|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
VL 991074LP
|
Clear vinyl version. Vinyl Lovers present a reissue of Alex Chilton's Like Flies On Sherbert, originally released in 1979. A step beyond the pop-perfection of Big Star lay Chilton's darker side. His 1979 solo effort was a both brilliant and flawed drug-fueled examination of his own country roots in search of a new direction. Through songs by Ernest Tubb, Jimmy C. Newman, Roy Orbison, and K.C. and the Sunshine Band, as well as some originals, Chilton produced a looser album that allowed his new found creativity to flow through the many cracks, simultaneously dividing fans into two camps: the Big Star purists, and the ones who were able to see the genius on the flip side of its demise. 15 tracks, licensed from Last Call label in France.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
BEWITH 004-7
|
Two of Alex Chilton's staggeringly beautiful demos, on vinyl for the first time. "It Isn't Always That Easy" and "If You Would Marry Me" both sound like templates for some of Alex's best-known Big Star numbers. These demos come from the transitional recording sessions he made with Terry Manning at the Ardent Studio in 1969, but were missing from the vinyl version of the wonderful Free Again compilation that was released in 2012.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VL 901073LP
|
Repressed. Vinyl Lovers present a reissue of Alex Chilton's Like Flies On Sherbert, originally released in 1979. A step beyond the pop-perfection of Big Star lay Chilton's darker side. His 1979 solo effort was a both brilliant and flawed drug-fueled examination of his own country roots in search of a new direction. Through songs by Ernest Tubb, Jimmy C. Newman, Roy Orbison, and K.C. and the Sunshine Band, as well as some originals, Chilton produced a looser album that allowed his new found creativity to flow through the many cracks, simultaneously dividing fans into two camps: the Big Star purists, and the ones who were able to see the genius on the flip side of its demise. Includes four bonus tracks. 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
KL 5076CD
|
Alex Chilton, live from VFW Hall, Baton Rouge on September 27th, 1985. When Tom Waits once described Alex Chilton as "the Thelonius Monk of the rhythm guitar", he was being very Tom Waits and simultaneously, both sincere and astute. The Box Top bad boy was influencing a new wave of bands in the early 1980s on the independent scene at home and in the UK. With shades of Syd Barrett and other Anglophile figures, Chilton's adoption of obscure blues, R&B, soul, and the American songbook provided an interesting and provocative return to form with 1985's Feudalist Tarts EP (1985). Here, Chilton's famed excesses are firmly denied, as he delivers a blistering set with all the Big Star trademarks firmly intact. Klondike presents the entire Louisiana Public Broadcast (WLPB) of Alex Chilton, live from the VFW Hall in Baton Rouge, Louisiana on September 27th, 1985. Professionally remastered original broadcast with interviews, background liners, and rare archival photos.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 372LP
|
2021 restock. Take Me Home And Make Me Like It comprises unrehearsed, first-take recordings by Alex Chilton, recorded in 1975. Notes by Alex Chilton and producer Jon Tiven; 180 gram vinyl.
"This is music performed with some of the most callous abandon ever to have been allowed in a recording studio. Many of these tracks have a raw cinéma vérité atmosphere applied to recorded rock and roll. My own performances seem to be either obnoxious or attempting an insufferable cuteness, but often they achieve a compelling electricity in their spontaneous excitement. We recorded over a few days in the fall of 1975. I was very into a loose, unrehearsed first take sort of approach to recording music. I learned from producer Jim Dickinson the method of throwing a very impromptu rendering of a song onto tape. . . . This method gives a fresh, sometimes anarchistic quality to the performances. The first day of the sessions was approached in this way. The second day went according to the producer's more conservative method of planning and rehearsal. All in all there is some hot, untamed rock and roll on this disc." --Alex Chilton, 1992.
"This record is meant as an addendum to Singer Not The Song (1977) / Bach's Bottom (1981) and not a substitution. The idea that somebody would be interested in anything beyond what had already been released is lunacy considering the underwhelming reaction the record industry had to it at the time. When Munster asked if I'd like to take a look at releasing anything that wasn't out previously, I had to say yes. Now you have it, all the contents of the first crazy night of recording, plus some new ways to look at some of the other material. . . . It's sort of similar (not musically, but in terms of the producer/artist relationship) to the Blowin' Your Mind! album by Van Morrison (1967) -- you can sense the underlying tension, and not every track is a 'success', but it is mighty powerful. . . . Alex was not about melody at the time, he wanted to repudiate his Big Star work and make a sinister record that threatened people. Without half trying, Singer Not The Song did accomplish that. It became one of the first punk rock/new wave records, the very first EP for the genre." --Jon Tiven, Jan 2017
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BIGAL 666LP
|
2021 restock. First time re-issue of the legendary Alex Chilton album Dusted In Memphis, originally released in 1980. For many, this is Alex's finest. Includes a second bonus album full of unreleased material; covers, alternate versions, fantastic demos, and infamous complete KUT radio session. All culled from the period between 1975 and 1980, a troubled - but prolific and brilliant - time for Chilton. This is deconstructed rock n roll, perfect pop songs perversely pureed, punkabilly before the term was coined, chaotic, trashy, beautiful. Allegedly, the only copy of these recordings that anyone associated with was lost in the house fire that claimed Alex Chilton's mother's life. If this is true, and the masters have been lost, it is truly a great, great shame as these are possibly the best post-Big Star recordings of Alex's long solo career. This quite legendary bootleg bridges the gap between Sister Lovers (1978) and Like Flies On Sherbert (1979). It contains the Elektra demos with some songs that might be regarded amongst Big Star's finest if they would have found a proper release. This is a great shame as it is an excellent document of where Alex was at during this stage of his career (he wooed the critics during his time in NY, but not the major labels). File between: Skip Spence's Oar (1969), Panther Burns's Behind The Magnolia Curtain (1981), Neil Young's Tonight's the Night (1975) and early Cramps.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
MR 7268EP
|
2020 restock. Originally released for Record Store Day 2015. In 1975 Alex Chilton went into the Ardent Recording Studios with producer Jon Tiven and out of some tumultuous recording sessions came a number of loose and unpolished gems, which would ultimately become the Bach's Bottom album. Munster is proud to present this 7" featuring previously unreleased alternate versions of three of those tracks, another instance of Alex Chilton magic.
|
|
|
|