The Rolling Stones' "Exile On Main Street" really came from exile. In 1971, the band fled to the south of France to evade taxes and settled at Naircourt's mansion, turning the exile into a riot that lasted for months. The house is shaped like a porous nest. Musicians, celebrities, wives and girlfriends, children, animals, drug dealers and unidentified people of all kinds were swept in and out by the water, haunting the vast spaces with herringbone parquet floors and light-colored door frames. The girls are all beautiful, and the soles of the band members' bare feet are black.
The recording studio is underground, with sweat dripping from the walls, and it is said that the way of recording is extremely random. Keith Richards and Mick Taylor couldn't keep up with Mick Jagger's demands for recording planning. Keith is often absent, and there are several songs without Charlie Watts' drums. They enjoyed the day to the fullest, and then entered the shed one after another at night.
Out of eccentric circumstances, great works were born, and the backstory of "The Streets of Exile" became legend. However, some people pointed out that the version that the public relishes is inaccurate. Perhaps it was the result of careful planning, and not all of the songs were recorded at Nelcott. But a good story is the smoke bomb that made rock myth (and pretty much everything), and with a no-nonsense attitude, it evolved into the version it is today.
This band has never been a pioneer of new genres. They are a group of Brits who learn American traditions, but have their own articulation and nightmares. The recordings on this album are a little better than bootlegs and about the same as the demo; the traces of errors are preserved throughout the 18-song length.
This album, lacking in "golden songs", has glamorized it over time. It was ranked seventh on Rolling Stone magazine's "100 Greatest Albums of All Time", and is widely recognized by fans as the band's greatest album.
Greatness comes from the decadence and mystery of exile in the South. Each song is short, the distance between the instruments is good, the oxygen is good, but the smell is mixed. It's like driving through the fields in an old-fashioned tractor with black smoke, passing by before you can see the scene around you. But for some reason, the choking smell of gasoline and the dew that fell in the morning still linger in my memory years later. They survived in a drunken dream in the south of France, but fortunately no one died again.
The recordings were later taken to Los Angeles by Mick Jagger to process the icons (or ghosts?) from the dark development paper. As to whether the exodus was an act of a warrior or a coward, later generations, mostly out of respect for good works, interpreted it as the bravery of those who dared to challenge the tax law. Who knows, rock heroes will also want to walk away, leave the trouble behind, and travel light with only a soul and enough money. It's not brave, but at least it's enviable romanticism.
But no matter where you go, the troubles in the world will not easily let go. The Rolling Stones in 1971 almost split in two. Lead singer Mick Jagger and bassist Bill Wyman were rarely involved in the recording. Keith Richards' imperfect harmonies haunt the album, giving the album a strong undertone of American roots.
Jagger's step back (not just allowing vocals to mix into instrumental music) brings more light to the lower trees: Nicky Hopkins' piano figure from a cheap tavern, Ding Ding The thump, the thump, guides the direction of "Loving Cup" and "Torn And Frayed". Mick Taylor's bass line stands out on "Tumbling Dice" as big, raised veins. Bobby Key's sax stirs the air around.
The opening "Rocks Off" and "Rip This Joint" are the traditional sound of rolling stones, with lightning bolts, strong improvisation, and a huge ego. Sax collided like a dragon in the shabby room. "Shake Your Hips" is a duet of guitars and vocals, both sides glaring at each other, like a loose but hidden war dance. The climax of "Tumbling Dice" is a masterpiece of tight color.
Enter the second part after it. The vibe of "Sweet Virginia" suddenly loosens, as if falling from a spinning dance floor back to the floor. The cold and the heat come hand in hand in the song, colorful and bittersweet. The cry of eagerness and the nausea of shit, the drive to run and the effort to restrain speed all fell to the ground with the big hole sieve.
From the second record, Mick Jagger began to wobble his influence. Wherever he went, remorse was added to the previously unsteady indulgence. The first part of "Happy" is still a bad boy, but things change quickly.
Jagger's voice splatters all over Ventilator Blues. The incitement is carried out in a methodical rhythm, and short, stuttering sentences are more powerful than long ones. In the following "I Just Want to See His Face", the form of love is diluted, the mind is discarded, and only a face remains. The piano on "Let It Loose" hiccups. After the lights go out, the shiny skins are invisible, love and luck are washed away by melancholy, and people are powerless. It's like the last song on an album, broad enough to let the emotions settle. But there are four more songs that follow.
In the narrow alleys of "Shine A Light", Berber women's rings jingled. Drunk people, "May every song you hear become your favorite." The penultimate song on the album has the most beautiful blessing I've ever heard. The real final song, "Soul Survivor," turned the grievances into venom. The piano stepped on a nerve, and he would rather drink sea water than hope that the person in front of him would disappear immediately.
There are certain secret sects that believe in the devil. Doctrine tells them that purity comes from filth, and the more depraved the nearer to heaven; In the eyes of the devout, the Rolling Stones are probably the believers of this kind of devil. Although the lyrics are sad, the music can dispel the emptiness, paranoia, anger, and just-in-time decadence with just a few stomps.
Pain and joy, boredom and fun mingle hotly on the streets of diversion, like a broken jukebox that, for a coin, will play you all night long. One after another fleeting song strung together a night, the night was finally swallowed by the day, and everything happened in the "exile street".
The recording studio is underground, with sweat dripping from the walls, and it is said that the way of recording is extremely random. Keith Richards and Mick Taylor couldn't keep up with Mick Jagger's demands for recording planning. Keith is often absent, and there are several songs without Charlie Watts' drums. They enjoyed the day to the fullest, and then entered the shed one after another at night.
Out of eccentric circumstances, great works were born, and the backstory of "The Streets of Exile" became legend. However, some people pointed out that the version that the public relishes is inaccurate. Perhaps it was the result of careful planning, and not all of the songs were recorded at Nelcott. But a good story is the smoke bomb that made rock myth (and pretty much everything), and with a no-nonsense attitude, it evolved into the version it is today.
"Exile On Main Street" album cover
In 1971, the Rolling Stones rose from the shadow of the Beatles to become the biggest rock band on earth. They experienced blues explosions and psychedelic purple fog in the 1960s, kissed in the eyes by success and trauma. "Street of Exile" seems to return to its roots in blues, but it's actually a combination of wild blues, country rock, gospel and spiritual songs.This band has never been a pioneer of new genres. They are a group of Brits who learn American traditions, but have their own articulation and nightmares. The recordings on this album are a little better than bootlegs and about the same as the demo; the traces of errors are preserved throughout the 18-song length.
This album, lacking in "golden songs", has glamorized it over time. It was ranked seventh on Rolling Stone magazine's "100 Greatest Albums of All Time", and is widely recognized by fans as the band's greatest album.
Greatness comes from the decadence and mystery of exile in the South. Each song is short, the distance between the instruments is good, the oxygen is good, but the smell is mixed. It's like driving through the fields in an old-fashioned tractor with black smoke, passing by before you can see the scene around you. But for some reason, the choking smell of gasoline and the dew that fell in the morning still linger in my memory years later. They survived in a drunken dream in the south of France, but fortunately no one died again.
The recordings were later taken to Los Angeles by Mick Jagger to process the icons (or ghosts?) from the dark development paper. As to whether the exodus was an act of a warrior or a coward, later generations, mostly out of respect for good works, interpreted it as the bravery of those who dared to challenge the tax law. Who knows, rock heroes will also want to walk away, leave the trouble behind, and travel light with only a soul and enough money. It's not brave, but at least it's enviable romanticism.
But no matter where you go, the troubles in the world will not easily let go. The Rolling Stones in 1971 almost split in two. Lead singer Mick Jagger and bassist Bill Wyman were rarely involved in the recording. Keith Richards' imperfect harmonies haunt the album, giving the album a strong undertone of American roots.
Jagger's step back (not just allowing vocals to mix into instrumental music) brings more light to the lower trees: Nicky Hopkins' piano figure from a cheap tavern, Ding Ding The thump, the thump, guides the direction of "Loving Cup" and "Torn And Frayed". Mick Taylor's bass line stands out on "Tumbling Dice" as big, raised veins. Bobby Key's sax stirs the air around.
The opening "Rocks Off" and "Rip This Joint" are the traditional sound of rolling stones, with lightning bolts, strong improvisation, and a huge ego. Sax collided like a dragon in the shabby room. "Shake Your Hips" is a duet of guitars and vocals, both sides glaring at each other, like a loose but hidden war dance. The climax of "Tumbling Dice" is a masterpiece of tight color.
Enter the second part after it. The vibe of "Sweet Virginia" suddenly loosens, as if falling from a spinning dance floor back to the floor. The cold and the heat come hand in hand in the song, colorful and bittersweet. The cry of eagerness and the nausea of shit, the drive to run and the effort to restrain speed all fell to the ground with the big hole sieve.
From the second record, Mick Jagger began to wobble his influence. Wherever he went, remorse was added to the previously unsteady indulgence. The first part of "Happy" is still a bad boy, but things change quickly.
Jagger's voice splatters all over Ventilator Blues. The incitement is carried out in a methodical rhythm, and short, stuttering sentences are more powerful than long ones. In the following "I Just Want to See His Face", the form of love is diluted, the mind is discarded, and only a face remains. The piano on "Let It Loose" hiccups. After the lights go out, the shiny skins are invisible, love and luck are washed away by melancholy, and people are powerless. It's like the last song on an album, broad enough to let the emotions settle. But there are four more songs that follow.
In the narrow alleys of "Shine A Light", Berber women's rings jingled. Drunk people, "May every song you hear become your favorite." The penultimate song on the album has the most beautiful blessing I've ever heard. The real final song, "Soul Survivor," turned the grievances into venom. The piano stepped on a nerve, and he would rather drink sea water than hope that the person in front of him would disappear immediately.
In 1969, members of the British "Rolling Stones" took a group photo of visual China data map
And just like that, the Rolling Stones released their last great album in streaming. In their own way, they temporarily solved the problems inside and outside the band, carrying forward the tradition in familiar territory. But the 1960s were over, and the hippie and blues wave was about to pass. The weird young people who once occupied the entire street and the entire grassland are about to get on the right track in life. In other words, swallowed up by work and family.There are certain secret sects that believe in the devil. Doctrine tells them that purity comes from filth, and the more depraved the nearer to heaven; In the eyes of the devout, the Rolling Stones are probably the believers of this kind of devil. Although the lyrics are sad, the music can dispel the emptiness, paranoia, anger, and just-in-time decadence with just a few stomps.
Pain and joy, boredom and fun mingle hotly on the streets of diversion, like a broken jukebox that, for a coin, will play you all night long. One after another fleeting song strung together a night, the night was finally swallowed by the day, and everything happened in the "exile street".
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