Exile On Main Street

This is the real deal, numero uno, number one, the absolute best, period. While many classic albums of the late 60's and early 70's might be showing their age, "Exile on Main Street," is just as fresh and demanding as it was when first released in 1972. From Keith Richard's power chords signaling the beginning of "Rocks Off" to the frantic loud and raucous guitar fade of "Soul Survivor" Mick, Keith, Charlie, and the boys go for the throat on the Stones most powerful album. The Stones employ all their influences at their best: blues, gospel, country, R&B, and good old garage band rock n roll. The Stones love Chuck Berry, check out "Rip This Joint." Next, try some Slim Harpo blues, "Shake Your Hips." If you don't feel totally greased up by now, then get ready for "Casino Boogie" with Keith and Mick Taylor trading guitar licks sounding like screeching alley cats with Charlie Watts playing a naughty strip tease rhythm on the drums. What would be the end of side one on the LP ends with the great classic hit, "Tumblin' Dice." "Exile on Main Street" is a loosely structured concept album, in essence the Stones' journey through America. Thus side two, take the listener on a little spin out in the sticks with "Sweet Virginia" where you'd better be ready to scrape the sh## right off your shoes. For another stab at country music in much the same trippy mood as Gram Parson's "New Soft Shoe" comes "Torn and Frayed" the kind of song George Jones or Merle Haggard could only dream of. "Sweet Black Angel" brings in a little island music sound with its gentle marimbas. Finally, side two ends with the powerful country ballad with Nicky Hopkins, whose piano mastery can be heard on almost every cut on the album, pounding out one of his best piano leads on any Stones album with "Loving Cup." Side three opens with Keith Richards' most familiar song, "Happy." From there the Stones turn in one of their sleaziest, grungiest, most menacing tunes ever where Keith locks them in a manic rhythm that never lets up from start to finish, guitars and piano playing in total sync as Mick belts out some of the Stones' most mysonistic lyrics ever with "Turd on the Run." "Ventilator Blues" is a show case for Mick Taylor's fine slide guitar playing. The next number, "Just Want to See His Face" is perhaps the oddest song on the album. It sounds like something coming across an old AM radio late at night from an African American southern church service. The rhythms are captivating. Side three ends with the album's most powerful ballad with some killer horn and vocal arrangements, "Let It Loose." After working the listener into an emotional frenzy with that tune, now it's time to start down the album's home stretch with one of the Stones' great concert rockers, "All Down the Line" with some of the most creative hooks the Stones have ever stuck in one of their straight ahead rockers. "Stop Breakin' Down" is the second cover of a blues classic on the album. Is it any wonder to this day the old blues masters still perform with Mick and the boys? "Shine A Light" is a glorious spiritual masterpiece with lovely gospel piano and organ provided by Billy Preston and two of the most memorable guitar solos ever performed in a Stones classic. Finishing up in a mad frenzy on what was a full two album set is "Soul Surivor" a tune that starts off hot and keeps getting faster, louder, and nastier as the song continues. Somehow the way the guitars keep chiming into a fade at the end gives the listener the idea that the journey continues long after the album stops playing. It's muddy, it's dirty, but after the 1994 remaster, American listeners finally get to hear the Stones best album in its full glory. The American LP pressings were horrible, tinny and shrill with so much of the details and subtlties missing in action. The CBS release of the first CD was absolutely horrible. Did anybody do any premastering planning? The European record albums were beautiful and the 1994 CD finally gives the listener a chance to hear all the details in the massive wall of sound without compromising the rough and rowdy sound that the album strives so hard to maintain. There's so much going on with every song. After all these years, it's still growing on me. I've worn out five LP's and two CD's enjoying this album. No rock music collection is legit without this album, period. Play it as loud as you can handle it.

Great album. It’s The Rolling Stones. CD perfect and case wasn’t cracked. Great item.

What can be said about this album that hasn't already been said? It it quite simply one of the best and most important albums in rock history. Great album and great album cover!

Arguably one of the best Rolling Stones albums of all time. Part of the mick Taylor era

A lot of tape was spooled in France in a steaming hot basement in 1971 and there was more than enough to fill the 2 LP's that became the official Rolling Stones record: "Exile on Main Street" and this disc gives us a bit more from the two Mick's, Keith, Charlie, Bill and their friends Nicky Hopkins, Ian Stewart, Bobby Keys and Jim Price for a band indeed in exile but playing as good as any band ever would. The guitar interplay between Mick Taylor and Keith Richards is at it's peak here and Mick Jagger lays down some fantastic blues harp right outta the gate on the opening number: "Pass The Wine" (Sophia Loren) that sets the tone for what is to follow. Pass The Wine, is blues with a mission and this is the Rolling Stones playing right in their element as it's down and dirty and great to hear. "Following The River" is a Stones big-ballad driven by Nicky Hopkin's soild and graceful piano that builds and builds. "Dancing in the Light" takes us into country territory and is led by Keith's guitars (Mick Taylor, isn't playing on this cut) and Mick Jagger lays down a great vocal that removes "Light" from being another country-weeper and Charlie drives the beat with major attack. "So Divine" (Aladdin Story) takes the Paint it Black guitar riff and twists it sideways and is a real cool slow burn. There was a wealth of material recorded in France as this should have been placed on the original record as it deserves a place on there. "Plundered My Soul" again has a great interplay between Mick Taylor and Keith that shows just how well these two masters played together and Jagger sings the devil outta this one as well. "Plundered" is another keeeper as it's Stones gold unheard before this release showcases it. The piano of Nicky Hopkins raises the funk-level and barroom feeling on: "I'm Not Signifying" up by more than a few notches. Nicky (as always) adds so much to this music and he sets the feeling and tone here as The Stones are down and dirty (just the way we like em') Alternate versions of: "Loving Cup" and "Soul Survivor" are really great to hear on this new ratities disc as the sound of the original Exile LP's always sounded muddy and distant to my ears. And those original tracks have been described as a dirty-sounding recording by most it should be mentioned that Keith's vocal on 'Survivor' is a lot better than I remembered it to be. The horns are tasteful but not overpowering as they sometimes appear on Stones recordings. The guitars are mixed right up front and center and that is where they belong as the right moves were indeed made in keeping the sound modern but faithful to sounds the tapes of forty years ago. "Good Time Woman" is the germ that later turned into "Tumblin' Dice" and it's still good in it's original form but not as radio-friendly as 'Dice' would become but, this is another good find. Last up to bat is: "Title 5" one of the many jams from the basement that features only Charlie, Bill and Keith, and it's a showcase for multi-Keith guitars that we don't get to listen to all by their lonesome very often. I only wish a couple more instrumental jams could have been featured here on the rarities edition but, alas after this short number this disc is over. With ten tracks and 41 minutes of music here we have another Rolling Stones record of (mostly) unheard songs. And it's a great li'l record. Four Stars!

En el top 5 de los Stones y muy buena calidad de edición.

This album is probably the finest non-American tribute to the entire spectrum and roots of U.S. popular post WW2 music, and specifically black American music (with deep bows to country,bluegrass and others), ever made by any rock band, anywhere. That's a broad statement, but this double album, their finest, repays using your listening skills. This is an ode to every nugget in American roots music - and what a goldmine. The Stones were at the height of their powers in the early 70's, turning out this double album of immense energy, craft and plain hard rocking. The texture of the music is dense and packed with so many licks,hooks,retro-riffs and new inventions on older themes as to be almost exhausting to listen to. The mix is thicker than a Georgia sow's belly and denser than a chimney-full of hickory smoke. It's tensile like barbed wire strained to breaking, yet has the rhythm of a Mississipi paddle steamer on full boiler. What it took out of the band to make is something to be awed by. After this, they could never quite summon the energy again. There are Stones albums (single albums) that are more precise or have more obvious Top Ten hit material but none with this full-tilt energy and non-stop deep love of another musical culture. No wonder the Stones stood out then, and now, as not just another bunch of guys trying to be bluesy and black. They constructed an entire work of energy and love, original yet deeply rooted in the past. And boy, does this masterpiece rock! This double album is not "cover versions" of roots and blues songs - nor an attempt to "sound American" in an ethno-musical fashion. It is more than it's sources, if such a musical feat is possible. What is so compelling is that The Stones in "Exiles" actually improved and pushed forward the entire weight of roots and rock that had gone before them. It's uncanny, like someone has copied a book word for loving word, and yet that book is far richer and more veined than the original. Wait a minute, these guys are all lads from London? They are not named "Pickaxe Walters", "Tucson Henry" or "Blind Somebody" and never stepped foot in the USA until in their 20's. Pinch me, and play it again.

I have just listened to the new 2010 Remaster of "exile". I purchased the single Disc version. I am not interested in bonus tracks-Exile is a state of mind that consists of 18 Tracks that make up the whole. I have listened to the bonus tracks on youtube and that's where they shall stay. They were left off the album because they're not up to it. Now the Remaster. i have been reading reviews for the last month carefully taking note of what the consensus is to the Remastering debate. ( i bought the Beatles MONO box) because i wanted the true sound of what the Beatles put together,so i know the compression situation. All i will say is that on my Stereo System the new Remaster sounds Fantastic. Now it really sounds like Nelcotte-The sweat the dirt the Heat & the vibe are all clearer. I am there. I also have the 94 Virgin release which i also love. Let me say one thing that i suggest people look at.....My Speakers are mounted off the wall on mounts, clearing them from floor clutter and vibrations. I also have polished wooden floors so my Sound System is now much Brighter and more responsive to all recordings. People on here talk of Harshness and ear fatigue...i didn't get that. I just heard Exile on Main St with improved separation and a bit more punch in the bottom end. Listen to charlie's snare drum on "Sweet Virginia" that is so dirty, so nelcotte! I have never heard a snare like it. This new remaster puts the album into the 21st Century, so hopefully younger people will hear it and go "Yes this is great" I first bought this album in 1974 as an 11 year old, so i know it like Family! This new Remaster allows me to hear more of the dirt & sweat of the original. That cannot be a bad thing. Another Fact to Remember...The original Master recording completed in 1972 has been lost for a long time...The 94 Virgin Remaster was aligned with Original japanese Vinyl copies that Don Was and the Glimmers advertised for in Music Magazines. They did a great job in 94..The original 80's CD was very average. Casino Boogie is one of the Best Rock Songs ever recorded, pity the stones never played it live when Mick Taylor was there. During the next few months i will play both the 2010 remaster & the 94 to compare them. if i hear anything of interest i will add it to this review. But to me as a Massive Stones fan up to and including Tattoo You i think this new Remaster is Fantastic. It punches just the way Dirty Rock n Roll should. Now i wait for the full DVD of "Stones in Exile" and the "Ladies & Gentlemen" 1972 Concert.