Exile on Main St.

Source: Wikipedia, the free encyclopedia.
For the Supernatural episode, see Exile on Main St. (Supernatural). For the Pussy Galore album, see Exile on Main St. (Pussy Galore album).

Exile on Main St.
Studio album by
the Rolling Stones
Released26 May 1972 (1972-05-26)
RecordedJune – October 1970
10 July 1971 – March 1972
Studio
Genre
Length67:07
LabelRolling Stones
ProducerJimmy Miller
The Rolling Stones chronology
Sticky Fingers
(1971) 		Exile on Main St.
(1972) 		Goats Head Soup
(1973)
Singles from Exile on Main St.
  1. "Tumbling Dice"
    Released: 14 April 1972
  2. "Happy"
    Released: June 1972 (US)[2]

Exile on Main St. is a

studio album by the English rock band the Rolling Stones, released on 26 May 1972 by Rolling Stones Records.[3] The 10th released in the UK and 12th in the US, it is viewed as a culmination of a string of the band's most critically successful albums, following Beggars Banquet (1968), Let It Bleed (1969) and Sticky Fingers (1971).[4]
Exile on Main St. is known for its murky, inconsistent sound due to more disjointed musicianship and production, along with a party-like atmosphere heard in several tracks.

Recording began in 1969 at

South of France named Nellcôte after the band became tax exiles. Due to the lack of a professional studio nearby, they worked with a mobile recording studio and recorded in-house. The loose and unorganised Nellcôte sessions went on for hours into the night, with personnel varying greatly from day to day. Recording was completed with overdub sessions at Sunset Sound in Los Angeles and included additional musicians such as the pianist Nicky Hopkins, the saxophonist Bobby Keys, the drummer and producer Jimmy Miller, and the horn player Jim Price. The results produced enough songs for the Stones' first double album
.

The band continued a back-to-basics direction heard in Sticky Fingers after the experimental instrumentation of previous albums, yet Exile exhibited a wider range of influences in blues, rock and roll, swing, country and gospel, while the lyrics explored themes related to hedonism, sex and time. The album contains frequently-performed concert staples and topped the charts in six countries, including the UK, US and Canada. It included the singles "Happy", which featured lead vocals from Keith Richards, country music ballad "Sweet Virginia", and worldwide top-ten hit "Tumbling Dice". The album's artwork, a collage of various images, reflected the Rolling Stones' prideful rebellion. After its release, the Stones embarked on an American tour, gaining infamy for riotous audiences and performances.

Exile on Main St. was originally met with mixed reviews before receiving strong reassessments by the end of the 1970s. It has since been recognized as a pivotal hard rock album, viewed by many critics as the Rolling Stones' best work and as one of the greatest albums of all time. Rolling Stone magazine ranked the album number 7 on its list of the "500 Greatest Albums of All Time" in 2003 and 2012, with it dropping to number 14 in the 2020 and 2023 editions, consistently as the highest-ranked Rolling Stones album on the list. In 2012, the album was inducted into the Grammy Hall of Fame, the band's fourth album to be inducted. A remastered and expanded version of the album was released in 2010 featuring a bonus disc with 10 new tracks. Unusual for a re-release, it also charted highly at the time of its release, reaching number one in the UK and number two in the US.

Recording

Early sessions

Exile on Main St. was written and recorded between 1969 and 1972.

Wild Horses" from Sticky Fingers (1971). Many tracks were recorded between 1969 and 1971 at Olympic Studios and Jagger's Stargroves country house in East Woodhay during sessions for Sticky Fingers.[5]

By the spring of 1971 the Rolling Stones had spent the money they owed in taxes and left Britain before the government could seize their assets. Jagger settled in Paris with his new bride Bianca, and guitarist Keith Richards rented a villa, Nellcôte, in Villefranche-sur-Mer, near Nice. The other members settled in the south of France. As a suitable recording studio could not be found where they could continue work on the album, Richards' basement at Nellcôte became a makeshift studio using the band's mobile recording truck.

Nellcôte

Recording began in earnest sometime near the middle of June. The bassist

Jimmy Miller. At Nellcôte things were very different and it took me a while to understand why." By this time Richards had begun a daily habit of using heroin. Thousands of pounds' worth of heroin flowed through the mansion each week, along with visitors such as William S. Burroughs, Terry Southern, Gram Parsons, John Lennon, and Marshall Chess, the son of the famous blues impresario Leonard Chess, who had been recently recruited to serve as president of the Rolling Stones' new eponymous record label.[6] Parsons was asked to leave Nellcôte in early July 1971, the result of his obnoxious behavior and an attempt by Richards to clean the house of drug users as the result of pressure from the French police.[7]

Richards' substance abuse frequently prevented him from attending the sessions that continued in his basement, while Jagger and Wyman were often unable to attend sessions for other reasons. This often left the band in the position of having to record in altered forms. A notable instance was the recording of one of Richards' most famous songs, "

Happy". Recorded in the basement, Richards said in 1982, "'Happy' was something I did because I was for one time early for a session. There was Bobby Keys
and Jimmy Miller. We had nothing to do and had suddenly picked up the guitar and played this riff. So we cut it and it's the record, it's the same. We cut the original track with a baritone sax, a guitar and Jimmy Miller on drums. And the rest of it is built up over that track. It was just an afternoon jam that everybody said, 'Wow, yeah, work on it'".

The basic band for the Nellcôte sessions consisted of Richards, Keys, Mick Taylor, Charlie Watts, Nicky Hopkins, Miller (who covered for the absent Watts on the aforementioned "Happy" and "Shine a Light"),[5] and Jagger when he was available. Wyman did not like the ambiance of Richards' villa and sat out many of the French sessions. Although Wyman is credited on only eight songs of the released album, he told Bass Player magazine that the credits are incorrect and that he actually played on more tracks than that. The other bass parts were credited to Taylor, Richards and the session bassist Bill Plummer. Wyman noted in his memoir Stone Alone that there was a division between the band members and associates who freely indulged in drugs (Richards, Miller, Keys, Taylor and the engineer Andy Johns) and those who abstained to varying degrees (Wyman, Watts and Jagger).[6]

Los Angeles

Work on basic tracks (including "Rocks Off", "Rip This Joint", "Casino Boogie", "Tumbling Dice", "Torn and Frayed", "Happy", "Turd on the Run", "Ventilator Blues" and "Soul Survivor") began in the basement of Nellcôte and was taken to Sunset Sound Recorders in Los Angeles, where overdubs (all lead and backing vocals, all guitar and bass overdubs) were added during sessions that meandered from December 1971 until March 1972. Although Jagger was frequently missing from Nellcôte,[6] he took charge during the second stage of recording in Los Angeles, arranging for the keyboardists Billy Preston and Dr. John and the cream of the city's session backup vocalists to record layers of overdubs. The final gospel-inflected arrangements of "Tumbling Dice", "Loving Cup", "Let It Loose" and "Shine a Light" were inspired by Jagger, Preston, and Watts' visit to a local evangelical church[5] where Aretha Franklin was recording what would become the live album/movie Amazing Grace.

The extended recording sessions and differing methods on the part of Jagger and Richards reflected the growing disparity in their personal lives.[6] During the making of the album, Jagger had married Bianca, followed closely by the birth of their only child, Jade, in October 1971. Richards was firmly attached to his girlfriend Anita Pallenberg, yet both were in the throes of heroin addiction,[6] which Richards would not overcome until the turn of the decade.[8]

Music and lyrics

According to

gospel country.[12]

Although Exile is often thought to reflect Richards' vision for a raw, rootsy rock sound, Jagger was already expressing his boredom with rock and roll in several interviews at the time of the album's release.[6] Jagger's stance on Exile's rock and roll sound at the time is interpreted by the music academic Barry J. Faulk to seemingly "signal the end of the Stones' conscious attempt to revive American-style roots rock".[13] With Richards' effectiveness seriously undermined by his dependence on heroin, the group's subsequent 1970s releases – directed largely by Jagger – would experiment to varying degrees with other musical genres, moving away from the rootsy influences of Exile on Main St.[6]

According to Robert Christgau, Exile on Main St. expands on the hedonistic themes the band had explored on previous albums such as Sticky Fingers. As he writes, "It piled all the old themes – sex as power, sex as love, sex as pleasure, distance, craziness, release – on top of an obsession with time that was more than appropriate in men pushing 30 who were still committed to what was once considered youth music."[14]

Packaging

For Exile on Main St., Mick Jagger wanted an album cover that reflected the band as "runaway outlaws using the blues as its weapon against the world", showcasing "feeling of joyful isolation, grinning in the face of a scary and unknown future".

freaks,[17] such as "Three Ball Charlie", a 1930s sideshow performer from Humboldt, Nebraska, who holds three balls (a tennis ball, a golf ball, and a "5" billiard ball) in his mouth;[18] Joe "The Human Corkscrew" Allen, pictured in a postcard-style advertisement, a contortionist with the ability to wiggle and twist through a 13.5-inch (34 cm) hoop;[19] and Hezekiah Trambles, "The Congo Jungle Freak", a man who dressed as an African savage, in a picture taken by the then recently deceased Diane Arbus.[20] The Seeff pictures were repurposed as 12 perforated postcards inside the sleeve, while Frank's Main Street photographs were used in the gatefold and back cover collage made by Van Hamersveld, which features other pictures Frank took of the band and their crew—including their assistant Chris O'Dell, a former acquaintance of Van Hamersveld who brought him to the Stones—and other The Americans outtakes.[16]

Release and reception

This new album is fucking mad. There's so many different tracks. It's very rock & roll, you know. I didn't want it to be like that. I'm the more experimental person in the group, you see I like to experiment. Not go over the same thing over and over. Since I've left England, I've had this thing I've wanted to do. I'm not against rock & roll, but I really want to experiment. The new album's very rock & roll and it's good. I mean, I'm very bored with rock & roll. The revival. Everyone knows what their roots are, but you've got to explore everywhere. You've got to explore the sky too.[5]

– Mick Jagger, 1972

Exile on Main St. was first released on 12 May 1972 as a double album by Rolling Stones Records. It was the band's tenth studio album released in the United Kingdom.[21] Preceded by the UK (number 5) and US (number 7) Top 10 hit "Tumbling Dice", Exile on Main St was an immediate commercial success, reaching number 1 worldwide just as the band embarked on their celebrated 1972 American Tour. Their first American tour in three years, it featured many songs from the new album. The Richards-sung "Happy" was released as a second single to capitalize on the tour; it would peak at number 22 in the United States in August.[22]

After the release of Exile on Main St.,

Shine a Light" and "Stop Breaking Down" (written by Robert Johnson but re-interpreted by Jagger and Richards). ABKCO acquired publishing rights to the songs, giving it a share of the royalties from Exile on Main St., and was able to release another album of Rolling Stones songs, More Hot Rocks (Big Hits & Fazed Cookies).[23]

Exile on Main St. was not well received by some contemporary critics, who found the quality of the songs inconsistent.[24] Reviewing in July 1972 for Rolling Stone, Lenny Kaye said the record has "a tight focus on basic components of the Stones' sound as we've always known it," including blues-based rock music with a "pervading feeling of blackness". However, he added that the uneven quality of songs means "the great Stones album of their mature period is yet to come".[25] Richard Williams of Melody Maker was more enthusiastic and deemed it the band's best album, writing that it will "take its place in history" as the music "utterly repulses the sneers and arrows of outraged put down artists. Once and for all, it answers any questions about their ability as rock 'n' rollers."[26] Geoffrey Cannon of The Guardian agreed, stating: "Exile On Main Street will go down as [the Stones'] classic album, made at the height of their musical powers and self-confidence."[27] The NME's Roy Carr gave additional praise to the tracks, praising the styles present, the performances of the band and the lyrical content.[28] In a year-end list for Newsday, Christgau named it the best album of 1972, stating the "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".[29]

Legacy and reappraisal

Professional ratings
Retrospective professional reviews
Aggregate scores
SourceRating
Encyclopedia of Popular Music
[24]
Entertainment WeeklyA+[33]
MusicHound Rock5/5[34]
NME10/10[35]
Pitchfork10/10[36]
Q[37]
The Rolling Stone Album Guide[38]
Uncut[39]

Critics later reassessed Exile on Main St. favourably,[24] and by the late 1970s it had become viewed as the Rolling Stones' greatest album.[40] In retrospect, Janovitz called it "the greatest, most soulful, rock & roll record ever made" because it seamlessly distills "perhaps all the essential elements of rock & roll up to 1971, if not beyond". He added that it is "the single greatest rock & roll record of all time", distinguished from other contending albums by the Beatles or Pet Sounds, which are more "brilliant pop records".[41] On the response to the album, Richards said, "When [Exile] came out it didn't sell particularly well at the beginning, and it was also pretty much universally panned. But within a few years the people who had written the reviews saying it was a piece of crap were extolling it as the best frigging album in the world."[42]

In 2003, Jagger said, "Exile is not one of my favourite albums, although I think the record does have a particular feeling. I'm not too sure how great the songs are, but put together it's a nice piece. However, when I listen to Exile it has some of the worst mixes I've ever heard. I'd love to remix the record, not just because of the vocals, but because generally I think it sounds lousy. At the time Jimmy Miller was not functioning properly. I had to finish the whole record myself, because otherwise there were just these drunks and junkies. Of course I'm ultimately responsible for it, but it's really not good and there's no concerted effort or intention." Jagger also stated he did not understand the praise among Rolling Stones fans because the album did not yield many hits.[43]

Richards also said, "Exile was a double album. And because it's a double album you're going to be hitting different areas, including 'D for Down', and the Stones really felt like exiles. We didn't start off intending to make a double album; we just went down to the south of France to make an album and by the time we'd finished we said, 'We want to put it all out.' The point is that the Stones had reached a point where we no longer had to do what we were told to do. Around the time Andrew Oldham left us, we'd done our time, things were changing and I was no longer interested in hitting Number One in the charts every time. What I want to do is good shit—if it's good they'll get it some time down the road."[42]

Accolades

Exile on Main St. has been ranked on various lists as one of the greatest albums of all time.

National Association of Recording Merchandisers (NARM) and the Rock and Roll Hall of Fame placed it sixth on the "Definitive 200" list of albums that "every music lover should own."[56] It was voted number 35 in the 3rd edition of Colin Larkin's All Time Top 1000 Albums (2000)[57] and was included in 1001 Albums You Must Hear Before You Die.[58]

Its re-release has a highest normalised rating of 100 on Metacritic based on seven professional reviews, a distinction it shares with other re-releases such as London Calling by The Clash.[59] In 2012, it was inducted into the Grammy Hall of Fame.[60] Tom Waits named it one of his favorite albums: "this is just a tree of life. This record is the watering hole. Keith Richards plays his ass off. This has the Checkerboard Lounge all over it."[61]

In popular culture

The album and its title have been referenced several times in popular culture. The garage-trash noise-rock band Pussy Galore released a complete cover of the album, titled Exile on Main St., that reflected their own personal and musical interpretations of the songs, as opposed to paying tribute to the original sound. John Duffy of AllMusic rated the album three and a half out of five stars,[62] and NME ranked it number 253 in "The 500 Greatest Albums of All Time".[63]

The British acid house group Alabama 3 titled its debut album Exile on Coldharbour Lane. Perhaps the most notable reference comes from indie singer/songwriter Liz Phair's debut album Exile in Guyville. Phair herself claimed the album to be a direct song-by-song "response" of sorts to Exile on Main St.[64][65] Post-grunge band Matchbox Twenty paid homage to this album by titling their 2007 retrospective Exile on Mainstream. Industrial rock band Chemlab named the leading track from their album East Side Militia, "Exile on Mainline", in reference to the Rolling Stones album.[citation needed]

Shine a Light". The same song was also played by Tim Minchin's character in the following episode. The first episode of the sixth season of the hit CW show Supernatural is titled "Exile on Main Street".[66]

Reissues

In 1994, Exile on Main St was remastered and reissued by

Get Yer Ya-Ya's Out
 catalogue, after the company acquired the masters to the band's output on its own label. This remaster was initially released in a Collector's Edition CD, which replicated in miniature many elements of the original vinyl album packaging, including the postcards insert.

Universal Music, which remastered and re-released the rest of the post-1970 Rolling Stones catalogue in 2009,

Vox
Conqueror or Supreme amp, as used by Richards in 1967 and 1968. "Loving Cup" is an outtake from early June 1969, but is actually an edit from two outtakes. The first 2 minutes and 12 seconds is the well-known 'drunk' version, as has been available on bootlegs since the early 1990s, but the second part is spliced from a second, previously unknown take. "Following the River" features Jagger overdubs on a previously uncirculated track featuring Nicky Hopkins on piano.

The re-released album entered at number one in the UK charts, almost 38 years to the week after it first occupied that position.[72] The album also re-entered at number two in the US charts selling 76,000 during the first week.[73] The bonus disc, available separately as Exile on Main St Rarities Edition exclusively in the US at Target also charted, debuting at number 27 with 15,000 copies sold.

It was released once again in 2011 by Universal Music Enterprises in a Japanese-only SHM-SACD version.

Track listing

All tracks are written by

Mick Jagger and Keith Richards, except where noted

Side one
No.TitleWriter(s)Length
1."Rocks Off" 4:31
2."Rip This Joint" 2:22
3."Shake Your Hips"Slim Harpo2:59
4."Casino Boogie" 3:33
5."Tumbling Dice" 3:45
Side two
No.TitleLength
1."Sweet Virginia"4:27
2."Torn and Frayed"4:17
3."Sweet Black Angel"2:54
4."Loving Cup"4:25
Side three
No.TitleWriter(s)Length
1."Happy" 3:04
2."Turd on the Run" 2:36
3."Ventilator Blues"
3:24
4."I Just Want to See His Face" 2:52
5."Let It Loose" 5:16
Side four
No.TitleWriter(s)Length
1."All Down the Line" 3:49
2."Stop Breaking Down"Robert Johnson4:34
3."Shine a Light" 4:14
4."Soul Survivor" 3:49
Total length:67:07

Personnel

Sources:[74][75][76]

The Rolling Stones

  • Mick Jagger – vocals; harmonica (on "Shake Your Hips", "Sweet Virginia", "Sweet Black Angel", "Turd on the Run" and "Stop Breaking Down"); electric guitar (on "Tumbling Dice" and "Stop Breaking Down")
  • Keith Richards – guitars, backing vocals; bass guitar (on "Casino Boogie", "Happy" and "Soul Survivor"); electric piano (on "I Just Want to See His Face"); lead vocals (on "Happy")
  • Mick Taylor – guitars (on all but "Torn and Frayed" and "Happy"); bass guitar (on "Tumbling Dice", "Torn and Frayed", "I Just Want to See His Face" and "Shine a Light"); backing vocals ("Sweet Virginia")
  • Bill Wyman – bass guitar (on "Rocks Off", "Shake Your Hips", "Sweet Virginia", "Sweet Black Angel", "Loving Cup", "Ventilator Blues", "Let It Loose" and "Stop Breaking Down")
  • Charlie Watts – drums (on all tracks except "Tumbling Dice" (outro), "Happy" and "Shine a Light")

Additional personnel

  • Nicky Hopkins – piano
  • Bobby Keys – tenor saxophone; baritone saxophone and tambourine (on "Happy")
  • Jim Price – trumpet, trombone; organ (on "Torn and Frayed")
  • Ian Stewart – piano (on "Shake Your Hips", "Sweet Virginia" and "Stop Breaking Down")
  • Jimmy Miller – percussion (on "Sweet Black Angel", "Loving Cup", "I Just Want to See His Face" and "All Down the Line"), drums (on "Tumbling Dice" (outro), "Happy" and "Shine a Light")
  • Bill Plummer – double bass (on "Rip This Joint", "Turd on the Run", "I Just Want to See His Face" and "All Down the Line")
  • Billy Preston – piano, organ (on "Shine a Light")
  • Al Perkins – pedal steel guitar (on "Torn and Frayed")
  • Richard "Didymus" Washington – marimba (on "Sweet Black Angel")
  • Venetta Fields, Clydie King – backing vocals (on "Tumbling Dice", "I Just Want to See His Face", "Let It Loose" and "Shine a Light")
  • Joe Greene – backing vocals (on "Let It Loose" and "Shine a Light")
  • Jerry Kirkland – backing vocals (on "I Just Want to See His Face" and "Shine a Light")
  • Shirley Goodman, Tami Lynn, Mac Rebennack — backing vocals (on "Let It Loose")
  • Kathi McDonald – backing vocals (on "All Down the Line")

Technical

2010 bonus disc

Charts

Weekly charts

Year-end charts

Certifications

Certifications for Exile on Main St.
Region Certification Certified units/sales
Australia (ARIA)[111]
original release 		Gold 20,000^
Australia (ARIA)[112]
2010 release 		Platinum 70,000^
Italy (FIMI)[113] Gold 25,000*
New Zealand (RMNZ)[114]
2010 release 		Gold 7,500^
United Kingdom (BPI)[115]
2010 release 		Platinum 300,000*
United States (RIAA)[116] Platinum 1,000,000^

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.

See also

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Bibliography

External links

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