The Classic Record Review by Rob Samuels
Welcome listeners to another episode of ‘The Classic Record Review'. As per always I am Rob Samuels - host, legend. I apologize for my hiatus last week; I am a very lazy man. I received some interesting feedback from my last article, and in accordance with my legal team, I have been told to post the following disclaimer:
‘The views, and opinions expressed in this column are at the authors discretion. So if he starts talking about farmyard animals don't take him seriously.'
Of course I am obligated to write this as I received a complaint last week about claiming I could imagine a Donkey. I apologize to any people I offended and thus officially strike the Donkey from the record.
Anyway that's enough ranting for this week, so lets get on with the show…
This week's album was recorded by a band named after a Muddy Waters song, (Not Bob Dylan) and was written mostly in France after the bands exile from the UK. You have 5 seconds to guess…
Start the timer
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It's easy this week…
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You got it yet?
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Seriously?
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Poor, very poor.
The Rolling Stones: Exile on Main Street
See the clues were all there, I mean I even used the word ‘Exile' in the teaser for gawds sake. Anyway, this week I have chosen a very ambitious review – as this is the first double record I have dared to tackle. It's all very exciting really. This of course means I have 4 glorious sides of music to analyze (WARNING: Analysis may contain personal opinion/ and or bullshit)
The background
Obviously The Stones had broken onto the scene around 1964, essentially as a rebel version of the squeaky clean public image The Beatles had in their earlier years. Of course as the bands career developed so did their music, and many changes occurred.
In The Stones formative years they were of course driven by the mind of Andrew Loog Oldham. A man who had a very distinct image of what he wanted the band to be. Toward the end of the sixties things were changing, Mod and Psychodelia were out, and Rock was in. The Rolling Stones would move on and morph their sound. There is no better band at adapting their style than The Stones, which is why they are still going to this day.
The biggest change was of course Brian Jones leaving the band, followed by his mysterious and untimely death in 1969 at the tender age of 27 (He wasn't the only one to pass at this age, in fact if any one can email me three others I'll award them a special prize. WARNING: Prize my not exist) Jones' latter years in The Stones were filled with controversy. He was effectively squeezed out of the band he created after becoming more and more unreliable and unpredictable. Jones style of song writing was more psychedelic driven - often involving alternative instruments (Re: Paint it Black, and Ruby Tuesday) Jones leaving signalled an end for this period of The Stones rich history.
Jones' replacement was the young Mick Taylor - A suburb rhythm player who fitted in excellently with Sir Keifs various dictatorial rhythmic styles. One such idea was his ‘Guitar Weaving' technique, whereby the two guitars would play partial rhythms dipping in and out with each other. The idea was to sound like multiple guitars to give the songs more depth. Sir Keif is pretty much a rhythm fascist (He once got into an argument with his idol Chuck Berry claiming that Mr. Berry couldn't keep time!) With Taylor fitting into the picture the band could move forward.
1971 also brought about changes outside of music. The Stones were forced to flee Britain following a massive tax hike for the top earners in the country (Who could of course afford to move away, thus defeating the idea – Politics eh?) They settled down in the south of France and started working on some new tracks, to add to several they already had. Although the record would receive average reviews at best when released it has gone down in history as a classic. So shall we get on with it?
The music
SIDE 1
The record kicks off with the upbeat guitar riff for ‘Rocks Off' - A cracking Rock n Roll song, backed with a nice piece of Ian Stewart Honky-tonk style piano. Stewart was highly a highly underrated component throughout The Stones career. This song is a great number to start off with as it sets the tone nicely for the rest of the record.
We then move into ‘Rip this Joint' – which sticks to the Rock n Roll feel set by ‘Rocks Off' – featuring a smooth Double Bass line, this song is again driven by the piano. More excellent Brass work features prominently (Although the Saxophone is technically a woodwind instrument, but y'know what I'm getting at)
The album progresses into the much more country influenced ‘Shake your Hips'. This song features less layers than the first two songs, which gives the song more of a laidback feel.
‘Casino Boogie' follows in a similar vein, whilst sticking to the country rock sound, we have a more gospel style rhythm influenced by the Organ line, and the skipping drum beat of Charlie Watts.
The first single – ‘Tumbling Dice' completes side 1 of the record. This song continues with the gospel feel, with the extensive backing vocals. Despite this though ‘Tumbling Dice' is a high energy Rock n Roll song quite similar in style to previous stones single ‘Gimmie Shelter'
SIDE 2
We then move into a gentle country ballad ‘Sweet Virginia', which starts with the strummings of a guitar and mandolin, topped with Jaggers cutting Harmonica. Sweet Virginia is typical of the bands dabbling in country music, as it maintains its rock n roll form well, despite the obvious influences.
‘Torn and Frayed' follows which is in keeping with the country style of the previous number. This song features a brilliant slide guitar solo, which is good enough reason to listen to it if you ask me. (WARNING: That was an opinion not based on fact)
‘Sweet Black Angel' is an acoustic number which develops from the country theme, adding an element of blues to the music. Loving Cup follows which starts in similar fashion, although with this song the energy levels are taken up a notch, and if I'm not mistaken I can hear steel drums somewhere in the mix…weird.
SIDE 3
‘Happy' is next which features Sir Keif on Lead Vocals and Jagger diligently providing harmonies. ‘Happy' is a more upbeat number (hence the name), which keeps in line nicely with the previous tracks. This song is also interesting as neither Charlie Watts (Drums) or Bill Wyman (Bass) were present for the recording of this song, so Sir Keif took on Bass, whilst producer Jimmy Miller filled in for Watts on the tubs.
‘Happy' is followed by the interestingly entitled ‘Turd on the Run' an energetic number that you can imagine being played by hillbillies in a cornfield somewhere. In fact I think one of the hillbillies is straddling a donkey (WARNING: The corn field and donkey are hypothetical)
‘Ventilator Blues' is next featuring a very regimented rhythm which the vocal line follows rigidly. ‘I just want to see his Face' follows which shows a more jazzy side to the album.
The next track ‘Let it Loose' is a more sombre, contemplative song. This ballad is a great example of the Stones changing musical style. The band would never have produced a song of like this a few years earlier. ‘Let it Loose' is a very seventies style Rock song, and at 5:13 is the longest on the record.
SIDE 4
‘All down the Line' contrasts greatly with the previous number – as it is a much more upbeat, pacey rock n roll number. Featuring both an electric and Contrabass (That's a Double Bass for the non-bass playing crowd)
‘Stop breaking Down' is a cover of the blues standard written by the infamous Robert Johnson. This is not the first Johnson song the band covered, and follows from ‘Love in Vain' from The Stones album ‘Let it Bleed'.
‘Shine a Light' is the albums penultimate song as the Stones launch back into ballad mode, ‘Shine a Light' is essentially the funkier sister of ‘Angie'. (WARNING: Songs cannot possibly be related, this is a metaphorical non-fact based statement)
The album closer is the slide-guitar driven honky-tonk Rock n Roll number ‘Soul Survivor', which is an appropriate way to finish the album. This song is almost like an index of styles covered within the record.
The 411
Overall this is a great album. Although there are few standout classics like ‘Brown Sugar' or ‘(I can't get no) Satisfaction' (I love songs with brackets in the titles) The album maintains a high standard throughout. Most would consider this to be the high point of The Stones career. It is certainly their most consistent performance, and is definitely a must have for your collection. Henceforth I award it:
Five Tongues out of five. (Using The Stones logo like that is guranteed to end in a lawsuit - ah well)
Sorry about the various 'Legal Disclaimers' this week but I am a bit of a knob at the end of the day, and I quite enjoy a good old fashioned sarcastic rant... Anyway, as always, if you have any feedback, album suggestions for me to review, or even wish to befriend me (bless your heart) drop me an email or visit myspace.com/robsamuels.
Regards,
Rob Samuels (Dream weaver)
