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Åbent hus

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It was this marathon of music, it was quite incredible, but it was also a nightmare. I mean, creatively it was really great, and everybody was on the spot, but in all the time we were in that place we were never by ourselves. Day after day it was 10 people for lunch, 25 for dinner. I don’t think anyone slept that whole summer. I was completely responsible for everything that was happening. I was basically the only person who could speak French well. And there were the local cowboys – they kind of moved in on us. They said, ‘We’re going to come here, we’re going to destroy this place, we’re going to do this, that, and the other.’ So I thought, ‘Well, might as well hire them and make them work for us’, so we had all these kinds of locals working in the kitchens. And eventually we found, outside the door, drug dealers, and they were doing all kinds of things, and that’s how it came to everybody was coming and going – the musicians, everybody – so it was open house.

Keith Richards’ daværende girlfriend Anita Pallenberg om den lange sommer i 1971, hvor Rolling Stones (+ kærester, børn, husdyr, drughabits og mobile studio) relokerer til luksusejendommen Villa Nellcote, ved kysten mellem Nice og Monaco, og under Keith Richards’ kreative ledelse indspiller Exile On Main Street. Her nogle billeder fra sommeren, taget af fotograf/Stones-hangaround Dominique Tarle…

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12 tanker om “Åbent hus”

  1. “Exile on Main St has often been described as a dark, murky–even muddy-sounding album. And I’ve always loved it for exactly what it is. While sound quality does vary between tracks, I’ve found the the Artisan cut original vinyl to be just right – organic, exciting and dynamic on some cuts, and dark, mysterious and swampy on others. So, while I approached the remastered vinyl with an open mind, I wasn’t looking for any significant departures from the original.

    Unfortunately, this remastered vinyl doesn’t come close to the original Artisan vinyl. The primary problem is that it sounds too loud and compressed. Good records, including the Artisan original of this one, beg the listener to turn them up – and they continue to sound better. This remaster does the opposite. From the start of the record, Rocks Off sounds too loud and lacks the dynamics of the original.

    Songs like Happy, Tumbling Dice, and Soul Survivor sound harsh, and at times border on sibilant. Even Loving Cup, which never fails to give me goosebumps when the drums come in, falls flat on this remaster, due to the lack of dynamics. Acoustic and simpler compositions, such as Ventilator Blues, Sweet Virginia, and the intro to Let it Loose, fare slightly better – but they still don’t have the same ambiance and natural sound to the piano, guitars and drums found on the original Artisan.”

    http://myvinylreview.blogspot.com/

    Med andre ord den “mere direkte lyd”, som moderne lyttere foretrækker! 😉

  2. If allowing Jagger to touch up those vocals was the price to pay to allow Exile receive the tribute it deserves, it’s still a bargain. All the same, it’s a bit strange to see the Stones, somehow still alive, on the talk show circuit celebrating the product of their darkest years, treating their addictions, tax evasion, and near-breakup as just a colorful set piece on Rolling Stones: The Ride. The true thrill of Exile on Main St. is that it doesn’t require all that backstory to be dramatized and Ken Burns-ed– all the pain, fun, joy, and regret of being the biggest rock band on Earth, kinda loving it and kinda hating it, is right there in the filthy grooves of the record. Oh, what a beautiful buzz.

    Hele anmeldelsen her: http://pitchfork.com/reviews/albums/14264-exile-on-main-st-deluxe-edition/

  4. Jeg har kun fået købt 7-singlen Plundered My Soul / All Down the Line. Er egentlig meget godt tilfreds med Bob Ludwigs remaster fra 1994.

  5. Mange tak for interessant læsning og anbefalinger!

    Hvordan er den ‘nye’ Exile så – mere direkte lyd og cool ekstratracks eller..?

  6. Stanley Booths The True Adventures of The Rolling Stones er også en klassiker. Bogen var 15 år undervejs. “In order to write the book, I had to become a different person from the foolish young man who went on the road with the Stones. That took a while.”

    http://u.dk/?Mx

  7. Tak for link, Jens.

    Jeg kan også anbefale bogen’ Exile On Main Street’ med undertitlen ‘A Season In Hell With The Rolling Stones’ fra 2006 af Robert Greenfield

    Her et par interview med The Glimmer Twins fra Chicago Tribune.

    Først Jagger om det opgravede materiale:

    I went through a lot of stuff but then I started asking questions if it was really from “Exile” or not. And then I had to work out, well, what does that mean? It wasn’t all recorded in one go. I had to define for myself what the “Exile” period was. The first song recorded for “Exile” and eventually used for the album was “Loving Cup.” That was [a demo] in 1969. As far as unreleased things, I tried to avoid songs that had already been heavily bootlegged. I chose alternative takes of some songs, and others not so well known. One of them had some kind of vocals on it, which was “I’m Not Signifying.” The rest had no vocals or words, just [rhythm] tracks. So I wrote melodies and lyrics for those. That was my main thrust. I wasn’t interested in finding take nine of “Tumbling Dice.” I’m sure it’s there, it’s just that I’m not that interested in it personally. So for “So Divine (Aladdin Story),” “Following the River,” “Plundered my Soul,” I started from scratch on vocals. There was nothing in terms of melody or lyrics. The most challenging one was “Following the River,” because the chorus doesn’t go where I would expect it to. I was quite pleased with it in the end. All of the tracks had working titles, some of which I left on, like “Sophia Loren” and “Aladdin Story.” But “Following the River” was originally called “Wally’s Whistling Saw.” I wasn’t going to stick with that title for a romantic ballad.

    http://leisureblogs.chicagotribune.com/turn_it_up/2010/05/mick-jagger-interview-exile-on-main-st-revisited.html

    Og Keith:

    http://leisureblogs.chicagotribune.com/turn_it_up/2010/05/keith-richards-interview-exile-on-main-st-revisited.html

  9. Stort, Vermouth!

    Heroin brought with it the usual problems of supply and demand, and the usual retinue of shady characters and criminals, both local and from nearby Marseille. Villa Nellcôte was such an open house that, one day in September, burglars walked out of the front gate with nine of Richards’s guitars, Bobby Keys’s saxophone and Bill Wyman’s bass in broad daylight while the occupants were watching television in the living room. “That’s how loose and stupid it was out there,” says Wyman. The crime was reputedly carried out by dealers from Marseille who were owed money by Richards. The nocturnal goings-on at Nellcôte were also starting to attract the attention of the local populace and the increasingly suspicious police force. “The music was so loud, really, really loud,” Pallenberg remembers. “Sometimes I went to Villefranche during the day and you could hear the music there. And it went on all night.”

    Læs mere her: http://www.guardian.co.uk/music/2010/apr/25/stones-exile-on-main-street

    While the Stones soaked up the hospitality, producer Jimmy Miller and Andy Johns waited in the van for inspiration to strike the band. As Keith’s recreation continued, it was clear they would be waiting a long time. “Keith’s euphemism was, ‘I’m going to put Marlon to bed now …'” remembers Johns. “Nobody really went upstairs. I remember being at the bottom of the stairs once with Mick Jagger and Jimmy Miller, and we wanted Keith. I said to Mick, ‘It’s a band thing, why don’t you go and get him?’ He said, ‘I’m not going up there …'”

    “There was a friction at that time,” says Marshall Chess, who ran the Stones’ own record label. “Mick didn’t like Exile; it was being made in Keith’s domain. And then there was the drug issue, which I was somewhat naive about. But I could see the effects.”

    “Keith was open about everything,” says Robert Greenfield of his interview with Richards, “apart from the heroin.” He remembers how he watched Mick Jagger wait in vain for Keith Richards to emerge so they could begin a songwriting session, then leave disappointed.

    Mere her: http://www.guardian.co.uk/music/2010/may/15/rolling-stones-villa-nellcote-exile

  10. Her et par historier om Keith fra Nick Kent’s længe ventede anden bog, ‘Apathy For The Devil’. Den første udspiller sig et års tid før sommeren i Nellcôte, hvor Keef for alvor har fået smag for heroin.

    Andy Johns fortæller: “…during a session at Jagger’s country home Stargroves in 1970. “We were doing ’Bitch’, Keith was very late and Jagger and Mick Taylor had been playing the song without him. And it didn’t sound very good. I walked out of the kitchen and he was sitting on the floor with no shoes, eating a bowl of cereal. Suddenly he said “ Oi, Andy!. Give me that guitar” He put in on, kicked the song up in tempo and just put the vibe right on it. Instantly, it went from being this laconic mess into a real grove. And I tought – Wow! That’s what he does”

    Den anden stammer fra Nellcôte. ”For the first month or so on the Riviera he was heroin-free but quickly returned to its soothing embrace after injuring his back in a go-kart accident. What happend next has already been well documented. Local drug dealers decended on the property, eventually alerting the local constabulary. The rest of The Stones, producer Jimmy Miller and engineer Andy Johns meanwhile wasted hours of each evening waiting for the smacked-back guitarist to decend from his living quarters and grace them with his presence. But – according to Johns – ‘Everyone was to scared (to directly confront him). Even Mick Jagger would never go up there. It was as if hell existed upstairs”

  12. 900, – kr for den nye Super Deluxe udgave, som bl.a. indeholder en “bog” med en del af Dominique Tarles fotos. 😉

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