Album: Exile On Main St
Artist: Rolling Stones
Born: Dartford, Kent
Released: May 1972
Genre: Americana
Influenced: Pretenders, Stone Roses, Primal Scream, Gomez, Libertines
Few periods in rock & roll history match the excesses of the Stones holed up in a huge mansion in the south of France in the early 70s. On the run from the taxman, the band were a magnet for debauched writers (William S. Burroughs) and musicians (Gram Parsons), while some Stones were indulging in heavy drug taking themselves, notably the mega-talented guitar section (Keith Richards and Mick Taylor). This is by a long distance the best Stones' album, mainly because Jagger was sidelined during the recording process and his voice was dropped in the murky mix, preventing his commercial sensibilities from undermining this brilliant exploration of American roots music. The Stones no longer sound like they're just ripping off the blues, country or soul, but have innovated their own unique brand of all three genres and more. As far as sprawling double LPs go, this is one of the finest.
The album's primitive sound is audible from the outset, with snatches of lyrics and instruments (like Nicky Hopkins' piano) emerging from the primordial blues soup of opener Rocks Off. Despite the ramshackle approach, the album has a coherent feel overall and some brilliantly original songs. Tumbling Dice, Torn & Frayed, Loving Cup, Ventilator Blues, Let It Loose and Shine A Light are all personal favourites. Torn & Frayed gets me on an emotional level; I once heard the Black Crowes play the song live back in the late 90s and started to well up ("Just as long as the guitar plays / let it steal your heart away"). I love the sound of Al Perkins' pedal steel guitar on Torn & Frayed and also the gospel elements on Tumbling Dice and Let It Loose. Whenever I listen to the album now, I get a sense of a dramatic spiritual progression, as though it builds to a crescendo from dark to light. Nothing the Stones did before or, more especially, since is anywhere near as affecting or convincing as Exile On Main St, and frankly it's depressing to see the soulless commercial outfit they've become.
Few periods in rock & roll history match the excesses of the Stones holed up in a huge mansion in the south of France in the early 70s. On the run from the taxman, the band were a magnet for debauched writers (William S. Burroughs) and musicians (Gram Parsons), while some Stones were indulging in heavy drug taking themselves, notably the mega-talented guitar section (Keith Richards and Mick Taylor). This is by a long distance the best Stones' album, mainly because Jagger was sidelined during the recording process and his voice was dropped in the murky mix, preventing his commercial sensibilities from undermining this brilliant exploration of American roots music. The Stones no longer sound like they're just ripping off the blues, country or soul, but have innovated their own unique brand of all three genres and more. As far as sprawling double LPs go, this is one of the finest.
The album's primitive sound is audible from the outset, with snatches of lyrics and instruments (like Nicky Hopkins' piano) emerging from the primordial blues soup of opener Rocks Off. Despite the ramshackle approach, the album has a coherent feel overall and some brilliantly original songs. Tumbling Dice, Torn & Frayed, Loving Cup, Ventilator Blues, Let It Loose and Shine A Light are all personal favourites. Torn & Frayed gets me on an emotional level; I once heard the Black Crowes play the song live back in the late 90s and started to well up ("Just as long as the guitar plays / let it steal your heart away"). I love the sound of Al Perkins' pedal steel guitar on Torn & Frayed and also the gospel elements on Tumbling Dice and Let It Loose. Whenever I listen to the album now, I get a sense of a dramatic spiritual progression, as though it builds to a crescendo from dark to light. Nothing the Stones did before or, more especially, since is anywhere near as affecting or convincing as Exile On Main St, and frankly it's depressing to see the soulless commercial outfit they've become.
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