Jimi Hendrix, "Are You Experienced" UK Version [2013 Mono Vinyl Reissue]

       Due to the seemingly endless remastering/repackaging/barrel scraping of the late guitarists' back catalogue, it only made sense that eventually Experience Hendrix would get around to reissuing the much sought-after mono mixes of Jimi Hendrix' debut LP, "Are You Experienced?". After all, a high-quality vinyl mono edition of his second LP, "Axis: Bold As Love" has been available for well over a decade (though the now out-of-print, it too has been reissued during this campaign). The reason it took so long, according to various internet sources, was that the mono masters of the UK (and, apparently, the US edition) were missing. Having to use a needle-drop (a high-quality transfer from a mint-condition LP) wouldn't have seemed out of the question for EH, given the quality of some of the outtakes that seem to never run out anytime interest in Hendrix seems to wane even slightly.

       For many mono-heads, bootleg needle-drops have been the only source for hearing the UK and US versions of Hendrix' first LP - we'll concentrate here on the UK version as mentioned in the title. A French pressing on the Barclay label is of particular sonic excellence. The story is the French record company was given the UK mono master and either ignored EQ instructions or simply took it upon themselves to add extra bass to the cut to vinyl, resulting in a better overall sound.

       For those unaware, when Hendrix was cutting the tracks that made up "Are You Experienced", he was essentially living hand-to-mouth. Although already a star among London's then-rock elite, the general public hadn't caught up yet. Money was scarce for recordings, thanks to the owners of his UK  record company Track, Chris Stamp and Kit Lambert, having to keep up with the outrageously spiraling debt of their management charges The Who; as well, Hendrix' manager Chas Chandler had recently left his prime source of income the Animals. Sessions were scattered across various studios when they could snatch the time, at Olympic, IBC and possibly others, with most mixing being done by the engineers on staff. This resulted in a rather disjointed sound that wasn't really properly unified when it came to the final mastering mix. Now, as for that "missing" master, eitherEH were waiting for it to turn up or  until they felt demand was sufficient, because according to the liner notes, noted mastering engineer Bernie Grundman transferred these original mono mixes "from the original master tapes". The one strange thing is the US mono reissue of both "AYE" and "Axis" featured a sticker on the shrink-wrap to that effect, noticeably absent from the UK version discussed here. Either way, at an average price of about $20, you'll get what you pay for.

TRACK-BY-TRACK ANALYSIS:

Note: As was usually the case in the 60s, the mono versions differ from the somewhat slight to as far as alternate takes in some cases to their more commonly known stereo counterparts. The most glaring deviations will be highlighted alongside sound notes in general.

"Foxy Lady": The mix here is muddy, but not unbearable. It's also missing the "Here I come, baby" just before the coda.

"Manic Depression": This is the reason to buy a mono mix of this album - it comes full force out of the speaker(s) like an out-of-control locomotive, exactly what the author was trying to convey musically and lyrically. It's also thankfully free of the pointless fade-in-and-outs of the stereo version. There's also a brief snatch of reverb on Jimi's vocals at the beginning of the third verse, and possibly a couple of extra bars toward the finale.

"Red House": The word is that Hendrix was very upset that this was left off the American version of the album, and you'll probably agree. Potentially an alternate take, but definitely an alternate vocal track from the version on "Smash Hits", the sound is extremely clear until a very bizarre EQ shift right at the end, possibly an end-piece edit. Also a very welcome piece of studio chat at the end signalling both sides of the recording booth glass were pleased with the result.

"Can You See Me": Free from the ridiculously pointless panning of the stereo version, another sadly muddy mix, but an alternate vocal, double-tracked this time. This song deserved much better.
"Love Or Confusion": The drums suffer here, sounding rather muffled, but the lead guitar is positively crystalline with a wonderfully defined bass guitar.

"I Don't Live Today": Overall better clarity, undermined only slightly by some crackling at the end, either some red-lining on the EQ or possible tape degradation. Also a prime example of stereo not cornering the market on psychedelic sound - three-dimensional with just one channel is no mean feat.

"May This Be Love": Side two kicks off with unbelievably clear guitar and a single-tracked dry vocal.

"Fire": Nice reverb on the drums (possibly natural echo wisely left as is), but a very strange shift in EQ at the modulation point near the end of the song, similar to "Red House" - possibly another poor quality edit piece that no one bothered fixing at the mastering stage.

"Third Stone From The Sun": Nice sound all around - clear guitar, defined bass and fantastic miking on the cymbals. There's occasional red-lining on the vocals.

"Remember": Very clear again, almost undermined by some high-treble interference.

"Are You Experienced": A little muddy off the top (edit piece again the most likely candidate), but great vocal, bass and drum sound and equalization.

       You can't argue with 200 gram vinyl, and the cover's a nice thick cardboard with a heavy-stock inner sleeve. The record flops around in the cover a bit, so handle with care. The record labels are a bit of a let-down, psychedelically-generic mock-ups of the American album cover where repros of the Track label original would've sufficed. However, if it was a cost-cutting move to keep the price down, it seems a fair trade. So, buyer beware - don't go in expecting superior sound when the source itself wasn't the greatest to begin with, and comfort yourself with the fact you didn't spend upwards of $500 on a Track A1/B1 original to get a relatively similar "experience".

Songs That Last #1

You Keep Me Hangin’ On

THE SUPREMES

Motown. 1966

     This may be the quintessential Motown track; four-on-the-floor pounding drums, a sinewy bass-line that snakes around the melody but always comes back to the one without being overbearing, pealing guitars with chunky rhythm, restrained Hammond organ for flavour, and wrenching, from-the-heart lyrics about a woman so hurt she wants out for the sake of her own sanity. 

     The fact that it was a huge hit is not surprising; 1966 was the year for Motown, and in two short years, the Supremes had risen from no-hit status to become the company’s most consistent money-makers. Their looks didn’t hurt; add to that flawless Holland-Dozier-Holland compositions and the jazz-honed interplay of the Motown house band, collectively and appropriately known as “The Funk Brothers”. Rarely has the musical world seen as solid a rhythm engine as James Jamerson and Benny Benjamin, taut and powerful like the Mustang V8s being cranked out elsewhere in the Motor City. If aliens ever landed and needed to know what the Motown sound is, you couldn’t do much better than play them this song.

    

     The intro is a staccato and insistent guitar proclamation brought to the fore by a snare slam, backed by a quick tom roll, that leads into the body of the song. The chorus is established off the top, getting directly to the heart of the matter. This song epitomises directness; every aspect of it is insistent. The pealing guitar continues on through the choruses, replaced by a percussive tapping rhythm through the verses, with the melody going up to a higher register, ratcheting up the tension. The second to two pre-choruses takes it right to the heart of the matter: “Seeing you only breaks my heart again”. The music stops dead, save for the guitar-siren, which helps punctuate the predicament and helplessness of the next line, ”There ain’t nothin’ I can do about it”.

      

     “You Keep Me Hangin’ On” manages a rare feat, but one that only the best soul music carries off: it moves your heart and feet simultaneously, with a melody so rich and rhythm so insistent you can’t listen just once.

The Doors - Strange Days [Mono Version]

     One of the rarest releases in Elektra's esteemed catalogue, the L.A. group's second LP, mixed for mono. Long has raged the debate on music websites and chat rooms as to whether or not this album received a "dedicated" mono mix. For the uninitiated, up until around 1968 or so, the multi-track tape of any rock recording was separately mixed for two-channel playback ("stereo"), or one-channel ("mono"). Both mixes received enhancements specific to the mix, with more care and attention usually afforded to the mono version, as further depth and dimension improved the sound coming out of a small phonograph speaker or the harsh, tinny sound of AM radio. Listening back to mono mixes of the 60s through today's equipment is revelatory - listen to the Beatles' "Sgt. Pepper" or "Revolver" in stereo, then in mono - the difference is astounding.

     Elektra Records head Jac Holzman has been an audiophile since starting the company in his college dorm room in 1951, and as equipment improved over the next two decades, his label's output tipped the scales on post-production in stereo's favour, as Holzman's impeccable sense for coming trends (the same that served him so well in signing innovative and influential acts to his label) was, as usual, right on the mark. As early as 1966, some Elektra releases began receiving "fold-down" mono mixes, meaning the two channels of a stereo mix were "folded down" into one channel for what's sometimes known as "fake mono", in an effort to save time and money. Combining two channels adds a little extra bass and depth by association only, otherwise the mixes are indentical. Elektra release EKL-4013, the catalogue number assigned to Love's 1967 masterpiece "Forever Changes", is a fold-down. The next catalogue number, EKL-4014, or the Doors' "Strange Days", is also assumed by many to be a fold-down. One listen will disavow any doubter of this notion - there are specific differences in the mix that prove this unequivocally.

     Album opener "Strange Days" has much louder bass guitar and organ, and John Densmore's toms are also much higher in the mix. "You're Lost, Little Girl" puts extra emphasis on Robby Krieger's strident guitar leads, that here sound more like a cat lazily pursuing its quarry; slick and smooth with an underlying menace, exactly what the song's subject matter calls for. Third song and massive hit "Love Me Two Times" differs little from its stereo counterpart, although the harpsichord benefits from a boost in mono. Song four, "Unhappy Girl", which also served as the flip-side to LP single "People Are Strange", is a very different beast. Krieger's lead guitar sounds as if it's double-tracked here rather than just echo-processed or possibly phased, and audible handclaps confirm that Elektra was looking for a double-A side hit with this release, obviously an attempt to make it more radio-friendly. "Horse Latitudes", the weakest "track" on the album (and anathema to anyone who thinks Jim Morrison's description of himself as a "poet" is dubious at best), has the sound effects mixed louder and ramps up what little tension Morrison's struggling to create here with his pretentious read. This segues into "Moonlight Drive" that also has louder guitar runs and piano.

     Side Two starts with "People Are Strange", again not deviating much from the stereo version we're subjected to every time the Doors catalogue is re-packaged or re-released. The next track, the highly underrated "My Eyes Have Seen You", has to be the highlight of this mono LP. Ray Manzarek's piano sounds like it's in the room with the listener, driving the song forward in a manner the stereo version can only suggest.  On song nine, "I Can't See Your Face In My Mind", Krieger's guitar combines with Manzarek's organ and some kind of percussion as answers to Morrison's repetitions of the title lyric, and you can clearly hear these elements in this mix; they're far muddier in stereo. The eleven-minute closer, "When The Music's Over", a cousin of the first album's "The End", sounds much more violent and urgent in mono - the dynamic between soft and loud is amplified, making for a much more interesting listen.

     This is yet another plea to Elektra, Rhino or Universal to reissue this long unavailable mono mix, either coupled with the stereo version in a deluxe edition CD, or on heavyweight 180-gram vinyl (as they recently did with the Doors' debut LP), or both. Why a mix this rich and revealing is still sitting in the can points to one of two things: ignorance on the part of those in possession of the master tapes; or, as in the case of Jimi Hendrix's "Are You Experienced", a missing mono master. For now, troll ebay or keep on crate-digging - this copy was found at a used record store in Toronto in great shape, with the original inner sleeve, for less than $50. It's worth a listen.

Tim Buckley - Tim Buckley Deluxe Edition

    

     In 1966, change was constant, and moving at a heretofore unseen speed. Perhaps no record label reflected this more than Elektra. The company that began as a means of preserving America’s rich indigenous folk catalogue was now a catalyst for the music that would come to typify the summer of love, courtesy contemporary and upcoming releases from the Doors, Love, and the Paul Butterfield Blues Band. In October of that year, when 19 year-old Tim Buckley’s debut long-player was released, the worlds of psychedelic rock and traditional folk were colliding as never before.

     Rhino Records has done it again with this latest effort from their Handmade imprint, a two-disc deluxe version of that stunning LP. The lyrics and arrangements have a sophistication that belie the author’s age, sung in a soaring tenor that puts paid to his Irish-American heritage. Its immediate influence can be heard everywhere from the Monkees to Gordon Lightfoot, and some 40 years on, it still defies classification, largely due to its ability to assimilate several genres into a completely original whole.

     What resounds most about “Tim Buckley” is that sound, which defies chronology, even with the occasionally “po’ faced” style of singing left over from the recent folk revival. This is however tempered by astounding vocal flourishes straight from the soul that hint at Buckley’s future battle and eventual defeat to drugs and alcohol.

     Disc One, with both stereo and mono versions of the album, opens with the driving rocker “I Can’t See You”, which is bolstered by eastern modalities with more than a hint of nascent psychedelia. “Wings” soars with a lovely string section, and guitar runs that fly like sparks off a Catherine wheel. “Strange Street Affair Under Blue” is a foray into Klezmer music, with a Russian march feel, changing tempos and passages of mild atonality that irresistibly coalesce. “Valentine Melody” sees Buckley laying the groundwork for the next decade’s singer-songwriter boom. Elsewhere, the songs reflect the sound of the times: “Song Slowly Song”, lyrically and musically, is a “Pet Sounds” outtake; both “Song For Jainie” and “It Happens Every Time” could be songs Bryan MacLean left off Love’s seminal 1967 Elektra release “Forever Changes”; the opening guitar runs of “She Is” confirm the Doors, recording the same month at the same studio as Buckley, were listening; and “Grief In My Soul” evokes the Monkees (not surprising, considering the use of many of the same backing musicians, and Micky Dolenz’s vocal delivery, which borders on mimicry).

     The playing is spectacular, featuring members of Frank Zappa’s Mothers of Invention, arranger extraordinaire Jack Nitzsche, Brian Wilson collaborator Van Dyke Parks, and Buckley’s right hand man, lead guitarist Lee Underwood, who’s work on this album is like that of the perfect servant – everywhere, yet nowhere.

     Disc Two of the set features demos recorded the year before with Buckley’s band the Bohemians, along with a solo demo featuring lead guitar from former bandmate Larry Beckett. Both are the sound of a young man who knows he’s on the right path, even if he’s not sure where it’s leading.

     Rhino Handmade has done their usual stellar job of packaging and extras, with peerless attention to detail. Both discs are housed in replica CD size sleeves; disc one’s perfectly reproducing the stereo album cover, including Elektra’s then insistence on their LPs being housed in single sleeves of cardboard with full-colour photographs, rather than the standard-of-the-time issue of a cover slick pasted on black and white cardboard. As for the mastering, whether it’s an issue of storage or increased lower range present on mono mixes (thanks in part to combining several channels down to one), there’s a hiss and mild harshness present that’s missing from the stereo mix. This is a minor complaint, however, as Buckley’s songs here are better served in mono – vocals and other lead instruments were usually locked into one of stereo’s two channels due to the limitations of mid-60s recording equipment, which could be disorienting. Thane Tierney’s excellent liner notes and some gorgeous period photos perfectly compliment an already outstanding release, one a talent and legacy as rich and formidable as Buckley’s deserves.

Tim Buckley (Deluxe Edition) is available from Rhino Records website, www.rhino.com, and at select retailers.

Buffalo Springfield - Buffalo Springfield Again [Mono Version]

   
 
     This is a review of the currently unavailable mono version of the legendary L.A. band's second album, "Buffalo Springfield Again", as well as a plea for its long overdue re-release. Shortly after its December 1967 issue, the record industry did away with mono mixes for LPs altogether, with singles to follow several years later. Given the recent resurgence in mono, due in no small part to the Beatles' mono box in 2009, the timing couldn't be better

     Buffalo Springfield's 1966 debut has been available in a dual mono/stereo version since 1997, as group members claim the effort they put into the mono mix and their non-inclusion on the rush stereo mix made it by far the superior listen. Even a cursory listen to the mono version of their second album reveals the usual sonic delights mono mixes afford: more compression, making for a tougher, punchier sound; an overall increase in bass level (and when that bass player is the late Bruce Palmer [on most tracks], it can't be loud enough); and different levels on some crucial musical embellishments that sometimes got lost or were left out altogether in what were then largely indifferent stereo mixes. If ever there was an argument for listening to 60s recordings in their original mono mixes, this is it. Here follow several songs from "Buffalo Springfield Again" with differences worth noting:

Mr. Soul - Unlike the mono single released earlier in 1967, this is the same take that appeared on the stereo LP, but with far better overall levels and especially clear guitar solos. There's also a small feedback coda at the end of the solo as the third verse begins.

Everydays - The sustained feedback note that runs throughout the song sounds even more foreboding, and the piano is much louder, adding more punctuation to the percussion track.

Hung Upside Down - Dewey Martin's drums have an additional hi-hat smack not heard on the stereo, Steve's scat vocalizing in the chorus and during the middle-eight sections is louder, and the two separate guitar parts melded into one track miraculously appear far more defined. 

Rock'n'Roll Woman - Having Stephen Stills and Richie Furay's soaring harmonies come out of both speakers elevates this already gorgeous song into the territory of the divine. Dewey's drums really cut through, and Stills' Hammond organ stabs are overall much more well-balanced. There's also an audible yelp from Stills just before the second-half of the middle eight which rachets up the excitement level considerably, and a very loud stacatto guitar squelch that melds with the last electric piano note at the song's conclusion. A masterclass in mixing for AM radio.

      One can only hope that Universal, the surviving members of the band, or both will realize that a double-disc mono/stereo reissue, along with the usual extras (single versions, demos, alternate mixes, etc.) would be very well received in this climate of improved fidelity. Even a 180-gram mono vinyl version would be a start. And, for God's sake, if you're going to release a Deluxe Edition, include the twelve-minute version of "Bluebird" (the extended version featured on 1973's "Buffalo Springfield" compilation is a nine-minute edit).
This mix is only currently available on ebay at exorbitant prices or on Torrents that net the band and record company absolutely nothing, and that's a shame. Material of this calibre deserves nothing less than a re-release taken with the utmost care and attention to detail.

13th Floor Elevators - 7th Heaven: Music Of The Spheres - The Complete Singles Collection

    


     Don't let the overly long, mildly clumsy title fool you, this CD is anything but. Quickly, the long, tangled history of the 13th Floor Elevators master recordings, due to extreme ineptitude and carelessness on the part of the record label, original producers, collectors and so on, means pretty much any release of the group's back catalogue will NOT be from an actual  master tape. Although not mentioned, the source for this compilation was most likely original pressing 45s, which, sadly, is the best you can hope for. On the upside, you get the complete collection of Elevator single releases in their original punchy mono single mixes, many of which deviate from their mono LP versions.

     Highlights include "(I've Got) Levitation", mostly electric jug-free and with a harder-edged double tracked vocal than the "Easter Everywhere" version; the complete French Riviera EP, including unique stereo versions of several songs; and the packaging, complete with label snaps, performance pictures, and extremely detailed liner notes and single histories by Elevator expert Paul Drummond.

     Perhaps the most interesting aspect is the story the set tells - a band utilizing the establishment's tool of AM radio to get across its anti-establishment message through attempts at hit-making. It's an alternate history to the band, in line with the Velvet Underground's singles collection issued by Sundazed in 2009.

"7th Heaven: Music Of The Spheres - The Complete Singles Collection" is available, along with double-disc Deluxe Editions of all three original 13th Floor Elevators albums at www.internationalartistsrecords.com, or at most good music outlets. A 180-gram vinyl version of the band's collected works is also available at the website for pre-order. For further reading, consult Paul Drummond's excellent "Eye Mind: The Saga Of Roky Erickson And The 13th Floor Elevators, The Pioneers Of Psychedelic Sound", published by Process Paperbacks.

The Rolling Stones - Exile On Main Street, Super Deluxe Edition

     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.