ROLLING STONES "TAXILE ON MAIN STREET" 2-LP 'EXILE' ERA OUTTAKES, LIVE & RARE

$

108

ROLLING STONES "TAXILE ON MAINSTREET" 2-L P 'EXILE' ERA OUTTAKES, LIVE & RARE
THE ROLLING STONES "TAXILE ON MAIN STREET" "TAXILE ON MAINSTREET & WHAT'S LEFT ALIVE" LABEL: TOWN RECORDS CORPORATION - 242 HS RARE TRACKS FROM 1972-1973 "EXILE ON MAIN STREET" ERA 2-LP ~ GATEFOLD ~ GREEN 'SPY' LABELS ~ THICK HEAVY VINYL RELEASED: CIRCA 1984 (RECORD DATED 1972) RECORD COMPANY: TOWN RECORD CORPORATION, LOS ANGELES EXCELLENT SOUND - STEREO & MONO SOUNDBOARD MATRIX (SIDE A): 242 HS A MATRIX: 242 HS A,B,C,D
CONDITION:  VINYL: EX- to EX   JACKET: VG+  ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I've been going thru my massive vinyl record collection over the past few weeks and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 45 years and it's time to pass some of them on to the next generation of collectors.
After all, we are just temporary 'caretakers' of these musical gems until the next owner and next collection takes them in.
This week on EBay I am offering up this rare copy of the fantastic Rolling Stones 'collector' record "Taxile on Mainstreet - What's left Alive."
This is an original 1984 pressing of 'Taxile on Main Street' on the Town Records label, Town-242 HS, with the green colored 'Spy Man' labels.
This is my original copy that I purchased back in my New York City years, around 1984, shortly after this was released. I purchased this album 'gently used' during one of my regular vinyl digs in the many cool record shops along St Mark's Place in Greenwich Village, where these type of records were still relatively inexpensive and everywhere.
Although the jacket had some record 'bulges' and early ring wear already present when I purchased it, I've taken great care of this record ever since. It's been poly-line sleeved, inside and out, since I purchased it, stored properly in my collection, and it's still in decent condition. The vinyl and sound quality are both excellent.
The jacket has some age related, expected wear from the flimsy jacket, but the vinyl is in fantastic condition. as they say, you don't play the cover.
Please read and see the full description of this album's content, history, and more details on the record's condition below. ~~~~~~~~~~
This rare, obscure 2-LP album primarily consists of studio outtakes, demos, and rehearsals from the 'Exile on Main Street' era, what many consider The Stones best period, plus some live cuts, mostly from their 1972 and 1973 tour, brief interviews, and news reports. 
Don't let the interviews on this record bother you. The interviews are brief, interesting, revealing, and add to the music. This 2-LP set is mostly live and studio recordings which are amazing, and they sound fantastic and amazing.
This album also contains the rare 1972 NME flexi-disc single on which Mick Jagger plays rolling bluesy piano and sings the song 'Exile On Mainstreet Blues' whose lyrics reference the titles to recent Stones songs. Very cool and interesting.
This 'collector' record is a 2-LP set, well pressed on thick, heavy vinyl and comes in a deluxe gatefold jacket.
It's pressed on black vinyl and the green labels feature a "Spy reading a newspaper". The labels contain no text or any other information and the labels are identical on all 4 sides. Because of that, my photos only show one of the labels.
This record is pressed on the Town Records label and the information on the jacket states "1972 Town Record Corporation  L.A. California 90017", suggesting this was pressed in LA, but it's likely a European, possibly Italian, pressing.
Town records was one of many direct competitors with TMOQ, Pig's Eye, Amazing Kornyphone, Rubber Dubber, Ruthless Rhymes, and other 'Collector' record labels.
The jacket has a 1972 copyright date on the back, but this record was actually released around 1984. The 1972 date is deceptively used to link the record to the 'Exile' time period.
A very nice, well put together, great sounding, compilation of Exile era outtakes, alternates, live jams, and interviews. 
The sound is generally excellent, not audiophile, but much better than normal for this type of release. 
This contains some fantastic music and some rare, Interesting 'nuggets' for Rolling Stones fans and collectors, making it an essential album for collectors back when it was first released.  ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The 1971-1973 'Golden Age' of the Rolling Stones is most people's favorite period and has been a constant obsession for Rolling Stones fans and collectors.
The time around 'Exile', is arguably the band’s best and most iconic period, musically, and as live performers. Despite being their best era, there's surprisingly little 'official' product from that period, so collectors seek out 'collector' records of 'Exile' material, like this one. ~~~
The recording sessions for the varied music on 'Exile' actually date back to earlier 1969 sessions for the 'Let it Bleed' and Sticky Fingers' albums and continued right up to the Spring of 1971.
For each new album, the Stones were known for going back in their archives and pulling out older, unfinished songs and reconsidering them to be worked up for whatever new project they were working on. 
'Exile on Main Street' was no different. Although released in early 1972, several songs on 'Exile', such as 'Loving Cup' and 'All Down the Line', have their roots going back to the late 60's. ~~~~~~~~~~~~~~~
The tracks on this 2-LP 'collector' album include:
Exile On Mainstreet Blues Mick Jagger talks About Exile On Mainstreet Loving Cup Jimmy Miller Talks About Exile On Mainstreet All Down The Line Exile On Mainstreet Blues All Down The Line Hip Shake Red Blood Wine Loving Cup Sweet Virginia All Down The Line Happy Chip Monck Talks About The Tour Sweet Virginia Rip This Joint Tumbling Dice Mick Jagger Speaks About Mick Jagger Mick Jagger Interview News bulletin ~~~~~~~~~~~~~~~~~~
The jacket and the inner gatefold does a pretty good job of describing what's on this album and the sources, but, as is typical with these releases, not all of the information printed on the jacket is exactly accurate.
I'll discuss each of the tracks on this 2-LP album individually below,  and give you as much accurate information as I can about each track. ~~~~~
'EXILE ON MAIN ST. BLUES'
This album starts off with a brief 90-second track titled 'Exile On Main Street Blues' that was used as a radio promo in select markets to promote the upcoming new album 'Exile on Main Street', which was released on May 12th, 1972. 
It has Mick singing a simple blues, but his lyrics are made up using song titles from the upcoming 'Exile' album. Clever.
This song was recorded March 28th, 1972 at Sunset Sound Studios, Los Angeles, as a promotional piece after the album was finished.
Some Stones collectors say this is the promo version used on the radio, others say that it's an unused outtake of the song. It's hard to say who is correct, as they are both very similar.
This song is also used on the April 1972 NME Flexi-disc single, which is included on this album, and discussed in much more detail below. ~~~~~
MICK JAGGER TALKS ABOUT THE 'EXILE ON MAIN STREET' ALBUM
This is a 5-minute interview with Mick, around the time of 'Exile on Main Street's release, discussing the new album. Very good and informative. ~~~~~
'LOVING CUP' (Alternate Version)
This is an alternate version of the song 'Loving Cup' which appears on the 'Exile On Mainstreet' album. This version is slightly different and features alternate vocals.
It was recorded on December 4th, 1971 at Sunset Sound Studio, Los Angeles and features Nicky Hopkins on piano. Jim and Bobby are on their horns, and Clydie King & Vanessa Fields are on backing vocals. ~~~~~
JIMMY MILLER TALKS ABOUT PRODUCING 'EXILE ON MAIN STREET'
Jimmy Miller, the Rolling Stones' long-time recording engineer and producer, talks about his experiences recording & producing the 'Exile On Main Street' album. ~~~~~
'ALL DOWN THE LINE' (Early Alternate Acoustic Version)
'All Down the Line' is one of the definitive tracks on 'Exile', but not many fans realize that the song was originally written as a slower, bluesy, soulful track during the 'Let it Bleed'/'Sticky Fingers' sessions at Olympic Studios in October 1969.
This is a rare early acoustic demo version with early lyrics, recorded October 17th, 1969. The record jacket says it was recorded at Elektra Studios in LA, but this early version would have been done at Olympic Studios in London.
'All Down the Road' evolved into a full-throttle ode to the Stones' tour bus during the Exile sessions at Nellcôte, then the final version was recorded at Sunset Sound Studios, adding new improved lyrics, Mick Taylor's amazing slide guitar work, raunchy horns from Bobby Keys and Jim Price, Nicky Hopkins' classic honky tonk piano, producer Jimmy Miller on maracas, and Kathi McDonald's backing vocals. 
As an aside, Kathi McDonald doesn't get enough credit for her contributions to 'Exile on Main Street'. Stones fans rave about Merry Clayton's truly amazing backing vocals on 'Gimme Shelter', rightfully so, but Kathi McDonald was also a fantastic backing singer and her voice is all over 'Exile', helping give many of the songs their soulful, gospel feel. 
At the time, Kathi McDonald was entrenched in the San Francisco and Pacific Northwest music scene. She was one of Leon Russell's 'Shelter People', lead singer of Big Brother and the Holding Company, ever since Janis left in 1968, an 'Ikette' with Ike & Tina Turner's band and an accomplished background vocalist for various other artists.
She's the 'secret ingredient' to many of the great soulful songs on 'Exile', including 'All Down the Line', but barely gets any recognition.
'All Down the Line' was originally intended to be the album's lead-off single, but it ended up as the B-side to Keith's 'Happy' instead. 
The final album version is a Rolling Stones masterpiece. 
The strong sales of the 'Happy'/'All Down the Line' single, and the 'Exile' album in general, helped pour fuel on the infamous legal battles between the Stones and ex-manager Allen Klein. 
Although 'Exile' was released after parting ways with Klein, 'All Down the Line', and several other songs on the album, were written and composed much earlier, while Jagger and Richards were still under contract with Klein's company, ABKCO. 
As part of the settlement deal with Klein for his share of royalties from 'Exile', Klein was given the rights to release one more Stones album on his ABKCO label. Klein's exhaustive dig thru the Stones back-catalog turned up many rare recordings that, for one reason or another, never made it to Stones releases or Klein's final album, but they did make their way into collector's hands. Stones collectors owe much to Allen Klein for diligently unearthing many great unreleased Rolling Stones tracks. Klein's final album, after several earlier shelved versions, was 1975's 'Metamorphosis', a disjointed collection of rare and obscure Stones songs.
'All Down the Line' was first played in concert on opening night of the tour, in Vancouver, on June 3rd 1972 and quickly became a live staple of Rolling Stones concerts for decades to come.
When this "Taxile on Main Street" 'collector' record was first released, this early version of 'All Down the Line' was not well known to us Rolling Stones collectors. It was one of several highlights of this album, making this record essential to own for Stones collectors. ~~~~~
One of the other highlights of this album was the inclusion of the complete 'Exile On Main Street Blues' Flexi-Disc single that was originally included free with some copies of the April 29, 1972 issue of the British music magazine NME. 
The song on this Flexi was recorded on March 28th, 1972 at Sunset Sound Studios, Los Angeles. The story is that only Mick and Keith were at that 'session' and Stones collectors differ on whether Mick or Keith plays the rolling, bluesy piano part.
The Flexi single has great sounding, but relatively lo-fi, clips of some of the actual finished songs, 'All Down the Line', 'Tumblin Dice', 'Happy', and 'Shine a Light' from the forthcoming Exile double album. 
The Stones were worried that people would think that the sound on the cheap Flexi-disc is how the album actually sounded, so, the actual Flexi, which I have a copy of, says "Release Date May 12th, when True sound quality will be revealed..." on the label.
Right after this 'promo' blues song was finished, Mick & Keith returned to the UK to spend some time at home and begin preparations for the 72 Tour. Tour rehearsals were scheduled for May at the Rialto Theater in Montreux Switzerland, and Mick met with NME to coordinate this Flexi-disc release.
This Flexi was the first chance anyone got to hear music from the new record, even if they were just teasing snippets. ~~~~~
'All Down The Line' (rare U.S. Promo 7" single version)
The story goes that while the Rolling Stones were putting finishing touches on 'Exile on Main Street' at Sunset Sound Studios, in Los Angeles in the Spring of 1972, and before they left for tour rehearsals in Montreux, they had Ian Stewart personally deliver an early, slightly different Promo version of 'All Down The Line' (and several other songs) to the local Rock radio stations to play on the radio. The Stones wanted to hear how the songs that they were considering for singles would sound on the radio and in people's cars.
It's a unique mono mix, with a different chorus, and not available anywhere else. These are known as the "SAM" pressings in the Stones collector universe. It's not known how many of these 7" promos were made, how far they were distributed, or how many still exist. Rumor is that only 3 to 5 were made.  It's quite rare and a nice treat to have it on this 'collector' record. The only way most of us will ever hear it and own it. ~~~~~
Hip Shake ('Shake Your Hips')
This track was recorded during the tour rehearsals at the Rialto Theater in Montreux, Switzerland, on May, 18th 1972. 
It's a looser version than what's on the album and has a groove that more closely matches Slim Harpo's original version on the Excello label. ~~~~~
'Red Blood Wine' 
The Stones have recorded several different versions of this personal, emotional Mick Jagger song going back to the 'Beggars Banquet' sessions in the Spring of 1968. It shows a very different side of the 'bad boy' Stones. It's a heartfelt solo Mick Jagger composition about love and loss.
Although it remains unreleased, the 'snow', 'winter' and 'wrap my coat around you' themes would later show up in the song 'Winter', a clear descendent of 'Red Blood Wine', that appeared on their 1973 album 'Goats Head Soup'.
Jagger had been exploring writing this song for quite some time, sort of stuck in his head, and it was the very first song recorded for 'Goat's Head Soup'. It was as if Mick was tormented by it, and had to get it down on tape, and off his mind. 
'Red Blood Wine' has Keith and Nicky playing softly behind Jagger, with Charlie's odd, emotive, 'tympany' drumming, but 'Winter' is mostly a Mick J and Mick T composition. On 'Goat's Head', Mick Taylor plays beautiful acoustic guitar and strangely, Keith is not on the song at all.
The record labels claim this version was recorded in December 1971 at Elektra Studios in LA, which is very possible. They recorded several different versions at different times. Others claim this version was recorded May 13th, 1968 at Olympic Sound Studios in London.
I haven't compared all the different versions I own to check the sound and length of this track, but all the different early takes sound very similar. A terrific early Mick song and something completely 'different' for the Stones. ~~~~~
'Loving Cup' 
'Loving Cup' was released on the 1972 'Exile on Main Street' album but the song goes back to the summer 1969 'Let It Bleed' sessions at Olympic studios. Early versions of the song had a different tempo, slightly different lyrics, and a completely different, piano based intro.
'Loving Cup' would have fit well on 'Let it Bleed', but didn't make the cut.
This album includes an early live version of the song from the July 5th, 1969 Hyde Park concert in London, the first show with Mick Taylor in the band. At the Hyde Park show, Mick Jagger introduced this new song as "Gimme a Little Drink".
'Loving Cup' was one of the first songs the band completely worked up with their new guitarist Mick Taylor, and the Hyde Park show was meant to introduce and spotlight Mick, but Brian Jones' sudden death completely changed the focus of the show.
The album jacket says this was recorded in June 1969, but that's a typo, as we all know this famous concert took place on July 5th, just 2 days after the death of Brian Jones.
The Hyde Park show was a "free" concert and the Stones' first public concert in over two years.  They hadn't played a live concert since their 1967 European Tour.
The band's performance was a little rough, to say the least. They were not in the best shape; physically, mentally and emotionally. Their lifestyle, drug use, and Brian's death had taken a huge toll.
Keith singing "What a beautiful buzz..." on the harmonies of 'Loving Cup' is a classic Stones moment, which is reproduced, and repeated often, on the released version of 'Loving Cup' on the 'Exile' album. 
Strangely, Mick Taylor, trying his best on this 1969 live version, does not perform on the final 'Exile' version of the song. ~~~~~
'Sweet Virginia' 
This is a fantastic live version of the classic song from 'Exile on Main Street'. The cover states this was recorded on July 6, 1972 in Charlotte, NC. That's possible, as this show has circulated among Stones collectors for years. Bobby Keyes is featured playing some terrific bluesy Sax. Not a big hit, but a classic Rolling Stones track, and many people's favorite from this era. ~~~~~
Next up on this record is a block of 4 Rolling Stones classics from the 'Exile' album, all recorded live on the 1973 European tour; 'All Down The Line'/ 'Happy' / 'Sweet Virginia' / and 'Rip This Joint'.
The album jacket claims that these were all recorded September 28, 1973 at the Olympiahalle in Munich Germany.
These songs are taken from the famous 1973 'King Biscuit Flour Hour' FM broadcasts, which were recorded in various cities, including Munich. While some of the songs in that classic broadcast were from Munich, none of the ones on this album are.
We Stones collectors and fans now know that the correct dates for these KBFH tracks are:
'All Down The Line' is from the October 17th Forest National (early show), in Brussels, Belgium.
'Sweet Virginia' is likely the version from the fantastic July 26th, 1972 Madison Square Garden show, Mick's birthday party, in New York City. It's another great version of this classic 'Exile' song, and with a different feel than the earlier Charlotte version.
'Happy' & 'Rip This Joint' are from September 9th 1973 at the Empire Pool Wembley, London.
The Wembley 1973 shows from the 1973 King Biscuit broadcast are easily recognizable from other versions of the songs on the broadcast because they have Billy Preston, the opening act for some of the Stones 1973 shows, sitting in on keyboards.
Some of the other songs from the KBFH broadcasts were recording in Munich, so the album jacket isn't misleading, just got the dates mixed up.
The Germany shows were, in many Stones fan's opinion, the best of their 1973 tour. The Stones were playing, performing and partying at their peak as they rolled thru Germany.
Keith and his pal Bobby Keyes were getting a little crazy, out of control, and setting new levels of debauchery on that tour. After the September '73 Germany shows ended in Frankfurt, Bobby had to leave the Stones tour to 'clean up' from drink and drugs. He later said that he had to "take a break to save my life".
Keith wasn't too affected by it all and kept on rolling along until their final show on October 19th, another show in Germany, their 13th show in Germany on that tour, where the band seemed to perform at their peak.
That last show in Germany turned out to be Mick Taylor's last live performance with the Stones as a member of the band. ~~~~~
Next this album contains a brief interview with Chip Monck talking about the 1973 Tour.
Monck was responsible for the production, staging, lighting, sound, and special effects for the Stones tour and brought new 'standards' to rock concerts that were unheard of at the time. He's personally responsible for turning rock shows into 'events'.  ~~~~~ 
'Tumbling Dice' 
This album then goes into a fantastic version of 'Tumbling Dice' recorded from the, then recent, video simulcast of the last show of the 1981 tour, on December 18th, 1981, Keith's birthday, at the Hampton Roads Coliseum show in Hampton, VA.
A terrific version  of the song, featuring the 1981 version of the Rolling Stones touring band that included Ian Stewart on piano, Ian McLagan on keyboards, Ernie Watts on Saxophone, and Bobby Keyes on sax at select shows. ~~~~~
The album then goes into a few more short interview segments:
'Mick Jagger Speaks About Mick Jagger' an interview from 'The Current' audio magazine's Aug/Sept 1972 issue.
A Mick Jagger Interview w/ Dick Cavett recorded backstage ahead of the Rolling Stones July 1972 performance at Madison Square Garden.
The album ends with a network TV news bulletin about the upcoming 1972 Stones tour.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THE STORY OF NELLCOTE AND THE MAKING 'EXILE ON MAIN STREET'
The stories behind the events at Nellcôte and the recording of 'Exile on Main Street' have become the stuff of Stones legend and Rock'n'Roll folklore. 
By early 1971, the Stones were quite a successful band. They sold many records and performed many sold-out live shows, and had become Rock Star Millionaires. That wealth and fame was well-earned and well appreciated by the band, but it also made them subject to the UK's Labour Government’s punitive 93% income tax on high earners. 
The Stones had the choice to either stay in England and give much of their income to the government, or become 'Tax Exiles', forced to live abroad for long periods of time.
Keith, who had more important, personal, 'recreational' things to spend his hard-earned money on, chose to move to France to avoid the UK's excessive taxes.
In the Spring of 1971, Keith Richards began renting a villa called Nellcôte, one of the most stunning mansions and properties along the Côte d'Azur in the south of France, for $2,500 a month, about $18,000 a month in today's money. A bargain compared to what the UK was demanding in taxes.
Villa Nellcôte was a huge, old, 16-room mansion, built in the Belle Epoque style. In the 1940's, during the Nazi occupation of France, Nellcôte was occupied by the Gestapo, who made it their regional headquarters. Keith felt that historical detail was a fascinating aspect of his new home, since he too was now fighting against the British authorities. 
Keith moved in to Nellcôte in April 1971. His partner, Anita Pallenberg, soon joined the famous rockstar, along with the couple’s young son, Marlon. Anita was 'clean' and fresh out of rehab, but that wouldn't last long. 
One of the first things Keith did after moving into his temporary new home in the South of France was to set up a reliable drug supply chain with the Corsican mafia based out of nearby Marseille. Keith's heroin dealers were nicknamed ‘les cowboys’ and were familiar faces, regularly hanging out around the villa.
Nellcôte was on a large wooded property that offered the Stones privacy, and kept the questionable activities going on at the house out of sight of the press, public and, most importantly, the local police.
As Keith’s partying and drug habits became a daily routine at his new French playground, he became settled in, rarely leaving the compound.
With Keith and Anita hunkered down, the rest of the Stones soon realized that Villa Nellcôte would have to be the band’s center of activity while working on and recording the new album.
The other members of the Rolling Stones rented or bought homes in the south of France near Nellcôte; Bill Wyman rented a place in Mougins, Mick Taylor in Grasse, and Charlie Watts in the Cévennes.
Mick Jagger actually didn't spend a whole lot of time at Nellcôte. It was basically Keith's 'place', and although they would often work and write together, Mick respected Keith's 'privacy' and kept his distance.
Mick had recently married Nicaraguan model and socialite Bianca in May 1971, in St. Tropez, and she was now pregnant with their daughter Jade, so Mick spent a lot of time with Bianca in Paris, commuting back and forth to the south of France when needed.
Since Keith clearly wasn't going anywhere, The Stones quickly turned the large, hot, dank, cramped, basement of Villa Nellcôte into a makeshift recording studio and rehearsal space, where the band spent many late nights laying down tracks for 'Exile'.
The Stones' sound and tech people struggled to turn Nellcôte's basement into a proper recording studio. The basement had an irregular, complicated layout and the mansion's huge furnace often made it unbearably hot to be down there for any extended time.
Charlie was the worst affected; stuck on his drum stool with his back up against the furnace. Charlie has told some crazy and funny stories about the conditions at Nellcôte in books and interviews over the years. 
Some high-end sound and recording equipment was brought in and the fabled Rolling Stones mobile recording studio was also shipped over from England.
Nellcôte was an old building, with old electrical wiring, and couldn't provide the electrical 'juice' required to run all their new gear, so they did what any decent rock band would do, they pilfered it.
Under the darkness of night, when the Stones operated at their best, the engineers hooked up illegal electrical lines to the high power French railway lines that were conveniently a short distance away, just across the road.
The 'hijacked' power source worked well, with the band gambling and hoping that nobody would notice their handiwork, and that they could wrap up recording before the French authorities found out and came banging at the door. Their ploy worked. ~~
With a recording studio finally in place, recording engineer Jimmy Miller happy with the sound, and the band assembled locally and ready to go, a six month-long, crazy, rolling & tumbling, “house party” ensued; a summer full of sex, drugs and most certainly, rock and roll… An aura of decadent glamour and Rock Star notoriety hung over the whole scene at Nellcôte.
The house was filled with Keith's ever-present entourage of friends, hangers-on, and drug dealers. It soon became an endless, debauched, bacchanalian bash.
Throughout the Summer of 1971, The Stones and their entourage managed to consume more drugs and parade more decadence through Keith Richards’ Nellcôte chateau than anyone could possibly imagine.
American journalist Robert Greenfield spent some time at Nellcôte that summer and wrote a book about his experiences, hanging out and watching the band record 'Exile'. (A great book if you're interested in the 'inside story' of the Stones at Nellcôte).
Greenfield comments; “People appeared, disappeared, no one had a last name, you didn’t know who anybody was. It was an unparalleled cast of characters...to say that the human toll exacted during the making of 'Exile on Main Street' was extreme is an understatement of major proportions.” 
The scene at Nellcôte was like an open 'house party' ~ people, groupies, hangers-on, all scattered around the house; booze, pills and powders everywhere, bedrooms constantly 'occupied', back rooms filled with thick smoke; various folks, mostly strangers to each other, mixing, socializing and coming and going freely. 
Villa Nellcôte was such an 'open' house that, one day that September, burglars walked out of the front gate with nine of Keith's guitars, Bobby Keyes’ saxophone and Bill Wyman’s bass, in broad daylight, while the house's occupants were 'pre-occupied', sitting around in the living room. 
Stones lore claims that the gear was taken by some Corsican drug dealers, to settle a 'debt' Keith had run up and failed to pay. Tabs were settled, and most of the gear was eventually returned. Many other items in the house; antiques, paintings, even furniture, went 'missing' over the course of that summer.
By Autumn 1971, the basic raw, rough recordings for the album were finished and the 'activities' at Nellcôte were starting to wind down.
In November 1971, Keith and Anita left the south of France for America, to work on finishing and mixing the album, but Keith kept on paying rent for the empty house, just in case it was needed again.
During the 1973 European tour, Keith and Anita returned briefly to Nellcôte. Despite surviving the crazy summer of 1971 without any major police problems, the French police finally raided Nellcôte in the summer of 1973. Keith and Anita were both charged with possession of heroin and intent to traffic.
They got away lucky, only receiving large fines and no jail time, but Keith was banned from entering France for two years, which finally put an end to the adventures at Nellcôte. 
The Stones wouldn't return to France until the 1976 European tour. ~~
Most of the basic tracks for 'Exile on Main Street' were laid down at Nellcôte, but a lot of additional recording sessions; mixing, editing, overdubbing, and 'tweaking' were done at Sunset Sound studios in Los Angeles during the Fall and Winter of 1971. 
Once the Stones got back to LA and started to listen to all their Nellcôte tapes, 'Exile' expanded into a double album that gloriously spanned multiple genres of music. 
The recording of 'Exile' in that hot, cramped basement, ended up being a "happy accident" flavored by circumstance, location, influences, intoxicants and impulses. “Exile On Main Street” was a living, breathing product of its special time and place.
“Exile” reflects all of the band’s past musical influences, tastes, and aspirations; all distilled down to their essence. It's a perfect stew, made up of different styles, moods, feelings and attitude.
The activities at Nellcôte ran on their own schedule. Time of day seemed to have no significance.  The Stones were able to record whenever the mood hit them, and much of the music has a timeless, gritty, world-weary sound.
Some tracks have a laid back, relaxed, 'just-woke-up' or 'never-went-to-bed' quality to them and the seedy basement where much of it was recorded really comes thru in the feel and sound of the songs. 
It's the Rolling Stones, so 'Exile' contains some classic Hard rock, but also some southern-tinged Country rock, Gospel, Soul, and gritty Chicago Blues. Several tracks reflect the sounds of Memphis, Nashville and the Mississippi Delta, unusual for a British band.
While many of the Stones earlier albums had a distinctive British feel to them, 'Exile' is the most authentically "American" sounding music the British-born Stones ever made. 
They aren't just copying the American music that they love and respect, their are reinventing it, reformulating it, and making it their own.
'Exile on Main Street' was eventually released on May 12th, 1972. 
“Exile On Main Street” is many people's favorite Rolling Stones album and it's long been considered the Rolling Stones' masterpiece.
When people talk about the signature Stones “Sound,” this is the album and the time period they are referring to.
When you drop the needle onto side one, “Exile” hits you like a runaway locomotive, with the rollicking, boisterous opening track “Rocks Off”. 
After that classic opening song, 'Exile' then opens up and reveals it's true, enigmatic power and charms. Although Exile has a few radio-ready classic rock ‘n roll songs, the true beauty of the album is in its ability to conjure up so many great moods, riffs, and atmosphere across its 4 sides.
For many fans, 'Exile' may not be their 'best' album, musically and production wise, but it's many fan's favorite and most loved album. It's the Rolling Stones' most important album;, a definitive, enduring record, that continues to be the most talked-about, obsessed-over, mythologized album of the band’s 50-year career. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Add this great 2-LP album of rare and live 'Exile' era songs to your collection today. It's a fantastic sounding album with many rare 'nuggets' that compliments the original album very well. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CONDITION: I tried to show good hi-resolution photos of the cover, labels and vinyl in my pictures.
This is my original copy of 'Taxile on Main Street' that I purchased 'used' back around 1984, nearly 40 years ago, when it was a recent release.
VINYL: The vinyl is still fantastic. Clean and bright, with a nice glossy sheen. No obvious hairlines, scratches, flaws, dings or damage. It looks perfect, sounds great, and I'm sure you'll be happy with it.
This record is beautifully pressed on thick heavy high quality vinyl with fantastic sound to match. You can see from my photos how terrific it looks. 
LABELS. This pressing has the Green 'Spy man reading the newspaper' labels with no other information given. The label is the same on all 4 sides.
The spindle holes are clean and sharp, suggesting infrequent playing and my careful handling over the years.
I haven't messed with this disc or cleaned it, other than my trusty 'DiscWasher' brush, in 40 years, so it's a little 'dusty' and would likely benefit from a good deep cleaning to make it even better looking and better sounding than it already is. I'll leave that up to the winning bidder.
JACKET: Even though this 2-LP record is in a gatefold jacket, the relatively thin cardboard jacket of this release and the all black cover, makes ringwear an issue on most copies I've ever seen. 
This has some mild ringwear, but the thick vinyl in a thin jacket causes some 'bulging' and creasing.  The shape of the records can be seen impressed in the thin, all black cover.
The mostly solid black cover of this release makes the bulging and ringwear stand out more.  The ringwear and bulging isn't that bad, but there is some present as you can see in my pictures.  This is present on every used copy I've ever run across.
This thin jacket was also susceptible to 'creases', so this jacket has some wear from being stored and shifted around in my collection for 40+ years, but as you can see it still looks decent and very acceptable. 
I tried to show details in my photos.
I purchased this record 'used' back in 1984 and the record shop I purchased it from 'touched up' some of the dings and creases with black marker before selling it. It's done very well and blends perfectly. I didn't notice it at first, and you don't really notice it, but it should be mentioned. Again, not a big deal.
Other than some 'bulges' and 'creases', the album cover is still in nice condition, but does show some expected wear and results of the thin jacket. No names, or writing. The corners are decent, the spine is straight, and there are no seam splits or other issues.  ~~~
The album jacket art for this release is somewhat odd. It's trying to keep the similar 'theme' of Robert Frank’s iconic black & white cover art for the 'Exile on Main Street' jacket, which depicted a variety of carnival freak-show images, to reflect the odd, wide range of music inside, mixed in with grainy film stills of the Stones hanging out on the streets of L.A. and New York.
This album 'Taxile on Main Street', uses some of those same grainy, black & white, Robert Frank Super-8 footage 'stills' of the Stones and their surroundings on the cover and inside the gatefold.
I believe those grainy, Film Noir shots were taken by photographer Robert Frank on a film soundstage on the Warner Bros. Hollywood lot, on the set of the 1969 film "They Shoot Horses Don't They" during their 1969 US west coast tour. They were dug out for the 1972 release of Exile, and the folks at Town Records used some of them for this release.
They're somewhat hard to make out and it's hard to see what's really going on, but that adds to the mystery. I  guess that explains the mysterious 'Spy' on the labels as well. ~~~
This pressing of "Taxile on Mainstreet - What's Left Alive" is an amazing rare survivor. You just don't see these anymore. The vinyl is about as good a copy of this classic rare release as you're ever likely to find these days. The jacket has some minor issues, but, you don't play the jacket, it's all about the rare music inside.
Overall, a terrific Rolling Stones 'Collector' record featuring a fantastic collection of great sounding rarities from the band's classic 'Exile on Main Street' era, what many consider their great, classic period.
Very nice, all original, and a real gem. I'm sure you'll be very happy to add it to your collection. It would make a great addition to any Classic Rock or Stones vinyl record collection.  ~~~~~~~~~~~~~~~~~~~
** NOTE: I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's rare, and as described, and I'm sure you'll be very happy with it. A great, rare, original, excellent sounding copy. ~~~~~~~~~~~~~~~
I’m recently retired and downsizing and letting go some gems and rarities from nearly 50 years of vinyl record collecting. 
Over the next few months I'll be offering an assortment of these rare and collectable LP’s. Many of these records have been in my personal collection for decades. Some of them are quite rare and seldom come up for sale. Limited pressings, European imports, promos, fan club releases, live recordings, first pressings and other general rarities.
Keep an eye on my Ebay page, 'jjrbyrne' for more of these great rare collectible albums, EPs and 45 singles. 
All records have been carefully evaluated and graded by me. I visually inspect all records under bright light, personally gently clean them with a soft cloth and then, if unsure, play them on a modern high-end turntable and system to get a true picture of condition. 
Please look at all the high-resolution pictures I added. They are all my own and are of the actual record being sold. The pictures are part of the description and can show small details, label variations, and condition better than I can put into words. 
My grading is fair and honest. I have had over 3,600 happy and satisfied EBay customers over the years, with 100% positive feedback, and I have been buying/selling on EBay for nearly 30 years, so please bid with confidence!
I'm a One-man operation, this is a hobby, not my job. I do this for fun. I do this because I love music, love collecting vinyl and want others to share in that same experience. I take my time listening, researching, grading, listing and packaging. I will NOT sell any record that I personally would not want in my collection.
As you well know, packing and shipping rare records requires special care and attention, therefore, shipping cost within the lower 48 states is $5.00 on this item. If you would like insurance, or anything faster than Media/Economy Mail, please let me know and I can arrange it for you. I’ll work with you to make sure you’re happy!
I will gladly combine multiple records, or other items on my page, and make the shipping much less for you. I don’t inflate the shipping costs; they are what they are. I strive to keep them as low as possible. See my feedback for comments on my quality packing and shipping.
All items are packaged with sturdy cardboard mailers and appropriate padding. I take pride in my packaging and shipping and package all my records as if I were sending them to myself. I treat the records you win as if they were my own, and mail them the same way. 
All orders are processed and shipped within 2 business days of receipt. We package and ship our vinyl records with the greatest care, using proper packaging to ensure that your rare and collectible vinyl records arrive in pristine condition.
Payments can be made by any of the multiple options that Ebay offers.
I will be happy to exchange feedback with anyone I complete a transaction with.
THANK YOU for looking and reading if you got this far. I know I rambled on a bit, but can't help it. I have a passion for records, especially the Rolling Stones.  I hope this listing was entertaining and informative.   -- JOHN