DEEP PURPLE – “All the Time in the World” (2013 Edel single)
I tried to order this single from the Deep Purple Appreciation Society. I was order #31. But then Edel only hooked them up with 10 copies! I had to order this from Amazon instead, paying $23 plus shipping. I’m not happy about that, but it’s Deep Purple and I am a completist with this band.
I’m really fond of “All the Time in the World”. It reminds me of the laid back Purple from Bananas. The classy keys from Don Airey seal the deal for me, but how about that Steve Morse solo? Fantastic! Thankfully, the sonic qualities of compact disc bring out all the richness of Bob Ezrin’s production, lacking in the crappy Youtube videos available. It might not sound like the Deep Purple of 1970, but that was a long time ago now. It does sound like a rock band staying classy well into their silver years. I don’t hear any compromise nor contrivances here. This is a both a radio remix and an edit, so expect the album version to differ.
“Hell to Pay” is a more traditional Deep Purple hard rocker, but with a shout-along chorus. You don’t hear shout-alongs too often in Deep Purple, as strange as that may seem, so this is new territory in a sense! The highlights of this song are the solos by Steve and Don. I had to play it again to bask in its awesomeness. There are echos of “Highway Star” at times.
You’ll notice Ezrin gets a writing credit on each track (as does each Purple member). This is indicative of both the collaborative nature of Deep Purple, and Ezrin’s usual musical input.
There are two live tracks, but I unfortunately already have these! They are “Perfect Strangers” and “Rapture of the Deep” from the London Hard Rock Cafe in 2005. They were previously released (and previously reviewed) with the special edition of Rapture of the Deep. This is disappointing, I was hoping for unreleased live versions. Regardless, they’re great versions, particular “Rapture” which is perhaps better than the album version.
Mick Fleetwood and Dweezil Zappa appear in this cheesey 80’s classic!
THE RUNNING MAN (1987, starring Arnold Schwarzenegger, directed by Paul Michael Glaser)
It’s hard to believe that, as goofy as The Running Man is, it came so close to predicting what aspects of our society would be like in the future. We still have a few years before we hit 2019, perhaps we are right on track for our 2019 to match this version!
The Running Man is loosely (and I mean, very very very loosely) based on the novella by Richard Bachman, otherwise known to his “dear readers” as Stephing King. Where the King book involved a desperate man who needs money to buy medicine, and a game where he can travel anywhere in the world, the movie scales things back. Ah-nold, at his one-liner best, is Ben Richards, a former pilot who disobeyed orders and refused to fire on an unarmed mob. He is imprisoned but escapes, and is now about to appear on “The Running Man”, a 24 hour a day, 7 day a week television show (hmmm, Big Brother?) and fight for his life. The prize is a full pardon for your crimes, a loss means death.
This story was recently ripped off in a lil’ smash hit movie called The Hunger Games. Perhaps you’ve seen it, or a 13 year old girl wearing a Peeta shirt?
Society is now a police state (hmmm?) and the people are distracted by endless game shows on television (hmmm?). News is heavily censored and “edited for television” (hmmm?). Ben Richards’ crime of disobeying orders has been spun by the networks — they show a fake video of him firing on the unarmed crowd, earning himself the nickname “The Butcher of Bakersfield”. Now he will have the chance to win his freedom on The Running Man, but the odds are well stacked against him. By his side, also fighting for their lives, are two captured freedom fighters. These guys are hoping to use their capture to find the source of network transmissions. Then they could jam it, and broadcast the truth of what the world has become….
The Running Man is not a great film. It’s an 80’s Arnold film. If you’ve seen one, you know what you’re getting. Lots of action. Arnold must battle “Stalkers” on The Running Man. Much like the gladiators on American Gladiators, these stalkers will do everything they can to stop Arnold from winning. They include:
* Sub-Zero, as played by Professor Toru Tanaka (weapons include hockey stick blade and exploding pucks)
* Fireball, played by Jim Brown (flamethrower, jet pack)
* the opera-loving Dynamo (who has a punk-rock-looking suit that can fire electricity; sings)
* Buzzsaw (so named for his use of chainsaw and motorcycle)
* the retired Captain Freedom (Arnold’s friend Jesse Ventura)
The show is run by Damien Killian (subtle!), played by former Family Feud host Richard Dawson. Nobody could have played this role better than Dawson. While playing a game show host was not a stretch for him, Dawson was absolutely flawless in the role. Other famous names include Yaphet Kotto (Alien) as another Running Man contestant, Mick Fleetwood as former-musician-turned-freedom-fighter named Mic (I like to think Mick is just playing the future version of himself) and a very young Dweezil Zappa.
The blu-ray disc has enough bonus features to keep you going after the film has ended, including audio commentaries and featurettes. The audio is really nice, mastered in sweet, sweet 7.1 surround. When Arnold is in that little pod heading down to The Running Man’s play area, the sound was awesome. If you have 7.1 at home you need to check this out. I really enjoyed the sound.
If you like other cheesey Arnold Schwarzenegger movies such as Total Recall or Commando, add The Running Man to your collection. If you like movies with a stirring plot and dramatic acting, avoid at all costs. Regardless of your feelings on this film, do try to read the book. I have always felt that a remake of this film, following King’s book, is well overdue.
After the ill-fated (but personally enjoyed) Slaves and Masters, Deep Purple realized the only way forward was with Mk II screamer Ian Gillan back at the mike. With a full album’s worth of material already written with former singer Joe Lynn Turner, all Gillan had to do was turn up and re-write the melody and lyrics. Much to Blackmore’s chagrin! Blackmore had no qualms telling Gillan that he preferred the original lyric and melody to “Time To Kill”.
Much heavier than Slaves and Masters, The Battles Rages On is much more in line with albums such as Fireball, Perfect Strangers and Machine Head. Lord’s Hammond organ is much more in the forefront. However, a vintage sound does not a great album make. The Battle Rages On has 10 tracks, 5 of which are good and 5 of which are filler. This was disappointing for me personally, but some (M.E.A.T. Magazine and Martin Popoff included) have rated this album very high. Joe Lynn Turner derisively calls this album The Cattle Grazes On.
The five tunes I like: “The Battle Rages On”, “Anya”, “Time To Kill”, “Ramshackle Man”, “Solitaire”.
The title track is absolutely monstrous. I remember hearing it on the radio and thinking, “Bloody well right!” Big beefy riff, angry lyrics!
“Annihilation, kill ’em all. Capitulation, watch the mighty fall. The road to glory is lined in red, and though the reason now is gone…The Battle Rages On!” (Always wondered if this was about Gillan and Blackmore.)
The song is a Purple epic, along the lines of “Perfect Strangers” or “Knockin’ At Your Back Door”. Just an awesome track. I understand that in 2013 they have actually returned it to the set.
“Anya” is a keyboard driven rocker, Jon Lord style, lots of drama. “Time To Kill” is sort of a heavy pop rocker with Gillan trying to get philosophical with the lyrics, which Blackmore hated. “Ramshackle Man” is blues rock, pure and simple as Purple have specialized in. “Solitaire” is mournful, sad, kind of unlike anything Purple had really done before. Gillan’s droning melody seals the deal.
The rest of the songs just do nothing for me. Some, like “One Man’s Meat” have decent riffs and parts, but weak melodies and lyrics. As songs, they don’t add up to a satisfying listen. It is a shame, given the strength of the good songs on the album.
Blackmore left in the middle of the tour. Joe Satriani filled in, and there was talk that he wouldn’t mind joining Purple full time. His time proved to be temporary, and Steve Morse has been in the band almost 20 years now. When Joe Satriani was in the band, they did an awesome version of “Ramshackle Man”, which I have on a video bootleg from the European tour. There was an official live album with Blackmore from the tour, called Come Hell Or High Water. As well, you could buy official bootlegs with both Morse and Blackmore in a box set called Collector’s Edition: The Bootleg Series 1984-2000. And let’s not forget the Come Hell Or High Water video, with Blackmore throwing that water bottle in Gillan’s general direction…
Check out Satriani’s outro solo starting at about 7:07…smokin’!
To me, Purple’s true comeback was 1996’s Purpendicular. Having said that, the five good songs on The Battle Rages On are worth the purchase at a reasonable price. And hey, maybe Popoff was right, and I’m just not getting it. You decide.
3/5 stars
And check out these cool supplementary releases, all of which deserve their own individual reviews.
I don’t hate it. It has a catchy riff, a good vocal from Geoff Tate, a shredding guitar solo, and it’s not about spitting on people or knives. It sounds modern while still featuring a guitar riff or two. I don’t hate it like I hated, say, Tribe. I’m disappointed that it’s a little faceless and generic sounding.
The problem is that it doesn’t sound like Queensryche. It sounds like a Geoff Tate solo track. Probably the best Geoff Tate solo track that there’s been so far. But just a Geoff Tate solo track.
The blockheaded drums do not sound like the textured complexity of Queensryche. (Sounds like Simon Wright though.)
The piano is distracting, I kept thinking a phone was ringing somewhere in my house. It sounds like, “Hey, we have a keyboard player in our band.”
I love the guitar solo. It’s so tasty and good. Who is this? Kelly? Robert? Neither? What will this sound like when performed live without guest stars?
I don’t know if the mix is worth the brew-ha-ha that’s being made of it. It’s not to my taste personally but it sounds like they had a vision of a heavier than fuck sound and just kind of overdid it.
This track confirms that Tate is still capable of writing good music. It does not confirm that Tate still is capable of writing good Queensryche music. This is his Chinese Democracy. It has a vibe of, “Let’s saturate the song with everything from the biggest sounding drums to the fastest solo to a guy playing piano.” Let’s try anything.
Where the real Queensryche’s song, “Redemption”, sounded unmistakably like Queensryche, Tate’s reeks of contrivances. In the Battle of the Ryches, Round One, the original band comes out on top. Tateryche will have their supporters, but it is clear now that Queensryche is a band sound, not merely a singer.
RECORD STORE TALES Part 183: Klassic Kwotes X – The Final Chapter
Finally the Klassic Kwotes well has run dry. Enjoy Part X, for now this feature will be put on ice. I have a new feature that I’ll be starting really soon. Until then, here’s the final 10 quotes from the Record Store days…
1. It boggled my mind that people would expect a cheap used CD of a good album to just sit there. So it always made me wonder what people were thinking when they’d say, “What do you mean that used copy of Dark Side of the Moon isn’t here anymore? It was here last week!”
2. “I really want a job. It doesn’t have to be at your store, I just want a job. Can you tell me how to get one?” Real phone call.
3. Dandy sometimes has his own stalker types. One day Dandy brought a tattoo magazine to work. His stalker kid saw it on the counter and proclaimed: “Nice! Who’s sick tatty book?”
4. Generic but frequent question: “Do you have any European trance techno jungle DJ mix discs?” Then, when you’d ask for a title or name to give you something to look up, they’d never know the name of a song or an artist.
5. “I just want one song on this CD. Can I just buy a blank CD, and you burn it for me?
6. “Do you have any of those complication albums?” Compilation albums.
9. “I have a CD to sell here. One slight problem, not a big deal. The front cover is for one CD, and the back cover is from a different CD. Oh, and the disc inside isn’t either of those. Can you take it?”
10. “Do you guys buy used CD cases? Like the plastic shells?” No! Nobody does! They just throw them out!
DEEP PURPLE – Rapture of the Deep (2 CD special edition, 2006 Eagle Rock)
Deep Purple, that hard rock institution that formed back in ’68, has been at it nearly non-stop with critically acclaimed albums and tours since reforming back in ’84. Lineup changes ensued, but by and large the band has retained its integrity even if only one member of the original ’68 lineup remains (drummer Ian Paice). However, this lineup of Purple is still 3/5 of the classic “Mark II” lineup that recorded Machine Head and Perfect Strangers, and is chock full of rock royalty.
Vocalist Ian Gillan is intact, his voice no longer screaming, but still unique and recognizable as a one-of-a-kind. His partner in crime, bassist Roger Glover is here, joining drummer Paice to complete the legendary rhythm section. On guitar is Steve Morse (Dixie Dregs), first joining Purple in ’95 and this being his fourth studio album. “New kid” in the band is keyboardist Don Airey, celebrating his second Purple album here, but no stranger to these guys from his work with Rainbow, Whitesnake, Ozzy and many more.
Airey’s first album with Purple, 2003’s Bananas, was a reboot of sorts. Gone was original member (and legend on the Hammond) the late Jon Lord, for the first time ever in Purple’s history. Also new on board was producer Michael Bradford, who was very much a collaborator. Bananas was a great album, but perhaps a little too commercial for Purple in the long run? Rapture Of The Deep is an attempt to steer Purple back to the sounds of ’71 while still retaining the modern edge that they gained with Bradford. It is raw and uncompromising, not slick at all, definitely and defiantly Deep Purple.
Purple and Bradford have produced here an album that is not an easy first listen, but a very rewarding 6th or 7th listen. If you give it a chance it will become a favourite. Keep in mind, these guys are musicians of the 60’s and 70’s. Back when people still had attention spans, you were supposed to listen to an album 6 or 7 times, usually in one night!
“Money Talks” kicks off the album with the growl of a Hammond B3, that’s how you know this truly is Deep Purple. Morse’s guitar, very different from Ritchie Blackmore’s, leaves a lot of space between the chords. It’s a different kind of riffing, staggered and jagged, fast and genius. Gillan’s lyrics are, as always, witty and full of humour. Only Gillan can chuckle in the middle of a lyric and make it sound like it’s suppose to be there, and he does.
“Girls Like That”, the second song, is more melodic and commercial A little bit more “Bananas”, and exactly what the album needed after the vicious “Money Talks”. Track 3, “Wrong Man”, has one of the most powerful Morse riffs on the album, and it sounds great live (more on that later). Fantastic song, great chorus.
The centerpiece of the album is the title track, “Rapture Of The Deep”. The guitar part sounds like a Morse trademark, slightly Arabic, rhythmically odd; just an entrancing song and worthy of the Deep Purple canon. As if this wasn’t enough, the next song “Clearly Quite Absurb” is simply one of the best ballads Purple have ever done. This is thanks to another trademark Morse guitar melody, and some wonderful singing by Gillan. The lyrics are emotive and optimistic. It sounds a lot like material from the wonderful Purpendicular CD, and keep in mind this is a band that doesn’t do a lot of ballads. There’s only this one ballad on Rapture Of The Deep.
Other standout tracks on the album includes “MTV”, a wry look at the life of a band of the “classic rock” format. Gillan and Glover must be used to certain interviewers getting their names wrong, and only knowing one song, judging by the lyrics:
“Mr. Grover n’ Mr. Gillian, you must have made a million, the night Frank Zappa caught on fire.”
“Kiss Tomorrow Goodbye” is one of the heaviest tracks, Gillan attempting a scream here and there, sounding like the furious side of Deep Purple is alive n’ well. “Junkyard Blues” is anchored by a solid Glover bassline, simple but metronomic, and then that takes us into the final track, the atmospheric “Before Time Began”. At 6:30, “Before Time Began” is not for people with ADD!
A great album, demanding of your attention. Worthy of your attention. Deep Purple have always had some kind of standards when it comes to studio albums. Even their weakest have some sort of integrity to them. Rapture of the Deep is not an immediate album, nor will it unseat Machine Head as the fan favourite. But it does serve to remind the world that Deep Purple are still a great band, within the confines that age brings with it. Deep Purple are in fact one of the best bands of this age, because they just refuse to sell out.
The bonus disc here is a treasure, and I am so glad I re-bought this album (third time now) to get these songs!
The “new version” of “Clearly Quite Absurd” sounds like a re-recording to me, with more orchestration. I’m not sure why this was done, the two songs have a similar feel even though they are instrumentally quite different. Both versions are equally great in my opinion. Yet even with a great song like this, Purple can’t get their new material on the radio! What a crime! “Things I Never Said” is a great song, a bonus track, with another busy Morse riff. This is originally from the Japanese release of the CD. Next up, finally released in its studio version (but recorded during the Bananas sessions) is “The Well-Dressed Guitar”. You may remember this instrumental workout from Deep Purple tours and live albums circa 2002 (check out the Live at the Royal Albert Hall CD). Then, five live tracks, the first ever official live tracks with Airey on keyboards! Two are from this new album (“Rapture” and “Wrong Man”), and there are three classics including — yes — “Smoke On The Water”. These tracks prove that no matter who is in the band these days, they still sound like Deep Purple. The other two live tracks are “Highway Star” and “Perfect Strangers”.
4/5 stars. Now What?!
I also have a single disc 2005 tin version from Edel Records. This one boasts an enhanced CD with studio footage and an EPK (electronic press kit video) which I’ve never watched.
I was just 11 years old when I first heard of Kilroy.
Allan Runstedtler at school had it first. He was always talking about it…this cool song called “Mr. Roboto”. This album where the songs all told a story. It had robots in it, it was an album with pictures and a story…not unlike those Star Wars story soundtracks we used to listen to. In hindsight it seems obvious that Kilroy Was Here was my gateway drug to rock music.
I went over to Allan’s house, with my little Fisher-Price mono tape deck, as he put Kilroy Was Here on the hi-fi. I hit “record” and we all quietly left the living room…so as to not disturb the open air recording. Only once did we step downstairs, but this was only to flip sides on the LP and cassette.
You can see why it was so appealing. The robots didn’t look that dissimilar from the childhood classic film The Black Hole, plus there were robot vocals on the song, but it wasn’t guitar heavy or threatening. It was catchy though, “Mr. Roboto” being the song that hooked us in. We had the lyrics completely memorized (the handy lyric sheet was a revelation to us) and could sing any part of the song by heart.
With the benefit of hindsight, “Mr. Roboto” todays sounds quaint, a harmless boppy synth radio hit nothing like the Styx that emerged onto the scene over a decade earlier. Dennis DeYoung’s vocals are all spellbinding as ever, the man as identifiable on this as he was on “Lady”. Where’s the guitars from Tommy Shaw and James “JY” Young? I’m really not sure. There are a few things here and there, fuzzy buzzy melodies that might well be guitars. Only once in a while in the course of a 5-minute-plus song can you really hear any sort of instrument that wasn’t programmed or played with keys!
Tommy’s “Cold War” was another upbeat one we liked as kids, and yes you can hear some guitar in the intro and chorus. There’s even a solo! Otherwise, it’s just a dreadful synth pop piece, with loads of those annoying synth-claps and other assorted sounds that are supposed to sound like percussion. Tommy plays a character named Jonathan Chance on this album, and “Cold War” reads like a manifesto from that character.
The album came with a story, so it was quite easy to break it down and figure out what was happening. It’s a dystopian tale, and the setting is…”the future”. Dr. Righteous (James Young) has risen to power, using a clever manipulation of media and government. Rock N’ Roll music…is banned! Robert Kilroy (DeYoung), a legendary rock musician, is jailed for a murder he did not commit. But Jonathan Chance (Shaw), a young rebel hoping to bring back Rock N’ Roll, is using Kilroy’s image and music as a rallying cry for his cause. One night Kilroy escapes prison, and disguises himself as a “Roboto”, the labor robots pervasive in this future world.
Got all that?
Drummer John Panozzo is credited as a character named “Col. Hyde”, and bassist Chuck Panozzo as “Lt. Vanish”. I have no idea who those people are supposed to be. There was a minifilm that went with the album and tour, and opened the live shows. It’s incredibly funny and campy, the Styx version of the Star Wars Holiday Special.
“Don’t Let It End”, a DeYoung ballad is a song we always skipped as kids. I played the ballads maybe once the whole time I owned the album! But it’s actually a pretty good tune, and you can see why it was a hit. This is followed by “High Time” with DeYoung, introducing the character of Dr. Righteous:
“I flip the switch on my laser video, And there’s the man staring back at me, He starts to speak in a voice so righteous, About the sins of society”
It’s a fun song, upbeat, very showtune-y, with DeYoung having a chance to cut loose a bit. It’s alright, and it sounds like the horn section are real horns, not some synth.
JY gets to be the one to bring the rock on “Heavy Metal Poisoning”. In this song, Dr. Righteous takes to the airwaves with the ironically hardest rocking song on the album.
What the Devil’s going on? Why don’t you turn that music down, You’re going deaf and that’s for sure, But all you do is scream for more!
We were always amused by Dr. Righteous using heavy metal music as his musical vehicle to attack heavy metal music, and wondered if there was a hidden message there? Something about hypocrisy. Righteous complains that rock and roll will lead to sex and drugs, while punishing his guitar with some seriously heavy riffing and a smoking solo. Unfortunately, some goofy keyboard bits detract from the song and keep it from being a pure heavy rocker.
“Just Get Through This Night” is a ballad we skipped as kids, but in retrospect this is a great dramatic ballad. Tommy wrote this one, a long, atmospheric meandering 6 minute piece that would have been too long to hold our kiddie attention span anyway. Even though it didn’t do anything for us as kids, it stands as one of the bright spots on an album that so often just gets too goofy. Tommy’s guitar solo, recorded backwards, is a highlight on this song.
Our second-favourite song was next: “Double Life” written and sung by JY. It’s certainly one of the highlights on the album, a menacing, dark stomp with the synths this time supporting rather than fighting the song. No idea how this fits into the story, but who cares!
Tommy’s final ballad, “Haven’t We Been Here Before” is kinda skip-worthy, although it’s nice when Dennis accompanies him on the chorus. There’s also a nice harmony guitar solo, but loaded down with effects, blunting its edge. Fortunately, the album ends with “Don’t Let It End (reprise)” which is actually a reprise of “Mr. Roboto”, but with Tommy singing and more guitars. The album ends on a bright note, as Jonathan Chance seemingly takes the mantel of rock leadership from Kilroy, vowing to keep Rock N’ Roll alive! Then Dennis comes in, doing his old rocker schtick, sending up Elvis, Little Richard and many more, and that’s the album. Great finish.
I think if we were to discuss this album in 1983, I would have raved and rated it 4/5 stars. I also probably would have overused the words “awesome” and “cool-a-mundo”. That was 30 years ago…man. That’s a long, long time. Listening to it now…
Way back in 2004 we were selling this album in our stores on consignment. One of my co-workers said, “You have to buy this. These guys are incredible. They’re like a local Rush.” Intrigued, I played the album and put it aside for myself to buy later.
For reasons unknown (probably too much music to buy and not enough money to buy it with) I didn’t buy the first and only release by Hibakusha. It is only now, in 2013 that I have finally acquired this album. Uncle Meat had come over to do our recent video, and he reminded me how great this album is.
This truly is a great, world-class album. You can hear the Rush influences in the lead vocals, the complex rhythms and drum patterns, and the impeccable musicianship. You can tell Hibakusha had listened to their fair share of the Holy Trinity in their formative years, particularly the later groove-oriented Rush circa Counterparts. This exists simultaneously with a modern edge; a drony cloud of simple melodic elements that grounds the whole thing. It shines like a new car, one you can’t wait to drive over and over….
Uncle Meat pointed out that there aren’t any real guitar solos until the final track! And it’s a explosive solo at that. The role of the lead guitar here seems not to solo, but to shower down melodic hooks. “The Moped Song” is a great example of this. It is a mid-tempo melodic tune with a repeating guitar hook where the solo would go.
Elsewhere, “Is It Concern?” quiets things down, until the chorus explodes with impassioned vocals. “Televangeline” is a massive, rhythmic machine barreling forward unstoppable. The album is loaded with great songs, great playing, terrific vocals, and memorable melodic lines. Drums crash, fleeting fingers ride the groove from fret to fret…there isn’t a dull moment on this album.
“Masquerade” might be the best summation of the Hibakusha sound in one song. It begins deceptively gently, before turning into in a light bass-driven groove. Then out of nowhere comes a colossal stuttering riff straight from the Burke Shelley of Budgie school of thought. The wailing Geddy vocals seal the deal.
My only beef about Hibakusha is the dreadful cover art. It just screamed “indy” and failed to stand out. There is absolutely no way I would have picked this album up off the shelves just by seeing its cover. The cover does nothing to indicate what’s inside.
Hibakusha were Paul MacLeod (formerly of Skydiggers) on vocals and guitar, Cory Barnes (guitar and vocals), Mark McIntyre (bass) and Gord Stevenson (drums). Even though I was almost a decade late, I’m glad I finally picked up this disc. It had been a long time since I last heard it, and I am treating it as a happy reunion.
Great album. Don’t hesitate to look for it online, it is easy to find.
THE ROLLING STONES – Their Satanic Majesties Request (1967 London/Decca)
It would be lazy for me to compare this album to contemporaries of the band. It would also be lazy to use the old outdated “psychedelic” adjective to describe this music. I can think of numerous other adjectives: challenging, rewarding, inventive, chaotic, grimy, majestic.
Andrew Loog Oldham had quit his post as the band’s producer and manager, leaving the Stones to their own devices. It sounds as if they explored every possible indulgence (musically and otherwise).
Their Satanic Majesties Request takes some of the musical expeditions that The Rolling Stones had completed on Between The Buttons (think “Ruby Tuesday”), and turns that on its head. Mix in ample supplies of chemicals and a total fearlessness, and a belief that what they were doing was total brilliance, and what you get is Their Satanic Majesties Request. This album surely must have convinced parents that Satan himself was possessing the hi-fi.
Light on guitar, rhythm and blues, Their Satanic Majesties Request is still among the best Stones albums if you can penetrate its purple smokey haze. Doing so will reveal an album constructed in layers, and peeling back these layers will release melodies and instrumentation that will keep you enthralled for years, as you keep coming back to this album. Is that Mick asking, “Where’s that joint?”
I’m fond of the opening track, “Sing This All Together”, which sounds (at times) like a cross between the Beatles and a James Bond theme. I’m sure some fans were wondering, “Where’s the guitars?” They’re on there, used sparingly but effectively. “Citadel” has guitars; grimy, dirty guitars, chugging out distorted chords under Mick’s dreamy melodies. This one reminds me of early Alice Cooper, who I am sure was influenced by this album.
Bill Wyman sings lead on “In Another Land”, the watery vocal track sounding like it was recorded in another land. “2000 Man” is as catchy as anything else the Stones produced, with neat lyrics that must have seemed so forward-thinking in 1967. I love the guitar melody, and how it sounds like a completely different song on the choruses. “She’s A Rainbow” is a perfect pop song, as brilliant as “Ruby Tuesday” if not moreso due to Charlie Watts’ relentlessness. Meanwhile, “The Lantern” happily meanders along, amidst what sounds like out-of-tune guitars and horns. Likewise “Gomper” wanders about, loads of sitar invading the eardrums, and lots of other stuff I can barely identify.
“2000 Light Years From Home” is a good one, loaded with Brian’s mellotron, again sounding perpetually out of tune. Fortunately Charlie keeps the song moving forward, his timing always perfect. Then, “On With the Show” brings us back in time to a simpler age, Mick affecting an accent for this fun retro piece.
While every song has melodies and instrumentation coming out the wazoo, it surely is “Sing This All Together (See What Happens)” (not to be confused with “Sing This All Together”) that is the centrepiece of this bizarre journey into the unknown. 8 1/2 minutes long, and never really going anywhere, some might consider this a waste of vinyl. On the other hand, those that have studied free improvisation will get inspiration out of this bizarre arrangement.
Brian Jones continued to experiment with multiple instruments including sitar (hey, it was the 60’s). Guests include Lennon and McCartney, Steve Marriot and Ronnie Lane, Nicky Hopkins, and future Led Zeppelin bassist / keyboardist / string arranger John Paul Jones.
The original LP featured a lenticular cover gimmick, as well as a maze inside that can never be solved. How quaint!
Next time somebody comes up to you and says, “Yeah, this new band that I like, they sound really Stones-y,” then respond by playing “Sing This All Together (See What Happens)” and ask if this is what they meant. Watch the looks on their faces.
In the end, the Stones decided to return to their blues rock sound on Beggars Banquet, which was probably the best way to continue to have a viable career.
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