Big Star

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Thoughts on these fellas?

David, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

new answers

David, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

why, is there a new release or something ;-)

g, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

overrated Grandpappy Indie (VU notwithstanding); not worthless, but nor are Wishbone Ash, for goodness sake

mark s, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

I know you wanna buck the conventional critical wisdom and say something like that, but sometimes you just can't...

They really did make 3 really great records

g, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink


Sean, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

All of the hype is deserved. There only crime is partial responsibility for Teenage Fanclub.

Dan, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

They were touring recently.

David, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

Their truest crime is their holy grail status, which they did not wish for but had foisted upon them.

Ned Raggett, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

they're horrible, their first album sounds like kiss.

ethan, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

2nd best VU cover.

Mr Noodles, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

sisters/lovers is absolutely terrific. haunting and beautiful.

matthew stevens, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

They're grrrrrrrrrrrrrrrrrrrrrrrreat! You gotta clean out those ears, ethan--that first record sounds more like a revved up Kinks crossed with the glam glory of T.Rex, and there's nothing wrong with that. If it sounds boring and cliched, now, it's only because they invented some of those cliches. (Besides, if it does sound anything like Kiss, and I'm not saying that it does, Kiss would have cribbed from Big Star, seeing as how Kiss' first album came out two years after Big Star's #1 Record.)

Ultimately, I'm most partial to Third/Sister Lovers, but the first two certainly have a prominent place in my collection.

Sean Carruthers, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink


O My Soul

September Gurls

Down The Street

Mod Lang

I'm In Love With A Girl.

Yep. Legend secure...

JM, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

i heard the bands that sound like them first, therefore big star are secondary to awful indie-leaning alt rock. and the first album sounds so much like kiss. how could the nearly untouchable stax release that kind of shit?

ethan, Thursday, 18 October 2001 00:00 (sixteen years ago) Permalink

Their ballads were nice, the rockers crap. For that, see Cheap Trick or the Raspberries, or even the Beatles in a pinch

dave q, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

First two = classic. Sister Lovers = dull + overrated.

The Rasperries - NO! Sugary proto-poodle soft-metal.

Dr. C, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

ethan-i'vw made a kiss comparison myself ,but with the second album . the indie grandfathers aura works against this nice loser pop band , their first record sounds good anyway

francesco, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

For giving Teenage Fanclub a career, classic. For inspiring every other halfwit Glaswegian indie band, dud.

Agree with dave q, the soppy gurly ballads win over the rockers everytime (esp on #1 record), and yup Sister Lovers is overwrought and overrated but any Lp with Holocaust, jesus christ and Kanga roo is ok by me (though I prefer This Mortal Coil's versions).

I will pass on the Raspberries coz' all I know about them is that they taste nice in trifle.

Billy Dods, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

Weeellll I've never been that partial to "#1 record" unless I'm completely in the right mood for it, the rockers sound forced but the ballads are wonderful, especially the last few on side two. "Radio city" is end to end genius without doubt. "Sister lovers" has too much of a reputation hanging around it of 'tortured genius' to ever live up to it - didn't NME vote it most depressing album of all time a few years back? Oh come on! But it still has moments. And I'm probably the only person here who'll admit that they like the Columbia live album (but hell I love the Posies so what do you expect?) The rockier songs from "#1" sound better on "Columbia" than the originals - discuss.

Rob M, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

The three BS albums are like a drunk's progress. First album - happy buzz, sociable and 'up'. Second album - nasty, sloppy, mean-minded, initially amusing but unpleasant to be with. Third album - all the grief, dysfunction and ultimate serenity of the hangover. I like a lot of their stuff, I love a bit of their stuff - ultimately Chilton has to take some of the indirect blame for lo-fi's cult of the fuck- up.

Tom, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

Nice comparison Tom. Why didn't I have that idea? "Kangaroo" is the delirium tremens isn't it?

alex in mainhattan, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

Never heard them in my life.

the pinefox, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

'Like Flies on Sherbert', the solo alb AC made after 'Sister Lovers', is the real good'un - we're talking one last reckless binge before the Betty Ford clinic beckoned. So ramshackle and woozy it makes the Dead C seem like King Crimson.

I also like 'I Am The Cosmos',the posthumous Chris Bell alb.

Andrew L, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

Foxy: you might actually like 'em quite a bit, especially the slower moments (Ballad of El Goodo, for ex., and of course the immortal Thirteen.)

Everyone else: The first two records rock Third's world. Radio City is, I think, my favorite of the moment, b/c tho it has fewer instant hits it feels mature and thoughtful as opposed to angsty. Also, because of Septermber Gurls. Third has probably the most breathtakingly stunning songs, but I can't listen to something so morose that often. I need lifestyle music, eh?

Sterling Clover, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

dave q: I like the Raspberries reference. Very, very nice.

JM, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

Big Star weren't on Stax proper but rather Ardent, a Stax subsidiary with which Stax misguidedly took on the white rock market. I don't think it was much of a priority for Stax, which was a mixed blessing in that it allowed such a singularly weird band to pretty much do what they wanted but hurt them in that the Stax guys didn't have much interest in or aptitude for promoting anything other than soul.

fritz, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

Actually, Rob, I liked Columbia too, also being a fan of the Posies. I think it's maybe telling that I like a lot of the bands that Big Star influenced a bit more than I like Big Star proper (esp. Replacements), but mostly because they are more powerpop and eliminated most of the rawk cliches of those first two albums, whether they invented them or no.

Sean Carruthers, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

anyway, what's wrong with kiss?

g, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

or Teenage Fanclub for that matter? They have gotten a bit boring...

g, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

The first time I heard "Thirteen" I nearly cried. I *heart* this band so much.

Helen Fordsdale, Friday, 19 October 2001 00:00 (sixteen years ago) Permalink

Big Star totally live up to the hype. Their history is nearly as compelling as their music. "Radio City" defines it's era, much like X's "Wild Gift" defines it's own era.

Mole Man, Saturday, 20 October 2001 00:00 (sixteen years ago) Permalink

Sean - doncha love it when everyone gets sidetracked?

I heard Big Star before I heard either the Posies or Replacements or even the Fannies (a brother who had exceedingly bad taste most of the time finally got something right when he got "#1 Record" / "Radio city" in '91), and I've converted my fellow bandmate (a Fannies / Replacements / Smithereens fan) into a BS fan, his trying to convert me on the 'Mats and Smithereens has never worked in my direction for some reason. But we're totally agreed on the Posies and the Fannies though. Odd. I just can't get my head around the 'Mats at all, I've tried loads of times with different LPs of theirs, but still nothing. Mind, Paul Westerburg's last solo LP was rather good!

Rob M, Monday, 22 October 2001 00:00 (sixteen years ago) Permalink

Call me old fashioned but I think one property of an era-defining record ought to be people actually buying it during that era, not 20 years later.

Tom, Monday, 22 October 2001 00:00 (sixteen years ago) Permalink

Smithereens - AAARGGGGHHHH (makes retching sounds)

dave q, Monday, 22 October 2001 00:00 (sixteen years ago) Permalink

It is an era defining record, era being 1990 unfortunately.

TFC way, way better than BS.

Billy Dods, Monday, 22 October 2001 00:00 (sixteen years ago) Permalink

Could somebody PLEASE explain TFC's appeal? Start a new thread if you have to. This one really perplexes me.

dave q, Monday, 22 October 2001 00:00 (sixteen years ago) Permalink

From my experience, Teenage Fanclub is exemplary of most Britpop bands - Hey! We like such-and-such bands! Let's pay homage to them through shameless, lifeless emulation! Everyone'll LOVE us!

Bandwagonesque was all fine & good, but a bit slow (even when going fast) and surprisingly bland as a whole. Pleasant in certain situations, though. This is the only album I can confidently speak on, so feel free to ignore my pronouncements.

David Raposa, Monday, 22 October 2001 00:00 (sixteen years ago) Permalink

Basically TFC = Big Star with 'originality' replaced by 'lyrics and sentiments early 90s students could relate to better'. As an early 90s student I hugely preferred them.

Tom, Monday, 22 October 2001 00:00 (sixteen years ago) Permalink

From my experience, Teenage Fanclub is exemplary of most Britpop bands

'Britpop' = term with huge ever growing scope creep

Nick, Monday, 22 October 2001 00:00 (sixteen years ago) Permalink

two years pass...
"Thirteen" is such a fucking good song.

NA (Nick A.), Tuesday, 4 May 2004 20:35 (thirteen years ago) Permalink

Isn't it just.

Sick Nouthall (Nick Southall), Tuesday, 4 May 2004 20:52 (thirteen years ago) Permalink

I like the third one the best myself. "Radio City" is the most fully realized of the three "official" BS albums, but "Third" really did something that hadn't been done before, I think.

The Stax org was in such disarray in the early '70s that it's a wonder the records even got out there as much as they did. I've read that each of the first two albums only got into the marketplace in ridiculously small quantities...4000/5000 is a number I've seen.

I don't know if they "define" any era. A post above maintains that to define era, their records would've have to been bought by somebody. So I guess they were one of the first true indie/critic's bands...the reviews were mostly glowing. In retrospect they do seem to define the period much better than any number of more popular acts, though. I see nothing wrong with revisionist nostalgia myself.

For a long time I loved them without reservation, then went thru a period during which I'd just heard them too much. For a lot of us they were like the Beatles, the absolute gold standard of pop records. Now I just accept them as a great pop band, period, and wish people would quit gushing about them so much, or maintaining that they weren't really all that good. As a live band they seem to have sucked; but I can't think of any better-conceived record than "Radio City." Such style. And they seem to define not an era but a state of mind, one epitomized by the Eggleston "red ceiling" photo that graced the original "RC" LP...bad dreams and vibes in an oversexed room, distilled into melancholy, perhaps? With a few good times vaguely recalled? Maybe that's the '70s, I don't know.

Interesting to see what the new Big Star album will be like...

eddie hurt (ddduncan), Tuesday, 4 May 2004 21:12 (thirteen years ago) Permalink

a friend of mine is assisting with the engineering at Ardent. He says it sounds amazing.

of course, Chilton & company could scrape a chalkboard with rusty chisels and this guy would say it's the best thing ever.

(I think I listen to Third the most, too)

Will (will), Tuesday, 4 May 2004 22:25 (thirteen years ago) Permalink

there is a new studio album?

kyle (akmonday), Tuesday, 4 May 2004 22:38 (thirteen years ago) Permalink

Yeah, they've been recording at Ardent since March, I believe.

I wonder how committed Chilton is to the whole idea of Big Star these days. Probably not very. I didn't think much of "Hot Thing."

eddie hurt (ddduncan), Wednesday, 5 May 2004 00:22 (thirteen years ago) Permalink

When did 'Hot Thing' come out?

de, Wednesday, 5 May 2004 00:24 (thirteen years ago) Permalink

Umm, it was sometime after the Columbia reunion...maybe '95? It's on the somewhat misbegotten Rkyo "Big Star Story."

eddie hurt (ddduncan), Wednesday, 5 May 2004 00:26 (thirteen years ago) Permalink

Yeah, £15 for a 'best of', £10 for #1 Record/Radio City. Hmmm.

de, Wednesday, 5 May 2004 00:38 (thirteen years ago) Permalink

Really? That's so wrong.

eddie hurt (ddduncan), Wednesday, 5 May 2004 00:50 (thirteen years ago) Permalink

edd hurt up there described chilton's kind of effete memphis accent as "insolent" and i liked that. he also seems to had a kind of limp-wristed comportment as well. was taking on some of what we now think of as "gay" mannerisms part of that insolence? or is there a more complex connection, or none at all,between chitin's kind-of-upper-crust mid-south manner and "gay" codes?

wizzz! (amateurist), Friday, 2 September 2016 04:46 (one year ago) Permalink

i hope i don't offend anyone with those observations. it seems like an integral part of chitin's complicated schtick, if it was a schtick.

wizzz! (amateurist), Friday, 2 September 2016 04:46 (one year ago) Permalink

Jon Tiven on "pancake records" and working with his many friends--a group that doesn't include Axel Chitlin.

Edd Hurt, Friday, 2 September 2016 22:40 (one year ago) Permalink

This guy

Under the Zing of Stan (James Redd and the Blecchs), Saturday, 3 September 2016 02:35 (one year ago) Permalink

For clarity's sake, re the ones I mentioned above and others:

VOL. 1: Demos To Sessions To Roughs
1. Like St. Joan (Kanga Roo) * (Demo) 2. Lovely Day (Demo) 3. Downs (Demo)
4. Femme Fatale (Demo) 5. Thank You Friends (Demo) 6. Holocaust (Demo)
7. Jesus Christ (Demo) 8. Blue Moon (Demo) 9. Nightime (Demo)
10. Take Care (Demo) 11. Big Black Car (Demo #2/Acoustic Take 1)
12. Don’t Worry Baby 13. I’m in Love With A Girl *
14. Big Black Car (Demo #3/Acoustic Take 2) 15. I’m So Tired * – Alex & Lesa
16. That’s All It Took * – Alex & Lesa 17. Pre-Downs * 18. Baby Strange *
19. Big Black Car (Demo #1/Band) 20. Kizza me * (Dickinson Rough Mix/Alex Guide Vocal)
21. Till The End Of The Day * (Dickinson Rough Mix/Alex Guide Vocal, Kept As Final Vocal)
22. Thank You Friends * (Dickinson Rough Mix/Alex Guide Vocal)
23. O, Dana * (Dickinson Rough Mix) 24. Dream Lover * (Dickinson Rough Mix)

VOL. 2: Roughs To Mixes
1. Big Black Car * (Dickinson Rough Mix/Alex Guide Vocal)
2. Whole Lotta Shakin’ Goin’ On * (Dickinson Rough Mix)
3. Take Care * (Dickinson Rough Mix) 4. Holocaust * (Dickinson Rough Mix)
5. Nightime * (Dickinson Rough Mix) 6. Thank You Friends * (Dickinson Rough Mix)
7. Nature Boy * (Dickinson Rough Mix) 8. After Hours * – Lesa
9. Stroke It Noel (Backwards Intro) 10. Lovely Day * (Fry Rough Mix)
11. Nightime * (Fry Rough Mix) 12. Blue Moon * (Fry Rough Mix)
13. Till The End Of The Day (Alternate mix #1) 14. Big Black Car (Fry Rough Mix)
15. Holocaust (Fry Alternate/Rough mix) 16. Downs * (Fry Rough mix)
17. Kanga Roo (Fry Rough Mix) 18. Femme Fatale * (Fry Rough Mix)
19. For You * (Alternate Version/Alex Vocal) 20. Thank You Friends * (Fry Rough Mix)
21. Take Care * (Alternate Version/Alex Vocal) 22. Kizza Me * (Fry Rough Mix)
23. Till The End Of The Day (Fry Rough Mix #2) – Lesa
24. Nature Boy (Fry Rough Mix) 25. Mañana

VOL. 3: Final Masters
1. Stroke It NoeL 2. Downs 3. Femme Fatale 4. Thank You Friends
5. Holocaust 6. Jesus Christ 7. Blue Moon 8. Kizza Me 9. For You
10. O, Dana 11. Nightime 12. WhoLe Lotta shakin’ Goin’ On
13. Kanga Roo 14. Take Care 15. Big Black Car 16. Dream Lover
17. You Can’t Have me 18. Till The End Of The Day 19. LoveLy Day
20. Nature Boy

VOL. 1: Demos To Sessions To Roughs
Track 1, 13, 15–18, 20–24 Previously Unissued
Tracks 2-3 originally issued on Thank You Friends: The Ardent Records Story, Big Beat
CDWIK2 273 (2008)
Tracks 4-11 originally issued on Keep An Eye On The Sky, Rhino 519760 (2009)
Tracks 12, 19 originally issued in edited form on Thank You Friends: The Ardent Records Story,
Big Beat CDWIK2 273 (2008)
Track 14 originally issued on Jesus Christ, Omnivore Recordings, OVS10-153 (2015)

VOL. 2: Roughs To Mixes
Tracks 1-8, 10-12, 16, 18-22 Previously Unissued
Tracks 9, 14-15, 17 originally issued on Nothing Can Hurt Me, Omnivore Recordings OV-61 (2013)
Tracks 13, 24-25 originally issued on Keep An Eye On The Sky, Rhino 519760 (2009)
Track 23 originally issued in a different mix on Lésa, Barbarian Records BWRR0201 (1980)

VOL. 3: Final Masters
Tracks 1, 3-11, 13-15, 17 originally issued on 3rd, PVC 7903 (1978)
Tracks 2, 12 originally issued on The Third Album, Aura AUL 703 (1978)
Track 16 originally issued on Big Star’s 3rd: Sister Lovers, PVC 8933 (1987)
Tracks 18, 20 originally issued on Third/Sister Lovers, Rykodisc 10220 (1992)
Track 19 originally issued on Keep An Eye On The Sky, Rhino 519760 (2009)
All songs written by Alex Chilton except: “Downs” by Alex Chilton/Lesa Aldridge; “Femme Fatale”
and “After Hours” by Lou Reed; “Big Black Car” by Alex Chilton/Chris Gage; “Don’t Worry Baby” by
Brian Wilson/Roger Christian; “I’m so Tired” by John Lennon/Paul McCartney; “That’s All It Took”
by Darrell Edwards/Charlotte Grier/George Jones; “Pre-Downs” by Alex Chilton/Jim Dickinson;
“Baby strange” by Marc Bolan; “Till The End Of The Day” by Ray Davies; “Whole Lotta shakin’
Goin’ On” by David Curly Williams; “Nature Boy” by Eden Ahbez; “For You” by Jody stephens

Guitar: Alex Chilton, Jim Dickinson, Lee Baker, Steve Cropper
Keyboards: Alex Chilton, Jim Dickinson
Drums: Jody Stephens, Richard Rosebrough, Tarp Tarrant
Bass: Tommy Cathey, William Murphy, Tommy McClure, Jimmy Stephens Jr. (on “For You”)
Reeds, Woodwinds, Synthesizer: Carl Marsh
String Arrangements: Carl Marsh
Strings: John Wehlan, Robert Snyder, Peter Spurbeck, Noel Gilbert,
Rebecca Anne Mcmullan, John Stubbs, Celeste Wilson, Lorine Gottshall
Other Contributors: The Duncan Sisters, Pat Rainer, Randy Romano (on “Whole Lotta Shakin’ Goin’ On”)
Engineered by: Alex Chilton, Jim Dickinson, John Fry & Richard Rosebrough
Recorded at Ardent studios, Memphis, TN
Tape Research, Transfers & Additional Mixing: Adam Hill
Audio Restoration & Mastering by Michael Graves at Osiris studio
Licensing: Bryan George
Editorial: Audrey Bilger
All Photographs courtesy of Andy Hummel & the Ardent Archives except where noted
Art Direction & Design: Greg Allen
Project Assistance: Dutch Cramblitt, Mary Lindsay Dickinson, Luther Dickinson, Joy Graves,
Lee Lodyga, Elizabeth Montgomery, Pat Rainer, Brad Rosenberger, Chris stamey & Jody stephens
special Thanks: John Calacci, Bertis Downs, Elizabeth Hoehn, David Jenkins, Tony Margherita,
Kevin O’Neil, Ken Shipley & Rich Tupica
some of the recordings on this collection contain audio anomalies and compromises that could not be corrected due
to their age and the manner in which some tapes were stored*. We’ve done our very best to restore the sound on these
tracks, and they are presented here for historical purposes and relevance to the overall story of this album’s creation.

(*Which maybe is why some of the roughs do sound crackly and dry, as I noted, but even those are basically pretty clear, and overall sound quality is very agreeable)

dow, Tuesday, 6 September 2016 17:13 (one year ago) Permalink

For Disc 3, we should keep in mind that xpost Dickinson quote in the booklet

“The Rykodisc people asked me if I wanted to sequence
it,” he recalled, “but when I went back to my production notes, I realized
that my ideas and Alex’s were so different that it wouldn’t be fair. There is
no sequence.”

dow, Tuesday, 6 September 2016 17:22 (one year ago) Permalink

Speaking of the booklet, I don't have any others at hand for comparison, or Rob J.'s book, but enjoyed this one: Besides the contextualizing main essay from journalist/A&R executive Bud Scoppa, extensive notes from original participants and artists influenced by Big Star are also included: Jody Stephens (Big Star), Mary Lindsay Dickinson (widow of producer Jim Dickinson), Mitch Easter (Let’s Active), Adam Hill (Ardent staff producer), Elizabeth A. Hoehn*, Susanna Hoffs and Debbi Peterson (The Bangles), Peter Holsapple (The dB’s), Gary Louris (The Jayhawks), Mike
Mills (R.E.M.), Cheryl Pawelski (Omnivore Recordings), Pat Rainer (Memphis photographer/friend of band), Danny Graflund (Alex Chilton’s bodyguard), Jeff Rougvie (former Rykodisc A&R), Pat Sansone (Wilco), Chris Stamey (The dB’s), John Stirratt (Wilco), Ken Stringfellow (The Posies, Big Star), and Steve Wynn (The Dream Syndicate).

*AKA Lesa Aldridge (did she marry Tommy H.?), who remembers their writing "Downs" together, mostly with her lyrics, and that it impressed Fry enough to give Alex the green light for a new album.

dow, Tuesday, 6 September 2016 17:38 (one year ago) Permalink

Finally got to xpost Vol.3: Final Masters just now, during the caffeinated workday, and found its phosphorescent after midnight vibe not at all dependent on mere circadian rhythms or other reality/irreality crutches. Beale Street Green would indeed have been a good title (picturing green odd-cornering three-storeys,also around bus shelters, if any, in smoggy parklets and medians and alleys and pipes). Latest remastering makes this just a bit more vivid, without getting into Guiliani York Time Square shine jobs.
I haven't counted up the outtakes I like or the ones I suspect may grow on me, but so far seems like this might be one of those rare boxes I wouldn't want to be without, almost in its entirety: the collector bait now takes its place alongside the canonical edition, or versions, in this case.
Since the booklet emphasizes the lack of any definitive intended sequence or even contents, we can make our own, and mine goes something like this:
All of Vol 3 as listed above, except I'd substitute the aforementioned "pulsating puzzle palace" Fry alt mix of "Downs", or maybe the crispy solo version.
If I knew how to pull Fry's echo around the vocal into the Vol. 3 version of "Holocaust", I'd do that, but otherwise, I'd let this 'un alone.
No "Femme Fatale": AC is oh-so-gracefully superfluous, kinda preeny too, Lesa's long-distance French chorus is just anxious (secret insecurity of la "Femme Fatale"? Conceptually acceptable, but currently vaguely annoying in actual listening). Steve Cropper is out in the hall, notes tell us: uncomfortable with the setting and/or material, and just kinda poking at it.
Prob no "Nature Boy" for me, though I do like Fry's mix, and Eggleston's piano.
I'll have to compare Vol. 3 version of "Lovely Day" to Fry's Vol. 2 rough, but they're both mighty fine.
Maybe reprise "Big Black Car" via one of those mesmerizing acoustic solo demos, though mainly cos I love the effect of going from that to
"Don't Worry Baby", multiple Alexes x unaccompanied guitar
"I'm In Love With A Girl", solo
Alex & Lesa:
"I'm So Tired"
"That's All It Took"
Lesa & musos:
"After Hours"
maybe the version of "Til The End of The Day" with her singing lead, but her lack of confidence does seem to drag the momentum a little.
maybe the Fry alt of "Kanga Roo" I mentioned as incl. "jangle dub."
Maybe the Big Star 2.0 live in Columbus MO version of "Baby Strange", because the attempt here did seem like it could have fit.
Ditto that show's version of "I Am The Cosmos", re grandiosity vs. reality, but not cringing away.
(Others from Complete Columbus? Must check.)
(Also trying to find AC's version of the Lefte Bank's "She May Call You Up Tonight". which seems like it might fit musically etc.)

Ditto the


dow, Thursday, 15 September 2016 19:34 (one year ago) Permalink

Never knew Chilton did "She Might Look My Way." But that would kinda validate my Theory of Power Pop, that it starts, pretty much, with the Left Banke/Knickerbockers/Beau Brummels. Where and when did he do it?

"Femme Fatale" never bothered me, but it is...tentative. It always flowed in the context of the record. But I haven't listened to it in quite a while and certainly haven't sat down with any Big Star record from start to finish in a while either. The best things on the Columbia record are the covers--the T. Rexes and Eugene Chandler. "Kansas City" is superfluous, though. I'm not much of a fan of that recording; I was there, and about all I can say about it is that Chilton fiddled with his amp settings until he came up with a good blend with the other guitarist, that seemed to be his main goal at the show. I mostly find the Posied Big Star rather one-dimensional; the video of the Memphis show, I was there too, is nice but again, about all I get from it is that Alex was a good guitarist. Decent versions of "Daisy Glaze" and "Back of a Car," because they're really Guitar Fantasias in a way most of the other material isn't. "O My Soul" proved remarkably impossible to play well live. Christgau likes the Columbia record, I filed it away years ago. And yeah, Beale Street Green is a perfect title, because, as Pete Townshend said about summertime blues re "Summertime Blues," there's no green--only bad money and nothing verdant, either-- in Beale Street.

Edd Hurt, Thursday, 15 September 2016 19:57 (one year ago) Permalink

"She May Call You Up Tonight" is the title we both meant to post just now, Edd! Apparently not recorded by AC, although coulda worked: singer-narrator afraid he's about to get busted for furtive trash-talking, the shady, real-teen side of power popl in Lefte Banke's original recording--- but think I was thinking of the solo version of "She Might Look My Way" you mentioned (as a Karin Berg-produced or authorized demo), which I'm not seeing, though Ocean Club '77 performance is good vocally, despite somewhat clumsy accompaniment.

dow, Thursday, 15 September 2016 20:06 (one year ago) Permalink

Yeah, I was mainly hoping for something else on The Complete Columbus that would go with "Baby Strange", for filling out my personal plastic Jesus cartape version of Third.

dow, Thursday, 15 September 2016 20:09 (one year ago) Permalink

Talking of Alex and Lesa, went to see this today.

Bottlerockey (Tom D.), Thursday, 15 September 2016 20:17 (one year ago) Permalink

I'm quite pleased by the fact that, before I knew who William Eggleston was, I went to an exhibition of his and said to the person I was with that "This stuff reminds me of the photographs on Big Star's Radio City".

Bottlerockey (Tom D.), Thursday, 15 September 2016 20:20 (one year ago) Permalink

Yeah, I didn't think he'd done "She May Call You Up Tonight." But I bet he knew it.

Edd Hurt, Thursday, 15 September 2016 20:33 (one year ago) Permalink

Never knew Chilton did "She Might Look My Way." But that would kinda validate my Theory of Power Pop, that it starts, pretty much, with the Left Banke/Knickerbockers/Beau Brummels. Where and when did he do it?

it is on the "Beale Street Green/Sarcrossed" bootleg, maybe others?

sleeve, Thursday, 15 September 2016 22:34 (one year ago) Permalink

uh 'Starcrossed'

sleeve, Thursday, 15 September 2016 22:34 (one year ago) Permalink

We meant "She May Call You Up Tonight," by Michael Brown. "She Might Look My Way" is on the Dusted in Memphis set, which has been reissued on vinyl w/ the 1978 KUT interview and some other stuff. Bootleg. It really deserves a proper issue, perhaps packaged with the One Day in NYC live set that I have on an LP with the Tiven stuff.
From what I can gather, Michael Brown was even more ornery than Alex, and to less purpose--no one wanted to work with him. Funny that The Left Banke Too is without Brown, mostly, and it's a definite precursor to the third Big Star album, orchestrated, second-hand, ultra-romantic, overheated. One of those records that screams "'60s," kinda like Dudley Moore's Bedazzled soundtrack or prime Gal Costa. Brown never fulfilled his talent--the Beckies, eh, Stories, a little better, but always too fussy, unfocused. I think Brown was really young when he hit with the Left Banke, too, like Alex.

Edd Hurt, Thursday, 15 September 2016 23:02 (one year ago) Permalink

the Beckies' s/t got the tunes, though not especially the vocals; Stories' About Us got both, once/if you get used to Ian Lloyd, who is def not fussy; could have used more focus, more covers maybe (their Greatest Hit was version of Hot Chocolate's "Brother Louie"). Haven't heard their s/t or Montage's, that being another band (or something) with Michael Brown contributions. The Left Banke's There's Gonna Be Storm is worth checking out for some coverworthy songs and *some* earworthy performances (considering all the dithering/writhing/legal battles documented in the notes, and some since, it's amazing they achieved anything).

dow, Thursday, 15 September 2016 23:17 (one year ago) Permalink

Yeah, I need to revisit the Stories album. Been a while since I heard it. I've got that Left Banke comp which includes all their recorded work. I have a taste for that kind of thing, so I like all of it, prolly have an original Smash LP of the first LB around somewhere. "Men Are Building Sand" may be the apogee of Brown's Art, anyway, kind of a brilliant song and a prescient performance to boot.

Edd Hurt, Thursday, 15 September 2016 23:26 (one year ago) Permalink

"Men Are Building Sand" is a Bert Sommer song - the guy who played at Woodstock who no-one remembers - he sings it anyway, I assume Michael Brown was still in the Left Banke then? Difficult to tell with that band. First Stories album is a bit rough, almost demo-like in places, some good songs but the second album is much better.

Bottlerockey (Tom D.), Thursday, 15 September 2016 23:42 (one year ago) Permalink

Yeah, think About Us was the second.

dow, Friday, 16 September 2016 00:00 (one year ago) Permalink

Sommer and Brown wrote "Men Are Building Sand." I've got a few Bert Sommer albums, which are on the edge of power pop, I suppose. Yacht-rocky.

Edd Hurt, Friday, 16 September 2016 01:02 (one year ago) Permalink

Wow, that's really good, thanks! I forgot about the Cossacks, will have to check for more videos. Your quotes of the principals don't rehash anything they say in the Complete Third booklet, though on the same themes, of course. Gordon overemphasizes the misery a little bit maybe; I hear it more as keeping misery at arms length, with strings and things, though it's certainly not offstage or suppressed, but results tend to be lyrical, graceful, even moving around feedback, which is also welcome.
Speaking of strings, anybody know of other albums we should check out re Carl Marsh arrangements?

(oh yeah, and speaking of chaos, the Complete Third booklet indicates there's more:
The decomposition and decay that Dickinson spoke of in interviews is in full effect as we move from
the demos to the session material...We’ve spared you the near thirty minutes of people banging on things and endless guitar noodling,on a tape presumably left running on the day the steel drums showed up for “Downs.” To give you a good taste of it for context, we’ve excerpted a portion we call, “Pre-Downs.”
As described upthread, that's enough for me, thanks [well probably].)

dow, Friday, 16 September 2016 16:27 (one year ago) Permalink

Carl Marsh's resume is long and varied:

tylerw, Friday, 16 September 2016 16:31 (one year ago) Permalink

Wow, he even worked with James Luther (Jim) Dickens.

Sigue Sigue Kaputnik (James Redd and the Blecchs), Friday, 16 September 2016 16:37 (one year ago) Permalink

string arrangements on garth brooks' deathless chris gaines LP

tylerw, Friday, 16 September 2016 16:41 (one year ago) Permalink

one month passes...

So is there a guide to all the versions released on "Complete Third", "Keep An Eye On The Sky", "Jesus Christ" single and other demos released on comps?

Gerald McBoing-Boing, Monday, 17 October 2016 22:40 (one year ago) Permalink

When are the vinyl versions due to drop, and am I right in thinking I will be able to purchase just the album itself without the extra gubbins that I want but can't afford?

Robby Mook (stevie), Wednesday, 19 October 2016 08:58 (one year ago) Permalink

one month passes...

Surprised there's no dedicated Prix thread

calstars, Thursday, 24 November 2016 23:11 (one year ago) Permalink

are you really

Immediate Follower (NA), Friday, 25 November 2016 00:53 (one year ago) Permalink

'Girl' is a dope jam

It sounds like the earliest attempt to 'do a Big Star'

PaulTMA, Friday, 25 November 2016 01:15 (one year ago) Permalink

five months pass...


Trelayne Staley (James Redd and the Blecchs), Friday, 5 May 2017 21:32 (nine months ago) Permalink

two months pass...

Yep. Here's press sheet for expanded Cosmos, with Complete CB to follow:

July 14, 2017


Though he died at age 27, the founding Big Star member
left a recorded legacy larger than commonly known.
I Am the The Cosmos contains eight unissued bonus tracks, plus two tracks appearing on CD for the first time. Liners by Alec Palao and Bob Mehr.

The Complete Chris Bell’s six LPs contains all the tracks released on
Looking Forward: The Roots Of Big Star and the deluxe I Am The Cosmos, plus a bonus LP with unheard 1975 interview, and an album by Bell’s Rock City.

MEMPHIS, Tenn. — After co-founding Big Star, Chris Bell released only two tracks of new music during his lifetime — a 1978 single on the Car Records label run by Chris Stamey (The dB’s, Sneakers) titled “I Am The Cosmos” b/w “You and And Your Sister.” He would lose his life in a car accident later that same year. However, those were not the only tracks Bell had recorded in his post-Big Star years.

In 1974-1975, Bell worked in the famed Château D’Hérouville near Paris, France, and later recorded at both Shoe Studios and Ardent Studios in Memphis. Some of that material arrived in 1992 as I Am The Cosmos to great acclaim. An expanded 2009 release nearly doubled the track listing, adding alternate mixes, as well as some of Bell’s pre-Big Star recordings.

With those early recordings now taking their proper place on Looking Forward: The Roots Of Big Star (released by Omnivore in July, 2017), it is now time for the definitive version of I Am the The Cosmos.

In addition to the bonus material found on the 1992 release and 2009 reissue, this new
2-CD/Digital set adds 10 more tracks, eight of which are previously unissued; two make their CD debut. The packaging contains updated liner notes from set co-producer Alec Palao as well as Memphis author and journalist Bob Mehr and features previously unseen photographs. Also available the same day, the original 12 track “album” — first pressing on clear vinyl (with download card for the album tracks). All Chris Bell projects are being approved and overseen by Chris’ estate run by his brother, David.

With renewed reverence for his work in Big Star, as well as a look back at his earlier work, and an upcoming biography from Rich Tupica, the stars have aligned. This expanded edition of I Am The Cosmos arrives at the perfect time for long-time fans, as well of those who are just discovering the magic of Chris Bell.

The early Chris Bell-related recordings were compiled by Omnivore in a CD/Digital release titled Looking Forward: The Roots Of Big Star, released in July 2017. Those recordings now make their vinyl debut in the first two (of six) vinyl LPs of The Complete Chris Bell as Looking Forward: The Roots Of Big Star and Rock City — See Seven States.

Bell’s post-Big Star recordings have long been well known as an album first compiled by Rykodisc in 1992, and titled I Am The Cosmos. In September 2017, Omnivore issues the original I Am The Cosmos tracks on LP, newly remastered and cut at Ardent Studios. Also released at the same time will be a comprehensive two-CD/Digital deluxe edition of the album, including all known post-Big Star recordings. The freshly remastered I Am The Cosmos vinyl is included in The Complete Chris Bell as the third LP with the additional recordings from the 2-CD deluxe edition making up the two volumes of Outtakes & Alternates as LPs 4 & 5 with all the material making its vinyl debut.

Rounding out The Complete Chris Bell is an exclusive sixth LP that will only be available in the boxed set. It includes a never-before heard 1975 interview with Barry Ballard. Ballard interviewed Bell in London, and has graciously allowed the use of his original tape for the transfer and restoration so it could be included in this set. Bell’s remarks on everything from his solo recordings to Big Star are revelatory!

The Complete Chris Bell was produced and compiled by Grammy-Award winner Cheryl Pawelski, Ardent Studios’ Adam Hill, and Grammy-nominated producer Alec Palao. It was freshly remastered by Grammy-Award winning engineer Michael Graves, and the vinyl cut on the original lathe at Ardent Studios in Memphis by Chris Jackson and Adam Hill.

Liner notes are by co-producer Alec Palao and Bob Mehr (music critic for the daily Memphis newspaper The Commercial Appeal, and author of the New York Times bestseller Trouble Boys: The True Story Of The Replacements). The booklet also features previously unseen photos and memorabilia, plus a special excerpt from the forthcoming HoZac Books release There Was A Light: The Cosmic History of Of Chris Bell And The Rise Of Big Star by Rich Tupica.

The Complete Chris Bell boxed set will be a one-time pressing with individual volumes potentially broken out in the future as demand warrants (excluding the 1975 London Interview LP which will be exclusive to the boxed set).

The entire project was developed with the oversight of the Estate of Chris Bell and should serve as the definitive collection of the massively influential Chris Bell!

I Am The Cosmos 2-CD/Digital Track List:

Disc One:
1. I Am The Cosmos

2. Better Save Yourself

3. Speed Of Sound

4. Get Away

5. You And Your Sister

6. I Kinda Got Lost
7. Look Up

8. Make A Scene

9. There Was A Light

10. I Don’t Know
11. Fight At The Table

12. Though I Know She Lies

13. I Am The Cosmos (Acoustic Mix)*

14. You And Your Sister (Acoustic Version)

15. Look Up (Acoustic Movie Mix)*

16. Untitiled Acoustic Instrumental (Movie Mix)

Disc Two:
I. Am The Cosmos (Extended Alternate Version)
2. Better Save Yourself (Alternate Mix)

3. Speed Of Sound (Alternate Version)

4. Get Away (Alternate Version)

5. You And Your Sister (Alternate Version)

6. Make A Scene (Alternate Mix)

7. Fight At The Table (Alternate Mix)

8. I Don’t Know (Alternate Version)

9. Speed Of Sound (Alternate Version Backing Track)*
10. Stay With Me With Keith Sykes

11. In My Darkest Hour With Nancy Bryan
12. So Long Baby (Aka Clacton Rag)

13. Fight At The Table (Outtake Track With Partial Vocals)*
14. You And Your Sister (“Country” Underdub Mix)
15. Get Away (Outtake Track)*

16. Better Save Yourself (Outtake Track)*

17. I Am The Cosmos (Alternate Backing Track With Piano)*
18. Untitled Electric Instrumental (Movie Mix)
19 . Though I Know She Lies (Movie Mix)* 

*Previously Unissued

The Complete Chris Bell 6-LP Box Set Track List:

Looking Forward:
 The Roots Of Big Star

1. All I See Is You 

2. Looking Forward 

3. The Reason 

4. Oh My Soul (Backing Track) 

5. Feeling High (Alternate Backing Track) 


1. Feeling High 

2. Sunshine 

3. Psychedelic Stuff 

4. A Chance To Live 

5. Germany (Backing Track) 

6. All I See Is You (Alternate Backing Track) 

Rock City – See Seven States

1. Think It’s Time To Say Goodbye 

2. I Lost A Love 

3. The Wind Will Cry For Me 

4. My Life Is Right 

5. Lovely Lady 


1. The Answer 

2. Introduction 

3. Sunday Organ 

4. The Preacher 

5. Shine On Me 

6. Try Again (Original Mix)* 

I Am The Cosmos

1. I Am The Cosmos (Original Single) 

2. Better Save Yourself 

3. Speed Of Sound 

4. Get Away 

5. Make A Scene


1. Look Up 

2. I Kinda Got Lost 

3. There Was A Light 

4. Fight At The Table 

5. I Don’t Know 

6. Though I Know She Lies 

7. You And Your Sister (Original Single) 

Outtakes & Alternates, Volume 1

1. I Am The Cosmos (Extended Alternate Version)
2. Better Save Yourself (Alternate Mix)

3. Speed Of Sound (Alternate Version)

4. Get Away (Alternate Version)

5. You And Your Sister (Alternate Version)

1. Make A Scene (Alternate Mix)

2. Look Up (Acoustic Movie Mix)

3. Fight At The Table (Alternate Mix)
4. I Don’t Know (Alternate Version)
5. Speed Of Sound (Alternate Version/Backing Track)

Outtakes & Alternates, Volume 2

1. You And Your Sister (Acoustic Version)
2. Untitled Acoustic Instrumental (Movie Mix)

3. Stay With Me – with Keith Sykes

4. In My Darkest Hour – with Nancy Bryan
5. So Long Baby (aka Clacton Rag)

6. Fight At The Table (Outtake Track With Partial Vocals)

1. You And Your Sister (“Country” Underdub Mix)
2. Get Away (Outtake Track)

3. Better Save Yourself (Outtake Track)
4. I Am The Cosmos
(Alternate Backing Track With Piano)
5. Untitled Electric Instrumental (Movie Mix)

Interview With Barry Ballard, London 1977

1. Interview, Part 1*

1. Interview, Part 2*

2. Though I Know She Lies (Movie Mix)
3. I Am The Cosmos (Acoustic Mix)

* Previously unissued

# # #

Watch and feel free to post the Chris Bell trailer:

dow, Thursday, 27 July 2017 00:02 (six months ago) Permalink

There are few things in the world I love more than Cosomos

calstars, Thursday, 27 July 2017 00:08 (six months ago) Permalink

Oops. speaking of Looking Fwd, forgot to post this (point of doing so is that you don't gotta buy the box to get it)

May 8, 2016


22-track collection of pre-Big Star recordings also features Jody Stephens,
Terry Manning, Tom Eubanks, Steve Rhea and Alan Palmore.
Contains six unissued tracks,
plus new liner notes by Grammy® nominee Alec Palao

MEMPHIS, Tenn. — While Chris Bell is known as a founding member of Big Star (and for his posthumous classic song “I Am The Cosmos”), his story did not begin with that legendary band. Looking Forward: The Roots of Big Star featuring Chris Bell delivers the origins of his incredible, influential and far-too-short career.

The 22-track collection, including six previously unissued tracks, is the first of its kind to chronicle the music made by and with Bell before Big Star’s iconic #1 Record—with such projects as Rock City, Christmas Future, Icewater, The Wallabys and more. It examines Bell’s progress as a writer, performer and engineer leading up to Big Star, a journey in which the sounds and roots of Big Star are completely evident. Coupled with the previously issued Alex Chilton compilation Free Again: The “1970” Sessions, these two releases provide a look at the evolution of Big Star.

Looking Forward’s packaging contains photos and liners from Grammy®-nominated writer (and set producer) Alec Palao, as well as quotes from Bell’s bandmates (Jody Stephens, Terry Manning, Tom Eubanks, Steve Rhea) and collaborators (Alan Palmore, Ardent Studio founder John Fry), telling the story of how this true talent came to be, who he was, and what he means to us all—a talent we celebrate to this day.

But to truly understand the sounds that influenced so many, one only needs to be Looking Forward. As Palao writes in his liner notes, “Both the hardcore Big Star aficionado and the casual listener will enjoy Looking Forward in the spirit intended: as the inspirations behind an inspirational act.

Chris Bell’s post-Big Star material will continue to unfold in further CD, LP and Digital releases in 2017. The original I Am the Cosmos album will be released in the fall on a single LP and double-CD/Digital deluxe edition. The Complete Chris Bell—a six-LP boxed set—is set for release in late 2017 and will collect all the material from both Looking Forward and the deluxe edition of I Am The Cosmos. Complete will also include all liner notes to the aforementioned projects, plus an excerpt from the forthcoming book by Rich Tupica, There Was A Light: The Cosmic History of Big Star Founder Chris Bell. The book will be released in the winter on HoZac Books. All Chris Bell-related projects are being produced with the approval and oversight of the estate of Chris Bell.

Track listings and further details for I Am The Cosmos and The Complete Chris Bell will be announced at a later date.

Track listing:
1. Think It’s Time To Say Goodbye
2. All I See Is You
3. My Life Is Right

4. Feeling High

5. Looking Forward

6. The Wind Will Cry For Me

7. Psychedelic Stuff
8. The Reason*
9. I Lost A Love
10. A Chance To Live*

11. The Answer

12. Lovely Lady

13. Sunshine

14. Introduction
15. Sunday Organ

16. The Preacher

17. Shine On Me
18. Try Again (Movie Mix, 2012)
19. Germany (Backing Track)*
20. Oh My Soul (Backing Track)*

21. All I See Is You (Alternate Backing Track)*
22. Feeling High (Alternate Backing Track)*

* Previously Unissued

# # #

dow, Thursday, 27 July 2017 00:10 (six months ago) Permalink

And see about expanded Man Called Destruction over on Alex Chilton S&D

dow, Thursday, 27 July 2017 00:11 (six months ago) Permalink

But as mentioned upthread, you can find Rock City and other Big Star/Ardent-relevant material on Spotify and YouTube.

dow, Thursday, 27 July 2017 00:14 (six months ago) Permalink

(The latter can disappear duh)

dow, Thursday, 27 July 2017 00:14 (six months ago) Permalink

Thought Looking Forward just appeared on Spotify a few weeks ago.

Awaiting On U-Haul: Alfie's Best of Stig O'Hara (James Redd and the Blecchs), Thursday, 27 July 2017 00:17 (six months ago) Permalink

I am listening to "Sunshine on my Shoulders" by John Denver for the first time in about 40 years: Greatest Hits from '73 was one of the only records my parents had (suddenly remembered the orch-prog opus "The Eagle and the Hawk" and listened to the whole comp) (know that Glen C. is the pop-country artist everybody's thinking about now, but he never meant much to me)…

I bet Chris and Alex liked this song so much that they rewrote it to address their love affair (my harebrained theory): A/B this song with "thirteen" and then dare to tell me that they or possibly John Fry didn't dig John D. Fry probably was secure enuff to admit it, but no way could Alex or Chris say that they liked a square like Denver. What would Charlie Rich think of Alex if he knew that he dug JD?

veronica moser, Wednesday, 9 August 2017 01:44 (six months ago) Permalink

one month passes...

Finally getting around to listening to some of the alternate/rough mixes on the Complete Third. Sitting with my boy (he's 11) picking through the soundstage, trying to place, aurally, who's were, who's adding what, and what time of night (dawn) it might be. I'm sure there are examples, but right now, I can't think of another record where the grime and light of the studio space (not to mention outside) are so viscerally present in the texture of the recording.

The shard-borne beetle with his drowsy hums (Chinaski), Saturday, 16 September 2017 20:30 (five months ago) Permalink

from Secretly Canadian (publicists):

Photography Pioneer William Eggleston Announces Debut Album, Musik, Out October 20th

Music of wild joy with freedom and bright, vivid colors."
- David Lynch

This is one of those announcements that we don't, can't, and won't get tired of repeating. Native Memphian William Eggleston, 77, who is widely regarded to be the most important photographer of the late 20th Century, has announced his debut record, Musik, due out October 20th. You likely know Eggleston for his remarkable, colorful photography and singular way of looking at the world, but let's delve into the artist's history with the musical medium.

It was during Eggleston's Sumner, Mississippi childhood, where he discovered the piano in the parlor that ignited in him a lifelong passion for music. It was a passion he carried forth his entire life, playing quite adeptly when a piano was handy: improvised turns on Bach, Handel, gospel, country, and popular selections from the Great American Songbook for friends and family. Though his travels found him rubbing elbows with Andy Warhol's Factory superstars in New York, where he lived for several years with Viva at the Chelsea Hotel, and observing a music scene in Memphis that included Big Star's Alex Chilton, and his old friend and owner of Ardent Studios, engineer Jon Fry, his own music went largely unheard by the general public.

In the 1980s, Eggleston, who disdained digital cameras and modernity in general, became surprisingly fascinated with a synthesizer, the Korg OW/1 FD Pro, which had 88 piano-like keys, and in addition to being able to emulate the sound of any instrument, also contained a four-track sequencer that allowed him to expand the palette of his music, letting him create improvised symphonic pieces, stored on 49 floppy discs, encompassing some 60 hours of music from which this 13 track recording was assembled.

Eggleston lives today in a small apartment off Memphis' Overton Park that he shares with a 9-foot Bosendorfer grand piano and an arsenal of ultra-high fidelity audio equipment, some of which was designed by his son, William Eggleston III. The synthesizer, alas, is broken and stubbornly refuses to be repaired, so for the purpose of this project another was purchased in order to be able to play back the floppy discs, which, along with a handful of DATs and other digital media, though frail, were digitized and mastered for this and future releases.

Mr. Eggleston often says that he feels that music is his first calling, as much a part of him, at least, as his photography. We take special pride in allowing the world to hear this side of a great artist who may now be rightly called a great musician.

dow, Saturday, 23 September 2017 19:18 (five months ago) Permalink

Newcomers can check Egg party pix of Big Star Upthread, also he did some of their official photos, album covers etc, played piano on xpost "Nature Boy", and is xpost Lesa A.'s cousin.

dow, Saturday, 23 September 2017 19:22 (five months ago) Permalink

lower-case "upthread", that is.

dow, Saturday, 23 September 2017 19:23 (five months ago) Permalink

three months pass...

Only just noticed the sex position pictures in the lower corner of the Radio City cover photo.

Moodles, Thursday, 18 January 2018 03:20 (one month ago) Permalink

From this interview with Andy, the cover photo was taken at William Eggleston's home:

PSF: The graphics were indeed special- what was with the cover and that ceiling light fixture (if that's what it was)?

Alex knew Bill Eggleston through his parents I believe. His mother was an art dealer and Bill, of course was a very gifted local photographer. Bill was a major hell raiser, as were Alex and me at the time. We drank a lot, stayed out all night, and took all manner of drugs. Somehow we got hooked up with him and Alex talked him into doing the cover. I could go on and on about Bill's techniques and all, which were truly innovative and brilliant, and which I kind of made note of, being very much into photography myself, but I'm sure there are lots of books available that deal with all that now that he's world famous and all. But we wound up at the TGI Friday's on Overton square one Monday night which was "Rock and Roll Night." It was a major hell-raising scene in those days. A DJ would play old 45's and just everyone came and stuffed the place. That was the back cover. Then we went over to Bill's later on and he suggested the light on the ceiling pic, which he had previously taken. We all loved it and I thought it fit perfectly with the sort of avant garde nature of the LP.

Jersey Al (Albert R. Broccoli), Saturday, 20 January 2018 19:48 (one month ago) Permalink

But was Eggleston known for sneaking erotic graphics into his photos?

Moodles, Saturday, 20 January 2018 19:55 (one month ago) Permalink

Considering those were on the walls of his home, probably?

Jersey Al (Albert R. Broccoli), Saturday, 20 January 2018 21:00 (one month ago) Permalink

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