No Stu. No Billy Preston. No Dr. John. No backing singers (Mick probably doesnt remember them, but i know Keith does. Every time they play in L.A. he makes sure they get tix). No Bill Plummer. No mention of re-discovered songs. No mention of what they added.

now I don't like it

Some Guy wrote on Jun 29^th, 2010 at 10:21pm:


Some Guy, you kill me. 

they are finally showing their age

holy crap is Liz Phair a talentless dim wit. I went to school with her n she is just horrible...cannot sing either

Liz Phair was the only one in that bonus section who knew what she was talking about. I thought she was right on the fucking money. That girl knows Exile inside and out. I did turn off the bonus feature when Don Was started to compare Exile to Joseph Conrad's Heart of Darkness so if she does speak after that, I didn't hear it. But what I did hear from her was superb. The guy from the Black Peas was full of shit. I don't buy that he was walking around with Exile on vinyl in his school bag in 1993 and 1994 and laying it on people. There's no way that was happening. In 93 and 94 the only record players you'd see were curbside waiting for the trashmen. I was the only person I knew of at that time in high school and college with a working record player.

Jack White saying one of the reasons he likes the album is that it fucks with the reviewers is bullshit. Have you ever liked something because of the effects it had on a journalist or reviewer? Fuck that! That's nonsense.

One thing I did notice in the documentary was it seemed there were scenes that were shot last year that they tried to manupulate to look like it was 1972. That annoyed me and once I noticed it, I questioned every scene. "Is this real or is this Memorex?" Check out the dice rolling scene, the clip of the record player spinning with a Tumbling Dice poster in the background,

And no mention of Stu in the documentary was odd. Not one word at all. I'd like to know what the director and the editors cut out of the film-but maybe I'll find some Stu content in the bonus material.

Heart of Darkness is one of my favorite books actually.

you've nailed it, sir. 

No wonder Jagger doesnt like to re-visit the past. The GHS dvd/cd upgrade might be a while off.

Deathgod wrote on Jun 29^th, 2010 at 9:26pm:


I really don't know...it seems pretty insecure to have to rely on these young chickens for back up

stonedinaustralia wrote on Jul 3^rd, 2010 at 6:58pm:



Pretentious is an understatment.
Bollocks is correct. The simple truth is that Exile was a moment of transition for the Stones, looking back at thier littered, often mispent past and moving forward.....its got chaos and confusion, but also hope and love.
I hate the kind of pseudo music criticism/philosophizing like Was going on about the "undercurrent of evil" - this makes the music impersonal. The Stones have always been able to capture the zeigiest of the times, but ultimately at the heart of it all, their work is personal, which makes it last.
At least Liz Phair was talking about what it meant to her, , not like Was who turned it into some intellectual whatever. This is painful to listen to.

Finally watched it over the weekend and loved it. I thought the director did a phenomenal job at making it all so seamless. Loved the way he started with the "heads", then Mick and Charlie in the studio, and the way he segues back to 72 with footage of Mick and Charlie....excellent!
Amazing footage......and the "renactments" were sublte and not distracting at all.
I loved how Kijak used huge portions of songs and just let them play out and those early in-the-studio tracks! I wanted more of that! Listening to how Ventilator Blues started with that simple blues riff has made me appreciate the song all the more. The first time i saw it, i thought that shot of Jagger with that random black chick kind of, well, random and wondered why they left it in and how Jagger felt about it. But the second time I watched it, it fit perfectly. Throughout the film we see Jagger in pics with Bianca and he's in Paris, blah, blah.....it all seems so idylic...and then near the end, in LA, we see Jagger with that random chick and its like, what a prick! I mean, we know he was randy, but this just drives it home in a way that is kind of sad. Keith fucked up his life with drugs, but Jagger fucked up his life and relationships with his bad behavior with random sex. It made it seem balanced in that the film did not shy away from Keith's drug problems, so Mick's indiscretions should be shown as well. It made me feel bad for all of Mick's women and children. It was a subtle subtext for me. I also love that shot where Mick is in some room after a show, obviously exhausted and a little out of it, and then the camera pans to show Keith in bed, flaking out, while Shine a Light plays. I never thought of that song like that, but it was poignant.