Big Star

Some of these *may* be different takes as well as diff. mixes, but they're certainly close enough for comparison.

Like diff piano at one point on the Fry version? Anyway it's a keeper.

(mention of Bread upthread totally apropos: the more I listen to these sessions, the more flashbacks to Top 40 narcotic satori, discreetly stoned at and by the Pizza Hut jukebox: "Nuthin can, hhhhhuuut me...")

the rest of Vol. 2: Roughs to Mixes:
So (spoiler), several subsequent Fry rough mixes *do* 'llow Dickinsonian treble hijinks atop the lucid layers of rhythm, which are also getting bolder. The notes have AC auditioning Dickinson with the brand new "Kanga Roo", and finding the results very educational. So at some point, he may have been more assertive with Fry about taking the music further(and/or more credibly articulate, having understood what JD showed him---along with what Fry had already taught the Big Star crew about running the board).
However it happened, Fry's rough "Lovely Day" swirls and swoops all around the crisp rhythm farmers, and his "Kanga Roo" is jangle-dub, with orchestral tendrils drifting by, teasing the chaos, Lady Alex Davies trilling and trailing fingahs in the thin paisley currents, thee whole pre-channeling Mad Profressor's re-channeling of Massive Attack, just a little, la-la-la.
Fry's rough of "Downs" is a pulsating puzzle palace, "After Hours", sung by Lesa, sports pre-ska skiffle-ish, kinda Mungo Jerry casual catchiness, with a bit of clarinet sometimes. She sounds less confident singing lead (Alex in the background) on an alt of "At The End of The Day", which detracts from the momentum a little (though might not notice if there weren't an Alex-led take nearby).
Alex glides through "Femme Fatale" with Lesa repeating the chorus in French---notes have him erasing some of her tracks "in a fit of pique", but Dickinson scolds him into keeping this one (at the end, after nice warm wry delivery, he suddenly gets peevish and atypically Southern, like "Aw, whah on Earth should we do another tayke). This and "Blue Moon", like xpost "Nature Boy", show that Fry can do ballads too, without sticking in all that rocknroll stuff.

Hadn't seen some of these Eggleston Big Star pics before - this one in partic is v choice

http://dangerousminds.net/home/dangerou/dangerousminds.net/html/content/uploads/images/made/content/uploads/images/02bigstareggleston_465_673_int.jpg

http://dangerousminds.net/comments/william_egglestons_photos_of_big_star#JSPc09xG66cMXzgD.01

Thank you friend!

My fave:

http://dangerousminds.net/content/uploads/images/08bigstareggleston.jpg

I didn't realize untilI I saw that documentary that Eggleston played piano on one of those Sister Lovers tracks.

wow @ those pics

thread revive continues to deliver

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?

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.

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

This guy

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”)
PRODUCED BY JIM DICKINSON
Engineered by: Alex Chilton, Jim Dickinson, John Fry & Richard Rosebrough
Recorded at Ardent studios, Memphis, TN
PRODUCED FOR RELEASE BY CHERYL PAWELSKI
ASSOCiATE PRODUCER: ADAM HILL
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)

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.”

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.

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

"

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.

"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.

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.

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

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".

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

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?

https://www.discogs.com/Big-Star-Alex-Chilton-Beale-Street-Green/master/371466

uh 'Starcrossed'

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.

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).

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.

"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.

Yeah, think About Us was the second.

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.

Here's a big piece I wrote about Third a while back

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].)

Carl Marsh's resume is long and varied:
http://carlmarsh.com/projects.html

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

string arrangements on garth brooks' deathless chris gaines LP

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?

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?

Surprised there's no dedicated Prix thread

are you really

'Girl' is a dope jam

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

http://www.billboard.com/articles/columns/rock/7784886/big-star-chris-bell-book-album-cosmos-exclusive

Wow

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



FOR IMMEDIATE RELEASE
July 14, 2017

EXPANDED VERSION OF CHRIS BELL’S I AM THE COSMOS ALBUM DUE OUT ON OMNIVORE RECORDINGS SEPTEMBER 15 —
PRECEDING NOVEMBER 24 RELEASE OF 6-LP SET 
THE COMPLETE CHRIS BELL

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!

http://omnivorerecordings.com/music/the-complete-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

SIDE ONE:
1. All I See Is You 

2. Looking Forward 

3. The Reason 

4. Oh My Soul (Backing Track) 

5. Feeling High (Alternate Backing Track) 


SIDE TWO: 

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

SIDE ONE:
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 


SIDE TWO: 

1. The Answer 

2. Introduction 

3. Sunday Organ 

4. The Preacher 

5. Shine On Me 

6. Try Again (Original Mix)* 
 


I Am The Cosmos

SIDE ONE:
1. I Am The Cosmos (Original Single) 

2. Better Save Yourself 

3. Speed Of Sound 

4. Get Away 

5. Make A Scene


SIDE TWO: 

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

SIDE ONE:
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)

SIDE TWO:
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

SIDE ONE:
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)

SIDE TWO:
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

SIDE ONE:
1. Interview, Part 1*

SIDE TWO:
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:
http://youtu.be/3oCxZHzhXlE

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

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)


FOR IMMEDIATE RELEASE
May 8, 2016

LOOKING FORWARD: THE ROOTS OF BIG STAR
FEATURES FOUNDING BAND MEMBER CHRIS BELL
SET FOR JULY 7 RELEASE ON OMNIVORE

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

# # #

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

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

(The latter can disappear duh)

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

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?

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.