― alex in mainhattan, Wednesday, 18 July 2001 00:00 (seventeen years ago) Permalink
― Sean Carruthers, Wednesday, 18 July 2001 00:00 (seventeen years ago) Permalink
― duane, Wednesday, 18 July 2001 00:00 (seventeen years ago) Permalink
― JM, Wednesday, 18 July 2001 00:00 (seventeen years ago) Permalink
― andy, Wednesday, 18 July 2001 00:00 (seventeen years ago) Permalink
― Mike Hanle y, Wednesday, 18 July 2001 00:00 (seventeen years ago) Permalink
― Sterling Clover, Wednesday, 18 July 2001 00:00 (seventeen years ago) Permalink
― youn, Thursday, 19 July 2001 00:00 (seventeen years ago) Permalink
― Sterling Clover, Thursday, 19 July 2001 00:00 (seventeen years ago) Permalink
― duane, Thursday, 19 July 2001 00:00 (seventeen years ago) Permalink
― Patrick, Thursday, 19 July 2001 00:00 (seventeen years ago) Permalink
― alex in mainhattan, Thursday, 19 July 2001 00:00 (seventeen years ago) Permalink
― Ned Raggett, Friday, 20 July 2001 00:00 (seventeen years ago) Permalink
there is little to be gleaned from the live in london set aside from a mere curio stance.
search: the big star boot entitle Beale Street Green which features some great "Lost-Era" Alex doing some very rad demos:"she might look my way""windows hotel""can't seem to make you mine" (seeds)"shaking the world""all the time"
but then the greatest song ever written:
"tennis bum"... as alex mentions it's like wooly bully, all strat reverb and the goofiest lyrics you've never heard. i am in love with the lost era chilton voice, it's perfect.
classic classic classic.
― gygax!, Tuesday, 19 November 2002 01:19 (fifteen years ago) Permalink
Just had to point that out.
― David Allen, Tuesday, 19 November 2002 01:22 (fifteen years ago) Permalink
― Shakey Mo Collier, Tuesday, 19 November 2002 01:32 (fifteen years ago) Permalink
― Andrew Thames (Andrew Thames), Tuesday, 19 November 2002 02:36 (fifteen years ago) Permalink
― earlnash, Tuesday, 19 November 2002 03:59 (fifteen years ago) Permalink
― Fritz Wollner (Fritz), Tuesday, 19 November 2002 16:39 (fifteen years ago) Permalink
― Nordicskillz (Nordicskillz), Monday, 16 December 2002 19:40 (fifteen years ago) Permalink
― hstencil, Monday, 16 December 2002 19:45 (fifteen years ago) Permalink
― Nordicskillz (Nordicskillz), Monday, 16 December 2002 20:20 (fifteen years ago) Permalink
― Nordicskillz (Nordicskillz), Friday, 9 May 2003 12:19 (fifteen years ago) Permalink
Of course the third Big Star record is an Alex Chlton solo album and it's one of the greatest LPs ever made, in my opinion, greater even than "Radio City."
So I would say get "19 Years," "Sherbert" and "Destruction" and you'd have it. Alex has been treading the same water for years now, though--I've seen him be brilliant live and I've seen him just go thru the motions. Some experimental genie seems to ruin many of his efforts, which I guess is kind of a good thing, since how many performers even try anything new, ever? As a commentator on pop-music history, he's been intermittently great--there's something very second-hand about his passion, which doesn't mean I disregard what's real about his passion. Very strange guy, but I rate him very high as a guitarist, despite the fact that he's among the most mannered of all rock guitarists.
― Jess Hill (jesshill), Friday, 9 May 2003 13:56 (fifteen years ago) Permalink
― Will (will), Friday, 9 May 2003 13:57 (fifteen years ago) Permalink
"1970" is decent, I always liked "Just to See You" and "All I Really Want is Money," both of which circulated for yrs on tapes...I never liked "Free Again" at all. What they do to "Sugar Sugar" is nice. It's good juvenalia, I guess.
The Big Star reunion CD is all right--they left off the best thing about that show in Missouri, though: AC leading his backup band thru the very demanding changes of Gene Chandler's "Duke of Earl" as an encore.
Will, it is "Desafinado."
― Jess Hill (jesshill), Friday, 9 May 2003 14:10 (fifteen years ago) Permalink
― Stormy Davis (diamond), Friday, 5 August 2005 05:56 (thirteen years ago) Permalink
― Stormy Davis (diamond), Friday, 5 August 2005 05:57 (thirteen years ago) Permalink
― polyphonic (polyphonic), Friday, 5 August 2005 09:45 (thirteen years ago) Permalink
― edd s hurt (ddduncan), Friday, 5 August 2005 13:02 (thirteen years ago) Permalink
skin as soft as buttermilk
― paper plans (tipsy mothra), Friday, 13 February 2009 06:41 (nine years ago) Permalink
guys which of his solo albums/compilations are worth checking out? i'm going through a big star phase and i'd like to explore chilton solo too. i know it's depressing stuff, i'm down for that
― k3vin k., Friday, 10 April 2009 21:23 (nine years ago) Permalink
solo chilton isn't that depressing really -- it's fun! definitely start with like flies on sherbert
― tylerw, Friday, 10 April 2009 21:25 (nine years ago) Permalink
omg that french tv clip
― This Board is a Prison on Planet Bullshit (Shakey Mo Collier), Friday, 10 April 2009 21:26 (nine years ago) Permalink
The album called 1970 rocks balls and isn't depressing at all; the cover of "Jumpin' Jack Flash" tops the Stones' original (acc. to me)
― Euler, Friday, 10 April 2009 21:38 (nine years ago) Permalink
Search: the 1987 CD version of High Priest on Big Time, which includes the Feudalist Tarts EP and the "No Sex"/"Underclass" single.
...but is apparently rare as hell, because I can't find any copies for sale anywhere.
― WmC, Friday, 10 April 2009 22:03 (nine years ago) Permalink
Wow, this edition is apparently really rare. I wonder what I could get for it.
― WmC, Friday, 10 April 2009 23:21 (nine years ago) Permalink
yeah, 1970 is good, he's trying out different things like country rock, funk, almost bubblegum-y ballads
― velko, Friday, 10 April 2009 23:25 (nine years ago) Permalink
fuck the "Jumpin' Jack Flash" on 1970 is tight. The drum sound in particular is amazing, as you'd expect from a Terry Manning production, as is the bass. And Chilton's lead guitar mines the song's implicit funk, brings it forth. The vocal is good and hoarse too but the rhythm section sells this one.
― Euler, Saturday, 3 October 2009 14:58 (eight years ago) Permalink
kinda coolRay Davies , whose new album See My Friends contains special contributions from artists like Billy Corgan and Bruce Springsteen, recently talked about working with Alex Chilton. The Big Star icon died earlier this year, but he recorded “Till the End of the Day” with Ray Davies before he became sick.
Speaking to ClashMusic, Ray Davies elaborates on the collaboration: “Way back in 2004 I was in New Orleans, recovering from an injury, and I was befriended by a neighbor called Alex Chilton. Alex had been in a band called Big Star, and had sung on a record called ‘The Letter’ by The Box Tops. We didn’t talk about music much, but he did say to me before I came back to England, ‘You know, I’ve recorded one of your songs, ‘Till the End of the Day’, with Big Star, and I’d love to do another song with you. And he asked me to write some songs for him – I felt really flattered, because by then I had found out about his history. A very unassuming guy.”
Then, in 2009, Chilton and Davies did indeed get together to record. Davies recalls: “In 2009, on July 4th, Independence Day, he came up to Konk Studios. He was a real character – he was wearing a New Orleans beret, he had a cigarette holder, he was a chain smoker, and I think a recovering drinker – and he said, ‘Let’s do it!’ I said, ‘What would you like to do?’ He said, ‘Till the End of the Day’ and ‘Set Me Free.’ So I just had an acoustic guitar and a rhythm box, because I hadn’t organized anything. I played guitar and Alex sang.”
― tylerw, Wednesday, 12 January 2011 17:37 (seven years ago) Permalink
http://www.gibson.com/Files/aaFeaturesImages2010/ray-davies_see-my-friends.jpgartists listed on the cover of this tribute makes it look fucking horrible
Wish I could make it to Los Angeles and hear this Holly George-Warren presentation on Alex Chilton at the February 2010 EMP Pop conference
― curmudgeon, Wednesday, 12 January 2011 17:46 (seven years ago) Permalink
She's writing a bio of him that is scheduled for a 2012 release.
― curmudgeon, Wednesday, 12 January 2011 17:47 (seven years ago) Permalink
ooh that does look good. interesting that there's a bio in the works. would read.
― tylerw, Wednesday, 12 January 2011 17:47 (seven years ago) Permalink
thought i'd bumped one of the AC threads to say this a while back but either way, damn, cliches still sounds exquisite to me
― and my soul said you can't go there (schlump), Tuesday, 13 September 2011 14:55 (seven years ago) Permalink
I picked up Cliches in a used cd shop last year and still haven't gotten around to it. This week!
― Trip Maker, Tuesday, 13 September 2011 15:09 (seven years ago) Permalink
would be really interested to hear from anyone else who likes/hates it etc, i'd never heard anything about it before hearing it. it's a really good showcase for his guitar playing, &c, but it's also just such a satisfying fit for him, knowing how into the standards he was, & how much working in that sorta context was what he was drawn to, eg playing with pick-up groups etc.
― and my soul said you can't go there (schlump), Tuesday, 13 September 2011 15:21 (seven years ago) Permalink
It makes me feel great listening to it, his guitar is so enveloping.
Also note the Box Tops reunion album is surprisingly alright, with a few of the tracks absolutely essential for AC fans.
― Gerald McBoing-Boing, Tuesday, 13 September 2011 15:53 (seven years ago) Permalink
Moman just did the last album...the main difference was he let the actual band appear on stuff alongside the session guys. Aside from a jammy cover of "Rock Me Baby" at the end, it doesn't really come off that different from the earlier stuff.
― Kenneth Without Anger (C. Grisso/McCain), Thursday, 21 July 2016 04:02 (two years ago) Permalink
Right, Chips just did the "Soul Deep"-era Box Tops, and maybe there was just a bit less schlock on that single than the previous, not that the schlock wasn't beautiful on Penn's "Neon Rainbow" and "I Met Her in Church" and the great "Fields of Clover," perhaps the toughest track the Box Tops ever did. I always heard that Chips admired Chilton and wanted to work with him again. Definitely would've been interesting, but Chilton always looked down his nose at Chips and Penn for being out of touch with contemporary music. Dan Penn told me that Alex showed up after a show in New Orleans and carried Dan's guitar for him, a sign of respect I guess, and Penn never thought much of Alex' songwriting.I think there are some tracks that Dickinson cut with folks like wrestler Jerry Lawler that are out there somewhere. They apparently aren't on the same tracks, but Dickinson and Chilton had something to do with this interesting single by a former member of Memphis punk band the Kltiz.
― Edd Hurt, Thursday, 21 July 2016 14:47 (two years ago) Permalink
new thing coming out -- not sure if these have ever showed up on bootlegs?
Just announced for release by Munster Records on June 16: an LP of previously unreleased rehearsals and alternate takes from Alex Chilton's 1975 recording sessions for the Singer Not The Song EP and Bach's Bottom album, with notes by Alex Chilton, written in 1992, and 2017 notes by original producer Jon Tiven.
Take Me Home And Make Me Like It is a raw document of one of the pivotal moments in Alex Chilton's career, telling the story of a troubled recording process that nevertheless produced intensely unique music. From Jon Tiven's liner notes: "He wanted to repudiate his Big Star work and make a sinister record that threatened people. . . . so I'm happy to present these tracks with no apologies."
― tylerw, Friday, 28 April 2017 18:22 (one year ago) Permalink
More info here:http://munster-records.com/en/label/munster/product/take-me-home-and-make-me-like-it
Alex Chilton Take Me Home And Make Me Like It
MunsterAlex ChiltonTake Me Home And Make Me Like It
1 Take Me Home 2 Every Time I Close My Eyes (Alt version) 3 All Of The Time (Alt version) 4 I'm So Tired (Full version) 5 Free Again (Alt version) 6 Jesus Christ (Take 1) 7 Jesus Christ (Take 2) 8 Singer Not The Song (Alt version) 9 Summertime Blues (Full version) 10 Take Me Home (Rehearsal) 11 Free Again (Rehearsal) 12 Every Time I Close My Eyes (A capella)
― Jersey Al (Albert R. Broccoli), Friday, 28 April 2017 18:46 (one year ago) Permalink
feels a little barrel-scraping-y, but what the hell, i'll check it out. i finally got that chilton-vega-vaughn live record and it is amazing.
― tylerw, Friday, 28 April 2017 19:03 (one year ago) Permalink
I hope they include a tacky badge.
― Gerald McBoing-Boing, Saturday, 29 April 2017 03:59 (one year ago) Permalink
The weirdo version of Take Me Home is m6 favorite song of his, so I'm mildly intrigued.
― dlp9001, Saturday, 29 April 2017 21:10 (one year ago) Permalink
Before scraping the barrel, check out Prix
― calstars, Saturday, 29 April 2017 21:29 (one year ago) Permalink
i listened to a promo of this, it's great
― tylerw, Saturday, 29 April 2017 21:30 (one year ago) Permalink
FOR IMMEDIATE RELEASEJune 1, 2017 ALEX CHILTON’S 1995 RETURN TO ROCK,A MAN CALLED DESTRUCTION, REISSUED AND EXPANDED WITH SEVEN BONUS TRACKS ON OMNIVORE, AUGUST 25th
Critically acclaimed album to be released on two-LP vinyl for the first time, and features new liner notes from Bob Mehr.
MEMPHIS, Tenn. — As lead singer of The Box Tops and co-founder of Big Star, Alex Chilton already had a place in rock history. But he was never one to rest on his laurels. An enormous music fan himself, he consistently reinvented his own sound throughout his career, until his death in 2010. Chilton returned to Memphis’ legendary Ardent Studios and a reconstituted Ardent label to record Destruction, a classic mix of originals and covers, this time with a full-horn section. Featuring an eclectic mixture of garage rock, jazz and R&B, A Man Called Destruction, released in 1995, was well received by fans and critics, and even landed him a spot on Late Night With Conan O’Brien performing the album’s “Lies.”
The Orlando Sentinel observed: “Plenty of bands attempt, however feebly, to reproduce Big Star's melancholic power-pop. But nobody else would dare try to approximate the brilliant, offhand weirdness and subtle irony of Chilton's later solo work. Teenage Fan Club might be able to imitate Big Star's guitar sound on ‘September Gurls,’ but they couldn't transmogrify 'Volare’ the way Chilton did on 1987's High Priest. Destruction is very much in the tradition of High Priest — a peculiar mélange of deliriously cheesy pop.”
Destruction will re-appear via Omnivore Recordings on August 25, 2017, complete with seven previously unissued tracks from the original sessions and new liner notes from journalist and author Bob Mehr (Trouble Boys: The True Story Of The Replacements).
To make this reintroduction even more special, the title is making its vinyl debut. The first pressing will be a translucent blue double album, which includes all of the bonus tracks, a download card, and Mehr’s essay in the gatefold sleeve. With the renewed interest and appreciation for his work in Big Star, it is the perfect time for Chilton’s solo work to get the same due. It is time for a reintroduction of A Man Called Destruction.
Track Listing:1. Sick And Tired 2. Devil Girl 3. Lies 4. It’s Your Funeral 5. What’s Your Sign Girl 6. Il Ribelle 7. You Don’t Have To Go 8. Boplexity 9. New Girl In School
10. You’re Lookin’ Good11. Don’t Know Anymore 12. Don’t Stop
Previously Unissued Bonus Tracks: 13. Devil Girl (Double-Track Vocal) 14. Don’t Know Anymore (Rough Mix) 15. Give It To Me Baby (Take 3) 16. You’re My Favorite 17. (I Don’t Know Why) But I Do 18. Please Pass Me My Walkin’ Shoes 19. Why Should I Care/It’s Your Funeral # # #
― dow, Wednesday, 26 July 2017 23:23 (one year ago) Permalink
Will also be available on CD and download.
― dow, Wednesday, 26 July 2017 23:24 (one year ago) Permalink
Still haven't checked that, but now I'm listening to another Chilton-related Omnivore expansion, Carmaig De Forest's I Shall Be Re-Released, which starts with I Shall Be Released, produced and played on by Mr. A.C., some of whose peers still find it startling: Will Rigby, who played with De Forest at CBGB, is quoted in the booklet to the effect that it's a whole other side--"the punkiest"---to Chilton's picking and undocumented anywhere else; lstening again, early adopter Scott McCaughey now raves, "Chilton's production and playing is almost shockingly prescient and wholly brilliant---spiky and wild, yet way more disciplined than he allowed himself to be on his own records."Well, I hope that's not entirely true of the Chilton recs I haven't heard yet (and we've mentioned several on here that are tight enough), but this certainly works as punky 80s folk-rock: comparisons were and are made to to early Modern Lovers and especially Violent Femmes---Gordan Gano also played that CBGB show w De Forest, who opened for the VFs several times, him and his solitary ukelele. Which is another thing that reminds of Loudon Wainwright III, with his spare, limber, plugged-in LPs and exuberant one-man shows, starting a decade earlier (back when Chilton was covering Wainwright's "Motel Blues" at Big Star gigd).Also like early Wainwright (and young Jawnwathon Richman, though he's a heavier vocal presence than these other guys), De F.'s got a lot of compressed lyrics, confrontational dream-scenes from complicated relationships (comebacks he wishes he'd thought of at the time and/or will have the nerve for next round: exciting fantasies!), flying by like boomerangs. Plus some still-entertaining topical work-outs, like "Hey Judas" and "Crack's No Worse Than The Fascist Threat." It's a lot to take in, but right away I hear why and how Chilton responded so well.
― dow, Saturday, 4 November 2017 22:06 (ten months ago) Permalink
It's no masterpiece, but pretty refreshing so far, putting s sparky spin on (not too-)familiar elements.
― dow, Saturday, 4 November 2017 22:12 (ten months ago) Permalink
From Alex Chilton RIP 2010----still gotta check this too!
Listened to Like Flies on Sherbert while stoned and it completely came alive to me. It made me realise he's a great story teller. He shapes the narrative with weird effects and volume inequalities, all the while acting out a scenario with his voice. The way everything is structured, and especially his guitar work, heightens the story.It also rocks in a brutally southern, soulful way. Live in London is spectacular too. The version of Kanga Roo on that is massive.I've Had it - who's singing this? It totally sounds like John Cale, but he's not credited right?
Bach's Bottom - I can't beleive I haven't heard this before. As a massive Big Star fan, this is the missing link between Big Star (particularly Third) and Like Flies on Sherbert. It's beautiful, and the throaway outtakes are fascinating.
― glumdalclitch, Wednesday, 8 November 2017 14:37 (yesterday) Permalink
Live in London is awesome. He has got an incredible presence. I saw him in Munich in the late 80s and he rocked hard.
― Ich bin kein Berliner (alex in mainhattan), Wednesday, 8 November 2017 22:01 (yesterday) Permalink
I've Had it - who's singing this?
Jim Dickinson, I think?
― Terry Micawber (Tom D.), Wednesday, 8 November 2017 22:54
― dow, Thursday, 9 November 2017 02:12 (ten months ago) Permalink
Robert Gordon, who wrote the thread-relevant It Came From Memphis/ put together a listening companion of the same name, has now coughed up the book x album yclept Memphis Rent Party: Chilton shows up on a couple tracks, Jim Dickinson sings "I Want To Be A Hippie," (oh yeah and some guy named Jerry Lee Lewis crashes the party)---tasty take here: https://www.memphisflyer.com/memphis/freaky-roots-memphis-rent-party-reveals-hidden-charms/Content?oid=11838795
― dow, Thursday, 15 March 2018 01:18 (six months ago) Permalink
Saw that. Curious
― Whiney On The Moog (James Redd and the Blecchs), Thursday, 15 March 2018 01:20 (six months ago) Permalink
Bless this guy; but he had some of the worst album titles of any artist —Like Flies on SherbertBach's BottomHigh PriestClichés A Man Called Destruction Loose Shoes and Tight Pussy
― absorbed carol channing's powers & psyche (morrisp), Thursday, 15 March 2018 01:52 (six months ago) Permalink
I like the title Like Flies on Sherbert
Am guessing Gordon's latest Memphis book (and companion record) are worth investigating too
― curmudgeon, Thursday, 15 March 2018 02:49 (six months ago) Permalink
Pretty sure he had nothing to do with the release, and naming, of "Bach's Bottom".
― Buff Jeckley (Tom D.), Thursday, 15 March 2018 10:24 (six months ago) Permalink
"High Priest" is apropos, as is "A Man Called Destruction". "Cliches" is what it says on the tin. The rest I'm with you.
― Gerald McBoing-Boing, Thursday, 15 March 2018 13:50 (six months ago) Permalink
Could Bach's Bottom be in part a ref to the olde association of bock beer with bottom of the barrel and/or stored in cellar? Apparently it is *not* from the bottom of the barrel/fermenter as I was told many years ago, around the time this platter was released. Was also told that "bock" means "billy goat" in German, dunno. But all associations that come to mind (incl. of course rude whimsical gotta-call-it-something ref to Classical Composer) seems ACpropriate.
― dow, Thursday, 15 March 2018 20:50 (six months ago) Permalink
― dow, Thursday, 15 March 2018 20:51 (six months ago) Permalink
Surely a play on Box Tops, no? You mean in addition to that?
― Whiney On The Moog (James Redd and the Blecchs), Thursday, 15 March 2018 20:52 (six months ago) Permalink
i've come around to the idea that the "dusted in memphis" bootleg really is chilton's best solo record. i'm in awe of his capacity for self-sabotage.
― ziggy the ginhead (rushomancy), Thursday, 15 March 2018 20:56 (six months ago) Permalink
x-postI didn't catch that... terrible pun! I guess intentionally so.
― absorbed carol channing's powers & psyche (morrisp), Thursday, 15 March 2018 20:59 (six months ago) Permalink
I didn't catch it either, thanks! All the best puns are terrible.
― dow, Friday, 16 March 2018 00:34 (six months ago) Permalink
It’s a thin lineCame to say that the book called A Man Called Destruction is useful, but a book in which the actual man called Destruction features, Moanin’ at Midnight: The Life and Times of Howlin’ Wolfby James Segrest and Mark Hoffman, is excellent.
― Whiney On The Moog (James Redd and the Blecchs), Friday, 16 March 2018 01:04 (six months ago) Permalink
I recently talked to Danny Graflund. He was Alex' bodyguard and was in the studio when the Tiven stuff was going down. He's the guy who says at the end of the Bach's BottomLP, "If you was Mott the Hoople, I'd go out there and pee all over you, but who gives a shit." Danny told me he didn't piss on the board, he pissed in the corner. I've also been in touch with a guy named David Leonard, who's putting together a Chilton documentary, and I sent him a cassette of the interview I and Mike Fink and David Duncan did with Alex in 1981. Which Holly George-Warren cites in her book, not realizing it was me, the last interview he did for a while until he resurfaced a few years later out of New Orleans. I looked thru the new Robert Gordon book. Robert says Alex liked him until Robert told Alex his astrological sign. The abacus clicked inside Alex' head, the calculations were completed, and Alex never treated Robert the same way again. He told Dickinson this, that Alex made him very uncomfortable. Dickinson said, don't worry, he makes everyone feel that way. Tiven is still angry about Alex supposedly messing up those 1975 sessions, to this day. I talked to Jon about it the other day. We hung out at a Donnie Fritts show here this week. From "Nightime" and "O Dana," sublime poetic music, to...seven thousand minutes of "Take Me Home and Make Me Like It," a song that exists in its perfect form only once, on the CBGB live thing found on One Day in New York.
― eddhurt, Friday, 16 March 2018 04:40 (six months ago) Permalink
Booked Alex for a show in 87. We were hanging out and a couple women friends joined us. Their conversation seem to put him off, and at one point he asked them when they were born (1966). He coolly told them that that was the year of the fire horse in Chinese astrology and that women born that year would bring destruction to all in their lives.
― by the light of the burning Citroën, Friday, 16 March 2018 04:55 (six months ago) Permalink
What did they say to that?
― dow, Friday, 16 March 2018 16:22 (six months ago) Permalink
And did he grace them with the famous Chilton grimace?
― Whiney On The Moog (James Redd and the Blecchs), Friday, 16 March 2018 23:31 (six months ago) Permalink
They had been talking while he rolled one. Left them a little pretty stunned. They didn't stay much longer, needless to say. Definitely a wry grin as he stuck the knife in. Never meet your idols.
During the set, he was in classic LX hassling the sound guy mode, asking repeatedly for more high end. I was back at the mixing desk and our guy had things pretty much pegged. Fortunately, without a change, he found the sound improved and played on.
A friend with a small label around the time joked about putting out an EP of just Chilton complaining about sound.
― by the light of the burning Citroën, Friday, 16 March 2018 23:51 (six months ago) Permalink
Yeah, once we some him back in the day at Tramps on 21st Street after he had played at Maxwell’s a day or two earlier. He had actually been pleased with the audio at the Maxwell’s show so he hired that sound guy to work the Tramps show as well, which of course ended up being plagued with all sorts of problems.
― Whiney On The Moog (James Redd and the Blecchs), Saturday, 17 March 2018 02:03 (six months ago) Permalink
A muso buddy of mine once mentioned to another friend that his band was going to open for Jeff Beck, and she made him agree to introduce them---he warned her of what a dick Beck could be, cited examples, but she was ready to take her chances, Yadda yadda, he and she joined Beck and a few others at an afterhours spot, all in a secluded corner booth, the stah treatment. She chose a lull in the conversation just briefly to say hi, I'm SoandSo, been into your music since the Sixties. He totally ignored her for the rest of the evening, until finally asking her to go get him a pack of cigarettes. She told him what a corny cliche rockstar asshole he was being---"like a rabid chihuahua," muso buddy told me. Beck looked shocked---and stunned---the road manager 'bout to died laughing.
― dow, Saturday, 17 March 2018 21:04 (six months ago) Permalink
follow-up to the take on xpost Carmaig De Forest, Chilton-produced (press release for this one is also upthread):
Chilton also juices the familiars on his own expanded Omnivore, A Man Called Destruction---tempted to say "of course," because the unexpected reliability of this set, incl. alt. takes and prev. unissued titles, breeds a little bit of complacency in the robust litter, alongside interest and excitement---I was already starting to think, re the chunky originals ending the original album, that things were getting a little generic, though its prob the more agreeable, reasonable side of the subgenre which solo entertainer AC staked a claim to: that droll, rolling, r&r&b&b Memphis-NOLA thing, with a tad of country (bonus ["I Don't Know Why] But I Do" reverie not at all bothered by electric horse thermometer bass and equally business-like drums) and Southern 50s-mid-60s AM radio fodder (Brian Wilson contribution to Jan and Dean "New Girl In School," and the diligently, consistently worked-out, silly come-on "What's Your Sign, Girl?", falsetto now reformed to an agreeable twang), all work at least OK, in there with Italian rockabilly and a rockin' dirge and jitterbug jazzabilly and slow dunk unstoppable Jimmy Reed shuffles and heavy power pop---Chilton's sharp-edged, witty, sometimes slightly migrainey, dust devil guitar leads the session, with his voice adding even more genial clarity and definition to the "dry," sufficiently vivid sonics---but like I said was already getting a bit complacently discontented re "generic"/ his kind of subgeneric (which also reminded me of the way NRBQ pulls these ingredients together when they're on it, not to mention some thoughts of Beatles) even before I got to the part of Bob Merlis's notes in which he goes from very detailed and relevant clarity of backstory to opining that Chilton's chunky originals herein are of the rootsy AC vein that "had emerged as his greatest form of self-expression---as opposed to the pristine pop of Big Star, which some fans were still hoping he would produce." It was not pristine, never generic, basically reliably-to-easily-reproducible power pop---well, occasionally too sealed-over in the self-regard, as in words to "Ballad of El Goodo,"---too "pristine" in that sense---but never without some sonic distinction----and here the AC lyrics that are least wet-leafy, most likely to spin the spark and vice-versa, are the ones that have a glint of Big Star:"You're Lookin' Good"'s "I dig your mind/I dig your clothes," and "I'm ravin' I'm your slave/You're my/French fries, " from "You're My Favorite." And yes I'm quibblin' I'm dribblin' all sorts of generous quality, for these are almost all as good as french and even freedom fries, if not quite as in-the-spirit-of- Big Star free-fryin' as I'd like. (Speaking of keeping thinking, was also flagging *several* tracks, all along, as additions to midsize folder of BS faves x solo titbits, from Feudalist Tarts etc.) "In-the-spirit of Big Star" really means also in the spirit and tradition of pushing the older elements a little further, a little more seemingly off-handed for lagniappe.
― dow, Wednesday, 4 April 2018 20:11 (five months ago) Permalink
Oh yeah, and speaking of AM radio fodder, want to get into Box Tops albums for the first time---where should I start? Think Spotify's got quite a few, last time I looked.
― dow, Wednesday, 4 April 2018 20:13 (five months ago) Permalink
I pretty much like all of them tbh.
― Buff Jeckley (Tom D.), Wednesday, 4 April 2018 21:51 (five months ago) Permalink
The Best of the Box Tops: Soul Deep is the best comp, Arista '96. But all of their albums are good and worth hearing, and the Arista comp leaves off stuff like "Weeping Analeah" and "Break My Mind." I always kind of liked Man Called Destruction. "What's Your Sign" is great and I think "Don't Stop" is actually not unlike his "power pop" "Big Star" stuff, the closest he came to a thought-out, calibrated power pop song on any of his solo albums. I think there are moments when the niteclub vibe of genial ultra-hip reconstruction of old-tyme man-woman modes, as on Chris Kenner's "Sick and Tired," clashes with the knowingness of Alex here (he's seen more violent things than just kickin' her ass outside, so as usual there's a certain slight affectlessness going on in the singing--the derisive croon. But the production really works, the gamboling organ and the horns, and it's easily his most listenable solo album and maybe his best after Sherbert (which remains sui generis, though it's more listenable now than it was 40 years ago because it's been totally normalized, see Low Cut Connie, several million others at this point).
― eddhurt, Thursday, 5 April 2018 06:20 (five months ago) Permalink
Thanks for the tip, will check it. Yeah, I've always wished he re-deployed the raspy, unpretentious Box Tops footsoldier voice for some albums or tracks, though if he had, might have just seemed like another nudge-nudge Henry the Hipster metabit in solo career context. Nevertheless, I enjoy most of this vivacious album.
― dow, Friday, 6 April 2018 01:14 (five months ago) Permalink
And he's got me using a juicy word there I don't never use, so thank you friend.
― dow, Friday, 6 April 2018 01:17 (five months ago) Permalink
Thanks, edd. Almost forgot about “Weeping Analeah.”
― Rudy’s Mood For Dub (James Redd and the Blecchs), Friday, 6 April 2018 01:25 (five months ago) Permalink
Dow, the one of the few moments Chilton references his old Box Tops voice is at the end of the studio "Thank You John." "It's gonna be all right," and his voice dips down into the Dan Penn register for just a second. The singer who did "Neon Rainbow" morphaed into the one who did "O, Dana," which are actually somewhat similar, he goes for it just a bit more than he usually did. Man Called Destrcution is vivacious, a bowl of lime sorbet brought to you by a server in an ultra-cool Backstage in Show Bizness Lounge where Chilton is playing to the reeeal insiders. Some of it's kinda pro forma a bit actually, you get the persistent sense he is evading something here re "New Girl in School" or the Jimmy Reed number, but then the weird glassy surface of his music can also enable you to hear these songs as if they were just being worked out. Which is a fancy way of saying you nevah quite know, dahling, where you stand with old Alex. Mark Harrison, of the glam-power poppers Snakehips, told me an Alex Chilton story. Mark was hanging out with Alex in New Orleans the night before Alex was supposed to go to Missouri for the Big Star reunion show that got recorded as Columbia. He got them all passes to see his regular gig at the Howlin' Wolf that night. Mark said he never even mentioned the Missouri show, they hung out, talked baseball and records. A Man Called Casual.
― eddhurt, Friday, 6 April 2018 05:19 (five months ago) Permalink
Destruction, that is. (and re Box Tops, note the wide range of nascent Middle California and South Tennessee songwriting represented thruout--Fritts, Newbury, and then the great Wayne Carson).
― eddhurt, Friday, 6 April 2018 05:22 (five months ago) Permalink
xp yep but come to think of it, the kind of rolling Memphis and especially New Orleans chestnuts he favored could sound kinda droll and detached to start with, like barroom gossips taking us on a tour of funky situations. And/or just a notion that worked out, like "Workin' In A Coal Mine," with its composer, Allan Toussaint, readily pointing out there aren't coal mines anywhere near NO or in all of Louisiana, he was pretty sure.
― dow, Saturday, 7 April 2018 02:57 (five months ago) Permalink
Def. could have lived without "New Girl In School," esp. compared to some of the bonus tracks left off the original (which was a CD, so wouldn't think he had to keep the whole thing to LP length, unless he was being strictly traditional).
― dow, Saturday, 7 April 2018 03:00 (five months ago) Permalink
Eventually occurred to me that use of the dishy, convivial pop filter in Memphis and NOLA could be a way of countering outbursts of chaos etc.
Forthwith on Omnivore:
Peter Holsapple vs. Alex ChiltonThe Death Of RockRelease date: October 12, 2018
Newly discovered recordings of early solo Peter Holsapple and Like Flies On Sherbert–era Alex Chilton.
“I caught Alex exiting a world of sweet pop that I was only just trying to enter, and the door hit me on the way in, I guess”—Peter Holsapple
It’s 1978 at Sam Phillips Recording Service in Memphis, TN. Peter Holsapple had rolled into town chasing the essence of Big Star. He hooked up with musician/engineer/friend-of-Big-Star, Richard Rosebrough after approaching, and being turned down by, Chris Bell who Holsapple had hoped might be interested in producing him. Together Richard and Peter started laying down tracks during the off hours at the studio.
Chilton meanwhile, was knee deep in the making of Like Flies On Sherbert, also being tracked at Phillips. He told Peter, “I heard some of that stuff you’re working on with Richard… and it really sucks.” Alex promised to come by and show Peter “how it’s done.”
The results? Alex’s tracks definitely line up with the chaos found on Flies, while several of Peter’s songs found homes on The dB’s albums (“Bad Reputation” and “We Were Happy There”) and on an album by The Troggs (“The Death Of Rock” retooled as “I’m In Control”), so not a loss at all. What we have in these newly discovered tapes, is a fascinating pivot point with both artists moving past each other headed in distinctly different directions. Chilton moved toward punk/psychobilly as he began playing with Tav Falco’s Panther Burns and produced The Cramps debut, Songs The Lord Taught Us, within a few months of these recordings. Holsapple was off to New York to audition for The dB’s and enter the world of “sweet pop.”
Liner notes by Peter Holsapple tell the story of these recordings firsthand and author/filmmaker/Memphian, Robert Gordon, helps pull the time and place into focus. Previously unseen photos included in the package are drawn from the collections of Peter Holsapple and Pat Rainer. Produced by Cheryl Pawelski with mastering by Mike Graves at Osiris Studio and Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis, who brings it all right back to where it started.
CD / DIGTAL TRACK LIST:PETER HOSLAPPLE:BAD REPUTATIONHOUSE IS NOT A HOMEWE WERE HAPPY THERETHE DEATH OF ROCKTAKE ME BACKTAKE ME BACK (Backing Track)ALEX CHILTON:TENNIS BUMMARSHALL LAWHEART AND SOULTRAIN KEPT A ROLLIN’HEY MONABONUS ABUSE: PETER HOLSAPPLE (EXCEPT *ALEX CHILTON)BAD REPUTATION (Long Version)TENNIS BUM (Rehearsal)*O MY SOUL (Instrumental Rehearsal)IN THE STREET (Instrumental Rehearsal)BABY I LOVE YOU (Rehearsal)THE DEATH OF ROCK (Rehearsal)SOMEONE’S GOTTA SHINE YOUR SHOES (Rehearsal)MIND YOUR MANNERS (4-Track Version With Vocals)LP consists of Tracks 1–11 and includes download card of entire CD Program.Cat: OV-303
― dow, Friday, 10 August 2018 19:30 (one month ago) Permalink
"Newly discovered recordings"... haha
The Chilton tracks have been bootlegged a dozen or so times.
― Jersey Al (Albert R. Broccoli), Friday, 10 August 2018 20:12 (one month ago) Permalink
even I have heard Tennis Bum (which is hilarious)
― Οὖτις, Friday, 10 August 2018 20:14 (one month ago) Permalink
from Big Star thread---thanks for several like these, Mr. Eggleston:
― dow, Friday, 10 August 2018 20:40 (one month ago) Permalink
also like "this"
― dow, Friday, 10 August 2018 20:41 (one month ago) Permalink