"The Satanic Sessions Revealed" - Vol. 1: CD2

On February 12, 1967 Jagger and Richards were arrested after a police raid Keith's Sussex, Redlands home. It appears they were "set-up" by the News of the World because of a libel suit filed by Jagger regarding drug use. On June 29, 1967 Jagger, Richards, and art dealer Robert Fraser are jailed and fined. The terms are 3 months, 1 year, and 6 months respectively. Jagger and Richard are released on bail the next day, Fraser serves 4 months for possession of heroin. We Love You is featured on the second CD of Volume One of the "Satanic Sessions" Box Set. The song was released as a tribute to the support they received during the drug bust. A time of transition and change both personally and professionally for the band. The music of "Their Satanic Majesties Request" marks in many respects the range of madness, malaise, and melancholy of the time.

"Satanic Sessions: Volume One"

Box Set Midnight Beat Records

Volume One - Disc 2 (MBCD 121)

Fifteen, right...

1. We Love You: Takes 15-16 (6:11) - The musical genius of Brian Jones is once again displayed on the skillful playing of the Mellotron on this track. The guy has really mastered the instrument as his playing on 2000 Light Years from Home has also revealed. Note that the alternate take of this song found on the "Time Trip Vol. 4" CD is take 4 and quite different musically than these later takes. There are no "foot stomping and door clanking" sound effects at this stage in the song.

Ahhh, seventeen

2. We Love You: Takes 17-19 (3:35) - We Love You has been the musical influence of a couple significant groups including the vocal melody on Aerosmith's Sweet Emotion from "Toys In The Attic" (April, 1975) and a variation on the musical melody on Paul McCartney & Wings Nineteen Hundred And Eighty Five from the "Band On The Run" LP (December, 1973). McCartney along with Lennon sang backing vocals on the original Stones version of We Love You. Take 17 is short lived and the band dives straight in to take 18. None of these takes ever gets off the ground.

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...

3. 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.


4. 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)


5. 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

6. 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

7. 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.

8. 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.

9. 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.

10. 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...


11. 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.

12. 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.

13. 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.

The primary theme of this CD is the development of Citadel and also reveals the development of We Love You, Child of the Moon, and She's A Rainbow which were tracks strong enough to be released as singles and b-sides in the Sixties.

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...

OK, now sing along with instrumental tracks...

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