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33⅓ Main Series #18
Exile on Main Street
Thirty-Three and a Third is a series of short books about critically acclaimed and much-loved albums of the past 40 years. Over 50,000 copies have been sold.
Tracing the creation of Exile on Main St. from the original songwriting done while touring America through the final editing in Los Angeles, Bill Janovitz explains how an album recorded by a British band in a villa on the French Riviera is pure American rock and roll. Looking at each song individually, Janovitz unveils the innovative recording techniques, personal struggles, and rock and roll myth-making that culminated in this pivotal album.
"Exile" is exactly what rock and roll should sound like: a bunch of musicians playing a bunch of great songs in a room together, playing off of each other, musical communion, sounds bleeding into each other, snare drum rattling away even while not being hit, amps humming, bottles falling, feet shuffling, ghostly voices mumbling on and off-mike, whoops of excitement, shouts of encouragement, performances without a net, masks off, urgency. It is the kind of record that goes beyond the songs themselves to create a monolithic sense of atmosphere. It conveys a sense of time and place and spirit, yet it is timeless. Its influence is still heard today. Keith Richards has said, tongue in cheek, the record was the first grunge record.
Tracing the creation of Exile on Main St. from the original songwriting done while touring America through the final editing in Los Angeles, Bill Janovitz explains how an album recorded by a British band in a villa on the French Riviera is pure American rock and roll. Looking at each song individually, Janovitz unveils the innovative recording techniques, personal struggles, and rock and roll myth-making that culminated in this pivotal album.
"Exile" is exactly what rock and roll should sound like: a bunch of musicians playing a bunch of great songs in a room together, playing off of each other, musical communion, sounds bleeding into each other, snare drum rattling away even while not being hit, amps humming, bottles falling, feet shuffling, ghostly voices mumbling on and off-mike, whoops of excitement, shouts of encouragement, performances without a net, masks off, urgency. It is the kind of record that goes beyond the songs themselves to create a monolithic sense of atmosphere. It conveys a sense of time and place and spirit, yet it is timeless. Its influence is still heard today. Keith Richards has said, tongue in cheek, the record was the first grunge record.
174 pages, Paperback
First published February 19, 2005
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Displaying 1 - 30 of 83 reviews
September 14, 2022
I've read a couple books in the 33 1/3 series & they've been disappointments; this one happily fulfills its promise. Janovitz & I share the opinion that Exile On Main St. is the greatest rock 'n' roll album of all-time, & it's a pleasure to read another fan's articulate & well-thought out analysis & dissection of it, not only in the song by song breakdown but in discussing the whole epic 2 lp set in the context of both the Rolling Stones' career & the broader arc of rock music & its relationship to the world in general. Some great points the author hits are the band's gospel influence, which finds its fullest glorious flowering on the record but mysteriously disappears immediately afterwards, a discussion of photographer Robert Frank's work beyond the spooky cover he provides for this moody masterpiece, & the powerful Mick/Keith subtext, there in full view for those with ears to hear. Curious is the recurring theme of Charlie being helped out with difficult drum parts, & consequently he comes off as perhaps the only band member who doesn't deliver a superlative, heroic performance. Not sure it will make new converts for the album, but for those already sold this is a thoroughly satisfying read, tho one sadly not immune to the seemingly omnipresent editorial errors with which this series is riddled.
September 30, 2016
This was exactly what I wanted from a 33 1/3 book: a deep dive into the music, presented in the context of both the contemporary culture and the production techniques, and most of all, an explanation of what makes an album that's so well-known special.
June 13, 2012
Entertaining? Yes! Accurate? Certainly we get a good part of the story. Opinionated? Yes, and glad of it, though I think Janovitz is out on a limb in stating that Exile On Main Street is the best Rock album ever.
The genius of the 33 1/3 approach is that you get these highly concentrated, highly opinionated very personal takes on great music. I will continue to sample others in the series.
The genius of the 33 1/3 approach is that you get these highly concentrated, highly opinionated very personal takes on great music. I will continue to sample others in the series.
May 15, 2008
Before I review the book, two small things about myself.
In 1994, I became very enamored of a little Boston-based trio named Buffalo Tom. For whatever reason at the time, they quickly became my favorite band.
In 2002, when I still had my pop culture column in the now-defunct internet mag Underground, I wrote an essay that explained why I believe that Exile on Main Street by The Rolling Stones is the single greatest rock and roll album ever recorded.
Imagine my surprise to discover that the lead singer of my favorite band has written a book explaining why my favorite record ever is the single greatest rock and roll album ever produced. The first line of the book, for Christ's sake, is The single greatest rock and roll record of all time, okay?
I loved this book. And it was a nice companion to the album, a record that I have devoured over and over again, at least twice weekly since I first discovered it in my teens. I actually caught myself going back and listening to each track one by one once Mr. Janovitz had his say about each song. And I found myself noticing things I hadn't noticed before.
This book and my repeated listenings to the record because of this book made me appreciate the album in a new way. I still stand by my argument that its the greatest rock album ever and this book went a long way toward not only confirming this but helping me to clarify what I've already known for years. Exile on Main Street, even with all its now apparent warts is, to me, the epitome of sex drugs and rock and roll.
Thank you, Mr. Janovitz, for writing such an insightful tome.
I will definitely be checking out other books in this series.
In 1994, I became very enamored of a little Boston-based trio named Buffalo Tom. For whatever reason at the time, they quickly became my favorite band.
In 2002, when I still had my pop culture column in the now-defunct internet mag Underground, I wrote an essay that explained why I believe that Exile on Main Street by The Rolling Stones is the single greatest rock and roll album ever recorded.
Imagine my surprise to discover that the lead singer of my favorite band has written a book explaining why my favorite record ever is the single greatest rock and roll album ever produced. The first line of the book, for Christ's sake, is The single greatest rock and roll record of all time, okay?
I loved this book. And it was a nice companion to the album, a record that I have devoured over and over again, at least twice weekly since I first discovered it in my teens. I actually caught myself going back and listening to each track one by one once Mr. Janovitz had his say about each song. And I found myself noticing things I hadn't noticed before.
This book and my repeated listenings to the record because of this book made me appreciate the album in a new way. I still stand by my argument that its the greatest rock album ever and this book went a long way toward not only confirming this but helping me to clarify what I've already known for years. Exile on Main Street, even with all its now apparent warts is, to me, the epitome of sex drugs and rock and roll.
Thank you, Mr. Janovitz, for writing such an insightful tome.
I will definitely be checking out other books in this series.
April 11, 2016
Exile on Main St. might not be the greatest album of all time*, but it is, without a doubt the greatest rock 'n' roll album of all time. Note that I don't include any qualifier on the preceding sentence limiting it to my opinion. That's because it's an incontrovertible fact. Exile is the Great American Record**, the inevitable culmination of Berry, Charles, Richard, Lewis, ect. ect. Tom Waits put it best when he said that the album was "a tree of life...the watering hole."
I've read about ten of these 33 1/3 books and generally they're quick and entertaining reads that enhances enjoyment of records. The volume on Exile is no exception. Bill Janovitz, of the band Buffalo Tom, isn't a writer, and this both helps and hurts the book. So much of the making of the album is enshrined in legend to aficionados. Exile is one of those albums, perhaps sterling example, where the recording process is almost inseparable from the album itself. The whole, "hey let's take the band and our closest friends, move to a house, do a lot of drugs, and make some incredible music," has been often imitated but never duplicated. When Janovitz covers this it often sounds book reporty.
Where Janovitz really shines is when he starts examining the record song-by-song. I like to read these books while listening to the album, and Janovitz gives an excellent "listening tour" to Exile. He gives you the details of the recordings, who subbed in for Charlie on this track, which parts were overdubbed in L.A., which tracks Gram Parsons allegedly sung harmonies on, ect. But he's studio experience helps you notice things you might have missed after dozens of close listenings. For instance, Janowitz directing me towards Jimmy Miller's piano part on "Ventilator Blues" has forever changed the track for me. Also, I never noticed that Mick drops the C bomb in "Rocks Off."
It's hard to separate the album and the book in determining a rating. In truth the book, using the goodreads star system, is a three star book, but it makes a six star album a seven star one, so it gets a bonus star.
* But then again, it might be.
** Possible disputants: Highway 61, The Basement Tapes,Songs in the Key of Life? Any ideas?
I've read about ten of these 33 1/3 books and generally they're quick and entertaining reads that enhances enjoyment of records. The volume on Exile is no exception. Bill Janovitz, of the band Buffalo Tom, isn't a writer, and this both helps and hurts the book. So much of the making of the album is enshrined in legend to aficionados. Exile is one of those albums, perhaps sterling example, where the recording process is almost inseparable from the album itself. The whole, "hey let's take the band and our closest friends, move to a house, do a lot of drugs, and make some incredible music," has been often imitated but never duplicated. When Janovitz covers this it often sounds book reporty.
Where Janovitz really shines is when he starts examining the record song-by-song. I like to read these books while listening to the album, and Janovitz gives an excellent "listening tour" to Exile. He gives you the details of the recordings, who subbed in for Charlie on this track, which parts were overdubbed in L.A., which tracks Gram Parsons allegedly sung harmonies on, ect. But he's studio experience helps you notice things you might have missed after dozens of close listenings. For instance, Janowitz directing me towards Jimmy Miller's piano part on "Ventilator Blues" has forever changed the track for me. Also, I never noticed that Mick drops the C bomb in "Rocks Off."
It's hard to separate the album and the book in determining a rating. In truth the book, using the goodreads star system, is a three star book, but it makes a six star album a seven star one, so it gets a bonus star.
* But then again, it might be.
** Possible disputants: Highway 61, The Basement Tapes,Songs in the Key of Life? Any ideas?
May 18, 2018
EXILE ON MAIN STREET (33 1/3) by Bill Janovitz is recommended to anyone interested in this album that many consider to be the best album recorded by the band.
Janovitz works through the album song-by-song with many nuances coming from his experience as a guitarist combined with a lifelong passion for the band, and I really enjoyed listening to each song while reading along as I did with his other excellent book ROCKS OFF: 50 TRACKS THAT TELL THE STORY OF THE ROLLING STONES, which I also recommend along with the excellent EXILE ON MAIN STREET by author John Perry.
5 stars.
Janovitz works through the album song-by-song with many nuances coming from his experience as a guitarist combined with a lifelong passion for the band, and I really enjoyed listening to each song while reading along as I did with his other excellent book ROCKS OFF: 50 TRACKS THAT TELL THE STORY OF THE ROLLING STONES, which I also recommend along with the excellent EXILE ON MAIN STREET by author John Perry.
5 stars.
September 30, 2019
Bravo! I've read many of the 33 and 1/3 series and can say this one may be my favorite. Admittedly I'm biased, because Exile on Main St. is not only my favorite Stones' album.....it's one of my favorite albums period. On top of that, I'm also a big fan of Bill Janovitz from his days with 'Buffalo Tom'. I was in college when 'Bird Brain" came out and thought it was just brilliant with more nuance and craft than what I was hearing from lesser bands trying to hop onto the grunge movement. To this day, I still feel they should have received much more positive press and a wider audience. I'm pleased to report that Bill is as good of a writer as he is a musician. The research he did was impeccable. I've read tons about the Exile sessions....most recently in Keith Richards' book 'Life' (which I recommend with vim and vigor).....but every few pages in Bill's book, I was learning something new and interesting. I thought the way he structured the book was extremely effective....more of the overview, back-story, "how did we get here" type material in the front. The remainder of the book, however, is where the real gold is found.....with detailed break-downs of each song on the double LP. He points out the coolest little things to listen for AND includes time-stamps for where they occur in the song (listen to Charlie Watts tasteful little fill at 2:02, put on headphones and at 3:11 you can hear Mick's "ghost" vocals bleeding through from another take, etc. etc.) . I also soaked up all of the fantastic insight regarding the cast of supporting musicians, especially Janovitz's descriptions & praise of Nicky Hopkins piano chops. OH! Almost forgot.......all of the background regarding the photographer responsible for much of the album's art work, Robert Frank. I've added his seminal book of photos "The Americans" to my Christmas list this year! Not sure why I'd never heard of him before, but now I have. Thanks for that Bill!! PS - Loved your interview on Marc Maron's WTF podcast earlier this year. Rock on!
The only caveat I would throw in regarding my 5-star review is that this book is probably NOT going to be a fun or interesting read for people who aren't big fans of the record already. If these songs aren't already burned into your DNA from dozens/hundreds of repeat listens, then much of this book may feel too much like 'inside baseball'.
The only caveat I would throw in regarding my 5-star review is that this book is probably NOT going to be a fun or interesting read for people who aren't big fans of the record already. If these songs aren't already burned into your DNA from dozens/hundreds of repeat listens, then much of this book may feel too much like 'inside baseball'.
September 12, 2022
Janovitz' book goes a long way to explaining how and why the Stones reached their creative apex with this unique, challenging album.
I have long considered Sticky Fingers The Rolling Stones' best album (with Beggars Banquet not far behind) but over the past few years, I've started to wonder if Exile isn't actually their best after all. Song for song, I would still give the edge to those other albums, but when considered in full, as an hour-long immersive sonic experience that has to be enjoyed in one long gulp, I think I've come around. No one else ever made an album quite like this; the Stones never tried again.
3.5 stars.
I have long considered Sticky Fingers The Rolling Stones' best album (with Beggars Banquet not far behind) but over the past few years, I've started to wonder if Exile isn't actually their best after all. Song for song, I would still give the edge to those other albums, but when considered in full, as an hour-long immersive sonic experience that has to be enjoyed in one long gulp, I think I've come around. No one else ever made an album quite like this; the Stones never tried again.
3.5 stars.
November 25, 2024
Ο Μικ τραγουδάει:
Καλιφόρνια, σ' ευχαριστώ για το κρασί σου
Σ' ευχαριστώ για τους γλυκούς και πικρούς καρπούς σου
Ναι, έχω την έρημο μες στα νύχια των ποδιών μου
Κι έκρυψα τις αμφεταμίνες στο παπούτσι μου
Καλιφόρνια, σ' ευχαριστώ για το κρασί σου
Σ' ευχαριστώ για τους γλυκούς και πικρούς καρπούς σου
Ναι, έχω την έρημο μες στα νύχια των ποδιών μου
Κι έκρυψα τις αμφεταμίνες στο παπούτσι μου
February 25, 2019
He’s quite passionate and knowledgeable about the band and the album, to be sure. Gave me a new and deeper appreciation of “Exile” (never my favorite). This format is tricky and when you go song by song it’s bound to drone a bit. But solid effort overall with some neat insights.
May 31, 2012
Bill Janovitz follows a standard pattern for the 33 1/3 series: the first third of the book is dedicated to the making of the album, the following two thirds is a song by song breakdown of the same album. In this case, the format works particularly well.
The first third, describing the strained relations between the various members of the band, as well as the recording crew, session musicians, wives and girlfriends, and assorted hangers-on, sets up the situation well. It describes the difficulties in recording in France, at Keith's rented mansion, and the reasons behind the choice of said location. Additionally, it goes into the iconic cover photo and related artwork and the reasons for it. Janovitz describes all of this with the enthusiasm of a true fan and his passion for the material at hand shines through the breathless prose that takes the reader down onto the streets with Mick and Keith for the cover photo sessions.
The latter two-thirds though, while still highly readable, suffer a bit from this same enthusiasm. For long stretches, Janovitz describes the song in such glowing terms that it can be hard to relate the actual song to what he has written about it. Still, through the use of well researched quotes and lyrical and musical analysis, these are chapters worth reading.
Overall, this is worth reading for any Stones fan.
The first third, describing the strained relations between the various members of the band, as well as the recording crew, session musicians, wives and girlfriends, and assorted hangers-on, sets up the situation well. It describes the difficulties in recording in France, at Keith's rented mansion, and the reasons behind the choice of said location. Additionally, it goes into the iconic cover photo and related artwork and the reasons for it. Janovitz describes all of this with the enthusiasm of a true fan and his passion for the material at hand shines through the breathless prose that takes the reader down onto the streets with Mick and Keith for the cover photo sessions.
The latter two-thirds though, while still highly readable, suffer a bit from this same enthusiasm. For long stretches, Janovitz describes the song in such glowing terms that it can be hard to relate the actual song to what he has written about it. Still, through the use of well researched quotes and lyrical and musical analysis, these are chapters worth reading.
Overall, this is worth reading for any Stones fan.
October 23, 2009
Excellently crafted exploration of the author's favorite rock & roll album, by the world's greatest rock & roll band. Books like this one are why I read the 33 1/3 series; they allow me to deepen my appreciation of albums in my collection. This album, until now, has been sorely neglected. Now I have new ears with which to hear it, courtesy of Bill Janovitz.
Survival in a troubled world is perhaps the overarching lyrical concern on Exile.... Truth is, we all struggle. We all know friends, lovers, and family members for whom life is a fight against the shadows. Exile on Main St. is a masterpiece in part because, as with many classic rock & roll records, it makes us feel that we're not so alone. With the aid of Exile, we feel we can survive with dignity and no little style.
May 12, 2008
even tho tosh thinks this record is overrated, and there really isn't anything left to say about it, I enjoyed this. sadly, since I'm still listening to the vinyl version, I can't get into the minutia about background vocals and horn bits that he points out by "listen to 2:20 through :37" sort of instruction. It's also funny to see these lyrics written out. and it never occured to me that most of the sad/concerned songs might be about keith! but of course mick was worried about possibly losing his cash cow....
October 3, 2019
I really enjoyed this book. The author did a great job explaining how and why the Rolling Stones made this album and why it was so good. The first section of the book explained the History behind the album and the second section was a breakdown of every song from this double album. The second section was easily the best part of the book. He describes in detail every aspect of the song. Who played what instrument and things to listen for when listening to each song. Highly recommend if you are a Rolling Stones fan.
October 27, 2014
I really enjoyed Janovitz's song by song breakdown of why he loves this album so much.
May 28, 2019
Very bland.
August 21, 2023
The Rolling Stones are one of my favorite bands and their 1972 opus Exile on Main Street is my favorite of theirs. I also consider it the greatest rock record ever recorded. Bill Janovitz, who shares that opinion, wrote a loving, illuminating, very engaging overview on this perfect record for the 33 1/3 series.
Like a lot of what the Stones did in the late 60s/early 70s, there are plenty of legends around Exile. Compared to their other albums, the aura around this album is especially murky, dark, and squalid. Stories of sweaty, formerly nazi-occupied basements, drugs, intra-band conflict, etc. permeate this recording. Janovitz does a great job of capturing all of this while digging into great detail on the album.
He starts of the album with a broad overview of what led the Stones to end up in France recording this album and the general vibe of the album, including the cover art and packaging of the original LP. In part two of the book, he walks through each of the songs in turn, detailing the composition, lyrics, personnel, and any other interesting little facts about them. He includes his own opinions on the songs, quotes from the band members, and quotes from more peripheral folks. Although I loved reading the band's thoughts on the songs, I think the most interesting quotes were by musicians outside of the core of the band, who elucidated the workings of the band and this recording in fascinating ways. Janovitz himself provides some excellent lyrical analysis throughout the book and helps to highlight how various recording configurations and situations reflect tensions within the band and their collective state of mind at the time. You can tell he loves this album and has spent a lot of time thinking about it.
A fantastic book and recommended for big Stones fans who want to learn more about their greatest album.
Edit: I forgot, one slightly strange thing (and this is nitpicky) is that in his lyrical analysis of "Shine a Light," Janovitz interprets the lyrics to be an expression of concern from Mick Jagger to Keith Richards. It is pretty widely understood that Jagger wrote this song about former band member Brian Jones--indeed, this is the first time I've ever seen anyone suggest it is about Keith. That does make me question the perspicacity of his lyrical assessment throughout the rest of the book. Small thing, but thought I'd flag it anyway.
Like a lot of what the Stones did in the late 60s/early 70s, there are plenty of legends around Exile. Compared to their other albums, the aura around this album is especially murky, dark, and squalid. Stories of sweaty, formerly nazi-occupied basements, drugs, intra-band conflict, etc. permeate this recording. Janovitz does a great job of capturing all of this while digging into great detail on the album.
He starts of the album with a broad overview of what led the Stones to end up in France recording this album and the general vibe of the album, including the cover art and packaging of the original LP. In part two of the book, he walks through each of the songs in turn, detailing the composition, lyrics, personnel, and any other interesting little facts about them. He includes his own opinions on the songs, quotes from the band members, and quotes from more peripheral folks. Although I loved reading the band's thoughts on the songs, I think the most interesting quotes were by musicians outside of the core of the band, who elucidated the workings of the band and this recording in fascinating ways. Janovitz himself provides some excellent lyrical analysis throughout the book and helps to highlight how various recording configurations and situations reflect tensions within the band and their collective state of mind at the time. You can tell he loves this album and has spent a lot of time thinking about it.
A fantastic book and recommended for big Stones fans who want to learn more about their greatest album.
Edit: I forgot, one slightly strange thing (and this is nitpicky) is that in his lyrical analysis of "Shine a Light," Janovitz interprets the lyrics to be an expression of concern from Mick Jagger to Keith Richards. It is pretty widely understood that Jagger wrote this song about former band member Brian Jones--indeed, this is the first time I've ever seen anyone suggest it is about Keith. That does make me question the perspicacity of his lyrical assessment throughout the rest of the book. Small thing, but thought I'd flag it anyway.
July 5, 2025
Solid 3/5: Janovitz wants you to know he is [was?] in a moderately successful band. The only thing less conspicuous than his reminders that he’s a musician alongside “casual” name drops, as though he’s on a first name basis with legends long before his time, are the elitist assumptions that you’ll get his out-of-pocket references without context.
33 1/3 is a series where the author can write about their favorite album in any manner they choose. While I don’t always like the subjects by which these people frame their narrative, I’m still presented with interesting takes (see OK Computer, where the author forsakes any Radiohead history or review to focus on timestamps and method of consuming their media; or Led Zeppelin IV, where the author chooses to talk almost entirely about Jimmy Paige’s obsession with the occult). In Exile on Main St. Janovitz gives us the straightforward anecdotes on the recording process and the track-by-track breakdown some of the other installments made me crave… and it all supports my theory that the man is an elitist-posturing hack. You have nothing insightful to say so you plagiarize the work of others in the most basic way. Also, your definition of genres is shit. The White Stripes are punk? I may know little, but you know nothing.
Last but not least, everyone’s heard the argument that Zeppelin copped a lot of their catchy tunes. I’m not refuting it. But attempting to contrast another band’s supposed transgressions as a foundational argument to excuse the Stones for the same actions is wild. Janovitz claims, while actually supplying evidence to the contrary, that Mick and Keith did not steal tasty jams. Rather, they were “paying homage…” while not only denying credit to other artists, but misremembering where/how/when/why things were recorded due to substance binges. Had Janovitz tried bolster these borrowed tracks on their own merit, instead of calling attention to controversy by slinging mud, he could have better served his intentions
33 1/3 is a series where the author can write about their favorite album in any manner they choose. While I don’t always like the subjects by which these people frame their narrative, I’m still presented with interesting takes (see OK Computer, where the author forsakes any Radiohead history or review to focus on timestamps and method of consuming their media; or Led Zeppelin IV, where the author chooses to talk almost entirely about Jimmy Paige’s obsession with the occult). In Exile on Main St. Janovitz gives us the straightforward anecdotes on the recording process and the track-by-track breakdown some of the other installments made me crave… and it all supports my theory that the man is an elitist-posturing hack. You have nothing insightful to say so you plagiarize the work of others in the most basic way. Also, your definition of genres is shit. The White Stripes are punk? I may know little, but you know nothing.
Last but not least, everyone’s heard the argument that Zeppelin copped a lot of their catchy tunes. I’m not refuting it. But attempting to contrast another band’s supposed transgressions as a foundational argument to excuse the Stones for the same actions is wild. Janovitz claims, while actually supplying evidence to the contrary, that Mick and Keith did not steal tasty jams. Rather, they were “paying homage…” while not only denying credit to other artists, but misremembering where/how/when/why things were recorded due to substance binges. Had Janovitz tried bolster these borrowed tracks on their own merit, instead of calling attention to controversy by slinging mud, he could have better served his intentions
November 20, 2022
This won me over with its enthusiasm. The great strength is that it listens hard, and makes distinctions between the ways the Stones leveraged R&B, soul, country, and country rock on various cuts from the album.
The book has two parts: The first in which Janovitz contextualizes the album using the photos of Robert Frank (who provided pictures for the album), and a second part that is a song-by-song rundown of the album. Each section in the second part is much like Janovitz's song reviews on allmusic.com. They point out a lot of detail and are the result of focused listening.
While the book does allude to the punks and indie performers who received inspiration (positive or negative) from Exile, it is kind of weird that the book doesn't deign to think out why Liz Phair would take it on as a target ("Exile in Guyville" came out in 1993; sure, maybe she was just teasing with the suggestion that it was a reply to Exile, but it is an interesting intervention), or why bands in the Jon Spencer wake -- I'm thinking especially of the album "Cats and Dogs" by Royal Trux -- would be so interested in Exile, and particular the songs that were not big hits or crowd pleasers). A little odd, too, that Janovitz doesn't note that the John Perry who wrote a book on Exile was the same John Perry who contributed guitars to the seminal English band The Only Ones.
The book also struggles a bit with what is owned by Mick, what by Keith, what by the helpers and hangers-on, what by the Stones as a whole: But that's the problem of the Rolling Stones.
The book has two parts: The first in which Janovitz contextualizes the album using the photos of Robert Frank (who provided pictures for the album), and a second part that is a song-by-song rundown of the album. Each section in the second part is much like Janovitz's song reviews on allmusic.com. They point out a lot of detail and are the result of focused listening.
While the book does allude to the punks and indie performers who received inspiration (positive or negative) from Exile, it is kind of weird that the book doesn't deign to think out why Liz Phair would take it on as a target ("Exile in Guyville" came out in 1993; sure, maybe she was just teasing with the suggestion that it was a reply to Exile, but it is an interesting intervention), or why bands in the Jon Spencer wake -- I'm thinking especially of the album "Cats and Dogs" by Royal Trux -- would be so interested in Exile, and particular the songs that were not big hits or crowd pleasers). A little odd, too, that Janovitz doesn't note that the John Perry who wrote a book on Exile was the same John Perry who contributed guitars to the seminal English band The Only Ones.
The book also struggles a bit with what is owned by Mick, what by Keith, what by the helpers and hangers-on, what by the Stones as a whole: But that's the problem of the Rolling Stones.
September 10, 2023
This might be the Stones best album, certainly it might most define the sound they are most famous for. The story of the creation of the album is well told, tax exiles, voluntarily, from The U.K, the album was recorded in an old house on an estate in France. Many rooms in a multi level basement created opportunities for sound and eccentricities that were unique.
As the recording took place over about a year there are multiple visitors to the sessions, many appearing on the recordings, some credited, some not.
What doesn’t work for me is that this author takes a highly technical approach to describing the songs and their recording. D notes into G, tracking, overdubs it’s all well beyond my knowledge base or even ability to comprehend
And this was in the early seventies, imagine what recording is now. I remember hearing back in the early eighties how Paul McCartney played all the instruments on his song Coming Up. With multi track overdubbing one person can be a band if they wish.
One interesting note was how the author speculated that several songs had the drums of Charlie Watts replaced by those of Jimmy Miller.
Interesting but not as enjoyable as other entries in the set
As the recording took place over about a year there are multiple visitors to the sessions, many appearing on the recordings, some credited, some not.
What doesn’t work for me is that this author takes a highly technical approach to describing the songs and their recording. D notes into G, tracking, overdubs it’s all well beyond my knowledge base or even ability to comprehend
And this was in the early seventies, imagine what recording is now. I remember hearing back in the early eighties how Paul McCartney played all the instruments on his song Coming Up. With multi track overdubbing one person can be a band if they wish.
One interesting note was how the author speculated that several songs had the drums of Charlie Watts replaced by those of Jimmy Miller.
Interesting but not as enjoyable as other entries in the set
January 30, 2017
I loved this book, but I don't know if I can recommend it to anyone who isn't like me, a fan of both "Exile on Main Street" or Bill Janovitz. When he was lead singer and songwriter for Buffalo Tom, Janovitz' adoration of Mick and Keith was pretty blatant, between the lyrical shout-outs (see "Summer") and the Stones-like swinging looseness of the band's best moments (see also "Summer"). Hence, he has already accepted the thesis that "Exile" is the greatest rock-and-roll album of all time and doesn't bother to defend it, preferring to plunge into the details of the songs, both their actual sound and the circumstances of their recording. It's less criticism than pure fandom -- articulate, informed fandom, but fandom nonetheless. I found it fascinating, but I was rather predisposed to do so.
April 18, 2019
I have to start by saying I have never been a fan of The Rolling Stones. I just don't get their aesthetic. And I HATE this album. Seriously? It's crap on tape. There is literally a song called "Turd on the Run." Maybe they should have just called it "Runny Turds" and been done with it. All they did was get high, hang out in a basement and bang on some stuff. It's not recorded well. It's not written well. For me, there's nothing inspiring about it. That said, the book about it was decent. The guy's obviously a fan, and if anything could have made me like it more, it was the book, but the album is just so bad. It is NOT the genius masterpiece that this claims it to be. Nope. Sorry.
Or maybe I'm just not high enough to enjoy it...and I'm ok with that.
Or maybe I'm just not high enough to enjoy it...and I'm ok with that.
July 20, 2019
(I had written a longer review that actually went somewhere, kind of, but my computer ate it)
I've read several of the 33 1/3 series and this one is as effective as they're likely to get.
Not my favorite Rolling Stones album from a not my favorite period for the not my favorite band of all-time. I like the Aftermath/Buttons period best and, from this period (Beggars to Exile) I always liked Sticky Fingers a whole lot more bc it seems smarter to me and I want that. In fact, in a now eaten portion of my review, I used a Mick quote from the book where he said something like, "(Exile) It isn't our smartest work" as support for my fingers favoritism.
-And as far as favorite band or artist, I'm not sure but they would be doing something more sincere than than Stones do. That said, I enjoy the Stones. I read Keith's memoir. I REALLY like the Mick Jagger solo album, Wandering Spirit. And I went to see them when they were (well?) into their sixties. So I like the band, but not the album. In fact, only song I am ever excited to hear is "Let It Loose" and most I would just skip (Torn and Frayed, Loving Cup, Happy are ok)
I enjoyed the book anyway.
Four stars in the context of the entries in the series I have read and rated.
I've read several of the 33 1/3 series and this one is as effective as they're likely to get.
Not my favorite Rolling Stones album from a not my favorite period for the not my favorite band of all-time. I like the Aftermath/Buttons period best and, from this period (Beggars to Exile) I always liked Sticky Fingers a whole lot more bc it seems smarter to me and I want that. In fact, in a now eaten portion of my review, I used a Mick quote from the book where he said something like, "(Exile) It isn't our smartest work" as support for my fingers favoritism.
-And as far as favorite band or artist, I'm not sure but they would be doing something more sincere than than Stones do. That said, I enjoy the Stones. I read Keith's memoir. I REALLY like the Mick Jagger solo album, Wandering Spirit. And I went to see them when they were (well?) into their sixties. So I like the band, but not the album. In fact, only song I am ever excited to hear is "Let It Loose" and most I would just skip (Torn and Frayed, Loving Cup, Happy are ok)
I enjoyed the book anyway.
Four stars in the context of the entries in the series I have read and rated.
October 8, 2020
Two-and-a-half stars. I liked the first half of the book, but I found much of the author's track-by-track gushing to be hyperbolic...or just plain wishful thinking. (Calling multiple tracks "punk"? I think not.) Perhaps the biggest fault here is me, the reader, as I do not worship at the shrine of this album. I read this book to try and understand what the love fest is all about; I left thinking the Rolling Stones are bigger thieves than I originally thought and that this is exactly the empty (albeit rollicking) party album it sounds like.
(Just my opinion so, please, no hate.)
(Just my opinion so, please, no hate.)
December 21, 2020
Draws you into its world
Never been a big stones fan, with a fear of more style than substance. Likewise Exile carries the trappings of the band cooped up in France, ducking the tax man but sunny through. The book provides great detail to cross check while listening but I'm still not convinced by the album or the Stones. Good reading to explore the detail but for me, both remain contenders not champions.
Never been a big stones fan, with a fear of more style than substance. Likewise Exile carries the trappings of the band cooped up in France, ducking the tax man but sunny through. The book provides great detail to cross check while listening but I'm still not convinced by the album or the Stones. Good reading to explore the detail but for me, both remain contenders not champions.
April 23, 2021
A decent book about one of the greatest records of all time, with some of the greatest riffs of all time. The songs range from foot stomping rock to rockabilly to gospel to blues - this album has range. I loved the parts where they talk about the mindset of the band, but never enjoyed when some of these break down to a song-by-song telling of who played what instrument, etc. Overall, worth the read.
November 14, 2023
Un tratado completo sobre el mejor (para mí gusto) disco de los Stones y uno de los mejores discos de todos los tiempos. En un ensayo minucioso y entretenido, disecciona el álbum canción a canción de manera muy detallada, las anécdotas de la grabación, el momento vital del grupo en esos tiempos o el contexto cultural, social y político. Un libro brillante para los amantes del grupo y especialmente de ese maravilloso Lp. Imprescindible.
March 16, 2024
Another good entry to the series. Bill Janovitz from Buffalo Tom clearly knows his stuff and has researched the hell out of this album. I was glad to hear how much he loved Turd on the run as I thought I was the only one. The only thing I will say is this is not one for those that aren’t fans of the album because you would find the track by track analysis, which takes up the majority of the book, kind of boring
July 29, 2018
Well researched, solidly written and deeply personal, Bill Janovitz insightfully captures the tone of one of rock’s greatest albums. I would have preferred a more in depth discussion and appreciation of the album’s final track “Soul Survivor”, my personal favorite, but this is quibbling. The book deserves its place in the library of any Stones fan.
March 2, 2019
A track-by-track exploration and exposition of one of the few perfect rock and roll albums. The 33 1/3 series is a mixed bag, but Janovitz elevates this entry into what you want all of them to be: a sincere fan describing his admiration of a classic album that also lays bare insights, background, nuances and deeper meanings you might not have known (or noticed) before.
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