LET´S MAKE SOMETHING SATANIC
Well, boys. I´m here again. We continue with this post the Satanic Sessions Box. Now it´s time to cd3 Vol1. Like always, I post some extensive liner notes from rollingstonesnet.com. I think these notes are very useful to understand and listen to the sessions.
"Fly My Kite take one"Charlie: "Ahh oh woo, wait a minute, do I, should I play on the intro? Not at all."
1. The Lantern: Take 1 (4:13) - The working title of this song is "Fly My Kite"! A short start and the first take is history. Acoustic and electric guitar in the left channel. Drums, bass, and piano in the right channel. There is a very slow and deliberate guitar arpeggio heard in the left channel with the main melody defined by the piano. No sound effects present. A sour note is hit at 4:02 and that's it for this one."Two"
2. The Lantern: Takes 2-3 (2:36) - Take two lasts around 25 seconds. A short tune-up and it time to roll take 3. Take 3 misses with one too many bridge sections and is put to an end. Musically in the same direction as the first take.
3. The Lantern: Takes 4-5 (4:49) - Take 4 lasts only a matter of seconds. The song begins to gel by the fifth take with more interaction between guitar and piano sections. Still no horns or sound effects at this stage as these takes look to be intended as the fundamental backing track. A complete take.Sound effects..."Ahh, well ahh, take ten"Keith: "One, two, a one, two, three, four..."
4. The Lantern: Take 10 (1:32) - An organ sound is added to this take, but its role in the musical arrangement is yet to be determined, and things are put to end quickly as Charlie misses a beat. "Eleven" Keith:"Your one late Charlie"Charlie: "Yeah"Keith: "Also ahh, Nicky"Nicky: "Yeah"Keith: "Can you ba...?"Keith: "Okay, one, two, one, two, three, four..."
5. The Lantern: Take 11 (1:57) - Just past the opening musical introduction and it's curtains for take 11. "No that's dodgy" "one, two, '(take) Twelve', one, two, three, four..." Restart: The organ is making it through these later takes but now level setting seems to be a bit of an issue added to dissonant notes at around 1:57."Fourteen"Keith: "One, two, one, two, three, four..."
6. The Lantern: Take 14 (5:02) - Technically, this take should have ended at 1:22 based on a musical error, but for some reason things are allowed to proceed with other musical errors in the organ playing to follow. Maybe the idea is just to see where this thing is going and how it's going to get there. The music ends at 4:19, and then restarts to complete an ending."Whistling""Fifteen""Right"Keith: "One, two, one, two, three, four..."
7. The Lantern: Takes 15-17 (3:10) - Take 15 lasts 5 seconds. "Sixteen", "One, two, one, two, three, four..." Take 16 is off and running until a sour note sneaks out of the Mellotron at 54 seconds. "Seventeen" ", "One, two, one, two, three, four..." There is clapping in the right channel. This take lasts until 2:15. "Seventeen" (Actually Eighteen) ", "One, two, one, two, three, four..." This take only lasts a matter of seconds. Backward playback sounds close CD track 10."One"
8. The Lantern: Retakes 1-3 (2:40) - Short acoustic guitar overdub attempts with an early take playback."Surprise Me take one"
9. On With The Show: Take 1-3 (3:26) - The working title of this song is "Surprise Me". Short false starts on the first two takes and then into the third try which develops into a instrumental take. The arrangement is quite complete with the Spanish style piano bridge and samba bass beat breaks."Four"
10. On With The Show: Take 4-6 (2:15) - Take four is a piano roll and that's it. Take 5 is a go until 1:05 when a Mellotron note goes awry. "Six"Take 6 goes for a minute and then a quick guitar tune-up to the keyboard takes place. "Seven"
11. On With The Show: Takes 7-10 (5:46) - The keyboard track is prominent in the left channel and then before you know it take seven comes to an end at 36 seconds. Take 8 is the most developed of this section of takes ending at 4:20 and lasting for nearly four minutes. Takes 9 and 10 never get off the ground.These stripped down tracks reveal a level of instrumental musicianship that is much more difficult to detect in the overproduced versions found on the commercial release. They are minus sound effects and vocal signal processing that tend to detract from the musical effort that is taking place.
12. On With The Show: Take 11 (3:55) - A creaky and quirky Mellotron dominates the melody of the track and mix. This is a full take of the song. Electric guitar and piano in the right channel with Mellotron and percussive sounds in the left channel. "Twelve"
13. On With The Show: Takes 12 & 14 (1:23) - Take 12 lasts 12 seconds and then suddenly "fourteen" is called out. There is no take 13 and maybe this is because they are superstitious about take 13's or they just lost count. Take 14 is also relatively short with someone calling out at the end "Keith, will you turn the Mellotron down on the headphones"."One"
14. In Another Land Chorus: Takes 1 & 2 (3:11) - This melodically sounds like Bill Wyman's unique In Another Land, but it is a clean sounding backing track. It has piano and acoustic guitar instead of the Harpsichord and tremolo effects. At 1:16Keith: "That's very...I'll tell you what's very funny about that break is Bill""Two "This is actually a much more listenable interpretation of the song than the one that ended up released and pathetically over produced. This is clearly an example of a track that may have been played and altered to the point where it lost some of the raw appeal apparent in this early take.At 3:05Keith: "No, it doesn't; Charlie's wrong" "Hah, I Know" Keith: "What""Five"
15. In Another Land Chorus: Takes 3&4 (4:35) - This is a more rhythmical take with Charlie filling more the voids that are present in this run-through. At 3:35Keith: "What happened? Why did you stop?"There is a lot of bass in the right channel on the take 4 restart. Maybe an adjustment in the mix between takes. "Five"Keith: "Where are you all stopping? On the D?"Charlie: "I don't know where that is""This'll be take 5"
16. In Another Land Chorus: Takes 5 - 14 (5:04) - The first take in CD track 5 is short and keyboard dominant, the second is very drum oriented with a prominent right channel mix. The takes that follow are short fragments that combine the keyboard and drum emphasis of the first two takes."Fifteen"Charlie: "Well you won't play it""All right...one"
17. Majesty Honky Tonk: Takes 1& 2 (5:44) - Dreary organ playing in the left channel gives one the feeling of...silent picture horror movie music. Right channel in the breaks has a Beatlesque pop melody. What a combo! Well, boring and very unStones like. There is a complete take then a short false start. Conversation ensues amongst the band and includes the rare occasion of hearing Jagger's voice in these studio sessions.Charlie (whisper): "What's that voice?""Stu""Yeah""You got these signals back?""Three"
18. Majesty Honky Tonk: Take 3 (5:55) - The organ and piano riff with peppier tempo added to the piano breaks. And now...The dirge drone transformed into an uptempo dance version! Merry-go-round music! Strictly theme park 1967 style. The instrumental free for all is actually very much like "Between The Buttons" instrumentation. "Five""Four""Four""Right""I'm calling in the mechanic man"Charlie: "No, everything's gone dead on the phone""Calling in anything"Charlie: "It's, it's called dead man""Dead phone""Nothing on the cans"
19. Majesty Honky Tonk: Takes 4 -9 (4:18) - Organ in the left channel and piano and bass in the right. Take four breaks at 1:37. Take five only last until 2:02. Take six develops a bit more until it stops at 3:01 just shy of one minute. Seven goes to 3:22. Take eight lasts less than 8 seconds and nine lasts 9 seconds. Things just don't seem to be coming together on this sequence of takes.
And it´s in wma. format. Sorry for the audiophiles. Anyway, enjoy it.
Let´s make it!!!