I feel similarly about the self-titled comeback album that the Beach Boys put out in the mid-nineteen-eighties, overseen by the Culture Club producer Steve Levine, which I now find myself playing more often than “Pet Sounds.” Not everyone sees the value in listening through discographies, entailing as it does prolonged exposure to just such “bad” albums as these. But the context of the full body of work also redeems them, casting each one as a chapter in the story of the artist’s own development through history (for better or for worse), and also an unaltered snapshot of its particular pop-musical Zeitgeist. Though not representative of the Stones’ larger musical enterprise, “Satanic Majesties” is representative of what was going on in 1967; by the same token, “The Beach Boys” offers a distillation of the synthesized, sequenced, and sampled sounds of 1985, all the stronger in contrast to the vocal harmonies familiar from twenty years before.
— Read on www.newyorker.com/culture/cultural-comment/the-case-for-listening-to-complete-discographies

I did listen to “Satanic Majesties” after reading this, and I can totally see what he means. It doesn’t sound like a Stones album except that the voices and the guitars are so familiar. But it does seem to capture the feeling of 1967.