Even fanatics will learn something here.



Expanding from his previous book about a single key album (Exile on Main Street, 2005), Buffalo Tom frontman Janovitz covers the Rolling Stones' entire recording career.

With all the hoopla surrounding the band's 50th anniversary and the tour celebrating that milestone, a book about 50 significant Stones recordings could have practically written itself. But it wouldn’t have written itself nearly as well as Janovitz has; close listening and an ear for detail distinguish his analyses. By concentrating on the recordings—and not even albums as a whole, but specific tracks and singles—the author shifts the focus away from the band’s live performances and offstage notoriety, taking the spotlight off Mick Jagger to explore the crucial yet underacknowledged contributions of bassist Bill Wyman. Janovitz also demonstrates just how important Brian Jones was in the development of the band’s music and persona, while underscoring the subsequent virtuosity of Mick Taylor. As a musician, he highlights elements within the arrangements that might escape even a passionate fan. Yet Janovitz too is “an unabashed fan," and his enthusiasm serves him well—though to describe “Jumping Jack Flash” at this late date as “one of their greatest songs...commanding and ballsy” would seem to belabor the obvious. The author experienced the music of the Stones' glory days after the fact; when he gets to “Angie,” he notes that it was “the first Rolling Stones single I remember hearing contemporaneously,” which means that he can only imagine the immediacy and context of hearing the band's musical progression as it unfolded. Nonetheless, his insights are shrewd and should inspire listeners to return to the recordings with fresh ears, recognizing that the Stones are more than Mick and Keith.

Even fanatics will learn something here.

Pub Date: July 23, 2013

ISBN: 978-1-250-02631-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: June 8, 2013

Kirkus Reviews Issue: June 15, 2013

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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