Comments, input and alterations are very welcome!
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On With The Show
(Mick Jagger / Keith Richards)

Olympic Sound Studios, London, UK, July 2 - 22, 1967

Mick Jagger - vocals, percussion
Keith Richards - electric guitar
Charlie Watts - drums, percussion
Bill Wyman - bass
Brian Jones - mellotron
Nicky Hopkins - piano, harpsichord

Good evening one and all we're all so glad to see you here
We'll play your favorite songs while you all soak up the atmosphere
We'll start with Old Man River, then maybe Stormy Weather, too
I'm sure you know just what to do, on with the show, good health to you

Please pour another glass it’s time to watch the cabaret
Your wife will never know that you're not really working late
Your hostess here is Wendy, you'll find her very friendly, too
And we don't care just what you do, on with the show, good health to you

Petina starts the show at 2 o'clock

Or if by chance you find that you can't make it anymore
We'll put you in a cab and take you safely to the door
Oh, we've got all the answers, and we've got lovely dancers, too
There's nothing else you have to do, on with the show, good health to you

You're all such lovely people, dancing gaily round the floor
But if you have to fight, please take your trouble out the door
And now I say with sorrow, until this time tomorrow
We'll bid you all a fond adieu, on with the show, good health to you

Produced by The Rolling Stones

First released on:
The Rolling Stones - “Their Satanic Majesties Request” LP
(Decca TXS 103) UK, December 8, 1967

I like the guitar

Good One! I like everything about this song....

2 1 2 0

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.)

Always love this funny song

__________________________

Great track from a deeply underrated album.

Mathijs

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.



Edited 2 time(s). Last edit at 2013-08-19 13:12 by Silver Dagger.

Love it, and the album itself

I had it on over the weekend and my i-pod version includes the 'We Love You' and 'Dandelion' tracks - majority of the album to me full of wonderful songs, sounds and atmosphere.

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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.

Excellent post, thanks!

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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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

Too true Doxa. There's a few people out there in Stonesland that just don't rate it. I could never see why. It's such an intriguing album. Who cares if it wasn't supposedly greater than Sgt Pepper? I never saw it as an answer or rival to Pepper anyway. It just stands up for itself - and OK, admittedly Sing This Altogether (See What Happens) and Gomper do go on a bit - but it has a great period charm. We're lucky that the Stones have such a rich catalogue.

A charming ending to the beautifully tripped-out and criminally under-appreciated TSMR.

Here's a nice look at how the track evolved:





Drew



Edited 1 time(s). Last edit at 2013-08-22 15:20 by drewmaster.

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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?

"Ringmaster" Jagger served a worthy ending to an exceptional album with this one

ROCKMAN

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



Edited 4 time(s). Last edit at 2013-08-19 14:37 by Doxa.

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Rockman

And let's not forget...

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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

I love your description of Beggar's Banquet as the Berlin Wall in the Stones catalogue separating the pop and the rock sides ofthe band.

Also, you should create a separate thread with your idea of We Love You being the origins of the Stones' dark and dangerous masterpieces of Sympathy For The Devil and Gimme Shelter. I'd probably say those origins of darkness lay in Paint It Black but it's only my opinion.

Yes, Sing This All Together is probably the weakest start to any Stones' album but it's worth putting up with for that magic moment when the harsh, metallic sheen of Citadel slams in.

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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.

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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nightskyman

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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.

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).

You've just named two of my favourite ever albums there.

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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

I like this much better than the released track. Nicky and Bill are working on something interesting that gets lost on the released track. Brian's mellotron is great too.

Shouldn't the lyrics posted also include the words of Mick and his Yankee woman interlocutor at the end?

the guitar lick is very similar to "I Wish it would rain" by the Temptations...

TSMR has aged quite well indeed! on With the Show is a great ending song for that album. I don't like all of it and I'm glad they went in another direction after it but its great that they have such a diverse catalog.

Does it matter? Some will hate it, some will love it-as per usual. It's an interesting curio from the Stones' "psychedelic" period.

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Silver Dagger

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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?

I can't remember where, but I have a hazy memory of reading that Mick taped conversations with people when they were in New York during mixing stages of the album.

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Title5Take1
Shouldn't the lyrics posted also include the words of Mick and his Yankee woman interlocutor at the end?

There's also a conversation with a man, "You know what I'd like to do to you?" etc.

Don´t know this one

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.

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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.

A fitting end to one of their best albums. Now that's better!