Rolling Stones Album: Their Satanic Majesties Request
Release Date: December 8, 1967
Label: Decca (UK), London (US)
Spotify link to Their Satanic Majesties Request
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Review Written By: Andy Trcka
February 12th, 2021
Their Satanic Majesties Request (TSMR) is the Stones psychedelic album. For some this album is held in disregard as shameful mimicry of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. For others it is stylistically influential and a brilliant display of musicianship. My friend Lou sums it up well, “if there weren’t Sgt. Peppers this would be an interesting album.” But it does exist, and we have the task of digesting this confusing yet interesting album. It is widely held that Sgt. Pepper is the gold standard of the genre – blending art with music, setting a cultural landscape that ultimately served as the soundtrack for the “Summer of Love.” Success for Satanic Majesties (or any other psychedelic pop record) could be defined as standing ground next to Sgt. Pepper. Technically all this review needs to do is point you towards songs that come close to equaling the stature of Pepper’s and reminding you to give the Lonely Hearts Club Band another listen. However, as we shall see, with TSMR, the Stones not only venture into psychedelia, but firmly affix their Stonesy stamp on the genre.
Regarding psychedelic excellence: before we dive into this album, listen to “She’s a Rainbow.” It is everything the Stones hoped to achieve in this album: playful, instrumentally dynamic, lyrically charming, and as only the Stones could do – both whimsical and brawny. If there were a couple more songs of similar caliber, Their Satanic Majesties Request would rank amongst the classics of the Stones. If there were a hall of fame of psychedelic music, “She’s a Rainbow” would be in it. Today it is still played live and its frolicsome feel is a welcomed divergence from the powerful energy that is a Stones concert.
Just because the Stones cast aside their usual influences and dove into a new genre doesn’t mean this album lacks high points. There’s loads of interesting instrumentation throughout and much of the musicianship is provided by supporting cast members not typically in the forefront of Rolling Stones ventures. For example, Nicky Hopkins is brilliant on the keys. But ultimately this is Brian Jones’ starring moment, and he sieves it. Mr. Jones contributes darn near everything, save a kitchen sink. This was released in an experimental period for the Stones, so while it is their only effort that is wholly psychedelic, you can also hear psychedelic elements in albumssurrounding Satanic Majesties. Discerning ears will hear TSMR not simply as a stand-alone folly, but a culmination of experimentation influenced by the broader musical landscape, in particular, The Beatles. Given the varied inspirations contributing to this record and its unique sound, it is understandable the album inspired future artists.
Psychedelia – Not Beloved by All
To the Stones credit, psychedelia is not for everyone; it’s a polemical genre. Right out of the gates they shrunk their audience. As a kid my brother introduced me to Sgt Pepper’s Lonely Hearts Club Band. I was warned it was different than what I was used to. To brace me for the abnormalities, my brother Joe assured me it was not only one of Rock’s best albums but also a musical triumph. As a couple upstanding Catholic youths – Joe and I approached Sgt. Pepper with a reverence typically reserved for Sunday Mass. We absolutely loved it! Homes were only about 20 feet apart in our St. Paul neighborhood. By proximity, but also culturally, we aligned with our neighbors Steve and Mike as if they were brothers. That’s why it was surprising when Steve didn’t like Sgt. Pepper. How could he not like such an album? Did he not understand it was a triumph? Joe reassured me – “it’s a sound not everyone loves.” Fortunately, these were the big hair days and for a pack of pubescent boys like us, there was enough Motley Crue, Van Halen, and Poison to soothe our quarrels. Understand this – psychedelia is not for everyone!
Embarking on a genre that sheds people isn’t the lone reason to question Satanic Majesties; the principal reason being copycatting. Trailing Sgt. Pepper by six months, the timing of the recording, coupled with John and Paul singing background on “We Love You,” firmly establishes the fact that the album was influenced by the boys from Liverpool. It was almost as if the Stones were engaged in a game of catch up. Adopting different musical styles isn’t sufficient reason to label the effort as lousy. Other classic rock greats like The Grateful Dead and Bob Dylan differed album to album. However, The Rolling Stones don’t fit this model, adherence to their bluesy roots is what makes them great. So it stands to reason that any departure from their influences was going to be greeted skeptically, particularly a venture involving harpsichords and kazoos.
I’ve mentioned this in numerous reviews, but Keith and crew aren’t a revolutionary band. The Rolling Stones are at their best when their influences shine through. Fundamentally the equation of the Stones is simple – rock and blues at the base, country, gospel, soul and contemporary influences (for example, punk) on the periphery. The Rolling Stones incorporate sounds, but everything melds into their brand of blues rock. This album obscures their core and puts peripheral influences front and center. Given all this, it is hardly a surprise TSMR is not included amongst their best albums. Luckily, for us listeners, the Stones really care about the product they put out thus the album isn’t a letdown – continuing the tradition of providing a pleasurable experience for aficionados.
High Points of Satanic Majesties Request
Two fun aspects to this album are: 1) it showcases the instrumental talents of all the Rolling Stones (Brian Jones shines particularly brilliantly) and, 2) if entered into properly, it makes for a memorable experience.
Inattentiveness to how you approach this album could lead to frustration. For example, “Sing All This Together (See What Happens),” features an eight-minute instrumental involving a mellotron, flute, percussion, guiro, vibraphone, theremin, congas, Jews harp, brass, electric guitar, tambourine, piano and strange vocals. If you are like me, you probably just Wikipedia’d a number of those instruments. Think about how much temperaments have changed, and the wide variety of sounds folks have been introduced to in recent history. There was a time when eight minutes of musical rambling would have sent a parent into a room shouting, “turn that racket off!” Again, to draw a parallel, I recall my youth and Dad threatening to throw out my brother’s Judas Priest albums. In 2021 emotions don’t run as high with music; earbuds isolate, but also because so much stylistically has assaulted our ears, not much remains that could be construed as over the top.
Make an experience out of it to best enjoy this album – make it the focus of an evening! For example, this is not an album you’d want in the background when working in the garage…too distracting! Put yourself into a situation you are most comfortable. Good psychedelic music blends into your moment – it steers your mood, but doesn’t dominate, and is never overbearing. It contributes to an experience that is a mixture of calm, relaxing and pleasantly curious. Quality psychedelia helps you disconnect from irritants and at the same time, coolly negotiate your stressors. If helping foster a relaxing and stimulating experience is the standard of which good psychedelic songs were to be judged, here’s the top songs on this album: “In Another Land,” “She’s a Rainbow,” and the “Lantern.” The Stones solidly contribute to the genre with these tunes and would be fun plugged into any playlist or live set. I would also argue each of these songs stands up to the stature of what is presented in The Lonely Hearts Club Band.
By this time in their careers Jones, Richards and Jagger had attracted entourages. On their own whims, they’d show up to recording sessions for TSMR with their respective retinues. Gaggles of people, lack of a common focus, troubles in their personal lives (for example, Keith’s meddlesome run-ins with law enforcement involving drugs), all contributed to a chaotic recording environment. One fun aspect to the chaos is it created opportunity for supporting members of the Stones to contribute more fully. Mick and the guitar boys are typically front and center for the Stones, but here all members put their stamp on the final product. Amongst the cacophony of instrumentation on TSMR you’ll notice percussion not normally featured in the Stones catalog. Charlie Watts plays numerous percussive instruments throughout, including a tamba and congas. His contributions are most brilliant in “The Lantern,” and “Sing All This All Together.” Equally impressive to Charlie’s drumming are the contributions of Nicky Hopkins on the keys (piano, organ and harpsichord). Nicky’s playing on “In Another Land” is guiding and it is near impossible to imagine “She’s a Rainbow” without his meandering piano.
To mock the tumultuous recording sessions, bassist Bill Wyman wrote and sings vocals on “In Another Land.” This is notable not only because it is amongst the best songs on the album, but also because most of the Stones catalog was cowritten by Mick Jagger and Keith Richards. It is worth pointing out there is contention throughout the Stones career regarding writing credits. Occasionally these disputes contributed to members departing the band. Another source of consternation amongst the Stones involved lead guitarist, Brian Jones. Jones was the founder of the Stones and one could argue they were HIS band. But Brian was an instrumentalist and not a songwriter; this dynamic contributed angst regarding the direction of the group. Tensions with Brian escalated as the 60s came to a close and Jones sunk into drug addiction. Tensions aside, “In Another Land” is a dreamy landscape of a tune provided by Mr. Wyman that has the added bonus of Jones contributing his varied musical talents.
With the amount of instrumentation Brian provides, one might argue he was the driving force behind the album. Skip back a few paragraphs and you’ll see Jones was responsible for a number of those instruments as well as providing background vocals and his usual lead guitar. One wonders how much of this album, and era of the Stones is attributable to Brian. Yes, with 3 albums released in 1967, a single year constitutes an era. Flowers, Between the Buttons and Their Satanic Majesties were all released in 1967, one of only three years where the Rolling Stones released 3 or more albums. Many view Majesties as singular psychedelic anomaly, but stylistically, there are through-lines from albums before and after TSMR that reveal this is more than a lone venture into the genre.
“The Lantern” is another entry into the Stones canon of Mick’s vocals guiding the tune, contributing as prominently as any instrument. Floating throughout the tune, Keith’s acoustic guitar provides a sound similar to “Salt of the Earth” from Beggars Banquet. The bells at the beginning of “The Lantern” sound both cool and haunting. Also featured in this song is the subtle incorporation of electric guitar that sounds as if it slipped out of Bob Dylan’s “Visions of Johanna.” It isn’t the only time on the album that style of guitar can be heard – it figures prominently on the concluding track, “On With the Show.” Speaking of which, “On With the Show” would fit snugly into Between the Buttons (the album preceding Satanic Majesties). Maybe I just have my hands on some quality green stuff, but I hear hints of “Gimme Shelter” throughout “In Another Land” – tune your ear towards it to see if you agree. While certainly not totally psychedelic, Flowers, Beggars Banquet and Between the Buttons share common psychedelic undercurrents. With Majesties, the Stones might have produced another classic album if they tamped down the sitar and rampant instrumentation represented in tunes like “Gomper,” and instead featured the more genuine musical experimentation represented in “She’s a Rainbow,” “In Another Land,” and “On With the Show.” Perhaps they could have merged all of 1967’s albums and created a single gem of an album?
There has been a resurgence in appreciation for this album. San Francisco, with its history of Acid Tests and birthing the likes of Janis Joplin, The Grateful Dead and Jefferson,is arguably the biggest cultivator of psychedelic music. It makes perfect sense a band from ‘Cisco was motivated to the point of naming themselves The Brian Jonestown Massacre. The band paid homage to Jones and the Stones by releasing Their Satanic Majesties Second Request in 1996. Speaking of the 90s, you can hear elements of TSMR in alternative rock of the late 80s and 90s. Parallels between Satanic Majesties and alternative rock are particularly evident in “2000 Man.” Another example where parallels can be felt is Pearl Jam’s “Elderly Woman Behind the Counter in a Small Town.” Furthermore, maybe I’m just digesting these songs too deeply, but I pick up on a similar feel between parts of “Citadel” and “Last Splash” by the Breeders. “2000 Light Years From Home” also has a modern feel. Geez…it sure seems the Stones were really fixated on the year 2000. I have spent a lot of time with Satanic Majesties; listening repeatedly, hoping to gain a deeper appreciation, but also trying to learn what is so compelling that would lend itself as the namesake to a band. Ultimately, to figure out how this album plays within the genre, I dug more deeply into psychedelic music. My sleuthing unearthed some truly fantastic music.
Amongst the psychedelia I unearthed (or rather revisited) is one of my favorite albums, the Velvet Underground’s Velvet Underground and Nico. Like Sticky Fingers by the Stones, the cover to Velvet Underground and Nico is an Andy Warhol product. The cover only hints at the greatness contained within – “I’m Waiting for the Man,” “All Tomorrow’s Parties,” and the painful but absorbing “Heroin” – oh my what an album! The Grateful Dead obviously have an expansive catalog that incorporates many influences and avenues, but their early stuff, particularly Anthem of the Sun and Live/Dead (released in 1969) are groovy examples of psychedelic goodness. Groovy had to be used at some point in this review! A modern psychedelic band I absolutely love is “The Black Angels.” The Angels’ 2008 LP, Directions to See a Ghost, is an intense album that will transport you to wherever you need to be.
While you probably won’t fall in love with this album, you will find Satanic Majesties intriguing. In the arc of their career, Mick and crew only tiptoed in psychedelia. They retreated quickly to resume the bluesy rock that made them the Greatest Rock and Roll Band in the World. While not typically listed amongst their classics, there is enough on this album to inspire lasting impact. When inserted into playlists, many of these tunes make for quirky and fun additions. For maximum enjoyment, make a listening experience of Satanic Majesties. To enhance your venture into this album, you might consider dovetailing it with other psychedelic classics. However you embark on this album, make sure you do it comfortably…go ahead and sink into that cozy chair and allow yourself to go where the moment leads you.
Postscript and Information about Sources
Sources: Information about the recording session was conjured from the Wikipedia article for Their Satanic Majesties Request. Information about the release date, tracks and record label was provided by the Wikipedia page for the album. Lastly, info about the summer of love and description of Sgt. Pepper’s Lonely Hearts Club Bandwas influenced by the Wikipedia page for that album.
I reread the pages detailing TSMR’s recording in book, According the The Stones to see if I missed anything or misrepresented something in my review. I didn’t end up quoting anything but if I had more time I would have included some of Kieth’s comments about what a bummer his problems with law enforcement were. But adding that didn’t add much to the review in terms of highlighting the music. Plus I’m not really into tabloid sort of storylines…so as entertaining as it was to read about, I didn’t make mention.
Follow the information provided on Spotify or YouTube for info about song credits. I try to only load YouTube links for tunes posted on the Official Rolling Stones YouTube channel/account.
Next up for Andy’s Stones: I haven’t decided what album is next but have narrowed it down to Aftermath, Now, or Steel Wheels. Now because I’m kinda craving to jump back into early Stones. I’m thinking Aftermath because it’s amongst not only my favorite Stones, but also my favorite albums and I figure it’s about time Andy’s Stones gives it dues. I’ve been digging the Steel Wheels live LP recently. The Steel Wheels tour played live some lesser know 80’s tracks that are only ho-hum on record, but exciting live. Let me know if you fancy one of these albums – I’m easily persuadable!
Work on the Podcast continues. Be on the lookout! A couple scripts for the shows have been written, now it’s a matter formatting the show so it is interesting and fun. My public speaking skills were fashioned as a teacher…a professor like vibe doesn’t jive well with hard-charging rock music. People are coming aboard to help with the podcast, but in the covid world we live in, bringing “people aboard” presents obvious physical challenges. Microphones, software, scripts and working with Anchor & Spotify to make sure we can play tunes and NOT get sued – in case you haven’t heard, Mick isn’t keen on people stealing his stuff! Nonetheless, work continues and I promise it’ll be worth your time listening when finally released.
Shoutouts
- Thank you for your patience tolerating the delay of this review. It was a tough one for me to write. I ended up spending a LOT of time listening to psychedelic music.
- Thank you again to our mystery editor! If you all saw these reviews before the editor’s careful eyes scrutinized them, you’d likely faint. Please note the editor only helps with the main body of the review, specifically helping with the structure and grammar. Hyperlinks, photos, sourcing, postscripts and preview emails are not reviewed by the mystery editor.
- Lou – looking forward to your email about those albums.
- Thank you to Brad for your consistent interest and help with Andy’s Stones. Perhaps soon it’ll be announced that you’ll be a big part of the Podcast? Or maybe it was just announced?!?!
- Sorry TK – no shout out to you this time!
| Track # | Title | Notes |
| 1 | Sing This All Together | $ |
| 2 | Citadel | * $ |
| 3 | In Another Land | ! + $ |
| 4 | 2000 Man | * |
| 5 | Sing This All Together (See What Happens) | $ |
| 6 | She’s a Rainbow | ! + * $ |
| 7 | The Lantern | B + * |
| 8 | Gomper | |
| 9 | 2000 Light Years From Home | B * |
| 10 | On With the Show | * $ |
Their Satanic Majesties Request: Released 12/8/1967 by London and Decca Records – reviewed by Andy Trcka of Andy’s Stones
Legend: ! = hit, single or famous track, B = B side to single, + = top track recommended by Andy’s Stones, $ = notable instrumentation provided by supporting cast member (e.g. piano by Nicky Hopkins or percussion by Charlie Watts),
* = song where influence can be heard in other Stones efforts or future musical acts
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