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Silver Dagger
A lovely irreverent ending to the Stones’ most spaced out album. The nine songs on Their Satanic Majesties Request until On With The Show took you on a wild and wandering psychedelic fantasy through futuristic domains with star fiery oceans, strange citadels, eerie lanterns, tribalistic jams and even a gomper!
The previous track 2000 Light Years From Home basically brought you out to where the buses don’t run. But bang with a rude awakening, here’s the final track and all of a sudden where back in clubland, in a cabaret club in Soho about to watch a floor show unfold with glasses chinking and crowd chatter in the background. It’s a great touch and a fabulous sense of humour.
It was almost de riguer for bands to do a boozy knees up song during psychedelia. Traffic did Berkshire Poppies with a merry Steve Marriott joining in; the Small Faces did Happy Days Toy Town; The Pretty Things did Defecting Grey and here was the Stones’ contribution, ever so slightly poking fun at the establishment. Fabulous stuff.
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Doxa
Yes, Silver Dagger nailed it. They simply don't do stuff like that any longer. Incredible times.
How much poorer would the Stones catalogue be without SATANIC MAJESTIES?
- Doxa
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Glam Descendant
Has the woman Mick taped in Warholian fashion ever been identified? Certainly he must have recorded it at a party. (I'm speaking of the "bourbon and soda" bit -- "You're not recording this are you?" lol.)
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Rockman
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Doxa
To Silver Dagger re SATANIC MAJESTIES.
Yeah. Funnily an album very much belonging to a short, peculiar phase in rock history, has actually aged very well. There was a time when the album was considered almost officially - including the band members - an artistic flop - from which the golden period, starting with "Jumping Jack Flash" rescued the band. Especially during the time I was hooked on the Stones (early 80's), SATANIC MAJESTIES had a terrible reputation (a poor man's SGT. PEPPER or The Stones' terrible failed try to answer to it). I remember thinking when listening the album very first time that actually it is not such horrible crap as it supposed to be. But still back then trying to see something positive in it even among the Stones fan circles, would lose your credibility...
But the time has been on SATANIC MAJESTIES' side... Now people seem to start "understanding" the unique value of it, and actually how inspired and adventurous the band was back then. This I think can be seen in the reflection here at IORR. The old picture of it being like an anomaly or a side step in Stones catalogue has been replaced by a seeing it is a "natural" step in their progression (and us bigger nerds here have noticed and argued for its connection to BEGGARS BANQUET - which "traditionally" has been almost Berlin wall-like seperated from each other). Compared to its forerunners - AFTERMATH, BETWEEN THE BUTTONS - I think they as music makers took a huge artistic step in SATANIC MAJESTIES. "We Love You" is actually a lost masterpiece, and represents for the very first time the artistic maturation - they were not any longer a "pop band" making easy-listenable catchy tunes, but something more authentic, darker and dangerous, the route which lead to "Sympathy For The Devil" and "Gimme Shelter".
Though I need to say that one big obstacle in a way of appreciating the album has been for me the opening track. That doesn't work at all, no matter how much I try (and nor either it's jam version), but when one gets over that, the rest of the musical journey is very interesting and capturing. Almost every time one can find something "novel" there. Lots of funny, crazy, great ideas with depthness.
Ohe yeah, I need remark that one of the best threads here lately has been DandelionPowderman's psychdelia thread. Damn informative and enlightening.
- Doxa
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Silver Dagger
A lovely irreverent ending to the Stones’ most spaced out album. The nine songs on Their Satanic Majesties Request until On With The Show took you on a wild and wandering psychedelic fantasy through futuristic domains with star fiery oceans, strange citadels, eerie lanterns, tribalistic jams and even a gomper!
The previous track 2000 Light Years From Home basically brought you out to where the buses don’t run. But bang with a rude awakening, here’s the final track and all of a sudden we're back in clubland, in a cabaret club in Soho about to watch a floor show unfold with glasses chinking and crowd chatter in the background. It’s a great touch and a fabulous sense of humour.
It was almost de riguer for bands to do a boozy knees up song during psychedelia. Traffic did Berkshire Poppies with a merry Steve Marriott joining in; the Small Faces did Happy Days Toy Town; The Pretty Things did Defecting Grey and here was the Stones’ contribution, ever so slightly poking fun at the establishment. Fabulous stuff.
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nightskymanQuote
Silver Dagger
A lovely irreverent ending to the Stones’ most spaced out album. The nine songs on Their Satanic Majesties Request until On With The Show took you on a wild and wandering psychedelic fantasy through futuristic domains with star fiery oceans, strange citadels, eerie lanterns, tribalistic jams and even a gomper!
The previous track 2000 Light Years From Home basically brought you out to where the buses don’t run. But bang with a rude awakening, here’s the final track and all of a sudden we're back in clubland, in a cabaret club in Soho about to watch a floor show unfold with glasses chinking and crowd chatter in the background. It’s a great touch and a fabulous sense of humour.
It was almost de riguer for bands to do a boozy knees up song during psychedelia. Traffic did Berkshire Poppies with a merry Steve Marriott joining in; the Small Faces did Happy Days Toy Town; The Pretty Things did Defecting Grey and here was the Stones’ contribution, ever so slightly poking fun at the establishment. Fabulous stuff.
I think the album is comparable to Pink Floyd's pyschedelic 'Pipers' album and The Who's satirical 'Sell Out' album (both released towards the end of 1967, indicating the psychedelic era was short term and fast fading...).
I like the song and this album for same reason as you summmarize here. A Stones take on the 67' era. But hardly representative of the 'real' Stones (if there is such a thing).
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drewmaster
Agreed, this is a lovely ending to the beautifully tripped-out and criminally under-appreciated TSMR.
Here's a nice look at how the track evolved:
Drew
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Glam Descendant
Has the woman Mick taped in Warholian fashion ever been identified? Certainly he must have recorded it at a party. (I'm speaking of the "bourbon and soda" bit -- "You're not recording this are you?" lol.)
Not sure I've ever read how this section came to be taped. I'd assume by the woman's voice that it was at a party in America, New York probably? Anybody got any info on this?
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Title5Take1
Shouldn't the lyrics posted also include the words of Mick and his Yankee woman interlocutor at the end?
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strat72
I know it's a joke of a song but it's still awful. A fitting end to one of their worst albums.
For me, Satanic Majesties is right up there with Dirty Work and Emotional Rescue! Like those two albums, it does have a few good tracks on it though.