Rolling Stones Exile On Main St. & Show # 920

 

 

Released in May of 1972, The Rolling Stones album Exile On Main St. was recorded at a time when there was a lot of tension and change going on in the world of The Rolling Stones. Having moved to France due to a new tax on high earners in England, they became literal exiles in France. They also left their record label being entangled with publishing rights issues and in general thee was a constant influx of hangers on at the villa (where they would record Exile), there was also a growing disparity within the band member’s personal lives. Musically there are elements of blues, soul, gospel, country and rock music. The recording of the album began in 1969, but when the band relocated to France in 1971 they began the search for a studio to record in. Having trouble finding something that was suitable for them, it was decided that they would set up their mobile recording truck outside of Keith Richards villa named Nellcote and record in the basement rooms there. The sessions were described as loose, disorganized and as stated by bassist Bill Wyman, not that glamorous. Recording stretched out into irregular hours in the days and nights that followed commencing with some overdubs that were done at Sunset Sound in Los Angeles. A lot of the time not all of the band were present on the recordings, since the sessions were so loose, sometimes certain people wouldn’t be there when they were recording. All this adds to the albums mystique and overall aesthetic.

“Rocks Off” starts off with a Keith Richards guitar riff and a snare hit by drummer Charlie Watts before a tambourine leads us into the beginning moments of this album before the song kicks in. As great as an opener as there could be for an album, “Rocks Off” is sleazy, greasy and captures the undeniable essence of the band. In between horn stabs from the horn section featuring Bobby Keys and Jim Price, Jagger sings with tension, chaos and of the rock and roll lifestyle. There is even a psychedelic breakdown around the 2-minute mark. “Rip This Joint” ups the tempo with rave up rockabilly sounds featuring a slightly altered Stones lineup. Bill Plummer plays an upright bass along with the rest of the Stones including pianist Nicky Hopkins who plays a Johnnie Johnson styled piano part. As Jagger sings the story that takes place across America from an outsiders perspective, this song is also said to be the blue print for future proto punk and punk bands with its breakneck speeds. The Rolling Stones version of Slim Harpo’s “Shake Your Hips” comes next with a 50s rock influence, blues and undeniable swagger. “Casino Boogie” rolls with a blues and boogie rhythm feel while the abstract lyrics that pull in different meanings such as “Million dollar sad” were done using William Burroughs cut up technique. Random words were written on torn up pieces of paper, mixed up and then picked out one by one by the band members. The order that is present on the song is the same order that was picked during this process. “Tumbling Dice” is another standout track on this album. With its unusual blues rhythms and lyrics such as “Baby, I can't stay/You got to roll me/And call me the tumblin' dice/Always in a hurry/I never stop to worry/Don't you see the time flashin' by,” Jagger crafts a story of an unfaithful gambler. This track also features Charlie Watts overdubbing drums over his existing drums giving them a bigger sound.

Side two starts off with “Sweet Virginia.” A hazy country track, carried by Charlie Watts cardboard sounding shuffle rhythm, the lyrics are ripe with vivid imagery that have been said to be influenced by Gram Parsons, drug use and the debaucherous atmosphere that surrounded the sessions. With words such as “Trying to stop the waves behind your eyeballs,” “Yes I’ve got the desert in my toenail,” and “Thank you for your wine, California/Thank you for your sweet and bitter fruits,” the song isn’t so literal as some might think. The song seems to present an over arching theme of getting through hard times when you’re down and out. “Torn and Frayed” sounds exactly as the title suggests. Mixing elements of soul, gospel and country the song follows the thread of the frayed coat of a musician that lives life on the road and is a look into the less glamorous moments of being a rock star. “Sweet Black Angel” features country, blues and world music rhythms while the lyrics are of a political nature and about civil rights activist Angela Davis. The piano driven rough, yet tender love ballad “Loving Cup” arrives next. Another highlight on this album, the song had its beginnings during the 1969 recording sessions for Let It Bleed. The song “Happy” is sung by guitarist Keith Richards. The song was written pretty much on the spot in a few hours. Since not all of the band members were around a the time, the song was recorded with producer Jimmy Miller on drums and Richards on vocals, guitar and bass. Guitar overdubs were later added by second guitarist Mick Taylor along with backing vocals by Jagger (in addition to some horn section overdubs from Bobby Keys and Jim Price). This song went on to be a top 40 single on the Billboard Hot 100 charts in 1972. “Turd On The Run” is not always liked by some Stones for some reason. Perhaps it is the title, but this is another great gem found among the gritty 18 songs that make up Exile On Main St. With its swampy blues rhythm, murky sounding at times humorous lyrics, this track was apparently sped up from the original recording to give it an unusual hectic sound.

“Ventilator Blues” features one of the few songwriting credits by guitarist Mick Taylor. This swampy blues number is indebted to Chess Records blues artists, soul music and has a title that was influenced by the lack of ventilation in the basement where they were recording. Since they were using a mobile recording unit outside and the weather in France at the time was quite warm, instruments were often going out of tune due to the heat and malfunctioning equipment. In the case of this song, they got some strange noises according to Richards and decided to leave it in. Lyrically dealing with the frustrations of life the song shows someone feeling the pressures of life closing in and evaporating around them. It provides no clear answers, but asks questions as it seeks some kind of ventilation or release from these frustrations. “Let It Loose” is a gospel inspired soul ballad. This emotionally charged song contains blues influences along with lyrics such as “Bit off more than I can chew/And I knew/Yeah I know what it was leading to,” and "In the bar you're getting drunk/whoa yeah yeah/Ain't in love, ain't in lust/whoa no no no” about a relationship that the character knows won’t last and can’t be maintained. “All Down The Line” starts of the fourth side of Exile On Main St. A more straight forward rock song with greasy blues spots throughout, lyrics such as “Well you can't say yes and you can't say no/Just be right there when the whistle blows/I need a sanctified mind to help me out right now,” seem to be looking forward while still being in the moment of chaos that surrounded them at the time. “All Down The Line” drives the Stones and Exile On Main St. into existential territory.

“Stop Breaking Down” comes next. A cover a song originally by Delta bluesman Robert Johnson, this song is reinterpreted with slide guitar from Mick Taylor, choppy blues guitar from Mick Jagger, harmonica, piano and an all around greasy groove from The Rolling Stones. Lyrically, this song even being a cover by Robert Johnson, takes on a new meaning here when redone by The Rolling Stones. “Shine A Light” is a soulful gospel influenced ballad that had its beginnings in 1969 when members of the band were working with Leon Russell. The song was originally about Brian Jones of The Rolling Stones, but the lyrics were changed following his death. Featuring piano and organ by Billy Preston, drums by producer Jimmy Miller, bass and lead guitar from Mick Taylor, guitar from Richards and vocals from Jagger, this powerful song has words dealing with hope and despair. “Soul Survivor” ends Exile On Main St. This mid-tempo deep cut, displays The Stones in their element. Featuring lyrics such as “I'll stowaway at sea, yeah/Ya make me mutiny/Where you are I won't be/You're gonna be the death of me” and “I’m a soul survivor,” this song encapsulates a strength and spirit to rise above adversity. 

While there was a lot of recording done during this time, Exile On Main St. was put together in a way that many feel captures the essence of rock and roll music and is The Rolling Stones at their best and most creative. When describing the album art that makes up Exile On Main St.’s cover, frontman Mick Jagger stated that it shows a “feeling of joyful isolation, grinning in the face of a scary and unknown future.” And while those themes do present themselves on this album, along with outlaw blues related themes, Exile On Main St. also features more universal themes. Musically the album seamlessly blends all the elements of rock and roll music up to that point in 1971 and beyond. With Exile On Main St, The Rolling Stones proved that sometimes even when exiled from everything you know you can find yourself.  

Rolling Stones Exile On Main St. Playlist:

1. The Rolling Stones - Title 5 (Exile On Main St: Deluxe Edition - Rolling Stones Records/Universal Music - 2010)
2. The Rolling Stones - I'm Going Down (Outtake) Exile On Main St: The Real Alternate Album
3. The Rolling Stones - Rocks Off (Exile On Main St. - Rolling Stones Records - 1972)
4. The Rolling Stones - Rip This Joint (Live) (Ladies & Gentleman: The Rolling Stones (Live 1972) - Rolling Stones Records/Eagle Vision - 2010)
5. The Rolling Stones - Shake Your Hips (Live) (The Montreux Rehearsals)
6. The Rolling Stones - Casino Boogie (Exile On Main St. - Rolling Stones Records - 1972)
7. The Rolling Stones - Tumblin' Dice (Live) (Ladies & Gentleman: The Rolling Stones (Live 1972) - Rolling Stones Records/Eagle Vision - 2010)
8. The Rolling Stones - Sweet Virginia (Exile On Main St. - Rolling Stones Records - 1972)
9. The Rolling Stones - Torn and Frayed (Exile On Main St. - Rolling Stones Records - 1972)
10. The Rolling Stones - Sweet Black Angel (Instrumental Version) (Exile On Main St: The Real Alternate Album - Red Tongue Records - 2012)
11. The Rolling Stones - Loving Cup (Alternate Take) (Exile On Main St: Deluxe Edition - Rolling Stones Records/Universal Music - 1972/2010)
12. The Rolling Stones - Happy (Live) (Ladies & Gentleman: The Rolling Stones (Live 1972) - Rolling Stones Records/Eagle Vision - 2010)
13. The Rolling Stones - Turd On The Run (Exile On Main St. - Rolling Stones Records - 1972)
14. The Rolling Stones - Ventilator Blues (Exile On Main St. - Rolling Stones Records - 1972)
15. The Rolling Stones - I Just Want To See His Face (Exile On Main St. - Rolling Stones Records - 1972)
16. The Rolling Stones - Let It Loose (Instrumental Version) (Exile On Main St: The Real Alternate Album - Red Tongue Records - 2012) 
17. The Rolling Stones - All Down The Line (Alternate Version) (Exile On Main St: Deluxe Edition - Rolling Stones Records/Universal Music - 1972/2010)
18. The Rolling Stones - Stop Breaking Down (Exile On Main St: Deluxe Edition - Rolling Stones Records/Universal Music - 1972/2010)
19. The Rolling Stones - Shine A Light (Alternate Version) Exile On Main St: The Real Alternate Album
20. The Rolling Stones - Soul Survivor (Alternate Version) (Exile On Main St: Deluxe Edition - Rolling Stones Records/Universal Music - 2010)
21. The Rolling Stones - Good Time Women (Exile On Main St: Deluxe Edition - Rolling Stones Records/Universal Music - 2010)
22. The Rolling Stones - I'm Not Signifying (Exile On Main St: Deluxe Edition - Rolling Stones Records/Universal Music - 2010)
23. The Rolling Stones - So Divine (Aladdin Story) (Exile On Main St: Deluxe Edition - Rolling Stones Records/Universal Music - 2010)

To hear this program, visit CJAM's schedule page for Revolution Rock and click the February 5 file to download/stream the episode.

Coming Up On Revolution Rock in February 2022!

As February arrives, Revolution Rock is prepping for its annual theme month programming. Every episode that airs in February will be devoted to a specific theme. Dave and Adam have some cool programming lined up ranging from our annual Black History Month program to our Revolution Surf episode. Revolution Rock can be streamed and downloaded from cjam.ca (and also after it airs on this website). Last year Revolution Rock became a syndicated program and can now be heard on twelve other campus/community radio stations across Canada in addition to CJAM FM.

Continue reading to find out about this year’s schedule for Theme Month:

Stones in Exile: The 50th Anniversary of The Rolling Stones Exile On Main Street Album
Saturday February 5th, 2021
7-9 PM EST
CJAM 99.1 FM (www.cjam.ca)

Originally released in May of 1972, Exile On Main Street is a double album released by The Rolling Stones. The recording of the album began in 1969 and continued into 1971 in the South of France in a villa rented by Keith Richard named Nellcote. At the time the band was living abroad as tax exiles, the basement rooms of the villa became the studio where the band would record the album. Recordings stretched across many days and nights as the band worked with a mobile recording unit. The sessions were described as disorganized and loose. At the time there were many other factors at play during the recordings including drug use, the conditions of the studio, growing disparity between the band members and their personal lives, hangers on and people coming by during the sessions. However as a result, Exile On Main Street was pieced together from these sessions in a double that many feel is The Rolling Stones at their best and most creative. Overdubs were done at Sunset Sound in Los Angeles. Musically the album dove into blues, country, gospel and rock and roll music in a variety of styles. Although it was met with some mixed reviews at the time of its release, it is now seen as one of their best. In 2010, a 40th anniversary edition of the album was released which featured a bonus disc made up of outtakes and alternate versions of songs recorded for the album. On this episode we will play the album in its entirety, but with a twist. We will be playing the full album, but made up of different versions of the songs from the sessions and live recordings. The show will also feature a selection of outtakes recorded from the session.

Houserockin’: Revolution Rock Celebrates Black History Month
Saturday February 12th, 2021
7-9 PM EST
CJAM 99.1 FM (www.cjam.ca)

In the mid 1980’s Mick Collins helped form the seminal and now legendary garage punk band The Gories in Detroit, Michigan. The band, who still plays live to this day features Mick Collins on vocals/guitar, Dan Kroha on guitar/vocals and Peg O’Neil on drums. After three albums and a series of singles the band broke up after a European tour in 1992. Collins also formed The Dirtbombs in 1992. The band started as a side project and started recording in 1995. They went on to go much further than that blended diverse influences such as punk, soul also featuring dual bass guitar and a dual drum and guitar lineup. The band has had an ever-changing lineup. Every album the band releases is different, but not in the traditional sense. For example 2011’s Party Store features rock covers of early Detroit techno and house music, 2001’s Ultraglide in Black is a collection of soul, R&B and Motown covers, 2013’s Ooey Gooey Chewy Ka-blooey! is a bubble gum record. Mick has also been involved in many other bands such as Blacktop, King Sound Quartet and more recently Wolfmanhattan Project. On this episode of Revolution Rock, we will have sets of music featuring music with Mick Collins, as well as sets of music from other artists and genres such as Nina Simone, Howlin' Wolf and Salome Bey in celebration of Black History Month.

Still YC: A Special On You’ve Change Records
Saturday February 19th, 2021
7-9 PM EST
CJAM 99.1 FM (www.cjam.ca) 

 You’ve Changed Records is an independent, artist run record label. Founded in 2009 by Daniel Romano and Steven Lambke, the label celebrated its 10th anniversary in 2019. The first official released on You’ve Changed Records was Shotgun Jimmie’s Still Jimmie in 2009. The label has released music by Shotgun Jimmie, The Weather Station, Marine Dreams, Partner, Nap Eyes, Leanne Betasamosake Simpson, Fiver, Jon McKiel, Status/Non-Status, Julie Doiron, music from Steven Lambke and Daniel Romano and other bands that he has been a part of or collaborated with such as Daniel Romano’s Outfit, Ancient Shapes, Baby Eagle, Julie Doiron. Each release that You’ve Changed releases has its own unique art/album covers and design. Romano started out playing in indie folk acts Attack In Black and Daniel, Fred & Julie. Steven Lambke is known as being a member of the band Constantines. He has also been the creative director of Sappyfest since 2017 and has released music as Baby Eagle and as a solo artist. In 2020, Daniel Romano released numerous albums at an amazing rate. Nine albums, an EP and a 22-minute track with Tool’s Danny Carey were released by Romano in 2020. A major feat for any artist and all of them are great. On this episode we will feature selections from the You’ve Change Records discography.

Revolution Surf 2022
Saturday February 26th, 2021
7-9 PM EST
CJAM 99.1 FM (www.cjam.ca)

Every year theme month ends with our annual surf rock special titled Revolution Surf. Early surf music’s sound was dominated by the use of reverb units that were developed by Fender guitars in 1961. In the future they would be built into the amplifier, but at this point in the early 60s, they were separate units utilizing springs that helped to create that reverby sound that emulates what waves sound like. Now you can just add it as a setting when using a computer or on a guitar pedal or amplifier. For this year’s episode there will be no theme. The episode will be made up of a mixture of new and old surf and instrumental music from the past and present. Whether it was made with an old-fashioned reverb unit or one of the more modern reverb methods, Revolution Surf will end out this year’s theme month once again with a mix of surf sounds.

Sticky Fingers & Show # 569

1971’s Sticky Fingers represented a lot of things for both The Rolling Stones and the culture in which they were interwoven at the time. Although the album was recorded through a series of sessions that began in March of 1970, Sticky Fingers captures the band in their raunchy, sleazy, ragged glory in a way that some feel hasn’t been replicated in such capacity since. The album’s opening cut, the now classic “Brown Sugar” attacks with a primal groove and an intro emphasizing Keith Richards riff-style, but also at the same time displays a loss of innocence. This can be said in part with the songs lyrical content, but also in The Rolling Stones universe in 1970/1971. This album marked the first release in which The Stones were no longer associated with their manager and Decca records and it was also the first album in which Mick Taylor was a full force as a member of The Rolling Stones. Previously Taylor appeared on 1969’s Let It Bleed, but only the tracks "Country Honk" and "Live With Me". Also at the same time, the culture was breaking out of the 60’s mindset and Sticky Fingers addresses things in certain ways, while at the same time seeming to pay homage to the band’s earlier roots and influences that were dominate on their early recordings.

“Sway” comes in as the second of ten tracks on Sticky Fingers. This song swoons with a feeling as Jagger sings of abandonment emphasizing a sense of debauchery, but one that oozes with sentiment. The lyrics “Its just that demon that life has got me in its sway” all add to the soundscape created on this track. Although this song contains the elements that people identify with as The Rolling Stones sound, Keith Richards does not actually play guitar on this track, Mick Jagger provides the rhythm guitar as Mick Taylor plays lead. Keith does however add backing vocals, along with a few other guests. “Wild Horses” is a country ballad with folk elements. The song features 12-string guitar combined with Nashville tuning and once again tapped into the Jagger/Richards songwriting formula as well as a feeling that Richards stated in 1993 as “not wanting to be on the road, being a million miles from where you want to be”. “Can’t You Hear Me Knocking” slides in with crunchy guitar as Charlie Watts provides a rhythmic swing on the drums in conjunction with Bill Wyman on bass. Lyrics, compared to the music featured here, seem secondary, but they do however take the listener into a seemingly seedy underworld. Musically the song features a long instrumental outro, which delves into elements of jazz, funk and blues with Latin sounding rhythms. This was apparently not planned, the band kept playing after approximately the 2:30 mark. The result was one of the longest songs in the band’s catalog and one that featured equal parts raunchiness and experimentation.

With “You Gotta Move” The Stones take on a traditional song done by Fred McDowell that features bass drum, filthy acoustic guitars and sizzling guitar lines from Mick Taylor that swelter along with the lyrics sung by Jagger and Richards that convey a sense of desolation. “Bitch” is another up-tempo number similar to “Can’t You Hear Me Knocking” or Brown Sugar”. This song makes excellent use of swanky horn sections, while at the same time draws a similarity to a song by The Temptations and conveys a message of love in general being a “bitch”. “I Got The Blues” makes use of horn sections once again, but this time The Stones display their soul influences up front, an Otis Redding influence also appears to surround this track, while “Sister Morphine” addresses the gritty realities of drug addition. Originally recorded for 1969’s Let It Bleed, this song was saved for this album’s inclusion and features slide guitar from Ry Cooder”.

“Dead Flowers” brings The Stones foray into country back into the spotlight at track nine on this album. The band’s country influence began due to the friendship struck up by Keith Richards and country-rock musician Gram Parsons and can be heard on songs such as “Dead Flowers”, “Far Away Eyes” and “Sweet Virginia” for example. On “Dead Flowers”, The Rolling Stones provide cool and breezy country sounds contrasted with lyrics that tell the story of broken hearts, upper class socialites and drug addiction. The song’s title takes on several meanings as the chorus hits portraying both a reflection of a broken relationship and heroin addiction, but also features many elements that can take on universal meaning. “Moonlight Mile” ends Sticky Fingers. The song is a ballad that is illuminated with lyrics and music that portray the paradoxes and loneliness of being on the road. The song features a string arrangement by Paul Buckmaster, perhaps best known for working with Elton John and piano by Jim Price, not Ian Stewart. His absence from this track is said to be due to his dislike of songs with minor chords. As Sticky Fingers fades out, the album exudes a feeling that is difficult to pinpoint. The balance between the bands sleazy swagger and atmosphere created on Sticky Fingers sweats with anticipation. The Rolling Stones would take their sound further into the 70s next with the eighteen-song album Exile On Main St., but with Sticky Fingers The Rolling Stones drift away from the decade that was the 60s and onward to their own exile.

Saturday Night Playlist:

1. The Rolling Stones - Can't You Hear Me Knocking (Alternate Version)
2. The Rolling Stones - Sway
3. The Routes - At The Bottom
4. The Black Angels - Twisted Light
5. Breakker - Faze Game
6. Super Visas - What I Can
7. Pere Ubu - Humor Me (Live)
8. Richard Hell & The Voidoids - I Been Sleeping On It
9. The Beatles - I Saw Her Standing There (Live At The Star-Club, Hamburg, Germany 1962)
10. Thirsty Souls - Don’t Know What I Don’t Know (Yeah!)
11. Buddy Selfish - It’s Only Make Believe
12. Bloodshot Bill - Don’t Bug Me Baby
13. Bloodshot Bill - Come Back To Me
14. The Rolling Stones - You Gotta Move
15. The Rolling Stones - Dead Flowers (Alternate Version)
16. Wilco - Random Name Generator
17. Shotgun Jimmie - Summer Sound
18. Mick Futures - Tentative Issue
19. Grounders - Bloor Street And Pressure
20. Meat Puppets - Leaves
21. Martha Wainwright - When The Day Is Short
22. The Mighty Swells - Runaway
23. New York Dolls - Don’t Mess With Cupid (Demo)
24. Television - Friction
25. Cowboy Junkies - Dead Flowers (Live)
26. Shotgun Jummie - Impossible Popcycle
27. The Rolling Stones - Moonlight Mile

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for July 18. Or subscribe to Revolution Rock as a Podcast.

Confessin' The Blues ... The Rolling Stones 12 X 5 & Show # 420

Released in 1964, 12 X 5 was the second album released by The Rolling Stones in America. The album was recorded primarily at the legendary Chess Studios in Chicago and the other tracks were from recording sessions taken from Regent Sound in London. The album had its beginnings from an EP that was originally released in the UK. The EP was entitled Five By Five, but since EP’s did not sell well in the US, the EP was expanded into a twelve track album which resulted in the title 12 X 5, twelve songs by a band made up of five musicians. As a whole, the album exemplified The Rolling Stones early R&B/Blues Rock based sound as well as advancement in their song writing abilities. 12 X 5 featured several original compositions alongside cover songs. There were three Jagger/Richards compositions (“Good Times Bad Times”, “Congratulations”, “Grown Up Wrong”), as well as two tracks (“Empty Heart”, “2120 South Michigan Avenue”) accredited to Nanker Phelge which was a pseudonym used by the band when it was a group composition, it was used from 1963-1965. 12 X 5 was not released in the UK it was instead released separately, on the Five By Five EP, the It’s All Over Now single and in part on the The Rolling Stones No. 2 album. UK and US releases were at the time released with different track listings and titles. US releases were different usually to include charting UK singles in hopes that they would sell better.

The album 12 X 5 starts off with “Around and Around” a song originally by Chuck Berry, while it may not have been the first Chuck Berry song for the band to cover it is often called their best Chuck Berry cover, it had been at the time one of the energetic staples of their live sets. The second track found on this album “Confessin’ The Blues” is a slow Blues groove, along with “Good Times Bad Times”, the album also features the UK hit “It’s All Over Now”, which is a rocked up Soul song originally by Bobby Womack that would reflect the bands future Garage R&B sounds. “Time Is On My Side” is another highlight found on the album, and it was yet another hit in the UK, in the US it was their first top ten single. The version of “Time Is On My Side” differs from the single version, it is referred to as the “organ version”, this version features prominent organ parts as opposed to the other version which features more electric guitar, the song was originally by Jerry Ragovoy, that had been covered by Soul artist Irma Thomas.

In terms of The Rolling Stones original compositions found on this album, many people say that it is the band coming into their own, but that they are not so strong. “Empty Heart” is often attacked, but the song is often overlooked for its endearing qualities, the song features a Bo Diddley tremolo-like rhythm with soulful organ and Blues parts added to it, “Congratulations” is the Stones attempt at an early Pop song, while “Grown Up Wrong” bashes along with an Elmore James influenced slide guitar parts, but it is as with other songs found on this album whether covers or originals, reflections of the bands early influences. To have been recording an album at Chess Studios in Chicago which produced many recordings by artists that had a big influence on the band must have had an impact. In fact there is a song found on the album entitled “2120 South Michigan Avenue”, it is not only a rare instrumental from the band but also the address of the legendary Chess studio.

Lyrically the songs were starting to mark the beginnings of the lyrical subject matter that the band would be known for in the late 60's, "Mother's Little Helper", "Satisfaction", "Have You Seen Your Mother, Baby, Standing in the Shadow?", and "Paint It Black" come to mind, they exposed the underside side of suburban life. And while "Empty Heart" may have seemed like filler to some the lyrics "Empty heart is like an empty life" and the lyrics to "Grown Up Wrong" serve as the embryonic structure that was forming within the band context, as Mick, Keith and co. started to questions the very make up of society. Taking into consideration also that at that point in time in 1964, there were very few bands releasing original material it was not only a huge feat for the band, but also something new at the time.  It should however,also be noted that the bands covers were not just merely replications of the originals, "It's All Over Now" exemplifies this best. They took what they knew and made it their own.

12 X 5 has a certain flow to it, a certain synchronization that can be seen as a representation of the band past and future. While the Chess recordings ooze with Blues and Soul the album progresses to the ender “Suzie Q”, yet another cover song. This song is perhaps an important ender because this rocked up version of the Dale Hawkins song ends the album on a loud note, it has an almost Dave Davies-(of The Kinks) like guitar tone quality. And it may be true that this album was mostly put together from two separate recording sessions done at Chess Studios and Regent Studios, but The Rolling Stones are just starting out here, just starting to break out of the cover song mould and they are advancing their sound with better production techniques than their debut album England's Newest Hitmakers. It would be some time before they released an album having all original songs (that would be 1966’s Aftermath), but The Stones would progress from their Blues and Soul influences into their own brand of R&B Rock, which is still today this day trying to be emulated. 12 X 5 marks the beginning of the Jagger/Richards song writing partnership that would dominate the bands music, not unlike the Lennon/McCartney song writing partnership that would dominate their music, it was a sign of things to come.

This Week's Play List:
1. The Visitors - Living World
2. Teenage Head - Top Down
3. Tranzmitors - Concrete Depression
4. Sebadoh - Gimme Indie Rock
5. Sugar - Changes
6. Dog Day - What She Says
7. Craig Martinson - Heartbeat
8. Woods - Military Madness
9. Swans - The Daughter BringsThe Water
10. The Spooky But Nice - Sun Goes
11. Elk - Flowers
12. The Howlies - Stunned
13. King Khan & The Shrines - (How Can I Keep You) Outta Harms Way
14. Kyuss - Hurricane
15. Japandroids - Evils Sway
16. Wolf Parade - You Are A Runner…
17. Tom Waits - Make It Rain
18. Reigning Sound - Shaw
19. Mystics - Can't Be Happy
20. The Rolling Stones - Confessin' The Blues
21. The Rolling Stones - Empty Heart
22. The Rolling Stones - 2120 South Michigan Avenue
23. Light Bulb Alley - Pepper Spray

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 4. Or subscribe to Revolution Rock as a Podcast.

Before They Make Me Run ... Rolling Stones Some Girls Reissue & Show # 386

In 1978 The Rolling Stones released the album Some Girls, an album that is often referred to as the album that saved the Stones. At the time it was being recorded, the future of the band was uncertain. Keith Richards was busted for Heroin possession and on trial for drug related charges in Canada, there was the possibility of him going to jail. In addition to this, Punk and Disco music had taken over the younger generations of music fans, the bands future was as mentioned earlier uncertain. With Ron Wood of The Faces officially becoming a Rolling Stone, in October of 1977 the band began sessions for what was to become the Some Girls album. The sessions were recorded at Pathe Marconi Studios in Paris and were completed in March of 1978. This period in the bands recording history was extremely prolific, the band ended up with approximately fifty new songs, which would be released on bootlegs for decades. Several of these extra songs were also used on the albums Emotional Rescue and Tattoo You, albeit in alerted states, most notably the Some Girls outtake “Start Me Up” which wound up on Tattoo You. Further tracks would be released on the 2011 deluxe edition of Some Girls, but more on that later.

Some Girls yielded many bonafide Rolling Stones classics which absorbed influences from the bands past and present. “Miss You” was influenced by Disco, but there is an underlying Punk influence through out this album, Jagger has said in interviews that the album was very influenced by New York at the time which was in a state of transition from Punk to Disco. The influence of New York Punk is apparent on the track “Shattered”, where Jagger rants in a Richard Hell vocal style. The album is sleazy and raunchy, it is known for having a stripped back production based approach. Albums prior to this one such as It’s Only Rock ‘n Roll and Black And Blue had rotating casts of guest musicians and high production values. Some Girls also featured more classic songs such as “Beast of Burden” possibly one of the best Stones ballads ever released, “Lies”, the Country Parody “Far Away Eyes” “Respectable” Keith Richards outlaw anthem “Before They Make Me Run” and “When The Whip Comes Down”. Some Girls certainly packed a much needed punch for the band, and one that could have very well had a different outcome. In addition to this Mick Jagger played guitar on many tracks on this album and the album also produced much controversy lyrically on tracks such as “When The Whip Comes Down’ and “Some Girls”.

Visually the band also brought in another controversial element, the artwork. The albums cover which featured women in lingerie originally featured famous celebrities Lucile Ball, Farrah Fawcett, Raquel Welch and some others, they threatened the band with legal action. As a result a new cover was made, although several copies made it out to print with the original design. With all the factors that surrounded it, Keith’s drug charges, Ron Wood entering into the Stones fold, and most importantly the uncertainty, it produced a classic album which proved that following Keith’s dropped charges, The Rolling Stones weren’t going anywhere anytime soon.

Now fast forward to 2011, The Rolling Stones release a deluxe edition of Some Girls containing a bonus disc of twelve previously unreleased tracks from the Some Girls sessions. The album is just as gritty and raunchy as Some Girls was in 1978, but it addresses more of a R&B, Country Western, Blues and Boogie influence. There are inflections of Country which is not unheard of in The Stones catalogue. The album features several songs which were added to in the same way that the band did for the Exile On Main St. bonus disc of outtakes, but it is very hard to tell. Additions were made to songs, most notably “No Spare Parts” a song featuring newly recorded vocals from Jagger which has currently climbed the Billboard Hot Singles charts.

The album is a great companion to the Some Girls album, and although some fans may argue that there weren’t early versions of songs found on Some Girls or even the B-Side “Everything's Turning To Gold”, this bonus disc has plenty to offer that will appeal to any Rolling Stones fan. The album starts off with the controversial and filthy Boogie Woogie of “Claudine”, a song which lyrically is about Claudine Longet’s shooting of her boyfriend Spider Sabich. Other highlights includes the filthy cool of “So Young”, the Soulfully Keith Richards sung “We Had It All” a song originally by Waylon Jennings, a cover of the Hank Williams song “You Win Again”, a raunchy rendition of “Tallahassee Lassie”, and the greasy “I Love You Too Much”. The album ends with a short piano piece “Petrol Blues”, often labelled as a throwaway track, but one that fits perfectly with this collection of songs. When looking back on this release the bonus disc really does make it worth while, the twelve previously unreleased tracks pack enough sleaze and swagger to knock you out.

This Week's Play List:

1. Sonic Avenues – Television Youth
2. The Dry Heaves – Factory Punishment
3. Action Makes – Bellhop
4. Steve Diggle – Life On The Telephone
5. The Quiet Americans – Be Alone
6. Surf City – Teachers
7. Kinetic Ideals – Together
8. Logikparty – Anti-Omerta
9. Lightning Love - Deadbeat
10. John Cale – Whaddya Mean By That?
11. James OL & The Villains – Late Night Drive (2011 Demo)
12. The Schomberg Fair – Black Train
13. Solvents – Is It Really So Strange?
14. The Skaliwags – Turn Him Down
15. Mutts – Done It Again
16. Radiohead– I Might Be Wrong (Live)
17. Radio Birdman – What Gives?
18. Nothing At All – Busted
19. The Spits – Get Our Kicks
20. The Modernettes – Won’t Have To Worry
21. The Carbonas – Phone Booth
22. The Rolling Stones – Do You Think I Really Care
23. The Rolling Stones – Tallahassee Lassie

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for January 10. Or subscribe to Revolution Rock as a Podcast.

Rolling Stones...Got LIVE If You Want It! & Show # 382

Released in 1966, Got LIVE If You Want It! is the first full length live album release by The Rolling Stones.  Its title is a play on words, the title originates from the Slim Harpo song "I Got Love If You Want It".  The album has undergone much controversy due to its sound quality and whether or not the album is all live recordings.  It has been released in various editions, some even featuring different mixes which can confuse even the most devout Rolling Stones fan. The album originally was released under the same title as an EP in the UK in 1965, becoming the last official EP from the band and one of the first live recordings of the band to be released, it was also only available in the UK. As part of a contractual obligation Got LIVE If You Want It! was released as an LP in the US for the bands US distributor. The band had already released a full length LP (Aftermath), and a compilation album in the very same year, the US market needed another Stones release to fill in the gaps due to the fact that their next full length album Between The Buttons would not be available in time for the Christmas season of that year. The US market for Rolling Stones products was in very high demand, so Got LIVE If You Want It! was released in December of 1966 on London Records.  With the exception of the song "I'm Alright", the Got LIVE If You Want It! LP featured a different track listing than the EP of the same name. 

The album claimed to have been recorded at Royal Albert Hall in the UK upon the bands return to the English stage on September 23rd, 1966, but it was not. The album was actually primarily recorded between October 1st and 7th of 1966 in New Castle and Bristol. Since most of the concerts in those days lasted sometimes barely thirty minutes and were often riotous, it has been suggested that although the recordings were attempted at Royal Albert Hall, they were unusable due to all of the chaos, and that is something that this album seems to capture very well, the riotous, energetic chaos of Rolling Stones concerts n the 60s. The album was also filled up with overdubs and studio recordings that were made to sound like live recordings. “I’ve Been Loving You Too Long” was actually a studio outtake recorded in 1965 and featured overdubs of organ and screaming girls in order to match the rest of the live album sound.  The other studio recording found on this release was the song “Fortune Teller” a song which dates back to a studio recording in 1963 that was never issued, it of course featuring screaming girls and crowd noise overdubs. It should be noted that the original unedited versions of these two tracks can be found on the More Hot Rocks (Big Hits & Fazed Cookies) compilation album. 

The sound of the original LP has often been scrutinized as being, muddled, off kilter and un-listenable, but despite this the album went to number six on the US Pop album charts in 1967, even going gold. The album was released for import purposes in the UK as Have You Seen Your Mother LIVE! by Decca Records, and as Hits LIVE! in Japan. In the 80s ABKO Records went back to the original tapes and re-edited and mixed Got LIVE for CD in consultation with the producer Andrew Long Oklham. In 2002, the album was re-mixed and re-mastered for CD and SACD, and proves to be one of the best sounding versions of the album. When comparing and contrasting the original Got LIVE If You Want It! LP from 1966 to the 1965 Got LIVE If You Want It! EP, there is a notable difference in sound quality, the EP is often praised for its superior sound.  The original 1965 UK EP of Got LIVE, features a different mix of the song "I'm Alright" the vocals on the EP differ from the LP version of Got LIVE, while the backing track remains the same. The additional tracks found on the 1965 EP were issued on the US albums Out Of Our Heads, and December's Childern (And Everybody's) ("I'm Alright", "Route 66", and "I'm Moving On"). The UK EP remained out of print for a long time until it was released in 2004 as part of the ABKO Singles 1963-1965 Box Set on CD.

The Rolling Stones themselves have been very vocal on the matter of this album, they were not happy with the original release and disowned it, stating that their 1970 live album Get Yer Ya-Ya’s Out is the ultimate live Rolling Stones album and their true live debut album. Its hard to disagree with that statement, if you listen to Get Yer Ya-Ya’s Out and Got LIVE If You Want It! back to back, but both serve as important historical documents in different eras of the bands history. While Got LIVE If You Want It! was initially labeled as a let down, it has aged well, serving as a historical documentation of Brian Jones era Rolling Stones. From the fast version of "Under My Thumb” to the whirlwind speed of “Satisfaction” Got LIVE If You Want It! displays The Rolling Stones in all their 60s Garage Rock ragged glory.

This week's play list:

1. Lost Patrol – Commanche
2. The Treblemakers – The Grudge
3. Fuzz Aldrin – Trailer Park Quarintine
4. The Cryptics – You’re Evil
5. Thee Oh Sees – Crushed Grass 
6. Ty Segall – Standing at the Station 
7. The Mekons – Where Were You? 
8. Black Flag – Wasted 
9. The Boomtown Rats – She’s So Modern
10. Indoor Voices – Like Your Own 
12. Wild Domestic – Universally Known/Already Forgotten 
13. Talking Heads – Air
14. Richard Hell & The Voidoids – Ignore That Door (Destiny Street Repaired Version) 
15. The Pogues - Cotton Fields
16. Gone Wrong – Our Last Storm (War of 1812)
17. Johnny West – Revenge Is Sweet
18. The Police – Fallout
19. Supergrass – Sun Hits The Sky
20. Klark Kent – Office Girls
21. Shannon & The Clams – Cult Song
22. The Sphinxs - Bad Head
23. The Standells - Dirty Water
24. The Rolling Stones – The Last Time (Live)
25. The Rolling Stones - 19th Nervous Breakdown (Live)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 13. Or subscribe to Revolution Rock as a Podcast.

Cool, Calm, Collected...The Rolling Stones Between The Buttons & Show # 326

In 1967, The Rolling Stones released their fifth full length studio album Between The Buttons. In 1966, albums were being released such as Pet Sounds by The Beach Boys, Revolver by The Beatles and Blonde on Blonde by Bob Dylan all highly influential records, but also records that expanded and challenged the boundaries of Rock music. While the Stones released Aftermath the year before, Between the Buttons has often been over looked not only given the variety of high quality albums being released at the time, but also in comparison to many great albums that The Rolling Stones have in their catalogue. The album has been said to have been an album where the band began to experiment with elements Psychedelic music. The band would further their psychedelic experimentation on their album Their Satanic Majesties Request. The album featured songs that differed from the Garage Rock and Blues based ethics that the band had been known for. The songs were catchy, but they still had a unique grittiness that the Stones have been associated with.

The only single released from the album was "Let's Spend the Night Together" backed with "Ruby Tuesday”. On the UK edition of Between the Buttons, those two songs did not appear. The album would reach #3 on the UK album charts despite its differentiation from the bands previous albums. The US version of the album would feature "Let's Spend the Night Together" and "Ruby Tuesday" cutting the tracks for "Back Street Girl" and "Please Go Home".  Those two songs would later appear on a compilation album Flowers. It should also be noted that in the US "Ruby Tuesday" reached number one on the singles charts, while the album Between the Button went to # 2 on the top album charts. The album was produced by Andrew Long Oldham and was recorded in two parts. The first recordings began in 1966 in Los Angeles and later that same year in London, England. Oldham's influence is prevalent on this album more than any of the bands previous albums, it would also be The Rolling Stones last album with him, they would have a falling out after this album. He employs a Phil Spector layered production style on certain tracks such as "Yesterday's Papers", "My Obsession", and "Complicated".

The first track on the album is "Yesterday's Papers". The song was written by Mick Jagger himself (usually he wrote the majority of Rolling Stones songs with his writing partner and Stones guitarist Keith Richards). The song is aimed at a sour relationship that Mick Jagger had at the time with Chrissie Shrimpton. Brian Jones plays a variety of exotic musical instruments on this song (and on the album for that matter). He played the Harpsichord and Marimba, Keith Richards supplies the distorted guitar. From the very beginning the song is different and it is obvious that the Stones were expanding their song writing abilities within the realm of Psychedelic Rock music. "My Obsession" is a rumbling track. Featuring heavy bass and guitar distortion along with a steady hard hitting drum pattern from Charlie Watts, this song is an interesting feature on the album. With its start and stop rhythm and rapid piano parts it's an example of a great track found on Between the Buttons. Another interesting track found on the album is "Connection". With heavy piano, stabbing Chuck Berry influenced guitar parts it is sung by both Richards and Jagger, but primarily Keith Richards sings this one. Keith himself has said that this is one of his favourite obscure Rolling Stones songs. Lyrically the song deals with the long hours spent waiting at airports and the pressures that the band were going through at the time. Both Richards and Jones were arrested on drug charges prior to the song being recorded, the song is also a popular live track.

"She Smiled Sweetly" is one of the slower songs found on Between the Buttons. Taking on a Bob Dylan inflection, It features heavy plodding bass and prominent Organ, it was also featured in the movie The Royal Tennanbaums in 2001. "Cool, Calm, Collected" is definitely a song with Psychedelic connotations, it has honky tonk styled piano, and Kazoo. It is also undeniably catchy. Other interesting tracks include the Raucous "All Sold Out", the electric Bo Diddley Rhythm of "Please Go Home", and the strange and seemingly Music Hall influenced "Something Happened To Me Yesterday", which lyrically addresses taking Psychedelic drugs. Overall, Between the Buttons fits its title. The band was in a creative, innovative period in their career, they were writing in between their earlier Garage R&B sound mixing it with Psychedelics. Following this album the band went full out Psychedelic on Their Satanic Majesties Request, thus ending their Psychedelic period. Between the Buttons itself is a great look into a small period of time in the Rolling Stones career that is often overlooked.

The Play List:

1. The Black Angels - Telephone
2. Elvis Costello & The Imposters - Go Away
3. The Mods - Wasting My Time
4. The Worst - I Don't Want You
5. The Chessmen - Time Machine
6. Huevos Rancheros - Raunchy
7. The Bayonets - Stuck In This Rut
8. The Corn Dogs - You Tell Me
9. The Modernettes - Celebrity Crack Up
10. Amber Squad - Tell You A Lie
11. Armed Forces - Pop Star
12. Lightning Raiders - Psychedelic Music
13. The Valves - Ain't No Surf in Portobello
14. Joe Strummer - Ambush At Mystery Rock
15. The Black Lips - Can't Bring Me Down
16. The Prehistoric Cave Strokers - Baby And Me (Fast Version)
17. Johnny West - Wine In A Water Glass
18. Yeah Yeah Yeahs - Mystery Girl
19. The Rolling Stones - Please Go Home
20. The Rolling Stones - She Smiled Sweetly
21. The Rebel Set - Poison Arrow
22. The Dirtbombs - Sherlock Holmes
23. White Stripes - I Can't Wait
24. Bob Dylan - Isis

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for November 16th. Or subscribe to Revolution Rock as a Podcast.