All language subtitles for The Rolling Stones Stones In Exile (2010)-en

From the beginning, then, guys.

I think you can use the Stones
as indicators.

Without a doubt, they captured the moment.

The hippy era of peace, love
and cido pas some time ago

and now the time is different.

There was something in the environment. Coppola
I was doing "Apocalypse now".

There is a belief
that the 60 did not work

and that there was to destroy
the system 0 flee from l.

From the illustrations to the music ...

... it was an album by the Rolling Stones
that was not important or popular.

What was it? The 72?

Of course, I know folklore.

They were running away,
they were escaping from England.

Why?
Literally, they were kicked out.

Exiles of the English Treasury. It seemed to be
a popular history of English rock and roll.

They had to leave
and almost vanish, in a way.

The feeling of being exiled,
the feeling of: "You can not go home."

I think this music reflects that.

THE STONES IN EXILE

Olympic STUDIOS

It's wrong on the way!
We were on another path.

We go through the one we used to go.

When I started talking
about making this movie,

I said: "We're never going to do it.

"We will never go back
where we recorded it.

That was your cabin, there you lived.

No, not always.
I spent a lot of time here.

- That was my cabin.
- Only when we left him.

We used to experience a lot,
because it was a very large room.

A musician was there playing something,

while I was here touching something else.

We made a lot of versions,
we did them again and again.

What happened with Exile on Main St.
is that we did not have a master plan,

we simply accumulate material, because
We knew that some day we would use it.

And we came here and we recorded.

This is very strange.
You go back to something you did 40 years ago

and it really does not matter.

You have to look back
and see the whole,

We did really good things.

- What were we talking about? It was boring.
- We did what we could.

The fucking recording sessions.
They were boring.

Who cares?

"The Lucifer of rock ,
"The flute players of Hamelin",

the millions of young rebels
that, in the 60s,

they made rock the official language
of its off-center

but unequivocal affects,
of tradition ...

The American middle class could not
Believe what happened to your children.

They listened to this music,
they bought their records,

on whose covers there were pictures of boys
on the floor they sickened their parents.

Across the country, people thought:
"What will the Stones do now?"

AFTERMATH
the rolling stones

Top 40 United States.

It is the second foreign group that
has entered the list of US successes

with five singles number one
and ten consecutive gold discs.

They are not accumulating mold precisely.

The Rolling Stones.

Are you more satisfied now?

JANUARY 28, 1969

Financially, dissatisfied.

Anyway...

Sexually, satisfied.
Philosophically, I try.

We worked hard,
we had a lot of success,

we sold many discs,
but they did not pay us,

because the record companies gave us
very little for copyright.

We discovered that we had a manager

who claimed that he belonged
everything we did,

in the past and also in the future.

The tours, the discs, the songs
published, he said that everything belonged to him.

So we had to get rid of him

and try to get out of the complex
and ridiculous situation

in which we had gotten ourselves.

We were supposed to
lead a lifestyle

with limousines and things like that.

Money was flying, so always
We were indebted.

My problem with taxes,
Bill Wyman

None had paid taxes.
We thought I know.

We thought that
It had been solved, but it was not like that.

Taxes, with the Labor government
of Wilson, they were 93%.

If you earned a million pounds,
that was not our case,

you had to pay 7O OOO.

So it was impossible
Earn enough money

to pay the Treasury
and stay in England.

Do the Stones go to France?

We had the feeling that we
They were expelling from our own country.

I think the government scared him
for the amount of fans we had.

They could not ignore that we were
a power to take into account

and that at the end of the year
We would have to make a decision.

We all wanted to continue,
so we decided to leave.

We were not rooted in England,
We were almost always traveling.

We did
a farewell tour of England,

Pretty short and a little sad.

I remember it clearly.

Everyone thought that we would not go back.

We had a pretty lifestyle
established to be a group of tours.

TO THE GLORIOUS FALLS

We all had customs
very english,

We lived in semi-urban studies
and pretty cottages,

and we were happy so.

"Reposado is not the word,
it was not restful,

but if pretty focused.

The lifestyle
that we had created,

pretty nice,
It had to end.

What do you think about having to emigrate?

I do not know. Are we really going to do it?

Well, that's what they told me.

- Do you want to leave England or not?
- Do not,

Do not you like the idea?

- What idea?
- The one to go to France.

Do you like England?

At that time, if a group had success
in England and he was leaving the country,

That was his end, he did not like it anymore.

You were finished.

And if, in addition, you left for tax issues,
It was not very well seen.

I had to leave the country to pay
the debt contracted with the Treasury.

That's why I had to leave.

Let it serve you as a lesson.

PATH TO EXILE

the Stones leave

Eight STONES in exile

Le Monde
WEEKEND, April 7, 1971

I started photographing
to the Stones in 1964.

I found out that the whole group
he moved to the south of France,

So, a few weeks later,
I went to Nice.

Ask ': "You think it would be possible

"Take some pictures of the Stones
In the south of france'?".

And they told me the name of the place,

Villefranche-sur-Mer, Villa Nellcote.

I went to spend the afternoon.

I did not know that Keith and Anita lived there.

Of course, the house was beautiful

and the light in the south of France
in the spring it is incredible.

In the end, I thanked everyone
in the afternoon so nice that he had passed

and they told me: "You can stay".

How long did you stay?

Six months.

It was built by Admiral Byrd.
He was an English admiral.

There were stairs that went down
to a private jetty.

So I bought The boat.

"Let's take The house by the window.
I may go to jail ... "

"We're going to have fun while he's free."

That time, just before we moved
to France, it was a little frantic,

so, in a way,
it was a relief come France

and take that weight off us
and start learning French.

Anita in Nellcote.

To get started,
It was the baby's first year,

so she was also a mother

and I had to make sure that the union
it will work correctly.

It was the only one I could discuss
with the chef, Fat Jacques.

Until I had Marlon,
we used to live in hotels

and we changed continuously.

So, for me, go
South of France was great.

"THE BLACK ISLAND"

It was a wonderful place.
It was very romantic.

There, I completely lost
The notion of time.

It was a kind of dream.

Every morning,
Keith got up at 8.00 or 8.30

and was ready to get into the car
and take care of your son Marlon.

Nobody knew the Stones
In the south of france,

so they could act
and live normally.

We went to the zoo and the beach.

In the afternoon, Anita took care of Marlon

and Keith played.

All the mornings were the same.

It was a normal lifestyle.

He has been seen a lot in magazines
musicals from here,

photos of you with a woman
very pretty called Bianca.

- I think.
- Yes.

And about those rumors,
about which he must have read,

Do you have any comments?

- Do not.
- Summarizing.

The truth is, no.

I can only say that they are rumors ...

Mick Jagger married in St. Tropez
in an intimate wedding.

It was chaos
and the town was paralyzed.

We knew they were getting married
and, more or less, the date,

and we thought: "Well, it's Saturday,

and Mick has not said anything.

"It would be better if we bought him
a wedding gift. "

Then, Mick called
the day before the wedding

and he said: "Hello, Bill, I want to invite you
at the reception of our wedding. "

And I answered: "Ok, thanks."
So it was a little weird.

- They can stop taking pictures.
- Shut up, man.

People came from all over the world to the wedding.

Some musicians had to go back
to the tour or to the recording,

and others had nothing to do.

So, as always,
We ended up at Keith's house.

In the south of France, if you have money,
You can get anything.

On the right, there's Marseille,

which is very well known
for its illegal products,

and on the other side, Italy and the mafia.

If you join the two, you understand.

I had a non-verbal agreement with Keith.

It was very simple.

T col cate with music and photography,

focus on that and I take care of the rest.

At first, it was interesting and fun,

but also fant sticamente harmful.

For the group, for our lives,
for our social life, for everything.

I hated leaving England.

I hated it because when you got there,

you had to try to replace everything
what you liked, because there you did not have it.

You had to try to buy
tea bags.

Then you had to get used to it
to French milk, which was not the same.

If you wanted to buy custard,
pickled gherkins or Indian appetizers

and all English things
to which you were accustomed,

you had to import them,
because there was not there.

I do not have much moving
and I did not like ...

And he was English and he did not see me
living in France.

On a psychological level, it was a bit strange.

You were exiled, especially me,
I did not speak French.

I joined the Stones
in May or June of 69,

so he had not earned so much money
not worked enough

to have problems with taxes.

But one of my clearest memories

is that we fly there on a private plane.

He thought: "My God.
This is life, it's great. "

We were looking for studies,

but, especially in the south of France
at the beginning of 1971,

there were no good rooms
where to work and the teams were old,

and nobody felt comfortable
with what we saw.

We tried it in several cinemas

and auditoriums that could be rented,

and we did not find a suitable site.

In the end, we put forward
The comfort to sound,

and we went to the cellar
The house of Keith.

We said:
"We have our own mobile studio.

"Why do not we go over them
and we bring it here

"and we work without problems?

"At least so, we do not have to
turn to an interpreter

"every time we have
to turn on or off something. "

Good afternoon!

Basically, I think the Stones
they felt really exiled.

"We are against the world.
Fuck you. "

That was our attitude.

We said: "We're going to make it, guys."

"We are going to leave and we will be a family
and we will achieve it,

"and this is the place."

And it gave us a lot of energy.

I finished there
because it is where they all went.

The guys I used to do
Rock and roll had left the country.

They invited us to go and we went.

I did not mind living
between Nice and Monte Carlo.

It did not bother me at all.

I did not bother all those girls
beautiful ones that I had in the field.

Yes, sir.

The south of France and a young man of 20 years,

a rock and roll musician,
They are a very good combination.

I assure you!
They had us between cottons.

Has that ever happened to you?
A m s .

At that time, the Stones were
quite scattered in the south of France,

so it was a bit difficult
bring them all together

for a long time.

They met for a few days

and then everyone wanted to go back
to their homes and see their families.

In addition, Bianca was
in the last stage of your pregnancy

at that time, so Mick
I was constantly in Paris,

where Bianca was

So they were not the best conditions.

I remember that it seemed
that we could not start.

- Ah! Enter again.
- Charlie should ...

Yes, I should ...

Andy, can you raise the piano a little?

, .. have only the chord.

Charlie, did you hear?
Do you want to try?

It would be good to change the sound
of The battery when it re-enters.

I had just moved to France,

and I had to drive
six and a half hours or seven

from where I lived,
on very narrow roads.

I could not do it every night,
touch and go home,

so I lived with Keith.

He lived upstairs in a room and Keith
in a huge on top of mine,

We had ... It was quite ...
We were very close.

In a slightly strange way.

We worked at any time of the day.

If it was 11 o'clock at night,
we could continue another 12 hours,

or if it was 12 noon,
we touched 12 ...

Any time.

That's why we had to live there.

I was 21 years old
and it was in the south of France,

working with the best group in the world,

and they paid me very well.

Come on, it was great.

It was my initiation
how does rock and roll live?

At that time, the Rolling Stones
They were at the top of the world.

It may have been a bit fanciful,

but The music
It was very important then.

It was the heyday of "Music
it's going to change the world. "

Those nonsense.
And they were changing the world.

Many people forget that it is
what they were really doing.

The Rolling Stones, back then,
they no longer had five members.

There were eight members,

with the trumpets,
Jim Price and Bobby Keys,

and with Nicky Hopkins.

And they all had children.

The Rolling Stones were like a tribe.

During the night, they were
all those musicians and technicians,

and during the day, all those children.

So it was impossible
separate Family life

of the professional activity that was below.

The tribe grew more and more.

Recording

What amplifiers are you using?

Now he asks.

That Fender ...

I. Stewart: piano
M. Jagger: arm nica

Keith's basement was actually
several single rooms

that formed a basement.

In the end, separation was so scarce

what had to have
the piano in a room

and an acoustic guitar in The kitchen,

because I had tiles
and it gave him a good bell.

There was another room for the trumpets.

And there was one,
probably the main study,

where was the battery
and Keith's amplifier,

and Bill was there,
but his amplifier was in the hallway.

The place was frightening

and it was very difficult to work on him.

It was very damp and the guitars
they were constantly tuneless.

And Mick did not stop
to complain about the sound and ...

The equipment did not work well,
the lights went out

and there were fires, it was crazy.

They were not, at all, the conditions
ideals It was very difficult for us.

The cables came out through the door, passed
The entrance to the mobile vag n.

Every time we wanted to communicate,

I had to run around
the rooms to transmit the message.

Do we hear it?

Well, the rope has broken.

Much of Exile was made
according to Keith's way of working,

that is, playing a song 20 times,
let it marinate and touch it another 20.

Keith looks a lot like
to jazz musicians.

That is, he knows what he likes,
but it is very quiet.

Keith is a very bohemian person
and eccentric, in the best sense.

It is.

I never plan anything.

Probably that's
The difference between Mick and me.

Mick needs to know
what will he do tomorrow,

I'll settle for waking up
and see who's walking around.

Mick is rock and I am roll.

I wanted to be
executive of a record company

and they were the Rolling Stones,

They had their own record company.

Atlantic distributed the discs
of the Rolling Stones,

we had a lot of money and a great
budget to produce the discs.

The deal was: "You can get
that the Rolling Stones make a record

"every year or every year and a half?

"Because they're lost in there."

And I said: "Yes, I can do it".

Then I started to observe
your creative process.

To observe how it worked.

I was impressed that Keith could
Fall asleep while singing.

Mick did not show up.

I was coming from ...

He had to do three faces
in three hours.

Those guys were late
two weeks to make one.

Sometimes, I had no idea,

so he started playing
to see what happened.

You get the best out of the group
when they think they are not working.

When you say:
"Anything goes".

If the tape was recording,
that's how you got something.

That was
a very creative time for us.

When we entered a study
and we took the guitars,

We were in our own world.

There was nothing that could come between.

When you try to make songs,
there are riffs, there is a rhythm

and you try to create the lyrics and the melody.

So the composition process
It is very broad.

We started improvising.

Very informal Disorganized.

And in the end it was always great.

That was the best.

It was as spontaneous as hiccups.

It was ... It was not exactly
spontaneous combustion.

I'm calling ...

Give him memories
to George Harrison from me.

And, of course, his wife.

It was a completely different view
The music and the recording

to which I had.

Normally, you know the name
The song that you play.

This is a...

And now a chord should come ...

Which is very good for that
it's Ventilator blues.

Whenever you rehearse
he has a great riff,

but it never works out that well,
Something is not going

O Keith Touches it in another way,
that is not the usual one,

or I will be wrong.

That's because Bobby said:
"Why do not you do this?"

And I said, "I can not touch that."

He said: "Yes, that's it".
And he stayed by my side applauding.

He just kept up his pace.

I do not know how I had the courage
of trying to tell Charlie Watts

what was right and what was not.

I often ask myself:
"Son, what are you smoking?

"Or what do you drink?"

Thanks to your patience
and to his good heart, he listened to me.

Ah est , ah it's heard,

I taught Charlie Watts
to play the battery.

I think we never said:

"We are going to make this type of disc
or this other. "

They follow their own style
once we started,

since we had left the country
and we were recording differently.

I wanted to return to the origins.

It has been said that the Stones
they returned the black music to the USA,

Who were the first musicians
in returning you The black music?

Chuck Berry, Little Richard.

Little Richard was the first
What struck me when I heard it?

After, Chuck Berry,

and later, Bo Diddley,
Muddy Waters, Jimmy Reed.

Slim Harpo.

The list is endless, but

I guess the deeper you go
in black music,

more you go back to their origins.

And you end up listening to Robert Johnson,

to Blind Lemon Jefferson, etc.,
everyone goes through that.

For me, even now, the singers
and US musicians are the best.

It is one of those things that influence you.
At least to me.

But I'm a fanatic
of American black music,

because it's the one I like.

It's the only one ...

It's the music that I really like.

It was a very eclectic group.

I grew up in the 50s.

I liked pop music,
Not just the blues.

The blues I loved, but also
Elvis and the shabby pop music,

like acoustic blues and country.

We liked everything,
In addition we were many,

so it was like a jumble of music.

We had absorbed
many different types of music

since we became
in the Rolling Stones.

We may have missed the United States,
I do not know.

Mick and I have always liked it
a lot of country music.

We were playing
in the center of the US in 1964 or 1965,

It was the only thing that could be heard.

It's the other face of rock and roll.

Basically,
rock and roll is your blues

with a little melody
white country on top

When it is mixed it is beautiful,
and that's the music,

one culture hitting another.

The country's theme is very interesting,

and there's a lot ...
In that music

there are many things
that reach your heart.

ARREPI NTETE

JEHOVAH'S WITNESSES

ROLLING STONES
ALL LOCATIONS SOLD

G SPEL MESIC FESTIVAL

I think Exile has a lot of things

that we had been picking up by the
path.

You resort to everything you've heard
since you were a child.

Probably, some of the things
what I write or touch

they are things that I heard in 1947.

Rock and roll, at its base,
it's a mix.

What I like the most about him,

is that it's a nice synthesis
between white music and black music.

And it's a lovely cauldron
to mix things.

I. Stewart: Piano
M. Jagger: Arm nica

My father was in that world.

I was a racing driver,
Drug dealer and adventurer.

We were there about three months,

as long-term guests
of Keith and Anita.

He had been dead a long time in Nellcote.

The creative process happened
gradually throughout the day,

according to me.
You have to remember that he was a boy.

People sat and played the guitar,

and they started picking up little ones
fragments of music

and for the night it was
when they were busiest.

From the beginning, then, guys.

At night, the basement was the epicenter,

and while we were awake,
we were there.

It was like The adult zone,

because he drank and smoked a lot,

and there were many bottles of whiskey.

It was noisy and it was a bit scary,
but it was, before he got out of control,

where we all wanted to be.

It was very noisy. Really noisy

Sometimes I went to Villefranche at night,

and the music was heard from there.

It surprises me
That people were so patient,

because it lasted a long time,
all night.

It was very hot,

especially in the basement
when we were recording.

It was like a sauna. Gloomy and dark.

I do not know how they could do it,
to be honest.

It was really an act of extreme love.

Do not.

Again.
Let another one finish before ...

No. Charlie, do not go in until after.

- A ades only The guitar?
- After, in do.

And Bill comes in with him?

Yes, and Mick, M.T., when does he enter?

- Anytime, not too ...
- Anytime, Mick.

I warn you, more or less,
a half octave ...

What happened was:

They played a song very badly
for two or three days,

and then, if Keith got up
and I started to look at Charlie,

You knew that something was about to happen.

Then, Bill got up and put his
low in that kind of angle of 84

and you said: "Ah!
Now they're going for everything. "

And they turned it into this music
wonderful, in this blessing.

All right. Ah! Go up to re and m .

- Okay?
- In agreement.

Do you have your score?

LOVING CUP
Jimmy Miller: Percussion

When you got into the recording,
everything else was accessory.

We were in the basement,
without stopping to work,

but the rare
that we came to the surface,

there was always a party.

So you never knew
what you were going to find.

Nellcote was never empty.
There were always people everywhere.

Some lay down and said:
"I can not go to my house."

"Stay on the sofa, on the big sofa."

There were a couple of French chefs
Crazy people who flew The kitchen.

But, apart from that,
It was not too chaotic.

Fat Jacques. He said they flew it.

He was also a drug addict.
I used to go to Marseille.

"Where is Jacques?"
"Is Thursday."

"Ah, well, he's gone to catch."

I went and came to Nellcote
from all over the world.

Negotiated with Atlantic a launch
simultaneous worldwide.

It became my life.

When you work with the Stones,

you can not bear not to be
Let it become your life.

I remember we made a meal at
day, mid-afternoon or at night.

We all felt
on a very long table.

We smoked joints
and hach s between courses.

We had a big bowl
and we passed it to each other.

It was a lifestyle
like the one in "La Dolce Vita" by Fellini.

In my head, I was already
One of the Rolling Stones.

You would be surprised what a child sees
eight and a half years.

They see everything.
They are like little babies.

Obviously, there was cocaine,
because my father brought her.

I remember there were many joints.
We used to stick together.

I think my main function
in life at that time

It was rolling joints.

If you lead a decadent life,
It becomes dark.

This was decadent,
but there was nothing hidden.

Everything was done in sight.

But at that point,
We were in a sweet moment.

That was before the darkness.

It was a kind of sunset
before sunset.

It was full of grass,

whiskey and champagne bottles

and light women's clothes.

It was rock and roll, son.

Without that there is no rock and roll.

Everyone had a great time,

but it was very stressful.

You had a good time,
but you were ready to go home.

The only one who was not was Keith,

that he had everything in his mansion,

with the group working below
I should be in La Gloria.

Again late, Richards.

I do not envy growing
and having to work to earn a living.

Sometimes I woke up

and I heard a strange noise
that came from the cellar.

And then I realized
that he had slept almost a whole day

and that they were working.

But sometimes, if Jimmy Miller was there,

and there were enough people
for the gear to work,

said: "Let's start."
And they said: "There is nobody".

I answered: "With me enough".

If there was someone and you had an idea,

said:
"Ok, let's get them together and start."

Grab Happy
with Jimmy Miller on the battery,

Bobby Keys to the bar tono saxophone
and I on the guitar.

That was basically the recording.

Everyone went in and out of the place
when they wanted,

so I became a little paranoid,
It was incredible.

I entered the living room

and there was a guy in the sof

I was taking out a bag full of heroin.

Everything disintegrated in some way
and we drunk too much,

at breakfast, at lunch and at dinner.

Especially at the end,
I thought I was cursed.

We are recovering our souls.

Then I did not realize,
because he was very used to it.

At that time there was only Keith,
so we worked.

He worked like this

and I think they did not care
what I thought.

I did it basically
to hide.

Hide me from Fame
and being someone else,

because the only thing he wanted to do
I was touching and pushing my family forward.

With a shot of hero na
I could go through anything

and nothing mattered to me.

But what happens
in mid-September?

Keith and all his little sister,

all those guests
and friends and additions,

they were watching television

and somebody came in and robó eight guitars,

a bass and the saxophone of Bobby Keys.

I just went into the house
and nobody noticed.

That was Stupidity and Laziness
What was there in that house?

It is a large group of people

and they all depend on the creative engine.

If the engine breaks and does not work properly,

everyone will suffer in some way.

You think you control that life
so wonderful and nice,

and for a time it's like that,

but then it's that life
The one that starts to control you.

That's the problem.

Suddenly, the autumn and the cold began,

and we had a lot of material

that we had recorded
in a cellar

Mick and I looked at each other and said:

"I think we have exhausted it.
And we have exhausted the whole world. "

That was the sensation of the group:
"It's done, we're finished."

I do not even remember
how the people went,

but they certainly left, and very fast.

Keith, me and a couple more we went there

and finally they told us
that we had to leave

because they were going to arrest us.

They never stopped us
They never kicked us out.

It became a place
in which we should not be '?

Yes, but they never kicked us out.

THE ROLLING STONES ARE LOOKING FOR

I felt one outside the law,
I liked that,

The sensation of:
"I can not go anywhere."

You had no choice,
you can not continue to place yourself,

so you're looking for another place.

JES S SAVES YOU

We always went to Los Angeles
to finish the discs.

It was our modus operandi.

So we went to Los Angeles.

It was fun to touch him
to musicians and friends from there,

It was interesting to know your opinion,

because in Nellcote
We were like in a bubble.

We had never made a double disk,

so no ... I think we ramos
a little innocent in that sense.

It was too much work,

taking into account all the pressures
that we had suffered,

and that we were also
a little bit burned.

I remember that Keith came to say:
"I'm very burned out of this record."

But we still had a lot
of unfinished songs.

Some had part
of the letter and others nothing.

So we had a difficult task.

The origin of the letters is strange.

For Tumbling says,

I felt with the cleaner and we started
to talk about gambling.

He liked to play dice
and I did not know much about the subject,

but she explained it to me
and with that I composed the song.

Casino boogie was going to be
a song without lyrics,

so Keith and I did something like that
William Burroughs, a collage.

He wrote phrases, we put them
in a pile and we take them out at random.

"Everything is worth it!
We have to finish this. "

I hope you understand

Judge and jury

Nervous, without sleep

A paratrooper inside

We do not have time.

We went to Sunset Sound
to finish the album.

We had to make my voice,
the choirs and Keith's.

We made the acoustic guitar
with pedal and double bass.

Extra musicians
in which we had not thought.

A lot of vocal accompaniment.

The first part was good,
but it had to be improved.

Those sobremezclas
they give a total turn to the songs.

That's what he did
this experience of Los Angeles.

One part of the girls
It had a lot of repercussion.

All those improvisations,
as in "I just want to see his face",

in which it seems that I download
Against religion,

suddenly it comes alive and you think:

"That's what I wanted to say
when I sang it. "

There was a lot of material
and I kept adding things to him.

That is always a little worrisome.

We had to choose the songs
that we liked, choose the recordings,

and sit in a room
for not so long,

and fix everything.

DO NOT BOTHER
GRABAN DO

They mixed for a long time.
Keith mixed and Mick mixed

and they discussed what was the best.

It took a long time.

We needed a cover, so,
while mixing the disc,

Mick and I looked at books

to see styles and all that.

Charlie and I went '
to many Los Angeles bookstores

and bought
many photo books.

And Charlie came up with
The idea of Robert Frank.

Robert was perfect for that period

so unique from the USA
of the 50 and 60 years.

We imagine that it would be
a photograph of the Rolling Stones

with all the imagery of Robert Frank.

Then Robert said he did not see it like that,

that I preferred to do
The photograph with a Super 8.

I said, "Let's try it."

SAVIOR

PRICE LIST

See things you ask yourself:
"What is he looking at?"

When something ends, it's fantastic.

SALVADOR APU ALADO

Deep down, I've always thought

that what we did was not enough.

So you record the disc
even in dreams.

I used to dream with him.

Maybe he thought:

"Well, since we have decided
to leave England,

"It would be better if we finish this job."

Silence please...
RECORDING

We were not caught
in a cellar

trying to find out
what was going on,

We finally finished the album.

We just had to put it
in its small wrapper.

Posters. Fantastic Ah!

It's going to go out and you're going to go on tour to play it,

and it's exciting.

The Stones ...
ready again for the action

The list of all topics
of the next Exile on Main Street

three weeks before its launch

The new double disc
Stones hard rock

Mick does not like the results.

You will not like this
when it is finished.

I will not let you finish it. He is so.

Mick does not like anything
that was done for yesterday.

Let's do it for tomorrow.

To some extent, that's good,
because it forces you to move forward.

It's a very different album.

It is a very dense work, very visceral.

Exile's criticism
I did not have an address.

But that too
it's something very commendable about the record,

which exhibits many styles and even
multiple styles in a song.

Does he have many singles number one?

No. It's not that kind of record.

Throughout the years
it acquired a magical air.

Probably by The way
in which it was recorded,

for its harshness,
so provocative it is.

Obviously, I loved the themes,

but I think the disc
He did not have any good criticism.

From no one. Everyone booed him

and they said it was garbage
and that it did not look like the Stones.

And in the following years,
all changed drastically opinion

and they said it was one
of our best albums.

A work of art...

I just wanted to make music
and see how the sounds were made.

How that feeling is transmitted

so that it reaches The people?

That has been the mystery of my life,
and it still is.

The Rolling Stones.

"THE STONES HAVE RETURNED"

"THE STONES RETURN TO ACTION"

"THE STON IS LIFTING
APPLAUSE"

"THE STONES REACH THE TOP"

"THE STONES ARRASAN IN EE UU"

"MORE IMPEDICAL THAN EVER
AND ON THE TOP "

The Rolling Stones. The madman of Mick.
Give a couple of tickets to your friend.

It is the strongest entry of the week,

It's called Tumbling says
and it's from the great rock group

about which the magazine "Time"
says unusual things:

"The loyalty of the fans is not
towards rock as music,

"but towards the Stones for being
a socio-sexual event. "

KROQ, Los ngeles, La revoluci n
of rock are the Rolling Stones!

Prepare!

Exile on Main St. alter drastically
the vocabulary of the disk industry.

It has textures that nobody had created
until then.

It was crazy, we were in France,
because it sounds like ...

as if every night

they were in Memphis,
go out to eat barbecue,

party
and they slept with women.

If it had not been for this record,

I would have thought that the Rolling would do that.

But these are peaks and valleys
of creativity and expression.

I love this record because I could

confuse a journalist,

make him rethink his whole career,

because I could not
continue to pigeonhole the Stones.

The disc goes in 15 different directions
at the same time.

I think everyone who was someone

I wish I had been there at that moment.

I know, of course.

It gives you the sensation of being there

with them in the room
trying to compose a song.

They seem to say:

"So we went and that's where we're going.

"And we're not going back."

As far as rock and roll is concerned,

Is there anything better than this?