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RobertJohnson
The peak of their producing and the manifestation of Rhythm and Blues. Never before and after they were nearer at their quintessense and more authentic. Rougher and more simple in the arrangement than Sticky Fingers, Mick Taylor restrains his virtuosity, but never this album would have been brought to light without his influence.
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HMS
I don´t know why this album is so highly praised. There are better Stones-albums before and after it. It is nice indeed, but too long. So at times it gets a bit boring, since some songs are very average. And it has too much horns on it.
To make this album a REAL GREAT ONE you have to remove Shake Your Hips, Casino Boogie, Sweet Black Angel, Turd On The Run, Ventilator Blues and Just Want To See His Face. In the best case these are classic b-sides that should not surface on an album. Mabey Soul Survivor should be excluded too, I´m not sure.
The remaining songs are without doubt outstanding highlights in their career. The Bonus-CD of the Deluxe-Version is really poor, most of the songs on it are not worth to be released. I was really disappointed at first hearing. Never gave them a second chance, it would only be a waste of time. On the other hand, the Bonus-CD that comes with Some Girls is almost better than the original album. But that is another story.
If Exile was a single LP, it would be my second-best loved Stones record. Exile contains at least the maybe best ballads they have ever written: Sweet Virginia, Let It Loose & Shine A Light. Real gems all of them, equalled only by Memory Motel and Losing My Touch.
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Thrylan
The day you start to dig Just Wanna See His Face, is the day you'll get it.
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Naturalust
I'm one of those who didn't get it when I first heard it. Actually checked it out from my high school library and brought it back the next day after a disappointing first listen.
Since then I totally get it. I wasn't the slightest bit influenced by other peoples reviews but as I started to hear more of this record that everybody I knew had, I started to like it more. In fact I probably like it more now than I ever did.
It's been discussed to death but the fuse on this record is so long I'm still wondering if the final charge has gone off.
I also think this was the last real genius we got of Keith and that it was very much his baby musically. Sure he has written a couple of gems since then but nothing compares to these days when he was the de facto musical boss and everything he touched was golden.
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Naturalust
I'm one of those who didn't get it when I first heard it.
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RobertJohnson
The peak of their producing and the manifestation of Rhythm and Blues. Never before and after they were nearer at their quintessense and more authentic. Rougher and more simple in the arrangement than Sticky Fingers, Mick Taylor restrains his virtuosity, but never this album would have been brought to light without his influence.
This suggests the album wouldn't have been made or at least released had Taylor not been present.
I'm curious as to what you mean by this: perhaps that without Taylor the band wouldn't have been in existence; they wouldn't have released an album in 1972; they would have produced something so dissimilar to this album that the two products wouldn't be comparable...?
I'm intrigued by your use of the phrase 'brought to light' (revealed, shown).
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Thrylan
The day you start to dig Just Wanna See His Face, is the day you'll get it.
Maybe not even the Stones dig Just Wanna See His Face
it is the turning point brilliant observation.Quote
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Thrylan
The day you start to dig Just Wanna See His Face, is the day you'll get it.
Maybe not even the Stones dig Just Wanna See His Face
It's my best metaphor for the whole thing- to most, it is the most inaccessible track. I like others skipped around the 4 sides a lot for awhile. Then it happened, I was probably stoned, and wham! I realize I am groovin like a Mofo to this and other deeper cuts. Then you start picking up on the nuances- The way TD rls, and sort of "summarizes" the first side......etc.
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DandelionPowderman
EXILE ON MAIN STREET
Recorded:
June 16-July 27, 1970: Olympic Sound Studios, London, England
October 17-31, 1970: Rolling Stones Mobile Unit, Mick Jagger's home Stargroves, Newbury & Olympic Sound Studios, London, England
July 10-late July 1971: Rolling Stones Mobile Unit, Keith Richards' home Nellcôte, Villefranche-sur-mer, France
October 14-November 23, 1971: Rolling Stones Mobile Unit, Keith Richards' home Nellcôte, Villefranche-sur-mer, France
December 4-19, 1971: Sunset Sound Studios, Los Angeles, USA
Overdubbed & mixed:
November 30-December 19, 1971: Sunset Sound Studios, Los Angeles, USA
January 10-late January 1971: Sunset Sound Studios, Los Angeles, USA
February 15-March 1971: Sunset Sound Studios, Los Angeles, USA
March 24-25, 1972: Wally Heider Studios, Los Angeles, USA
Producer: Jimmy Miller
Chief engineers: Glyn Johns, Andy Johns & Joe Zagarino
Released: May 1972
Original label: Rolling Stones Records (on WEA)