Big Star Albums (4)
What The Critics Say
There isn't much arguing that the three studio albums Alex Chilton cut with Big Star between 1972 and 1975 represent the creative high-water mark of his career, but it doesn't seem to be a period he looks back upon with much fondness. The man rarely plays songs from the Big Star catalog in his solo shows, and while he assembled a new version of the band in 1993 -- with Chilton and original drummer Jody Stephens joined by Jonathan Auer and Ken Stringfellow of the Posies -- the group has only played sporadic live dates since then (presumably when someone ponies up the right price for a gig), and it has taken 12 years for Chilton to work up the enthusiasm to make a new Big Star album. And to listen to 2005's In Space, it's hard to say if that's what he really wanted to do; In Space sounds a lot more like one of Chilton's likeably shambolic solo albums than a work of fractured but inspired pop genius in the manner of #1 Record or Radio City, with New Orleans R&B, garage rock, and even old-school funk taking as prominent a role in the mix as the Brit-informed guitar hooks of Big Star's glory days. It's probably no coincidence that the two most "Big Star" sounding songs on the album were contributed by Jody Stephens (the lovely "Best Chance We've Ever Had" and "February's Quiet"), while Auer and Stringfellow conjure up the mood of #1 Record with their compositions, "Lady Sweet" and "Turn My Back on the Sun." Chilton, however, seems to be on another page altogether, and the amusing irony is this not-very-Big Star-ish album sounds like a better Alex Chilton solo set than the man has made since 1987's High Priest. His revved-up take on "Mine Exclusively" (a tune the Olympics cut in 1966) is a near-perfect garage rock rave-up, "Hung Up With Summer" is a solid early Beach Boys homage, "A Whole New Thing" and "Do You Wanna Make It" are rough and ready R&B workouts, and even the deliberately sloppy "Love Revolution" (a disco-funk homage complete with mirror balls and platform shoes) and "Makeover" find the man sounding more engaged and enthusiastic than he has on record in quite some time. In Space also finds Chilton accompanied by a band that's worth his while for a pleasant change; Auer, Stringfellow, and Stephens are a potent rhythm section who do lovely harmonies behind Chilton's still-exciting guitar lines, and these performances sound tighter and more emphatic than what one might expect from Chilton's solo work. In Space is an album that should appeal to anyone who digs Alex Chilton; however, anyone expecting a Big Star album is going to be more than a bit puzzled by most of these tunes. ~ Mark Deming, All Music Guide
'Columbia: Live at Missouri University'
Release Date 9/14/1993
Tracks 14
Label Zoo/Volcano
See Album Tracklist and Review
What The Critics Say
With the Posies' Jon Auer and Ken Stringfellow standing in, on Stephens' recommendation, for the uninterested Hummel and the deceased Bell, the foursome run through a collection mostly drawn from #1 Record and Radio City. Chilton's in good voice throughout, the blend of sweetness and melancholia of the band's original days present and fine as ever. As a band, the quartet don't let the legacy down a whit, from "Don't Lie to Me" and its full passion to the bemused regret of "September Gurls." Everyone else gets at least one vocal turn as well, a nice way of signaling the group effort that went into the show. Stephens handles "Way Out West" and "For You," Auer sings Bell's solo single "I Am the Cosmos," while Stringfellow takes over on no less than three songs, "Back of a Car," "Daisy Glaze," and a smashing rip on "Feel." A few interesting surprises are thrown in along the way, though anyone familiar with Chilton's way around unexpected covers in performance won't be too taken off guard. T. Rex's "Baby Strange" gets a straightforward take, glam sass fully intact and suiting the band perfectly, while Todd Rundgren's "Slut" closes out the set with a final appropriate blast. Not the end of the world, just a great show from a legendary group. ~ Ned Raggett, All Music Guide
What The Critics Say
Largely lacking co-leader Chris Bell, Big Star's second album also lacked something of the pop sweetness (especially the harmonies) of #1 Record. What it possessed was Alex Chilton's urgency (sometimes desperation) on songs that made his case as a genuine rock & roll eccentric. If #1 Record had a certain pop perfection that brought everything together, Radio City was the sound of everything falling apart, which proved at least as compelling. ~ William Ruhlmann, All Music Guide
What The Critics Say
The problem with coming in late on an artwork lauded as "influential" is that you've probably encountered the work it influenced first, so its truly innovative qualities are lost. Thus, if you are hearing Big Star's debut album for the first time decades after its release (as, inevitably, most people must), you may be reminded of Tom Petty & the Heartbreakers or R.E.M., who came after -- that is, if you don't think of the Byrds and the Beatles, circa 1965. What was remarkable about #1 Record in 1972 was that nobody except Big Star (and maybe Badfinger and the Raspberries) wanted to sound like this -- simple, light pop with sweet harmonies and jangly guitars. Since then, dozens of bands have rediscovered those pleasures. But in a way, that's an advantage because, whatever freshness is lost across the years, Big Star's craft is only confirmed. These are sturdy songs, feelingly performed, and once you get beyond the style to the content, you'll still be impressed. ~ William Ruhlmann, All Music Guide
