“Their Satanic Majesties Request,” released by The Rolling Stones in December 1967, represents a unique and polarizing entry in the band’s discography. The album is often seen as The Rolling Stones’ foray into the psychedelic rock genre, heavily influenced by the prevailing counterculture and the success of The Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band” and Pink Floyd’s “The Piper at the Gates of Dawn.” While the album diverges from the Stones’ characteristic blues-rock sound, it remains a fascinating, albeit controversial, exploration of psychedelia and experimental music.
The album opens with “Sing This All Together,” a communal, free-form piece that immediately sets a trippy and unconventional tone. The track features layers of percussive instruments, brass, and a chorus of voices, creating an almost chaotic yet engaging soundscape. It’s a clear departure from the Stones’ earlier work, embracing the more avant-garde elements of the psychedelic movement. While not universally beloved, the song reflects the era’s emphasis on collective musical experiences and experimentation.
“Citadel” follows, returning to a more structured rock format but still drenched in psychedelic effects. One of the album’s best cuts, the song’s driving rhythm, distorted guitars, and surreal lyrics paint a picture of a dystopian cityscape. Why they’ve never attempted this live is beyond me. The influence of bands like The Velvet Underground can be felt here, with Mick Jagger’s vocals cutting through the dense, shimmering production. “Citadel” stands out for its blend of traditional rock with the experimental sounds of the late 1960s.
“In Another Land,” written and sung by bassist Bill Wyman, is a whimsical, dream-like track that further underscores the album’s experimental nature. Augmented by phasing effects, Wyman’s vocals create a sense of otherworldly detachment. The song’s narrative of dream and reality blurring fits well within the psychedelic context, and its distinctive sound provides a refreshing variation within the album.
“2000 Man” is a more conventional song structure-wise, yet its lyrics anticipate themes of alienation and technological advance, which would become more prevalent in later decades. The song begins as a folk-inspired tune before transforming into a rock anthem with spacey guitar effects. The contrast between the acoustic verses and the electric choruses showcases the band’s versatility and willingness to play with genre conventions.
“Sing This All Together (See What Happens)” is an extended jam often criticized for lacking direction – including to the ears of this reviewer. While it captures the improvisational spirit of the era, its meandering nature can be polarizing. The nearly eight-minute track is a mix of instrumental experimentation and sporadic vocal interjections, embodying both the strengths and weaknesses of the album’s free-form approach.
“She’s a Rainbow” is one of the album’s standout tracks, featuring a lush string arrangement by John Paul Jones and a memorable piano riff by Nicky Hopkins. The song’s vibrant and colorful imagery, combined with its catchy melody, make it one of the most accessible and enduring pieces on the album. It retains a sense of playfulness and joy that contrasts with some of the darker, more abstract tracks on the record.
“The Lantern” returns to a more introspective and somber tone. Its eerie, atmospheric quality is enhanced by the use of unconventional instruments and haunting background vocals. The song’s lyrics, which reflect themes of loss and hope, add to its haunting appeal. “The Lantern” exemplifies the band’s ability to create mood and atmosphere through their music. One can almost picture oneself wandering through a dark medieval castle clothed in robes and carrying, yup, a lantern.
“Gomper” is another deeply psychedelic track characterized by its use of exotic instrumentation and meandering structure. The song’s Eastern influences are evident in its sitar and tabla sounds, adding to the album’s eclectic nature. While “Gomper” along with “The Lantern” is one of the album’s weaker tracks, it showcases the band’s willingness to explore new musical territories.
“2000 Light Years from Home” is perhaps the album’s most overtly psychedelic and space-themed track and far and away the best song on the album. With its driving bassline, eerie mellotron, and futuristic lyrics, the song evokes a sense of cosmic isolation and adventure. It’s a testament to the band’s ability to create vivid sonic landscapes, and it remains a fan favorite for its unique atmosphere and ambitious production.
The album closes with “On with the Show,” a cabaret-inspired number that brings a theatrical end to the record. Its whimsical, vaudeville-style is a sharp departure from the rest of the album, yet it fits within the eclectic nature of the project. The song’s playful lyrics and jaunty melody, however, provide a weak conclusion to the album’s journey through psychedelic experimentation.
“Their Satanic Majesties Request” is an ambitious and eclectic album that captures The Rolling Stones at a moment of significant experimentation and distracted by court cases and various misadventures. While it may not have the consistent quality or focused vision of their later works, it remains a fascinating snapshot of the band’s willingness to push boundaries and explore new musical landscapes. The album’s blend of psychedelia, rock, and avant-garde elements make it a unique and polarizing entry in the Stones’ catalog, appreciated by some for its adventurous spirit and criticized by others for its lack of cohesion. Despite its mixed reception, “Their Satanic Majesties Request” stands as a testament to the creative and exploratory zeitgeist of 1967.
John Berkovich Talks 