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Beiträge
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Big Star Liebhaber vor.
Ist es das wunderbar überproduzierte No.1 Record?
Das zurückgenommene Radio City?
Oder gar das gespenstische Third?--
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Werbungdefinitiv alle drei :D
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Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.Hey, welch ein (schöner) Zufall! Habe gerade am Freitag alle gehört.
Mir gefallen sie alle 3 auch, wie beim beatle. Aber ich meine, dass die „Radio city“ knapp vorne liegt. Habe sie aber auch erst die letzten 3-4 Jahre entdeckt…und noch zu wenig gehört.
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Jetzt schon 62 Jahre Rock 'n' Rolldazu passt dieses: http://www.rollingstone-magazin.de/board/v…opic.php?t=2861
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Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.Lieber beatle, musste auf dieser Link-Seite gerade mit ansehen, wie Du kostbare Sterne verpulverst (3mal die Höchstnote). Sterne-Inflation ausgebrochen???
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Jetzt schon 62 Jahre Rock 'n' Rollmusste mich wirklich ganz stark beherrschen für diese tollen alben nicht noch mehr sterne zu vergeben von daher eher deflation :D
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Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.quelle: amg
The quintessential American power pop band, Big Star remains one of the most mythic and influential cult acts in all of rock & roll. Originally led by the singing and songwriting duo of Alex Chilton and Chris Bell, the Memphis-based group fused the strongest elements of the British Invasion era — the melodic invention of the Beatles, the whiplash guitars of the Who, and the radiant harmonies of the Byrds — into a ramshackle but poignantly beautiful sound which recaptured the spirit of pop’s past even as it pointed the way toward the music’s future. Although creative tensions, haphazard distribution, and marketplace indifference conspired to ensure Big Star’s brief existence and commercial failure, the group’s three studio albums nevertheless remain unqualified classics, and their impact on subsequent generations of indie bands on both sides of the Atlantic is surpassed only by that of the Velvet Underground.
The roots of Big Star lie in the group Ice Water (also known as Rock City), formed in 1971 by singer/guitarist Bell in association with guitarist Steve Ray, bassist Andy Hummel, and drummer Jody Stephens. Ray left the group a short time after its inception and was soon replaced by Chilton, the onetime Box Tops vocalist who was just 16 years old when the group topped the pop charts with their 1967 classic, „The Letter.“ Chilton had recently returned to Memphis after attempting to mount a solo career in New York City; he first played with Bell years earlier in a high school cover band, and with his arrival Ice Water rechristened itself Big Star, borrowing the name from a local supermarket chain. Recording soon commenced at the local Ardent Studios, where Bell occasionally worked as an engineer and session guitarist; despite solid critical notice and some radio airplay, their brilliant 1972 debut, #1 Record, nevertheless fell prey to the distribution problems of the newly-formed Ardent label’s parent company Stax — more often than not, the album simply never made its way to retailers.In the meantime, Bell and Chilton continued to butt heads over Big Star’s direction — the former envisioned a primarily studio-oriented project, while the latter preferred performing live; moreover, Chilton’s past success in the Box Tops guaranteed him the lion’s share of attention from listeners and critics, minimizing Bell’s own contributions in the process. In late 1972 Bell finally left the band — his subsequent attempts to mount a solo career proved largely fruitless, with only a spectacular solo single, „I Am the Cosmos,“ receiving official release prior to his untimely death in a 1978 car crash. (A posthumous solo compilation, also titled I Am the Cosmos, was finally issued to unanimous critical acclaim in 1992.) Following Bell’s exit, Big Star briefly struggled on as a three-piece before disbanding, with Chilton returning to his stalled solo career; months later, he reteamed with Hummel and Stephens to play a local music writers‘ convention, and the performance was so well-received that they decided to make the reunion permanent.
Big Star’s second album, 1974’s Radio City, remains their masterpiece — ragged and raw guitar-pop infused with remarkable intensity and spontaneity. It also contained perhaps their best-known song, the oft-covered cult classic „September Gurls.“ (Another highlight, „Back of a Car,“ bears the unmistakable input of Chris Bell, although the duration and extent of his return to duty is unknown.) Distribution difficulties again undermined whatever hopes of commercial success existed, however, and Hummel soon announced his resignation; Chilton and Stephens recruited bassist John Lightman for a handful of East Coast live dates, including a WLIR radio broadcast later issued as Big Star Live. Work on a planned third album soon began, but the sessions proved disastrous as Chilton, reeling from years of music industry exploitation and frustration, effectively sabotaged his own music — where Radio City teetered on the brink of collapse, the new songs tumbled over completely, culminating in one of the most harrowingly bleak pop records ever made. An album’s worth of material was completed and shelved, and then Big Star was no more.
The story might have ended there, but in 1978 the third Big Star album was finally issued overseas — various titled Third and/or Sister Lovers, it appeared for years in essentially unauthorized versions containing neither the complete session nor the proper sequencing. Still, the record earned a significant cult following, and with the emergence of the nascent power-pop movement, it became increasingly clear just how prescient Big Star’s music had been. Countless alternative rock bands — R.E.M., the Replacements, the dB’s, and Teenage Fanclub, to name just four — cited the band’s enormous influence in the years to follow, and in 1993 the Posies‘ Jonathan Auer and Ken Stringfellow backed Chilton and Stephens for a reunion gig at the University of Missouri, a performance captured on the Columbia live disc. To the surprise of many, the Big Star reunion continued with tours of Europe and Japan, and — most shocking of all — even an appearance on television’s The Tonight Show, although no new studio recordings were forthcoming. — Jason Ankeny
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Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.#1 record
AMG REVIEW: 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 and 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
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Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.radio city
AMG REVIEW: 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
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Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.third/sister lovers amg
A shambling wreck of an album, Big Star’s Third/Sister Lovers ranks among the most harrowing experiences in pop music; impassioned, erratic, and stark, it’s the slow, sinking sound of a band falling apart. Recorded with their label, Stax, poised on the verge of bankruptcy, the album finds Alex Chilton at the end of his rope, sabotaging his own music long before it can ever reach the wrecking crew of poor distribution, indifferent marketing and disinterested pop radio; his songs are haphazardly brilliant, a head-on collision between inspiration and frustration. The album is a kind of self-fulfilling prophecy, each song smacking of utter defeat and desperation; the result is either one of the most vividly emotional experiences in pop music or a completely wasted opportunity, and while the truth probably lies somewhere in between, there’s no denying Third’s magnetic pull — it’s like an undertow. Although previously issued on a variety of different labels, Rykodisc’s 1992 release is the definitive edition of this unfinished masterpiece, its 19 tracks most closely appoximating the original planned running order while restoring the music’s intended impact; in addition to unearthing a blistering cover of the Kinks‘ „At the End of the Day“ and a haunting rendition of Nat King Cole’s „Nature Boy,“ it also appends the disturbing „Dream Lover,“ which distills the album’s messiest themes into less than four minutes of psychic torment. — Jason Ankeny
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Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.Wer soll denn das alles lesen? Habe alle drei Alben als Doppel-CD. Die Highlight befinden sich für mich auf den ersten Beiden, aber so ganz rund kommen mir die Alben nicht vor. „September Gurls“ ist auf jeden Fall eins der schönsten Lieder die ich kenne…
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"I know a few groovy middle-aged people, but not many." Keith Richards 1966midnight mover fragte an:
Wer soll denn das alles lesen?
wer sich weiterbilden möchte und die nötige zeit, muße und englischkenntnisse dafür hat :D
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Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.das mit dem powerpop verstehe ich nicht!
nie und nimmer ist das powerpop in dem sinne, wie ich ihn verstehe.--
FAVOURITESotis
das war auch genau mein gedanke, denke da eher an undertones und son zeugs :D
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Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.midnight mover fragte an:
Wer soll denn das alles lesen?
wer sich weiterbilden möchte und die nötige zeit, muße und englischkenntnisse dafür hat :D
Es scheitert bei mir wohl gerade am Mittleren… :sauf:
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"I know a few groovy middle-aged people, but not many." Keith Richards 1966
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