Exile on Essential Avenue is an album of enigma and thriller, a travelog by means of arcane (however acquainted) soundscapes, and powerful creative assertion. Thought of the Rolling Stones’ biggest work of their most-creative interval, it adopted Beggars Banquet, Let It Bleed, and Sticky Fingers together with “Honky Tonk Girls,” “Leaping Jack Flash,” and “Brown Sugar.” Exile accomplished the presentation of the reinvented Stones with guitarist Mick Taylor.

Set in opposition to the backdrop of a stately, spooky mansion on the French Mediterranean, Exile is a paradox; cosmopolitan worldliness embracing homespun rock-and-roll innocence. Produced by Jimmy Miller, its chronology spans songs from 1969 recorded at Olympic Studios, London, and Stargroves (Jagger’s studio), others developed and recorded at Villa Nellcote, France, in ’71, and overdubs/mixes at Sundown Sound in Hollywood stretching into ’72. Its mythology is underscored by songs reflecting revered areas of Americana – Chuck Berry rock and roll, soul, nation, blues, gospel, folks, and roots music from New Orleans and the Deep South. Further musicians had been integral and included Billy Preston, Nicky Hopkins, Bobby Keys, Jim Value, Al Perkins, Invoice Plummer, Dr. John, and eight backing singers. Keith Richards specified the Stones recorded it as “an eight-piece band” with two horns and piano. The music is sprawling past the confines of a 19-song double album (their first) with a cohesive and satisfying – if uneven – program. Even Exile’s title is inscrutable.

Initially titled Tropical Illness, Richards referred to it as first an allusion to the U.S. (the place “…all people’s bought a Essential Avenue”) and American music that nurtured the Stones. He conflated it with the Riviera strip, the place frequent cruising aboard his speedboat made it their new Essential Avenue.

Exile is usually known as “the Nellcote album” as a result of Richards’ monetary mismanagement in 1969 led to the band dealing with 93 % revenue tax. In April of ’71, they selected exile over penalties and moved to the Villa Nellcote, a Victorian mansion close to Good, on the French Rivera. Rented by Richards, they transformed its dank basement rooms into musical areas. Using their well-known cell recording truck with engineer Andy Johns (Led Zeppelin, Free, Tv) on the console, situations imparted an earthy, bluesy patina to the report, in an area that represented freedom and partying – a rock-and-roll paradise. Street supervisor/longtime pal/early Stones pianist Ian Stewart (“Shake Your Hips,” “Candy Virginia,” “Cease Breaking Down” on Exile) designed {the electrical} system (pulling energy from close by railroad traces) and put in sound baffling. He additionally introduced horn gamers Bobby Keys and Jim Value to the Stones’ consideration. Nellcote periods began on July 6; working from late afternoon to early morning, they had been inconsistently attended, tormented by tuning issues resulting from midsummer humidity, punctuated by drug use, and topic to a way of life that separated abusers and moderates. Nonetheless, it yielded about 30 tracks.

Songwriting approaches differed, summarized by Richards as “Mick’s rock, I’m roll.” Jagger most popular deliberate preparations and predictable workflow, whereas Richards prized spontaneity and serendipity. “Comfortable” was the results of solely Richards, Miller (drums) and Bobby Keys (baritone sax) working for 4 hours then including bass/guitar overdubs. It grew to become a favourite Stones observe. “Tumbling Cube” and “Candy Virginia” had been holdovers from Sticky Fingers. The Richards/Taylor guitar chemistry and task of lead/rhythm roles had been decided instinctively; each shared deep blues roots.

Modifications amidst the chaos confounded the opposite Stones; Wyman complained that the bass elements on “Comfortable,” “On line casino Boogie,” and “Soul Survivor” had been redone by Richards, and had been inferior. Taylor performed bass for “Tumbling Cube,” “Torn and Frayed,” “I Simply Need to See His Face,” and “Shine a Gentle.”

After October ’71, primary tracks had been taken to Sundown Sound, the place Richards added over dubs with a not too long ago bought late-’50s Les Paul Commonplace and Ampeg VT-40. The album was launched in Could ’72.

Exile opens with the swaggering “Rocks Off” setting the tone. Johns remembers the track got here alive when Richards added guitar elements. After first approving the observe at 3 a.m., Richards went to sleep, however when he awoke a pair hours later, he reconsidered, woke Johns, and recorded ending bits on an outdated Tele by means of Ampeg SVT.

“Rocks Off” options the intertwining guitar textures for which the Stones are identified, reflecting how Richards and Jones frolicked understanding orchestrations. This excerpt highlights two symbiotic figures forming a complete better than the sum of its elements. Word the traditional suspended-4th triadic riff and energy chords of Gtr.1–Stones signatures–in measures 1-2. These are enhanced by smaller dyads in Gtr.2. In measures 3-4 Gtr.1 performs looser arpeggiations and chord partials whereas Gtr.2’s bluesy counter melody and palm-muted bass notes flesh out the part.

At practically 200 bpm “Rip This Joint,” enlivened by Plummer’s vigorous string-bass traces, is supercharged rockabilly. One of many quickest tracks ever recorded by the Stones, it was carried out into the mid ’70s however by no means suited Jagger’s strutting stagecraft. “Shake Your Hips,” a Slim Harpo cowl, is a hypnotic boogie within the vein of John Lee Hooker and morphs right into a free jam with staggered entrances. It personifies the spontaneous blues facet of Exile, paying homage to early influences.

“On line casino Boogie” arose when the writers hit a dry spell and snatched phrases from newspaper headlines. A riff-based altered blues, it’s distinguished by a honking sax solo, electric-slide background traces, and considered one of few Taylor solos (2:12-3:30). An episode of instrumental prowess, it’s a departure from different Stones intervals the place lead-guitar taking part in was minimal or contextual.

The primary single, “Tumbling Cube” reached the Prime 10 and is right this moment a real traditional. But it surely didn’t come simple, reportedly requiring greater than 150 takes and glossier manufacturing, with rhythm-guitar hooks enlarged with slide fills, solo references to Chuck Berry (1:50-2:00) and dubbed gospel/soul backing vocals. Choir sounds impressed by a go to to an evangelical church the place Aretha Franklin recorded Wonderful Grace, had been reprised in “Loving Cup,” “Let It Free” and “Shine a Gentle.”

Exile’s second facet was perceived as having a rustic taste. “Candy Virginia” is an acoustic-propelled quantity with country-blues leanings influenced by Gram Parsons, Keith’s cohort and customer at Nellcote. Wailing R&B horns and a stable rock pulse gave it modernity that offset its folky acoustic timbres, Broonzy-like guitar fills, and Jagger’s harmonica melodies.

Acoustic guitars additionally drive the vamping “Torn and Frayed.” Likewise impressed by Parsons, it reconciles nation, honky-tonk, gospel, and rock coloured with a light-weight electric-guitar underscore and Perkins’ pedal-steel solo suggesting Bakersfield outlaw nation.

“Candy Black Angel” continues the country-rock ambiance; revolving round a looping arpeggiated acoustic determine accompanied by propulsive strumming and complemented by Jagger’s harmonica.

“Loving Cup” is powered by Hopkins percussive piano evoking the Americana/Mississippi/Appalachia/Memphis rootsiness related to The Band. A horn-laden interlude (2:01) provides respite from the relentless rhythm groove.

“Comfortable” is Keith’s child all the way in which. Tracked spontaneously with out the opposite Stones, it’s a number one tune from Exile and a showcase for his five-string Open G riffmaking strategy to songwriting. Like many songs within the “Keef-chord” canon, it’s capoed (right here on the 4th place), which provides sparkle and resonance to the sonorities (chord symbols in parentheses point out primary fingered shapes performed as if with out the capo whereas chord names above are the precise sounding types). Word his use of acquainted easy patterns ubiquitous within the Stones catalog, and the combination of slide guitar.

Aspect three begins with the second single, “Comfortable” (#22 that August), a demo transformed to a grasp recording, it was finished with out the Stones. That includes Richards’ lead vocal (his third, preceded by “Connection” and “You Obtained the Silver”), it was minimize shortly, earlier than the opposite bandmates arrived. Overdubs had been added later – Open-G rhythm guitars, doubled slide riffs, and a slide solo.

“Turd on the Run” is greater than the band’s scatological joke. Constructed on a reimagined Bo Diddley beat with references to Berry’s “Maybelline,” it evokes imagery of roadhouses and juke joints with its swampy uptempo groove, Watts’ brush work, Hopkins’ barrelhouse piano, and Plummer’s upright-bass traces.

“Ventilator Blues” laments the air high quality in Nellcote’s basement with apparent nods to Muddy Waters, Howlin’ Wolf, and the Chess college. Taylor acquired a uncommon writing credit score for the riff, performed electrical and resonator guitar (probably Richards’ Nationwide Fashion 1 tricone), and contributed one other potent Bluesbreaker-esque solo.

“Simply Wanna See His Face” traces the evolution of blues from work songs and subject hollers to gospel antiphony, rendered by Jagger and choir, seen by means of the prism of rock. Electrical piano (performed by Richards) establishes a haunting, otherworldly ambiance, bolstered by heavy percussion, Plummer’s upright, and vocal ostinatos.

“Let It Free” is an unfinished (however elegant) sketch over a repeated development, extra temper than full composition, that works texturally regardless of its simplicity. The flowing gospel-tinged ballad incorporates a solo intro and theme determine of Vibratone-processed guitar arpeggiations and lightweight fills steadily joined by Hopkins’ piano and Mellotron, bass-and-drums pulse, gospel-choir backing vocals (with Dr. John) and R&B horns. Its elusive tempo necessitated Miller taking part in drums within the ending.

Aspect 4 opened with “All Down the Line,” an easy rocker highlighted by Taylor’s slide-guitar purveyed on Keith’s new Rickenbacker 450. Considered a blues virtuoso within the Mayall “Beano” fold, on Exile, he proved equally adept on a number of solos, this one – outstanding within the combine – serves as working example. “Cease Breaking Down” is a blues journey re-cast from the Delta to Chicago by means of London into Nellcote. A Robert Johnson composition given a pumping rock therapy, it once more sported Taylor’s excellent slide behind the vocals and in solos – right here in tandem with harmonica improvisations akin to Muddy Waters and Little Walters’ interplay.

“Shine a Gentle” is Jagger’s gospel ballad reminiscent of ’68, and serves as a tribute to former Stone Brian Jones. Taylor’s melodic blues taking part in decorates and transcends the observe (functioning as a quintessential session guitarist) augmented by Hopkins’ driving piano, Preston’s organ, Miller’s drumming, and gospel vocals.

Mick Taylor, typically described because the Stones’ soloing lead guitarist, rose to the event in a number of tracks on Exile. Whereas lots of his flights occurred over typical settings like “On line casino Boogie” and “Ventilator Blues,” capitalizing on his skills as a Mayall Bluesbreaker, in “Shine a Gentle” he reimagined his blues-based vocabulary over a gospel-rock groove and Am-F-G modifications. Right here, he pursued an adaptation of blues-rock materials just like what Clapton and Web page explored in “Whereas My Guitar Gently Weeps” and “Stairway to Heaven,” remodeling predominately pentatonic traces replete with idiomatic string bends and blues gestures into melodic minor-mode phrases.

“Soul Survivor” brings the album to a detailed. A free, blues-based rocker within the comfy midtempo Stones pocket, it highlights Open-G “Keef chords,” electric-slide underscore and a catchy syncopated refrain determine that could be a central hook, theme and intelligent little bit of phrase portray (“…loss of life of me”).

Richards’ trademark five-string Open G tuning is ubiquitous on Exile. The inspiration advanced from researching outdated blues gamers’ guitars, some with seven-strings, and so on. He realized fundamentals from Ry Cooder, who utilized it to slip, as had Jones on “Little Crimson Rooster” in ’64. Breaking from guitar traditions, Keith eliminated the sixth string and solid a riff-making strategy endemic to the Stones sound, simply as he was rising tired of commonplace tuned six-string. He found benefits in its limitations, and “Keef chords” got here to exemplify his credo: “5 strings, three notes, two fingers and one a**gap,” and he admitted that the tuning helped him advance as a guitarist. Open G and its capoed variants are heard in “Honky Tonk Girls,” “Brown Sugar,” “Begin Me Up” and virtually each electrical observe on Exile.

Ted Newman Jones (VG, December ’15) performed a big position in Stones’ lore. The connection started when he dropped in (uninvited) at Nellcote to gauge Keith’s curiosity in a restored ’65 Rickenbacker 450. The legend of Micawber started on this interval; Jones discovered two blackguard Telecasters for Richards – the ’54 he known as “Micawber” and a ’53 ash-body in pure end dubbed “Malcolm,” in addition to a spare typically seen with a capo on the fourth fret, which corrected the notion Micawber had as soon as been Clapton’s guitar. These had been acquired after a number of of Richards’ most-used guitars had been stolen from Nellcote. Micawber was photographed in ’72 tour rehearsals and at Nellcote earlier than Jones changed the neck pickup with a PAF, reinstalled the unique bridge with particular person brass saddles, and upgraded its tuners. It’s speculated the bridge pickup is from a Broadcaster or a lap metal. Richards used {custom} string gauges now marketed in a signature Ernie Ball set of 5 – .011-.015-.018-.030-.042. Jones later constructed five-string guitars for Richards, first seen in ’73 at an L.A. profit for victims of an earthquake in Nicaragua. He grew to become the mannequin for guitar techs in rock reveals, labored as Richards’ from ’72 into ’78, and oversaw the ’72 tour’s 19-guitar arsenal that additionally included a ’58 three-pickup Les Paul Customized, ’57 Customized (with Alnico pickup), ’59 Commonplace, ’69 walnut ES-355, ’59 Strat, ’50s sunburst Tele, Fender Bronco, two Dan Armstrong Plexiglass guitars, a Gibson Hummingbird, and a Martin D-45.

Wolf Marshall is the founder and authentic Editor-In-Chief of GuitarOne journal. A revered writer and columnist, he has been influential in modern music schooling because the early Nineteen Eighties. His newest e book is Jazz Guitar Course: Mastering the Jazz Language. Others embody 101 Should-Know Rock Licks, B.B. King: the Definitive Assortment, and Better of Jazz Guitar. An inventory credit may be discovered at wolfmarshall.com. To learn extra about Keith Richards’s ’63 Les Paul Customized, go to www.vintageguitar.com/27046/keith-richards-1963-gibson-sg-custom.

This text initially appeared in VG’s July 2024 difficulty. All copyrights are by the writer and Classic Guitar journal. Unauthorized replication or use is strictly prohibited.