The Stones recorded this in Keith Richards' villa in France. The rest of the band rented houses nearby, but they used Keith's basement as a studio because they liked the sound. Because it was not a controlled environment, they got a weird sound when they recorded this, but decided to leave it in.
The band picked the title because the basement where this was recorded had only one small window, and the air got very stale.
This is credited to Jagger/Richards/Mick Taylor - it's only Stones song guitarist Mick Taylor received a writing credit for. One of the reasons Taylor left The Stones in 1974 was because his songwriting was not being credited, meaning he did not get royalties.
One reviewer compared this song to the output of the record label Chess Records. The Stones also dropped a nod to Chess Records in the song "2120 South Michigan Avenue," which was Chess Records' address. The Stones repeatedly credited their influence to Chess artists and the culture around them.
Several Rolling Stones songs have lyrics that contain a touch of misogyny, which is apparent here in the line, "Your woman's cussing, you can hear her scream; you feel like murder in the first degree."
Drummer Charlie Watts would later tell interviewers in 2003 that this was one song whose pinnacle was the original recording, never to recapture the glory again. "It's a great track, but we never play it as well as the original. Something will not be quite right; either Keith will play it a bit differently or I'll do it wrong. It's a fabulous number, but a bit of a tricky one." That could have something to do with the cramped and dilapidated basement studio, which gives it an air of authentic misery. But it's also a technically tricky song.
The title actually comes from that basement, which lacked proper ventilation.
The album's sleeve features photos from Robert Frank’s 1958 book The Americans. Notable characters include famous contortionist Joe Allen and Three Ball Charlie, who was known for the astonishing ability to fit a tennis ball, a golf ball, and a "5" billiard ball simultaneously in his mouth. The latter image has become most famously associated with the album.
Ashley from Quincy, IlI agree with Craig.Exile on main sreet is pretty much the greatest album ever made. this song is one of my favorite's. -ashley stone.IL
Craig from Melbourne, AustraliaIncredible song with lots of atmosphere. Eearthy, raw & powerful. The vents in Keith's house had Nazi swastika emblems in them! It was used by the Gestapo during WW2. The song leads into the spooky "Just wanna see his face". From the greatest album ever made by anyone - anywhere.
Julie from Durham, NcSam, you make an important point that people like to ignore. After all, if Howlin' Wolf had only recorded songs of his own composition, his catalogue would be minuscule -- just ask Willie Dixon. The problem with these "Elvis/Zep/(Insert artist here) ripped off other artists" whinefests is that THIS IS HOW THE BLUES WORK. But in a fun reversal, Gatemouth Brown's cover of "Ventilator Blues" is slammin. Love that fiddle.
Johnny from Los Angeles, CaYes, I agree with Sam. I like that weird bluesy sound that's achieved by not using a real recording studio.
Sam from Shanghai, ChinaIf you're suggesting that blues artists should sue each other for ripping off each other songs, there would be about 10 songs available for the world to listen to. If you think the Stones are guilty, don't even get me started on Led Zeppelin... Plus, it's a form of tribute. Keef & Mick loved those old blues greats, esp. Howlin' Wolf.
Geoffrey Ball from San Francisco, CaMany Captain Beefheart songs, not to mention his vocal style, sound almost EXACTLY like Howlin' Wolf w/ Herbert Sumlin on guitar, but I guess it's too late for them to sue!
Kris from Toronto, CanadaThis song sounds so much like ANY Captain Beefheart song, I hope someday he sues them.