Majesties' Second Request (1996) concurrently with Take It from the Man!, although not in the same studio or with the same producer. Newcombe recalled "recording Take It from the Man in the day time and then recording Their Satanic Majesties' Second Request in the nighttime. I was doing them simultaneously. I would go and stay at this one studio and then take the train out to the other one so instead of being homeless I was going between these two studios and crashing on the couches and doing two, 18 song records at the same time." Music Finding the band exploring further territory, Take It from the Man! was another change of style for the band, taking a large influence from 1960s British garage rock, particularly the early work of the Rolling Stones. The Phoenix New Times characterized the album as "psychedelic garage rock". Under the Radar said the album was "Rolling Stones-referencing," while Consequence of Sound said the record carried a "mid '60s era Stones rock & roll feel." Laut more broadly said the album "deals with British music from the 60s," noting "(David Bowie I Love You) Since I Was Six" as an example. Angel Fire said the album was "inspired by the gritty R&B of Aftermath or 12x5. The feedback and production is total 90's, but the style is straight 1964, and a glorious style it is." Joel Gion talked down the recognized similarities, saying "Take It from the Man was largely described as a December's Children nuts and bolts Rhythm & Blues sound. We don't purposely go out for that. We just like that music. I think there were higher standards for music during the '60s. You could take Top 40 music from then and check out the quality." All of the songs on Take It from the Man! were written by Newcombe, except for "Oh Lord", "B.S.A.", "Cabin Fever" and "In My Life", which were written by Matt Hollywood. Referring to the songs "Caress" and "Who?", Newcombe stated "I might have written those songs getting drunk up in Portland at Zia's [Zia McCabe of the Dandy Warhols] house with everybody after a show. I used to really love writing songs in front of people with acoustic guitars or whatever just to show off with my mates, it used to make me really happy to be clever." Characterizing it as the album's epitome, Jason Ankeny of