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4.3 out of 5 stars
111
4.3 out of 5 stars
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on 9 February 2017
I've now nearly completed my Rolling Stones back catalog, this album being my latest purchase. I'm a big Stones fan, have been for over 20 years but this album is strange. Not pleasant to listen to at all. I just did not get it. Weird for the sake of it. Stick to the likes of Black And Blue or Exile On Main St.
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on 9 February 2017
Excellent
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on 23 March 2017
A hidden gem in the Stones 60's catalogue, the remaster is brilliant and a great purchase for those fans that find it hard to get hold of an original.
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on 5 March 2017
Bought this ro complete my Stones collection. Although not their best it does contain some memorable moments
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VINE VOICEon 23 July 2015
These DSD remasters of the Abko era Stones catalogue sound really good on the vinyl versions. Purist may baulk at the "Digital Remastering" but it allows us to hear these 1960s recordings better than ever before. The Stones recordings of the 60s were not the last word in sonic perfection in any case. Their Satanic Majesties is not held in the same affection as other 60s efforts like Beggars Banquet and Let It Bleed (both of which I have in this series and love) but I really like it. Ridiculed in some quarters as a poor attempt to rival Sergeant Pepper, I think it a really good effort from the boys to do something different and experimental. There are also some classic Stones tunes here. The DSD pressing really lets us hear what was being played and in particular makes very clear how crucial Charlie Watts' drumming and Bill Wyman's bass were to the Stones' sound. A fine album and worthy of re-investigation by the doubters.
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on 7 July 2010
This hasn't really stood the test of time very well and is an exception to the rest of the Stones catalogue. Worth listening to once or twice but it will go on the shelf and not get an outing for a few more years.

Despite the above comments, 2 years on I keep on playing this, and in preference to what I considered their "better" work. I don't know why as this shouldn't work but it does.
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on 9 December 2012
The phrase 'ill-advised' is always bandied about whenever critics cover this phase of the Stones' career, but what is more ill-advised - settling into a cosy cul-de-sac that a straitjacket label like 'The World's Greatest Rock 'n' Roll Band' leads to, or being brave enough to transcend genres with a vision of pop music as a limitless vista of endless possibilities?
For me, the Stones were at their best when they escaped the confines of R&B and widened their musical horizons, something they were equipped to do with aplomb courtesy of Brian Jones' ability to play any instrument he picked up. Now that 'Pop' has become as much of a restrictive dead-end as any other label, the province of test-tube boy-bands churning out focus group-approved ballads so saccharine Pat Boone would have baulked at singing them, it's refreshing to revisit an era when Pop was actually a platform for invention, innovation and adventure; and despite their best efforts to subsequently distance themselves from it and find money-spinning solace in the repetition of The Riff, the Stones were once as sonically ambitious as the Beatles, as this album proves.
I first bought 'Satanic Majesties' on vinyl in the 80s - that poor-quality 'flexi' vinyl typical of the period and housed in a cheap cardboard sleeve that began to disintegrate within months. I mainly bought it for '2000 Light Years From Home' and that seemed to be the only track I ever played before flogging the LP along with a bunch of others at my local second-hand record shop. But giving the album a fresh hearing 25 years later has certainly been worthwhile. In many respects, it's a miracle the Stones managed to record anything in 1967, let alone a brave experiment like this one. Of course it will always languish in the shadow of 'Sgt. Pepper', but that's an unfair comparison for any record to suffer and 'Satanic Majesties' deserves better.
There are some unsung gems hidden away on this record - 'The Lantern', 'Citadel', '2000 Man' - as well as a couple of acknowledged classics like 'She's A Rainbow' and '2000 Light Years' - and even if the extended stoned jam of 'Sing This All Together (See What Happens)' is cited as an example of the band losing their way, is it any more rambling than 'Revolution No.9' or some of the Doors' lengthy noodlings from the same period?
I agree the inclusion of 'We Love You' would have been welcome, but with its distinctly London take on Psychedelia, 'Satanic Majesties' reminds the listener of the crucial difference between dropping acid in £sd England and dropping it in LBJ America - that Lewis Carroll was always more of an influence than Timothy Leary. If Oscar Wilde, Aubrey Beardsley and Carroll had collaborated on a musical project in the 1880s, perhaps it would have sounded closer to this than the Grateful Dead; and if you feel, like me, that the Stones lost something a good deal more than a blond guitarist when Brian Jones left the stage, this album is worth investing in as a luminous artefact from an age when pop music was an intoxicating recipe capable of containing any ingredients its fearless alchemists poured into the blender!
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on 26 March 2013
I first listened to this album back in the early 70's but failed to appreciate it's qualities at the time, no doubt due to the fact that I had been brought up on the more familiar earlier Stones such as Out of Our Heads and Aftermath.
Thankfully I have lately "re-discovered" it and thanks to some excellent restoration work on the CD it comes over as both melodic and innovative. Most of the credit for the bold instrumentation and arranging will no doubt be down to Brian Jones as he seemed to be the one true musician in the group at the time. To say that he was irreplaceable as a key member of the Stones is an understatement.
The well-known tracks are She's a Rainbow and 2000 Light Years From Home but other really good numbers include 2000 Man with it's acoustic guitar intro and excellent drumming, The Lantern with it's fuzz guitar and Citadel which has a psychedelic early Pink Floyd sound to it.
Younger Stones fans who tend to play safe and only listen to their stuff from the 80's and later would be well advised to take a chance on this but make sure that they listen to it on headphones so as to really take in the diverse nature of what is on offer. For us of the 60's generation it is a journey back to halcyon days.
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on 24 November 2010
To some it's their worst..to me it's one of their best..
This album has been slagged off a lot i.e 'the sgt pepper' spin of etc. However, if you like psychedelic music, this is the album you must have in your collection.

And yes It fits in with sgt. pepper, although I think this is far more psychedelic, and a lot darker, but dark in a nice atmospheric way.

It's a must have realy...Light an inscence stick, etc...(close your eyes and listen..I recomend head phones!)

have a pleasant & joyfull journey into this weird magical musical wonderland ....

p.s this is the most unique stones album you will ever hear!
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on 16 January 2003
If I had to save just one Stones album for posterity "Their Satanic Majesties Request" would be my unconditional first choice. I think a lot of the unjustified opprobrium this album has received is a result of John Lennon's remark (in "Lennon Remembers"), born of hypersensitivity and possessiveness about The Beatles, that it was just a pale imitation of "Sgt Pepper". It's sad to see the way the Stones themselves have been bullied into virtually disowning it by the usual dreary crew of rock journalists, who misinterpret musical complexity as inauthenticity. This album is by no means a complete departure; there were indications of its direction on its superb predecessor, "Between The Buttons". Any other album boasting as many great songs ("Citadel", "In Another Land", "2000 Man", "She's A Rainbow", "The Lantern", "Gomper", "2000 Light Years From Home") would be hailed as a classic, but the leather-jacket rock-journo brigade remain unmoved. More fools them! Still, those of us not paid to tout narrow-mindedness in the rock press can relish this rich, colourful, melodious, cohesive and utterly original album while admiring the excellent artwork of its packaging. If you want to hear a mess (albeit a fairly lovable one) try the rock journos' favourite, "Exile On Main Street"!
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