Tag Archive: Some Girls


God, religion and spirituality in all their piety seem very far away from where the Rolling Stones are, but are they really? The church and rock and roll are actually more married than one might think. After all, the church is a place for sinners, broken and fractured people with problems, hang-ups and unanswerable questions. The church is no place for folks who have got it all figured out, much as it may seem like a collection of sanctimonious, self-righteous prigs, or too holy for someone who’s screwed up as badly as you have. Just the opposite. Jesus came to perfect the imperfect, not save those who were already saved.

Rock and roll, in the same fashion, is a forum for people to share and commiserate with – and sometimes enjoy – their problems. It points out what’s wrong and says, “let’s fix this,” and also what’s right and says, “isn’t this great?”

Christianity has produced some great music over time. Indeed, it was some Catholic monks who first thought up the idea of writing music down and came up with a language to do so. In more modern times, black churches used their culture, heritage and personality to develop a form of worshiping God in song, and it was called gospel music. The most prominent feature of gospel is the sense of laying it all down and being completely sold out for God. It’s been regurgitated by thousands of white musicians, including the Rolling Stones on Exile. They too use their personality to present it in a true Stones fashion in a completely authentic way.

“Tumbling Dice” is a prototypical slice of gospel-tinged blues-rock, and using gambling and dice games to illustrate the desire for freedom from commitments, particularly troubles concerning women.  It features a background chorus of female singers who inject the song with heart and soul, and a lilting guitar part that sways smoothly with incredible flow. It doesn’t rock as hard as some other songs on Exile, but it stands up better for that sense of head-nodding, foot-tapping joy that gospel owns for all its own.

“Loving Cup” is another gospel-tinged song, this time utilizing the spirituality and inherent holiness of the piano. Long-time Stones session pianist Nicky Hopkins shows brilliance here, giving the Stones that extra push they needed to rocket off into musical ecstasy. “Loving Cup” is a desperate love song, beautiful and extremely poetic in its discourse about how much the narrator loves and depends on his subject. It reminds me of “Thank You” by Led Zeppelin in its honesty and grace, but has the added element of the music supporting the lyrical theme in a greater way. And of course, it wouldn’t be a Stones love song without a sexual reference or two. “I’d love to spill the beans with you ‘til dawn.” I see what ya did there…

On the second side, things slow down a bit after the frenetic pace of “Happy” and “Turd On the Run” and the danger of “Ventilator Blues.” That lowering pace comes first in the form of “I Just Want to See His Face.” The feel of this song is completely one of a gospel jam, people sitting around with instruments and not knowing where this will go or when it will end. Sometimes that produces the most soulful and spiritual music. “Face,” though, sounds sloppy and directionless, like the spirit is simply not with them. It could be due to the production, which makes you think you’re hearing what’s going on one floor above you. You’re not part of it, not down in the musicians pit with everyone else. As a result, you don’t feel the same “holy ghost power” that the musicians probably do.

Things get even slower with “Let It Loose,” which ends the third side of the record on a very soulful note, if very long in the tooth. The song is over 5 minutes long, the longest on the entire record. It also takes quite some time to really get going, and the good parts don’t last long enough. It makes the experience pretty boring; soulful, but boring.

Near the end of the record, however, is the penultimate statement of spiritual good will, “Shine a Light.” This song is a show-stopper, fantastically epic and emotional. That same chorus of female singers does wonders, as they inject attitude and authenticity to what’s really a white English boy trying to be a Macon, GA gospel preacher. Mick Jagger, for his part, acquits himself with remarkable aplomb, selling completely out to his role as the rock and roll saver of souls. He hoots and hollers like a Pentecostal church member , punctuating his singing style with impassioned cries of joy.

I can visually imagine “Shine a Light” in no other way than a southern Baptist church with a big stained glass window, a choir in robes of white, maroon and gold, the congregation on their feet and dancing despite the 100 degree heat, and Mick in a black pastoral robe losing control of his voice and his limbs.

I think it’s pretty safe to say that Exile On Main St. is the last great album the Rolling Stones ever made. After that came Goats Head Soup, and that began a downward slope that took almost 20 years to break out of, punctuated by a bright spot or two (Some Girls wasn’t that bad). But suffice to say, after Exile, they started being a parody of rock and roll and eventually were a parody of themselves. They exist now as a reminder of a past age, inspiration for all the aged rockers to pick up their guitars again, and the most arthritic band still making music. I guess that’s pretty good.

No matter the different areas they wander into, the Rolling Stones will always be a rock and roll band. As the decades march on, the Stones have become even more of a bastion of rock. Their records get progressively more rock and blues oriented, and have a simpler structure with each one. Their live show is centered on the resurrection of rock and roll. Their like Christian fundamentalists in that regard; while the rest of the world is evolving, they’re holding on to the past with an iron grip.

The past can be a glorious thing. There’s so much rich history from which the Rolling Stones can draw, and there has been for a long time. That’s one of the central ideas Brian Jones had when he formed the group: covering old blues tunes. As far as Jones was concerned, the Rolling Stones were supposed to be a cover band. I wonder what he would think of the band nowadays if he weren’t pushing up daisies.

Just like they never lost that rock and roll centering, they also have never stopped looking to the past for inspiration. That’s all over Exile On Main St. They don’t just look to the blues masters like Robert Johnson and Slim Harpo, but they’re also drawing in soul, funk, R&B, and a healthy dose of gospel music.

Some Girls

Using forms of music other than blues and rock is nothing new to the Stones (“Dead Flowers,” “Factory Girl”), but Exile is set apart from other Stones records is that it never sounds as authentic or heartfelt; not even close. For you Stones aficionados, take a second and compare “Torn and Frayed” to “Far Away Eyes” from Some Girls. One uses country music to create a sense of empathy, emotionalism at its best, and the other is a parody of country music, pointing out its most ridiculous aspects. You might not even notice “Torn and Frayed” is in the country vein because of its exposed-nerve rawness; “Far Away Eyes” is just silly.

But rock and roll is their forte, and they prove it on Exile. The albums starts of with a dirty “oh yeah!” that is only an indication of the entire album. “Rocks Off,” for all its fun and abandon, has harrowing lyrics. The Stones were very aware that they were doing a lot of drugs. In “Rocks Off,” lyricist Keith is talking in very candid terms about the exact cost of the drugs he’s taking. By his own admission, they leave him “splattered on a dirty road.”

“Rocks Off” also features a brass section. This is something that is all over Exile. Sticky Fingers started the trend, “Brown Sugar” and “Can’t You Hear Me Knocking” both having saxophone solos and “Bitch” using brass right up front to play the main riff. But on Exile, over half of the songs feature some brass instrument. It worked beautifully for them on Sticky Fingers so there’s no reason to think it won’t have excellent results on their next album. If it ain’t broke, don’t fix it.

Speaking of sax solos, “Rip This Joint” has a blazing one. Everything else about this song is blazing, as well. It wins the award for Fastest Tempo of any Stones song, before or after. It’s like a Route 66 trip through America, but that of an illegal immigrant being hunted down by customs.

Slim Harpo

The most recent Stones albums have shifted down to slower gears by the 2nd or 3rd track (“Love In Vain,” “Wild Horses,” “No Expectations”), but Exile just barrels on. The 3rd track here is “Shake Your Hips,” originally done by Slim Harpo. The Slim version drips with sexuality, hinting at naughtiness but still with a sense of fun. When put in the hands of Mick Jagger, though, it’s all naughtiness. I imagine Mick’s serpentine movements and effortless groove, and I almost think he’s singing this song to himself. “Shake Your Hips” has gobs of danger and sin to it, something I think Mr. Harpo would have approved of.

Things finally take a downturn tempo-wise, but “Casino Boogie” is no lilting, sentimental ballad. It has a certain singability, encouraged by the drunken sway of the music, even though I still don’t know what the words are; Mick and Keith, as they sometimes do, seem more interested in the way words sound than the actual words. And it is actually a boogie, in the classical, music theory definition of the word. I always thought “boogie” just meant a general style of blues-type music, but there’s actually a technical, objective definition. My 3 semesters of Music Theory in college didn’t teach me that, either; I learned it from Wikipedia.

Exile is a double album, despite that it fits on one CD and is sold as such. If you first experienced it on CD, as I did, it seemed weird that it had 18 songs when every other Stones album has at most 13; most merely 9 or 10. The fact that it’s really 9 and 9, rather than 18, was a well-kept secret from the younger generation – or at least from me, anyway.

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