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Track List
01) Rocks Off
02) Rip This Joint
03) Shake Your Hips
04) Casino Boogie
05) Tumbling Dice
06) Sweet Virginia
07) Torn and Frayed
08) Sweet Black Angel
09) Loving Cup
10) Happy
11) Turd on the Run
12) Ventilator Blues
13) I Just Want to See His Face
14) Let It Loose
15) All Down the Line
16) Stop Breaking Down
17) Shine a Light
18) Soul Survivor
01) Rocks Off
02) Rip This Joint
03) Shake Your Hips
04) Casino Boogie
05) Tumbling Dice
06) Sweet Virginia
07) Torn and Frayed
08) Sweet Black Angel
09) Loving Cup
10) Happy
11) Turd on the Run
12) Ventilator Blues
13) I Just Want to See His Face
14) Let It Loose
15) All Down the Line
16) Stop Breaking Down
17) Shine a Light
18) Soul Survivor
4:33
2:22
2:59
3:34
3:47
4:26
4:18
2:58
4:25
3:05
2:38
3:24
2:53
5:18
3:50
4:34
4:17
3:49
Data Complete
80%
Total Rating
80%Total Rating
(3 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1972
Rock
Energetic
Rock/Pop
---
Medium
Album
0 copies
Album Description
Available in:
Exile on Main St (im Original EXILE ON MAIN ST), für Exile on Main Street (ins Deutsche übersetzbar als „Verbannt auf die Hauptstraße“), ist das zehnte in Großbritannien erschienene Studioalbum der Rolling Stones, produziert von Jimmy Miller. Es wurde am 22./26. Mai 1972 veröffentlicht.
Zum Zeitpunkt seines Erscheinens wurde Exile on Main St von vielen Musikkritikern angegriffen, da diese sich nicht mit dem recht rauen, unfertig wirkenden Produktionsstil anfreunden konnten. Zudem enthält es – anders als die Vorgängeralben – keine ausgesprochenen Hitsongs. Nur Tumbling Dice (Platz 5 in GB, Platz 7 in den USA) und Happy (Platz 22 in den USA) erschienen als Single-Auskopplungen.
Heute gilt die Platte als eine der besten Veröffentlichungen der Band. Es sind weniger die einzelnen Stücke, die das Album ausmachen, als vielmehr die Konsistenz der Songqualität und die durchgehende Stimmung voller Kraft und Groove. Bemerkenswert ist die in den Hintergrund gemischte Stimme von Mick Jagger. Dieser selbst ist aber im Rückblick nicht so überzeugt von den Qualitäten der Doppel-LP; in einem Rolling-Stone-Interview von 1995 schätzt er die beiden Vorgänger-Alben höher ein.
User Album Review
Like a musical scrapbook chronicling the decay, decadence, excess and torpor of the Stones’ camp, this rough and ready collection of curios, questionable filler, and the occasional flash of blazing brilliance is frequently hailed as one of the best all-time albums.
At first glance it’s not easy to see why. Jagger is sometimes barely audible in the already overcrowded channels, as though his parts are a grudging concession to commercial needs. Just about every track is filled with knotted tangles of drums, keyboards, horns, guitar, hoots, handclaps and sundry embellishments, all snarled up in the often impenetrable murk of the mix: a bit like the aural equivalent of your soles sticking to a grungy club carpet.
Like the band itself, the record was strung out between different locations and times. A newlywed Jagger was understandably distracted, whilst Keith Richards was holed up in the squalid luxury of his southern France mansion awash with drugs, booze and a legion of hangers-on. Such was Bill Wyman’s distaste for the company kept at Chez Keef, he was only on eight out of a possible eighteen backing tracks. Indeed it could almost be a textbook demonstration of how not to record an album.
Yet out of such adversity there emerges moments of astonishing intensity that you find yourself forgiving them their industrial-quantity sins. The hard-won insolence of Tumbling Dice (rumoured to have gone into 100 plus takes) and driving urgency of Rocks Off, whilst being busy full-on Stones highpoints, somehow find their match in the stripped-back minimalist slapback of Shake Your Hips. Elsewhere, I Just Want to See His Face sounds as though a roving microphone had chanced upon a revivalist meeting somewhere in the deep South of their minds.
Let It Loose - a real gem of a ballad, with cascading piano - feels like the emotional heart of the album, breaking free of the uninspired blues-by-the-numbers and too-lazy licks that dominate. When it does click together though, this is an oddly moving experience, reminding us why the Stones, even at their most dishevelled, aren't to be underestimated.
External Album Reviews
None...
User Comments
Available in:
Exile on Main St (im Original EXILE ON MAIN ST), für Exile on Main Street (ins Deutsche übersetzbar als „Verbannt auf die Hauptstraße“), ist das zehnte in Großbritannien erschienene Studioalbum der Rolling Stones, produziert von Jimmy Miller. Es wurde am 22./26. Mai 1972 veröffentlicht.
Zum Zeitpunkt seines Erscheinens wurde Exile on Main St von vielen Musikkritikern angegriffen, da diese sich nicht mit dem recht rauen, unfertig wirkenden Produktionsstil anfreunden konnten. Zudem enthält es – anders als die Vorgängeralben – keine ausgesprochenen Hitsongs. Nur Tumbling Dice (Platz 5 in GB, Platz 7 in den USA) und Happy (Platz 22 in den USA) erschienen als Single-Auskopplungen.
Heute gilt die Platte als eine der besten Veröffentlichungen der Band. Es sind weniger die einzelnen Stücke, die das Album ausmachen, als vielmehr die Konsistenz der Songqualität und die durchgehende Stimmung voller Kraft und Groove. Bemerkenswert ist die in den Hintergrund gemischte Stimme von Mick Jagger. Dieser selbst ist aber im Rückblick nicht so überzeugt von den Qualitäten der Doppel-LP; in einem Rolling-Stone-Interview von 1995 schätzt er die beiden Vorgänger-Alben höher ein.
User Album Review
Like a musical scrapbook chronicling the decay, decadence, excess and torpor of the Stones’ camp, this rough and ready collection of curios, questionable filler, and the occasional flash of blazing brilliance is frequently hailed as one of the best all-time albums.
At first glance it’s not easy to see why. Jagger is sometimes barely audible in the already overcrowded channels, as though his parts are a grudging concession to commercial needs. Just about every track is filled with knotted tangles of drums, keyboards, horns, guitar, hoots, handclaps and sundry embellishments, all snarled up in the often impenetrable murk of the mix: a bit like the aural equivalent of your soles sticking to a grungy club carpet.
Like the band itself, the record was strung out between different locations and times. A newlywed Jagger was understandably distracted, whilst Keith Richards was holed up in the squalid luxury of his southern France mansion awash with drugs, booze and a legion of hangers-on. Such was Bill Wyman’s distaste for the company kept at Chez Keef, he was only on eight out of a possible eighteen backing tracks. Indeed it could almost be a textbook demonstration of how not to record an album.
Yet out of such adversity there emerges moments of astonishing intensity that you find yourself forgiving them their industrial-quantity sins. The hard-won insolence of Tumbling Dice (rumoured to have gone into 100 plus takes) and driving urgency of Rocks Off, whilst being busy full-on Stones highpoints, somehow find their match in the stripped-back minimalist slapback of Shake Your Hips. Elsewhere, I Just Want to See His Face sounds as though a roving microphone had chanced upon a revivalist meeting somewhere in the deep South of their minds.
Let It Loose - a real gem of a ballad, with cascading piano - feels like the emotional heart of the album, breaking free of the uninspired blues-by-the-numbers and too-lazy licks that dominate. When it does click together though, this is an oddly moving experience, reminding us why the Stones, even at their most dishevelled, aren't to be underestimated.
External Album Reviews
None...
User Comments
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