“Exile on Main Street,” the Rolling Stones’ sprawling double album released in 1972, is widely considered one of the greatest rock albums of all time. Recorded primarily in the sweltering basement of Keith Richards’ rented villa in the South of France, Nellcôte, the album captures a raw, gritty energy unlike anything else in their discography. Let’s delve into each of the Exile On Main Street Songs and uncover the stories behind this iconic collection.
Rocks Off
The album explodes into life with “Rocks Off,” a track defined by its loose, almost chaotic energy. Legend has it that recording engineer Andy Johns was pulled back into the studio at 5 AM after Keith Richards, in a moment of inspired – or perhaps inebriated – creativity, wanted to add another guitar track. Johns himself described the result as “absolutely brilliant,” highlighting Richards’ instinctive musical vision even in unconventional circumstances. “Rocks Off” perfectly sets the tone for the album – raw, unfiltered, and unapologetically rock and roll.
Rip This Joint
“Rip This Joint” is a high-octane blast of pure energy. Fueled by Bill Plummer’s upright bass and Bobby Keys’ blistering saxophone work (both tenor and baritone!), the song is a frantic, exhilarating ride. Interestingly, despite its chaotic energy, “Rip This Joint” was one of the few exile on main street songs the Stones regularly performed during their 1972 American tour, proving its power resonated beyond the studio.
Shake Your Hips (A.K.A. Hip Shake)
Switching gears to a more bluesy groove, “Shake Your Hips” is a cover of Slim Harpo’s classic. Mick Jagger’s vocal delivery on this track was famously critiqued by Melody Maker‘s Richard Williams as an “unnecessary affectation.” Regardless of stylistic choices, the song injects a dose of swampy blues into the album’s diverse sonic palette, showcasing the band’s deep roots in American blues traditions.
Casino Boogie
“Casino Boogie” is a lyrical and musical collage, featuring Nicky Hopkins’ distinctive piano work and Jagger’s stream-of-consciousness lyrics. Lines like “Dietrich movies/Close-up boogies/Kissing cunt in Cannes” offer a glimpse into the Stones’ decadent lifestyle on the French Riviera. The song’s loose, jam-like structure embodies the improvisational spirit of the exile on main street songs.
Tumbling Dice
Perhaps the most commercially successful track from the album, “Tumbling Dice” is a Rolling Stones classic. Originally conceived during the Sticky Fingers sessions under the title “Good Time Woman,” the song evolved into its iconic form. Even drumming legend Charlie Watts reportedly struggled with the drum part after the breakdown, requiring producer Jimmy Miller to step in with some editing magic. “Tumbling Dice” became the lead single from Exile, showcasing the album’s more accessible side while still retaining its signature grit.
Sweet Virginia
“Sweet Virginia” offers a laid-back, country-tinged respite amidst the album’s raucous energy. Jagger’s vocals are noticeably influenced by Gram Parsons, who was a frequent guest at Nellcôte and had become close with Richards. Parsons’ country-rock sensibilities clearly seeped into the exile on main street songs, adding another layer to the album’s eclectic sound.
Torn And Frayed
Continuing the Parsons influence, “Torn And Frayed” features Al Perkins on pedal steel guitar, further solidifying the country-rock vibe. The lyrics are ambiguous, rumored to be about either Richards or Parsons themselves, adding to the song’s mystique. This track exemplifies the album’s ability to seamlessly blend rock and country influences.
Sweet Black Angel
“Sweet Black Angel” is a direct and heartfelt tribute from Jagger to Angela Davis, who was imprisoned at the time. Recorded live with Jimmy Miller on percussion, the song possesses a raw, almost demo-like quality. It served as the B-side to “Tumbling Dice,” showcasing the album’s breadth and willingness to tackle socially conscious themes amidst the rock and roll swagger.
Loving Cup
“Loving Cup” has a history stretching back to 1969, originally recorded at Olympic Studios. It gained prominence when performed at the Rolling Stones’ Hyde Park concert in London, marking Mick Taylor’s debut with the band. The concert itself was emotionally charged, beginning with Jagger reading a poem for Brian Jones, who had tragically passed away just two days prior. “Loving Cup” connects the Exile era back to the Stones’ earlier history, bridging different phases of the band’s evolution.
Happy
Keith Richards takes center stage on “Happy,” his signature tune from Exile. Inspired by the news of Anita Pallenberg’s pregnancy, Richards reportedly wrote and recorded the song spontaneously in the basement of Nellcôte during a soundcheck. With Bobby Keys adding baritone sax and Jimmy Miller on drums, “Happy” embodies Richards’ raw, blues-infused rock and roll spirit.
Turd On The Run
“Turd On The Run” features Bill Plummer on bass, with overdubs added later in Los Angeles after the Stones left France. Jagger’s harmonica playing is prominent, described by Richards as coming “from inside him,” highlighting the raw, intuitive nature of Jagger’s musicality. The song’s title and raw energy are quintessential Exile.
Ventilator Blues
“Ventilator Blues” holds the distinction of being the only track co-written by Mick Taylor on Exile. Taylor reportedly felt underappreciated for his songwriting contributions during this period. The song’s title is directly inspired by the less-than-effective fan in the Nellcôte basement, highlighting the challenging recording conditions and influencing the song’s bluesy, slightly suffocating atmosphere.
I Just Want To See His Face
“I Just Want To See His Face” is a more introspective and gospel-tinged track. Featuring uncredited piano from Dr. John and Richards on organ, the song has a unique sonic texture. Jagger reportedly improvised the lyrics on the spot, adding to the spontaneous and raw feel of the exile on main street songs.
Let it Loose
Another track with roots at Olympic Studios, “Let it Loose” is a soulful, gospel-infused ballad. Its inclusion on Exile demonstrates the album’s stylistic range, moving beyond pure rock and roll into deeper, more emotionally resonant territory.
All Down The Line
“All Down The Line” was initially considered by Jagger as a single release. However, Andy Johns, the recording engineer, couldn’t envision it as a radio hit. The anecdote of Jagger sending Ian Stewart to an L.A. radio station with a tape and the band listening to it in a limo on Sunset Boulevard perfectly captures the Stones’ dynamic at the time. The song’s driving rhythm and raw energy are classic Exile.
Stop Breaking Down
“Stop Breaking Down” is a powerful Robert Johnson cover, further emphasizing the Stones’ blues roots. Ian Stewart’s boogie-woogie piano and Mick Taylor’s slide guitar work are highlights, showcasing the band’s instrumental prowess and their deep appreciation for blues traditions.
Shine A Light
“Shine A Light” is the oldest song on Exile, with origins dating back to earlier sessions at Olympic Studios. It features the legendary Billy Preston on organ and piano, adding a gospel-infused richness to the track. The bass player is debated, with both Bill Wyman and Mick Taylor claiming credit, adding to the album’s mystique.
Soul Survivor
Closing the album is “Soul Survivor,” driven by Richards on bass. Jagger’s lyrics, “You ain’t giving me no quarter/I’d rather drink seawater/l wish I’d never brought you/It’s gonna be the death of me,” seem to reflect the strained relationships and intense atmosphere during the Nellcôte sessions. “Soul Survivor” serves as a fittingly raw and honest conclusion to the journey through exile on main street songs.
“Exile on Main Street” remains a monumental achievement, a testament to the Rolling Stones’ enduring creativity and their ability to channel chaos into brilliance. The album’s collection of exile on main street songs continues to captivate listeners with its raw energy, bluesy soul, and unapologetic rock and roll spirit, solidifying its place as a cornerstone of music history.
