All language subtitles for ROLLING STONES - Stones In Exile - 2 (2010)

Often when you go back to places,
like where I was brought up,

it doesn't look anything like that any more,
it's completely and utterly different.

There's like a motorway underneath this and
now that's a mall and you can't recognise it,

whereas this,
it's completely, exactly the same.

I had this house from 1970 to 1975.

It does have a lot of memories =
one reason is that we recorded here =

but it has other memories for me, too.
Children, my parents and that sort of thing.

My brother lived here a lot.

= Did he?
= Yeah.

He liked it very much,
having this very large house.

= Who wouldn't have liked it?
= I don't blame him!

I'll follow you.

Here we go.

The beginning of the recordings
of Exile On Main St. Were done in this house

so the earliest recordings
for Exile On Main St. Were done here.

And they were what?
Do you remember?

Sweet Black Angel was done here.

= Oh, is that here?
= Yeah.

We recorded the percussion out on the lawn
on a very nice day.

And some of the other tracks
that we've found

that were exras on Exile
that we've been recording,

they also were done here.

So the earliest recordings of Exile
were done in this house.

We built this...

We built this mobile truck.

= Oh, that's right!
= We built the mobile truck

so that we could go anywhere
we wanted in the world and record.

Yes, it was in those heady days.

And so we bought this mobile truck
which was actually, really, a good piece...

quite a good piece of machinery, I mean,
efficient and good sound and all that.

And so, we...

This, I think, was one of the first places
we brought it.

It was always freezing cold when you went
to go and listen to the playback.

It was always freezing cold,
you had to cross the garden and put it out.

So we just set it up
and everyone lived here.

We would all put our amps up in here

and I remember that we had quite a lot of
brass on the recordings we did in here

and I remember them being up there.

Bobby Keys and Jim Price were up there.

Yeah, I remember them being up there.

And they, you know...
I remember being down here directing them.

"Hey, do it again!
Come on, you can do better than that."

Where would you have been set up?

In there, with the baffles
coming round the screen.

= And them lot leaning over.
= Yeah, saying,

"No, it shouldn't go 'kah, boom, boom',
it should go 'boom, boom, kah'."

Were you pleased with the sound
you'd get in here?

Yeah, it was a great sound.

In a small little box,
you get a very bad drum sound

so you have to trick the drum sound out
with all kinds of echoes.

In a big, ambient room like this,
you get a very big drum sound

which, in those days, was...

You can move things in big rooms,
that's what's so good.

Like the brass didn't have very good ears,
so you go up there, or you go...

We used all the rooms to record in.

So we would put amps in all these
different rooms to get different sounds

and... I don't think you moved the drums,
did you, Charlie?

Oh, I don't think so.

And you weren't allowed to, so no.

This was like a, kind of like,
hanging out room.

= It still is, innit?
= And this one...

= I mean, different sort of hanging out.
= I can't remember what we did in here.

= Nor can I.
= We used to put amps in all these rooms.

But they were all done up,
but slightly more hippyish.

We had a pretty... I mean, sedate lifestyle
is not really the right...

It wasn't sedate but it was pretty centred

and it was pretty grounded in its own way.

Geographically, it was very grounded.

And we're all very kind of English
in our ways.

And then we recorded in various locations,

but we did record a lot in Barnes in Olympic.

So, we had to come to this crunch period

where this kind of lifestyle
that we'd created for ourselves,

which was really pleasant,
had to come to an end.

Including being in these kind of houses,
for me anyway,

living in them for long periods of time
and working in them,

sort of came to an end.

And that is the beginning
of Exile On Main St.

Shall I tell you what was recorded here?

Shake Your Hips, Sweet Virginia.
Loving Cup.

I Just Want To See His Face.
I think that was done here.

= Are you sure?
= That was done in Nellcote.

= I don't think it was.
= I think it was.

I'll ask the question.

Stop Breaking Down, that was done here.

= Could well have been.
= I remember doing that here.

Casino Boogie was done here.

= You think so?
= Sure!

We have a lot of disagreements about this.

With the...
He's going the wrong way!

I can't remember.

We used to go that way.
Let's go the way we used to go.

You're being led along
purely by instinct now, it's like a...

When I started talking about
making this film,

= I said, "We're never gonna do this."
= That used to be a studio.

"We're never gonna go
to where we recorded it."

That was your booth there,
you lived in there.

= Did I?
= You used to get through the other...

No! I wasn't always. I was out here a lot.
That was my booth.

= Only when we let him.
= I was quite often here.

Playing the bongos
with a bell around my neck.

That's always a good look.

I don't know what happened to...
I forgot it today. Fuck!

= What was the bell doing round your neck?
= It was a fashion accessory of the time.

= You had a bell, didn't you?
= No, I didn't.

= I remember you with a bell!
= No. I had a very colourful scarf.

We used to try experimental things,
because it was a nice big room.

You could like sit in a circle and all play,

or one bloke could be over there
doing something

while I was here doing something else.

Or I could be in that booth,
or there was another studio you could go in,

or you could be completely isolated,
doing that kind of recording.

So there was a lot of...
That's why recording in a big room's good.

We didn't just book a three=hour session,
did we?

We used to book a three=week session.

What we really did is
we'd just accumulate the material,

knowing that we would use it one day.
So we just came in and recorded.

So, Charlie and I are sort of disagreeing
about what was recorded where,

but it is written down on some list
which I think is relatively accurate.

= Two blind people reading a book.
= Yeah.

Loving Cup.

There was a Loving Cup version
done at Nellcote,

but I'm pretty certain that one was done
here, but... I don't know.

Charlie and I are arguing about
I Just Want To See His Face.

Stop Breaking Down, Robert Johnson blues,
that was recorded here.

= Shine A Light was recorded here.
= Yeah.

I heard that the other day on the telly
and it's fantastic, so loud.

= Yeah, your drums you mean?
= No, no, you singing.

Really? Oh, yeah.

So we did a lot of versions of things,
we did them over and over.

= We still do.
= Yeah.

A lot of the good things were recorded here.

Rip This Joint.
That was recorded in Nellcote, wasn't it?

= I think so.
= Shake Your Hips. That was recorded here.

I mean... I'm not sure...

You said that was recorded at Stargroves
when we were there.

We did a version of it there
but we didn't use it.

What else did we used to do in here?
Take loads of drugs!

But we worked very hard
during the drug=fuelled sessions.

The problem is, with recording,

and if you take drugs, but even if you don't,

that people will become in love
with the process.

At Nellcote,
we were there recording nine months.

And then we did one, two... three...

...four...

five, six...

seven, eight. Maybe nine tracks
in that nine months. Maybe.

That's good going, one a month.

I mean,
you should be able to do one a day, really.

I mean, you know, and come back to it...
One every two days.

= OK, where were we?
= That's about as good as it gets.

That old fucking recording session...
I mean, boring.

Who gives a shit?