Posted on 05/18/2010 7:04:58 PM PDT by Mr. Blonde
I think the Stones missed a golden opportunity back when they briefly performed with some of the great electric blues masters. They could have made truly grand instrumental albums, and other albums of classical blues covers.
Both had Mick Taylor on guitar instead of Ron Wood...but the real key was the SONGS.
Between Keith and Mick they wrote some true masterpiece rock.
Voodoo Lounge and Steel Wheels were both great albums.
Can’t You Hear Me Knocking has one of the best riffs ever. Kind of like Layla though, the extended instrumental is hard to sit all the way through.
RnR PING
Listen to the new “Exile” cut, Plundered My Soul.
New vocals from Mick over an unused track.
Same here. I probably had Exile... on LP for about three years and listened to it a handful of times before I played it again and the music just fell into place. It is truly one of the top five greatest rock albums in my opinion.
What a pan.... It's a great album and I guess I'll just have to be content with the old versions
The Stones just released a movie about Exile to go with the remix
So more dough for the Stones. I figure they will rake in 100 million between the film and the re-done album
Some of new mix needed some slight enhancements (dubbing) so Keith Richard came in and so did Mick Taylor to lay on some sounds
http://www.nytimes.com/2010/05/23/arts/music/23stones.html
Recently, thinking about this alternate “Loving Cup” and why it’s not on the original album made me wonder what the ideal of “Exile” really is. I find most of “Exile” good, but not great. (That era of Stones music, fantastic. The album, not so much.) I can’t see it as a masterpiece, not only because I distrust the idea of masterpieces, but because I especially don’t want one from the Stones, who make songs and albums like birds’ nests — collaborative tangles with delicate internal balances — and have a history of great triage work, assembling bits and pieces recorded over a long period. But “Exile” remains the preference of the most judicious Stones fans. Why? What is its essence?
It’s a tricky question. “Exile” can seem like a unity of sound, place and time; much has been made of the fact that one of its greatest songs, “Ventilator Blues,” was inspired by the discomfort of the basement studio at Nellcôte, Mr. Richards’s rented mansion on the French Riviera, with its one small air vent. You can make yourself hear that heat, if you want.
But the recordings for “Exile” didn’t all happen in that basement. They stretched from 1969 to 1972, across the making of two other excellent and, to me, superior records — “Let It Bleed” and “Sticky Fingers.” It’s not always the band you know and, perhaps, love: there are a number of “Exile” tracks whose parts are not played by the usual suspects. (That’s Jimmy Miller, the producer, playing drums on “Happy” and “Shine a Light,” not Mr. Watts. That’s Mr. Taylor, or Mr. Richards, or Bill Plummer playing bass on about half the record, not Bill Wyman.)
As it happens, the “Loving Cup” described above was not recorded in Nellcôte’s basement but at Olympic Studios in London in the spring of 1969. (The album version — more laid back, not as good — comes from Los Angeles, after the French sojourn.) The Nellcôte experience was important to “Exile,” there’s no question. But the work of several Stones researchers indicates that more than half the album was recorded at other places, under more normal working conditions.
I hear it contains excerpts of C***sucker Blues and Ladies and Gentlemen The Rolling Stones but there are still no legit release version of these films in full.
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.