Andy Johns was living there, so if they felt like going in to record, they could. So, on the weekends, if Keith was alive, he would mess about with the guys that were staying in the area, like Bobby Keyes, Jimmy Price, and Jimmy Miller. In the studio, we just worked weekdays, and we broke on Saturdays and Sundays. Were the recording sessions as chaotic as the legends about them are? Mick would always get the credits wrong, and it was too late to change them. When you read the back of the Exile album, it says someone else is playing bass on songs when it was actually me. I also didn’t always get the proper credits I deserved, either. But they wanted more of Keith’s guitar, or whatever. I didn’t get involved, but yeah, I used to get fairly disappointed when you couldn’t bloody well hear my bass. There would always be separate mixes, and then they’d argue about which ones to use. One of the problems on the original album was that your bass was buried in the mix.
THE ROLLING STONES EXILE ON MAIN ST. SONGS FULL
Don Was was full of compliments about our playing in an article I recently read, which was very nice. No, and neither was Charlie-we didn’t have to. Were you asked to do any new overdubs on the newly remastered Exile, as Keith, Mick Jagger, and Mick Taylor did? True to his earliest musical inspirations, Wyman maintains the same enthusiasm for the roots American music that first caused him to pick up a guitar as a young kid. Yet 18 years later-the eclectic musician turns 75 next year-Wyman maintains a vigorous touring schedule with his band, the Rhythm Kings. It was generally assumed that when Wyman, 56 at the time of his leaving, and just about to get remarried and begin a new family, wanted to forsake the hectic world of performing, in favor of the serenity accorded to a retired country millionaire gentleman. The band was undisputedly the world’s richest touring attraction.Īlthough Wyman claims otherwise, it’s clear that the split was less than amicable. In December of 1992, exactly thirty years after joining, he surprised the music work by announcing his departure just when the Stones were about to sign a huge contract with Virgin Records. He also became the first one to score a hit single, when “(Si Si) Je Suies Un Rock Star,” became a surprise European hit seven years later. In 1974, Wyman became the first Stone to release a solo album, Monkey Grip. Throughout his thirty year tenure with the Stones, Wyman teamed with drummer Charlie Watts to form one of rock’s most solid rhythm sections, driving such Stones classics as “(I Can’t Get No) Satisfaction,” “19th Nervous Breakdown,” “Honky Tonk Woman,” “Brown Sugar,” “Start Me Up,”and “Miss You.” Additionally, Wyman maintains he created the iconic riff used for “Jumpin Jack Flash,” although Richards ended up playing it on the record. They hated him when I first joined, but later Keith became a mad fan.” They also hated Eddie Cochran, but in the ’80s and ’90s I got them to doing ‘Twenty Flight Rock’ onstage. They preferred the electric blues of Chicago. When I kind of mentioned certain favorites of mine, they kind of went, “Ugh,” You know, it’s weird looking back now, but they originally hated bluesmen like John Lee Hooker and Lightnin’ Hopkins. Recalls Wyman, “When I first joined the band, they asked me what kind of music I liked, and who my favorite artists were. At 26, married with a child, Wyman was seven years older than the still teenaged Jagger and Richards, whose more bohemian tastes ran quite differently. Prior to joining the Stones on December 7th, 1962, he had already designed his own fretless electric bass guitar. Initially inspired by the acoustic walking-bass style of blues legend Willie Dixon, Wyman found equal merits in Donald “Duck” Dunn’s straightforward, uncluttered electric style with Booker T and The MGs. Soul survivorīorn William George Perks in the Lewiston Kent section of London on October 26th, 1936, Bill Wyman had been a Rolling Stone for nearly a decade at the time of Exile’s initial release. While previous complaints about the original release stemmed largely from its awful sound quality and abysmal mix (rushed by Johns at Jagger’s insistence), the new release overseen by producer Don Was puts a new sheen on things, while retaining the spirit and grit of the original.
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