(Single) Jumpin' Jack Flash / Child of the Moon

Jumpin' Jack Flash / Child of the Moon

Welcome back from the psychedelic era. It was pretty short lived, and there was barely a fade in or a fade out.

Jumpin' Jack Flash

Well, look at that. Another perfect song, in not just composition and playing but in length. This doesn't overstay it's welcome at all. In fact, it makes me wish for just a bit more.

I like to mark this era as the era where Jagger found his groove. He found a place for his voice to fit in perfectly like a puzzle piece. At least in my opinion. Everything seems to fit into place better than anything pre-Satanic. 

It's also a fun song. A fun, enjoyable, and rocking song. And that should be the essence of rock.

As a guitar player who enjoys my E standard tuning, and sometimes my Drop D tuning, this song also pisses me off. 

10 / 10

Child of the Moon

I hear that saxophone, don't try to hide that from me. 

Yeah, a bit of a forgetable song, but at the same time a very good song. I would use solid if I didn't associate that song with average, because this is more than average. And it's definitely a great place for a B-side, especially sided with Jumpin' Jack Flash. It has that same sort of feeling, just slower. I'll even go as far as to say it's a gem lost in the corn piles of Stones material.

8.75 / 10

18.75 / 10

An essential Stones song for any fan, but I don't need to tell you that. History has already made sure of that. So many movies soundtracks.

(Single) She's a Rainbow / 2000 Light Years from Home

She's a Rainbow / 2000 Light Years from Home

The second single from Their Satanic Majesties Request, and the only one released after the album.

And how sweet it is.

She's a Rainbow

Of course, the diamond. She's a Rainbow is arguably one of the nicest, well organized pieces the Stones have ever recorded. 

10 / 10

2000 Lights Years from Home

While not at the level as She's a Rainbow, 2000 Light Years from Home is in a level of it's own. A fantastic effort from the Stones.

10 / 10

20 / 20

Another perfect single, and in the same year. I'll also call this the smartest Rolling Stones single yet, using two of the best songs off of Their Satanic Majesties Request, and two of the best songs as of recently (recently meaning 1967.)

Their Satanic Majesties Request

Well, its time. I've been ready for this moment. The moment we dive into the peak of Psychedelic Stones.

The moment I've probably over-hyped myself for.

An album with mixed views by both consumer and producer. This is Their Satanic Majesties Request.

Sing This All Together

A charming song for the most part. The part where they, of course, sing the song all together, is very charming, and it my favorite part. You get a few backwards guitars in the middle breakdown, but just a few.

8.5 / 10

Citadel

Citadel’s a bit hectic, both composition wise and lyric wise, but I do like how the guitar sounds. It sounds like they weren't sure what to do.

7 / 10

In Another Land

In Another Land works better as an album track. As I've said, I love the harpsichord on this song, and it progresses well. I forget if the single version was in mono or stereo, but the stereo mix really helps it with that psychedelic sound, with both sets of vocals on each side. The backing vocals do the same, but one side is much stronger and you can hardly notice the other.

Oh, and for the album version, we get snoring. Wyman snoring. He does a lot on this song even if he doesn't realize it.

8.75

2000 Man

I think this song could pass off as a great Stones song. In the beginning it’s a sweet song that could fit in anywhere, but afterwards it becomes a hard hitting song with the works; loud drums, guitar fills, etc. A little fine tuning could have made this song much better.

9.5 / 10

Sing This All Together (See What Happens) (Including Cosmic Christmas)

The idea of a long song on a psychedelic album scared me. Especially when it was under the Rolling Stones name, since I have not been too much of a fan of their longer songs. They just seem to extend things longer than they should.

Think of this song as a more musical Revolution 9. Take ideas and mash it together. Create a colorful mix of instruments. Of course, colorful isn't always good.

The bits of vocals (yelling and such) almost seem forced, which I’m sure they were judging by the way this album was created. I’m not going to say there’s nothing good about this, but throwing everything all together creates a mess. Sometimes, something fun pops up in this song, like the rhythm changing and moving around, but everything else is just trying to fill in space.

Like most psychedelic art-y songs like this, you’d probably never say “you know, I’m feeling good, today’s a good day to put on Sing This All Together (See What Happens).”

Is it even fair to rate this song? 5.5 / 10

She’s a Rainbow

Maybe the last song was to make this song seem even better.

Because I would suggest this album to everyone just because of this song. This wonderful song.

The sweet, sweet piano is accompanied by a strong acoustic and drums, and when it’s alone it’s followed by violins and a mellotron. Both lead and backing vocals are delightful, as well as everything in the middle. Like that orchestration.

I’m at a loss for words about this song. She’s a Rainbow is the most lovely of all Rolling Stones songs.

20 / 10

The Lantern

Such a simple song in comparison, but it’s a goodie. I've said before that it’s the Stones sound clashing with the psychedelic sound. Being made an album track, as well as being put after She’s a Rainbow, let me enjoy this song a bit more.

7.75 / 10

Gomper

The Urban Dictionary describes a Gomper as an unattractive person and as “the very worst song the Rolling Stones ever recorded.”

The song combines a small amount of Indian music that became increasingly popular in the late 1960’s, as Harrison expressing his enjoyment in it through his songs. Maybe it’s that exposure that helped me appreciate the song. Of course, a song like this requires a specific taste, so it’s not hard to imagine why people wouldn't enjoy it. Also, Brian played an electric dulcimer.

It’s just not fair to rate it close to the other songs.

8 / 10

2000 Light Years from Home

I was a bit wary with the beginning of this song, but then it burst open to reveal a great song. Two of the best bits of this song revolve around, of course, the Mellotron providing strings and the drumming of Watts. The vocals also add a nice touch to what’s probably the best effort put into a psychedelic rock song by the Stones

10 / 10

On with the Show

I thought The Beatles put Sgt. Pepper’s Lonely Hearts Club Band at the beginning of their album (even the reprise wasn't at the end.)

Oh wait. I’m still at the Stones.

I guess I can dissect this one. Every instrument compliments itself, from the fills on the guitar to the fantastic drumming by Watts, to the mellotron. The bass even plays a nice melody. Jagger’s effect-vocals are a bit out of place, but they go away.

The album ends with the scene of a honky-tonk piano in a fancy setting with conversations. But I guess the song did what it wanted to do. It’s almost simple in it’s presentation, and I think that’s what makes it nice.

8.75 / 10

The album is good. Far from the best, but it’s a great detour from their normal music.

It does what it wants, and is able to present itself well despite having no producer to guide the Stones to productivity, as well as how horrible the sessions were.

This album is well worth the listen. While only two songs made the Stones live setlist (both songs had short lived life on those setlists, as well), the album is interesting and definitely works.

Also buy it for She’s a Rainbow.

(Single) In Another Land / The Lantern

In Another Land / The Lantern

Released
December 2, 1967

You can try to dance around the psychedelic roots in We Love You and Dandelion all you want, but have fun trying to say this stuff isn't part of the psychedelic culture.

This is a single released a week before their newest album, Their Satanic Majesties Request. An album that I am going to enjoy.

In Another Land

(Bill Wyman)

Listen to this song. Listen carefully. Bill Wyman sings. Bill Wyman writes. The fangirls (and boys) rejoice, because it’s a nice song that flows well, and continues the fun 1967 Stones-harpsichord combo I've come to enjoy.

But that’s all I can say for this song, unfortunately. Definitely not bad, but not too interesting. Mick Jagger gets pushed to the back, doing only backing vocals.

Ha.

8.75 / 10

The Lantern

This is the Rolling Stones sound clashing with the psychedelic sound, but with the Stones sound coming out on top. It’s a neat little combination, with some sweet verses with an acoustic guitar that rushes into a drum fill, alongside a nice little piano.

The song itself isn't fantastic, and dragging it out for 4 and a half minutes makes it  drone on, but it’s definitely a great b-side.

7.75 / 10

16.5 / 10

I don’t really want to treat this as a single, but rather as a teaser. This is what the next album will sound like. The songs themselves don’t really stand up for themselves too great, but they’re definitely worth checking out if you

1. like Bill Wyman
2. want a change of pace from what you know from The Stones

(Single) We Love You / Dandelion

We Love You / Dandelion

Released

August 18, 1967 (UK)

September 2, 1967 (US)

Let’s remember the last single The Rolling Stones released. Let’s Spend the Night Together / Ruby Tuesday. Let’s Spend the Night Together was the recent sound of Rock and Roll, and Ruby Tuesday was a pop beauty.

So what is going on here.

I’ll tell you what’s going on here. We have just entered a short-lived period of The Rolling Stones that dives into psychedelic music.

It was also hard to talk about, because psychedelic is pretty hard to talk about. Most because I love it, and mostly because it mixes so well together that you can't talk about one thing without it being a description for the rest of the song.

We Love You

Some people mark the psychedelic age with Let’s Spend the Night Together, Flowers, or even as far back as Between the Buttons. I mark it here.

That piano hits hard. I could end it there, and give this a 10 / 10. But let’s just move forward.

I love this song. The piano is dark and so strong, stuck within a sandwich of beautiful vocals and a mellotron, with an icing of sound effects supposed to represent that one time they were thrown in jail for drug charges and an overall “too bad police, we’re always going to win” message. The song is musically strong and beautiful, and is a lot of fun to listen to.

That Dandelion snippet at the end is a nice addition. Something so small, yet so interesting and different.

Oh and John Lennon and Paul McCartney do backing vocals on this song. Need I say more?

10 / 10

Dandelion

If it’s not Brian Jones doing some exotic instrument that makes the song, it’s the harpsichord or piano played by Nicky Hopkins. On both sides of this single, his part is really prominent and, without it, the song would be nothing. That’s not to say Jones isn't doing anything, as he as an oboe part, which can almost classify as a solo.

I like this song, and I don’t have any problem with it. While I feel like it doesn't deserve a full 10 / 10, I can’t find any reason why it shouldn't.

And then it plays that dark piano from We Love You, like this record is supposed to go around in a circle. And I love it.

10 / 10

20 / 20

The Rolling Stones venture into psychedelic pop and leave victorious.

I love everything about this.

Pink Floyd - The Bootleg "Under Construction" vs. The Wall Immersion Box Set

Under Construction

What Remains Unreleased

While I can’t figure out when Under Construction was “released,” some of the artwork informs us that most of this material ended up being traded around in 1999. Then in 2012, they re-released The Wall in an “Immersion” box set, containing 2 discs full of demos. You’d think that’s enough space to fit all of the material in this demo in, and you’d be right. However, there still remains some treasures unreleased found on this album. I went in and found what is and what is not released, or was edited up.

01 – In the Flesh?

                Released on Disc 5, track 36.

02 – The Thin Ice

                Released on Disc 5, track 37.

03 – Another Brick in the Wall

                Released on Disc 5, track 38 with more of an intro and the beginning of The Happiest Days of Our Lives at the end.

04 – The Happiest Days of Our Lives

                Released on Disc 5, track 39 with a shorter intro, which is found on track 38. Contains more outro found on the next track on the bootleg.

05 – Another Brick in the Wall

                Released on Disc 5, track 40 with less of an intro, which is found on track 39.

06 – Mother

                Released on Disc 5, track 41. Metronome not present.

07 – Goodbye Blue Sky

                Released on Disc 5, track 26. No ticking in the beginning.

08 – Empty Spaces

                Released on Disc 5, track 29.

09 – Young Lust

                Not released.

10 – One of My Turns

                Released on Disc 6, track 16.

11 – Don’t Leave Me Now

                Released on Disc 6, track 17.

12 – What Shall We Do Now?

                Released on Disc 6, Tracks 18 and 19 (Empty Spaces & Backs to the Wall)

13 – Another Brick in the Wall

                Released on Disc 6, track 20.

14 – Goodbye Cruel World

                Released on Disc 6, track 21.

15 – Is There Anybody Out There?

                Released, with more of an intro, on Disc 6, track 1.

16 – Vera

                Released, with more of an outro, on Disc 6, track 2.

17 – Bring the Boys Back Home

                Released, with more of an intro, on Disc 6, track 3.

18 – Is There Anybody Out There?

                Partially released at the end of Disc 6, track 2. The second half remains unreleased.

19 – Is There Anybody Out There?

                Unreleased.

20 – Comfortably Numb

                Semi-Released on Disc 6, track 5 and 15. Both tracks (possibly) use the same instrumental backing, with different vocals for each. Bootleg’s track 20 contains the guitar solo added in on track 15. Track 20 also includes different vocals.

21 – Hey You

                Released on Disc 6, track 4.

22 – The Show Must Go On

                Released, without the footsteps in the beginning but with a proper ending, on Disc 6, track 10.

23 – In the Flesh

                Released on Disc 6, track 6.

24 – Run Like Hell

                Unreleased instrumental without crowd chants at the end.

25 – Waiting for the Worms

                Released on Disc 6, track 8.

26 – Stop

                Unreleased.

27 – The Trial

                Unreleased.

28 – Outside the Wall

                Released, with a longer intro, on Disc 6, track 13.

And there you have it.

If you ever want to listen to the Under Construction album, I could possibly, maybe give it under request. No links will be on this website for that stuff, because the copyright police do not like that.

(Album) Flowers

Flowers

Released
June 26, 1967

How do I classify this? And where do I start?

Flowers is technically a compilation album, but it’s more than that. Not only does it contain unreleased songs from the Aftermath sessions, it contains songs only released on British editions of albums. It’s an album to tie up loose ends, and that’s just fantastic. It only took until 1967 for this to happen. I think the most important part of this album is that every album after this remained the same between regions. And that’s just wonderful.

An Ode to Loog

Many other things happened. In the Rolling Stones timeline of albums, this is the very last album to be produced by Andrew Loog Oldham (and that’s only because it’s an album of old recordings), a relationship that started with The Rolling Stones, staring Oldham and the Stones’ business manager Eric Easton as producers, before The Rolling Stones No. 2 became Oldham’s lead producer role.

The producer job was his first. Before the Rolling Stones, he was more of a publicist, promoting both Dylan and The Beatles in 1963. Oldham was also the one to sign the Stones up to Decca, trying to get an “anti-Beatles” band (and rightfully so, since Decca turned down The Beatles.)

Outside the band, Oldham lived on drugs and had a bad-boy reputation, as in he had a bodyguard to threaten people. The drugs part of Oldham’s life was one of the reasons for his departure with the Stones. Before his official departure, however, he had sold all his management position to Allen Klein, the master of stealing everything The Stones wrote pre-1971 and then defrauded The Concert for Bangladesh GEORGE HARRISON TRIED TO PUT ON A NICE CONCERT AND IT IS STILL ONE OF THE BEST AND YOU DID THAT.

How do The Rolling Stones see Andrew Loog Oldham now? According to credible source Wikipedia, who’s page on Andrew Loog Oldham is filled with missing citations, has this quoted from The Rolling Stones’ website, a quote that I couldn't find:

“Accounts regarding the value of his musical input to The Stones recordings vary, from negligible to absolute zero.”

The album has several things to note in it’s selection of music:

• Songs from British albums that didn't make it anywhere else in the American catalouge.
• An alternate mix of Out of Time, originally released in 1966.
• Songs from the Aftermath sessions saw their first release: My Girl (with strings overdub in 1966), ‘Take It or Leave It”, “Ride On, Baby” and “Sittin’ on a Fence”
• Brian Jones, master of exotic instruments, on a Koto.

So I’ll be writing some things on the new songs, and even less on the already-reviewed songs.

Ruby Tuesday

It’s on this album to draw attention. Both released as a single and in the American edition of Between the Buttons. Still as beautiful as before.

10 / 10

Have You Seen Your Mother, Baby, Standing in the Shadow?

Less popular than Ruby Tuesday, although on the album for draw value. Originally released on September 23, 1966 in the UK, 24th in the US, and again on Big Hits (High Tide and Green Grass). Still hard rocking. With those little trumpets.

8 / 10

Let’s Spend the Night Together

I guess I should expect this: it’s not a new album. It’s a compilation of good songs. At this point, however, maybe these songs are the main draw, and the “new” songs are a “thank-you” for buying. I was thinking it’s the other way around. Originally released in 1967, and then again in America on Between the Buttons. A bit weird separating this and Ruby Tuesday in exchange for a lesser known Have You Seen Your Mother, especially since these two were double A-side and fresh. The song, of course, is still the same.

9.5 / 10

Lady Jane

My sweet dulcimer. Released on both regions of Aftermath, and again on July 2, 1966 in the US as a b-side.

8 / 10

Out of Time

Originally released on Aftermath, this song (apparently) has a different mix than Aftermath. But it’s ok, because the US never got this song on their Aftermath. So now we have two versions of this out there, but it’s fine because the original mix was two minutes longer. The one thing I didn't like about the original was that it ran too long, and here we go, The Stones do know what’s right. So guess what, I’m giving this a higher rating. Because I like it.

9.5 / 10

My Girl

Now, My Girl is a great song for soul and blues artists. I like this song from Otis Redding. I like it from The Temptations. I don’t like Phil Collins’ version of it. The Stones version is pretty good. Thanks to headphones, the strings really do seem out of place. But other than that, I think the Stones did a good job on this cover. And that’s saying something because I've always seem to hate on their soul covers. There’s enough blues on this for the Stones to make it work. Jagger doesn't overdo it, and the backing vocals just add that soul flavor to it.

8 / 10

Backstreet Girl

Released on the British Between the Buttons, and brand new to the United States. This is a song I had trouble explaining last time, but I like how the mix of soft acoustic guitar and accordion brings in ease of mind. And Jagger is just soft and wonderful.

9 / 10

Please Go Home

Coming out of Backstreet Girl we go into another Between the Buttons, new-to-US song, but this time a hard rocker with tremolo guitar and ghostly echo vocals every time the title is sung. Some say the Stones’ first taste of psychedelic rock, but I say not yet.

8.5 / 10

Mother’s Little Helper

Great idea to throw this in here to keep interest in the album. I know my interest was starting to wane. On paper though, it does seem weird to separate it from it’s single brethren on the A-side, but I think it really draws out the power of this song.

10 / 10

Take It or Leave It

British Aftermath release, and it’s only here to tie up loose ends and to remind people this existed. Because I forgot. It’s aged well, and the organ keeps the song up to par with their current product, even if it is pushed to the back. The guitar has been doing much of the same as the rest of the songs without a big guitar part. But those drums or nice. (this larger talk was brought to you because I wrote nothing on it back in Aftermath. I am sorry.)

8.5 / 10

Ride On, Baby

This song makes more sense on this album than it would on Aftermath somehow. Probably the harpsichord. And speaking of exotic instruments, here’s the Wikipedia list for Brian Jones’ instruments on this song: Harpsichord, Marimbas, Autoharp, Congas, Rickenbacker 360/12, backing vocals. For that effort alone, this song deserves more than a throwaway release on Flowers. But to fit everything together with a rocking drum beat, it’s a shame it wasn't released earlier.

9.5 / 10

Sittin’ On a Fence

Originally given to Twice as Much, which they released in 1966 for a top 40 hit. It’s a very simple song, with the lead acoustic, played by Jones, copying the vocals of Jagger while doing it’s own thing, before giving way to a harpsichord because the limit for harpsichord hasn't been crossed yet. Other than that, it’s a nice acoustic piece to end the album.

9 / 10

107.5 / 120

Now time for my only complaint: this album is a US only release (until 2002.) That means that despite the catching up it attempts to do, it creates more missing songs for the UK.

But let’s look past that, like we've been doing for the rest of these albums that differ between US and UK. For a compilation album, it’s a must have. The Stones more recent hits, mixed in with “new” releases and semi-hits (Songs that weren't really hits per say, but songs that were delicately put together and that have enough power to hold up.) Tie this up with Big Hits and you've got a fantastic set of Stone songs, and enough to cover the entire Stones catalogue up to this point without buying actual albums.

And why wasn't You Better Move On not on here.

(Album) Between the Buttons (UK)

Between the Buttons (UK)

Released
January 20, 1967

Between the Buttons, released before the Rolling Stones’ main venture into Psychedelic music and after their releases of Rock and Roll and Rhythm and Blues. It’s an album in a tough spot, and even worse, the album was not even promoted properly. This results in Between the Buttons being almost forgotten, and even worse, without much of a backstory.

The only backstory this album has is that the songs were recorded here and there, and they had overdubs added on over and over again, creating an art easel with so much paint added on that the original idea was lost. However, what we do have is an album with a focus on perfection. Were they close to this idea? According to Mick Jagger himself, they were far from it.

The other part of the backstory comes from the album itself and not the songs. The album art comes from some fancy homemade filters and Brian Jones being a dick and not complying with the camera man. For some reason, the idea of Jones not caring is the exact opposite of what the “ethereal, druggy feel” is supposed to be.

Oh, and Jagger he hates everything about the album except for Back Street Girl, a song that ended up being excluded from the US release. Tough times for Jagger.

Yesterday’s Papers

(Every single song was credited to Jagger / Richards)

Although credited to Mick Jagger and Keith Richards, this song is solely written by Mick Jagger. Supposedly, this song is about Jagger’s ex-girlfriend Chrissie Shrimpton, who broke up after she caught Jagger cheating (she would later attempt suicide through an overdose.. Probably many times. The song also contains a repeating theme for Rolling Stones songs about women, a certain mistreatment and idea that women are disposable.

Finally, we can get to the music. I just needed all the backstory I could get. This song gives us a peek at where The Stones are going to, featuring vibraphones and harpsichords. There’s a couple of things to note on this song: of course the vibraphone with an echo, but also and a semi-solo played by Richards on a distorted guitar. On top of everything is Jagger’s vocals, soft and steady throughout the song (I’ll also mention I love the harmonizing in the backing vocals.) Yes, the harpsichord is there, but it’s not in a big enough role to really mention. All together, it makes for a nice song and a different, fresh sound.

9 / 10

My Obsession

Backstory? Mick Jagger kinda likes this song.

The first thing my ears were drawn to was the heavy bass, that I really wish was a little more prominent in the mix. The guitar mixes well with the bass as well. There’s not much else to say about this song, unfortunately. It has potential. I can see Jagger having fun with this song, but other than that there’s only potential and nothing else.

7.75 / 10

Back Street Girl

It’s a very interesting song in all the good ways. The lyrics can be interpreted as another attempt to put women down, but we’re going to look past that and instead try to explain the feeling of this song. The vibraphone comes into play, but it’s an accordion that makes this song, as well as a soft acoustic guitar. The song is something completely unexpected from the Stones, and instead sounds like something someone would hear in the streets of Italy. It’s peaceful, it’s new, and it involves a peaceful and somber Jagger, and for that I appreciate this song.

9 / 10

Connection

It’s a rock and roll song with a prominent piano and a simple rhyme scheme. As simple as the idea sounds, it works very well, and is a very well done rock song without it getting out of control. And a very good snap back into reality from these different songs.

9.5 / 10

She Smiled Sweetly

The organ this song has cannot help this song. Jagger’s vocals are weak, and the length is where it should be, but other than that the song is pretty average.

7 / 10

Cool, Calm & Collected

This song brings out some neat noises, with a great bass line, a guitar that rides along doing it’s own thing, and the piano that has followed all of these songs brings a kinda ragtime feel, which gets even better when a harmonica comes in and speeds the song up to the end.  Also, kazoo solo. We’re at that point in music where we’re getting kazoo solos, and I love it. It’s a rock song with a foot-tapping beat, and while I don’t care much for the chorus, It’s a fantastic song.

9.25 / 10

All Sold Out

It’s a weird song, to say the least. Weird in the composition sense. The guitar sounds very nice, and the drums finally get a chance to sound good. If only this song wasn’t mixed badly, because I’m sure there was a flute somewhere. It’s also not an impressing song. Good song for filler though.

7.75 / 10

Please Go Home

It’s an odd mix of blues rock and psychedelic influences. Two guitars play a hard, distorted beat while the drums keep on playing their rock noises. The chorus plays with echo, the verses play with blues, and Brian Jones plays with an oscillator. It’s fun to be had, although it’s nothing to get excited over.

8.5 / 10

Who’s Been Sleeping Here?

I have a question of my own, why does the first guitar sound like it was recorded poorly? The song features a small harmonica, and anything else (like that piano) has been mixed in with everything else. Its got silly lyrics and a bass that begs to be heard, but that doesn't mean it’s interesting.

7 / 10

Complicated

The song starts off with drums before going into a fuzz guitar. The most “psychedelic” sounding song in the album, with an organ that plays something beautiful, but at the same time it’s the quietest instrument in the song, and that’s a shame. Besides that, Watts plays a strong drum beat, the both sets of vocals fit perfectly, and the song flows perfectly.

9 / 10

Miss Amanda Jones

This song is easily compared to the songs that The Stones used to play early in their career, with a guitar playing fast power chords and a second guitar doing short riffs. Once again, an organ comes into play, but it’s hardly noticeable, and once again, that’s a shame. A great song.

8.5 / 10

Something Happened to Me Yesterday

Now this is a magical song. Not because it’s about LSD, no shh ignore that for now. There’s several strange things about this. It contains nonchalant whistling, Brian Jones on an amazing saxophone (accompanied by a bright brass section, and Brian Jones doing vocals on the chorus. It’s quite an amazing composition, with so much things to note. It really plays on the bright LSD-type feeling, both in lyrics and style of the song. And, a shock, everything in the mix works. Even Keith Richards, who fits right in with his lead vocal introduction. And finally, we get a spoken exit, which ends the album in an elegant manner, if only the whole album felt like this.

9.5 / 10

I entered the album with low expectations. Several things were stacked against this album: Jagger hating it, me being told it’s a bad album, and I haven’t even heard of the songs beforehand except for Yesterday’s Papers. What shocked me, however, is finding out this album is an underlooked Stones album sandwiched between two different periods. Their “transition” period, really.

Almost all the songs are unique enough and strong enough to hold their own. Between the dabbles in psychedelic / baroque and heavy filters, the album rose above my expectations going in and had solidified it as one of my favorite Stones albums since Aftermath, and that’s a large statement. The album is not without it’s problems, which mainly stem from the mixes of the song. I guarantee the original, pre-remastered songs were much worse off, but most times certain instruments are just lazily added into the song. The drums, which have been very strong as of lately, are barely noticeable. Interesting instruments, like the harpsichord and the organ, disappear in the mix despite them having an important part in the song.

That being said, the songs are either good or bland. Mick Jagger doesn’t sound as inspired as usual, and everything sounds so one-leveled. This is good for some songs and kills other songs.

92.75 / 120

The album is very nice and unique, but none of the songs really make a lasting impression. At the time of listening, however, it makes for a nice experience. All together, it’s a great mix of songs with a large selection of what to listen to.
I can't say I recommend it, though. The album won't be for everyone, and especially not for the casual Rolling Stones fan (I think, because by that I mean people who only ventured into their hits.) But if you're looking for something new, look no further.