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Re: Post: Magazine Articles
Posted by: exilestones ()
Date: October 10, 2021 04:41

05 May 2010

AUGUST, 1980: Keith Richards reclines on a sofa at the Rolling Stones’ Chelsea office, graciously fielding the barrage of Stones-related probing from the lifelong obsessive perched next to him. Doing his first ‘straight’ interview for nearly ten years, ostensibly to promote Emotional Rescue, Keith is amiably forthright about the inner workings of the Stones and the heroin addiction he‘s just beaten to step back up again and take control of the engine room.

When asked the name of his favourite Stones album, his answer is immediate .

‘Ah, Exile. Definitely Exile.’

It wasn’t hard to see why the sprawling masterpiece often called ’Keith’s album’ held such a special place in his heart. Much was recorded in Richards’ French Riviera basement on his own time as he subconsciously realised the kind of album he could have only dreamed of as a spotty adolescent practicing blues licks in the school toilets.

When Keith was talking 30 years ago, Exile had yet to ascend to the mythical status which has often seen it acclaimed as the greatest of all the Stones’ albums, standing as the oblivious peak to which the group had been leading since jerking themselves out of Satanic Majesties’ psychedelic fug in 1968. It’s their ultimate distillation of the American musical heritage which enthralled them since before the forming of the Stones, a gloriously dense melting pot of blues, country, gospel and primitive rock ‘n’ roll, which Jagger now describes as ‘One culture hitting another’.

These styles had been explored on previous albums but reached some kind of timeless zenith woven into Exile’s beautifully-sodden tapestry, designed so each of the four sides traversed its own mood (with no obvious hit single candidates). If ever the Stones took the listener on a journey through their roller coaster world and current obsessions it was on this totemic masterpiece.

As the only album in Universal’s reissue programme blessed with the kind of bonus tracks craved by Stones fans for decades, the reissue and Eagle Rock’s stunning Stones In Exile DVD throw fresh light on an album which carries one of rock ‘n’ roll’s most fascinatingly-debauched legends thanks to the often shocking accounts of its convoluted creation.

Using often hazy or conflicting recollections, many have tried to untangle a story which, if it happened, today, would be frankly unbelievable. But, boiling down all the books, interviews and film footage, a more specific chain of events can be traced, going back to 1969’s Let It Bleed sessions and now culminating over 40 years later with the expanded reissue package.


After Brian Jones’ doomed departure in spring 1969, the Stones broke in Mick Taylor with intensive sessions at London’s Olympic Studios, rehearsing their repertoire and new songs, including Dancing In The Light, I Ain’t Signifying and Gimme A Little Drink, the latter played at July’s Hyde Park concert, which was now a tragic memorial to their justdeceased founding member. Throughout 1970, the Stones continued recording Sticky Fingers, and other tracks which would show up on Exile, at Olympic Studios and Stargroves, Jagger’s country pile near Newbury, Berkshire, using the newly customised Rolling Stones Mobile.

So several Exile tracks were already written or even recorded before the Stones relocated to the South of France; they just hadn’t completed the necessary marinating process yet. These included Sweet Virginia, Sweet Black Angel, Stop Breaking Down, Loving Cup, Tumbling Dice and Shine A Light. Ultimately, Exile was one of the Stones’ ragbag loose enders, expanded by the organic flow of raw, new material which started in France, then completed in Los Angeles by early 1972.

“The thing about Exile On Main Street is that there wasn’t a masterplan,” says Mick Jagger now. “We just accumulated material, knowing we would use it one day, so we just came in and recorded.’’

“I just wanted to reduce the Stones’ sound back to basics,” says Keith.

After a crucial meeting in February 1970, the group knew they would be forced to leave the UK as one repercussion of the biggest business upheaval of their career. Their contract with Decca expired in December 1970 and, at the same time, they terminated their relationship with Allen Klein, which had ended in a royal stitch-up where they received little of the money due to them until a later court case and would unwittingly sacrifice their catalogue up until Let It Bleed.

The biggest rock ‘n’ roll band in the world were broke and in a contractual straitjacket. With Prince Rupert Lowenstein now at the financial helm, the Stones were told that, to escape the punishing UK tax laws which took 93 per cent of earnings over £15,000 a year, they would be forced to live abroad for two years, allowed to visit their home country for not more than 90 days a year. As it was too short notice to relocate in April 1970, they decided to go a year later, when they would also launch their own record label.

The Stones undertook their Goodbye Britain tour of March 1971. Sticky Fingers was now finished and a deal clinched with Atlantic Records to distribute their new label, which, after discounting other candidates including Panic, Low Down, Ruby, Snake, Juke and Lick, they had decided to call Rolling Stones Records.

Chip Monck, renowned Stones’ production manager between 1969-73, recalls being at their West End office with lighting man Brian Croft when the tongue design took shape after a backstage pass was urgently needed for a show.

“Brian and I were sitting on the couch in Maddox Street. I said, ‘We’ve got to get some sort of a pass. Your dad’s a printer and he can do it overnight’. It was one of those panic things; what the @#$%& are we gonna do? What do you associate with the Stones? It always seemed to come back to the lips so that seemed like a good idea. What about the tongue just stuck out of the mouth?

“Then we got artist John Pasche to come over, sat down for about 15 minutes and he drew a rough drawing of the tongue which Brian took away for his dad to print off. I took care of it out of my petty cash”.

Soon the tongue was appearing on everything from Stones records to merchandise and is now the most famous rock ‘n’ roll logo in the world (In 2008, Pasche sold his original artwork at auction to the Victoria & Albert Museum for just over £50,000).

The band were all out of the country by April 5, announcing the new label and album from a yacht in Cannes harbour. That same month saw the release of Brown Sugar, the first time the Stones had trailered an album with a single. This was followed by Sticky Fingers, which went on to spend 25 weeks at number one in the US.

Now the Stones were exiles from their home country. This hung heavily for years with Keith, who never returned to full residence in the UK, although he still spends his post-tour winding down periods at Redlands in Sussex.

In the early 80s, he was describing himself as, ‘a no man’s nomad’, voicing his protests during interviews conducted with your correspondent, getting especially rattled when confronted with accusations that the Stones had become tax exiles cut off from reality and their fans.

“Remember who cut us off? It weren’t us. We were kicked out. It was that or they tried to put us in the can. They couldn’t do that so they tried to force us out economically, which they did. They just taxed the arse off us so we couldn’t afford to keep the operation going unless we got out. Nobody’s out through their own choice. It wasn’t a matter of choice, it was a matter of no choice; get out. That was it.

“I mean, it’s understandable; ‘The Stones are rich tax exiles, blah blah blah’, but it’s only alright if you can live like that. If we hadn’t been used to being on the road all the time I don’t suppose any of us would have wanted to go and wouldn’t have gone. But we wouldn’t have been able to keep the Stones together and stay in England. So it was matter of having to get out. No point in moaning.

“The only thing I wouldn’t do is what they’ve tended to do over the last few years; bugger off to Los Angeles and live in that weird, cut-off climate out there. That Rod Stewart syndrome. I probably could have got like that if they hadn’t rubbed my nose in the shit so many times that I never forgot the smell of it!”

Keith’s underlying resentment and screw-youing defiance was a crucial factor in the Exile story, stoking his two fingered psychological motivation and own version of the Dunkirk spirit. He wanted to show the world that the Stones could make a great album anywhere they were forced to hole up, even if it was back in the basement.


The Stones’ exile began with moving into the respective French abodes which their team found for them. Bill Wyman stayed in Vence, Charlie Watts bought a chateau in Provence (which he still owns) and Mick Taylor and wife Rose were in Grasse. Stones assistant Jo Bergman originally thought that a sprawling, Roman-style mansion called Villa Nellcote would be perfect for Jagger, but his wife-to-be Bianca deemed it too public so they holed up in the Plaza Athenee Hotel in Paris and a villa in Biot.

Villa Nellcote at Villefranche-Sur-Mer provided the backdrop for one of the most infamous episodes in the Stones’ long, eventful story. The Roman-style mansion, entered by 30 foot doors and bedecked with mirrors, was built by one Admiral Alexander Bordes in 1899 (who reportedly committed suicide by jumping off its roof). Surrounded by exotic tropical plants brought back from the Admiral’s travels, including cypress, palms, pine, monkey and banana trees, Nellcote boasted breathtaking views of the Mediterranean and harbour, which was once a pirate’s cove. Keith liked to tell how it was the local Gestapo HQ during the Second World War, as evidenced by swastikas carved into the air vents.

Accompanied by girlfriend Anita Pallenberg and their 18-month-old son Marlon, Keith initially settled well into the Riviera lifestyle, taking his family to the beach, going to the zoo and buying a speedboat he called Mandrax, after the ‘English Quaalude’ popular at the time (“Splash out, I might be in jail next year. Let’s have some fun while I‘m free”, he laughs now).

On May 12, 1971, Mick Jagger married Nicaraguan-born
actress Bianca Pérez-Mora Macías after a whirlwind romance.
The couple wed in the Church of St. Anne in Saint-Tropez, France.
The blushing bride remains an icon in wedding fashion with her
Yves Saint Laurent pantsuit instead of a traditional gown.

The first of several obstacles and diversions loomed when Jagger announced he was getting married in St Tropez on May 12 to Nicaraguan socialite Bianca Perez Morena de Macias, who he had met the previous September at an after-show party. Attended by a plane-load of celeb mates including Ringo, the McCartneys, Eric Clapton, Steve Stills and The Faces minus Rod Stewart, the event descended into media frenzy as best man Keith, who disapproved of Bianca and rared up at paparazzi to ashtray-hurling levels, snoozed through the reception. Bianca despised Nellcote and its endless stream of party-seekers, while the guitarist and Anita couldn’t stand the woman already renamed in suitable rhyming slang. The happy couple then took off on honeymoon for the rest of the month.

This is when incidents began which have been passed down and blown up over the years; like a fracas with the harbour-master after Keith’s red EType Jaguar was involved in a collision with some Italian tourists, resulting in an assault charge. There’s a vivid account of the incident in Up And Down With The Rolling Stones, the book pumped out of Keith’s former drug dealer ‘Spanish’ Tony Sanchez by ghost writer John Blake to paint a depraved, drug-sodden picture of this period.

Keith talked animatedly about the book in 1980: “Grimm’s Fairy Stories! Unbelievable that. When it got to the blood change bit I thought, ‘Oh here we go!’. Marvellous. The incidents all happened, then halfway through each chapter the description takes off into fantasy: ‘Then he sprouted wings’!”

After spending a fruitless month looking for a suitable location to record their new album, the Stones realized that the answer was staring them in the face; for better or worse, they would try to record in Keith’s dingy, clammy basement at Nellcote.

The Mobile arrived on June 7 after a four-day drive. Built at a cost of £65,000, it was equipped with a talk-back system and black-and-white camera for communication between studio and band.

For producer Jimmy Miller and engineer Andy Johns, this meant a lot of running around between Mobile and cellar, which was on three floors, consisting of a series of partitioned rooms and cubicles. Faithful road manager Ian Stewart acquired several rolls of cheap shag-pile carpet to cover the walls. Not trusting the villa’s powerpoints, they hooked up to the local railway system for electricity.

For Keith, it seemed like paradise, as he would be able to lay down ideas as they struck at any time of night, the perfect location to construct his gigantic ‘@#$%& You’ to those who had forced the Stones out of their home country. Within weeks, the villa resembled one of his hotel rooms, with decorations, debris and constant stream of willing participants for the most happening party on the planet. Weird scenes, untold excess and harsh reality would gradually darken the clouds over Nellcote, but the Tropical Disease sessions, as they called, were under way (another working title was Eat It). Anita says the music could be heard across the harbour.

By the time the newly-weds returned, the Stones were waiting to record. Bianca holed up in Paris, often joined by Mick, who hated the scene and conditions at Nellcote, especially ‘Keith’s disgusting basement’, or ‘Keith’s Coffee House’, as it was called.

There was another hold-up when Keith had a go-karting accident, nastily scraping his back. This required time to recover and hefty opiates to numb the pain, which took a one-way spiral when Corsican drug dealers from nearby smack epicentre Marseilles turned up with pure pink heroin from Thailand, christened ’cotton candy’. Keith and Anita piled in, while engineer Andy Johns, a rampant Bobby Keys, Mick Taylor and Jimmy Miller also developed healthy habits, thus setting the tone for the druggy torpor which would dominate the next few months.

Once the Stones got underway later in June, they worked from early evening to the early hours and sometimes beyond. The basement was a furnace-like nightmare, but with a steamy ambiance that heightened the teeth-pulling tension and defiance which surrounded the album and added to its luminescent swamp-gas crackle.

Wyman’s amp was parked under the stairs, brass section Keys and Jim Price parped at the end of an underground corridor, vocals were often croaked in a disused toilet cubicle with Jack Daniel’s for lubrication, while the 120 degree humidity made guitars go out of tune mid-song as the musicians sweated in their Y-fronts. “It sounded like making a record under bombardment” says Keith. Or as Bobby Keys puts it, “The Stones felt like exiles: us against the world – @#$%& you!”

In theory, the Stones recording for the first time in a Richards-oriented domestic situation removed the recurrent problem of their guitarist’s notorious lateness, as he would already be there, but some nights he would announce, “I’m just going to put Marlon to bed”, then be gone several hours. This became a euphemism for ‘cotton candy’ indulgence, after which he might spend several hours either nodded out or perched on the toilet with his guitar, endlessly honing riffs. All he had to do then was go down to the basement and see who was around to embroider his new licks. This all frustrated Jagger as he waited for music over which to write lyrics. While, in turn, Keith’s most hated phrase became, ‘Mick’s @#$%& off to Paris again.’

Now he says of their differing creative methods, “I never plan anything; Mick’s rock, I’m roll”. Wyman also hated the waiting and spent increasingly more time away from Nellcote producing John Walker, which explains the number of bass credits to Taylor, Richards or even stand-up bass veteran Bill Plummer who played bass on “Rip This Joint,” “Turd on the Run,” “I Just Wanna See His Face,” and “All Down the Line.” Bill Wyman later claimed that he played bass on at least some of the tracks credited to Plummer.

Charlie Watts, who stayed at Nellcote during the week rather than face the six-hour drive back to his chateau, has said he enjoyed the sessions, accepting the waits for the guitarist and epic evolution process of some of the songs. “Keith’s like a jazz player…A lot of Exile was done how Keith works. Time to Keith was a very loose thing, he likes to do a good track, keep it and play it over and over again for a year.”

“It was about as unrehearsed as a hiccough!”laughs Bobby Keys. “Usually you know the name of the song you’re playing”. “It was certainly bizarre at Nellcote: it made Satanic Majesties seem organised,”wrote Wyman in Rolling With The Stones.

Sessions continued, sometimes with just a core nucleus of Keith, Taylor, Watts, Keys, Johns and Miller, especially when Jagger went on holiday to Dublin in August. By then, they had been joined by a visiting Gram Parsons and his girlfriend Gretchen Burrell, the singer hoping a drunken conversation about Keith producing his solo album of ‘cosmic American music’ for Rolling Stones Records would be remembered. Whether he can actually be heard on the album itself, Parsons was a great influence on tracks like Sweet Virginia and Torn And Frayed.

“I used to spend days at the piano with Gram, you know, just singing,” recalled Richards. “I did more singing with Gram than I’ve done with the Stones”. “We did a lot of recording in the kitchen,” adds Andy Johns. “Gram was there nearly all the time. He was a very nice, pleasant, true fellow. Very out of it, though.”

Eventually, Parsons was deemed to be entering into the Nellcote spirit with too much gusto and the Stones were forced to put him on a plane back to London, where he would record his first solo album without Keith. The second, Grievous Angel, would be released after his drug-related death the following year.

During the summer months, the party raged unabated as members of the Stones crew were joined by friends like ‘Stash’ Klossowski and photographer Michael Cooper, drug dealers (including Jean De Breteuil, whose next stop was Paris, where he gave Jim Morrison his fatal shot), sundry jet-setters and visitors including Clapton and John Lennon (who threw up on the stairs after mixing red wine with his methadone).

A Texan fan called Ted Newman Jones III made a pilgrimage to Nellcote to present Keith with a guitar he had built him and was kept on as his guitar tech. There were also assorted kids, dogs and rabbits scampering around. Photographer Dominique Tarle was there for six months, taking many photos which wouldn’t be seen until his Genesis tome The Making of Exile On Main Street and the Stones In Exile DVD. With 30 people often sitting down to dinner, Keith’s weekly outlay on food, alcohol and drugs was in the region of £6,000. “It was like a holiday camp,” reflects Mick Taylor.

By October, a darker mood was creeping in as the junk took further hold and unwanted presences increased, like the ‘cowboys’ – drug dealers blamed for the theft of nine of Keith’s beloved guitars (including the Flying V he played at Hyde Park) and Keys’ saxophones. There was a fire after Keith and Anita nodded out on their bed, discovered unconscious as flames licked their mattress. Fat Jack the junkie cook blew up the kitchen and tried to blackmail Keith and Anita after alleging the latter shot up his teenage daughter with heroin. Jagger moaned when he couldn’t use a microphone because someone was tying off with the lead. Meanwhile, the residents had devised an escape route out of an upstairs window and over the Mobile in case the place got busted. By now, the local police force were keeping a watchful eye on Nellcote.

The Jaggers’ daughter, who they named Jade, was born on October 21 at the Belvedere nursing home in Paris. The proud father would be away for the next three weeks. Although the remaining Stones carried on, “There was a sort of group feeling that was it, we’ve done it,” recalls Keith.


On November 29, the entire Stones entourage relocated to Los Angeles, in fear of the inevitable bust. Nellcote was finally raided on December 14; The Stones long gone but large quantities of drugs left behind. The court case wouldn’t come up for another year but, in the meantime, Keith had to continue paying rent. Eventually, most charges were dropped. The Stones attended the hearing, except Keith, who was fined 500 francs, given a year’s suspended sentence and banned from France for two years.

The sessions at Sunset Sound, which ran until the following February, became a mission to construct a finished album out of what had been spawned in Keith’s dank basement and tracks in various stages of completion from Stargroves and Olympic. “We didn’t mean to make a double album, it all poured out,” explains Keith.

After Nellcote’s opiated bubble, LA was like reentering civilisation, with a dry, airy studio and normal working facilities. Andy Johns handled much of the mixing as Miller was pretty burnt out from his Nellcote experience. Keith was now firmly in the throes of his own addiction, so Jagger stepped up to take control and bring the album home. He had hated trying to work at Nellcote, while Bianca and Jade had been the priority then anyway, along with supervising the upcoming US tour and Allen Klein situation, which had only just been resolved. Jagger now took the reins with single-minded determination to meet the deadline, starting with overdubbing his vocals.

Asked at the time by journalist Roy Carr if there had been much overdubbing, Keith replied, “No, not very much. Basically, the instrumental work is pretty well the live sound that we got when we recorded the songs in my basement”.Andy Johns says it amounted to “A bunch of overdubs, nothing absolutely vital, just embellishment stuff, background vocals etc…”.

Much of the time was spent on mixing, a bone of contention with Jagger for years, as his voice often merged into the overall wall of sound (to many an unusual effect which is one of the album‘s strengths). Keith wasn’t around for the final days in the studio, electing to fly to a Swiss detox clinic with Marlon and the pregnant Anita in an attempt to get well for the upcoming tour in June.


Final mixing was finished as February turned into March. After ruling out Tropical Disease, the Stones decided to call the album Exile On Main Street. The ‘Exile’ is obvious, while Main Street refers to LA’s North-South thoroughfare, constructed as a main artery when it was a western town in the 19th century. By the 1970s, downtown Main Street was a Times Square-style hotbed of pimps, dealers and sleazy movie houses.

After top photographer Man Ray fell through because of money, the job of providing the sleeve’s visuals fell to Charlie’s suggestion of Robert Frank, famous for his epoch-making 1959 movie Pull My Daisy, starring Beat Generation figures including Allen Ginsberg, Gregory Corso and Jack Kerouac. Frank created a tattered, eye-blasting barrage which perfectly suited the sounds within. Using photos from his book The Americans, including a tattoo parlour wall in New York, he also took stills of the Stones from Super-8 footage he shot in LA, including a gangster dress-up session which was used for the strip of 12 post-cards.

Tumbling Dice was first heard against a specially-created psychedelic montage on BBC2’s Old Grey Whistle Test before being released as the album’s first single on April 21, making number five in the UK and seven in the US. Exile spawned only one other 45: the US-only Happy In June, which made number 27. The album’s May 7 release was trailered by a specially-edited flexi-disc given away with the April 29 issue of NME, featuring Jagger singing the speciallyrecorded Exile On Main Street Blues between All Down The Line, Happy, Shine A Light and Tumbling Dice.

With all the praise heaped on Exile over the years, it might seem hard to believe that, when it appeared on May 22, the album was met with mixed reactions. Melody Maker’s Richard Williams deemed it, ‘the best album they have made’, but future Patti Smith guitarist Lenny Kaye, writing in Rolling Stone, balked at the volume of music, calling it, ‘dense and inpenetrable’.

The Beatles and Hendrix had also incurred critical flak for their own double sets, which were later hailed as masterpieces. Exile was a lot to digest, taking several listens to weave its dark magic. It was also presenting American roots music and pure rock ‘n’ roll at a time dominated by exaggerated music, whether self-indulgent prog or boisterous glam rock.

The reviews put Keith off press evaluations for life, as he told this writer: “I remember Exile On Main Street being slagged off all over the place when it came out and then the same guys six years later holding it up and saying, ‘Oh, this album’s not as good as Exile On Main Street’. Now I read about two or three reviews when they come out and that’s it…We’ve done what we intended to do: put out the record. After all, it’s popular music. Unpopular music is about the worst thing you can make. I’d rather it be popular. So I’d rather use that criteria than two or three writers slagging it off.”

When called to talk about past albums, Jagger didn’t seemed convinced by Exile’s belated elevation, telling one journalist, “It’s overrated, to be honest. It doesn’t contain so many outstanding songs as the previous two records. I think the playing’s quite good. It’s got a raw quality”. Or simply, “Not one of my favourite albums, although I think the record does have a particular feeling”. Charlie Watts now explains this as, “Mick doesn’t like anything he did yesterday.”

Now, with Exile back as the extravagantly repackaged big gun in Universal’s Stones reissue programme, Jagger finally gets to boost his vocals on the bonus disc’s re-upholstered out-takes. Above all, the whole beautifully-executed project shows how timeless the Stones’ music can be in any age, as their darkest diamond returns to tower again, shit scraped off its monolithic shoes but about to leave a bigger footprint than ever.

Additional quotes from Stones In Exile [Eagle Rock DVD] and The Mick Taylor Years [Chrome Dreams DVD]


From riffy gestation to triumphant birth, a guided tour of Exile On Main Street

After the Stones’ post-Satanic Majesties roots rebirth, few of their songs underwent a conventional ‘three Rs’ (wRite, Rehearse, Record) conception, more often emerging from a lengthy marination process as Keith Riffs were hammered and honed by the band, trying out different grooves, tempos and styles while Mick Jagger looked for lyrical inspiration. Although widely assumed to have been cut down in Keith’s basement, each track carries its own tale, sometimes dating back to when Mick Taylor joined the band in 1969.

ROCKS OFF: Andy Johns recalls the night that Keith worked on the riff in the basement for 12 hours straight, before nodding off in the early hours. The engineer called it a night and drove the 30 minutes back to the villa he was sharing with Jim Price. Keith then woke around three, miffed to find the Mobile unattended, so recalled the engineer as he had an idea for guitar parts. Keith has often spoken about his ‘Incoming!’ theory, where inspiration is simply floating in the ether waiting to be intercepted by his creative antenna. On Johns’ return, the guitarist proceeded to build the counter-rhythmic Telecaster riffs which elevated what would become Exile’s opening track. Complete with pumping piano, belting brass and unexpected Satanic Majesties-style psych-drop, it’s the perfect scene-setter. Performed: 1972-73, 75, 94-95, 2002-03, 05-07

RIP THIS JOINT: The fastest Stones song yet at that time, this started life as a Richards-Keys-Taylor basement outing (an early version reportedly features Keith singing), the sax titan blasting off a ripsnorting solo while Bill Plummer adds the roll with upright bass. The lyrics concern life on-the-road from a foreigner’s perspective, while ‘Down to Dallas, Texas with the butter queens’ refers to a bunch of notorious groupies. ‘They did a load of wonderful things with butter, apparently,’ explained Keith. Performed: 1972-73, 75-76, 95, 2002-03

SHAKE YOUR HIPS: James Moore, aka Louisiana bluesman Slim Harpo, jostled with the likes of Howling Wolf in the early Stones’ record collection, his I’m A King Bee covered on their second album, then this hip-shaking boogie recorded in 1969 during the Let It Bleed sessions, revisited the following October and finished in LA. Jagger shows what an under-rated harmonica man he is as Charlie drives the snare-rim against razor-pulse guitars, taking the Stones back to another basement in Ealing, a few years earlier. Never performed live.

CASINO BOOGIE:‘There are a lot of songs on Exile that are really, like, not songs at all, like Casino Boogie,’ said Jagger once. That’s by no means a dismissal; this taut, grainy Nellcote workout is one of the key ingredients to the album’s pungent aroma, Richards supplying guitars, bass and stinging slide; a match made in basement hell when joined by Keys’ deadly sax squalls. Jim Price attributes the album’s claustrophobic ambience to the type of distortion Keith was using on his guitars. Vocals were recorded in LA, with lyrics, boasting lines like, ‘kissing @#$%& in Cannes’, created in the final rush using William Burroughs’ cut-up technique, later also employed by Bowie. Never performed live.

TUMBLING DICE:Of all the convoluted development sagas on Exile, the track selected as first single took longest to bring home, after starting life at Stargroves in 1970 with Richards’ basic riff and completely different lyrics for a song then called Good Time Woman. One of the most fascinating of the extras, it sports cleaner, dual guitar lines and faster tempo yet to decelerate to Tumbling Dice’s inimitable lurching roll.

According to Andy Johns, the final version took nearly three weeks, using over 20 hours of reel-to-reel tape, Keith finally nailing the glorious opening and coda riffs at around six in the morning after the engineer had been recalled with another ‘Incoming’ alarm. ‘That‘s the perfect tempo,’ reckons Keith. ‘Try to hot that one up and you lose the flow.’ While he grasped at elusive riffs, Charlie struggled on the coda to the point where he handed the sticks over to Jimmy Miller. With Mick Taylor on bass, it’s another example of the loose nature of the project.

Jagger came up with the new lyrics at Sunset Sound, inspired by a chat with his housekeeper about gambling. After these were recorded, along with force ten backing vocals from Clydie King, Venetta Fields and Merry Clayton, the track had to be mixed, which turned into another tortuous drama due to the amount of elements on the multi-track. Worth it though; as Keith says: ‘I really loved Tumbling Dice, beautifully played by everybody. When everybody hits it, there’s this moment of triumph.’ Performed: Every tour since!

SWEET VIRGINIA:The shit-kicking country sing-along is another track which sounds like it gestated in the moonshine cellar at Nellcote, but actually dates back to Let It Bleed sessions at Stargroves, then Olympic in October, 1970, before being finished in LA. It’s often believed that Gram Parsons is in the howling chorale but neither Keith or Anita can recall him venturing into the basement, while Mick Taylor has confirmed his raspy vocal presence on the track, which also features rolling piano from Stu and more sublime Jagger harmonica. ‘I wanted to release Sweet Virginia as a kind of an easy listening single,’ recalled Richards. Performed: 72-73, 94-95, 99, 2002-03, 2005-07

TORN AND FRAYED:Even if he isn’t on the track, Gram Parsons’ influence is all over this pure country ode to a vagabond guitar player, which could have come straight off the first Flying Burrito Brothers album, with its ringing old time feel and keening harmonies. ‘One thing is for certain, Gram’s presence at Nellcote impacted on the singing more than anything else,’ says Anita Pallenberg, while Keith has spoken of how Parsons, ‘showed me the mechanics of country music.’ Keith’s harmony vocals – beautifully influenced by endless jamming on old country songs with Parsons – are one of the album’s trademarks. He’d always added a higher counter-point to Jagger but this was now country-style wail action. Parsons himself said, ‘They’ve certainly done some country sounding things since I’ve gotten to know them.’ Torn And Frayed was mainly worked on in LA after GP had been ejected from the Stones camp, featuring Jim Price on organ and Taylor on bass. Performed: 1972, 2002

SWEET BLACK ANGEL: Originally titled Bent Green Needles, this atmospheric beauty dates back to 1970’s Stargroves sessions with Richards on acoustic guitars, Miller on percussion and Jagger‘s harmonica, later enhanced by the marimba of Richard ‘Didymus‘ Washington but credited to Amyl Nitrate. The song was finished in LA in 1971 after Jagger turned it into a tribute to black activist Angela Davis, at the time awaiting trial for murder: a rare political statement for the band. Stones-spotters recognised the snatch of guitar riff dropped into the coda of The Clash’s Stay Free in 1978. Performed: 1972

LOVING CUP:When the Stones played a song they’d been working up for Let It Bleed called Gimme A Little Drink at July 1969’s Hyde Park comeback concert, it was a ragged, slide-drenched shambles, prompting Jagger to moan, ‘all over the place’ when it ground to a halt. The Stones said it didn’t make Let it Bleed (or Sticky Fingers) because it didn’t fit, but it was just the right size to close Exile’s acoustic side. Maybe they just didn’t want to give it to Allen Klein. The bonus version shows it in earlier form: slower paced minus brass but plus Mick’s ’buzzing’ noises. By the final Exile sessions, the track had been renamed Loving Cup and gained the patent Miller percussive shuffle, pumping piano, steel drums and sexy brass coda. Performed: 69, 72, 2002-03, 06

HAPPY:Happy is a prime example of the spontaneous combustion which occasionally sparked during the long hours hanging around in the basement, often waiting for Keith. But the man himself hit the basement bright and relatively early one day, overjoyed at discovering Anita was pregnant, and started jamming with who was already there: Jimmy Miller on drums, Nicky Hopkins and Bobby Keys wielding his baritone sax next to Jim Price. On a roll, Keith overdubbed vocals and bass because Wyman was on holiday. The end result was Keith‘s rollicking theme song. ‘I love it when they drip off the end of your fingers,’ he said. Performed: 72-73, 75-76, 78, 89-90, 94-95, 2002-03, 06-07

TURD ON THE RUN:After kicking off with the whooping defiance of Happy, the original album’s side three continued down the sweaty, rootsy path which marked it as the most obviously ‘basement’ of the four, Turd On The Run even retaining its working title! The wired, open-G thrash tempo meshes North Mississippi train rhythms, as practiced by Fred McDowell, and Appalachian mountain scrubbing, bolstered by Bill Plummer’s upright bass and further dynamic harmonica action from Mr Jagger. Never performed live

VENTILATOR BLUES:The Nellcote basement was stiflingly humid, the complex of rooms and cubicles boasting just one window and solitary electric fan. The lack of air-conditioning inspired a song to suit the claustrophobic atmosphere, constructed around Taylor’s Spoonful-like riff, which earned him his sole Stones writing credit. The Stones never tried it live as Charlie laid down the odd stopstart beat led by a wildly-clapping Bobby Keys standing in front of him, making for a proper one-off. ‘How I ever had the balls to tell Charlie Watts to play drums is beyond me!’ roars Keys now. Throw in Bill Plummer’s upright bass, Keith’s stinging slide and extra ambience from malfunctioning equipment and the result is pure Nellcote grime, although it was considered for a single. Fades into…

JUST WANT TO SEE HIS FACE:Exile’s strangest track fades in as part of the original side three’s dreamy closing sequence, its hazy voodoo shuffle rumbling with thunderous, spooked resonance from Jimmy Miller’s percussion, Plummer’s upright and Taylor’s electric bass, topped with Richards’ shimmering electric piano and Jagger’s doubting Thomas-inspired vocal. Initially a 30 minute jam captured on tape, it was edited in LA after gospel-charged backing vocals were added from Clydie King, Venetta Fields and Jesse Kirkland. Keith liked to say it was cut on a Sunday, while Tom Waits has cited it a big influence. One of the best examples of the ‘magical glow’ which Mick Taylor attributes to the album.

LET IT LOOSEconfused smileytarted at Olympic in 1970 with backing track finished at Nellcote, the vocals were added in LA, complete with choir organised by Mac ’Dr John’ Rebbenack, which included Tamiya Lynn, Kathi McDonald, Clydie King, Joe Green, Jerry Kirkland, Venetta Fields and Shirley Goodman of Shirley & Company. Jagger thinks Richards wrote this yearning soul ballad, distinguished by the swirling Leslie organ amplifier on a guitar speaker, but supervised its euphoric completion. ‘What he wanted was this funky feeling, this really honest church feel,’ recalled Lynn. Never performed live (but in The Departed movie).

ALL DOWN THE LINE:One of Exile’s straightahead Stones rockers, this originated as an acoustic sketch during Let It Bleed sessions, then carried on in similar form at Olympic in October, 1969 before being further refined at Muscle Shoals. They recorded the first electric version at Olympic in July 1970, and developed it at Stargroves before a fuller version was recorded at Nellcote, vocal overdubs and mixing taking place in LA. Being one of the first tracks finished, it was an obvious candidate for single release, even test-driven on LA radio when the Stones gave it to a local radio station so they could hear it in the car. Performed: 72-73, 75, 77-78, 81, 94-95, 98-99, 2002-03, 05-07

STOP BREAKING DOWN:Enigmatic blues legend Robert Johnson was an early influence on Brian Jones and Keith Richards, the pair spending hours trying to unravel his unearthly intricacies during endless practice sessions at Edith Grove. However, here it’s Jagger supplying the coruscating, sheet metal rhythm guitar on this raw treatment of Johnson’s 1937 composition, joined by a stellar piano performance from Ian Stewart and one of Mick Taylor’s most blistering performances. The track dates back to June, 1969 at Olympic, continued at Stargroves the following October, then mixed in LA. Never performed live SHINE A LIGHT:The oldest track on the album, Jagger’s Shine A Light started life during 1968’s Beggars Banquet sessions as a plea to troubled Brian Jones called Get A Line On You. It was then recorded in 1969 for Let It Bleed with Leon Russell on piano. By July 1970’s Sticky Fingers sessions, Jagger had reworked it into Shine A Light, but it wouldn’t explode in full gospel glory until December, 1971 at Sunset Sound.

Sporting another lineup variation, including Jimmy Miller on drums and Taylor on bass, it’s another strong example of the gospel influence permeating the album, elevated by Billy Preston’s sublime keyboards and heavenly backing vocals from Clydie King, Venetta Fields and Jesse Kirkland. Jagger was inspired to give his most heart-felt vocal performance of the album after Preston took him to see the Reverend James Cleveland in an LA church with Aretha and Erma Franklin in the choir. This long-underrated beauty finally got its due spotlight as the title song of Martin Scorcese’s 2008 movie. Performed: 1995, 97-99, 2006-07

SOUL SURVIVOR:If Shine A Light is Jagger’s track, this ragged-riff behemoth scramble is an unadulterated Keith special, one of the extras featuring his own guide vocal, rhyming ‘fool’ with ‘tool’ in a classic example of what the Stones call ‘vowel movement‘ just to give tracks a vocal topping. He even snarls ‘Etcetera, etcetera‘ in the final coda. In the early Nellcote version, Keith‘s magnificent riff doesn‘t make its entry until the midway point but on Exile it carries the whole track, now sung by Jagger with the chorus repeated ad infinitum with screaming intensity in the coda. Keith liked the riff so much he recycled it in 1983 on Undercover’s It Must Be Hell. Never performed live (unfortunately)

The bonus out-takes

Trying to trace the evolution of any Stones song can be a brain-twisting quagmire, just by the nature of their post- Beggars Banquet recording methods. As seen in the Sympathy For The Devil film, they often started with germs of ideas, often based around Keith riffs, which were then hammered and honed through different tempos and styles until Jagger was inspired to apply lyrics, unless Richards already had a hook. Songs could take years to even get beyond the instrumental stage. Exile is now known to consist of previously-started tracks plus the new ones recorded at Nellcote which were finished in Los Angeles. At the time, Jagger told a journalist, “Virtually everything we recorded is there… There’s about three or four tracks left over.”

By 2003, Keith Richards was predicting, “I’ve no doubt one day we’ll put out an Exile out-takes album.” Casting a little wider to encompass the album’s whole creative time span, the Stones have filled a second CD with a further ten tracks.

These have already aroused some controversy, stoking the traditional forensic analysis on the Stones’ jungle telegraph as diehards celebrated, while the usual more cynical factions rumbled about new songs being constructed in the Exile style from old backing tapes. To which we say, so what? Some tracks have received a wash and brush-up, Jagger recording new vocals on backing tracks only needing the occasional acoustic guitar ‘stroke‘ from Keith and some percussion. Jagger’s vague, “I’m not saying it’s not true” confirmed that this was indeed the case, although Richards has said, “I don’t want to interfere with the Bible.”

In some ways, it’s as exciting as having a new Stones album, if not more, given the gravity of the material finally released to the public after years on bootleg. Early versions of Loving Cup, Soul Survivor and Tumbling Dice (in its earlier Good Time Woman incarnation) rub shoulders with long-bootlegged instrumentals including Aladdin Story and Dancing In The Light, joined by some never-before-encountered outings coming as fully-formed new songs, like chosen single Plundered My Soul, a gloriously-decadent soaring soul romp with brass and girls bolstering a stellar Jagger vocal.

The process began when Stones producer Don Was was presented with a pile of multi-tracks, which he then had to work through, looking for relevant tracks amidst long-forgotten items like a strings-backed Wild Horses (It‘s a hard job but…). After the ‘baking’ process necessary with many old tapes, tracks were given to the band to start the selection process before restoration began. According to Keith’s old friend Alan Clayton, whose Dirty Strangers outfit found themselves joined by a piano-playing Richards on last year’s W12 To Wittering album, the man spent much of last June at Redlands interspersing watching the cricket with wading through tapes sent to him.

“I knew there was loads of stuff lying around, but I wanted to be faithful to the time period,” said Jagger on the Stones Facebook site. “I didn’t want to take things out of context. There’s a couple that are really quite good and would compete with anything on Exile, I think.

Some of them are of interest and fun, but some of them are really good.”

If Jagger’s main disatisfaction about Exile was the low level of his vocals in the mix, he’s made up for it here, ringing through loud and clear on the easy-to-spot, newly-recorded vocals. It is exhilarating to hear Aladdin Story, originally on the short-list for Sticky Fingers, now retitled So Divine, courtesy of its newly-gained sardonic, rasping vocal, which makes a perfect partner to the original instrumental’s slow-burning riff, slinking out of the intro to Paint It Black, wheezing original brass and shimmering vibraphone. The middle eight is quintessential early 70s soaring Stones magic. Whatever the process, the new version is pure Exile in sleazy spirit. One element left untouched on all the tracks is Charlie Watt’s drumming, a gamut of subtle fills and effortless punctuation sparking out of his supernatural beats like controlled dynamite.

Elsewhere, a backing track called Sophia Loren resurfaces as Pass The Wine, originally recorded at Nellcote with piano and brass. I’m Not Signifying is the diamond without which the out-takes might have fallen short with long-time Stones watchers. Originating at Stargroves in 1970, it’s also been titled Ain’t Gonna Lie, I Ain’t Lying, I’ve Been Here Before and I Ain’t Signifying as it was periodically tossed around Olympic and Nellcote. Scattershot blues piano, beautifullywheezing brass and flailing Taylor slide drape the Stones’ in sleaze-blues overdrive, Jagger’s spikey, snarling vocal crowning the whole humping melee.

When Taylor joined the Stones in May, 1969, they broke him in, deep end-style, with a string of sessions around blues standards, jams and works-in-progress. Some showed up on bootlegs, including one purporting to originate from two acetates cut at Trident Studios (but more likely recorded at Olympic), which included Aladdin Story and Dancing In The Light, a chunky shuffle drenched in Jimmy Miller’s piano-pounding, percussive swagger. The song appears in the bonus cuts, lighter in feel as acoustic guitars join Keith’s weighty block-chord riffing. Playing it next to the original recording, it’s apparent that Jagger’s whoops and exhortations have survived under the new vocal; again, true to the unabandoned, rabble-rousing Exile spirit.

Meanwhile, soaring gospel ballad Following The River seems to have dropped fully-formed from the heavens to become one of the set’s most spectacular highlights; all roaring choir, richly melodic strings and rolling blues piano. Jagger owns up to this one, saying, “I started from scratch. I mean, that’s what I do, and I’ve done it many times before.” The Exile spirit seems to pull out both the angel and devil as he turns in another impassioned vocal performances over this prime slice of early 70s gospel rock. Meanwhile, Track 5 is 1.47 of Allmans-style twin guitar motoring, obviously clipped off and titled off an original multi-track.

There are many more unreleased gems in the Stones’ tape dungeons, from deadly-but-unused riff workouts (Rotten Roll) to fully-formed classic ballads (Blood Red Wine). Hopefully, they’ve opened an irresistible new can of worms for themselves…

Reviewed by Kris Needs

Edited 1 time(s). Last edit at 2021-10-10 14:22 by exilestones.

Re: Post: Magazine Articles
Posted by: exilestones ()
Date: October 10, 2021 10:42

Exile on Main St. is a studio album by the English rock band the Rolling Stones.
It was released on May 12, 1972 by Rolling Stones Records. it was the band's first
double album tenth studio album in the United Kingdom, and twelfth American album.
Recording began in 1969 in England during sessions for Sticky Fingers and continued
in both the South of France and Los Angeles. In a year-end list for critic Robert
Christgau named Exile on Main St. the best album of 1972 and said, "this fagged-out
masterpiece" marks the peak of rock music for the year as it "explored new depths of
record-studio murk, burying Mick's voice under layers of cynicism, angst and ennui".

This poster promotes a remastered version of the album that was released in 2010.


Edited 1 time(s). Last edit at 2021-10-10 10:46 by exilestones.

Re: Post: Magazine Articles
Posted by: exilestones ()
Date: October 11, 2021 03:14


Used by the Rolling Stones as the recording studio for the recording of Exile on Main Street (1972) Wikipedia - 'Exile on Main Street' (1972) . The sessions used the new mobile recording truck Link - Rolling Stones mobile recording studio which would go on to be used by Deep Purple to record Smoke on the Water (1972) at the Grand Hôtel , Montreux(CH), during 1971-DEC

- Link - Rolling Stones at the Villa Nellcote Link - Rolling Stones at the Villa Nellcote Written accounts of events during the recording of Exile on Main Street (1972) vary but: It appears that on the ration-strength of the villa at this time was the Rolling Stones themselves, their wives and paramours, at least one child, several of the Rolling Stones' staff. Various important visitors whom were friends with the Rolling Stones came to stay: John Lennon, William Burroughs, . Various local bohemian types seemed to come and go, some of whom must have been drug dealers from as far away as Marseilles. There could be up to sixteen people for lunch, which for some must have been breakfast. No-one else seemed to have any idea whom anyone else was. I imagine being a historian of the Rolling Stones is a frustrating process because much like at Mick Jagger's wedding, no one seems to be sure of whom was where, when, or what they were actually doing.

- One of the legends which is oft-repeated is that the electricity to power the amplifiers had to be drawn from the adjacent railway line. However, the power in the catenary is around twenty-five thousand volts Wikipedia - Railway electrification in France and the transformer required would be huge. It is unlikely this happened.

- Another legend is that the band found a case of WWII German morphine in the basement. However, the building was never occupied by the Germans. Supposedly the case was marked with Swastikas but German medical supplies and indeed any Wehrmacht property was marked with the RZM Wikipedia - Reichszeugmeisterei stamp and a manufacturer's number, not a Swastika.

- Author Robert Greenfield, then associate editor of the London bureau of Rolling Stone magasine, wrote a book about his experience that summer at the Villa Nellcôte entitled Exile on Main Street: A Season in Hell with the Rolling Stones (2008)

Re: Post: Magazine Articles
Posted by: exilestones ()
Date: October 11, 2021 05:36

   I'd love this image even more if it was Keith walking in the forefront with Anita and Marlon from a 1971 photo.


Re: Post: Magazine Articles
Posted by: winos ()
Date: October 11, 2021 07:37

Heck ... gotta lot of these mags somewhere ....

Yes me daughters don't want to inherit my massive stones collection of books, magazines, posters, other memoribilia, records and cds. Maybe there should a separate Stones museum devoted to fans to donate stuff.

pool's in but the patio ain't dry

Re: Post: Magazine Articles
Posted by: exilestones ()
Date: October 13, 2021 03:03


Exile on Main Street Juke Box EP

This "Little LP" contains some of the best tracks from the Stones' much-heralded lp "Exile on Main Street". The LP finds the Stones returning to their blues roots. They appear to be having lots of fun with Slim Harpo's "Hip Shake" and a frenetic "Rip This Joint".

"Tumbling Dice" is one of the finest songs the Stones have ever recorded, an appropriately sloppy, slow number that is really more definitive Stones' music than it is blues.

"Rocks Off" opens side two (and the album). It is possibly the most energetic rock tune about impotence ever written! Shades of "Twenty Flight Rock", which the band would cover years later.

"Sweet Virginia" closes side two which finds the Stones in a humorous country/white trash mode.
A fine "little LP".

Although this release has a Rolling Stones Records catalogue number, it was released on a black Atlantic Records label. This was the case for Stones' "Little LPs" (this one has a number of 199) and EPs once the band formed Rolling Stones Records.


Re: Post: Magazine Articles
Posted by: TIRED ()
Date: October 13, 2021 22:34

Heck ... gotta lot of these mags somewhere ....

Yes me daughters don't want to inherit my massive stones collection of books, magazines, posters, other memoribilia, records and cds. Maybe there should a separate Stones museum devoted to fans to donate stuff.

There is a private Rolling Stones Museum in Bautzen, Germany, that most likely will be happy to inherit your precious collection:

Stones Pavillion Bautzen

Re: Post: Magazine Articles
Posted by: winos ()
Date: October 14, 2021 01:27

Heck ... gotta lot of these mags somewhere ....

Yes me daughters don't want to inherit my massive stones collection of books, magazines, posters, other memoribilia, records and cds. Maybe there should a separate Stones museum devoted to fans to donate stuff.

There is a private Rolling Stones Museum in Bautzen, Germany, that most likely will be happy to inherit your precious collection:

Stones Pavillion Bautzen
Thanks Tired it's a long way from Melbourne.....

pool's in but the patio ain't dry

Re: Post: Magazine Articles
Posted by: exilestones ()
Date: October 15, 2021 20:02

March, ’71, after a legendary set at The Marquee at the end of their 1971 UK tour,
the Rolling Stones stopped by Top of the Pops at BBC Studios to perform songs
from the soon-to-be-released Sticky Fingers.

Alec Byrne was on hand and captured this image of the band performing “Brown Sugar.”
A couple of days later the Stones left the UK for the south of France where they would record Exile on Main Street.

Re: Post: Magazine Articles
Posted by: exilestones ()
Date: October 16, 2021 13:04

Black & White Blues - The Rolling Stones at the De Lane Lea recording studio

photos by Gus Cora

The Rolling Stones used to live with photographer Gus Coral’s cousin in Chelsea
and the photographer was so blown away after seeing them perform in Richmond,
in October 1963, that he shot the first tour of the then-unknown band,
supporting The Everly Brothers, alongside Bo Diddley.


Rare Photos Of The Rolling Stones, Before They Were Famous

Before the Rolling Stones were the global rock icons they are today, they were just another indie band in London.

Luckily, someone was there to document it. British photographer Gus Coral toured with the band for their first ever tour in 1963. He took over 150 photos of Mick Jagger and the band onstage, behind-the-scenes and in the De Lane Lea recording studios, as their first single Come On reached the charts.

The exhibit features rare, black-and-white photos of the Stones, who were innocent men in suits. Between taxi rides and shows in Holborn, Southend and Cardiff—to the scrum of eight fans waiting for their autograph in the rain—it was a time when this rock band struggled to sell tickets. Here are some rare shots of the band and Coral’s memories of going on tour and hanging out with the band.

What were the Rolling Stones like back then?

Gus Coral: They were a very young band back then, but also very likeable and easy to be around. I enjoyed the music they were making; they had a good understanding of the blues as well as being talented musicians.

How did you get to know them?

I made a conscious effort to do so. I was working with a couple of friends and we were asked to predict who would be the big band of the following year or the next 'big thing' so to speak. We had frequently been taking trips down to Richmond in South West London to see the Stones a handful of times and in my opinion, I thought they were going to succeed. When we went on the tour it was an exciting experience. We drove up to Cardiff in my car. One of the people I was with was working for ABC television at the time and he was hoping to use this trip for research as we were hoping to make a film with The Rolling Stones, which never happened.

What was the state of pop music when you took these in the early 1960s?

Well, it was The Beatles wasn't it, for the most part, at least? It was clean, tidy and quite often uniformed for most of the acts back then. I mean, I liked the Beatles, but then when the Stones came along The Beatles took second place, I'm afraid, at least in my affections. The Beatles were always a little too soft for me, the Stones had a slightly raw edge musically and I think that caught the flavor of the times.

Did you have a feeling they might become a well-known band?

I had a feeling they would be popular yes, but I had absolutely no idea they would become as big as they went on to be. I'm glad now that I was able to have recorded a very important part of history. The Rolling Stones were just a group of young men doing what they did best and hoping to be able to do so continuously.

Since you have lots of photos of the Stones, will you do a book?

I hope so, I'd really like to. The story behind these almost 200 images is so unique and entertaining in its own right; I would like to create a book. I'd like to keep this material together and in a sense hand it down for posterity. Maybe a book is the best way to do so.

Are you still in touch with them today?

Unfortunately, I am not although I do think that it would be a great opportunity to meet up and have a chat about the days that we spent together back in 1963. Maybe we could jog each others’ memories.

What do you see looking back at these?

One of the things I see is that I was probably a better photographer back then than I am today, I had a pure eye and was looking at things for the first time. I have photographed many musicians since, but it's more self-conscious now, back then it was very straightforward: “I'm taking a picture of what’s going on, what’s happening, I'm taking a picture of the reality of their lives.”

The book

Re: Post: Magazine Articles
Posted by: exilestones ()
Date: October 17, 2021 18:11

Edited 4 time(s). Last edit at 2021-10-17 22:44 by exilestones.

Re: Post: Magazine Articles
Posted by: nickdominguez ()
Date: October 21, 2021 23:34

can anyone advise how to upload images please

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