"The Satanic Sessions Revealed" - Vol. 2: CD1

Sessions that were otherwise shrouded in mystery are now clearly brought into focus by the second volume box set that includes another four CD's worth of studio work "documenting" the Rolling Stones first and only album foray into the world of psychedelic music produced during the "Summer of Love".

The second box in this series features the same fine packaging as found in Part One except that the primary hues used are red instead of blue. The booklet for some reason has the same text as volume one but with different period photos of the band.

And now the test for any true Stones fan... Multiple alternate instrumental takes of The Gomper! Careful listening does bring an appreciation for the musicianship that is going on with these "stripped" tracks.

"Satanic Sessions: Volume Two"

Box Set Midnight Beat Records

Volume Two - Disc 1 (MBCD 124)

1. Title 15: Take 6 (4:04) - A familiar riff from the final CD of Volume One set starts off CD1 of Volume Two. The verse sections are similar to All Sold Out from "Between The Buttons". There is clear separation of the guitar in the left channel and drums in the right.

2. Title 15: Take 7 (4:00) - Same riff as track one except with an added second guitar playing a melodic lead line over the fundamental riff. I've got to wonder who is playing the second guitar because it's not in the style of Jones or Richards.

Richards: 1, 2, 3, 4...

3. Gomper: Take 1 (3:01) - The instrumentation is very similar to that heard on the LP except the guitars in both channels are frequently out of key. The basic melody quickly goes into the jam stage and then back into fundamental melody before Charlie comments "that's too fast" and the whole thing comes to an end.

4. Gomper: Take 2 (8:46) - This take basically picks-up where the last takes off. Eastern melodies pervade the rhythm. This one makes it to melodies played at the end of the officially released LP. Parts of this particular take may have been used on the released version. Syncopated rhythms in the right channel fill the closing section of the instrumental.

Two, Three, OK...
Yeah, what?

5. Gomper: Take 3 (1:05) - By this point one begins to appreciate the layered instrumentation as the mind begins to search for variety amidst the fog of monotony. Organ melody and "twangy" Eastern sounding guitar in the left channel. A 12-string electric guitar played in the right channel. Was Richards inspired by the 12 string electric guitar played by Roger McGuinn's Byrds? Remember that Eight Miles High to name one (also reference 5D: Fifth Dimension), is their commercial attempt into the same genre of music. Eight Miles High was recorded January 25, 1966, a full year before the start of the Satanic Sessions. An out of key chord change on the 12-string puts an end to the take.


6. Gomper: Take 4 (1:10) - As the take unfolds from the opening segment of the song Richards transitions into the chord strumming section, hits a bum note, and the take is ended. Still defining what the song will sound like at this point and searching out the notes that ultimately make up the song as we know it.


7. Gomper: Take 5 (:17) - A short take stopped by an incorrectly played note on the organ.

Right, six


Part one, take one.

8. Gomper: Part 1, Take 1 (1:16) - The engineers announcement of this song may indicate that there was intention to build the song in separate pieces and takes. This opening section seems to be deliberately stopped at a pre-defined number of bars into the song. There is a slight muting of one the notes played half way into this take, but the music is not stopped for this reason.

Part one, take two.

9. Gomper: Part 1, Take 2 (8:45) - Again the take begins with the introduction of the song except that this version carries on into the main body of the song and develops into an extended jam. Either the segmented theory is not correct or this song was intended to have a very long running time with multiple extended pieces!

One, ahhh
All right

10. Soul Blues: Take 1 (1:46) - A heavy bass line opens the take which leads into an uptempo organ riff dominated melody. The song gets to the bridge section and then quickly transitions to an outro and ending. The title was either selected by the bootlegger or written on the reel that this music was taken from. In either case it doesn't seem fitting to the tune.


11. Soul Blues: Take 2 (2:05) - The bridge section is somewhat different in this take as the band may have discussed changing the structure of the song after the short first take.

12. Soul Blues: Take 3 (3:53) - A longer take evolves in this track. There is a pause where the other takes have previously ended and then the song starts itself up again. There is some improvisation and the course is changed back into the main melody of the song.

I Want All The People To Know take one

13. 2000 Man: Takes 1-2 (2:58) - This is the working title to 2000 Man! A familiar instrumental riff ensues that is very much like the released version. A dominant rhythm guitar in the right channel with Watts in the middle-left.


14. 2000 Man: Take 3 (:37) - Guitar and keyboard work quickly up to the bridge section before stopping abruptly.


15. 2000 Man: Takes 4-5 (4:22) - Take 4 is again a series of short work-ups to the bridge with frequent stops along the way. The focus is the "Oh daddy is your brain still flashing" piece of the song. Take 5 doesn't pick-up until 2:20 of this CD track. The musicianship here can really be appreciated with guitar track isolated so clearly on these takes.

Sing along with the instrumental takes of Gomper!

By the lake with Lilly flowers
While away the evening hours

To and fro she's gently gliding
On the glassy lake she's riding

She swims to the side
The sun sees her dried

The birds hover high
I stifle a cry

The birds hover high
She moans with a sign...

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