"She's a Rainbow" is a song by the Rolling Stones and was featured on their 1967 album Their Satanic Majesties Request.[5] It has been called "the prettiest and most uncharacteristic song" that Mick Jagger and Keith Richards wrote for the Stones,[6] although somewhat ambiguous in intention.[6]
Their Satanic Majesties Request 1967 Rar
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"She's a Rainbow" was released as a single in November 1967 and went to No. 25 in the United States. Cash Box said that the Rolling Stones "[step] up their blues beat with orchestrations that surround the listener in a swirling collage of offsetting tonal colors."[10]
Since I've been listening to a lot of the Pretty Things, here's another album from them.I'm very happy with what I've accomplished here, I must say! "Emotions" is a 1967 album from the Pretty Things that wasn't well received when it came out, and was almost immediately disowned by the band. They've been critical of it ever since. I hope I've tweaked things to come up with a version that would meet their approval, and hopefully yours as well.There's an interesting story behind this album. In late 1966, the Pretty Things were on a commercial decline. Their rocking R n' B msuci was going out of style, and musical tastes were drastically changing fast. They owned one more album to their record company Fontana Records. Fontana wanted hits from them, and forced a producer on them, Steve Rowland who had made some hits for a couple of lightweight bands. The band members tried their best to go along with the record company's demands, writing songs in a new style and acquiescing with the producer's methods, which was to slather horn sections and strings all over the songs.Keep in mind that this was 1967, and the new psychedelic style often had very ornate production. Consider how drastically the Rolling Stones changed their style for one album that year, "Their Satanic Majesties Request," to fit in with musical trends. (The Stones would soon disdain that album of theirs as well, although I think it's a really good one.)The good news was, the Pretty Things wrote a very good bunch of songs, proving they had the talent and versatility to go beyond R n' B. But the producer way overdid it with the strings and horns, badly undermining the songs. Two band members were so upset that they quit the band in frustration in the middle of recording the album, never to return. The band never played any of the songs from it in concert (except one, "Children," and that only briefly). The album did poorly commercially, so all the selling out was for naught, but at least the band was done with their Fontana record company contract. They would go on to greater things with their next album ("S. F. Sorrow").Luckily, it turns out that various archival releases have included alternate versions of most of the songs, stripped free of the strings and horns. I was able to find alternate versions for eight of the twelve songs. Of the remainder, two of them don't have that much overproduction. But you will definitely notice the horns on the first song, "Death of a Socialite," and the strings on another song, "Growing in My Mind." Overall,l this is much closer to how the band wanted the songs to sound, before the producer went wild on them.Since the band has continued to express their frustration with this album even to this day, I'm kind of surprised they haven't made an alternate version just like this one. The alternate versions I found were scattered all over the place. Perhaps if they search their archives they could find alternates for the remaining four songs as well, and fully undo the mistakes of the past.For bonus tracks, I've included two other songs from the same era that similarly had production issues. (One of the songs, "Progress," is from 1966, but December 1966.) These bonus tracks use alternate versions that are similarly stripped down. I'm putting the non-alternate versions of these two songs on different albums.
There were multiple Kaleidoscopes in 1967, including one from the United States and the other from England, who both released debut albums that year. If you're reading this list, both are worth checking out (in fact the U.S. band's Side Trips is our #49). The UK band's Tangerine Dream is a lost gem of baroque psych. Sporting chiming 12-string guitars and tight harmonies, they at times recall their contemporaries Pink Floyd (a la "Arnold Layne"), especially on their hallucinogenic debut single "Flight from Ashiya" which is the penultimate song on Side 1. The record also dabbles in Kinks-y tales of everyday life in "Mr Small the Watch Repair Man" and fairy tale fantasy, all with equal success, and still holds up -- even if lyrics like "The jester and the goldfish have joined minds above the moon" seem like pastiche today. [B.P.]
One of the more unlikely bands to hop aboard the psychedelia bandwagon in 1967 was bubblegum pop group Herman's Hermits. From the vivid artwork to opening with a Donovan cover to naming the thing Blaze, Peter Noone & co. must have wanted it to be very clear that this was not the clean-cut Herman's Hermits of old. It's all a little on the nose, but Herman's Hermits really pulled it off. The Donovan cover ("Museum") sounds great in their hands, but it's really the original songs here that make Blaze so impressive. Band members Derek Leckenby, Keith Hopwood, and Karl Green penned "Busy Line," "I Call Out Her Name," and album highlight "Moonshine Man," all of which are overtly Beatlesque. They're great singers, which allowed them to pull of the lush harmonies that are such a crucial and addictive part of psych-pop. The musicianship is just fine too. The looping guitar melody of "Busy Line" and the busy basslines of "Moonshine Man" give those songs an edge that's both hypnotic and danceable. (They sort of sound musically like '65-era Beatles but vocally like '67.) Frequent contributor (and eventual band member) Pete Cowap penned the darker psych-pop of "Last Bus Home," and he co-wrote the standout closing track "Ace, King, Queen, Jack" with Peter Noone. More of a rocker than the rest of the Blaze songs, "Ace, King, Queen, Jack" had Noone trying on a harder-edged delivery and totally selling it. It's a Nuggets-style psych song and rivals a handful of songs on that comp. [A.S.]
While the flower-power movement is mainly associated with the West Coast (and swinging London), New York City was not a barren garden, and for a while The Left Banke rivaled The Zombies and Love as preeminent makers of sublime baroque pop. Led by songwriter/keyboardist Michael Brown, few made as good of use of harpsichords and mellotrons as The Left Banke. Their debut album has most of their best material, including the two spectacular singles (both released in 1966) that comprise this 1967 album's title. But there's also the equally fantastic "She May Call You Up Tonight" (maybe the band's best-ever song), "I've Got Something on My Mind" and "I Haven't Got the Nerve." The minor-key melodies are more Autumn of Melancholy than Summer of Love, but the foliage is no less beautiful. [B.P.]
On their second album of 1967, The Monkees deliver the finest album of their short career, with half the songs written by pros like Carole King & Gerry Goffin, and Harry Nilsson, with the rest by the band, who really came into their own here. Mixing pop smarts ("Pleasant Valley Sunday," "Cuddly Toy") with a growing maturity ("The Door Into Summer," "Love is Only Sleeping"), Pisces is also defiantly trippy at times, from weird spoken word interludes to full-on psych numbers like "Daily Nightly" and "Words." 1968's Head might have the ultimate Monkees psychedelic entry ("Porpoise Song"), but this is the album to reach for again and again. [B.P.]
The Doors' self-titled debut album (released in January of 1967) is a near-perfect album, and quite arguably the band's best. But its follow-up Strange Days (released in September of 1967) is undoubtedly the more psychedelic album. The word "Strange" being in the album title and two song titles should be a dead giveaway, and if it's not, how about the song title "I Can't See Your Face In My Mind"? I'm not one to judge a book by its cover though -- the music here really is tripped out. "Horse Latitudes" is an early example of the spoken-word-and-sound-effects stuff that Jim Morrison would become known for. That's the weirdest song on the album, but outside of bluesy single "Love Me Two Times," nothing on Strange Days is straightforward. A lot of the album has this hazy, dreamy vibe that you can hear on the title track, "You're Lost Little Girl," "Unhappy Girl," and more. The aforementioned "I Can't See Your Face In My Mind" is as much a trip as the name implies. "My Eyes Have Seen You" goes into the kind of jamming that was going on up north of The Doors in San Francisco. The album's best moment, though, is its 11-minute closing track "When The Music's Over." The Doors already figured out how to do a trippy, lengthy closing track with "The End" on their debut, but "The End" sounds pretty sober compared to "When The Music's Over." This is the song where Ray Manzarek, Robby Krieger, and John Densmore fully figured out how to take the listener on all kinds of mind-expanding journeys, and Jim Morrison's stream-of-consciousness lyrics and whisper-to-a-scream delivery were at their most effective. No matter how many times I hear it, when Jim comes back in screaming during the "We want the world and we want it now" section, I get chills. [A.S.]
Just about every rock band caught the psychedelia fever in the mid-to-late '60s and the Stones were no different. For a British band who started out sounding strikingly American, the Stones began echoing The Beatles and The Kinks with the British whimsy of "Mother's Little Helper" and the raga rock of "Paint It Black" in '66. They dipped their toes further into psychedelia with January 1967's underrated Between the Buttons, and by December of that year they ditched the blues entirely and went full Sgt. Pepper's with the release of Their Satanic Majesties Request. From the vivid album artwork to the experimental art pop, some considered it too similar to Sgt. Pepper's. The band have mostly abandoned the album and almost never play music from it at their shows, but it's become a cult classic with psych-rock fans -- so much so, that psych revivalists The Brian Jonestown Massacre named an album after it. It's a cult classic for good reason too. Opener "Sing This All Together" is whimsical pop that truly beats a few Sgt. Pepper's songs at their own game. The mellotron and vibrato-vocal fueled "In Another Land" might be the weirdest song in the Stones' discography. "Sing This All Together (See What Happens)" reprises the opening track but turns it into an eight-and-a-half minute trek through druggy sound effects and extended jams. "She's A Rainbow" is the closest the album comes to having a true pop song and it rivals most other psych-pop singles from that year. "Gomper" takes the raga rock of "Paint It Black" into way trippier territory. They mastered psychedelia so much on this album; it's a shame they never did anything like it again. [A.S.] 2ff7e9595c
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