Tuesday, March 14, 2006


Well, boys. Our game haven´t had too much success, so I suposse what you really want is.... sing!!

Here it is CD2 Vol 1 of The Satanic Sessions by The Rolling Stones. Listen and perhaps we can sing along.

Rollingstonesnet.com is the perfect guide to this sessions so I have no much more to say about that.

Jagger: Flowers In Your Hair
What ?
Jagger: What?
Watts: Third time
Jagger: Flowers in Hair
Flowers in Your Hair right
Jagger: A Nicky...
Nicky Hopkins: Yeah?
Engineer: Flowers in Your Bonnet take one
Jagger: Like, like I said...la la la la la la da, but you're on your own, you know
Nicky Hopkins: Yeah. I will...
Keith, just get the levels
Play it then
(Acoustic guitar strums)
Guitar is switched from a left channel mix to center
Hopkins: OK...
1. She's A Rainbow: Takes 1-2 (6:57) - The working title of She's A Rainbow is Flowers In Your Hair! Hopkins goes on to play the loveliest melodic piano lines imaginable. The piano in the left channel is running all through the song with variations not heard on the released version of the track. The trumpet like sound in the right channel is a keyboard and most likely the Mellotron with yet another sound setting selected.
2. She's A Rainbow: Takes 3-7 (5:14) - The timing and lingering of the opening piano notes... then in the right channel percussive effects and in the center of the track Mellotron. Acoustic guitar is added to the track and then suddenly take 3 is history. A Mellotron miss quickly ends take 4. Take 5, 6, & 7 are even shorter.
Got to work this one
All right then
OK, here we go
(Drum crashing)
3. Citadel: Takes 20-24 (7:37) - Note that the earlier release of the CD "requestandrequires" features takes 1 through 24. Take 20 starts with the opening drum crash the pinging sound effect comes on and then stop. Take 21 is off the ground with drum beats guitar and mandolin in the left channel. The take ends after about 2:20. Take 22 is short lived and then straight into 23 which also misses the mark. Take 24 makes it through an entire instrumental take.
You've got to start it Keith now
You start it now
Twenty Five
4. Citadel: Takes 25-31 (4:58) - Take 25 does not open with the drum beats and only lasts for 20 seconds or so. They have eliminated the opening drum piece since the previous set of takes. Jagger: Is it in tune? (the mandolin). 1... 2... 3... 4... take 27 is here and then it's gone. 28 is abruptly stopped by in its embryonic stages. 29 goes on for a short while and stops when a bridge is missed (not played). Takes 30 and 31 go by the wayside in no time.
Thirty Two
Jagger: You're going faster then Charlie
5. Citadel: Takes 32-33 (4:50) - Take 32 goes smoothly and lasts around 2:37 for nearly a complete take. Keith tunes his guitar in the right channel and take 33 begins and makes it for around another 1:30. Studio banter rounds out rest of the track.
6. Citadel: Take 34 (3:56) - Some of the guitar parts at around 2:15 are inconsistent but the take carries on. Lots of "pinging" sounds at 3:15 and the take closes out at 3:50.
7. Citadel: Added Piano (3:52) - A couple of different sounds are being tried out on this playback with added instrumentation. Piano is played in the center of the track during the verses. Harpsichord is added with the mandolin in the left channel during the chorus sections. At around 2:30 Mellotron is played in the left channel and develops the instrumental outro of the track.
8. In Another Land: Takes 1-3 (3:07) - The late great Nicky Hopkins develops the Harpsichord intro right before our very ears. He plays it twice and finds the right note and then a heavy bass comes into the right channel as the track develops. Drums also come in at 1:04 and then there is a pause and what may be a hammer Dulcimer is played in the left channel. Take 1 is a complete run-through and sets the structure for the song as we know it.
Are we putting it in this time Bill?
Second intro...
9. In Another Land: Takes 4-8 (3:08) - A start quick stop and restart. The take is stopped by the engineer and we are up to take 8 in no time. Take 8 makes good progress and the Mellotron sound is added as the song progresses. Keith is present in this session.
10. In Another Land: Take 9 (2:15) - Acoustic guitar heard in the left channel. A similar run-through to take 8 ensues. The take is again ended by the engineer.
11. Child Of The Moon: Take 10 (4:23) - This is the same take that appears on the CD's "R.S.V.P." on Turd on the Run (Digitally Remastered) and on Diamond Bucks (New Version). This is a great alternate take with melodic acoustic guitar and piano. "New Age" before it was fashion. Jagger can be heard at the beginning sounding out an early vocal before the piano comes in and drowns him out.
"Here we go, eleven"
12. Child of the Moon: Takes 11-12 (5:27) - Acoustic guitar in the left with Mellotron, drums come into the right channel and the take abruptly stops at 54 seconds. "Twelve"The restart begins in exactly the same way as take 11 except this one is a go with piano sending the track into full swing at 2:25. There are very distinct pauses that form instrumental bridges that are quite different from the commercially released version of the song. This take also retains the long melodic piano outro heard in take 10.
"Ahh, seven"
13. Sing This All Together: Take 7 (14:52) - Dour piano lines open this run through with the creaky sound effects interspersed. You also hear the Jagger count-in 1..2..3..4.. just before the opening guitar part as on track 1 of "Their Satanic Majesties Request". It is this particular take is the basis for the released track that opens the commercial release. There are very interesting psychedelic guitar breaks that have been edited out of the song as we know it. If you eliminate these forays into the nether world of psychedelica you have what sounds much like the opening version of Sing This All Together. At 1:38 we hear the first "departure" from the body of the track. Very heavy psych guitar probably state of the art as far as these things go. At 2:31 Keith plays a short melody that is similar to Goin' Home when Jagger starts singing the sha la la's. At 3:27 things shift back into the main melody of the song. There is a second instrumental break at 4:40 which is the one used on the released version of the song. It replaces the guitar break at 1:38. A third and new instrumental piece starts at 6:48. This is a very distorted guitar being flutter picked. From here it goes into a rhythm is closer to that played in Sing This All Together (See What Happens). The free form jam goes on until 11:15 when a slow chord sequence passage begins and the mood of the song shifts to high REM dream stage.
14. Sing This All Together: Intro (1:32) - This is the keyboard work out for the introduction to Sing This All Together (See What Happens). There are multiple short takes. It's a little frustrating because he never quite gets it, and you are just left without ever hearing the notes as we know them. Probably Nicky Hopkins on the quirky Mellotron.


And yes, here are the Citadel lyrics. Come on and sing as loud as you can!!

Men at arms shout "Who goes there?"
We have journeyed far from here
Armed with bibles make us swear
Candy and Cathy we hope you both are well
Please, come see me, in the Citadel
Flags are flying dollar bills
From the heights of concrete hills
You can't see the pinnacles
Candy and Cathy we hope you both are well
Please, come see me, in the Citadel
In the streets of many walls
Here the peasants come and crawl
You can hear their numbers called
Candy and Cathy we hope you both are well
Please, come see me, in the Citadel
Screaming people fly so fast
In their shiny metal cars
Through the woods of steel and glass
Candy and Cathy we hope you both are well
Please, come see me, in the Citadel
Oh well...

Let´s make it!!


Blogger Eddie Riff said...

Thanks for the second volume! I'm looking forward to more mono releases of stereo classics and stereo releases of mono classics!

12:53 PM  
Anonymous nvt said...

nr2. thank u very much. looking fw 4 the other sessions. I'm not that much of a fan, but these are nice recordings. Thanx

1:31 PM  
Anonymous Old Man Of Oz said...

Very much appreciated! Brian Jones was a world music and blues genius way ahead of his time, and these rare tapes are giving me some wonderful peeks into the Stones' creative process way back then.

6:18 AM  
Anonymous Anonymous said...

Very cool.... But why not MP3 format!? For the love of God, don't help perpetuate the Microsoft monopoly.

9:30 PM  
Anonymous debg said...

Thanks for this. I knew about some of it - Nicky was one of the people I knew and loved best in this world, going back to 1969 - and it's always lovely to get a bit of him back. You made my night.

11:31 PM  
Anonymous Steven E. McDonald said...

Lovely stuff...I'm always fascinated by session collections like this, and of course these unofficial releases have had their effect (the Beatles Anthology series, for example.)

rollingstonesnet.com is down, by the way -- there's just a Verio holding page there right now.

1:28 AM  
Anonymous Steven E. McDonald said...

Lovely stuff...I'm always fascinated by session collections like this, and of course these unofficial releases have had their effect (the Beatles Anthology series, for example.)

rollingstonesnet.com is down, by the way -- there's just a Verio holding page there right now.

1:30 AM  
Anonymous randomduck said...

Fascinating stuff, yes - but WMA files? C'mon - go MP3 for universal compatibility, man!

Otherwise, great site!

7:38 AM  
Anonymous Anonymous said...

Great tracks. a switch to mp3 would be sweet.

10:46 AM  
Anonymous speechless said...

so you get some nice things for free (THANKS, btw) - and all you can do is to complain because it is not mp3-format.
Strange people, strange world

9:41 PM  
Anonymous Anonymous said...

speechless: if you offer a steak to a vegan how would he or she react?

1:22 AM  

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