The old story goes that Their
Satanic Majesties Request was an unmitigated disaster and The Rolling
Stones desperately needed to find their way back from a 2000 light-year remove
from the earthier sounds that made them. The nice thing about Beggars Banquet is that the Stones made
that restorative trek without entirely discarding the colors, instrumentation,
and imaginative lyricism that made Satanic
Majesties such a gas to certain fans (such as me). That increased
creativity coupled with a return to the Stones’ blues/Rock & Roll roots is
the key to their finest album.
Take “Street Fighting Man”, a three-chord piece
of uncomplicated Rock & Roll zapped to life with Indian instrumentation, a
tangy combination of hi-fi and lo-fi recording techniques, and provocatively
ambivalent lyrics about the band’s role on the outskirts of 1968’s
revolutionary temper. Take “Sympathy for the Devil”, another three-chord
simplicity that revives the frantic rhythms that added so much texture to Satanic Majesties with a sweeping,
funny, frightening lyric that I contend is Rock & Roll’s very best. Take
the murky drones and Mellotron of “Stray Cat Blues”, the ethereal take on the
blues called “No Expectations”, the outlandish character piece “Jigsaw Puzzle”,
the goony humor of “Dear Doctor”, the tapestry of shimmering strings on which
“Factory Girl” lounges, and the lush and hippie-ish “Salt of the Earth”. Just
as Let It Bleed and Exile on Main Street needed Beggars Banquet to establish their
formats, Beggars Banquet would not
exist without Their Satanic Majesties
Request to serve as its artistic stepping-stone.