Rolling Stones star Mick Jagger on creating Exile On Main St. The next time you're at a loss for something to do, you might want to gather together some friends and play the "Exactly!" game. In its purest form, it's a kind of applied snobbery, a crash course in cultural one- upmanship that, remarkably, somehow always delivers the Unassailable Truth. It works like this: someone picks an idea - the novels of Martin Amis, say, or Surrey batsmen of the Fifties (although it's best to stay off topics for which there could be an empirical - ie statistical - winner). The others have to make their bid for the best example until everyone cries "Exactly!" all at once. Trust me, it happens - particularly when the winning idea seems somehow implausible, and yet on closer inspection reveals itself to be the One True Answer. So, for instance: the albums of Michael Jackson.

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Thriller"? Nooooooo. Bad"? Come on…"Off The Wall"? Exactly!" It's endless fun. Robert De. Niro's best performance in a Scorsese film? Easy: The King Of Comedy. The best Godfather?

It's Part II, obviously. Dominique Tarle. But now try it with the albums of the Rolling Stones. Sticky Fingers"? Can't argue with the track listing, and it's clearly their most popular album, but honestly, where's the fun in choosing that? Let It Bleed”? Ah, the connoisseur's choice. Only.. Well, at times it feels like it's the work of more than one band, so it can come over as, well, a bit bitty.

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How about “Some Girls”? Mmmm, interesting, it's a past- their- first- flush choice, which gives it a certain edge, and it contains their last great ballad (Beast Of Burden).

But it's also channeling so much of what the Stones saw going on around them at the time - disco (Miss You, the title track) and punk (Shattered) - that it doesn't feel… “Exile On Main St.”? Exactly!"That's not just me you hear exclaiming loudly. You can ask Primal Scream's Bobby Gillespie and just about any other tasteful Stones lover I've ever met. Because "Exile" meets the countless unseen markers of the "Exactly!" game perfectly.

Directed by Robert Frank. With Truman Capote, Dick Cavett, Marshall Chess, Chris Collins. This fly-on-the-wall documentary follows the Rolling Stones on their 1972. “Goldman Sachs owns him, he will do anything they demand,” Donald Trump tweeted last year. He was referring to his opponent Ted Cruz. But now he’s president and. Get the latest News news with exclusive stories and pictures from Rolling Stone.

Rolling Stones star Mick Jagger met with GQ to talk about the infamous Nellcôte sessions and Exile On Main St.

It's defiantly and undeniably the Stones, containing everything you ever want to hear by them whenever you need to hear it: rock, rock'n'roll, country, blues, country blues and everything in between. But in many ways, it's an oddity.

For starters, it remains their only double- set to date - 1. Robert Frank's blown- up 1. Exactly!"). And except for the endlessly collated Tumbling Dice, it contains no radio hits to speak of - which is a shame, since Sweet Virginia and Ventilator Blues deserve classic status and yet it still encapsulates everything the Stones stand for, then (it was written and recorded between 1. Tattoo You”, the longest gestation period of any Stones album) and now. Don't just take my word for it: "I think you might say “Exile” is an anomaly." Mick Jagger told me last December, as he limbered up for its imminent re- release, this time augmented with additional outtakes and four recently discovered tunes from the same period. Because we'd been very tight and focused before that, and very tight and focused after that. Maybe it was a bit like “Their Satanic Majesties Request”, only better - you know what I mean.

I don't think we repeated it. Imagine someone saying, you've got to sell your house in the country - which is the only asset you've got - and go live in a foreign country – Charlie Watts"It's a very mixed bag of musical styles; it doesn't include any pop music - there's almost no pop in it. There are no pretty tunes as such. There's no great ballad on it - in fact, there are almost no ballads. There's Shine A Light, but that's a gospel song really. But there's everything else: there's a bit of country, there's a bit of blues, straight covers, kind of hard rock.

But it's a kind of exhibition of styles."It's also sprawling and quite long. You could almost go into it and find something you don't know, which is always interesting in a piece. Also, it doesn't have any unity of time and place. In other words, it's not a concentrated two- month period. If you make a record over a concentrated two- month period, you'll somehow encapsulate what you felt. Whereas if you record something over a three- year period, you're not - but you're going to get something else."It's precisely that "something else" that seals “Exile On Main St.”'s reputation as the Rolling Stones' "Exactly!" album - outlandish yet incontrovertible.

Coming after a brace of stellar albums, 1. Let It Bleed” and the hugely successful “Sticky Fingers”, the sheer heft of 1. Exile” should speak of a band at the peak of their powers, certainly willing to dispense with anything that might constrain its lazily uncoiling atmosphere. And yet, for all the chart success then being enjoyed by “Sticky Fingers”, “Exile”'s recording, started at the now sadly defunct Olympic Studios in Barnes and continuing at Jagger's Country home, Stargroves, near Newbury, Berkshire, coincided with what in retrospect looks like one of the more fragile moments in the Stones often precarious career. Dominique Tarle. According to the late Charlie Gillett, author of the definitive account of the birth of rock, The Sound Of The City, the Stones found their sound in 1. Hollywood's RCA studios, where they recorded (Can't Get No) Satisfaction, and "at last found a way to express on record the threat and derision which they put across in person".

Such was their transatlantic appeal, the band went on to become the second highest- earning British band after the Beatles. And if, as he says, "They carved a niche and sat tight in it," so what? No one else has ever been allowed in.

But for all their success, by the dawn of the Seventies the Stones were facing a number of serious problems. These had begun early on 3 July 1. Brian Jones was found dead in his swimming pool in circumstances that some still maintain point to foul play.

I've no idea why we didn't go on tour. I think it was because Keith had so many drug busts that he couldn't get a visa - Mick Jagger. Watch Do Knot Disturb Online here.

Two days later, as planned, the Stones debuted Jones' replacement, Mick Taylor, at a free concert,in Hyde Park, after which they departed for a fractious American tour that culminated in a disastrous free concert held at the Altamont Speedway in northern California, on 6 December 1. Here, the band's security, the Oakland chapter of the Hells Angels, meted out violence of such unstinting ferocity that an audience member, Meredith Hunter, lost his life.

As claim and counterclaim flew (all, however, now agree it was officially "the end of the Sixties"), the band retreated back to London, only to discover that between their manager, Allen Klein, and record company, Decca, the Stones' finances were a shambles. Richards later calculated they'd lost around £2. Sixties earnings, a decade during which, the guitarist claimed, the band had enjoyed just ten days of free time between 1. With the help of a jet- set society friend of Jagger's, Prince Rupert Löwenstein, they extricated themselves from their contract with Klein and negotiated their own record deal with Atlantic Records (named, with characteristic immodesty, Rolling Stones Records), only to run into another problem after it became clear that none of them had the wherewithal to pay their taxes, then levied at 9. Löwenstein announced the whole band (and thus, for practical purposes, the relatively penurious Mick Taylor) would have to decamp to France.

Dominique Tarle. Today, even Jagger is a little hazy on why, in the middle of all of this drama, the band decided to embark on the marathon recording sessions for “Exile”: "I've no idea why we went back into the studio so quickly," he says."I've no idea why we didn't go on tour. I think it was because Keith had so many drug busts that he couldn't get a visa - that was one of the problems. So, we couldn't go to America.

So, there was a tremendous amount of pressure.