Exile on Main St.

From the mind of the dean of American rock critics: “Incontrovertibly the year’s best, this fagged-out masterpiece is the summum of Rock ’72. Even now, I can always get pleasure out of any of its four sides, but it took me perhaps twenty-five listenings before I began to understand what the Stones were up to, and I still haven’t finished the job.” I can’t do much to top the words of Robert Christgau. I myself have only listened to this album about five times in the last week.

I suppose by now my ears have become attuned to the sound of The Stones and that’s what this album is: their sound --seemingly aimed toward something other than creating smashing rock hits. Don’t get me wrong, this album is all about rock and roll, but its not a few stellar compositions strewn in amongst b-sides like some of their earlier cuts. This moderately upbeat music is consistent and cool and kept my ears tuned-in and amused all along --but as for a few favorite selections its hard to choose as nothing really jumps out. On that note, I'm going to have to say this is the type of album that would delight as background music while enjoying a few brews in the in the outdoors under the summer sun.

After their forced departure from England due to financial complications the Rolling Stones settled in a small town on the French Riviera, Villefranche-sur-Mer where most of Exile on Main St., their first double disc was recorded.


Typical of the stones dissatisfied longing toward life is “Rocks Off” which kicks off the album and has a really catchy sound to it. By the time the album hits “Tumbling Dice” I get caught in a groove that reminds me of the laid back Creedence Clearwater Revival of the late sixties --except a CCR that’s been dragged through the underbellies of plundering business cities. The tune on the album that reminds me of CCR the most would be “Shake Your Hips” which has a quick blues pick-up alongside Jagger’s voice that's neither over powering nor inaudible.

“Happy” doesn’t stray from the easy going sound of the album though it highlights Keith Richard’s vocals.

“Turd On The Run” a song I haven’t quite fell for just yet, picks up the pace for the next track: “Ventilator Blues”. In “Ventilator Blues” Jagger double tracks his lead vocals to enhance his voice to get a deep rich blues sound. Perhaps its knowing that William S. Burroughs frequented The Stones' villa on the French Riviera that makes me think that these lyrics seem reminiscent of the beat-poet era. When hearing the lyrics I seem to find myself thinking of Neal Cassady’s obsession the accelerator and Burroughs Mexico misfortune when playing William-Tell with a loaded gun and shot-glass on his wife’s head.

Overall, I think this album is great calm cool listen. Much like Christgau I can see myself give this numerous more listens.

Sticky Fingers

Saturday evening rocking out to the Rolling Stones, eating chocolate chip cookies and kickin’ it with my seventeen year old terrier... This is not what this album was made for, but that doesn’t make it any less amazing. Consistent and alive from “Brown Sugar” through to the end of “Moonlight Mile” --if this album had vital signs you’d need a Richter-scale to measure them. Though seemingly similar to a patient suffering from arrhythmia The Stones vary in their range of intensity. From hard-rock guitar riffs to slow ‘n’ bluesy tunes that grasp the notes just long enough to pull you into their melancholy moods --this music mixes with the emotion of any Saturday heathen whether their fix be cookies, or any choice selection that can be found in the controversial lyrics on this album.

Like a defibrillator, “Brown Sugar” gives the album the charge that pulsates throughout the album. The instruments work in unison to pump out a lively rock sound that distracts the ear from the belligerent lyrics. This song sets the tone for the rest of the controversial album as the lyrics combine drug slang and derogatory verse that’s racially offensive as well as disparaging toward women.

After the initial shock the album slows down into two bluesy tunes “Sway” and “Wild Horses” that feather the hearts of those left by women or left with longing desire by some addiction.

This is followed by an unparalleled moment in music: “Can’t You Hear Me Knockin”, a seven minute and fifteen second escape from the monotonous rhythmic pattern of life. This tune revives one with a sense of freedom or a break from the notions etched in the lyrics of “Sway”. Complete with wild solos from the guitar and saxophone this is the highlight of the compilation.

The mood changes with “You Gotta to Move” that carries a sound I can only compare to something like today’s White Stripes.

The next tune “Bitch” picks up the pace with heart-racing rock riffs complimented by the raw whaling from the sax. The lyrics compliment this song with a fast living --live now, die young attitude.

“I Got The Blues” slows it down again, Jagger’s vocals softly slugging away alongside electric organ, smooth sax and mellow guitar.

This is followed by “Sister Morphine” a track reveling in the counterculture of drug use. Which leads to “Dead Flowers” which is about a man who turns to heroin to ease the pains of lost love.

The final track, a moving ballad: “Moonlight Mile” has soft piano mingling with gentle guitar and an elegant arrangement of strings. The lyrics pertain to the lonesomeness of the road and hint at the use of cocaine.

Although this is unquestionably one of The Stones’ most powerful works nearly all the tracks on the album contain some reference to drugs. The heart of the band appears most stimulated by their affections toward drug use and women. This album ranks 63rd on Rolling Stone's Magazine's top 500 albums of all time.