Rolling Stones - Exile on Main Street
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Artist: Rolling StonesBrand: UNIVERSAL
Edition: Music CD
Audio: English (Unknown); English (Original Language)
Format: Deluxe Edition, Extra tracks, Original recording remastered
Published: 2010
CD Release Date: 2010-05-18
Model: 00602527342955
Music Label: Universal
Product features:
- ROLLING STONES THE EXILE ON MAIN STREET (DELUXE 2CD)
Music CD 1
- Pass The Wine (Sophia Loren)
- Plundered My Soul
- I'm Not Signifying
- Following The River
- Dancing In The Light
- So Divine (Aladdin Story)
- Loving Cup--Alternate Take
- Soul Survivor--Alternate Take
- Good Time Women
- Title 5
- Turd On The Run
- Ventilator Blues
- I Just Want To See His Face
- Let It Loose
- All Down The Line
- Stop Breaking Down
- Shine A Light
- Soul Survivor
- Pass The Wine (Sophia Loren)
- Plundered My Soul
- I'm Not Signifying
- Following The River
- Dancing In The Light
- So Divine (Aladdin Story)
- Loving Cup [Alternate Take]
- Soul Survivor [Alternate Take]
- Good Time Women
- Title 5
Music reviews of Exile on Main Street
Music Review: The bottom line
Rating: 3 Stars
Well, hard core Stones fans, the time has finally come....our long lost ship is in sight and coming in to port.
My feeling is summed up in the lyric from 'I'm Not Signifying': "Have you have ever had the feeling, baby, that you've been here before?"
After decades of holding off on releasing the endless hours of (officially) unreleased live recordings, film, studio outtakes, demos of songs that were forgotten, left unfinished, or didn't quite make the cut, that brilliant marketing / money maximizing tactician Jagger has decided it is time to keep the cash flow up by resorting to the bottomless ocean of their legacy rather than keep trying to flog new material.
It must also be kept in mind that Jagger and Richard have never cared less about what anyone thinks of them, their music, or their methods for building their legendary public image or musical reputation. As far back as 'Get Yer Ya Yas Out'...despite being at the peak of their ripeness as artists and players...they had no problem at all with erasing elements of the actual live performance and replacing them with well rehearsed, 're-take until it's perfect' overdubbed guitars and vocals. In other words the 'In Concert' subtitle is largely a big, fat, scam (particularly in that the main components...vocal and guitars...of what makes that album so spectacular are completely 'fake'. An outrage to purists and idealists, but a blessing to people (like me) who simply love the music...alot better than I would've if they'd kept Jagger's comparatively tired, lazy original vocal on (for example) 'Jumpin' Jack Flash' from New York on November 28th.
They knew, even then, it's about the sound and the fostering of myth...nothing more, nothing less.
Don't get me wrong...I have been in love with the Stones sound, image, and mystique since I first heard Satisfaction at the age of 11 or 12. With my first acquisition (Hot Rocks) I had similar immediate love for 'Street Fighting Man', 'Get Off My Cloud', 'Paint It, Black'. I still buy everything new they put out the day it is released, and am 100% behind the sentiment that...after almost 50 (FIFTY!) years together...they are only now fulfilling the obsession they originally sought as 19 year blues, R&B, and Chuck Berry freaks: to be like their idols who, at that same time, were all the age they are now. Their latest music has fabulous moments, and such a rich legacy of so many thoroughly assimilated styles emerging that I doubt they are even conscious of where all the hybrid sounds and slightly re-arranged licks come from.
So keep the soul alive Keith...you are still the essence of rock music as much as you ever were...and keep the cleverly metered out flow of archived treasures coming Mick...please!
All that having been mad clear, let's take an informed, unjaundiced and objective look at the 'new' Exile and it's 'bonus tracks':
I was immediately reminded of 1981's 'Tattoo You' in concept (albeit not in sound). While the intention here is openly acknowledged as being the revelation of music from the Exile era, with it's sublime spirit and archetypal Stones sound, the result comes across more like the lazy 'new album' in 1981 (which was simply a collection of patched up, repaired or completed demos from various sessions dating as far back as 1972). Any fan worth his salt knows this is true of ALOT of the Stones work: tunes recorded in the marathon 1977-78 'Some Girls' sessions in Paris often weren't squeezed on to a released album or b-side until years later (ie. 'So Young' didn't see the light of day until 1994).
While I'm sure, as claimed, titles and Exile-esque lyrical idioms were in place already when these cannisters were dusted off for review, the (at least partially) posthumously completed prose does sound somewhat squeezed into the cleaned up instrumental tracks occasionally. But the big problem I have is the obvious difference between Jagger's raw but ferocious 1972 vocal sound (Exile and Fingers particularly) versus his modern, technically broader but worn, comparatively uninspired sound. Listen to the climaxes of recordings like 'Moonlight Mile' and 'Bitch'...or 'Rip this Joint' in it's entirety...then to the more energetic moments of 'Plundered My Soul' and imagine if the '72 Jagger had sung them.
It's like the difference between the honesty and raw emotion of the original 'Wild Horses' versus the bland 1995 unplugged remake / re-issue. 'So Divine' is interesting, but clearly a melody being developed via jam (bootlegged hundreds of times as an instrumental track) with a vocal squeezed in to make a song out of it. It should be noted, however, that Lisa Fischer and cohorts do an admirable job creating the backing vocal ambience that Clydie King, Vanetta and others achieved in the original sessions.
Still...as an irrepressible fan / afficianado...I would much rather have these new, albeit crippled and somewaht hollow, insights into the band than not. No question. Now on to the good stuff.
The outtakes, and a couple of the demos that sound like they have the original vocals left intact, are tremendous and worth the price of the deluxe version alone. While I can't quite tell if the vocal has been replaced (a credit to Jagger if it was), I was delighted to hear a cleaned up, high resolution verson of 'I'm Not Signifying' (titled 'I'm Not Lying' on bootlegs for decades).
The rough demo of 'Loving Cup' (which may date back to '68-'69 when it was first written, and was also played at Hyde Park in '69) is a pleasure and enhances one's appreciation of one of the most beautiful tunes on Exile. 'Good Time Women'...the original working title that evolved into 'Tumbling Dice' has also been around for ages, but never with this clarity of recording (and the almost ad lib lead vocal is almost certainly original).
'Title 5' is pointless but, why not? If nothing else it satisfies that they have scraped the barrel bottom and given us the best of what was left over. There's lots of demos and outtakes available on bootlegs, so bless their hearts for confining this to retreads and mostly new, unheard material.
The absolute high point of the entire package for me, however, was hearing Richards' take the lead vocal on an early demo of 'Soul Survivor'. Fabulous.
The DVD is a very abridged sampler of the coming (in June) 'Stones in Exile' documentary which will be great. Hopefully the long overdue release of 'Ladies and Gentlemen' next fall will be better restored than it is here (though, again, it's great to see / hear versions of Happy and ADTL that are neverthless infinitely better than what's been circulating on bootleg DVD and on YouTube for years...really looking forward to that, and hopefully they'll release it as a CD as well). Finally, it was amazing to see some of the more comprehensible sections of CS Blues in such higher (albeit still pretty shoddy) quality than what's been circulating for years in the underground (Richards', in 1983, characterized even his copy as being like somewhat like watching a multi generation copy of 'Birth of a Nation').
The big disappointment for me was the exclusion of the alternate, very different acoustic version of 'All Down the Line', which is so stunningly cool...and gentle compared to the single / LP version...that it's exclusion is an absolutely confounding oversight. Oh well...maybe it was recorded for 'Fingers' and will make it on to that deluxe version.
Anyway I hope this is a portent for Goat's head Soup with 'Save Me' / 'Criss Cross', 'It's Only Rock and Roll' with their coveres of 'Shame, Shame, Shame' and 'Drift Away'...or maybe the original version of 'Lonely at the Top' (which didn't make it to completion and release until 'She's the Boss' in 1985! Hey Mick! How about releasing 'Claudine'? She wouldn't sue you at this point, would she? The statute of limitations will protect her lying ass from the damning expose that song was! How about the 'Hound Dog' homage to the then recently snuffed it Elvis from Memphis 1978? The Ian Stewart Memorial gig? Video of the 1977 El Mocambo gigs? C'mon! We made you rich and famous by appreciating you and your childhood buddy's tremendous talents and artistic sensibilities...time to give a little back!
The list of unreleased Stones treasures...circulating and merely mythological...is endless, but for what it's worth my all time Holy Grail / number one request would be a clean, soundboard recording of 'Roll Over Beethoven' from the 1970 European Tour. They have never done anything like it, before or since, but the only thus far available documents were all recorded on vintage 1970 handheld tape recorders.
Finally, may I also suggest a return to your original 1964 concept...do an album of cover versions! Always your celebrated forte!
Anyway here's to many more years fellows, and keep prying open those vaults!
Description of Exile on Main Street
Regarded as one of the greatest albums in rock 'n' roll history and one of the most defining of the Stones' catalogue. Upon its release more than three decades ago, 'Exile on Main Street' innovatively wove varying musical genres, instruments and even artists into a compelling rhythmic masterpiece. The original 18-track double-album was recorded in various stages at multiple locations, including Olympic Studios in London, Keith Richard's mansion Nellcote in France, and in Los Angeles where the literal "Main Street" influenced the album title. These atypical circumstances surrounding the recording process greatly affected the album's outcome which was highly reflective and influenced by the sociopolitical turbulence that marked the late `60s and early `70s. The Stones nixed the influences of a flower-child era and directed their creative process with the edgier, excessive, "more is more" approach of the `70s. Exile reveals a sprawling mix of genres with undertones of blues, country, R&B and gospel mixed with lyrics that fervently demand for release and liberation. The 2-CD version is a 3-panel digi-pak, 2xCDs with a 12 page booklet. The Digipak is printed in reverse board double white to keep an 'uncoated' feel like the original LP release. The 2nd disc features 10 tracks originally recorded during the Exile era including 'Plundered My Soul', 'Dancing in the Light', 'Following the River' and 'Pass The Wine' plus alternate versions of 'Soul Survivor' and 'Loving Cup'.From the swaggering frustration in the first song ("I only get my rocks off while I'm sleeping," Mick Jagger sings in the hyper "Rocks Off"), the Stones speed through familiar neighborhoods of country, blues, and R&B on Exile. They never even bother to stop when they've crashed into something. They don't leap into new worlds so much as master the old ones, turning Slim Harpo's blues obscurity "Hip Shake" into a harp-and-piano steamroller and setting spines a-cracking in "Ventilator Blues." Both "Tumbling Dice" and Keith Richards's "Happy" have become hits, but the 1972 album is most notable for its overall murky adrenaline. --Steve Knopper
Before Keith Richards's bad habits took over for a time in the mid-'70s, his work ethic was quite high. Stories abound of the long, if somewhat off-schedule, hours he spent working on this classic album in the basement of his home in France. Hanging together as much because of great songwriting ("Rocks Off," "Soul Survivor") as its fabled grungy atmosphere, Exile caps the Stones' great 1968-'72 run with a force that belies their supposed spiritual tiredness. What some of these songs are about is anybody's guess--Keith claims "Ventilator Blues" was inspired by a grate, while the song plays like an ode to a pistol--but that's just part of this album's hazy game. --Rickey Wright
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