Exile On Main Street Remastered

This is the real deal, numero uno, number one, the absolute best, period. While many classic albums of the late 60's and early 70's might be showing their age, "Exile on Main Street," is just as fresh and demanding as it was when first released in 1972. From Keith Richard's power chords signaling the beginning of "Rocks Off" to the frantic loud and raucous guitar fade of "Soul Survivor" Mick, Keith, Charlie, and the boys go for the throat on the Stones most powerful album. The Stones employ all their influences at their best: blues, gospel, country, R&B, and good old garage band rock n roll. The Stones love Chuck Berry, check out "Rip This Joint." Next, try some Slim Harpo blues, "Shake Your Hips." If you don't feel totally greased up by now, then get ready for "Casino Boogie" with Keith and Mick Taylor trading guitar licks sounding like screeching alley cats with Charlie Watts playing a naughty strip tease rhythm on the drums. What would be the end of side one on the LP ends with the great classic hit, "Tumblin' Dice." "Exile on Main Street" is a loosely structured concept album, in essence the Stones' journey through America. Thus side two, take the listener on a little spin out in the sticks with "Sweet Virginia" where you'd better be ready to scrape the sh## right off your shoes. For another stab at country music in much the same trippy mood as Gram Parson's "New Soft Shoe" comes "Torn and Frayed" the kind of song George Jones or Merle Haggard could only dream of. "Sweet Black Angel" brings in a little island music sound with its gentle marimbas. Finally, side two ends with the powerful country ballad with Nicky Hopkins, whose piano mastery can be heard on almost every cut on the album, pounding out one of his best piano leads on any Stones album with "Loving Cup." Side three opens with Keith Richards' most familiar song, "Happy." From there the Stones turn in one of their sleaziest, grungiest, most menacing tunes ever where Keith locks them in a manic rhythm that never lets up from start to finish, guitars and piano playing in total sync as Mick belts out some of the Stones' most mysonistic lyrics ever with "Turd on the Run." "Ventilator Blues" is a show case for Mick Taylor's fine slide guitar playing. The next number, "Just Want to See His Face" is perhaps the oddest song on the album. It sounds like something coming across an old AM radio late at night from an African American southern church service. The rhythms are captivating. Side three ends with the album's most powerful ballad with some killer horn and vocal arrangements, "Let It Loose." After working the listener into an emotional frenzy with that tune, now it's time to start down the album's home stretch with one of the Stones' great concert rockers, "All Down the Line" with some of the most creative hooks the Stones have ever stuck in one of their straight ahead rockers. "Stop Breakin' Down" is the second cover of a blues classic on the album. Is it any wonder to this day the old blues masters still perform with Mick and the boys? "Shine A Light" is a glorious spiritual masterpiece with lovely gospel piano and organ provided by Billy Preston and two of the most memorable guitar solos ever performed in a Stones classic. Finishing up in a mad frenzy on what was a full two album set is "Soul Surivor" a tune that starts off hot and keeps getting faster, louder, and nastier as the song continues. Somehow the way the guitars keep chiming into a fade at the end gives the listener the idea that the journey continues long after the album stops playing. It's muddy, it's dirty, but after the 1994 remaster, American listeners finally get to hear the Stones best album in its full glory. The American LP pressings were horrible, tinny and shrill with so much of the details and subtlties missing in action. The CBS release of the first CD was absolutely horrible. Did anybody do any premastering planning? The European record albums were beautiful and the 1994 CD finally gives the listener a chance to hear all the details in the massive wall of sound without compromising the rough and rowdy sound that the album strives so hard to maintain. There's so much going on with every song. After all these years, it's still growing on me. I've worn out five LP's and two CD's enjoying this album. No rock music collection is legit without this album, period. Play it as loud as you can handle it.

What can be said about this album that hasn't already been said? It it quite simply one of the best and most important albums in rock history. Great album and great album cover!

Arguably one of the best Rolling Stones albums of all time. Part of the mick Taylor era

En el top 5 de los Stones y muy buena calidad de edición.

A lot of tape was spooled in France in a steaming hot basement in 1971 and there was more than enough to fill the 2 LP's that became the official Rolling Stones record: "Exile on Main Street" and this disc gives us a bit more from the two Mick's, Keith, Charlie, Bill and their friends Nicky Hopkins, Ian Stewart, Bobby Keys and Jim Price for a band indeed in exile but playing as good as any band ever would. The guitar interplay between Mick Taylor and Keith Richards is at it's peak here and Mick Jagger lays down some fantastic blues harp right outta the gate on the opening number: "Pass The Wine" (Sophia Loren) that sets the tone for what is to follow. Pass The Wine, is blues with a mission and this is the Rolling Stones playing right in their element as it's down and dirty and great to hear. "Following The River" is a Stones big-ballad driven by Nicky Hopkin's soild and graceful piano that builds and builds. "Dancing in the Light" takes us into country territory and is led by Keith's guitars (Mick Taylor, isn't playing on this cut) and Mick Jagger lays down a great vocal that removes "Light" from being another country-weeper and Charlie drives the beat with major attack. "So Divine" (Aladdin Story) takes the Paint it Black guitar riff and twists it sideways and is a real cool slow burn. There was a wealth of material recorded in France as this should have been placed on the original record as it deserves a place on there. "Plundered My Soul" again has a great interplay between Mick Taylor and Keith that shows just how well these two masters played together and Jagger sings the devil outta this one as well. "Plundered" is another keeeper as it's Stones gold unheard before this release showcases it. The piano of Nicky Hopkins raises the funk-level and barroom feeling on: "I'm Not Signifying" up by more than a few notches. Nicky (as always) adds so much to this music and he sets the feeling and tone here as The Stones are down and dirty (just the way we like em') Alternate versions of: "Loving Cup" and "Soul Survivor" are really great to hear on this new ratities disc as the sound of the original Exile LP's always sounded muddy and distant to my ears. And those original tracks have been described as a dirty-sounding recording by most it should be mentioned that Keith's vocal on 'Survivor' is a lot better than I remembered it to be. The horns are tasteful but not overpowering as they sometimes appear on Stones recordings. The guitars are mixed right up front and center and that is where they belong as the right moves were indeed made in keeping the sound modern but faithful to sounds the tapes of forty years ago. "Good Time Woman" is the germ that later turned into "Tumblin' Dice" and it's still good in it's original form but not as radio-friendly as 'Dice' would become but, this is another good find. Last up to bat is: "Title 5" one of the many jams from the basement that features only Charlie, Bill and Keith, and it's a showcase for multi-Keith guitars that we don't get to listen to all by their lonesome very often. I only wish a couple more instrumental jams could have been featured here on the rarities edition but, alas after this short number this disc is over. With ten tracks and 41 minutes of music here we have another Rolling Stones record of (mostly) unheard songs. And it's a great li'l record. Four Stars!

ストーンズといえば、ジミーミラーの４部作(ベガーズ〜本作)が最黄金期というのが現在のデフォルトみたいになっているが、この作品はその集大成というか、ごちゃまぜというか、とにかくグランジィで、アディクトな作品になっている。 この作品をあまり肯定すると、ある意味 (当時彼らがハマってた ~チャーリーは違うかもしれないが)ドラッグ使用を正当化することになるのだが、それでもリスナーも一種バーチャルな幻覚の世界に引き込まれるようなトリップ体験ができる(主観)。 まあ、そのごちゃまぜ感から、ビートルズでいえば、ホワイトに比するという向きもあるし、ジャガーは一貫性に欠けるというが、ある意味、リチャーズのいう "グランジ" という一貫性＝コンセプトからすれば、サージェントに対する(超駄作と悪名高い) マジェスティックでなく、本作を対比するという観方をするのもアリかと思う(共に最高傑作とされるし)。 シングルヒットはサイコロ転がし程度しかないけど、その実 少なからずのファンにとっては、超ヒット作が Tumbling Diceほどある。 この作品はストーンズという６decades をトップで君臨し続けている６つの峰があるとすれば、確実にそのなかの一つだと個人的に感じる。

Un classique des Stones, cet album est excellent

Lekko przereklamowany album. Dziś broni się kilka piosenek, a w większości - powtarzalność.

Beste Zogezegd zouden er artikellen bezorgt zijn volgens mail maar nog niet aangekregen of niet afgeleverd op adres Gelieve na te kijken? Mvg

Seite 1 guten ehrlichen Rock der frühen 70iger , Seite 2 überragend , obwohl ich kein großer Rolling Stones Fan bin ! Aber auf Empfehlung diverser Musikexperten habe ich sie mir gekauft . Es hat sich gelohnt ! Versand war normal , Verpackung auch .