Roger Bush – acoustic bass, vocal intro to “Dixie Breakdown” #&įlying Burrito Brothers – Dixie Breakdown Like the Stones, these two bands spent 1972 releasing a sprawling vinyl document of American roots-rock: Last Of The Red Hot Burritos and Manassas.įlying Burrito Brothers – Christine’s Tune (Devil In Disguise)Ĭhris Hillman – vocals, bass, mandolin *# Gram obviously agreed because it’s Perkins’ steel that keens up and down GP and Grievous Angel.Īt the time of the “Torn And Frayed” sessions, Perkins was a member of two different bands, The Flying Burrito Brothers and Manassas, both of whom he joined at the behest of Gram’s former bandmate (twice over), Chris Hillman. He’s the second best thing about “Torn And Frayed,” after the Mick-and-Keith harmonies. If there’s a tangent to the Parsons-Richards friendship that’s actually interesting - and not just middle class romanticism - it’s pedal steel player, Al Perkins. Within 18 months of Exile‘s release, Gram was dead from an accidental morphine overdose and Keith ceded much of his authority to Mick Jagger, whose work ethic saved the Stones, but transformed the pirate ship into a corporate discotheque. But, both men spent much of their time together in the throes of drug addiction, which isn’t nearly as interesting at it sounds.
Hell, who doesn’t want to get turned onto old George Jones songs? That’s just common sense. There’s no question that GP’s lonesome twang and love for classic country was a positive influence on Richards the musician. While it might not be entirely fair to call Gram Parsons a “dressing room parasite,” his influence looms large for both good and bad reasons. The protagonist is a restless gypsy guitar player battling a drug habit … you do the math. “Torn And Frayed” is a ramshackle country-rock classic probably written with Keith Richards in mind. Keith Richards – acoustic guitar, electric guitar, harmony vocals Thus, despite the Nellcote mythology, Exile‘s legacy was as much a product of LA as it was France.
The basic tracks may have been recorded in southern France, but it was in Los Angeles that the album was mixed, overdubs added (and there were many), some songs were wholly remade (“Torn And Frayed,” “Loving Cup”), and others were repurposed (“Rip this Joint”, “Shake Your Hips”, “Casino Boogie”, “Happy”, “Rocks Off”, “Turd on the Run” and “Ventilator Blues”). Michael Simmons has a good feature in last week’s LA Weekly on an often overlooked aspect of Exile On Main Street. The sunlight, the drive to work, the way the girls look. “LA added a whole dimension to Exile’s mixing and assembly. If you don’t like that version, I don’t wanna know if you like the cleaned-up version. We felt it was missing something.” If you want Exile, go to Amazon and buy the cheapest used copy you can find, preferably on vinyl. And we added a little freestyle rap over Louis’ intro. “Yeah bro, we cleaned up the Robert Johnson, so it isn’t all hellhoundonmytraily. It’s like re-releasing Citizen Kane in 3-D or running “West End Blues” and “Hellhound On My Trail” through ProTools. In that sense, I like that it’s back in the spotlight, gaining a new generation of fans. But, why is remastering a selling point? The album’s value correlates directly to its swampy choogle and fuckedupness.Īlbums like Exile and Tonight’s The Night don’t necessarily need remastering.
I’m actually surprised its taken this long for the band to leach Exile of its remaining nutrients. I’m supposed to be excited about this, what with my lifelong membership in the “Exile Might Be The Greatest Album Ever” fan club. A few days ago, the Rolling Stones released a remastered version of Exile On Main Street.
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