Greeted with decidedly mixed reviews upon its original release, Exile on Main St. has become generally regarded as the Rolling Stones' finest album. Part of the reason why the record was initially greeted with hesitant reviews is that it takes a while to assimilate…
Exile on Main St. is the tenth studio album by The Rolling Stones. Released as a double LP in May 1972, it draws on many genres including rock & roll, blues, country and soul and calypso. Exile on Main St. was initially greeted by reviewers with condemnation or high praise, but it has since become almost universally regarded as a masterpiece.
Exile on Main St. is the tenth studio album by The Rolling Stones. Released as a double LP in May 1972, it draws on many genres including rock & roll, blues, country and soul and calypso. Exile on Main St. was initially greeted by reviewers with condemnation or high praise, but it has since become almost universally regarded as a masterpiece. A remastered version of the album was released in Europe on 17 May 2010 and in the United States on 18 May 2010, featuring 10 new tracks, including "Plundered My Soul", "Dancing in the Light", "Following the River" and "Pass the Wine" as well as alternate versions of "Soul Survivor" and "Loving Cup".
Upon its release more than three decades ago, Exile on Main Street innovatively wove varying musical genres, instruments and even artists into a compelling rhythmic masterpiece. This new compilation features 10 tracks originally recorded during the Exile era and only recently discovered while working on the reissue project. The unearthed tracks which include such titles as "Plundered My Soul," "Dancing in the Light," "Following the River" and "Pass The Wine" have undergone a unique evolution, while staying true to the essence of the 1972 album. Alternate versions of "Soul Survivor" and "Loving Cup" also are a part of the Exile bonus materials.
This aptly named disc showcases James Booker's piano playing; his stretches and runs are breathtaking in their fluidity. This disc (along with its Rounder partner, Resurrection of the Bayou Maharajah) was culled from some 60 or so hours of tapes that John Parsons recorded at the Maple Leaf Bar from 1977 to 1982. The main difference in the music on the two discs is that this one is purely instrumental.
There’s nothing disastrous about Daniel Pemberton’s fine score. Pemberton’s star has been on the rise for a few years now and it was 2015 that turned out to be his real breakthrough year, with his very impressive (and very different) scores for The Man from UNCLE and Steve Jobs. There’s a bit of the effortless cool of the former heard in Gold but by and large this is another very different affair, a fun action/adventure score that stays refreshingly free of the turgid sounds that tend to dog these things these days.
The legendary Four Brothers reed section of Woody Herman's famous "Second Herd" big band of 1947, (Herbie Steward, Zoot Sims, Stan Getz and Serge Chaloff) is reimagined and reinvigorated by jazz icons Harry Allen, Eric Alexander, Grant Stewart and Gary Smulyan on the exciting, swinging and audacious recording of The Candy Men by Harry Allen's All Star New York Saxophone Band. Offering a sensational set of twelve bop-infused tunes containing some hard-driving, mid-tempo swing pieces to breathy and bossa-styled ballads, one sampling of this disc is just not enough. The material and the musicianship is so outstanding, that the late, great bandleader Woody Herman himself, would be proud of the way this group of jazz icons, has so elegantly represented the original Brothers section.
Quite an unusual album from Grant Green – a record that's quite different than his earlier records for Blue Note, but still pretty darn great overall! Grant's working here in a large group – Kudu style – with arrangements by David Matthews, but a sound that's still pretty lean overall! There's a fair bit of great players in the lineup – including Jon Faddis on trumpet, Hubert Laws on flute, and Joe Farrell on tenor – and the horns soar out nicely to set the scene over some tightly stepping backings – all served up with plenty of room for Grant to solo spaciously on guitar! The title track – "The Main Attraction" – is nearly 20 minutes long – and the other two tracks, "Creature" and "Future Feature", both approach the 10 minute mark themselves!