STONES IN EXILE DVD

I've got to say, I've really been digging listening to The Rolling Stones' classic Exile On Main Street over and over since the reissue came out. Tonight I watched Stones In Exile, the documentary about the album.

The doc was pretty cool, it was interesting to see footage of the era.  But you know Mick Jagger really isn't too into talking about it (in a recent interview he said he didn't know the point of it, other than getting paid, or something like that), and Charlie Watts really really isn't into talking about it. Keith Richards is cool with talking about whatever, but he didn't have any incredible insight, nor did former members Mick Taylor and Bill Wyman, although it was cool to see and hear them in the doc. My favorite parts were the interview segments with Bobby Keys, who played sax on the album (and still plays on their records and tours today). But I enjoyed the doc.

What I loved about the DVD though, was a bonus feature with extended interviews with "Exile fans": Jack White, Sheryl Crow, Liz Phair, will.i.am and Caleb Followill from Kings Of Leon, as well as Martin Scorsese and Don Was.   I used to do interviews with rock stars, and I often was more interested in talking about things other than themselves - especially music that really, really meant a lot to them. Whoever did these interviews, I was definitely envious of, because these were the types of conversations I loved, back in the day. It was fascinating to see what Exile meant to these folks: to Jack White, it was an album that could confound rock critics, they could no longer box the Stones in. To Sheryl Crow, it was how they looked at the place where she was from, the south. will.i.am is one of the most proudly modern and commercial artists - but he likes the fact that it is an entire body of work, and part of a greater continuum of work, and one that isn't reliant on having hit singles.  It's the "cool" album to like, because it isn't as well known. Followill, the son of a preacher man, thought it sounded like the devil's music, and loved it. Don Was, an artist and producer (who has produced The Stones' records of the past 15 years) can't figure out what is on the essence of the album (which I'm sure some critics will have field day with).  And Liz Phair, as her fans know, has a pretty complex relationship with this particular record. Maybe the doc will get some Stones fans to pick up her debut, the classic Exile In Guyville. I know Mick, Keith and Charlie exec-produced the doc, but I would think that they might be weirded out by all of the things that everybody said about the album - not just Liz (but especially Liz!).

A cynic could say that they selected the artists they interviewed for marketing purposes, but I take a different point of view.  Through these interviews, you really see why the album, and the band is so relevant today. I give the main doc a B but this feature an A.

33 1/3's "CHOSEN ELEVEN"

I've written a bit about the 33 1/3 series of books before -- I was totally moved by the edition on Black Sabbath's Master Of Reality -- and they've just announced the next eleven books they will be putting out. Congratulations to everyone whose idea was picked. I may try to submit something next time.

Some great albums will be featured: Portishead's Dummy, Johnny Cash's American Recordings (which Bob Dylan just ripped in his recent Rolling Stone interview, but whatever, they were awesome), Television's Marquee Moon, Liz Phair's Exile In Guyville, AC/DC's Highway To Hell, Radiohead's Kid A and The Rolling Stones' Some Girls (one of my favorites by them, it's the first album with Ron Wood as a real member of the band).

OK, LIZ PHAIR, WE GET IT, THE MATRIX COLLAB WAS A MISTAKE

Liz Phair made a video where she asserts control over her creative direction from songwriting/producing team The Matrix. You can see it here: it's a bit goofy. I am a fan of Liz's, but I think she may be going a bit crazy.

While I'm on the topic of Ms. Phair, I'll mention that I picked up the Exile In Guyville re-release, and it sounds as good as ever. As an album, it is still a classic. The re-release isn't great if you have the original, though. The bonus tracks are really not great, and the DVD documentary is kind of dull. The idea that Liz shot and narrated it is great and makes sense. But, Liz, mic the people you're interviewing. I mean, I know everyone loves the lo-fi-ness of Exile, but come on.

But to end this post on a positive note, I'm looking forward to hearing her next album, which will be on Dave Matthews' ATO Records label, which has also released music from Gov't Mule, My Morning Jacket, Jem, David Gray and Patty Griffin.

LIZ PHAIR'S EXILE REISSUE

I've already written about Liz Phair's Exile In Guyville. Last week, I picked up the much-hyped reissue. I actually wasn't aware that the album has been out of print for a few years. How in the world does that happen? It's such an awesome album. So, thanks to Mr. Dave Matthews and his ATO Records for having the vision to reissue it (and sign Liz for her next new album).

I hadn't listened to this in a while, but when I did, it sounded just as good as it did when I (and many others) first fell for it 15 years ago. If you don't have this album, get it.

As a reissue, though, it's not essential if you still have the original (which I guess is a collectors item now?). I mean, can you really do a kick-ass job remastering a "lo-fi" classic? There are three bonus tracks that aren't essential. I'm not complaining, the album is a stunning work, and she cut off the songs that didn't fit. I did take some issue with the DVD documentary. Liz: I get the whole "lo-fi" thing, but couldn't you have used better microphones for the interviews?

Whatever, I still think she's great. I loved a recent interview she did which I quoted on Leaving 30s. And I'm looking forward to her new album: I bet she'll be more comfortable working with ATO than with a "major" label. Here's hoping she springs for an engineer and some good mics though!

LIZ PHAIR: RETURN TO "EXILE"

Liz Phair's classic debut, 1993's Exile In Guyville, is going to be reissued by ATO Records, the label founded by Dave Matthews. (I read about it on Billboard).

I remember reading rave reviews of it when it came out. I picked it up, and was at first surprised by the lo-fi sound, but after a listen or two, really got into it. But man, the critics were ga-ga for her. I remember when her next album came out, Whip-Smart, a critic wrote in his (and it was definitely a he) review: "It's kind of embarassing how we all fell for her." I have a theory about that.

I remember once reading David Lee Roth saying that critics loved Elvis Costello and they didn't like him. This was, according to Diamond Dave, because they all looked like Elvis Costello, and none of them were anything like him. This was probably true.

Now, if you look like Elvis Costello - but you're a rock critic and not a rock star - hot chicks can be tough to come by. Liz Phair seemed like the hottest possible gal who would be approachable by the average indie-type, Pavement-worshipping critic. I think that, by her second album, when it was clear that she was shooting for super-stardom and not just indie-stardom, it was like having your absolute dream girl leave you for the captain of the football team. The bile spewed in her direction after that was poisonous. To be fair, she did seem like she'd do anything for a hit record, to be in magazines, and to be popular. I myself really like her third album, Whitechocolatespaceegg, but I don't love anything she's done since then.

Anyway, the reissue comes with a DVD that sees her interviewing people from the Chicago music scene, including the famous cranky producer Steve Albini (who referred to her as a "slut" back in the day). That alone will probably be worth the price of admission.

ATO has also signed her for a new album. Hopefully she'll feel comfortable enough to make the music she wants to; she's smart enough now to know that, at 40-something, she's not going to have a top 40 hit, and she will never be forgiven by the indie scene.

I did see a particularly lame post by a blog asking if it is time to "stop hating on Dave Matthews" now that he's signed Phair, as well as My Morning Jacket and Radiohead. You don't have to want to hang out with his fans, or like his music: but how can you not respect that he's had an incredible career, never sold out, and totally calls his own shots (not to mention donates time and money to good causes). What has J. Mascis done for anyone lately, other than record a lame version of "Leaving On A Jet Plane"? Yes, it is time to stop hating.