Rolling Stones REEL TO REEL..."SATANIC MAJESTY'S REQUEST....REEL TO REEL is in Excellent condition with a few blemishes.. check photo's  Buyer to pay $4.50 s/h Thanks for looking Rolling Stones"THEIR SATANIC MAGESTIES REQUEST"


4 Track 3.75 ips Stereo Tape
London LPM 70141 W/
 7" Lenticular "3D" Box Cover
VERY HARD TO FIND AND VERY LIMITED RELEASE AND PRODUCTION OF THIS TAPE
AND
THE 7" VERSION  OF THE 8" ALBUM'S LENTICULAR COVER!!!(SAME VERSION OF THE ORIGINAL ROLLING STONES"SATANIC MAJESTIES REQUEST LP 3/D ALBUM COVER BUT JUST A BIT SMALLER**************A COLLECTOR'S ITEM FOR ANY ROLLING STONES FAN AND ROCK ART FAN VERY Rare -VG++/NEAR Mint !! 
EXCELLENT/NM  CONDITION!
Slight wear at the SPINE END on the box

Their Satanic Majesties Request-wiki

• Psychedelic pop[1][2]
• acid rock[3]
• experimental rock[4]
• psychedelic rock[5]

• Decca (UK)
• London (US)

1. "In Another Land"/"The Lantern"
   Released: 2 December 1967
2. "She's a Rainbow"/"2000 Light Years from Home"
   Released: 23 December 1967

Their Satanic Majesties Request is the sixth British and eighth American studio album by the Rolling Stones, released in December 1967 by Decca Records in the United Kingdom and London Records in the United States. Recording sessions saw the band experimenting widely with a psychedelic sound in the studio, incorporating elements such as unconventional instruments, sound effects, string arrangements, and African rhythms. The album's title is a play on the "Her Britannic Majesty requests and requires ..." text that appears inside a British passport. It is the first Stones album to feature the same track listings in both its UK and US versions.

Upon its release, Satanic Majesties received mixed reactions from critics and members of the group itself The album was criticised as being derivative of the contemporaneous work of the Beatles, particularly their June 1967 release Sgt. Pepper's Lonely Hearts Club Band, with the similarities extending to the LP's lenticular cover. In subsequent decades, however, it has gradually risen in critical reputation. Following the album's release, the Rolling Stones abandoned their psychedelic style for a stripped-down return to their roots in blues music.

History

Begun just after Between the Buttons had been released on 20 January 1967, the recording of Their Satanic Majesties Request was long and sporadic, broken up by court appearances and jail terms. For the same reasons, the entire band was seldom present in the studio at one time. Further slowing productivity was the presence of the multiple guests that the band members had brought along. One of the more level-headed members of the band during this time, Bill Wyman, wary of psychedelic drugs, wrote the song "In Another Land" to parody the Stones' current goings-on. In his 2002 book Rolling with the Stones, Wyman describes the situations in the studio:

Every day at the studio it was a lottery as to who would turn up and what – if any – positive contribution they would make when they did. Keith would arrive with anywhere up to ten people, Brian with another half-a-dozen and it was the same for Mick. They were assorted girlfriends and friends. I hated it! Then again, so did Andrew (Oldham) and just gave up on it. There were times when I wish I could have done, too.

The Stones experimented with many new instruments and sound effects during the sessions, including Mellotron, theremin, short wave radio static, and string arrangements by John Paul Jones. Their producer and manager Andrew Loog Oldham, already fed up with the band's lack of focus, distanced himself from them following their drug bust and finally quit, leaving them without a producer. As a result, Their Satanic Majesties Request would be the Stones' first self-produced album. Mick Jagger later opined this was not for the best:

There's a lot of rubbish on Satanic Majesties. Just too much time on our hands, too many drugs, no producer to tell us, "Enough already, thank you very much, now can we just get on with this song?" Anyone let loose in the studio will produce stuff like that. There was simply too much hanging around. It's like believing everything you do is great and not having any editing.

According to Brian Jones, a month before the album's planned release date the group "hadn't got anything put together":

It's really like sort of got-together chaos. Because we all panicked a little, even as soon as a month before the release date that we had planned, we really hadn't got anything put together. We had all these great things that we'd done, but we couldn't possibly put it out as an album. And so we just got them together, and did a little bit of editing here and there.

The working title of the album was Cosmic Christmas. In the hidden coda titled "Cosmic Christmas" (following "Sing This All Together (See What Happens)"), Wyman says in a slowed-down voice: "We wish you a merry Christmas, we wish you a merry Christmas, and a happy New Year!'" Some of the album's songs were also recorded under various working titles, some appearing rather non sequitous and radically different from the final titles. These working titles include: "Acid in the Grass" ("In Another Land"), "I Want People to Know" ("2000 Man"), "Flowers in Your Bonnet" ("She's a Rainbow"), "Fly My Kite" ("The Lantern"), "Toffee Apple" ("2000 Light Years from Home"), and "Surprise Me" ("On with the Show"). 

Keith Richards himself has been critical of the album in later years. While he likes some of the songs ("2000 Light Years from Home", "Citadel" and "She's a Rainbow"), he stated, "the album was a load of crap".

Packaging and design

One proposed cover—a photograph of Jagger naked on a cross—was scrapped by the record company for being "in bad taste". Initial LP and reel-to-reel releases of the album featured a three-dimensional picture of the band on the cover by photographer Michael Cooper. When viewed in a certain way, the lenticular image shows the band members' faces turning towards each other with the exception of Jagger, whose hands appear crossed in front of him. Looking closely on its cover, one can see the faces of each of the four Beatles, reportedly a response to the Beatles' inclusion of a doll wearing a "Welcome the Rolling Stones" sweater on the cover of Sgt. Pepper. Later editions replaced the glued-on three-dimensional image with a photograph, due to high production costs. A limited edition LP version in the 1980s reprinted the original 3D cover design; immediately following the reissue, the master materials for reprinting the 3D cover were intentionally destroyed.

The original cover design called for the lenticular image to take up the entire front cover,but finding this to be prohibitively expensive it was decided to reduce the size of the photo and surround it with the blue-and-white graphic design.

The entire cover design is elaborate, with a dense photo collage filling most of the inside cover (along with a maze) designed by Michael Cooper, and a painting by Tony Meeuwissen on the back cover depicting the four elements (Earth, Water, Fire, and Air). In some editions the blue-and-white wisps on the front cover are used in a red-and-white version on the paper inner sleeve. The inner-cover collage has dozens of images, taken from reproductions of old master paintings (Ingres, Poussin, da Vinci, among others), Indian mandalas and portraits, astronomy (including a large image of the planet Saturn), flowers, world maps, etc. The maze on the inside cover of the UK and US releases cannot be completed: a wall at about a half radius in from the lower left corner means one can never arrive at the goal labeled "It's Here" in the centre of the maze.

Release and reception

Release

Released in December 1967, Their Satanic Majesties Request reached No. 3 in the UK and No. 2 in the US (easily going gold), but its commercial performance declined rapidly. It was soon viewed as a pretentious, poorly conceived attempt to outdo the Beatles and Sgt. Pepper's Lonely Hearts Club Band(released in June 1967), often explained by drug trials and excesses in contemporary musical fashion, although John Lennon and Paul McCartney did provide backing vocals (uncredited) on "We Love You" (recorded during the Satanic Majesties Request sessions, but released as a single three months before the album).

The production, in particular, came in for harsh criticism from Jon Landau in the fifth issue of Rolling Stone, and Jimmy Miller (recommended by the album's engineer, Glyn Johns) was asked to produce the Stones' subsequent albums, on which they would return to the hard driving blues that earned them fame early in their career. In an April 1968 album review, Richard Corliss of the New York Times was also critical of the production value stating "...their imagination seems to have dried up when it comes to some of the arrangements. While still better than their previous ones, the arrangements are often ragged, fashionably monotonous and off-key." Despite this he gave the album an overall positive review, going as far as calling it a better concept album than Of Cabbages and Kings (1967, by Chad & Jeremy), The Beat Goes On (1968, by Vanilla Fudge) and even Sgt. Pepper's Lonely Hearts Club Band (1967, by the Beatles).In a 1970 Rolling Stone interview, Lennon commented on the album: "Satanic Majesties is Pepper. "We Love You"...that's "All You Need Is Love"".

The Wyman-composed "In Another Land" was released as a single, with the artist credit listed as Bill Wyman, rather than the Rolling Stones (the B-Side, "The Lantern", was credited to the Rolling Stones).

Most album configurations contain the hidden track "Cosmic Christmas" (running time 0:35) following "Sing This All Together (See What Happens)" (running time 7:58).

Retrospective assessment

Satanic Majesties has gradually risen in critical estimations since its release. In a retrospective 1977 review, Robert Christgau of the Village Voice stated that the album "no doubt contains several great songs" despite negative reception from some. Stephen Thomas Erlewine of Pitchfork wrote that "Perhaps psychedelia wasn’t a natural fit for the earthbound Stones, but the dissonance between their gritty rhythms and ornate, precocious arrangements is enthralling, not in the least because there’s no other record—by the Stones or anybody else—that sounds quite like this." AllMusic's Bob Eder called the mono mix of the album a distinct improvement over the stereo version, describing it as transforming the maligned album into "superb, punky psychedelia. Richie Unterberger of AllMusicwrites:

Without a doubt, no Rolling Stones album – and, indeed, very few rock albums from any era – split critical opinion as much as the Rolling Stones' psychedelic outing. Many dismiss the record as sub-Sgt. Pepper posturing; others confess, if only in private, to a fascination with the album's inventive arrangements, which incorporated some African rhythms, Mellotrons, and full orchestration. What's clear is that never before or after did the Stones take so many chances in the studio…In 1968, the Stones would go back to the basics, and never wander down these paths again, making this all the more of a fascinating anomaly in the group's discography.