The Rolling Stones - Their Satanic Majesties Request mp3 album

Ladies and Gentlemen, a moment of your time please, for consideration of Their Satanic Majesties Request and it’s position in the context of 60’s psychedelic music. I own both the vinyl and the disc. But first I would like to leap thirty five years from 1967 and point out that The Brian Jonestown Massacre, a true visionary band, if there ever was one, their song "Anenome," and its musical similarities to "2000 Light Years From Home." "Anenome," by design, I feel is an updated and reworked version of this classic by the Stones and it took some creative an brilliant thinking to put the song "Anenome" together, paying homage or respect if you like, to the Rolling Stones, and especially Brian Jones, by the very brilliant and scattered Anton Newcombe [two birds of a feather?]. Perhaps this is only validation on my part, but hey, there’s truth behind my words ... Their Satanic Majesties Request is a brilliant album.Much has been made of the ‘One Upsmenship’ between the Beatles and the Rolling Stones. I don’t think anything can be further from the truth. These facts lie in the images of the Rolling Stones on the cover of the Sgt. Pepper album and the Beatles images on the cover of Satanic Majesty. The Rolling Stones and the Beatles freely exchange both songs, music and ideas between themselves. This can easily be seen in any images from the day, and noted in dozens of books on the subject. And not least of all the fact that the Rolling Stones were part of the world wide Beatles ‘Love’ television special.The sixties were a time of building, building on what had come before, and what had come before that, and on and on into the past. George Harrison, tries to explain the building concept to the courts when he was being sued for copy right infringements. The Stones were not copying the Beatles Sgt. Pepper ... they were building on it. One other thing, ‘Magical Mystery Tour’ has more of a feeling of Their Satanic Majesty then to Sgt. Pepper. So who’s copying whom? No one, everyone was building on the format laid down by others.Much of Satanic Majesty was the brain child of Brian Jones, who could play almost any instrument. Brian wanted to showcase what The Rolling Stones where about, and what they could do. For those of you who weren’t there, Brian was the one who actually put all of this together, but kids gravitate to the lead singer as the leader, and over time Mick did take on that role, forcing Brian out, but not before the completion of Their Satanic Majesties Request.Brian wanted to take the initial Blues concept of the Stones and give it a fresh vision, and the psychedelic music and times offered that option. There is still a heavy blues influence to be felt in this record, but it’s the way these simple cords are challenged and tied together that makes it an outstanding product of it’s time. Just listen to the background, the blues piano, the rhythm, the bass riffs; its pure Blues, its the special instruments [such as the Mellotron] that Brian brought into the sessions, the over dubs, that give it its special feel and attraction. I can think of only a handful of records from the time that evoke the spirit of the sixties so clearly. Looking just a couple of years ahead to 1969 and the rise of Led Zeppelin, you will find that John Paul Jones along with Brian was an arranger of these sessions. And we all know what a great band Led Zeppelin came to be.The feel of the album is not by mistake, but more a product of necessity, or should I say a product of the times. It was actually begun during the recording of Between The Buttons and was interrupted time and time again by arrests and imprisonment of three members of the Rolling Stones, Keith, Mick and finally Brian. Brian was being betrayed by his lover, his band mates, and being forced out of the group he was more then responsible for forming. Hence the feeling of alienation, the desire for peace, and escape from the spotlights and cameras.All members of the group were using a wide variety of drugs during these days, as were most of us, and the feeling those drugs induced, along with the intermixing of the culture from India, played a great part in the times and tone of this record. Keith has some incredible guitar work on "2000 Man" which is more reminiscent of what the Stones had done in the past. Mick’s voice is clear and visionary. All of the music, by all of the band’s members is top notch. There is nothing sloppy or off handed here, it is calculated and scripted for maximum effect and I believe they achieved that.The public is fickled. They want new music, but they want the same new music, and when the Stones brought forth this album, the fans saw almost nothing they could recognize; say maybe side two, and the song "2000 Light Years From Home."One chilling note, the last song "On With The Show" seems to indicate that the Stones [mainly Mick and Keith] want to put this record behind them, and by doing so, put Brian behind them. It’s a fine piece of music with swirling guitars, muted voices, a strong bass line, recording studio effects, fine piano work and lyrics that will blow you away if you bother to listen. I never tire of this record or it’s artwork. This is a monumental historical piece of music and must be viewed / listened to in the context of the times ... and what times they were.Post Script for "Sing The Song All Together (See What Happens): More than any other song from the album, the seven minute "Sing The Song All Together (See What Happens)" fusses the psychedelic 60's in glass, establishing the high water mark for the genre. The song is other worldly, filled with shimmering electronics, gentle textures, hypnotic voices, blistering held in check guitars, and can be matched by nothing done any other group from the times ... though Country Joe came close on their track "Bass Strings," from 'Songs For The Mind and Body.' The song, especially coming from the UK, embodied the total spirit and vision of those San Francisco nights, and the psychedelic revolution. "Sing This All Together (See What Happens)" continues on from where the opening track leaves off. 'Sergeant Pepper' of course used the reprise idea first though it was only a matter of time before somebody used this established classical convention in a popular context. Conventional song structure is jettisoned in favour of a lengthy and wildly spontaneous sounding jam, though in truth, it was heavily scripted. The track is invariably described as messy and shambolic which is true but not the whole truth; it manages to incorporate some spicy Richard licks and electronic, Indian and middle Eastern elements no doubt inspired by Brian Jones's explorations into ethnic Moroccan music. As the track unfolds it deliberately loses you in the woods but as they are so dazzling you don't mind. Several instruments or musical shapes seem to offer paths through the forest but they all just lead you further and deeper in. The music shifts and mutates endlessly in kaleidoscopic waves, building up to climactic peaks then reforming itself and starting again "as if it were gradually stumbling into consciousness and forming itself out of some primal chaos," said David Dalton. The early stages are orgiastic and ecstatic, full of primeval moans and sighs. By the final crescendo however, it is clear that these woods are bewitched and the ceremonial chanting has summoned up some sort of demon which is now unleashed. The harrowing barrage of screams, shrieks and pounding drums bring tortured Hieronymous Bosch landscapes to life; it is surely an "Apocalypse Now" moment as the Devil rides out! The disorientation and fragmentation of the music reflects a quintessential trip turned bad where the early liberating energy has plunged into schizophrenic frenzy. Demons can be real and inhabit sugar cubes. "See What Happens" warns of the chaos that could destroy the Aquarian Age ... and some say it did at Altamont a mere two years later.Review by Jenell Kesler

Could be a duplicate listing of -- or at -- http://www.discogs.com/Rolling-Stones-Their-Satanic-Majesties-Request/release/2670902 -- no date listed, but same distinct features (UK, 3D, stereo, gatefold, strip/no. on back cover, blue labels)

Yes looks like an 80s reissue. . .. . .