Big Star + Rock Hall = An Inductee That Would Really Matter… or… Big Star – Complete Columbia: Live at University of Missouri

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A friend asked me “Why, of all the albums being released on Record Store Day 2016, are you waiting in line for a 90’s live album from a 70’s band?” The tone and nature of the question was meant to be mocking, as he loves to have lively music debates, particularly ones that push my buttons. However, instead of just reacting, I took a deep breath and thought about it. Then, just to be annoying I told him I would ‘write the answer.’ (hehehe…)

The reasons are three-fold.

Like many people, the album I first attach to a band tends to have the greatest impact. While I heard songs by Big Star from time to time, it wasn’t until the release of Columbia that I had a complete work in front of me which represented the band as a whole. A world opened up. Here was a collection of songs that didn’t need to be ‘epic’ stories of human struggle (ie. Bruce Springsteen) or carry images of Mordor (ie. Led Zeppelin) to have powerful depth. They also didn’t include anthem-like clichés to get people fist pumping in the air (pick your own example, as there are so many). “In The Street”, “Back Of A Car” and “September Gurls” leapt out of my speakers and made my own angst seem to matter. These songs were simple coming-of-age tales detailing everyday experiences without the ‘syrup’ provided by many of the ‘so-called’ classic rock bands of the day. Instead, Big Star gave us the kind of tunes that made you want to pick up a guitar and learn to play. Furthermore, you found yourself singing, not in some vain attempt to impress or attract anyone, but as an outlet to express yourself. Which is perhaps why I had been hearing covers of their songs by other artists as time went on; The Lemonheads, Matthew Sweet, The Bangles, The Posies, Teenage Fanclub and later Beck were all doing renditions of the songs of Alex Chilton or Chris Bell. The Replacements even wrote a song entitled “Alex Chilton”, dropping the line “never go far, without a little Big Star.” All of it was packed into this one album.

Next, this wasn’t an example of a band cashing in on fame. Big Star never had the kind of fame you could cash in on. Columbia was quite literally a concert put together by fans for fans and later released in a similar fashion. Two campus radio staffers at the University of Missouri quite literally asked Big Star alumni Jody Stephens if he would be willing to do a reunion show, and got a yes if Alex Chilton was up for it. Surprisingly, Chilton agreed and, with the addition of the Posies Jon Auer and Ken Stringfellow to cover for Chris Bell (deceased) and Andy Hummel (left the music business), the band played an amazing set to (merely) an estimated 200 people. Yet even with a small venue, they managed to attract much of the music world. That show got glowing write-ups in all the major music magazines of the day. It was pretty unanimous amongst the press that those not lucky enough to be in attendance had missed something special. Fortunately, this record gives us a glimpse of a show that has attained somewhat legendary status.

Finally, Columbia solidifies my absolute belief that Big Star should be in the Rock ‘n’ Roll Hall of Fame. All three of their initial studio releases (#1 Record, Radio City, Sister Lovers/Third) land consistently on various magazines’ Top Albums of all-time lists; all three are referenced by multiple generations of artists as being influential in their music; and all three are revered by fans lucky enough to have heard them as being close to their hearts. More importantly, their music has endured through the most insanely bad luck of any band in rock history. Their 1971 debut #1 Record was hailed as triumphant by music critics, but due to poor distribution and marketing by Stax, no one could find a copy to purchase, even when songs were played on the radio. Follow up Radio City suffered a similar fate, with Columbia records refusing to distribute the record because of a disagreement with their newly acquired Stax label. By the time Big Star released the gorgeous yet challenging Sister Lovers/Third, the band had completely disintegrated with only Alex Chilton and Jody Stephens remaining. They went their separate ways and that should have ended the story… but it didn’t.

Fans exchanged cassettes with Big Star tunes. Those in the know kept talking and searching until a market was created for re-releases. More than two decades removed from their first record and people were seeking them out based on little more than conversations and scratchy recordings emanating from a tape deck. By the early 90’s, Ryko had reissued Sister Lovers/Third and a put out a compilation of Chris Bell’s solo material, I Am The Cosmos. Then Columbia was released in 1993.  A tribute album was recorded by a virtual who’s who of 90’s alt-rock artists (ironically, it also suffered from bad luck and wasn’t released until years afterward). When Columbia was released, it may still have been hard to find the first two Big Star records in stores, but here were the songs; live, rough and glorious in their presentations. All members were taking on vocal duties, with Jon Auer doing an incredible job on the solo Chris Bell single “I Am The Cosmos.” As the 90’s continued, That 70’s Show used “In The Street” as their theme song and a new generation started to discover the band. Finally, their albums could be found in record stores.

Somehow, without radio backing or touring, people were seeking out this music.

Which brings me to the Rock Hall…

If, as I believe, rock ‘n’ roll is about more than money or popularity, then Big Star should be inducted and Columbia is a perfect example of why. Here is a band whose art transcended obscurity by nothing more than word of mouth and shared recordings. Without the help of corporate money and radio exposure, their music found a way to not only be heard, but in fact influence generations of future musicians. Hell, the entire sub-genre of “power-pop” can’t even be considered without Big Star being mentioned as its greatest practitioners. It is hard to picture the sounds of the 90’s alternative music scene without the influence of songs that Alex Chilton and Chris Bell provided. Then, you add the Big Star reunion to the mix.

Complete Columbia: Live at the University of Missouri 4/25/93 exemplifies the very idea that great music will find fans and that record sales are not as important as the art itself. On-stage that day in ’93 were two musicians who had created some music playing with two other musicians that had been directly inspired by it. Twenty years separating their careers, yet you could hear just how much Big Star had meant to the future of rock music. They weren’t just another band that you hummed along to distractedly on a transistor radio; they were the band you sought out and told anyone and everyone willing to listen that Big Star were “FUCKING AWESOME!!!”

So my friend… you ask me why I’m arriving early on RSD 2016 to line up for a copy of Columbia… or even, why they should be in the Rock Hall… well, it’s because Big Star created music that really matters… what other reason is there?

With Honour and Reverence or Chris Bell – I Am The Cosmos

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Posthumous releases hold a strange place in the collective consciousness of the music masses. In most cases we see established artists whose lives have been cut short having albums put out by record companies mining demos for a last nugget of gold. Other times, records were near completion when tragedy struck and band members finish recording as a memorial. Chris Bell didn’t fit either of these bills.

The failure of Big Star’s #1 Record to get recognition beyond critics and music insiders meant that Bell never received or understood the extent of his talent and eventual influence. Disillusioned he left Big Star and from time to time he recorded out of differing studios hoping to release something that might connect and ultimately gain a modest amount of respect and adulation. Of course, it never happened. Other than the limited 1978 7” for “I Am The Cosmos” and “You and Your Sister” nothing was released before a car accident took his life on December 27th 1978.

So it was that others were left with the task of compiling a record together to at once honour, shine a light and in many respects introduce the brilliance of a young and gifted solo artist. In 1992, the first Ryko edition of I Am The Cosmos arrived on record store shelves in only the CD format. Cassettes were sent out as promos to various media outlets and for quite a while, that was it. Mean while, the first wave of the Big Star revival was taking place and interest in the late artist was increasing with a bunch (Posies, Jayhawks, This Mortal Coil…) of recording artists doing cover versions of the title track.

With more knowledge of both Big Star and Bell, many people have wanted to get their hands on a definitive copy of I Am The Cosmos. The problem with that is there isn’t much more to expand upon beyond the quality of the initial release.

So here are the options:

The initial 1992 CD copy by Ryko

A 2006 180 gram vinyl version released by Four Men With Beards

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In 2014 Rhino released a two CD remaster with companion disc containing alternate versions of some songs as well as three songs from Bell’s pre-Big Star days. (Some copies went out with a bonus 7” reproduction of the original “Cosmos” single)

Going through the various forums sound quality on all versions has come into question amongst the audiophile community. It isn’t that the criticisms aren’t valid, but certain facts need to be pointed out. Bell didn’t record a completed album, and had bounced between several studios in producing all the material that went into it. While I’m certainly no authority on recording studios in 1970’s Memphis, I can hypothesize that not all are equal. Different equipment and atmosphere from place to place means that things can be disjointed in terms of overall sonics.

That said, the songs are incredible and they rise above such criticism by the sheer beauty of the captured moment. Having both the Ryko and Rhino editions I can hear slight variance, but the music captures me in such a way that I quickly forget about any such thoughts. Honestly, I fully intend on purchasing the vinyl as well; trusting that the recording process was done with the same reverence as I carry for this record.

It’s a gorgeous record with some great songs and one I even hold amongst the greatest all-time. Give it a listen.

B+ / 4 Stars / 8 out 10 / Green Light… whatever! or Why I Don’t Grade Records In My Reviews?

Had a friend ask why I wasn’t assigning a grade on the reviews I was writing. It’s a fair question I suppose, which I thought I might share. The answer comes down to a few basic thoughts.

1) Reviews by their very nature are subjective. What I walk away with may be very different from what someone else does… and that’s cool! Honestly, I’ve never understood King Crimson, I find them indulgent. On the other hand I’ve had friends tell me they are genius. Still, it’s all just rock ‘n’ roll, and there’s room for everything at the table.

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2) The question of why isn’t this an A+ or 10/10. Again, I’ll answer with “subjective” but with a little more context. I love the Posies Frosting On The Beater.

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In my eyes it is an outstanding record. However, when I initially reviewed it back in 90 whatever, I gave it a B+ review in the Ontarion. Later when I interviewed them I was asked why. After a pause I answered…

“Well, it isn’t Sgt Peppers.”

What a dumbass answer! Let’s use a hockey analogy. Someone asks me why I don’t think Patrick Roy is the greatest goalie of all time and I answer with because he isn’t Wayne Gretzky (not a goalie), you would think I was both stupid and insane. Well creating a grade based on a comparison of those two records is not exactly the work of a genius.

Critics know that if they say everything is A+ that they will soon lose, or never have credibility. The same applies to negative reviews. However, if the criticism does its job properly, you’ll know what a reviewer thought without the need for a mark. So, if I think you should hear an album, you’ll read about it, and hopefully be intrigued enough to give it a spin and judge for yourself.

3) It’s a blog. My blog. If I’m working for a publication and they want a grade, fine – here’s a grade (And believe me, if you want to pay me to write for your publication – I’m available). However, a blog is basically a self publication where you make up your own rules – so, no grade. I’m still responsible to stand behind the words. If people have complaints, I’ll happily answer them, but I enjoy reviewing records without the marks, so that is just what I will do.

Now, as for The Posies… you should listen to them, they’re pure power-pop at its finest… and… well,  I really want it on vinyl…

 

On The Subject of Bucket Lists and Bands #1 or Dressy Bessy – Holler & Stomp

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Sometimes you need a bit of candy to see you through the dark corners of life, and sometimes music itself needs to be lit up in bright colours if only to liven things up after a downpour; that’s when Dressy Bessy entered.

After the dreariness that was rock music in the early 90’s and the arrogance that was Brit-pop in the mid 90’s some kind of intelligent fun was needed. No one wanted a return to the days of hair-metal but what could fill the void?

Well the 90’s did provide us with some direction with power-pop bands like Shonen Knife, the 5,6,7,8’s, Matthew Sweet and The Posies, but another step was needed, and Dressy Bessy jumped right into my heart.

The dual guitar work of Tammy Ealom and John Hill provided promise to this music stalwart while Ealom’s delivery and lyrics had me dreaming of the sunnier side of things. Sure they sang songs of sunshine and their tones were 60’s surf/garage/Phil Spector poppy, but they just weren’t being over the top in their quest to relate. Instead it was sunny skies, sarcasm and observational humour used in a similar style to Cracker that had me fall for them. The only problem for me is that they never seem to make their way north to Toronto and they are pretty high on my bucket list of bands. Dressy Bessy just looks like they would be a whole lot of fun to see live.

Anyway, after my initial discovery of their music back in ’99 and then getting the old mail order CD’s from their various record companies and distributors over the years – I finally see the vinyl for Holler & Stomp.

It is gorgeous.

150 Gram Pink Splatter Vinyl

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It sounds absolutely fantastic; especially on a summer day with a margarita, a comfy chair and a nice bit of shade. Which is kinda the point when I listen to their music; it’s a cool escape.

You can order it here. You can also hear a great song from Holler & Stomp below… Enjoy Folks!

 

#1 in so many damn ways… Big Star – #1 Record

History is fluid and changes with interpretation and the times that follow. So, something that was once dismissed or missed can be re-examined and pulled into the light in a way that perhaps it wasn’t before. Such was, is and may forever be the story of how Big Star and their debut #1 Record are considered.

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It is one of the planets greatest rock ‘n’ roll records, and still almost no one beyond critics and hipsters has truly given it the time of day. Sure Rolling Stone has it in their 500 Greatest Records of All-Time, but that doesn’t really result in the kind of record sales and recognition that should be afforded this band.

Obviously, the information is out there, in different formats and many stories told; so I’m just going to point out a few in hopes that you see an opportunity to get yourself some great music.

First, if you have access to Netflix than you can catch the Big Star biography Nothing Can Hurt Me. It is a great examination into the history of Big Star, and also offers an awesome soundtrack of alternate takes from Big Star and their principle songwriters Chris Bell and Alex Chilton.

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Next there is a new biography on Alex Chilton named A Man Called Destruction. It is pretty eye opening and well worth the read.

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Finally, the one album I was here to tell you about on this day, #1 Record. While it would be easy for me to sit here heaping praise, it is easier to just point out its influence. Matthew Sweet, Teenage Fanclub, The Posies, Lemonheads, Wilco and much of the 90’s alt rock pantheon were influenced by #1 Record.

Some of the songs you may recognize from are:

“In The Street” – It became the theme song to That 70’s Show.

“The Ballad of El Goodo” – Has been covered numerous times by acts such as Evan Dando, Mathew Sweet, Counting Crows, Zeus, Wellspring and Wilco.

“Thirteen” – Picked by Rolling Stone as one of the 500 Greatest Songs of All-Time, and I’ll just add, one of the most amazing songs ever.

Anyway, your opportunity is that as vinyl goes, there have been some recently released re-masters that are available. First a little company called 4 Men with Beards was given permission to re-release #1 Record on 180 gram black vinyl. I haven’t found an exact number printed, but it must be at least sizable enough to fill demand.

The second release is a little more exclusive, Newbury Comics with permission of Big Star’s record label Ardent have released 1000 copies of #1 Record on translucent gold vinyl. Trust me when I say, it is awesome!

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In fact, that is kind of my point; #1 Record is one of the greatest albums one can have in their collection. If I printed my version of the top 10 records of all time it would be among them. More importantly, if I was to take off my critic hat and just list my favourite 10 records, again it would sit amongst the top. In fact, it just might be a contender for number one.

“Make Everyday Your Record Store Day” Fade Into You – J. Mascis & Failure – The Posies

Recently I saw an article about Record Store Day and how very small independent labels aren’t seeing a benefit. One owner said that if every day was treated more like RSD than perhaps it would get better results. The other complaint is that big labels waiting to release on Record Store Day squeezes the smaller labels out in terms of printing the records to begin with.

From a record buyer point of view, I’m not sure I get the complaints about big vs. small labels, but I do get that treating all releases like they are part of Record Store Day may pay dividends. In this world where many people just don’t see the value in paying for something they can download or stream for free, music has the feeling of being as disposable as the toys you get   for free with the kids menu at the fast food chain. Play with it for a week than toss it, because if you didn’t pay for it, it just doesn’t mean shit anyway.

BUT…

Instead of offering some downloadable shit sounding garbage, you offer a unique product that plays on multiple formats of a listener’s choice.

OR

Musicians make a product that is collectible, so that fans don’t just want to hear your song, but also feel they must have what you’re selling. Give it colour, give it flash, and make it really damn cool.

On Black Friday/Record Store Day back in November 2014, I missed out on J. Mascis doing a cover of the 90’s cult classic “Fade Into You” by Mazzy Star. It is a phenomenal song that you have probably heard play in the background of some moving scene from a number of various movies and TV shows. Seriously, a quick internet search came up with 39 instances in which it was used.

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Anyway, Mascis released a very limited amount as a 7” inch single and every record store in the city was sold out of their few copies by the following day. I was able to eventually find a copy, but that was after months of searching. Now yes, I could hear it on Spotify, or buy it from itunes, but I’m a fan. J. Mascis and his band Dinosaur Jr. They are not some disposable artists who I toss on a mix and forget about, they are legendary artists who continue to make relevant music and deserve to make a living from it. In turn, they have not only supplied great music and performances, but done events and created product that their fans believe in. Some of it is released on RSD and some not, but it is all very cool.

Hell, Mascis and fellow Dinosaur Jr. member Lou Barlow signed a poster for my 5 year old son after an acoustic show a few years back, which is the kind of gesture that can help to create lifelong fans who are vocal about purchasing the music of the bands they love. (It also had nothing to do with RSD.)

My point of course though, isn’t just about RSD. Earlier this year the Posies re-released their debut record Failure on vinyl for the first time. It was put out by Omnivore Records as a limited print on yellow 180 gram vinyl. Failure had been long out of print and highly sought after by fans. So now, a person can test drive this record on Spotify if they don’t know the music, but if like me, you are a fan, here is a very cool copy in your hands, and a download card so you can take your music on the road to play on your ‘whatever’ device. Again, it is very cool product that doesn’t wait for a special day to be released.

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http://omnivorerecordings.com/music/failure/

Each week I see new releases on vinyl being put out in cool new ways, and when an artist I love matches up with product I can hold in my hands for a great listening experience, then I drop some coin and pray they sell enough music to continue making a living off this crazy music biz. The only difficulty for people who like vinyl is finding all the cool things out there, but then again, that is also part of the fun.

Last weeks Playlist! March 1/ 2015

Of course I love vinyl more than any other form of music listening, but sharing music is also fun… so… if you’re doing that Spotify thing, each week I plan to publish a playlist with some tunes I’ve been playing around the house. I’ll be updating this with a bit of info as this post is a bit of a test to see how the playlist looks on the blog. Or you can friend DS Barrett on Facebook where the playlist will show up first. Anyway, here it goes – March 1/15 Playlist Hope you enjoy!

  1. “Cherry Bomb” – The Runaways

Was listening to a lot of Joan Jett this past week as I got her Greatest Hits on (cherry bomb red) vinyl a few days ago. I decided to put the Runaways version on simply because I really wish I had it on vinyl. Maybe some day… Still can’t believe that a sixteen year old kid (Cherie Currie) could pull off that much power and venom.

  1. “In The Street” – Big Star

What was it that Westerberg sang about Alex Chilton – “I never travel far without a little Big Star”. This is an alternate version of the song taken from the documentary Nothing Can Hurt Me.  By the way, loving this song has nothing to do with That 70’s Show, but then again, it doesn’t hurt it either.

  1. “Stutter” – Elastica

I love the female perspective on this song. Probably because every girl I ever dated had to pretty much smack me in the head to get me to figure out they were interested. “What… you’re actually talking to me (gasp, gulp) um… nice weather.”

  1. “Substitute” – The Ramones

Awesome rendition of the Who classic from their covers record Acid Eaters. I got it as a Christmas gift from my birth mother, which makes me love it all the more.

  1. “Stone Cold Crazy” – Queen

For some reason more people seem to be familiar with the Metallica version, which is funny because I thought Motley Crue had covered it… anyway – this is the original from Sheer Heart Attack, which I picked up used a few weeks back.

  1. “Kindergarten” – Zeus

The song that turned me on to this band. Frickin love these guys.

  1. “Bleed A Little While Tonight” – The Lowest Of The Low

Pretty much said it all when I wrote about them a little while back.

  1. “déjà vu” – Mo Kenney

My wife and I were talking one night and we had the TV satellite playing music for us when this came on. I think I might have actually ‘shssh-ed’ her while I scrambled for a pen and paper. Mo Kenney was a staple around the house for a few months after that.

  1. “Milwaukee” – The Both

Love Aimee Mann and Ted Leo and this song brings out the best in both. The music video is pretty funny as well.

  1. “I Am The Cosmos” – The Posies

Wish I could find the Beck cover of this song. I know he did it during the “Sound & Vision” session back in 2013. Anyway, this Posies cover of Chris Bell is quite awesome.

  1. “Daddy’s Gone” – Sparklehorse & Danger Mouse

Have tried writing about this song and album a few times. 2009-2010 was the worst year of my life. I spent a lot of time driving the two hours between my parent’s house and my home when both fell ill in 2009. Dark Night of the Soul was keeping me company a whole lot during those trips and “Daddy’s Gone” had me thinking about where I wasn’t.

  1. “Can’t Cry Hard Enough” – Victoria Williams

Funny story. I was at the concert when this was recorded. I yelled out a request for “This Moment”. After explaining that she had never played it live before – she did it anyway. The album it’s taken from is (drum roll) This Moment: Live In Toronto.

  1. “Hummingbird” – Imaginary Cities

In March of 2010 I went to see the Pixies at Massey Hall in Toronto. Imaginary Cities opened the show. They were phenomenal. I’m sure I’ll be writing about them soon.

  1. “All The Young Dudes” – David Bowie

It isn’t that the Mott The Hoople and Bowie versions are all that different… I just like how Bowie seems to perform songs rather than simply sing them… discuss if you must.

  1. “Nausea” – Beck

Some songs just make me and my kids rock out as we drive from point A to B. Beck has quite a few songs that get us doing the Wayne’s World head nod thing.

  1. “Bull in the Heather” – Sonic Youth

With Kim Gordon doing the publicity thing for her new book Girl In A Band, I’ve found myself pining for the 90’s version of Sonic Youth. Oddly enough, I always preferred her songs.

  1. “Pumping On Your Stereo” – Supergrass

Please don’t tell anyone, but I kinda liked Brit-Pop… and I really got into Supergrass for a while.

  1. “Spectacular” – Graham Coxon

Speaking of Brit-Pop… another song about a boy fantasizing over a picture in a magazine. Makes me yell at my stereo – “Dude – your lead guitarist for fuckin’ Blur… as if you couldn’t get her number and ask her out for coffee!”

  1. “Wave of Mutilation (Peel Sessions) – Pixies

Sooner or later I’ll get around to writing about Doolittle 25. This was the tour I caught back in 2010 and Kim Deal was still in the band. Not sure it would be a true Pixies concert without her.

  1. “Limitless” – Dust Galaxy

Heard this on a magazine compilation a few years ago, then I had to spend a few weeks tracking down the who, what, where and why and order the damn CD online. Dark and sinister rock…

Holding history in my hand – The Posies: “I Am The Cosmos”

Back in ’93 I was handed a copy of Big Star’s – Columbia: Live at the University of Missouri. It was my entrance into the world of Big Star. Previous to this I had heard the odd track on my campus radio station as well as seeing numerous references as influences by many of my favorite artists, but I had yet to hear a whole album. One song caught me right away.

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Perhaps the greatest song the rock masses never heard is Chris Bell’s “I Am The Cosmos.” Even for those lucky enough to have heard Big Star back in the 70’s, “Cosmos” was a single that saw only limited release in Memphis in 1978 and certainly never attained (like Big Star itself) national attention. Bell himself would be killed in a car accident later the same year.

Still, like a few other legendary acts (The Velvet Underground, Flying Burrito Brothers) it seems that those that did listen became musicians themselves. By the early 90’s, power-pop was becoming ‘a thing’ and Big Star started showing up as influences for a plethora of alt-rock acts. So as “alternative-mania” was in full 1992 swing Fantasy Records released Big Star’s #1 Record and Radio City as a single CD, and Rycodisc released Third/Sister Lovers. In was at this point that the Posies covered “I Am The Cosmos” and “Feel.” Around the same time Rycodisc also released a compilation of Chris Bell solo material entitled I Am The Cosmos.

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Now, what makes this single of the Posies an important part of music history is what happened the following year. Two students at the University of Missouri asked Alex Chilton if he would be interested in performing some Big Star songs for a concert. With Chilton in Jody Stephens (drums, vocals) also agreed but Andy Hummell refused(bass), which left a hole to be filled on bass, and second guitar for this to be pulled off. Names got tossed out like Mike Mills (REM), Matthew Sweet, Teenage Fanclub and Paul Westerberg, but nothing really stuck until Ardent Records (where Big Star had recorded) founder John Fry pulled a translucent blue single he had tacked to the wall down and gave it another listen.

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That single led to the Posies being asked to fill in for Andy Hummell and the late Chris Bell. Not only was the concert a huge success, but it was also released as the live album already mentioned. Suddenly there was “new” music to be talked about with the old material, and word was getting out. A new generation were looking for Big Star records and finding them… something that didn’t happen when the band was originally together.

Of course this is total conjecture, but that single in combination with the re-release of Big Star’s three studio records, led us to todays Big Star revival. All three records have been re-released on audiophile vinyl with a great special edition of Third/Sisters Lovers being put out by Omnivore Records. Had Chilton not passed away in 2010 it is likely Big Star would have done an extensive tour.

“Cosmos” itself has been covered live by Big Star, the Posies, Beck, Wilco, This Mortal Coil and The Jayhawks to name but a very few. If only I could get my hands on that original single.

Of course that is one Chris Bell song. As for Alex Chilton and Big Star… well, it’ll take a few more posts to cover that.