but where other garage bands had gotten tougher, aiming to sound like the Yardbirds or Rolling Stones, the Kingsmen stayed true to their frat roots, layering cheapo organ over an insouciant crawl through the classic bass riff. It sounds like the obligatory slow number at a Saturday night dance where the band is anxious to return to the ravers.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n It\u2019s not easy to find the funk in \u201cStand by Me,\u201d but leave it to Ike & Tina Turner to discover it in a place where nobody else was looking. Slowing the tempo down and adding thick washes of organ (plus Ike\u2019s chicken-scratch guitar), this groove is so heavy that it almost makes Tina\u2019s vocals seem beside the point. That\u2019s not to say she doesn\u2019t tear into them: Tina sings with so much passion that you have to wonder whether she needs somebody to stand by her at all.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n Former Byrd Gene Clark recorded his version of “Stand by Me” during the sessions for 1971’s White Light <\/em>and while it lay in the vaults until 2002, it’s a thing of beauty. Clark is faithful to the fragile sentiment of the song but he completely recasts composition, abandoning the signature bass line and gospel undertones as he turns it into a loping country-rock song for southern Californian canyons.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n The Beatles rambled through a shambolic version of “Stand by Me” during the never-ending Get Back<\/em> sessions, a bunch of old friends obliviously singing about friendship. Half a decade later, John Lennon and Paul McCartney brought this same vibe to an even looser rendition ultimately released on aptly-titled bootleg A Toot and a Snore in ’74<\/em>. Recorded during the Lennon-produced sessions for Harry Nilsson’s Pussy Cats<\/em>, this was the last time John, Paul and Ringo were ever in the studio together, and a blitzed Lennon keeps haranguing the engineer about his headphone mix, eventually badgering the crew to adjust the levels so his vocals can’t be heard at all.<\/p>\n He redeemed himself when he revived “Stand by Me” for his 1975 Rock ‘n’ Roll<\/em>. Repeating some of the superstar jam excesses of A Toot and a Snore<\/em>, the production is sharpened by Phil Spector, and Lennon’s vocals tap into an inner anguish absent on his previous attempts. This time around, it feels like he’s offering a plea for the friends he once took for granted.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n John Travolta steps into a nightclub, walks over to a girl and asks her to dance. Three years earlier, the couple would have boogied to the Bee Gees, but here, in Urban Cowboy<\/em>, they sway to Mickey Gilley’s country cover of “Stand by Me” \u2013\u00a0painfully ironic because Travolta’s Bud has pulled this maneuver in order to make Debra Winger’s Sissy, posted up across the bar, feel jealous.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n Long before Kendrick Lamar’s “i” sampled the guitar line from A side “Who’s That Lady,” the Isleys ripped Ben E. King’s bass groove for B side “My Little Girl.” Harmonies boom over the track, and the sweet, romantic arrangement gives it a gospel-gone-pop feel. An alternate take even speeds up the tempo.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n Meat Loaf cut one of the weirdest versions of “Stand by Me” song during the sessions for The Rocky Horror Picture Show<\/em> soundtrack. It sat in the vault for another decade, and maybe for good reason: Loaf gives the elegant original an ornate reggae reinvention filled with over-the-top accents: the overheated backing vocals, a liquid fretless bass that mimics a French horn and a saxophone ripped from Aladdin Sane<\/em>. Just when you think things can’t get any more ridiculous, his voice gets phased through a tremolo, the desperation palpable from every angle.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n After Bono broke his shoulder on U2’s Joshua Tree<\/em> tour, he began inviting fans to come onstage and play guitar. When he made this offer to Philadelphia’s JFK Stadium, one Bruce Springsteen took him up on it, joining the band for a performance of “Stand by Me.” “I guess you guys know him,” Bono quipped. “Is he a local boy or something?”<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n Maurice White’s “Stand by Me” \u2013\u00a0a Top 10 R&B hit in 1985 \u2013 is full of surprises. The track opens with smooth Lionel Richie synths, but much like Lionel himself, it can’t slow down: A small drop introduces a new dance rhythm, then White adds an extra verse to the original lyrics. “Lets keep on believin’\/you give me a reason,” he sings before jumping into that Earth, Wind and Fire falsetto. “A reason to smile!”<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThe country singer and guitarist, who mixes grunge with twang, is renowned for his highly personal, yet relatable, songwriting on albums like Son of Dad<\/em>. But Wilson is expert in reimagining classics too, from Temple of the Dog\u2019s \u201cHunger Strike\u201d to Ben E. King\u2019s signature. \u201cI knew it was something very special to me when I first started playing it,\u201d he told RS<\/em> of \u201cStand by Me.\u201d Performing it onstage at the 2025 CMA Awards, the song helped introduce Wilson to a wider audience, one mesmerized by his howling vocal and otherworldly stare. <\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n Recorded for the Bam on the Roof<\/em> compilation in 1992, Junior Murvin<\/span>‘s “Stand by Me” is a rare rendition that strips away the trademark bass line, a move that forces attention elsewhere. Here, the focus is on a tight rhythm anchored by a drum machine and an insistent single-note guitar riff, a spare bed that gives Murvin<\/span> plenty of room to roam. He doesn’t plead, he seduces: There’s never a doubt that his intended won’t stand by him, at least for the night.\u00a0<\/span><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n The Lion King<\/em>‘s Timon and Pumbaa helped bring “Stand by Me” to a new generation of young cartoon-watchers. In a music video that preceded theatrical showings of 1995’s Tom and Huck<\/em>, the inseparable meerkat-warthog combo traverse Pride Rock while Timon sings King’s tune. Along the way, Pumbaa is struck by lightning, shot from a cannon and trampled by a stampede, but that doesn’t stop him from sticking close to \u2013 standing by, if you will \u2013 his best friend.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n In 1998, Don’t Quit Your Day Job Records released a covers compilation recorded by a collection of writers and rock critics. Alongside Ben Fong-Torres’ parody of “Rainy Day Women” (titled “Rainy Day Bookstores”) and Maya Angelou’s “Right, Said Fred,” Stephen King does “Stand by Me” Lou Reed-style, adding some spoken word over Warren Zevon keys.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n Will someone please stand by Sean Kingston? On “Beautiful Girls,” the then 17-year-old used Ben E. King’s riddim to express his high school self-pity, warning a possible girlfriend that her good looks will make him want to kill himself if they break-up. Teenage angst paid off well, though: The song went to Number One on three continents.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\nOtis Redding<\/h2>\n
The Kingsmen<\/h2>\n
Ike & Tina Turner<\/h2>\n
Gene Clark<\/h2>\n
John Lennon<\/h2>\n
Mickey Gilley<\/h2>\n
The Isley Brothers, \u201cMy Little Girl\u201d<\/h2>\n
Meat Loaf<\/h2>\n
U2 and Bruce Springsteen<\/h2>\n
Maurice White<\/h2>\n
Stephen Wilson Jr.<\/h2>\n
Junior Murvin<\/h2>\n
Timon and Pumbaa<\/h2>\n
Stephen King<\/h2>\n
Sean Kingston, \u201cBeautiful Girls\u201d<\/h2>\n
Lemmy Kilmister<\/h2>\n
![\"NASHVILLE,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-ronnie-milsap.jpg?w=300\")
![\"LAS](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-prince-royce.jpg?w=300\")
![\"NEW](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2015\/05\/stand-by-me-miley.jpg?w=300\")
![\"Blowfish\"](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2018\/06\/rs-194526-170624379.jpg?w=300\")