I @#$%& love it and it's damn unique too!

Ladies and Gentlemen, fiends and aliens, the greatest psychedelic band in the world... The Rolling Stones!

Btw, there's no "synthesizer" on the track.

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DandelionPowderman
BB is not a clean break from TSMR, imo. The footprints of BB's predecessor are all over tracks like Jig Saw Puzzle (the mellotron), "Citadel #2" (Stray Cat Blues) and even in the spaced-out blues Parachute Woman + in JJF and Child Of The Moon.

IMO, BB wouldn't have been as great without the freakiness that still was there.

Perhaps not an absolute clean break from TSMR, but at least a major departue. There are indeed minor traces (or 'footsteps' as you call them) of some leftover mellotron ambience to be heard on Beggars - what I was referring to was the songs themselves and the overall vibe. I thought it was common knowledge that Beggars was a back to the roots, blues, and rock and roll album without any oddball songwriting or studio experimentation ala TSMR. As a matter of fact, you'd be hard pressed to find anyone who would call Beggars a 'psychedelic' album. But again you are right regarding some leftover traces of what came before which is only natural for most bands. Maybe I should have said in my previous post a massive growth spurt, a major departure, or a gigantic leap of evolution vs. an 'about face'. And as you know that evolution away from TSMR would then continue with Let it Bleed - seeped in the blues, country, gospel, and rock...not a trace of TSMR's psychedelia imo - they pretty much cut out the crap. And that evolution continued with Sticky Fingers - more of the same vibe of LIB. The evolution would then culminate with Exile - a tour de force of blues, country, rock, and gospel - and there you have the 'Big 4' considered by many to be their best. With all that said, it goes to the Stones credit that they can successfully embrace many genres of music and do it justice - sometimes it works better than others.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

It's one of the few bright spots on Satanic. If all songs had the quality of tracks such as Light Years, She's A Rainbow or 2000 Man, it could've been a great album. Unfortunenately, weak songs are the majority.

For God's sake they produced Beggars Banquet afterwards ...

This is well executed but still a little too trippy for my tastes. Plus 2000 Light Years From Home is a song begging for visuals - it would’ve worked better on the Barbarella soundtrack, for example. She’s a Rainbow could’ve been released as a single, Citadel and 2000 Man could’ve been saved for Beggars or Let It Bleed, and Their Satanic Majesty’s Request should’ve been painted black.

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Hairball

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DandelionPowderman
BB is not a clean break from TSMR, imo. The footprints of BB's predecessor are all over tracks like Jig Saw Puzzle (the mellotron), "Citadel #2" (Stray Cat Blues) and even in the spaced-out blues Parachute Woman + in JJF and Child Of The Moon.

IMO, BB wouldn't have been as great without the freakiness that still was there.

Perhaps not an absolute clean break from TSMR, but at least a major departue. There are indeed minor traces (or 'footsteps' as you call them) of some leftover mellotron ambience to be heard on Beggars - what I was referring to was the songs themselves and the overall vibe. I thought it was common knowledge that Beggars was a back to the roots, blues, and rock and roll album without any oddball songwriting or studio experimentation ala TSMR. As a matter of fact, you'd be hard pressed to find anyone who would call Beggars a 'psychedelic' album. But again you are right regarding some leftover traces of what came before which is only natural for most bands. Maybe I should have said in my previous post a massive growth spurt, a major departure, or a gigantic leap of evolution vs. an 'about face'. And as you know that evolution away from TSMR would then continue with Let it Bleed - seeped in the blues, country, gospel, and rock...not a trace of TSMR's psychedelia imo - they pretty much cut out the crap. And that evolution continued with Sticky Fingers - more of the same vibe of LIB. The evolution would then culminate with Exile - a tour de force of blues, country, rock, and gospel - and there you have the 'Big 4' considered by many to be their best. With all that said, it goes to the Stones credit that they can successfully embrace many genres of music and do it justice - sometimes it works better than others.

Well, we hear things differently here.

Maybe I wasn't clear. I'm not talking about mere small mellotron parts or residue off TSMR, but the overall vibe of tracks like JJF, Child Of The Moon, Jig Saw Puzzle, Stray Cat Blues, Parachute Woman and even SFTD.

The full transition to blues, rhythm and blues, rock'n'roll, country, americana didn't really happen before Exile, imo. Simply because it took time to make that transition, and because many of the tracks on albums like SF were from the 60s.

So, yes, it's a giant leap, but the overall freaky atmosphere is still there (and that's why BB is so great, imo).

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DandelionPowderman

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Hairball

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DandelionPowderman
BB is not a clean break from TSMR, imo. The footprints of BB's predecessor are all over tracks like Jig Saw Puzzle (the mellotron), "Citadel #2" (Stray Cat Blues) and even in the spaced-out blues Parachute Woman + in JJF and Child Of The Moon.

IMO, BB wouldn't have been as great without the freakiness that still was there.

Perhaps not an absolute clean break from TSMR, but at least a major departue. There are indeed minor traces (or 'footsteps' as you call them) of some leftover mellotron ambience to be heard on Beggars - what I was referring to was the songs themselves and the overall vibe. I thought it was common knowledge that Beggars was a back to the roots, blues, and rock and roll album without any oddball songwriting or studio experimentation ala TSMR. As a matter of fact, you'd be hard pressed to find anyone who would call Beggars a 'psychedelic' album. But again you are right regarding some leftover traces of what came before which is only natural for most bands. Maybe I should have said in my previous post a massive growth spurt, a major departure, or a gigantic leap of evolution vs. an 'about face'. And as you know that evolution away from TSMR would then continue with Let it Bleed - seeped in the blues, country, gospel, and rock...not a trace of TSMR's psychedelia imo - they pretty much cut out the crap. And that evolution continued with Sticky Fingers - more of the same vibe of LIB. The evolution would then culminate with Exile - a tour de force of blues, country, rock, and gospel - and there you have the 'Big 4' considered by many to be their best. With all that said, it goes to the Stones credit that they can successfully embrace many genres of music and do it justice - sometimes it works better than others.

Well, we hear things differently here.

Maybe I wasn't clear. I'm not talking about mere small mellotron parts or residue off TSMR, but the overall vibe of tracks like JJF, Child Of The Moon, Jig Saw Puzzle, Stray Cat Blues, Parachute Woman and even SFTD.

The full transition to blues, rhythm and blues, rock'n'roll, country, americana didn't really happen before Exile, imo. Simply because it took time to make that transition, and because many of the tracks on albums like SF were from the 60s.

So, yes, it's a giant leap, but the overall freaky atmosphere is still there (and that's why BB is so great, imo).

Yes Dandelion we must hear things differently then, or we're misunderstanding each other. I hear no 'overall vibe' of TSMR on the tracks you mention - especially JJF, Stray Cat Blues, Parachute Woman, and SFTD. Maybe a bit of mellotron on a couple of those tunes, but overall Beggars is quite different from TSMR imo. And again, I don't think anyone would label Beggars Banquet a 'psychedelic' album by any stretch of the imagination (not that you are). As for the full transition to blues, rhythm and blues, rock'n'roll, country, and americana...I'm not sure I follow your logic (or maybe you misunderstood mine). What I was saying was it was more of a transition away from psychedelic stuff - an evolution that would incorporate those different genres mentioned. In other words back to the roots and basics, and as far away from the TSMR experimentation as possible. Small traces (or residue) of it perhaps of it on Beggars, but after that it was nowhere to be found really imo. One only has to see (and hear) the track listings of LIB , Sticky Fingers, and Exile, to know there is nothing pyschedlic about them, and those albums are greater because of it imo.

Anyhow, maybe some day we will meet in person and discuss the intricacies of the Stones evolution (warts and all) while drinking some beers and playing guitars.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Moonlight Mile could easily be from TSMR.

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Hairball

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DandelionPowderman

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Hairball

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DandelionPowderman
BB is not a clean break from TSMR, imo. The footprints of BB's predecessor are all over tracks like Jig Saw Puzzle (the mellotron), "Citadel #2" (Stray Cat Blues) and even in the spaced-out blues Parachute Woman + in JJF and Child Of The Moon.

IMO, BB wouldn't have been as great without the freakiness that still was there.

Perhaps not an absolute clean break from TSMR, but at least a major departue. There are indeed minor traces (or 'footsteps' as you call them) of some leftover mellotron ambience to be heard on Beggars - what I was referring to was the songs themselves and the overall vibe. I thought it was common knowledge that Beggars was a back to the roots, blues, and rock and roll album without any oddball songwriting or studio experimentation ala TSMR. As a matter of fact, you'd be hard pressed to find anyone who would call Beggars a 'psychedelic' album. But again you are right regarding some leftover traces of what came before which is only natural for most bands. Maybe I should have said in my previous post a massive growth spurt, a major departure, or a gigantic leap of evolution vs. an 'about face'. And as you know that evolution away from TSMR would then continue with Let it Bleed - seeped in the blues, country, gospel, and rock...not a trace of TSMR's psychedelia imo - they pretty much cut out the crap. And that evolution continued with Sticky Fingers - more of the same vibe of LIB. The evolution would then culminate with Exile - a tour de force of blues, country, rock, and gospel - and there you have the 'Big 4' considered by many to be their best. With all that said, it goes to the Stones credit that they can successfully embrace many genres of music and do it justice - sometimes it works better than others.

Well, we hear things differently here.

Maybe I wasn't clear. I'm not talking about mere small mellotron parts or residue off TSMR, but the overall vibe of tracks like JJF, Child Of The Moon, Jig Saw Puzzle, Stray Cat Blues, Parachute Woman and even SFTD.

The full transition to blues, rhythm and blues, rock'n'roll, country, americana didn't really happen before Exile, imo. Simply because it took time to make that transition, and because many of the tracks on albums like SF were from the 60s.

So, yes, it's a giant leap, but the overall freaky atmosphere is still there (and that's why BB is so great, imo).

Yes Dandelion we must hear things differently then, or we're misunderstanding each other. I hear no 'overall vibe' of TSMR on the tracks you mention - especially JJF, Stray Cat Blues, Parachute Woman, and SFTD. Maybe a bit of mellotron on a couple of those tunes, but overall Beggars is quite different from TSMR imo. And again, I don't think anyone would label Beggars Banquet a 'psychedelic' album by any stretch of the imagination (not that you are). As for the full transition to blues, rhythm and blues, rock'n'roll, country, and americana...I'm not sure I follow your logic (or maybe you misunderstood mine). What I was saying was it was more of a transition away from psychedelic stuff - an evolution that would incorporate those different genres mentioned. In other words back to the roots and basics, and as far away from the TSMR experimentation as possible. Small traces (or residue) of it perhaps of it on Beggars, but after that it was nowhere to be found really imo. One only has to see (and hear) the track listings of LIB , Sticky Fingers, and Exile, to know there is nothing pyschedlic about them, and those albums are greater because of it imo.

Anyhow, maybe some day we will meet in person and discuss the intricacies of the Stones evolution (warts and all) while drinking some beers and playing guitars.

Anytime, Hairball

I don't hear anything at all that would suggest that Jigsaw Puzzle comes from the footprint depths of TSRM.

BEGGARS BANQUET is indeed a clean break from that floundering album that should've been an EP. Look at the time line: the first bit of recording for BB was

Child Of The Moon
Jumpin' Jack Flash
Primo Grande
Parachute Woman
Stray Cat Blues

They went on to finish JJF. The next song they recorded was another version of JJF for the film (video). Not long after that they got back to work on the album with Salt Of The Earth and then did a bigger session that included Sister Morphine and Love In Vain for BEGGARS BANQUET, followed by the SFTD sessions.

Child Of The Moon, just like We love You & Dandelion would have been a perfect fit for TSMR. That way it could have been a great album. The way it is, it´s partly great and partly disastrous.

And yes, there are traces of TSMR in Jigsaw Puzzle.
Even I can notice that

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HMS
Child Of The Moon, just like We love You & Dandelion would have been a perfect fit for TSMR. That way it could have been a great album. The way it is, it´s partly great and partly disastrous.

And yes, there are traces of TSMR in Jigsaw Puzzle.
Even I can notice that

Child Of The Moon would've been a good fit... had they bothered to finish it.


But Jigsaw Puzzle having traces of TSRM? You don't notice things like that.

a lot of the music back then had a space theme, which was apt considering the apollo missions, songs like 2000 light years are timeless, would have loved to have lived through this period of time, as so much good music was on the go. citadel and shes a rainbow are the best 2 songs on the satanic majesties album though.

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GasLightStreet

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HMS
Child Of The Moon, just like We love You & Dandelion would have been a perfect fit for TSMR. That way it could have been a great album. The way it is, it´s partly great and partly disastrous.

And yes, there are traces of TSMR in Jigsaw Puzzle.
Even I can notice that

Child Of The Moon would've been a good fit... had they bothered to finish it.


But Jigsaw Puzzle having traces of TSRM? You don't notice things like that.

COTM did not exist at the time of TSMR being released.

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GasLightStreet
But Jigsaw Puzzle having traces of TSRM? You don't notice things like that.

Traces of Between the Button, I would say...

Just as long as the guitar plays, let it steal your heart away

Jig Saw and Whos been sleeping here has some similarities in theme and mood.

Beggars doesn't include any truly psychedelic songs per se but at the same time you can't imagine songs like Jigsaw Puzzle or Stray Cat Blues appearing on Let It Bleed or Sticky. Beggars should be seen as an evolutionary step in the band's march to rock n' roll immortality rather than a radical departure.

And speaking of Jigsaw, Jagger uses the same slightly affected voice he first tried out in 2000 Man.

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DandelionPowderman

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Hairball

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DandelionPowderman
BB is not a clean break from TSMR, imo. The footprints of BB's predecessor are all over tracks like Jig Saw Puzzle (the mellotron), "Citadel #2" (Stray Cat Blues) and even in the spaced-out blues Parachute Woman + in JJF and Child Of The Moon.

IMO, BB wouldn't have been as great without the freakiness that still was there.

Perhaps not an absolute clean break from TSMR, but at least a major departue. There are indeed minor traces (or 'footsteps' as you call them) of some leftover mellotron ambience to be heard on Beggars - what I was referring to was the songs themselves and the overall vibe. I thought it was common knowledge that Beggars was a back to the roots, blues, and rock and roll album without any oddball songwriting or studio experimentation ala TSMR. As a matter of fact, you'd be hard pressed to find anyone who would call Beggars a 'psychedelic' album. But again you are right regarding some leftover traces of what came before which is only natural for most bands. Maybe I should have said in my previous post a massive growth spurt, a major departure, or a gigantic leap of evolution vs. an 'about face'. And as you know that evolution away from TSMR would then continue with Let it Bleed - seeped in the blues, country, gospel, and rock...not a trace of TSMR's psychedelia imo - they pretty much cut out the crap. And that evolution continued with Sticky Fingers - more of the same vibe of LIB. The evolution would then culminate with Exile - a tour de force of blues, country, rock, and gospel - and there you have the 'Big 4' considered by many to be their best. With all that said, it goes to the Stones credit that they can successfully embrace many genres of music and do it justice - sometimes it works better than others.

Well, we hear things differently here.

Maybe I wasn't clear. I'm not talking about mere small mellotron parts or residue off TSMR, but the overall vibe of tracks like JJF, Child Of The Moon, Jig Saw Puzzle, Stray Cat Blues, Parachute Woman and even SFTD.

The full transition to blues, rhythm and blues, rock'n'roll, country, americana didn't really happen before Exile, imo. Simply because it took time to make that transition, and because many of the tracks on albums like SF were from the 60s.

So, yes, it's a giant leap, but the overall freaky atmosphere is still there (and that's why BB is so great, imo).

Let's lay Their Satanic Majesty's Request aside here. I think what we're generally talking about is the Stones and psychedelia. Of course TSMR is the Stones' only true psychedelic album but they sure continued to flirt with the genre afterwards.

And yes, Child of The Moon, Stray Cat Blues, Jumping Jack Flash, Street Fighting Man, Sympathy For The Devil, Jigsaw Puzzle, Monkey Man, Moonlight Mile, Heaven, Continental Drift right through to Thru And Thru (especially the near 9 minute mix).
Listen to that crazed Velvets like guitar 'white out' at the end of Stray Cat Blues and tell me that isn't psychedelic. Or that wild droning shehnai played by Dave Mason on Street Fighting Man. Or that glissando-like guitar in the middle of Monkey Man that totally transforms the song and takes it to another level, almost worthy of an orchestra. These are all psychedelic flourishes and hangovers from 67.



Edited 1 time(s). Last edit at 2016-09-15 12:30 by Silver Dagger.

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Silver Dagger

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DandelionPowderman

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Hairball

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DandelionPowderman
BB is not a clean break from TSMR, imo. The footprints of BB's predecessor are all over tracks like Jig Saw Puzzle (the mellotron), "Citadel #2" (Stray Cat Blues) and even in the spaced-out blues Parachute Woman + in JJF and Child Of The Moon.

IMO, BB wouldn't have been as great without the freakiness that still was there.

Perhaps not an absolute clean break from TSMR, but at least a major departue. There are indeed minor traces (or 'footsteps' as you call them) of some leftover mellotron ambience to be heard on Beggars - what I was referring to was the songs themselves and the overall vibe. I thought it was common knowledge that Beggars was a back to the roots, blues, and rock and roll album without any oddball songwriting or studio experimentation ala TSMR. As a matter of fact, you'd be hard pressed to find anyone who would call Beggars a 'psychedelic' album. But again you are right regarding some leftover traces of what came before which is only natural for most bands. Maybe I should have said in my previous post a massive growth spurt, a major departure, or a gigantic leap of evolution vs. an 'about face'. And as you know that evolution away from TSMR would then continue with Let it Bleed - seeped in the blues, country, gospel, and rock...not a trace of TSMR's psychedelia imo - they pretty much cut out the crap. And that evolution continued with Sticky Fingers - more of the same vibe of LIB. The evolution would then culminate with Exile - a tour de force of blues, country, rock, and gospel - and there you have the 'Big 4' considered by many to be their best. With all that said, it goes to the Stones credit that they can successfully embrace many genres of music and do it justice - sometimes it works better than others.

Well, we hear things differently here.

Maybe I wasn't clear. I'm not talking about mere small mellotron parts or residue off TSMR, but the overall vibe of tracks like JJF, Child Of The Moon, Jig Saw Puzzle, Stray Cat Blues, Parachute Woman and even SFTD.

The full transition to blues, rhythm and blues, rock'n'roll, country, americana didn't really happen before Exile, imo. Simply because it took time to make that transition, and because many of the tracks on albums like SF were from the 60s.

So, yes, it's a giant leap, but the overall freaky atmosphere is still there (and that's why BB is so great, imo).

Let's lay Their Satanic Majesty's Request aside here. I think what we're generally talking about is the Stones and psychedelia. Of course TSMR is the Stones' only true psychedelic album but they sure continued to flirt with the genre afterwards.

And yes, Child of The Moon, Stray Cat Blues, Jumping Jack Flash, Street Fighting Man, Sympathy For The Devil, Jigsaw Puzzle, Monkey Man, Moonlight Mile, Heaven, Continental Drift right through to Thru And Thru (especially the near 9 minute mix).
Listen to that crazed Velvets like guitar 'white out' at the end Stray Cat Blues and tell me that isn't psychedelic. Or that wild shenai on Street Fighting Man. Or that glissando-like guitar in the middle of Monkey Man that totally transforms the song and takes it to another level, almost worthy of an orchestra. These are all psychedelic flourishes and hangovers from 67.

You said it better than I did. Spot on, Mike

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DandelionPowderman

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Silver Dagger

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DandelionPowderman

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Hairball

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DandelionPowderman
BB is not a clean break from TSMR, imo. The footprints of BB's predecessor are all over tracks like Jig Saw Puzzle (the mellotron), "Citadel #2" (Stray Cat Blues) and even in the spaced-out blues Parachute Woman + in JJF and Child Of The Moon.

IMO, BB wouldn't have been as great without the freakiness that still was there.

Perhaps not an absolute clean break from TSMR, but at least a major departue. There are indeed minor traces (or 'footsteps' as you call them) of some leftover mellotron ambience to be heard on Beggars - what I was referring to was the songs themselves and the overall vibe. I thought it was common knowledge that Beggars was a back to the roots, blues, and rock and roll album without any oddball songwriting or studio experimentation ala TSMR. As a matter of fact, you'd be hard pressed to find anyone who would call Beggars a 'psychedelic' album. But again you are right regarding some leftover traces of what came before which is only natural for most bands. Maybe I should have said in my previous post a massive growth spurt, a major departure, or a gigantic leap of evolution vs. an 'about face'. And as you know that evolution away from TSMR would then continue with Let it Bleed - seeped in the blues, country, gospel, and rock...not a trace of TSMR's psychedelia imo - they pretty much cut out the crap. And that evolution continued with Sticky Fingers - more of the same vibe of LIB. The evolution would then culminate with Exile - a tour de force of blues, country, rock, and gospel - and there you have the 'Big 4' considered by many to be their best. With all that said, it goes to the Stones credit that they can successfully embrace many genres of music and do it justice - sometimes it works better than others.

Well, we hear things differently here.

Maybe I wasn't clear. I'm not talking about mere small mellotron parts or residue off TSMR, but the overall vibe of tracks like JJF, Child Of The Moon, Jig Saw Puzzle, Stray Cat Blues, Parachute Woman and even SFTD.

The full transition to blues, rhythm and blues, rock'n'roll, country, americana didn't really happen before Exile, imo. Simply because it took time to make that transition, and because many of the tracks on albums like SF were from the 60s.

So, yes, it's a giant leap, but the overall freaky atmosphere is still there (and that's why BB is so great, imo).

Let's lay Their Satanic Majesty's Request aside here. I think what we're generally talking about is the Stones and psychedelia. Of course TSMR is the Stones' only true psychedelic album but they sure continued to flirt with the genre afterwards.

And yes, Child of The Moon, Stray Cat Blues, Jumping Jack Flash, Street Fighting Man, Sympathy For The Devil, Jigsaw Puzzle, Monkey Man, Moonlight Mile, Heaven, Continental Drift right through to Thru And Thru (especially the near 9 minute mix).
Listen to that crazed Velvets like guitar 'white out' at the end Stray Cat Blues and tell me that isn't psychedelic. Or that wild shenai on Street Fighting Man. Or that glissando-like guitar in the middle of Monkey Man that totally transforms the song and takes it to another level, almost worthy of an orchestra. These are all psychedelic flourishes and hangovers from 67.

You said it better than I did. Spot on, Mike

Should be a thread on its own. Hmmmm. I'm sure that one could drag His Majesty back out of early retirement. Heh heh.

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DandelionPowderman

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Silver Dagger

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DandelionPowderman

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Hairball

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DandelionPowderman
BB is not a clean break from TSMR, imo. The footprints of BB's predecessor are all over tracks like Jig Saw Puzzle (the mellotron), "Citadel #2" (Stray Cat Blues) and even in the spaced-out blues Parachute Woman + in JJF and Child Of The Moon.

IMO, BB wouldn't have been as great without the freakiness that still was there.

Perhaps not an absolute clean break from TSMR, but at least a major departue. There are indeed minor traces (or 'footsteps' as you call them) of some leftover mellotron ambience to be heard on Beggars - what I was referring to was the songs themselves and the overall vibe. I thought it was common knowledge that Beggars was a back to the roots, blues, and rock and roll album without any oddball songwriting or studio experimentation ala TSMR. As a matter of fact, you'd be hard pressed to find anyone who would call Beggars a 'psychedelic' album. But again you are right regarding some leftover traces of what came before which is only natural for most bands. Maybe I should have said in my previous post a massive growth spurt, a major departure, or a gigantic leap of evolution vs. an 'about face'. And as you know that evolution away from TSMR would then continue with Let it Bleed - seeped in the blues, country, gospel, and rock...not a trace of TSMR's psychedelia imo - they pretty much cut out the crap. And that evolution continued with Sticky Fingers - more of the same vibe of LIB. The evolution would then culminate with Exile - a tour de force of blues, country, rock, and gospel - and there you have the 'Big 4' considered by many to be their best. With all that said, it goes to the Stones credit that they can successfully embrace many genres of music and do it justice - sometimes it works better than others.

Well, we hear things differently here.

Maybe I wasn't clear. I'm not talking about mere small mellotron parts or residue off TSMR, but the overall vibe of tracks like JJF, Child Of The Moon, Jig Saw Puzzle, Stray Cat Blues, Parachute Woman and even SFTD.

The full transition to blues, rhythm and blues, rock'n'roll, country, americana didn't really happen before Exile, imo. Simply because it took time to make that transition, and because many of the tracks on albums like SF were from the 60s.

So, yes, it's a giant leap, but the overall freaky atmosphere is still there (and that's why BB is so great, imo).

Let's lay Their Satanic Majesty's Request aside here. I think what we're generally talking about is the Stones and psychedelia. Of course TSMR is the Stones' only true psychedelic album but they sure continued to flirt with the genre afterwards.

And yes, Child of The Moon, Stray Cat Blues, Jumping Jack Flash, Street Fighting Man, Sympathy For The Devil, Jigsaw Puzzle, Monkey Man, Moonlight Mile, Heaven, Continental Drift right through to Thru And Thru (especially the near 9 minute mix).
Listen to that crazed Velvets like guitar 'white out' at the end Stray Cat Blues and tell me that isn't psychedelic. Or that wild shenai on Street Fighting Man. Or that glissando-like guitar in the middle of Monkey Man that totally transforms the song and takes it to another level, almost worthy of an orchestra. These are all psychedelic flourishes and hangovers from 67.

You said it better than I did. Spot on, Mike

Yep, you nailed it Mike.

Drew

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Redhotcarpet
Jig Saw and Whos been sleeping here has some similarities in theme and mood.

The Stones never did a song called Jig Saw or Jig Saw Puzzle. They only did one called Jigsaw Puzzle.

I don't understand why people keep using the name of a song they never did.

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His Majesty

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GasLightStreet

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HMS
Child Of The Moon, just like We love You & Dandelion would have been a perfect fit for TSMR. That way it could have been a great album. The way it is, it´s partly great and partly disastrous.

And yes, there are traces of TSMR in Jigsaw Puzzle.
Even I can notice that

Child Of The Moon would've been a good fit... had they bothered to finish it.


But Jigsaw Puzzle having traces of TSRM? You don't notice things like that.

COTM did not exist at the time of TSMR being released.

They started it at the very last session for TSMR.

I've always considered psychedelia as just noise. Unlistenable at that, mostly. The Stones certainly achieved that with TSMR in places. The use of "different" instruments is not a qualifier for the Stones being psychedelic.

I don't think there is a fixed definition of what "psychedelic music" is exactly. There are certain aspects to music that could be called "psychelic", I guess, like:
"long droning noises", "use of echos and exaggerated reverb", "non-western instruments", "non-western percussion patterns", "long stretched vocal sounds", "repetitive melodies", "repetitive lyrics", "silly lyrics", plus all kinds of perifernalia like silly clothes, and videos with lame special effects.

To be honest, I never thought of JigSaw Puzzle, or Stray Cat Blues, or Heaven as psychedelic, but maybe certain aspects of psychedelic music, like the long droning sounds and echoos and reverbs and maybe in Mick's singing, are there. As a "modern" band that sort of combines Stones sounds with psychedelica Primal Scream comes to mind.

For me psychedelic music is any music that has the ability to raise your consciousness and take your brain on a journey. But of course that's completely subjective. What psychedelic is for me might be pap to the next person. It's all a bit of fun, innit.

I never could figure out how PET SOUNDS influenced SGT PEPPER.


Because having listened to PET SOUNDS, it's just... horrible.

How the Stones got into the SGT PEPPER territory is still a bit mind boggling. Even Keith thought TSMR was crap.


It's so unbelievable. It was so weird to make an album and not be on the road that it was totally UNLIKE recording. I liked a few songs, like 2000 Light Years, Citadel and She's a Rainbow, but basically I thought the album was a load of crap. That album was made under the pressure of the court cases and the whole scene that was going on in London at that time.
- Keith Richards, 1979


It's a fractured album. There are some good bits, and it's weird, and there's some real crap on it as well.
- Keith Richards, 1981

[timeisonourside.com]

They blamed Brian but it was he who wanted to return to their roots. And was promised more input on Beggars. I think this album is underrated and that goes for Gomper and the Lantern too. I agree with Dandie on Satanic aand Beggars. Interesting period.

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GasLightStreet
I never could figure out how PET SOUNDS influenced SGT PEPPER.


Because having listened to PET SOUNDS, it's just... horrible.

I agree. Even though I don't like Sgt Pepper either and I think is hugely overrated (A Day In The Life is about the only song that I like and even that is basically constructed around a gimmick), Pet Sounds is absolutely unlistenable.

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How the Stones got into the SGT PEPPER territory is still a bit mind boggling. Even Keith thought TSMR was crap.


It's so unbelievable. It was so weird to make an album and not be on the road that it was totally UNLIKE recording. I liked a few songs, like 2000 Light Years, Citadel and She's a Rainbow, but basically I thought the album was a load of crap. That album was made under the pressure of the court cases and the whole scene that was going on in London at that time.
- Keith Richards, 1979


It's a fractured album. There are some good bits, and it's weird, and there's some real crap on it as well.
- Keith Richards, 1981

[timeisonourside.com]

Well, they couldn't just keep on covering old blues and soul songs, they would have ended like The Animals and Pretty Things. So they had to write their own songs which meant learning the tricks of the trade from the Beatles (and maybe the Kinks). Which for a couple of years lead to a number of good pop songs with still a solid feel of rhythm & blues (Satisfaction, Get Off Of My Cloud, etc...) and a good album like Aftermath. But since the only guiding light were the Beatles and the only alternative was going back to covers, it's not so mind boggling that they ended up making the mediocre Between the Buttons and the 50% embarrassing TSMR. They just needed to find their own sound and feel, which took them about 5 years. The good thing about TSMR is that on certain songs they are getting close to that (Citadel for instance). What's really mind-boggling however is how, seeming out of the blue, suddenly they found "their thing" and rose from their ashes with JJF, Beggar's Banquet and everything that came after. That's the part that always impresses me: how from the depths of TSMR they managed to fly so high in less than a year's time, even though on TSMR there are already little glimmers of their future sound. (In that respect I like TSMR better than Bt. All of a sudden everything fitted, everything worked. Wow!

I think SGT PEPPER is a brilliant album. That's the problem with how they listened to PET SOUNDS and got... that out of it.