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Mathijs

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TravelinMan

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Mathijs

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TravelinMan
The original solo on Fast Talking Slow Walking sounds a lot like Taylor's tone and FX (3:10) on My Girl from the Herbie Mann Reggae album

Taylor doesn't play on the original Fast Talking...It's all Keith, including the wah/leslie solo. The acoustic could be Taylor, but I don't think so.

The main issue with the original version is that Keith plays out of tune quite a bit (listen to the Fully Finished Outtake version, from 0:59 to 1:42, Keith is really struggling with Jagger's minor bends) that they needed to fix by editing out large chunks of his original rhythm guitar, replacing it new rhyhm guitar by Wood. The same goes for the solo, which is bordering being out of tune and therefore needed replacement by new parts by Wood. They mainly kept Keith's outro licks in the ending.

Mathijs

I’ve gone back and forth on this one as far as Taylor playing acoustic. I think he’s credited on guitar.

But do check out the tone on My Girl. It does sound like Keith (except for the long bends, I’ve not heard him do that) and he sounds like he’s playing through Taylor’s rig IMO.

Or could this be Stills? We have sources for this song going back to 70-1971, don’t we?

Yes it could be Taylor on acoustic, but I do doubt it. He was missing for parts of the Munich sessions February 1974 when they did Fast Talking, and would overdub mainly solo's for the IORR album in April 1974. I doub t he would overdub an acoustic two months later on a song that clearly still had flaws and wasn't finsihed.

The tone of the rhythm and lead guitar is much the same as the processed guitars on the IORR album -the leslie, the phasing, the treble boosting style sounds. I bet it is the EMS Hi-Fli processor being used here again.

The long bends indeed aren't very typical for Keith, and I think that is the reason why he is out of tune here and there. He is trying a guitar style that isn't really his forte. In fact, it is much more close to Taylor's style.

I think Jagger wrote this track as some kind of Bowie/Marc Bolan style glam rock, they did it a few times, and then dismissed it as not being very much the Stones.

It certainly isn't Stills, it doesn't sound anything like him.

Mathijs

I thought Taylor was missing from the early iORR sessions in late 1973? If this is Billy Preston, I have to think it comes from those sessions. Nicky Hopkins arrives for the 1974 sessions. Honestly I don’t know who it is; Nicky Hopkins could play anything IMO.

Unless this is an earlier song from Goats Head Soup. The Leslie in the verses sounds more like Coming Down Again. The solo kicks in with a fuzz pedal. I was thinking it’s the Colorsound rig. It sounds like one take off the floor without any overdubs, which is why I always assumed Keith on acoustic and Taylor on electric. The opposite would also make since Taylor was working with Jagger a lot and would know his song better. The shift to minor seems a little interesting as well.


I don’t know Stills well enough to say, just an idea.

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TravelinMan

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan
The original solo on Fast Talking Slow Walking sounds a lot like Taylor's tone and FX (3:10) on My Girl from the Herbie Mann Reggae album

Taylor doesn't play on the original Fast Talking...It's all Keith, including the wah/leslie solo. The acoustic could be Taylor, but I don't think so.

The main issue with the original version is that Keith plays out of tune quite a bit (listen to the Fully Finished Outtake version, from 0:59 to 1:42, Keith is really struggling with Jagger's minor bends) that they needed to fix by editing out large chunks of his original rhythm guitar, replacing it new rhyhm guitar by Wood. The same goes for the solo, which is bordering being out of tune and therefore needed replacement by new parts by Wood. They mainly kept Keith's outro licks in the ending.

Mathijs

I’ve gone back and forth on this one as far as Taylor playing acoustic. I think he’s credited on guitar.

But do check out the tone on My Girl. It does sound like Keith (except for the long bends, I’ve not heard him do that) and he sounds like he’s playing through Taylor’s rig IMO.

Or could this be Stills? We have sources for this song going back to 70-1971, don’t we?

Yes it could be Taylor on acoustic, but I do doubt it. He was missing for parts of the Munich sessions February 1974 when they did Fast Talking, and would overdub mainly solo's for the IORR album in April 1974. I doub t he would overdub an acoustic two months later on a song that clearly still had flaws and wasn't finsihed.

The tone of the rhythm and lead guitar is much the same as the processed guitars on the IORR album -the leslie, the phasing, the treble boosting style sounds. I bet it is the EMS Hi-Fli processor being used here again.

The long bends indeed aren't very typical for Keith, and I think that is the reason why he is out of tune here and there. He is trying a guitar style that isn't really his forte. In fact, it is much more close to Taylor's style.

I think Jagger wrote this track as some kind of Bowie/Marc Bolan style glam rock, they did it a few times, and then dismissed it as not being very much the Stones.

It certainly isn't Stills, it doesn't sound anything like him.

Mathijs

I thought Taylor was missing from the early iORR sessions in late 1973? If this is Billy Preston, I have to think it comes from those sessions. Nicky Hopkins arrives for the 1974 sessions. Honestly I don’t know who it is; Nicky Hopkins could play anything IMO.

Unless this is an earlier song from Goats Head Soup. The Leslie in the verses sounds more like Coming Down Again. The solo kicks in with a fuzz pedal. I was thinking it’s the Colorsound rig. It sounds like one take off the floor without any overdubs, which is why I always assumed Keith on acoustic and Taylor on electric. The opposite would also make since Taylor was working with Jagger a lot and would know his song better. The shift to minor seems a little interesting as well.


I don’t know Stills well enough to say, just an idea.

Taylor was missing during the late 1973 sessions, which probably did not yield much, and parts of the February 1974 sessions, which yielded Keith-heavy tracks. According to Andy Johns, Taylor did most of his guitar work as overdubs during the March 1974 sessions in Munich, and April sessions at Stargroves.

Mathijs

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan
The original solo on Fast Talking Slow Walking sounds a lot like Taylor's tone and FX (3:10) on My Girl from the Herbie Mann Reggae album

Taylor doesn't play on the original Fast Talking...It's all Keith, including the wah/leslie solo. The acoustic could be Taylor, but I don't think so.

The main issue with the original version is that Keith plays out of tune quite a bit (listen to the Fully Finished Outtake version, from 0:59 to 1:42, Keith is really struggling with Jagger's minor bends) that they needed to fix by editing out large chunks of his original rhythm guitar, replacing it new rhyhm guitar by Wood. The same goes for the solo, which is bordering being out of tune and therefore needed replacement by new parts by Wood. They mainly kept Keith's outro licks in the ending.

Mathijs

I’ve gone back and forth on this one as far as Taylor playing acoustic. I think he’s credited on guitar.

But do check out the tone on My Girl. It does sound like Keith (except for the long bends, I’ve not heard him do that) and he sounds like he’s playing through Taylor’s rig IMO.

Or could this be Stills? We have sources for this song going back to 70-1971, don’t we?

Yes it could be Taylor on acoustic, but I do doubt it. He was missing for parts of the Munich sessions February 1974 when they did Fast Talking, and would overdub mainly solo's for the IORR album in April 1974. I doub t he would overdub an acoustic two months later on a song that clearly still had flaws and wasn't finsihed.

The tone of the rhythm and lead guitar is much the same as the processed guitars on the IORR album -the leslie, the phasing, the treble boosting style sounds. I bet it is the EMS Hi-Fli processor being used here again.

The long bends indeed aren't very typical for Keith, and I think that is the reason why he is out of tune here and there. He is trying a guitar style that isn't really his forte. In fact, it is much more close to Taylor's style.

I think Jagger wrote this track as some kind of Bowie/Marc Bolan style glam rock, they did it a few times, and then dismissed it as not being very much the Stones.

It certainly isn't Stills, it doesn't sound anything like him.

Mathijs

I thought Taylor was missing from the early iORR sessions in late 1973? If this is Billy Preston, I have to think it comes from those sessions. Nicky Hopkins arrives for the 1974 sessions. Honestly I don’t know who it is; Nicky Hopkins could play anything IMO.

Unless this is an earlier song from Goats Head Soup. The Leslie in the verses sounds more like Coming Down Again. The solo kicks in with a fuzz pedal. I was thinking it’s the Colorsound rig. It sounds like one take off the floor without any overdubs, which is why I always assumed Keith on acoustic and Taylor on electric. The opposite would also make since Taylor was working with Jagger a lot and would know his song better. The shift to minor seems a little interesting as well.


I don’t know Stills well enough to say, just an idea.

Taylor was missing during the late 1973 sessions, which probably did not yield much, and parts of the February 1974 sessions, which yielded Keith-heavy tracks. According to Andy Johns, Taylor did most of his guitar work as overdubs during the March 1974 sessions in Munich, and April sessions at Stargroves.

Mathijs

I hadn’t heard he missed sessions in Feb 1974

I remember reading an interview of the time where he was working closely with Jagger on songs.

One of my favourite Stones Albums, next to Sticky Fingers, Brussels'73 and YaYa's.

Let It Loose is the soul of Exile…Rocks Off is the heart
It’s impossible to disregard either

I don't dislike any song on the album, I just like some more than others. I wouldn't change a thing about it...

...except release ALL the outtakes in their historic form

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TravelinMan

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan
The original solo on Fast Talking Slow Walking sounds a lot like Taylor's tone and FX (3:10) on My Girl from the Herbie Mann Reggae album

Taylor doesn't play on the original Fast Talking...It's all Keith, including the wah/leslie solo. The acoustic could be Taylor, but I don't think so.

The main issue with the original version is that Keith plays out of tune quite a bit (listen to the Fully Finished Outtake version, from 0:59 to 1:42, Keith is really struggling with Jagger's minor bends) that they needed to fix by editing out large chunks of his original rhythm guitar, replacing it new rhyhm guitar by Wood. The same goes for the solo, which is bordering being out of tune and therefore needed replacement by new parts by Wood. They mainly kept Keith's outro licks in the ending.

Mathijs

I’ve gone back and forth on this one as far as Taylor playing acoustic. I think he’s credited on guitar.

But do check out the tone on My Girl. It does sound like Keith (except for the long bends, I’ve not heard him do that) and he sounds like he’s playing through Taylor’s rig IMO.

Or could this be Stills? We have sources for this song going back to 70-1971, don’t we?

Yes it could be Taylor on acoustic, but I do doubt it. He was missing for parts of the Munich sessions February 1974 when they did Fast Talking, and would overdub mainly solo's for the IORR album in April 1974. I doub t he would overdub an acoustic two months later on a song that clearly still had flaws and wasn't finsihed.

The tone of the rhythm and lead guitar is much the same as the processed guitars on the IORR album -the leslie, the phasing, the treble boosting style sounds. I bet it is the EMS Hi-Fli processor being used here again.

The long bends indeed aren't very typical for Keith, and I think that is the reason why he is out of tune here and there. He is trying a guitar style that isn't really his forte. In fact, it is much more close to Taylor's style.

I think Jagger wrote this track as some kind of Bowie/Marc Bolan style glam rock, they did it a few times, and then dismissed it as not being very much the Stones.

It certainly isn't Stills, it doesn't sound anything like him.

Mathijs

I thought Taylor was missing from the early iORR sessions in late 1973? If this is Billy Preston, I have to think it comes from those sessions. Nicky Hopkins arrives for the 1974 sessions. Honestly I don’t know who it is; Nicky Hopkins could play anything IMO.

Unless this is an earlier song from Goats Head Soup. The Leslie in the verses sounds more like Coming Down Again. The solo kicks in with a fuzz pedal. I was thinking it’s the Colorsound rig. It sounds like one take off the floor without any overdubs, which is why I always assumed Keith on acoustic and Taylor on electric. The opposite would also make since Taylor was working with Jagger a lot and would know his song better. The shift to minor seems a little interesting as well.


I don’t know Stills well enough to say, just an idea.

You guys don't think that is Jagger on piano?
On the original; the one in C.



Edited 1 time(s). Last edit at 2025-08-21 22:44 by Palace Revolution 2000.

Exile on Main Street, it's a low down dirty ground

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Palace Revolution 2000

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TravelinMan

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan
The original solo on Fast Talking Slow Walking sounds a lot like Taylor's tone and FX (3:10) on My Girl from the Herbie Mann Reggae album

Taylor doesn't play on the original Fast Talking...It's all Keith, including the wah/leslie solo. The acoustic could be Taylor, but I don't think so.

The main issue with the original version is that Keith plays out of tune quite a bit (listen to the Fully Finished Outtake version, from 0:59 to 1:42, Keith is really struggling with Jagger's minor bends) that they needed to fix by editing out large chunks of his original rhythm guitar, replacing it new rhyhm guitar by Wood. The same goes for the solo, which is bordering being out of tune and therefore needed replacement by new parts by Wood. They mainly kept Keith's outro licks in the ending.

Mathijs

I’ve gone back and forth on this one as far as Taylor playing acoustic. I think he’s credited on guitar.

But do check out the tone on My Girl. It does sound like Keith (except for the long bends, I’ve not heard him do that) and he sounds like he’s playing through Taylor’s rig IMO.

Or could this be Stills? We have sources for this song going back to 70-1971, don’t we?

Yes it could be Taylor on acoustic, but I do doubt it. He was missing for parts of the Munich sessions February 1974 when they did Fast Talking, and would overdub mainly solo's for the IORR album in April 1974. I doub t he would overdub an acoustic two months later on a song that clearly still had flaws and wasn't finsihed.

The tone of the rhythm and lead guitar is much the same as the processed guitars on the IORR album -the leslie, the phasing, the treble boosting style sounds. I bet it is the EMS Hi-Fli processor being used here again.

The long bends indeed aren't very typical for Keith, and I think that is the reason why he is out of tune here and there. He is trying a guitar style that isn't really his forte. In fact, it is much more close to Taylor's style.

I think Jagger wrote this track as some kind of Bowie/Marc Bolan style glam rock, they did it a few times, and then dismissed it as not being very much the Stones.

It certainly isn't Stills, it doesn't sound anything like him.

Mathijs

I thought Taylor was missing from the early iORR sessions in late 1973? If this is Billy Preston, I have to think it comes from those sessions. Nicky Hopkins arrives for the 1974 sessions. Honestly I don’t know who it is; Nicky Hopkins could play anything IMO.

Unless this is an earlier song from Goats Head Soup. The Leslie in the verses sounds more like Coming Down Again. The solo kicks in with a fuzz pedal. I was thinking it’s the Colorsound rig. It sounds like one take off the floor without any overdubs, which is why I always assumed Keith on acoustic and Taylor on electric. The opposite would also make since Taylor was working with Jagger a lot and would know his song better. The shift to minor seems a little interesting as well.


I don’t know Stills well enough to say, just an idea.

You guys don't think that is Jagger on piano?
On the original; the one in C.

I feel like there is only one version, the one they released. Some of the bootlegs are the wrong speed due to being tape copies, I’m assuming.

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TravelinMan

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Palace Revolution 2000

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TravelinMan

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan
The original solo on Fast Talking Slow Walking sounds a lot like Taylor's tone and FX (3:10) on My Girl from the Herbie Mann Reggae album

Taylor doesn't play on the original Fast Talking...It's all Keith, including the wah/leslie solo. The acoustic could be Taylor, but I don't think so.

The main issue with the original version is that Keith plays out of tune quite a bit (listen to the Fully Finished Outtake version, from 0:59 to 1:42, Keith is really struggling with Jagger's minor bends) that they needed to fix by editing out large chunks of his original rhythm guitar, replacing it new rhyhm guitar by Wood. The same goes for the solo, which is bordering being out of tune and therefore needed replacement by new parts by Wood. They mainly kept Keith's outro licks in the ending.

Mathijs

I’ve gone back and forth on this one as far as Taylor playing acoustic. I think he’s credited on guitar.

But do check out the tone on My Girl. It does sound like Keith (except for the long bends, I’ve not heard him do that) and he sounds like he’s playing through Taylor’s rig IMO.

Or could this be Stills? We have sources for this song going back to 70-1971, don’t we?

Yes it could be Taylor on acoustic, but I do doubt it. He was missing for parts of the Munich sessions February 1974 when they did Fast Talking, and would overdub mainly solo's for the IORR album in April 1974. I doub t he would overdub an acoustic two months later on a song that clearly still had flaws and wasn't finsihed.

The tone of the rhythm and lead guitar is much the same as the processed guitars on the IORR album -the leslie, the phasing, the treble boosting style sounds. I bet it is the EMS Hi-Fli processor being used here again.

The long bends indeed aren't very typical for Keith, and I think that is the reason why he is out of tune here and there. He is trying a guitar style that isn't really his forte. In fact, it is much more close to Taylor's style.

I think Jagger wrote this track as some kind of Bowie/Marc Bolan style glam rock, they did it a few times, and then dismissed it as not being very much the Stones.

It certainly isn't Stills, it doesn't sound anything like him.

Mathijs

I thought Taylor was missing from the early iORR sessions in late 1973? If this is Billy Preston, I have to think it comes from those sessions. Nicky Hopkins arrives for the 1974 sessions. Honestly I don’t know who it is; Nicky Hopkins could play anything IMO.

Unless this is an earlier song from Goats Head Soup. The Leslie in the verses sounds more like Coming Down Again. The solo kicks in with a fuzz pedal. I was thinking it’s the Colorsound rig. It sounds like one take off the floor without any overdubs, which is why I always assumed Keith on acoustic and Taylor on electric. The opposite would also make since Taylor was working with Jagger a lot and would know his song better. The shift to minor seems a little interesting as well.


I don’t know Stills well enough to say, just an idea.

You guys don't think that is Jagger on piano?
On the original; the one in C.

I feel like there is only one version, the one they released. Some of the bootlegs are the wrong speed due to being tape copies, I’m assuming.

I also think it is one version. But I don't think the key change is bc of boot speed issues. Those speed things never end up being a perfect half step.
The new version is in B, and has someone (maybe Clifford) overdubbing another piano. Original piano sounds a lot like Jagger.
The interesting discussion between you and Mathijs made me go and listen to the versions. Electric must be Keith. That acoustic guitar is a tough call. It really does sound like Taylor.

I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

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Palace Revolution 2000

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TravelinMan

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Palace Revolution 2000

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TravelinMan

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan
The original solo on Fast Talking Slow Walking sounds a lot like Taylor's tone and FX (3:10) on My Girl from the Herbie Mann Reggae album

Taylor doesn't play on the original Fast Talking...It's all Keith, including the wah/leslie solo. The acoustic could be Taylor, but I don't think so.

The main issue with the original version is that Keith plays out of tune quite a bit (listen to the Fully Finished Outtake version, from 0:59 to 1:42, Keith is really struggling with Jagger's minor bends) that they needed to fix by editing out large chunks of his original rhythm guitar, replacing it new rhyhm guitar by Wood. The same goes for the solo, which is bordering being out of tune and therefore needed replacement by new parts by Wood. They mainly kept Keith's outro licks in the ending.

Mathijs

I’ve gone back and forth on this one as far as Taylor playing acoustic. I think he’s credited on guitar.

But do check out the tone on My Girl. It does sound like Keith (except for the long bends, I’ve not heard him do that) and he sounds like he’s playing through Taylor’s rig IMO.

Or could this be Stills? We have sources for this song going back to 70-1971, don’t we?

Yes it could be Taylor on acoustic, but I do doubt it. He was missing for parts of the Munich sessions February 1974 when they did Fast Talking, and would overdub mainly solo's for the IORR album in April 1974. I doub t he would overdub an acoustic two months later on a song that clearly still had flaws and wasn't finsihed.

The tone of the rhythm and lead guitar is much the same as the processed guitars on the IORR album -the leslie, the phasing, the treble boosting style sounds. I bet it is the EMS Hi-Fli processor being used here again.

The long bends indeed aren't very typical for Keith, and I think that is the reason why he is out of tune here and there. He is trying a guitar style that isn't really his forte. In fact, it is much more close to Taylor's style.

I think Jagger wrote this track as some kind of Bowie/Marc Bolan style glam rock, they did it a few times, and then dismissed it as not being very much the Stones.

It certainly isn't Stills, it doesn't sound anything like him.

Mathijs

I thought Taylor was missing from the early iORR sessions in late 1973? If this is Billy Preston, I have to think it comes from those sessions. Nicky Hopkins arrives for the 1974 sessions. Honestly I don’t know who it is; Nicky Hopkins could play anything IMO.

Unless this is an earlier song from Goats Head Soup. The Leslie in the verses sounds more like Coming Down Again. The solo kicks in with a fuzz pedal. I was thinking it’s the Colorsound rig. It sounds like one take off the floor without any overdubs, which is why I always assumed Keith on acoustic and Taylor on electric. The opposite would also make since Taylor was working with Jagger a lot and would know his song better. The shift to minor seems a little interesting as well.


I don’t know Stills well enough to say, just an idea.

You guys don't think that is Jagger on piano?
On the original; the one in C.

I feel like there is only one version, the one they released. Some of the bootlegs are the wrong speed due to being tape copies, I’m assuming.

I also think it is one version. But I don't think the key change is bc of boot speed issues. Those speed things never end up being a perfect half step.
The new version is in B, and has someone (maybe Clifford) overdubbing another piano. Original piano sounds a lot like Jagger.
The interesting discussion between you and Mathijs made me go and listen to the versions. Electric must be Keith. That acoustic guitar is a tough call. It really does sound like Taylor.

Perhaps they pitch shifted the song for Jagger to sing his new overdubs onto.

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Idorh
I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

The Hopkins tapes are exactly the same backing tracks as released versions so I don't see how that's true.

Vocals were done in Olympic and LA after France.

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TravelinMan

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Idorh
I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

The Hopkins tapes are exactly the same backing tracks as released versions so I don't see how that's true.

Vocals were done in Olympic and LA after France.

Sorry, everyone is entitled to their opinion. But I think there is a clear difference between the damaged tapes and the final studio album.

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Idorh

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TravelinMan

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Idorh
I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

The Hopkins tapes are exactly the same backing tracks as released versions so I don't see how that's true.

Vocals were done in Olympic and LA after France.

Sorry, everyone is entitled to their opinion. But I think there is a clear difference between the damaged tapes and the final studio album.

Hmmm. Where can I find this story of damaged tapes?

Because from where I am listening Rocks Off, Rip This Joint, Tumbling Dice, All Down The Line, Soul Survivor all sound the same except for vocals and some other overdubs. Other songs like Happy and Ventilator Blues are sonically similar.

A bunch of songs certainly existed before (Sweet Virginia, Black Angel, Shake Your Hips etc) and after (Just Wanna See His Face according to Whitlock) France. No argument there.

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Idorh
I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

The early takes of I'm Not Signifying are completely different than the later takes, especially the one that made the deluxe reissue. They weren't "demos". Good Time Woman wasn't a demo, it was the song at the time. It evolved. Had they'd been happy with Good Time Women then Tumbling Dice wouldn't exist. All Down The Line was recorded originally as intended but they weren't happy with it. That's not a demo - it was intended.

Mick Jagger does demos for solo albums and Stones albums going back decades to 1982. Look at any comment from Keith saying "That's Mick's song" - Mick had a demo for it.

To think that EXILE was "all re-recorded in America later on" is absurd - it's all documented almost to a fault.

It wasn't made as an album, like you see it there (on the album sleeve). Some of it was made in London, at Olympic. Some of it was made in Mick's house in Berkshire. Then we went to France, and we finished it in L.A. It was just recording, and it was a way of using up old tracks. That's what we did in those days: just recorded. It kept you busy and out of trouble... and it was stuff you could use later.
- Charlie Watts, 2009


It was frustrating, and it took quite a long period of time. A lot of the tracks were not made in the south of France. They were tracks we'd made or hadn't finished, or hadn't released on the previous album, Sticky Fingers, before we moved to France. Exile was recorded under a lot of difficult circumstances, and in what was not a very good recording place. It was a bit uphill. In retrospect, when I was forced to look at it when we were going to re-release the album, I saw that the time that we spent in the studio wasn't really that long. It didn't go on for years, and years and years. It wasn't - what was that Axl Rose album that went on for 15 years? (Chinese Democracy.) (laughs) Exactly! It wasn't Chinese Democracy. It was only six or seven months. And there were so many drug problems, and we had problems getting into the United States, so it was all sort of uphill and difficult. There were all sorts of other outside forces that were trying to take up time and energy. So that definitely made it more frustrating than just doing a record. And then we were preparing for a tour - and when we did the tour and the songs, everything was fine.
- Mick Jagger, 2010

[timeisonourside.com]

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Idorh

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TravelinMan

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Idorh
I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

The Hopkins tapes are exactly the same backing tracks as released versions so I don't see how that's true.

Vocals were done in Olympic and LA after France.

Sorry, everyone is entitled to their opinion. But I think there is a clear difference between the damaged tapes and the final studio album.

Entitled opinions are not facts, they're often wrong. Facts are facts.

"Damaged tapes" that are heard on various bootlegs that, with some songs, are THE take of the finished version?

Go on!!! The Nicky Hopkins I'm Not Signifying is a perfect example.

You're confusing earlier takes on bootlegs that sound terrible compared to the album.

Next thing you'll invent, in your opinion, is that the finished versions of Tops and Waiting On A Friend aren't from 1972.

NEXRAD wasn't invented until the late 1970s and utilized in 1988.

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Idorh

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TravelinMan

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Idorh
I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

The Hopkins tapes are exactly the same backing tracks as released versions so I don't see how that's true.

Vocals were done in Olympic and LA after France.

Sorry, everyone is entitled to their opinion. But I think there is a clear difference between the damaged tapes and the final studio album.

Fact is that they didn't do any band recordings at Sunset Sound in LA in Spring of 1972. No full band recordings, not even recordings with Watts, Wyman and Taylor. Sunset was used for recording (all) vocals and mixing of the album, and they did some instrumental overdubs like pedal steel and bass.

The 'basement' feel of the album was created in LA, with inspiration by and help from Dr. John and various backup singers.

Mathijs

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Mathijs

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Idorh

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TravelinMan

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Idorh
I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

The Hopkins tapes are exactly the same backing tracks as released versions so I don't see how that's true.

Vocals were done in Olympic and LA after France.

Sorry, everyone is entitled to their opinion. But I think there is a clear difference between the damaged tapes and the final studio album.

Fact is that they didn't do any band recordings at Sunset Sound in LA in Spring of 1972. No full band recordings, not even recordings with Watts, Wyman and Taylor. Sunset was used for recording (all) vocals and mixing of the album, and they did some instrumental overdubs like pedal steel and bass.

The 'basement' feel of the album was created in LA, with inspiration by and help from Dr. John and various backup singers.

Mathijs

It's also quite possible they did some work on it in Olympic after France and before going to LA.

Bobby Whitlock's account of I Just Wanna See His Face is pretty detailed and I believe it's accurate.

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TravelinMan

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Mathijs

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Idorh

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TravelinMan

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Idorh
I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

The Hopkins tapes are exactly the same backing tracks as released versions so I don't see how that's true.

Vocals were done in Olympic and LA after France.

Sorry, everyone is entitled to their opinion. But I think there is a clear difference between the damaged tapes and the final studio album.

Fact is that they didn't do any band recordings at Sunset Sound in LA in Spring of 1972. No full band recordings, not even recordings with Watts, Wyman and Taylor. Sunset was used for recording (all) vocals and mixing of the album, and they did some instrumental overdubs like pedal steel and bass.

The 'basement' feel of the album was created in LA, with inspiration by and help from Dr. John and various backup singers.

Mathijs

It's also quite possible they did some work on it in Olympic after France and before going to LA.

Bobby Whitlock's account of I Just Wanna See His Face is pretty detailed and I believe it's accurate.

1970 at Olympic Sound Studios is when IJWTSHF was recorded. It's not a France EXILE recording, just like many others on EXILE.

EOMS stands out, perhaps, because The Beatles were done, and The Rolling Stones had moved into musical aspects more so than they had but hinted at between BEGGARS and STICKY.

The Beatles were more tuneful with melody rolling king, The Rolling Stones were about the song and its culture. The Stones were concise while being noisy yet not but they didn't have the resolve in their songs that make The Beatles always come around.

Laugh at the amount of Stones hits comps (sans ABKCO) but they've never captured the world with melody the way The Beatles did.

Stones melodies were jaunting, dirty and outside of the lines if not deranged. There was nothing pretty and moving like Something, The Long And Winding Road and Golden Slumbers among a lot of others until later, which never equated.

That tunefulness is why The Beatles will always be perceived as better than The Rolling Stones, no matter how good BEGGARS-SOUP/GIRLS/TATTOO are.

Yet The Beatles never did anything like EXILE or STICKY or BLEED.

And eventually they were completely different, that event difference happening in 1968. That is the divide between the two bands. Remove the ridiculous SATANIC album, they were the wheels on a train but in 1968 they were on different train.

Jumpin' Jack Flash was the lightning.

Through the accumulation of Stones recordings from 1970, EXILE revealed a different kind of band, not necessarily "moving forward", because what is "forward"? They were going anywhere but main street even though they felt they were encased in the main street aspects of music.

In regard to time, EXILE was The Rolling Stones in, finally, their own time. STICKY FINGERS had the essence of the hangover of the recent LET IT BE in tact - the Stones weren't that far removed from The Beatles aspect of existence.

EOMS completely removed the 1960s from their existence.

If not the setlist.

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TravelinMan

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Mathijs

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Idorh

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TravelinMan

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Idorh
I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

The Hopkins tapes are exactly the same backing tracks as released versions so I don't see how that's true.

Vocals were done in Olympic and LA after France.

Sorry, everyone is entitled to their opinion. But I think there is a clear difference between the damaged tapes and the final studio album.

Fact is that they didn't do any band recordings at Sunset Sound in LA in Spring of 1972. No full band recordings, not even recordings with Watts, Wyman and Taylor. Sunset was used for recording (all) vocals and mixing of the album, and they did some instrumental overdubs like pedal steel and bass.

The 'basement' feel of the album was created in LA, with inspiration by and help from Dr. John and various backup singers.

Mathijs

It's also quite possible they did some work on it in Olympic after France and before going to LA.

Bobby Whitlock's account of I Just Wanna See His Face is pretty detailed and I believe it's accurate.

I think it's highly unlikely as they coulnd't work in England until their tax issues were solved, May 1973.

Mathijs

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GasLightStreet

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TravelinMan

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Mathijs

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Idorh

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TravelinMan

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Idorh
I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

The Hopkins tapes are exactly the same backing tracks as released versions so I don't see how that's true.

Vocals were done in Olympic and LA after France.

Sorry, everyone is entitled to their opinion. But I think there is a clear difference between the damaged tapes and the final studio album.

Fact is that they didn't do any band recordings at Sunset Sound in LA in Spring of 1972. No full band recordings, not even recordings with Watts, Wyman and Taylor. Sunset was used for recording (all) vocals and mixing of the album, and they did some instrumental overdubs like pedal steel and bass.

The 'basement' feel of the album was created in LA, with inspiration by and help from Dr. John and various backup singers.

Mathijs

It's also quite possible they did some work on it in Olympic after France and before going to LA.

Bobby Whitlock's account of I Just Wanna See His Face is pretty detailed and I believe it's accurate.

1970 at Olympic Sound Studios is when IJWTSHF was recorded. It's not a France EXILE recording, just like many others on EXILE.

1970?

I never said it was done in France. I am pointing out when he said he played on it, and that piano is not Keith Richards.

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TravelinMan

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GasLightStreet

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TravelinMan

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Mathijs

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Idorh

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TravelinMan

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Idorh
I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

The Hopkins tapes are exactly the same backing tracks as released versions so I don't see how that's true.

Vocals were done in Olympic and LA after France.

Sorry, everyone is entitled to their opinion. But I think there is a clear difference between the damaged tapes and the final studio album.

Fact is that they didn't do any band recordings at Sunset Sound in LA in Spring of 1972. No full band recordings, not even recordings with Watts, Wyman and Taylor. Sunset was used for recording (all) vocals and mixing of the album, and they did some instrumental overdubs like pedal steel and bass.

The 'basement' feel of the album was created in LA, with inspiration by and help from Dr. John and various backup singers.

Mathijs

It's also quite possible they did some work on it in Olympic after France and before going to LA.

Bobby Whitlock's account of I Just Wanna See His Face is pretty detailed and I believe it's accurate.

1970 at Olympic Sound Studios is when IJWTSHF was recorded. It's not a France EXILE recording, just like many others on EXILE.

1970?

I never said it was done in France. I am pointing out when he said he played on it, and that piano is not Keith Richards.

They likely did IJWSHF in June 1970 -Whitlock was recording at Olympic with Clapton until May, and lived with Bobby Keys in the summer of 1970, with Keys spending a lot of time at Olympic recording with the Stones in June and July 1970. Whitlock went on tour in July 1970.

Mathijs

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IJWSHF is a beautiful track, no matter who or what.







Edited 1 time(s). Last edit at 2025-08-25 14:52 by TheflyingDutchman.

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Mathijs

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TravelinMan

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GasLightStreet

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TravelinMan

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Mathijs

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Idorh

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TravelinMan

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Idorh
I've been a Stones fan since 1963.
There are some good songs on it, but the whole album has never appealed to me. I prefer the original songs that were never officially released because the demos were damaged by damp basements in France.
It was all re-recorded in America later on. It sounds like it was done on autopilot. Too smooth and monotonous, with lots of extra musicians and overdubs.

The Hopkins tapes are exactly the same backing tracks as released versions so I don't see how that's true.

Vocals were done in Olympic and LA after France.

Sorry, everyone is entitled to their opinion. But I think there is a clear difference between the damaged tapes and the final studio album.

Fact is that they didn't do any band recordings at Sunset Sound in LA in Spring of 1972. No full band recordings, not even recordings with Watts, Wyman and Taylor. Sunset was used for recording (all) vocals and mixing of the album, and they did some instrumental overdubs like pedal steel and bass.

The 'basement' feel of the album was created in LA, with inspiration by and help from Dr. John and various backup singers.

Mathijs

It's also quite possible they did some work on it in Olympic after France and before going to LA.

Bobby Whitlock's account of I Just Wanna See His Face is pretty detailed and I believe it's accurate.

1970 at Olympic Sound Studios is when IJWTSHF was recorded. It's not a France EXILE recording, just like many others on EXILE.

1970?

I never said it was done in France. I am pointing out when he said he played on it, and that piano is not Keith Richards.

They likely did IJWSHF in June 1970 -Whitlock was recording at Olympic with Clapton until May, and lived with Bobby Keys in the summer of 1970, with Keys spending a lot of time at Olympic recording with the Stones in June and July 1970. Whitlock went on tour in July 1970.

Mathijs

That's what I originally thought as well.

In Geir's excellent book Whitlock is listed on Travelin' Man (4/70) and Aladdin's Story (7/70).

Untitled 17 Version 5, re-make 3 has Jagger, Taylor, and Watts listed. It originated in 3/69, which was before Taylor joined so perhaps that is See His Face and they did re-make it the next year.

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z
[www.facebook.com]

That's great!

So did Whitlock play the keyboards on Travelin Man ?I thought it was Nicky Hopkins