Released between Between the Buttons and Beggars Banquet, the Rolling Stonesâ€™ 1967 foray into psychedelia has often been heard as a divisive outlier. Recorded in sessions spread throughout a tumultuous year, and often relegated to also-ran status as a me-too derivation of the Beatlesâ€™ Sgt. Pepperâ€™s Lonely Hearts Club Band, the album hadnâ€™t the conceptual grandiosity to create such a stir. Worse, the bandâ€™s own indifference, exemplified by quotes printed inside this lavish four-panel album-sized package, hasnâ€™t redeemed the albumâ€™s image. But on this fiftieth anniversary, one can ask whether the album has been fairly assessed, and see if hindsight illuminates the work more clearly than the flashing, multicolored light shows of 1967.
First and foremost, Satanic Majesties was a clear break from the tough, R&B-driven music on which the Stones had minted their reputation. The overt use of mellotron, oscillators and studio manipulations gives this album textures unlike any of the bandâ€™s other releases. And while drugs certainly influence other Stones recordings, none are so entrenched in psychedelia as this album. 1967 was a year of band turmoil, with Mick and Keith having been arrested on drug charges in February, Brian Jonesâ€™ girlfriend leaving him for Richards in March, Jones being arrested on drug charges in May, and the bandâ€™s manager, Andrew Loog Oldham, leaving the fold. And it was at an intersection of personal tribulation and acid-drenched communal ethos that the Stones recorded this album.
The sessions were chaotic and weighed-down by hangers-on, and with Oldham abandoning ship, the band was left to produce themselves. The results were uneven – with jeweled classics rubbing elbows with uneventful jams. The albumâ€™s release on December 8 was foreshadowed by the single â€œIn Another Land,â€ written and sung by bassist Bill Wyman. The tremelo-processed vocal, harpsichord, mellotron and dream-within-a-dream lyrics fit the albumâ€™s mood. With the A-side credited to Wyman (and with the B-side, â€œThe Lantern,â€ credited to the Stones), the single scraped into the Top 100, leaving the album to generate its own publicity.
The LP performed well commercially, reaching #2 on the U.S. chart with the help of a late December single of â€œSheâ€™s a Rainbowâ€ backed by â€œ2000 Light Years From Home.â€ Critics were mixed, and though the album earned a gold record in America, it seems to have been largely forgotten by the Stones the moment it was released. The studio recording of â€œ2000 Light Years From Homeâ€ was used to introduce the groupâ€™s 1972 stage show, but it wasnâ€™t until 1989 that they performed it live, and it was another eight years before they performed â€œSheâ€™s a Rainbow.â€ The rest of the material remained at rest on record, and the groupâ€™s return to rock â€˜nâ€™ roll with 1968â€™s â€œJumpinâ€™ Jack Flashâ€ and the rock, blues and country of Beggars Banquet, rendered Satanic Majesties an anomaly.
Beyond the hit single, the album has many charms. â€œSing This All Together,â€ while not of the caliber as the hit single, opens the album with group vocals that echo the feeling of communal opportunity that was in the 1967 air. The trackâ€™s middle jam is edged along by percussion and horns until the vocals return and lead into the memorable guitar-riff that opens â€œCitadel,â€ â€œIn Another Landâ€ and the terrific â€œ2000 Man.â€ Side one closes with the return of â€œSing This All Together (See What Happens),â€ which, unlike the taut reprise of â€œSgt. Pepper’s Lonely Hearts Club Band,â€ is an unstructured eight-minute improvisational jam that returns to the album-opening mood before segueing into a theremin rendition of â€œWe Wish You a Merry Christmas.â€
The indulgence that closes side one is redeemed by the perfection that opens side two. Introduced by a carnival barker, Nicky Hopkinsâ€™ music-box piano and John Paul Jonesâ€™ string arrangement key the brilliant and beautiful â€œSheâ€™s a Rainbow,â€ with bass and acoustic rhythm guitar reigniting the song each time it slows. The groupâ€™s blues roots shine through â€œThe Lantern,â€ particularly in the blistering electric guitar riffs, but the tablas and flute jam of â€œGomperâ€ hasnâ€™t aged well. The latter pales in particular comparison to the inspiration of â€œ2000 Light Years From Home.â€ Itâ€™s this latter track, with discordant piano, mellotron, theremin, dulcimer, oscillator flourishes and a lyric of growing physical and emotional distance that will haunt your memory long after the recordâ€™s finished playing.
The music hall closer, â€œOn With the Show,â€ seems to both mimic the frame of Sgt. Pepperâ€™s and anticipate that of Magical Mystery Tour, and provides an entertaining coda to the album. The albumâ€™s psychedelic underpinnings glow on many tracks, including the bandâ€™s preceding hit, â€œRuby Tuesday,â€ and singles recorded during the Satanic Majesties sessions, â€œWe Love Youâ€ and â€œDandelion.â€ Unfortunately, these period tracks arenâ€™t included as bonuses – nor are the outtakes and demos that have been bootlegged elsewhere. But whatâ€™s here was freshly remastered by Bob Ludwig at Gateway Mastering (2016-mono, 2017-stereo), and pressed onto both vinyl (from a lacquer cut by Sean Magee at Abbey Road) and hybrid SACDs.
The two vinyl LPs and two SACDs are housed in a heavyweight, four-panel fold-out cover, with the albumâ€™s original lenticular art restored to the front cover and the gatefold art to the inside. A 20-page booklet includes an essay by Rob Bowman, and candid photos from Michael Cooperâ€™s original cover shoot photo session. The package is hand numbered, and the pressing is advertised as a limited edition. So whatâ€™s actually new here? The mono master is the same as was used for the 2016 box set (vinyl and CD), but itâ€™s reproduced here with a new vinyl lacquer, and as a first-ever high resolution mono release on the hybrid SACD. The stereo remaster is new, as is its vinyl lacquer. The lenticular cover art isnâ€™t new, but has been out of circulation for many years.
For those whoâ€™ve already collected the original mono and stereo vinyl, reissue stereo vinyl and SACD, and reissue mono vinyl and CD, the wholly new elements here are the high-resolution layer on the mono hybrid SACD and Bob Ludwigâ€™s new stereo remaster. Are they worth the duplication? That depends on how much you value this album – particularly the punchier mono mix – or whether having mono, stereo, vinyl, redbook and high resolution digital in one three-pound package simply tickles your collectorâ€™s fancy. The absence of contemporaneously recorded singles, alternates and outtakes may disappoint some, but having the original dozen tracks, mono and stereo, with lenticular cover art intact will be a treat for the albumâ€™s faithful fans. [Â©2017 Hyperbolium]