very interesting comment about Exile ....companion live album ? Outakes ? dvd ? ..........we can dream !

sc uk

gimmekeef wrote on Apr 16^th, 2009 at 1:03pm:



head of marketing department

In my opinion, the whole this is meaningless crap. I cannot think of 1 good excuse to even think about buying these....again.

I've heard rumors they are adding a string section and extra back up vocals to Indian Girl...................

Pity the original Dirty Work cover gets seen again. What an atrocity that is!

corgi37 wrote on Apr 18^th, 2009 at 7:34am:


At least its CD size instead of LP.

I hope theyve made Olga prettier at least.

Personally I'm more concerned with the traumatic potential of being able to hear 'Hold Back' clearer than it was before. 

Good question. I'm not a Dead fan by ANY MEANS but they do better by their fans. Although really, they should include soap bars with their new releases.

Quote:


or patroolie

Quote:



well, its a bit of a different scenario because the Stones are still (supposedly) a 'working band' plus the Dead have always been primarily focussed towards live releases to showcase their music more than studio albums.

However, being thrown a few crumbs now and again would be nice. Like what Dylan has done. Im not a Dead fan either but when it comes to following a band's live music, their fans get a better deal than anyone.

In the new issue of 'Uncut' out today, theyve reviewed a new Dead live album, covering their three seminal Winterland performances from November 1973.

All three nights are included (only the encore from night 1 is missing) and its on NINE cds!!

Imagine a run of classic Stones shows being covered in such depth - MSG '72 for starters.

And THAT will never happen while they still play as it will remind people how much more powerful better they were.

"sings better"...almost no one

"plays better"?  plenty--Fripp and Townshend and Beck and Dickie Betts and Jorma and Neil Young and many others who did not blot out their last two decades in a blur of Sunkist/vodka beverages and mounds of blow.....

enough talk kids.
run to the store & buy buy buy!

Gazza wrote on Apr 22^nd, 2009 at 7:14am:




my wife said something like that the other night.........

mojoman wrote on May 14^th, 2009 at 5:49pm:


Yeah she said that to me, too!   

Yeah I don't understand why they are releasing the censored Star Star for two reasons: 

1) In this day and age, it's tame compared to what's released on a daily basis now...

2) THEY ALREADY RELEASED THE UNCENSORED VERSION ON THE EARLY-90s REMASTER...

so why reverse it now?  Makes no sense...

Every once in a while I take a shit & it just floats there, stinking up everything.

For what it's worth.  I rather like the sound on the remastered Black & Blue disc.  I know most are not happy with SF, but the sound in my car on that disc was very much in your face, kinda raunchy.  Made me feel young and dirty.

Come on, Surely some one here has one of these. I is curious.

corgi37 wrote on May 17^th, 2009 at 5:07am:


the interest in these among audiophiles and die-hards is minimal, so the bravest of us, with money to burn are our only hope. Personally, unless these were said to be stellar, definitve type releases, I really can't buy these albums again. I have bought some of these like SF, about 6 times in my life. My money is going to be spent on something I never owned before, new Green Day, which is like a cross between Quadrophenia meets Gozdzilla and the new Deluxe Rancid album due out in two more weeks, which I have heard all the way through, and was blown away. I put on my Some Girls record the other day, 1994 version, and told myself, if this is the best mastering I can afford, I'm fine with this. I'm only interested in new to me stuff or definitve mastering. Like on the Who Deluxe of Sell Out, now that was money well spent!

If I were first in line to get the new DIRTY WORK...would there be anyone behind me?

StonesFanatic wrote on May 18^th, 2009 at 9:41am:


Problem was/is..it was even "mastered" in the first place.........

just bought the remastered Sticky Fingers, and yes it is actually a better, crisper sounding master than the Virgin remasters

StonesFanatic wrote on Jun 3^rd, 2009 at 11:44am:


i had lost my previous copy's box and sleeve, so thought I might give it a go

Saint Sway wrote on Jun 3^rd, 2009 at 11:58am:

Another bit of info on the Exile reissue. Content is still unconfirmed, but at least now we have a release date plus verification of the titles of three of the previously unreleased songs - none of which have ever circulated, and two of which have never even been rumoured.

From the new issue of 'Uncut' (February 2010) in their 'Incoming' feature on upcoming new releases :


The long-awaited remastering of The Rolling Stones' 1972 masterpiece Exile On Main Street will be released on April 12, including three previously unreleased songs from the Exile sessions, "Following The River", "Plunder My Soul" and "Sophia Loren"

April 12 is (I think) the 39th anniversary of the original release date. 'Sophia Loren' is the only one of those three songs whose title is known to collectors - although no version of it has ever been bootlegged. No word yet on what else is to be included in the reissue, or whether or not there's more than 3 unreleased songs (No doubt there'll be several alternate versions of the released songs as well and a DVD documentary is strongly rumoured too)

Gazza wrote on Jan 2^nd, 2010 at 1:07pm:


I know I have my wish list... the single mix versions and would love to see Gimme Lil Drink (early lovin' cup) make it... although, that was recorded when Klein still owned them... so who knows if it is possible or not... I didn't even know there were those 3 other songs, new to me for sure...

wouldn't it be 38th anniversiary?

Pdog wrote on Jan 2^nd, 2010 at 2:52pm:


Are you thinking of the "drunk" version of 'Loving Cup' from Mickboy's 'Main St. Revisited'?

Killer...

Great news to start the year guys. I for one only hope at least one of the unrealesed is worthy of live play. Hopefully theres more than 3 too

April?

They wont be on tour that early.

Ronnie isnt scheduled to wake up from his new years eve stupor until about June.

Gazza wrote on Jan 2^nd, 2010 at 3:32pm:


Coachella is rumored for April. 'Course it is just a rumor.

If Ronnie's not careful he might sleep through the press conference introducing his replacement...

Boomy wrote on Jan 2^nd, 2010 at 3:34pm:


As much as  I sense sarcasm... I have a feeling if Exile does well, they will consider deluxe versions of other records, especially the popular ones like Some Girls, and Sticky Fingers... We shall see... Fingers crossed.

Touring is where they make their money.
Supporting a new album might not be a prerequisite this time.

He hasn't chipped in on this thread so far, so I'll do it for him.

UrbanSteel mentioned on IORR that in the last few days Promotone (ie, The Rolling Stones) have contacted him demanding he remove all the footage from the movie 'Ladies & Gentlemen, The Rolling Stones' which he has uploaded to Youtube.

He has something like 950 other Stones clips on Youtube, yet this was the only material they have asked him to remove.

Make of that what you will.

Gazza wrote on Jan 2^nd, 2010 at 1:07pm:


bomb fucking shell!

I'm going to remaster my chequebook instead.

This is great news. It would be a crime not to include "Good time women" which i love. Hell, it could be a single! Non-fans could go "I've heard that some where before, but i cant put my finger on it'.

lol

I also have a very, very long version of Tumbling Dice somewhere. It goes for 18 minutes or something.

I have always doubted about the so-called amount of unheard of tracks. But maybe, just maybe, there is a bit of truth to it.

gotdablouse wrote on Jan 3^rd, 2010 at 8:11pm:



Depends when you consider the 'Exile' sessions to have started. Very little of  'Sticky Fingers' (released April 1971) was started after July 1970 when the band broke for a few weeks before the European Tour. The final sessions in October of that year were mostly overdubs with the exception of Moonlight Mile and Sway. By that stage a lot of the songs that ended up on Exile 18 months later had begun to be worked on. I've always considered 'Travellin' Man' an Exile outtake, even though it probably dates from October 1970. It was certainly recorded AFTER Good Time Women.

From nzentgraf.de
1970
March - May: London, Olympic Sound Studios & Newbury, Stargroves (MJ’s house)
                   with Mobile Record Unit. Producer: Jimmy Miller. Sound engineers: Glyn Johns,
                   Andy Johns, Chris Kimsey (and Jimmy Miller for Cocksucker Blues).
                 - As Now (MJ/KR) -unverified
                 - Cocksucker Blues (MJ/KR) -MJ (voc & gtr) only
                 - Dancing In The Light (MJ/KR) -Nicky Hopkins on piano; instrumental
                 - I Got The Blues (MJ/KR) -Billy Preston on organ, Bobby Keys on sax, Jim Price on
                      trumpet; Sticky Fingers-version
                 - Rock It (MJ/KR) –unverified
                 - Travelling Tiger (MJ/KR) -unverified
                 - Tumbling Dice I (MJ/KR) -unverified early version, under title Good Time Woman
                 - Who Am I? I (MJ/KR) -unverified early version
                 - You Gotta Move IV (Fred McDowell/Rev. Gary Davis) -Sticky Fingers-version
                 Note: I Got The Blues was probably begun at Redlands with the MRU.


16th June - 27th July: London, Olympic Sound Studios. Producer: Jimmy Miller. Sound
                 engineers: Glyn Johns, Andy Johns, (Chris Kimsey for Andy Johns on the 22nd July).
                 - Aladdin Stomp (MJ/KR) -unverified (20th July)
                 - All Down The Line II (MJ/KR) -first unverified electric version (14th - 15th July &
                     23rd July)
                 - Candlewick Bedspread (MJ/KR) -unverified (30th June)
                 - Can't You Hear Me Knocking (MJ/KR) -Billy Preston on organ, Bobby
                      Keys on sax, Jimmy Miller on percussion, Rocky Dijon on congas;
                      Sticky Fingers-version
                 - Hey Mama (MJ/KR) -unverified
                 - I'm Going Down IV (MJ/KR) - Bobby Keys on sax, Rocky Dijon on percussion,
                      Stephen Stills on guitar, Bill Plummer on upright bass; Metamorphosis-version
                      (14th -15th July)
                 - Leather Jacket (MT) -instrumental (22nd June)
                 - Shake Your Hips I (James Moore) -unverified early version (27th July)
                 - Shine A Light II (MJ/KR) -Billy Preston on piano and organ; early version (23rd July)
                 - Stop Breaking Down I (Robert Johnson) -STU on piano; unverified early version
                      (16th June)
                 - Sweet Virginia I (MJ/KR) -STU on piano, unverified early version without sax
                      (30th June & 20th July)
                 - Who Am I? II (MJ/KR) (14th -15th July)
                Note: Stop Breaking Down and Sweet Virginia were probably begun in June 1969.


17th October - 31st October: Newbury, Stargroves (MJ’s house) with Mobile
                  Record Unit and London, Olympic Sound Studios. Producer: Jimmy Miller.
                  Sound engineer: Glyn Johns.
                  - Aladdin Story II (MJ/KR) -Bobby Keys on sax, Nicky Hopkins on organ;
                      instrumental
                  - All Down The Line III (MJ/KR) -second, unverified acoustic version
                  - Bitch I (MJ/KR) -Bobby Keys on sax, Jim Price on trumpet, Jimmy
                      Miller on percussion; different mix of III, with audible ad-lib vocals of
                      Jagger during KR's solo
                  - Bitch II (MJ/KR) -Bobby Keys on sax, Jim Price on trumpet, Jimmy
                       Miller on percussion; Sticky Fingers-version
                  - Hide Your Love I (MJ/KR) -unverified early version
                  - Moonlight Mile (MJ/KR) -Jim Price on piano, strings arranged by Paul
                       Buckmaster; Sticky Fingers-version
                  - Potted Shrimps (MJ/KR) -Nicky Hopkins on piano; instrumental
                  - Red House (Jimi Hendrix) -unverified
                  - Shake Your Hips II (James Moore) -STU on piano; early version
                  - Silver Train I (MJ/KR) -early version with slightly longer finish
                  - Stop Breaking Down II (Robert Johnson) -STU on piano; early (rough) take
                  - Sway I (MJ/KR) - Nicky Hopkins on piano, strings arranged by Paul
                       Buckmaster; flipside of US Wild Horses-single                      
                  - Sway II (MJ/KR) -Nicky Hopkins on piano, strings arranged by Paul
                        Buckmaster; Sticky Fingers-version
                   - Sweet Black Angel I (MJ/KR) -instrumental, under title Bent Green
                        Needles; unverified
                  - Sweet Virginia II (MJ/KR) -STU on piano, Bobby Keys on sax; early
                       version without backing vocals
                  - Travelling Man (MJ/KR) -Nicky Hopkins on piano
                  - Tumbling Dice II (MJ/KR) -STU on piano; with different lyrics, under
                         title Good Time Woman
                  Note: Nicky Hopkins did his piano overdub on Sway not before early (probably
                           February) 1971!

1971

10th July - late July and 14th October - 23rd November: Villefranche-sur-mer,
                  France, Villa Nellcote, basement of KR's house. Producer: Jimmy Miller. Sound
                  engineers: Glyn Johns and Andy Johns. Incl.
                  - Casino Boogie (MJ/KR) -Nicky Hopkins on piano, Bobby Keys on
                       sax; Exile On Main St.-version
                  - Fast Talking Slow Walking (MJ/KR) -Nicky Hopkins on piano
                  - Fragile (MJ/KR) -unverified
                  - Happy (MJ/KR) -Jimmy Miller on drums, Bobby Keys on sax and percussion,
                       Nicky Hopkins on piano, Jim Price on trumpet and/or trombone; Exile On Main
                       St.-version
                  - I Ain't Signifying (MJ/KR)
                  - Let It Loose II (MJ/KR) -Nicky Hopkins on piano and mellotron;
                        backing track
                  - Rip This Joint I (MJ/KR) -unverified early version with KR on vocals
                  - Rocks Off (MJ/KR) -Nicky Hopkins on piano, Bobby Keys on sax, Jim
                         Price on trumpet and/or trombone; Exile On Main St.-version
                  - Sophia Loren (MJ/KR) -unverified long, slow rocker with piano and brass
                  - Soul Survivor (MJ/KR) -Nicky Hopkins on piano, Bobby Keys on sax,
                         Jim Price on trumpet and/or trombone; Exile On Main St.-version
                  - Ventilator Blues (MJ/KR/MT) -Nicky Hopkins on piano, Bobby Keys on sax,
                        Jim Price on trumpet and/or trombone; Exile On Main St.-version
                   + more
                   Additional musicians: Nicky Hopkins, Jimmy Miller, Bobby Keys and Jim Price.
                  Note: In July they recorded about 20 new tracks. No mixing or overdubbing
                            was done until the 30th November.
                            The vocal parts for most of the tracks were recorded in Los Angeles.


4th - 19th December: Los Angeles, Sunset Sound Studio. Producer: Jimmy Miller.
                   Sound engineer: Andy Johns. Overdubbing-sessions.
                   Additional musicians: Kathi McDonald, Bill Plummer, Clydie King,
                   Venetta Fields, Jesse Kirkland, Tammi Lynn, Sherlie Matthews, Joe
                   Green, Dr. John, Richard Washington, Al Perkins.
                   - All Down The Line IV (MJ/KR) -Kathi McDonald on backing vocals,
                       Jimmy Miller on percussion, Nicky Hopkins on piano, Bobby Keys
                       on sax, Jim Price on trumpet and/or trombone; early mix
                   - All Down The Line V (MJ/KR) -Kathi McDonald on backing vocals,
                       Jimmy Miller on percussion, Nicky Hopkins on piano, Bobby Keys on sax,
                       Jim Price on trumpet and/or trombone; version of US single B-side
                   - All Down The Line VI (MJ/KR) -Kathi McDonald on backing vocals,
                       Jimmy Miller on percussion, Nicky Hopkins on piano, Bobby Keys on
                       sax, Jim Price on trumpet and/or trombone; Exile On Main St.-version
                   - I Just Want To See His Face (MJ/KR) - Jimmy Miller on percussion,
                       Bill Plummer on bass, Clydie King, Venetta Fields and Jesse
                       Kirkland on backing vocals; Exile On Main St.-version
                   - Let It Loose III (MJ/KR)-Tammi Lynn, Sherlie Matthews, Venetta
                       Fields, Joe Green, Clydie King and Dr. John on backing vocals,
                       Nicky Hopkins on piano and mellotron; Exile On Main St.-version
                   - Loving Cup II (MJ/KR) -Nicky Hopkins on piano; early mix of final
                       version with different vocals and longer in duration
                    - Loving Cup III (MJ/KR) -Jimmy Miller on percussion, Nicky Hopkins
                       on piano, Bobby Keys on sax, Jim Price on trumpet and/or trombone,
                       Gram Parsons on backing vocals; Exile On Main St.-version
                   - Rip This Joint II (MJ/KR) -Bill Plummer on upright bass, Nicky
                       Hopkins on piano, Bobby Keys on sax, Jim Price on trumpet and/or
                       trombone; Exile On Main St.-version
                   - Shake Your Hips III (James Moore) -Ian Stewart on piano, Bobby Keys
                       on sax; Exile On Main St.-version
                   - Shine A Light III (MJ/KR) -Billy Preston on organ and piano, Jimmy
                       Miller on drums, Venetta Fields, Clydie King, Jesse Kirkland and Joe
                       Green on backing vocals; Exile On Main St.-version
                   - Stop Breaking Down III (Robert Johnson) -Ian Stewart on piano; Exile
                       On Main St.-version
                   - Sweet Black Angel II (MJ/KR) -Amyl Nitrate (=Richard 'Didymus'
                       Washington) on marimbas and Jimmy Miller on percussion; backing track
                   - Sweet Black Angel III (MJ/KR) -Amyl Nitrate (=Richard 'Didymus'
                       Washington) on marimbas and Jimmy Miller on percussion; Exile
                       On Main St.-version
                   - Sweet Virginia III (MJ/KR) -Ian Stewart on piano, Bobby Keys on sax,
                       "friends" (incl. Gram Parsons) on backing vocals; Exile On Main St.-version
                   - Torn And Frayed (MJ/KR) -Al Perkins on steel guitar, Jim Price on
                       organ, Nicky Hopkins on piano; Exile On Main St.-version
                   - Tumbling Dice III (MJ/KR) -Clydie King, Venetta Fields & Sherlie Matthews
                       on backing  vocals, Nicky Hopkins on piano, Bobby Keys on sax,
                       Jim Price on trumpet and/or trombone, Jimmy Miller partly on drums;
                       Exile On Main St.-version
                   - Turd On The Run (MJ/KR) -Bill Plummer on uprite bass, Nicky
                       Hopkins on piano; Exile On Main St.-version
                   Note: The basic tracks of these songs were recorded in Villefranche,
                             France in Summer or even earlier at sessions in London, Olympic
                             Sound Studios (see entries from 1969 onwards).


1972


10th January - late January: Los Angeles, Sunset Sound Studios. Producer: Jimmy
                  Miller. Sound engineer: Joe Zagarino. Mixing and recording of overdubs for the
                  upcoming album Exile On Main St..

15th February - March: Los Angeles, Sunset Sound Studios. Producer: Jimmy Miller.
                  Sound engineer: Andy Johns. Mixing and overdubbing for the upcoming album
                  Exile On Main St..

24th - 25th March: Los Angeles, Wally Heider Studios. Producer: Jimmy Miller.
                   Sound engineer: Andy Johns. Final mixing for the upcoming album Exile On Main St.

 28th March: Los Angeles, Sunset Sound Studios. Producer: Jimmy Miller.
                 Sound engineer: Andy Johns.
                 - Exile On Main St. Blues (MJ/KR) -flexisingle-version
                 - I Don't Care (MJ/KR) -MJ on piano and vocals only
                 Note: MJ is probably the only Stone who was present at this session.

@gazza - good point that period was very creative and they often say they don't know wha ended on what between LIB, SF and Exile, well especially Mick who's known not to think mch of Exile...

Had missed this on Nico's site : "Sophia Loren (MJ/KR) -unverified long, slow rocker with piano and brass"

Looks like it leakew to the "stone collectors royalty" like Gangster's Maul in 1998, because no one apart from Karnbach had ever mentionned it AFAIK and he gave no details.

Teiz wrote on Jan 4^th, 2010 at 10:24am:


I'm just worried they might bring Chuck in to "Leavall" all over Sophia Laren!

texile wrote on Jan 7^th, 2010 at 9:02pm:



The songs recorded for Exile stretched back over multiple sessions covering a period of a couple of years, Texile. I think it would be a bit pessimistic to just assume that all we'd get was a sonically improved version of the same 90 minutes or so of music that's circulated on various bootlegs. Every major act who has released studio archive releases down the years has managed to put out plenty of material that hadn't been bootlegged and in many cases didn't even know existed.

Have to say I didn't expect any new/previously unheard of TITLES to be unearthed. And the nme.com story the other today regarding the 2010 tour mentions 'a host of unreleased songs' including the three which have been specifically named. Whether that means more actual outtakes or merely alternate versions of released tracks is conjecture at the minute. Probably the latter, but I'm hopeful there'll be several alternate takes which we haven't heard before.

'Travellin' Man' with a finished vocal take would be something to hear.

Wasn't aware of that title, don't think it's in ME's books either (will check) although now that you mention it I wonder if it wasn't listed in that fake bootleg in Hot Wacks, or was it "Something Brigitte Bardot", might be confusing the actresses!

What puzzles me is the "slow rocker with piano and brass" description - that means someone must have heard it, or an insider (Wyman ?) gave some info in an interview. I for one have never seen that hinted elsewhere.

gotdablouse wrote on Jan 8^th, 2010 at 1:32pm:



"Something Brigitte Bardot" (aka 'Something BB') dates from the sessions at RCA Studios, Hollywood in August 1966. It's a 'Between The Buttons' outtake.

Never circulated, but it's existence has been known for some time. Again, I first saw it mentioned in the sessionography listed in David Dalton's 1982 book "The First Twenty Years".

texile wrote on Jan 11^th, 2010 at 4:57pm:



He will do what they tell him to do, and he doesn't say no to a paycheck from The Stones... Would you?

And it produced the best Stones related record this side of...Tattoo You ? And if you go back to a "real" album, Exile ? B2B was pretty good too, but Was didn't produce much on there. Some will say the buck stops at Mick and Keith and if the songs are not that good the producer can't do much about it...other than rejecting them (like Goodrich did for Macca's Chaos), but he certainly could have given them better input on the production and the playing. Since Keith is pretty much "out of commission", it's obvious ABB needed a more competent guitar player than Mick. Waddy Wachtel's presence on B2B certainly helped a lot.

Teiz wrote on Jan 12^th, 2010 at 5:49am:



He could, but after telling Mick stuff he didnt want to hear during the 'Wandering Spirit' sessions, he'll never get the chance to.

well, its a two-way thing. The Stones probably dont want to work with Rubin because neither Mick or Keith could deal with his 'pushy' style - and he probably wouldnt be in a hurry to produce them either.

He's on record as saying that the experience of producing Jagger wasn't particularly positive because Mick is so used to being surrounded by psychophants who tell him his shit doesn't stink that he found it hard to believe a producer would have the balls to say to him "I think you're capable of better than this.."

[quote author=Gazza link


Was' involvement in the Exile reissue is, as far as I know, merely confined to mixing the unreleased material.

I doubt it'll matter that much to be honest. [/quote]

I'm hearing classic Stones 72 filtered through Dirty Work gloss....
It still troubles me Gazza..

No they dont.  If they thought that, we'd have had more than 2 cd's in nigh on 13 years!

Just received in the mail today the 2009 version of Emotional Rescue...sounds GREAT!!! Got Undercover/Black and Blue a few weeks ago and they sound great too!!!

Mick's certainly not tone deaf (even if he thinks Exile is overrated), but he's probably more concerned these days at having his ego stroked than he is about going along with some uppity producer's ideas of what makes a good record.

And I shudder to think how Keith would react to Rubin's hands-on style. Probably with knives.

Ego first, quality next..I guess almost 50 years of fame does that to people. A pity though. I'm sure Rick Rubin would be able to help the Stones with some great recordings before the band calls it quits, which is bound to happen somewhere in this decade.

No one seems to know.

Pdog wrote on Jan 21^st, 2010 at 8:08pm:

Thanks to Jimmy Phelge on IORR for finding this and to LieB for the Google Translation

Mick Jagger has given a new interview to La Republicca newspaper in Italy, giving more details about the Exile reissue (11 songs!)

The original Italian text :

Cominciamo da Exile On Main St., che verrà ripubblicato.
"Ho mixato 11 brani inediti. Alcuni sono piuttosto interessanti (ride, "risucchiando" la saliva, ndr)".

Per esempio Following The River...
"Sì, è una ballata al piano".

Che parla di un uomo che lascia una donna.
"Esatto (ride, ndr)".

E Plunder My Soul, in cui una donna lascia un uomo. Anche qui c'è il piano, ma è più rock.
"Diciamo che è più una commedia...".

Poi, Sophia Loren. Come mai questo titolo?
"È solo un titolo in lavorazione, non la chiameremo così. Per ora è così solo per attrarre le persone... (ride, ndr)".

Come avete scoperto queste tracce? Perché per tanto tempo sono rimaste negli archivi?
"Quando la casa discografica mi ha domandato se volevo ripubblicare Exile On Main St., ha chiesto ad alcuni "esperti" dei Rolling Stones di inviarmi tutti i demo a disposizione. Erano dei bootleg. Mentre li sentivo, per la prima volta mi sono detto: "Aspetta un attimo, ma queste cose non provengono dallo stesso periodo (di Exile On Main St., 1972, ndr), no, queste sono state fatte in altro momento, probabilmente alla fine degli anni 70, forse nei primi anni 80...".

In pratica te ne eri dimenticato?
"No, per niente. Dovevo semplicemente capire con precisione quando fosse stato fatto, perché Exile On Main St., non venne registrato in una sola volta, ma nel giro di tre anni. Così sono dovuto tornare indietro nel tempo con la mente e cercare ulteriori tracce degne di essere pubblicate. Ho ascoltato nastri su nastri".

C'è una dichiarazione del tempo in cui affermi che il disco non ti piaceva. Hai detto: "Questo nuovo album è pazzo. Ci sono così tante tracce differenti. È molto rock&roll, ma non volevo una cosa del genere. Sono la persona più sperimentale del gruppo, non mi piace fare e rifare sempre la stessa cosa".
"Robaccia. Non è vero".

D'accordo, ma cosa ne pensi oggi?
"La cosa buona di quel disco è che è interessante se visto come opera intera, nella sua integrità (è l'unico album doppio dei Rolling Stones, ndr). La sua caratteristica principale è che non possiede molti brani "accessibili". L'unico brano che ha avuto successo è Tumbling Dice, ma per il resto non ci sono stati così tanti brani orecchiabili come in Some Girls (1978, ndr). Le altre canzoni di Exile furono comunque bene accolte ai tempi. È un album molto interessante, con tanti diversi stili musicali, il blues, un po' di country, un po' di rock&roll e un po' di qualcosa che non può essere messo in una categoria. Diciamo che rappresenta bene la buona estensione musicale degi Stones, che è eclettica perché ha avuto influenze eclettiche. Come album, sta insieme piuttosto bene. Quindi, sì, mi piace, anche se non lo ascolto mai".

Prima parlavi di "tornare indietro nel tempo". Una volta hai dichiarato che "devi stare attento a non rimanere intrappolato nel passato o rischi di non comprendere più le cose che intorno a te cambiano". Il passato è una trappola per te?
"Dico che non dovresti ammirare il tuo passato tanto da impedirti di fare altro. Nessuno naturalmente vuole rimanere intrappolato nel passato, ma a me piace abbastanza scartabellare tra le vecchie cose, riportarle alla luce e vedere com'erano e che cosa ne è rimasto oggi. La verità, per tornare a Exile, è che la casa discografica mi ha così tanto implorato di tirare fuori queste cose che ho ceduto. La mia reazione iniziale è stata: "Non me ne frega davvero niente di questa roba, non voglio cercare niente". Ma loro insistevano: "Oh, per f-a-v-o-r-e-e-e, puoi solo dare una veloce occhiata, siamo certi che qualcosa di buono ci sia..." e così alla fine è stato proprio divertente fare questa ricercare. È stato come rovistare in soffitta, spulciare in un baule di vecchi abiti ed esclamare: "Oh, guarda questo! Un tempo lo indossavo! Non posso crederci!" (lo dice alzando le mani a mezz'aria come se stesse reggendo un vestito immaginario, ndr)".

La prima volta che sei salito su un palco avevi 19 anni. Però hai sempre detto di sentirti un cantante.
"Mi è sempre piaciuto cantare e ho sempre cantato, però non ho mai pensato di poter fare il cantante. Non un cantante di professione, solo per divertimento. Una cosa da fare durante le vacanze".

Non eri sicuro, dentro di te, di poter fare meglio dei cantanti che ammiravi?
"Alla fine, sì. Sapevo di poter essere come loro. Anche se i tuoi eroi rimangono sempre degli eroi. Pensi che sia troppo difficile essere come loro, ma alla fine ti rendi conto che non è così".

Quali erano i tuoi eroi?
"Elvis Presley e Little Richard: quest'ultimo, lo idolatravo. Per me era fantastico. Sono stato molto fortunato perché il primo tour dei Rolling Stones è stato proprio insieme a Little Richard. Lo guardavo ogni sera, da così vicino, così attentamente nei dettagli... Lui era davvero carino nei miei confronti. Gli piaceva l'entusiasmo dei ragazzi giovani. Si curava di me, mi stava dietro, e mi ha dato un sacco di idee. Io lo osservavo interagire con il pubblico, per capire come facesse. Dava tutto quello che poteva al pubblico. Puoi andare davanti alla gente, semplicemente suonare e salutare, perché a volte i performer sono piuttosto timidi; oppure interagire con loro e portarli all'eccitazione. Io ho imparato così, guardando lui e James Brown. Ecco: eccitare il pubblico: questa è la cosa più bella dell'esibirsi".

È difficile pensare a te come a un performer timido, anche semplicemente agli esordi.
"I Rolling Stones erano così ingenui agli inizi. Ma timido, no, io non lo sono mai stato".

Ci avrei scommesso.
"Lo so (ride, ndr)".

Quando uscì Aftermath (1966, ndr) stava iniziando la stagione dei figli dei fiori. Ma quel disco era piuttosto duro: c'erano canzoni come Stupid Girl e Under My Thumb che stridevano con il sogno di pace e amore.
"Ricordo solo che è stato interamente registrato a Los Angeles, nel '65. Lo considero un retaggio dell'ingenuità dei primi anni 60".

I temi però non sembravano così ingenui. Siete anche stati criticati per i contenuti di quel disco.
"Non così tanto...".

Cantavi di "ragazze sciocche". Le femministe non ti hanno attaccato?
"Così, così. A quei tempi il movimento femminista era ancora debole. Se l'avessimo fatto dieci anni dopo sarebbe stato peggio".

Il movimento hippie ha significato qualcosa per te?
"Ho sempre pensato che fosse una grande stronzata. Certo, c'erano delle cose interessanti nel movimento hippie, ma se volessimo essere critici potremmo dire che si è trattato solo di una sciocca tendenza e che non ha significato nulla. Se invece volessimo guardare al movimento hippie all'interno del suo contesto storico, diremmo che è stato uno sforzo per cambiare le regole di una società vecchia. Per esempio, in Inghilterra ci sono molte persone che vivono così, che scelgono uno stile di vita "alternativo", che ormai è stato accettato dallo stile di vita mainstream. Hanno i loro festival, solitamente associati alle credenze pagane della Gran Bretagna, e sono un sottogruppo della società. Gli hippie esistono ancora, vanno a Glastonbury e vivono per un po' come hippie. Ma non è il mio stile, no?".

È vero che poco prima di formare i Rolling Stones facevi il gelato?
"Non lo facevo, lo vendevo solo. Ed era pure di cattivissima qualità! Era un lavoro estivo. Ho sempre e solo fatto dei lavoretti, non ho mai avuto un lavoro vero e proprio (ride, ndr)".

Sei molto fortunato.
(Ridacchia, ndr)

Avevo letto una notizia che diceva che volevi acquistare un camioncino ambulante di gelato.
"Oh, no, non credo proprio. Però, hai rastrellato per bene in Internet sul mio conto! (ride, ndr)".

A volte è divertente. Stavi armeggiando con due cellulari prima. Non sei una persona tecnologica?
"Credo che per come sia il business della musica oggi, sia necessario esserlo. Io comunque lo sono sempre stato. Per esempio, nello studio di registrazione ci sono dei macchinari enormi e complessi e mi piace lavorarci...".

Parlo della tecnologia utile per l'informazione. Computer, @#$%&, che ne so, cercare con Google il proprio nome su Internet...
"Non cerco il mio nome su Google (detto con voce molto seria, ndr). Questa è una cosa davvero tremenda da fare. Non cercare mai il tuo nome su Google! Conosco alcuni attori che lo fanno, ma non è una buona idea".

Perché?
"Un mio amico attore comincia ogni giornata cercando il proprio nome su Google. Poi, rimane sconvolto per parecchie ore, perché trova cose orribili sul proprio conto. Specialmente ora che su certe persone molto è stato detto o scritto, poi, ne saltano fuori tra le più assurde; e c'è tanta gente che scrive su argomenti di cui non sa nulla. Non si deve fare. Mai cercare il proprio nome su Google".

Da quando Keith è caduto dalla famosa pianta di cocco...
"Sììì (voce contrita, ndr)".

... ha cominciato a parlare della morte in modo più rilassato. Hai mai avuto qualche esperienza vicina alla morte?
"No. Non sono nemmeno mai caduto dalla dispensa (ride, ndr)".

Ne hai paura?
"Credo che tutti ne abbiano".

In Sway (edito in Italia da Einaudi, ndr), il romanzo bestseller sui Rolling Stones "satanici", ci sono dei dialoghi tremendi tra di voi. Cosa ne pensi?
"Ho letto una recensione che ne parlava male, così ho lasciato perdere. Dio, che libri imbarazzanti! Ma sai qual è la cosa più ridicola? Che sicuramente le nostre reali conversazioni sono molto più tremende di quelle inventate lì! (ride, ndr)".

Google translation

We start from Exile On Main St., which will be republished.
"I have mixed 11 unreleased tracks. Some are quite interesting (laughs, sucks the saliva, ndr)".

For example Following The River ...
"Yes, it's a piano ballad.

What about a man leaving a woman.
"Yeah (laughs)."

And Plunder My Soul, in which a woman leaves a man. Also here is the plan, but more rock.
"We say that it is more a comedy ...".

Then, Sophia Loren. Why this title?
"It's just a working title, do not call it that. For now it is so only to attract people ... (laughs)."

How did you discover these traces? Because for so long remained in the archives?
"When the record company asked me if I wanted to republish Exile On Main St., asked some" experts "by the Rolling Stones to send all demos available. They were bootlegs. While listening to them for the first time I said "Wait a minute, but these things do not come from the same period (Exile On Main St., 1972, note), no, these were taken to another place, probably in the late 70s, maybe early 80s. .. ".

In practice you forgot you had it?
"No, not at all. I had to understand just exactly when it was done, for Exile On Main St., was not recorded at once, but within three years. So I had to go back in time with the mind and seek additional tracks worthy of being published. I listened to tapes on tape. "

There is a statement of the time stating that the disk you did not like. You said: "This new album is crazy. There are so many different tracks. It's very rock & roll, but I did not mean a thing. I am the person most experimental of the group, I do not like to do and redo the same thing."
"Crap. It is not true."

Okay, but how you feel today?
"The good thing about this disc is that it's interesting when seen as a whole work in its integrity (the only double album by the Rolling Stones, ed). Its main feature is that it has many tracks" accessible. "L ' only song that has been successful and Tumbling Dice, but otherwise there were so many catchy songs like "Some Girls (1978, ed). The songs of Exile were still well received at the time. It is a very interesting album, with so many different musical styles, blues, a bit 'of country, a little' rock & roll and a little 'something that can not be put into a category. Let's say that represents well the good extension degi Stones music that is eclectic because had eclectic influences. as an album, is set pretty well. So, yes, I like it, although I do not ever listen. "

Before I spoke of "going back in time." You once said that "you must be careful not to remain trapped in the past or is likely to understand, the things around you change." The past is a trap for you?
"I say that you should have seen your past stop you from doing so much more. Nobody wants to be trapped naturally in the past, but I quite like flipping between the old things, return them to the light and see how and what is left today . The truth, to return to Exile, is that the record has so much begged me to pull out of these things that I gave. My initial reaction was: "I do not really care about any of this stuff, I will not try anything . But they insisted: "Oh, favoreee, you can only give a quick glance, we are confident that there is something good ..." and so in the end it was really fun doing this research. It was like rummaging in the attic, groom in a trunk of old clothes and exclaim, "Oh, look at this! Once I wore it! I can not believe it! "(He says, raising his hands in the air as if holding an imaginary dress, ndr)".

The first time you went on stage she was 19. But you always said to hear a singer.
"I've always liked singing and I always sang, but I never thought you could be a singer. Not a professional singer, just for fun. One thing to do during the holidays."

You were safe inside you can do better than the singers that you admire?
"Eventually, yes. I knew I could be like them. Even if your heroes are always heroes. Think it's too hard to be like them, but eventually you realize that it is not so."

What were your heroes?
"Elvis Presley and Little Richard: the latter, idolized him. For me it was fantastic. I was very lucky because the first tour by the Rolling Stones was precisely with Little Richard. I watched him every night, so closely, so closely in details ... He was really nice to me. He liked the enthusiasm of young boys. He cared about me, behind me and gave me lots of ideas. I watched him interact with the public, to understand how do. He gave everything he could to the public. You can go in front of people, just play and healthy, because sometimes the performers are quite timid, or interact with them and bring them to the excitement. I learned so, looking at him and James Brown . Behold excite the public: this is the best thing ESIB.

It's hard to think of yourself as a shy performer, even just in its infancy.
"The Rolling Stones were so naive at the beginning. But shy, no, I have never been."

I would bet.
"I know (laughs)."

When he came out Aftermath (1966, ndr) was starting the season of flower children. But that record was pretty tough: there were songs like "Stupid Girl" and "Under My Thumb" that conflict with the dream of peace and love.
"I remember only that it was entirely filmed in Los Angeles in '65. I consider it a legacy of ingenuity of the early 60".

The issues do not seem so naive. You also been criticized for the contents of that disk.
"Not so much ...".

Singing of "foolish boy." Feminists do not have attacked?
"So, so. At that time, the feminist movement was still weak. If we had done ten years later would have been worse."

The hippie movement meant something to you?
"I always thought it was a big shit. Sure, there were some interesting things in the hippie movement, but if we were to be critical, we could say that it was just a silly trend and that did not mean anything. If we were to look at hippie movement within its historical context, we would say that was an effort to change the rules of an old society. For example, in England there are many people who live like this, who choose a lifestyle that is "alternative" which is now was accepted by the mainstream lifestyle. They have their festivals, often associated with pagan beliefs in Great Britain, and are a subset of society. hippies still exist, go to Glastonbury and live for a while 'as a hippie. But it is not my style, no? ".

It is true that shortly before forming the Rolling Stones were doing the ice cream?
"I did it, sells it alone. And it was also of very bad quality! It was a summer job. I always just did odd jobs, I never had a real job (laughs)."

You are very lucky.
(Chuckles, ed)

I read a news story that said that you wanted to buy a truck peddler of ice cream.
"Oh, no, do not think so. But, you've raked for good in the Internet on my account! (Laughs)."

Sometimes it's fun. Were struggling with two mobile phones before. You're not a technical person?
"I think for how the music business today, it is necessary to be so. I still always have been. For example, in the studio there are enormous and complex machines and I like to work ...".

I speak of the technology useful for the information. Computer#$%&, as I know, look in Google your name on the internet ...
"I looked for my name on Google (a very serious voice said, ndr). This is a really awful thing to do. Never search your name on Google! I know some actors who do, but not a good idea" .

Why?
"An actor friend of mine starts every day trying their name on Google. Then, still upset for several hours, because he finds horrible things about themselves. Especially now that some people on a lot has been said or written, then they jump out of the most absurd, and there are many people who write on subjects of which he knows nothing. You should not do. Never search for your name on Google. "

Since Keith has been dropped from the famous coconut tree ...
"Yeah (voice against, ndr)".

... began to talk about death more relaxed. Have you ever had any near death experience?
"No. I'm not even ever fallen from the pantry (laughs)."


You have fear?
"I think all they have."

In Sway (published in Italy by Einaudi, ed), the best-selling novel about the Rolling Stones "Satanic", there are tremendous dialogues among yourselves. What do you think?
"I read a review that talked about evil, so I did not. God, what books embarrassing! But you know what is the most ridiculous? Surely our real conversations are much more dire than those invented here! (Laughs) .




My own interpretation of the translation of the first question :

Q - Lets start by talking about Exile On Main Street, which is being reissued.

A - There are 11 mixed, unreleased tracks - some are quite interesting!

Gazza wrote on Jan 23^rd, 2010 at 10:32am:

I've always questioned why not give Wyman the job of writing about these type of things, producing a video chrono?  Who could talk to the Stones better, add historical footnotes better & still keep a finger in the action?  Still, the info on this songs gets one crazed for the release.   Thanks for passing this along.