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The Rolling Stones - Stones in exile
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In the spring of 1971 the Rolling Stones departed the UK to take up residence in France as tax exiles. Keith Richards settled at a villa called Nellcôte in Villefranche-sur-Mer and this became the venue for the recording of much of the band s masterpiece Exile On Main Street . Stones In Exile tells the story in the band s own words and through extensive archive footage of their time away from England and the creation of this extraordinary double album, which many regard as the Rolling Stones finest achievement.
Era il 1972 quando gli Stones si ritirarono in Francia per problemi fiscali, e Keith Richards prese residenza a Nellcote, la villa che fu teatro delle sessions che diedero vita all'album. Il documentario, oltre a filmati d'epoca, raccoglie contributi di tutti i membri della band non che delle più importanti personalità del mondo dello spettacolo di ieri e di oggi: Martin Scorsese, Jack White, Don Was, Caleb Followill (Kings Of Leon), Benicio Del Toro, Will.I.Am (Black Eyed Peas), Sheryl Crow, Anita Pallenberg, Ronnie Wood, e il produttore Jimmy Miller
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Principali recensioni dei clienti
Si parla della creazione di uno dei più grandi album della storia del Rock e probabilmente il migliore degli Stones: "Exile On Main Street".
L'ambientazione è quella di una decadente villa in stile coloniale (Ville Nellcote) sulla Costa Azzurra, all'inizio degli anni settanta, dove gli Stones si sono rifugiati per problemi con il fisco Inglese.
Immagini incredibili, in questa villa diroccata si erano raccolti svariati musicisti ed altri spettrali individui; si suona in ogni stanza, si suona in ogni pertugio, si suona dal tramonto all'alba, si suona a qualsiasi ora. Le immagini familiari, dove Richards plana sulle acque del mediterraneo in motoscafo, ed i bambini che giocano e corrono nel parco della villa, si alternano ad altre apocalittiche dove aleggiano figure che paiono distrutte da ogni tipo di droga, alcool, ed eccesso.
Le odierne testimonianze dei protagonisti, ed alcuni fotogrammi dell'epoca, rendono questo DVD fondamentale anche per chi non prova alcuna passione per il rock.
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On the plus side, the interview with Don Was is good, probably the best of the non-Stones interviews, and Black Eyed Peas' Will I. Am gives a decent interview. Much of Mick Taylor's and Bill Wyman's comments are relegated to the bonus features area, but they are seen and heard in the main film, also. And speaking of the main film, it's only 61 minutes in the length, unfortunately. The bonus features bump up the running time on this release. I was hoping for a 2-hour documentary, "25 X 5"-style, with maybe 30 or 40 minutes of bonus interviews. Not so. It is a short feature, but what is there is pretty cool. To hear Keith Richards reveal why he did heroin in that time period (and presumably for another five or six years) is a revelation, and Wyman's playful jibe at Taylor's comatose-like stage presence during the 1972 shows is hysterical and ironic. Wyman does finally utter something like, "I'm one to talk." "In 30 years with The Rolling Stones, I maybe took three steps on the stage," Wyman says while laughing.
"Stones in Exile" is a good release, but it falls just short of being an immaculate document of one of the greatest rock bands of all time. Maybe Eagle Rock's upcoming DVD release of "Ladies and Gentlemen ... The Rolling Stones" will be packed to the gills with extra goodies.
For the long time, obsessive enthusiast...who has either seen / heard or has every piece of audio or video media ever made available outside the Stones camp's private archive...there is still plenty of fun here. The interviews, wisely dubbed over period visuals, carry the story along vibrantly. If you pay attention there's lots of interesting insights...from the various horse's mouths...into their personalities, creative process, the Nellcote mythology (much of which isn't as decadent or mysterious as it has been embellished to be).
As for the footage, while germane to the period, album, and supporting tour the following year, there are only snippets here and there of 'original' or unseen footage (at least to the serious afficianado) with little thought to relevance or accurate chronology. That having been said, it is great to see clean, presumably first generation footage from 'CS Blues' and 'Ladies and Gentlemen' (which is FINALLY being cleaned up and officially released on DVD this fall). The grainy footage from Nellcote is mesmerizing, as are the cutting room floor audio sequences of previously unheard jamming and studio dialogue that accompany them.
A happy note too is the final credits soundtrack giving us 'Exile on Main Street Blues', a quick, piano accompanied track which was previously available only on bootleg since released as a 'flexi-disc' promo prior to the 1972 US Tour.
I enjoyed 'Stones in Exile', and...though, like any anticipated Stones release, it could never live up to the preconceived hopes I had for it...it was alot of fun to watch and I'm glad they did it. My only real criticism is the pointless interviews with the likes of Jack White, Benicio Del Toro, and Sheryl Crow...all nice people and interesting artists (no disrespect) but irrelevant. Fortunately very brief. Don Was was a sensible inclusion because a.) he has worked with them alot, and on 'Voodoo' tried to replicate / modernize the various dynamics that made Exile so great (this time at Ron Wood's house in Ireland). Scorsese, of course, appreciates the Stones intelligently and is always interesting to hear on any topic.
Finally, I'd like to point out that the Stones are now...after waiting almost 40 years...at the artistic status of their original idols who inspired them to play music in the first place (when they were 18 or 19): Little Richard, Chuck Berry, Muddy Waters, Jimmy Reed, Robert Johnson, Chester Burnett, Willie Dixon, Bo Diddley. They have an archive that is truly a legendary musical legacy, and the wellspring of alot more other artist's work and performing style than they are given credit for.
On that note, Keith, how about an album of covers in 2011 (like 'The Rolling Stones' and 'The Rolling Stones No.2'?)
Secondly, while I hope they continue to write, record, and tour as well, I am thrilled that they are FINALLY starting to really open the archives and share the 'backdrop' (outtakes and demos)/missing pieces (extended Ya Yas) of all their renowned recordings and tours...that could carry them commercially for another 40 years if they never recorded another note or played live again! Keep it coming fellows.
FOOTNOTE: the bonus footage of Stargroves (particularly) and Olympic, accompanied by Jagger and Watts commentary, was worth the price of the DVD alone (for me anyway).
However, what's most irksome is the lack of any real video content. Much of the video includes a voice over narrative with the only "video" being still pictures (often black and white) of the band. The camera pans over the photos at some random angles, but there's no disguising the fact that you're not watching any actual footage.
Second, there is very little concert footage. There are a few seconds here and there of some song, with zero information about the specific concert or location. It almost feels like a teaser for yet another Stones video package, which will yet again feature nothing but watered down product including photo montages and snippets of musical performances.
The soundtrack (exile on main st.) is wonderful, and crystal clear, but hey, I already have that soundtrack.
Feel free to pass on this one. I wish I had watched this as a rental instead.
Audio from recording sessions. Commuting around the South of France, Charlie lived six hours away. Eight-man band with kids, and technicians. Can't separate family life from professional activity in the tribes. Random images like album cover. Difficult recording conditions. Crazy entourage setup. "Mick's rock, I'm roll," says Keith. Marshall Chess with a nice mullet. Mick playing a Flying V. Jammin'. "As unrehearsed as a hiccup," says Bobby Keys, "it wasn't exactly spontaneous combustion." A very nice blues jam with Mick and Keith going away, with Mick also playing guitar.
The Stones playing pool, Mick swigging from a flask. Jake Weber's father was a race car driver, drug smuggler and adventurer, Jake was 8.5 years old at the time. Describes downtime and creative process. Picking away at guitars, the basement at night was the epicentre. Great Dominique Tarlé picture of Jake with five classic Keith guitars - a flying V, the famous ampeg Dan Armstrong plexiglass guitar, an SG and a big Gibson ES-355. Swigging from bottles of Jack Daniels. A glimpse into the recording process. Andy Johns, recording engineer, noted that "they would play very poorly for two or three days on whatever song. And then if Keith got up and started looking at Charlie, then you knew that something would go down. And then Bill would get up and put his bass at that sort of 84° angle, and you'd say `ah, here it comes, they're going to go for it now, ha ha ha.' And it would turn into this wonderful, God-given music." Some funky animation from still photos of Keith's fretting hand moving, Bill's bass shifting to an 84° angle (how did they do that?). The giant dinner, everybody gathered once a day. Jake's function in life was to roll joints. A decadent life, everything was out in the open, this was the light before the moment of darkness. Charlie Watts: "everybody had a great time, but it was very stressful. You're having a good time, but ready to go back home. The only one who wasn't like that was Keith, of course, who was being supplied in his mansion, with his band downstairs, it must have been heaven for him in a way." A real live rabbit in a tray next to the guitars. The anecdote of Keith in the bus saying "oh, I forgot something, we have to go back," then he proceeded to simply drop a TV out of the balcony. Keith singing "Happy".
Keith's voice heard more than Mick's, until the end. "We always went to LA to finish our records. That was our modus operandi." Keith: "It was kind of fun playing it to lots of musicians and friends in LA. It was interesting to get their input, because everything that went in at Nelcôte was a just bubble, really." Mick: "We'd never made a double album before, so we were a bit naïve about it. It was just a bit too much work, considering that we'd had all these pressures, plus we were a bit burned on it." Mick made "Tumbling Dice" out of a conversation with the maid, "Casino Boogie" had no lyrics, they were desperate so they used a cut-up method. This is illustrated with visuals. Beautiful. Description of the after-production at Sunset Sounds. Overdubs gave the songs a new twist. Little jams improve the original sessions. Awesome Robert Frank session footage of the band walking down the street, Mick Jagger yawning and stretching his face, and then it's up on a billboard. Wild post-release pastiche of the media swirl of radio, billboard and magazine-cover (Rolling Stone), with a great "Rocks Off" images mélange, Kasey Casem voce-over, playing with Stevie Wonder. Don Was: "Exile on Main Street dramatically altered the vocabulary of record-making. There are textures on that that no-one ever laid down before." Irrelevant statements from Sheryl Crow, Martin Scorsese, Benecio Del Toro and others at the end.
Keith Richards: Wanted to get started in the basement, then decided to keep it on, so much experimentation because of the sound of the various basement rooms. Dense sound down there. First month was touch and go, then it started to flow. Wanted to be a soul band, added horns with Bobby Keys and Jim Price. Two guys fitted into the size of the band, gave it extra texture and turned into a soul band. Bobby and Keith found out after many years that they had been born within hours of each other. Never intended Exile to be a double album until they realised that they'd recorded so many songs that they didn't know which to cut.
Bill Wyman: The engineer and the producer and the band couldn't see each other, and they had to communicate by voice, and it's a miracle that it worked out, the whole band was only there 30% of the time, sometimes they were all there, except for Keith, who was just upstairs, despite Charlie coming five hours from where he lived, Bill and Mick Taylor coming two hours from where they lived, Bill coming one hour from where he lived. Mick Taylor was, musically, the better musician than any others in the band; he was young, and some of the things he had done were amazing, but he was incredibly boring onstage despite doing these incredible licks and solos.
Mick Taylor: he talks! Keith and Anita were mixing domesticity and art. Although the recordings were in the basement, there were constant power failures, and primitive and basic procedures. Ended up being a holiday resort for the Stones' friends and all their friends, "and in the midst of all this partying, we were trying to make an album."
Anita: the guitars get the best seats. Kids are kids, they can sleep with any noise. They had a great attitude for adults, and the adults had to deal with them, especially Jacob and Charlie. Confronting adults and playing with them. Good vibe. A freeloading brigade. Anita became a bouncer as the freeloaders piled up, throwing everybody out. Moved from room to room. Weird sailor shoot-outs when they were in town. Charlie bought an Edwardian villa, still has it. Keith is very easy to play with, very comfortable. Exile picked up a lot of stuff that was missed off of earlier releases.
An interview with Ronnie Wood: "I'd never played the songs, but I knew them." "It hits the nail on the head whether the songs are mixed or not."
Return to Stargroves: Jagger: completely, exactly the same. "I had this house for 1970 to 1975. It does have a lot of memories, because one of the reasons is that we recorded here, but it has other memories for me too, children, my parent, all that sort of thing, my brother lived here a lot. He liked it a lot, my brother, having this very large house. I don't blame him." Earliest recordings for Exile, such as Sweet Black Angel, were recorded there.
Extra interviews: Liz Phair's comments the best, listens to "Loving Cup." Sheryl Crow's comments on "Sweet Virginia." Will.I.Am is a moron. Kings of Leon guy, from Memphis, is too childish. Jack Black is savvy. Martin Scorsese is the only commentator of the same age as the Stones, maybe also Don Was, who talks passionately about the extra tracks, like "Sophia Loren" and the new mix of "Loving Cup." Very expressive and passionate about the band.
Packaging is not that great - three-panel foldout booklet contains a pic of Charlie, a pic of Keith holding an acoustic, and a pic of Mick with a flying V guitar. The other side has a collage of Robert Frank pics. Through the transparent DVD case you also see a pic of Keith and the two Micks jamming.