As part of Universal's Rolling Stones reissue campaign, this is the one. Any good music fan has bought "Exile" at least more than once - the 1994 Virgin CD reissue was notable for the reproduction of the original artwork, including the four postcards that came with the original vinyl pressings in 1972. Three different versions came out on May 18th, 2010. The first is a straight CD of the album, the second, or "Deluxe Edition" includes a second CD of outtakes and a DVD featuring a "making of" documentary, and this, the so-called "Super Deluxe Edition" has the two CDs, DVD, and a heavyweight vinyl version, as well as a cloth-bound book featuring the story of the album, brought to life by excellent photographs from Ethan Russell and Dominique Tarle, whose work adorns the original album. It also claims to be a "limited edition", which can tempt the purchaser to leave the plastic on and wait a couple of years to list it on ebay for a ridiculous amont of money.
The very heavy 12" x 12" box contains a feast for the eyes as well as the ears: The cover sleeve is gloriously thick cardboard with a gorgeous matte finish. The colour of the title letters on the front appear much darker than previous vinyl reissues, the 80s version in particular bordering on neon pink (which, given the decade of manufacture, is not surprising). This is more of a rich plum, not unlike the '94 Virigin edition, which appears to be the same as on the original. First out is a stunning 12 x 12" cloth-bound book, with some great photographs of the Stones and sundry hangers-on at work and play. Accompanying text by Anthony DeCurtis is, unfortunately, printed on pages 1/3 the size of the photos, making for a somewhat clumsy read. The small font may also be an issue for most purchasers, the bulk of whom will be over 40 and either on the edge of or deep within the bifocal years. The first section is printed on heavy matte pages, which gives way to some great live shots on glossy paper. And now, the discs! The album's contents are in a faithful reproduction of the original sleeve, on a sort of glossy-matte (if that's possible) heavy cardboard triptych; it appears to have all come full-circle with this LP sized package in the same format as some CD deluxe editions. First up is a black 8 x 6" envelope containing four 5 x 7" postcards, the same available with the original album, it says here. Behind that, the two CDs and DVD are housed in cutouts in the middle sleeve of the triptych. The small circle of tape holding the postcard envelope closed, by the way, is sticky enough to rip the lip of the envelope, so proceed with caution. The vinyl inner sleeves seem to be a 100-pound paper, with more glossy-matte photos like in the original. The middle labels, or "donuts", are faithful reproductions of the first issue, and the heavy-weight 180 gram vinyl is much deserved for an album of this stature.
As for the sound, as audiophiles know, each time a master tape is transferred to either a vinyl cutting master or digitized, it loses some fidelity. Attempts to restore this loss can result in harshness due to compression and a litany of other effects to replicate optimum sound. If one is to believe that the credits at the back of the cloth-bound book are accurate, it appears both Glyn and brother Andy Johns were involved in the remastering, along with Don Was (?) and Joe Zaganno. Stephen Marcussen did the final mastering with a mix by the venerable Bob Clearmountain. This bodes well. Cue CD 1: (Important note: All listening was done on a Sony PS-LX300USB turntable and a Panasonic portable disc player plugged into a JVC DR-E1 bookshelf stereo bought in 1987. What better way to judge the deftness of a remastering job was than on an average Joe ghetto set-up?) (Second important note: All factual errors concerning who played what belong to the author.)
THE CDs
"Rocks Off" The inevitable hiss is present, but what do you expect from backing tracks recorded in a basement almost 40 years ago? The piano's a little heavy in the mix, but given it's a percussion instrument, and original producer Jimmy Miller was a drummer, it's not surprising. The guitar is very clear, light years ahead of the '94 Virigin issue, and the separation's good. The horns are nice and crisp, and Keith's vocal is still somewhat buried, but this is how the Stones (Mick at least) meant it to sound. The vocal phasing on the middle eight sounds lovely. The background vocals (Oooooo's) during the verses could be a little louder. However, this is the first time I've ever really noticed that they're there, so that says something. There's also a very good balance and clear sound on Mick Taylor's lead runs.
"Rip This Joint" You would have to work very, VERY hard to make this track sound duff. At any rate, this sounds even more like it's coming from the union hall mentioned in the first verse, which is a good thing. Great levels and clarity on the piano and lead guitar. Bobby Keys' sax has also never sounded better, but it may have helped to have a little more in the bottom and mid-ranges.
"Shake Your Hips" I only recently discovered Slim Harpo's sinewy original, and it's only made me appreciate the Stones' version more, even if Jagger's vocal now strikes me as more of a piss-take. The percussion sounds as if it's in the room with me, and great sound on the guitars and vocal. The sax sounds a little compressed, but it seems to me it always has, by design.
"Casino Boogie" Charlie's tom smack on the intro sounds PHENOMENAL. Keith's vocal's at a better level this time, and the bass is bubbling up through the mix the way it should. This is a song for dancing - the crispness of the hi-hat is a nice treat, and the electric piano's just at the right level - everywhere, yet nowhere.
"Tumbling Dice" This one always sounds good, despite the version, but this one's particularily alive. The only complaint is Keith's guitar's too low. The honky-tonk piano runs get the same note as the electric piano in the "Boogie". Poor Keith's all but absent when the back-up singers come in.
"Sweet Virginia" The acoustic guitar is so clear - it almost cancels out the hiss. A really good balance with Mick's harp and Mick Taylor's sublime dobro work. Charlie's bass drum sounds like he stole it from a Salvation Army band - well done! Bobby's sax sounds as it should - like the element that the song was missing. The chorus singers are so clear you can pick out individual voices, and are spread expertly across the stereo spectrum.
"Torn And Frayed" The lead guitar work, which sounds likes Keith, is very loud, almost crowding the drums. There's a nice balance with the steel guitar, and Keith's still too quiet. He should've sang this song - Mick sounds like he's mocking Gram Parsons, which is understandable, as he was a ubiquitous presence at the tracking sessions until he was asked to leave.
"Sweet Black Angel" The acoustic guitar is pristine, the percussion sounds like it's in my room again, and the echo on Mick and Keith's vocals is divine, and much better balanced.
"Loving Cup" Gorgeous piano sound, again cancelling out the natural hiss, that is, of course, an integral ingredient to the charm of this record. The high-necked capo'd acoustic guitar has never sounded so good - clear as a bell and very present while still respecting the other instruments. A perfect mix - Keith's voice is still low, but it works well on this one.
"Happy" A great way to kick off the second disc, in no small part due to Keith's verging-on-disaster-but-then-back-from-the-brink vocal, Jimmy Miller's economically driving drums, Keith's funky bass and Mick Taylor's perfect guitar lead counter-points. The rhythm guitar's so clear you can almost hear the signal going through the pickup. The tambourine and ride cymbal sound louder - possibly a concession to the MP3 age. How is Keith's vocal still mildly buried?? And Mick's "back up" way too loud? Keith may have ran the bed tracks, but the overdubs and mixing were Mick's party. It would've been nice to have the extra-gutsy mono mix Keith put together that was heard in the "Cocksucker Blues" film in this package.
"Turd On The Run" Charlie's brush work here is very similar to Ringo's on "Lady Madonna", something I've never noticed before, which again, speaks volumes. You can really here the individual parts here, on what has pretty much been previously the muddiest track on a very muddy album.
"Ventilator Blues" Mick's double-tracked vocal sounds somewhat phased, or possibly over-compressed here, as was the intention, I'm sure, but again, it's so present and obvious that good work has clearly been done here. The horns are at the perfect level and the piano really drives the whole thing from behind the Wizard's curtain.
"Just Wanna See His Face" Little more than a studio jam, it sounds like it was recorded from the end of two halls, rather than just one. Good balance on the vocals, and I'm not sure who's on electric bass, Bill Wyman, Mick Taylor or Bill Plummer, as all three are credited, but one or all of them is nailing it. The drums sound both menacing and soothing, both a testament to Charlie's peerless playing and Jimmy Miller's impeccable ear for percussion.
"Let It Loose" A bit of crackle in the right channel from the Leslie'd guitar, but I'll blame that on my garbage amp. Keith and the girls could be a little louder, as usual, but the keyboard mixing here is superb.
"All Down The Line" Maybe the best song in the Stones' canon? A definite contender, at the very least. A funky backbeat, in-the-pocket bass, solid blues rhythm guitar, Clapton-esque leads and one of Mick's least forced vocals, with gorgeous backing from Keith and the girls that's almost properly balanced. The sub-Mariachi horns still punctuate perfectly, and the great separation only enforces the whole even more.
"Stop Breaking Down" The other cover on the albums, this sounds like a cousin to "Shake Your Hips". The weakest track on the album, it sounds like filler compared to "Shake", which was definitely more of a piece with this LP. Sonically, however, another stunner.
"Shine A Light" This one approaches the Sunday go-to-meetin' vibe they were going for, but falls just short. The echo on Taylor's leads and Charlie's snare smacks really stand out here.
"Soul Survivor" This one really evokes the title - it sounds like the last man standing after the battle, Bill Wyman's F sharp bass note on the D chord adding to the confusion and disorientation. Charlie's staccato drumming on this one has rarely been matched by anyone much less the man himself. Again, the background vocals seem to be better balanced, almost drowning out Jagger for a change. This and the level of Mick Taylor's guitar tells me Keith's mix won out. Nicky Hopkins' piano is balanced beautifully here, and is not in his usual style, sounding more like Jim Gordon's part on Derek & The Dominoes' "Layla" than from his "Western Honky-Tonk On Speed" niche. Nice seperation, but still muddy - again, that's what this record is all about, so it's a compliment rather than a complaint.
THE VINYL
We'll forgo the notes on mixes and processing and merely note that the definition and clarity of the 180-gram vinyl version of this album is nothing short of astounding. If ever there was an argument over analog vs. digital, it ends here.
THE BONUS TRACKS
As is usually the case, the extra tracks do little more than prove why they were left off the original album, but do offer a clearer picture of the creative process that resulted in one of the undisputed greatest records of all time. The addition of recent vocals to bed tracks was a tad puzzling, but it's the Stones material and they can do with it as they please. Suffice it to say, for obsessives only.
If you don't already own this album, the single-disc version should do just fine. The double-disc with ten outtakes is moderately priced if you need more, but if this is one of your desert island picks, it's worth the C-note and a half, and dragging a turntable out to said island.
The Rolling Stones "Exile On Main Street - Super Deluxe Edition" is currently available at most any music store, or online through sites like Amazon.com. It is a limited edition, so don't wait too long or suffer on ebay.
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