(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.

(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.

(Single) Ruby Tuesday / Let's Spend the Night Together

Ruby Tuesday / Let’s Spend the Night Together

Released
January 13, 1967
January 14, 1967

Probably the most interesting Rolling Stones release so far for the UK, and I would say the same for the US if it wasn’t for Got Live If Ya Want It!. As bad as it is, you can’t deny that there’s a lot to say about it.

The reason for me saying that is that this release is a double A-side single. An interesting concept, coined by The Beatles for use in their single Day Tripper / We Can Work It Out, is not when both sides are hits, but rather when both sides were predicted to be hits (and promoted as such.) While before Day Tripper there were times when the B-side of a single charted higher than the A-side, they were still promoted as a b-side (but that probably changed when the record company realized they could make even more money from both sides.)

The Rolling Stones have every right to promote this as a double a-side. This single is special, and I’ll try my best to give you every piece of information on it that I care to read.

Ruby Tuesday

(Jagger / Richards [and Brian Jones])

A song written by Keith Richards (with no involvement by Jagger), and composition by Brian Jones,  about his current girlfriend Linda Keith. At this time, she had left Richards and went for Jimi Hendrix of all people, and started to venture with drugs. Richards, whom I’m sure had many encounters with certain  narcotics at this point, decided the best way to get her back is to tattle to her parents. Instead of going up to Richards and expressing her gratitude, like Richards probably expected, it gave her another reason why leaving him was a good idea.

Now we can get into the song itself, and what a song. And how do I even explain the beauty? It’s even harder to explain the way it was made. It involves Keith Richards and Bill Wyman on the same contrabass, accompanied by a piano played by Brian Jones and the Jagger’s vocals (as well as a recorder, also played by Brian Jones.) The song goes between these beautiful, soft verses to a soft rock chorus with drums and a slight 12-string acoustic. The instruments flow so naturally together, even the recorder is played to perfection and never steals the show. The contrabass shares lead to Jagger’s tender vocals during the verses, then makes way for the soft rock chorus (and a real bass.)

Ten out of Ten.

Let’s Spend the Night Together

(Jagger / Richards)

This song contrasts the other song, but has another interesting tidbit - a couple police officers noticed the front doors to the recording studio were open and walked in to see if everyone was ok, and Jagger ended up using their batons for a musical instrument. Finally, radio stations decided not to play this song too much because of sexual implications, but that really should be expected by The Stones at this point (but for some reason in 2006, China banned the use of this song during their performances.)

The song’s main focus is in it’s piano, played by Keith Richards. Sneakily played by Brian Jones is an organ, and despite having a relatively small part in the song, makes the song. The Watts’ drumming is fantastic, as it’s been for a while now, and it really carries the song along in a part as equally important as the piano. And finally, the vocals are as rocking as a rock and roll song should be.

However, I can’t help but feel something is missing. Maybe because it’s being overshadowed by Ruby Tuesday. Even without Ruby Tuesday, it just sounds like a rock song to me. Maybe it’s because Richards plays the bass and Bill Wyman is nowhere to be seen (that’s not the reason, but I just wanted to point that out.) Whatever it is, I just can’t put my finger on it. It’s still a great song, but I wouldn't call it perfect in any means (except in Watts’ drumming.)

9.5 / 10

I can safely call this single the greatest single the Rolling Stones have ever produced to this point. While I prefer several Rolling Stones songs over Let’s Spend the Night Together, the album itself has enough punch and power to be fantastic and trump other Stones singles. The publicity from their Ed Sullivan performance and the #1 spot in the charts for Ruby Tuesday only helped this single tenfold.

19.5 / 10 I would, and will, highly recommend

Also speaking of Ed Sullivan.

January 15, 1967:

The Rolling Stones go onto Ed Sullivan show to perform their recent release, and hit, Ruby Tuesday and Let’s Spend the Night Together. Since the song was too sexual for radio, mean old Ed Sullivan was also in the same boat and asked Jagger to change the lyric. Also, to play the songs with pre-recorded instruments to mime to (but live vocals.)

First is Ruby Tuesday, and he band is dressed to the fashion of 1967, and Brian Jones is forced to mime a recorder and Keith Richards is forced to the piano miming. In all honesty, Brian Jones does not look well. Watts is also not impressed, and I can’t say I like the idea of Jagger doing his flashy performance during this song. But I guess it’s what the people want. Actually, I hate it for this song.

Meanwhile Keith Richards plays his lonely contrabass. By himself. In sub-par synchronization with the music. And everytime the camera shows Charlie Watts, he looks like he wants to kill someone. Or be somewhere else, it’s the same face really. But I’d want to kill someone if I had to pretend to hit the cymbal without actually touching it. It’s hell.

Going into Let’s Spend the Night Together, I feel even more sorry for Charlie Watts. Also, everyone has their instruments again. And Jagger dances, but it’s acceptable now because it’s not a soft, sweet song.

Jagger rolls his eyes when he has to sing “Let’s spend some time together.” Because censorship. But he manages to throw in the original lyric, because  rebels. And the song cuts off and everyone looks silly. Because time restraints.

Finally, while we don’t have this on film sadly, I can tell you the slipped lyric wasn't the reason The Rolling Stones were asked not to return. It was because the next time they went on stage, they were dressed as Nazis. And now you know, and knowing is half the battle.

Decided to throw that little bonus in there for reaching this point.
And yes, I call it a contrabass. It's the proper way of calling it, and not a double bass. I've had an orchestra background for 7 years now, so go away.