CK Retro Review: Their Satanic Majesties Request by The Rolling StonesPosted: October 22, 2015
Blame it on the lack of a George Martin type to bang wild musical ideas into coherent shape. Blame it on the drug arrests and court dates that diverted focus from the record. Or just blame it on the fact that The Rolling Stones were well out of their wheelhouse in the wilds of psychedelia. For whatever reason, 1967’s Their Satanic Majesties Request, its devoted group of contrarian supporters notwithstanding, was a bit of a mess then and still a bit of a mess now. Yet it did have a pair of crackling tracks to buoy the second side and would have been a great deal better had like-minded songs from the era “We Love You” and “Dandelion” but included. And, if nothing else, it served its purpose of refocusing the band on the earthy path it was always meant to tread, leading to the greatest period of music in their career. Here is a song-by-song review:
10. “Sing This All Together (See What Happens)”- What happens generally is we move on to the next track and make a mental note not to cue up this endless instrumental the next time around. It’s less pretentious than “Revolution 9” though, so that’s something.
9. “Gomper”- If they were indeed aping Sgt Pepper’s, I guess this was their “Within You, Without You.” The Quiet Beatle need not have felt threatened.
8. “In Another Land”- Bill Wyman finally gets his showcase. Alas, the harpsichord-laden verses are the kind of trippy pondering typical of that era that hasn’t aged that well. It’s too bad because the chorus ain’t half bad.
7. “On With The Show”- Although it feels tacked-on to sort of force a concept-album feel, the song surprisingly proves that Mick Jagger could do McCartneyesque whimsy with convincing flair.
6. “2000 Man”- Had this song stuck with the folksy acoustic segment all the way through, you might just have ended up with a four-star number. Jagger actually was building a nice melody there with some interesting lyrics about a family man’s inner malaise, which, details aside, sound striking similar to the existential concerns of family men through the ages. Instead it segues into a somewhat forgettable up-tempo theatrics that dull the impact somewhat.
5. “The Lantern”- Again, you’ve got a song that’s too fussy by half and Jagger’s lyrics refuse to let you grasp on and hold, which admittedly isn’t a dealbreaker. Still, there are musical moments on this song as pretty as anything else on the record, so it doesn’t wear out its welcome like some of the other stuff. They’d get a lot better at these dreamy songs that suggest a lot more than they say; see “Moonlight Mile” a few years down the road for a good example.
4. “Citadel”- There’s a pretty good rocker that’s desperate to escape the haze of the production; you can hear it whenever Keith Richards’ ominous riff comes to the fore. Same with Jagger’s lyrics, which get a bit lost in the clamor. Still, a little more of this darker approach would have gone a long way.
3. “Sing This All Together”- The start was promising enough, a percussive, genial sing-along featuring Beatle buddies John Lennon and Paul McCartney on backing vocals. The lyrics in the refrain capture the questing nature of the time pretty well.
2. “2000 Light Years From Home”- Well before Major Tom got lost in space, The Stones were already musing on the eerier aspects of exploring the outer reaches of the galaxy. Jagger allegedly wrote it during his one-night prison stay, and his hollowed-out vocal of his icy poetics still haunts. Richards makes his presence felt here more than anywhere else on the album, both with his slightly sinister opening notes and his bludgeoning riffs late in the song. This is Brian Jones’ time to shine, making that Mellotron sound wondrous and terrifying all at once. Stanley Kubrick was already well into making 2001 at the time this song was released; otherwise you would swear he took some inspiration from it.
1.”She’s A Rainbow”- Nicky Hopkins brilliant piano work alone is enough to carry this one a long way. Add in John Paul Jones’ tender string arrangements and Brian Jones bringing the brass on the Mellotron and you have lusciousness galore. These elements are melded together in ingenious ways around Jagger’s tale of a girl who’s literally colorful. Sometimes they’re all in there together being prodded forth by Charlie Watts pummeling drums, and sometimes they step out on their own for charming interludes. The end result is a song packed with dynamic surprises.
(E-mail me at firstname.lastname@example.org of follow me on Twitter @JimBeviglia. For more on the Stones, check out my new book, Counting Down The Rolling Stones: Their 100 Finest Songs, which you can preorder via the link below.)