Free Again: the 1970 Sessions Wikipedia

American songwriter, guitarist, vocaliser & producer

Alex Chilton
Chilton performing with Big Star at Hyde Park, London, 2009
Groundwork data
Birth name	William Alexander Chilton
Built-in	(1950-12-28)December 28, 1950 Memphis, Tennessee, Usa
Died	March 17, 2010(2010-03-17) (aged 59) New Orleans, Louisiana, United states[ane]
Genres	Rock and coil power popular proto-punk hard rock blueish-eyed soul indie rock
Occupation(s)	Musician, singer, songwriter, record producer
Instruments	Vocals, guitar, keyboards
Years active	1966–2010[ane]
Labels	Agog, Bar/None, Peabody Records, Big Fourth dimension, Omnivore (posthumous)
Associated acts	The Box Tops, Big Star, Tav Falco's Panther Burns, Terry Manning

Musical artist

William Alexander Chilton (December 28, 1950 – March 17, 2010) was an American singer-songwriter, guitarist, and record producer best known as the lead vocaliser of the Box Tops and Big Star.^[two] Chilton's early commercial success in the 1960s equally a teen vocalist for the Box Tops was never repeated in later years with Big Star and in his subsequent indie music solo career on small labels, but he drew an intense following among indie and alternative music musicians. He is frequently cited as a seminal influence by influential rock artists and bands, some of whose testimonials appeared in the 2012 documentary Big Star: Nothing Can Hurt Me.

Early on life and career [edit]

Chilton grew upward in a musical family; his begetter, Sidney Chilton, was a jazz musician. A local band recruited the teenaged Chilton in 1966 to exist their lead singer after learning of the popularity of his song performance at a talent show at Memphis'south Fundamental Loftier Schoolhouse. This band was Ronnie and the Devilles, which was subsequently renamed the Box Tops. The group recorded with Chips Moman and producer/songwriter Dan Penn at American Audio Studio and Muscle Shoals's FAME Studios.

Chilton was sixteen when his first professional recording, the Box Tops' song "The Letter", became a number-1 international hit. The Box Tops went on to accept several other major chart hits, including "Neon Rainbow" (1967), "Cry Like a Baby" (1968), "Choo Choo Train" (1968), "Sweet Cream Ladies, Forward March" (1969), and "Soul Deep" (1969). Bated from the hits "The Letter", "Neon Rainbow", and "Soul Deep", all written by Wayne Carson, many of the group's songs were written by Penn, Moman, Spooner Oldham, and other top area songwriters, with Chilton occasionally contributing a vocal. By late 1969, only Chilton and guitarist Gary Talley remained from the original group, and newer additions replaced the members who had departed. The grouping decided to disband and pursue independent careers in Feb 1970.

After deciding against enrolling every bit a educatee at Memphis Land Academy,^{[ citation needed ]} Chilton began performing every bit a solo artist, maintaining a working relationship with Penn for demos. During this menstruation he began learning guitar by studying the styles of guitarists similar Stax Records groovy Steve Cropper. Chilton began recording his own solo material in the autumn of 1969 at Agog Studios with local musicians including producer Terry Manning (who had worked with Chilton every bit an engineer on the Box Tops' recordings) and drummer Richard Rosebrough, and producing a few local dejection-rock acts. His 1969-1970 recordings were released in the 1980s and 1990s on albums such as Lost Decade (New Rose Records), 1970 (Agog Records), and Free Over again: The "1970" Sessions" (Omnivore Recordings).

Chilton was considered as a replacement vocalist for Al Kooper in Claret, Sweat & Tears.^[3]

1970s career [edit]

After a menses in New York City, during which Chilton worked on his guitar technique and singing style (some of which was believed to have been influenced by a chance meeting with Roger McGuinn at a friend's apartment in New York where Chilton was impressed with McGuinn's singing and playing),^[4] Chilton returned to Memphis in 1971 and co-founded the power pop group Big Star, with Chris Bell, recording at engineer John Fry's Agog Studios. Chilton and Bong co-wrote "In the Street" for Big Star's beginning album #one Record, a track afterwards covered by Inexpensive Trick and used as the theme vocal of the sitcom That '70s Show.

The group'due south recordings met with little commercial success but established Chilton'due south reputation as a rock vocalizer and songwriter; afterwards culling stone bands like R.Due east.M. and the Posies would praise the grouping equally a major influence. During this catamenia he also occasionally recorded with Rosebrough as a group they called the Dolby Fuckers; some of their studio experimentation was included on Big Star's anthology Radio Metropolis, including the recording of "Mod Lang". Rosebrough would occasionally work with Chilton on later recordings, including Big Star's 1975 album Tertiary and Chilton's solo tape Bach'due south Bottom, too released in 1975.

Moving back to New York in 1977, Chilton performed as "Alex Chilton and the Cossacks" with a lineup that included Chris Stamey (later of the dB'south) and Richard Lloyd of Telly at venues like CBGB, releasing an influential solo single, "Bangkok" (with a cover of the Seeds' "Tin't Seem to Make Y'all Mine" every bit the B-side), in 1978. Influenced by the performers in New York's CBGB scene, Chilton's late-1970s recordings abandoned the multi-layered pop production of his Large Star albums and utilized a more than minimalist punk and psychobilly-influenced performance style. His songs during this period were often recorded in i have and featured few overdubs. In New York, he met the members of the Cramps, a formative psychobilly group. Subsequently moving back to Memphis in April 1978,^[5] Chilton produced music by the Cramps that appeared on the group's Gravest Hits EP and Songs the Lord Taught Usa LP.

In 1979, Chilton released the album Like Flies on Sherbert in a limited edition of 500 copies. Produced past Chilton with Jim Dickinson at Phillips Recording and Ardent Studios, information technology features Chilton's interpretations of songs by artists including the Carter Family, Jimmy C. Newman, Ernest Tubb, and KC and the Sunshine Band, along with several originals. Sherbert—which included bankroll work from such notable Memphis musicians every bit Rosebrough, drummer Ross Johnson, and Chilton's longtime on-again/off-again companion, Lesa Aldridge—has since been reissued several times. Beginning in 1979 Chilton also co-founded, played guitar with, and produced some albums for Tav Falco's Panther Burns, which began equally an offbeat rock-and-coil group deconstructing blues, state, and rockabilly music.

1980s career [edit]

Chilton spent almost of 1980 and 1981 living in Memphis and staying off the road,^[5] except for a trip to London in May 1980 to play two shows with bassist Matthew Seligman and drummer Morris Windsor of the Soft Boys, and guitarist Knox of the Vibrators. The second show, at the Camden club Dingwalls, was recorded, and was released in 1982 on Aureola Records equally Live in London.^[5] He also continued to work with Tav Falco'south Panther Burns on phase and in the studio during this period.

Chilton toured briefly in 1981 equally a solo human activity, backed by a trio of musicians who played at unlike times with Tav Falco's Panther Burns: guitarist Jim Duckworth, bassist Ron Easley (with whom Chilton would tour and record with extensively in the 1990s and 2000s), and drummer Jim Sclavunos.^[half-dozen] The group played a string of shows in the fall in Chicago, Washington D.C., Philadelphia, New York, and New Bailiwick of jersey;^[five] this would exist Chilton'due south last tour for three years.

Chilton moved to New Orleans in 1982,^[5] where he spent much of 1982 and 1983 working exterior music: washing dishes at the Louis XVI Restaurant in the French Quarter, working as a janitor at the Uptown nightclub Tupelo's Tavern, and working as a tree-trimmer.^[5] He resumed playing with Panther Burns in 1983. His new association with New Orleans jazz musicians (including bassist René Coman) marked a flow in which he began playing guitar in a less raucous fashion and moved toward a libation, more restrained arroyo, as heard in Panther Burns's 1984 Carbohydrate Ditch Revisited album, produced by Jim Dickinson. He moved back into playing music total-time in the summertime of 1984, when he and Coman began a four-month stretch playing in a cover band called the Scores, working in four-hr shifts at the Bourbon Street tourist bar Papa Joe'due south, and taking requests from a printed listing of songs placed on the customer tables.^[5]

Later on the cover-band job ended, Chilton contacted a booking amanuensis recommended to him by the dBs drummer Will Rigby, and soon had a handful of club gigs lined upwards in New York, New Jersey, and Boston for the fall of 1984.^[5] He stopped playing regular gigs with Panther Burns and formed a trio with the group'due south bassist, Coman, and drummer Joey Torres to play his out-of-town bookings. At this point, his career was finer relaunched, and for the next 25 years, Chilton sporadically led a three-piece touring ring (augmented past saxophonist Jim Spake in 1989 and 1990), recorded studio and live solo records for several independent record labels, and reunited with versions of his previous bands the Box Tops and Big Star for cursory tours and recordings.

At the offset of this period, while in New York in 1985 to play a booking at Danceteria, Chilton was connected through a journalist with Patrick Mathé, founder of the Paris-based record label New Rose. Chilton'southward business human relationship with Mathé would final the residue of his life, and New Rose (and its successor characterization, Last Call Records) released much of Chilton'southward solo work from 1985–2004 in Europe, also equally a 1998 Box Tops reunion album. In the U.Southward., Chilton's solo releases were released by the Big Time, Razor & Tie, Agog, and Bar/None tape labels. In 1985, Chilton began working with Memphis jazz drummer Doug Garrison (who had played music with Chilton's father Sidney in a big band),^[5] and his trio continued touring and began to tape also. Half dozen songs were recorded at Agog Studios for the 1985 EP Feudalist Tarts, three originals joined past songs from the catalogs of Carla Thomas, Slim Harpo, and Willie Tee. In 1986 Chilton followed this with a second EP, No Sexual practice, which contained three more than originals, including the extended mood slice, "Wild Kingdom", a vocal highlighting Coman's jazz-oriented, improvisational bass interplay with Chilton.

During this period in his recordings Chilton began oft to employ a horn department consisting of Memphis veteran jazz performers Fred Ford, Jim Spake, and Nokie Taylor to imbue the soul-oriented pieces among his repertoire with a postmodern, minimalist jazz feel that distinguished his interpretative arroyo from that of a simple soul revivalist style. Chilton forged a new direction for his solo work, eschewing effects and blending soul, jazz, country, rockabilly, and pop. Coman left Chilton's solo trio at the terminate of 1986 to pursue other projects, forming (with Garrison) the Iguanas three years afterward with other New Orleans musicians; both would record occasionally with Chilton after departing.

In 1986, the Bangles released their second LP, Unlike Light, which contained a cover version of Chilton'southward Big Star song "September Gurls". Royalties from this version allowed Chilton, who had struggled financially since leaving the Box Tops, to buy his first new car since his Box Meridian days, and a piece of rural country near Hohenwald, Tennessee, where he planned to build a modest house.^[v] The following yr, his visibility increased in the culling stone scene when he was the subject of the vocal "Alex Chilton" by American rock band the Replacements on their album Pleased to Meet Me, on which Chilton was a guest musician playing guitar on the vocal "Can't Inappreciably Expect".^[7]

With 1987'south High Priest, Chilton released his outset full-length LP in eight years, for which he served as producer and wrote four new songs. He was given a $21,000 recording budget by his European and U.S. record labels (New Rose and Big Time, respectively) which allowed him to augment his ring on various songs with a three-piece horn section, backup singers, piano, keyboards, and rhythm guitar. He was as well able to continue the genre-mixing he had started with Like Flies on Sherbert past including soul, blues, gospel, and rock songs on the same tape.^[5] He concluded the album with a cover of "Raunchy", his instrumental salute to Dominicus Records guitarist Sid Manker, a friend of his father from whom he'd once taken a guitar lesson; this song was as well a standard in his early on Panther Burns repertoire. High Priest likewise included other covers similar "Nobody's Fool", a song originally written and recorded in 1973 by his old mentor and Box Tops producer Dan Penn. While his solo career was standing to pick upwards momentum, Chilton was also singing Box Tops songs during 1987 with a bundle tour of 1960s artists including Peter Noone, Ronnie Spector, and ? & the Mysterians.^[5]

Chilton followed up High Priest with Black List, his third EP in iv years (and his commencement recording since his mid-1980s career relaunch non to become a U.S. release). Black Listing continued to display his eclecticism, containing covers of Ronny & the Daytonas' "Little GTO", Furry Lewis'due south "I Will Plow Your Money Light-green", and Charlie Rich's country-pop organization of Frank Sinatra'southward "Nice and Piece of cake". The EP also included iii original songs. Chilton also produced albums by several artists beginning in the 1980s, including the Detroit group the Gories, and continued producing Panther Burns albums well into the 1990s.

1990s [edit]

Touring and recording as a solo artist from the tardily 1980s through the 1990s with bassists Mike Maffei,^[8] John Southward. McClure (later to become a professor of divinity at Vanderbilt Academy),^[9] and Ron Easley, and with drummers Doug Garrison and, from 1993 on, Richard Dworkin (who also played for many years with the jazz group the Microscopic Septet), Chilton gained a reputation for his eclectic taste in vocal covers, guitar work, and laconic phase presence. Writing almost a live operation in The New York Times, critic Peter Watrous said of Chilton that "he'due south a soul and blues guitar connoisseur; he chooses his guitar licks as advisedly as he does the blues songs he covers, and during his solos, a listener heard a history of soul and dejection guitar." Watrous went on to say of the show that "irony flowed over everything, and it was hard to tell exactly what Mr. Chilton was afterward, except perhaps a little fun."^[eight]

Chilton performing in Tourcoing, France in February 2004

In 1990 and 1991, Chilton took fourth dimension off from touring and recording to alive during the warm months in a tent on his land in rural Tennessee^[x] and piece of work on clearing trees and framing his planned house, a project he was never to complete.^[5] In 1993, Chilton recorded Clichés, an acoustic solo tape of jazz and pop standards, in New Orleans' Chez Flames studio with producer Keith Keller. The record was inspired by a short solo acoustic tour of the Netherlands in January, 1992.^[11] Chilton's final two studio albums featured his band and continued his blueprint of mixing together songs from pop, soul, blues, gospel, R&B, swing, and country music. A Man Called Devastation (1995), like High Priest, featured a mix of covers and originals and an expanded ring that included horns, keyboards, and occasional fill-in singers, and was released in the U.S. on the relaunched Ardent Records label. Chilton took an enlarged edition of his band on Tardily Night with Conan O'Brien in July 1995 to promote the anthology, playing the song "Lies". This was Chilton's second appearance on national goggle box in less than a year; in October 1994, he appeared on The This evening Show with Jay Leno with the reformed Big Star. Chilton'southward final solo studio record, Loose Shoes and Tight Pussy (1999), featured simply his trio, and was named afterwards an old off-color joke fabricated infamous in 1976 by pol Earl Butz. Chilton released one more anthology every bit a solo artist, the 2004 CD Live in Anvers, which featured him playing a testify in Belgium with a pick-up band of European musicians.

Chilton reformed Big Star in 1993 with a lineup that included two members of the Posies, Jon Auer and Ken Stringfellow.^[12] From then on, he added to his schedule concerts and recordings with the new version of Big Star. The final Big Star studio album, entitled In Space, with songs penned past the then-electric current lineup, was released past Rykodisc on September 27, 2005.

Large Star'south October 29, 1994, performance, their only known show to be professionally filmed in its entirety, was released in November 2022 by Omnivore Recordings equally Live in Memphis.^[thirteen] Co-ordinate to Mojo, the DVD documents how Big Star'south 1990s lineup defied expectations and endured for another 16 years: "Chilton'south musicality is mesmerising as he drives the band.... Alternate betwixt lead and rhythm, he plays with a mix of laser focus and utter insouciant absurd."^[14]

In 1996, Chilton regrouped in Memphis with original Box Tops members Danny Smythe, John Evans, Bill Cunningham, and Gary Talley, and the following year they recorded Tear Off!, the group's terminal record with Chilton. The album, which was recorded primarily at Easley Recording Studios in Memphis, was released in Europe in 1998. Chilton afterwards toured with the original group annually. Chilton had toured Europe in 1991 with a version of the band, and had sung Box Tops material as a featured singer in oldies package tours during the 1980s and 1990s. After Chilton's death, the Box Tops were to reform again in 2022 with guitarist Gary Talley every bit pb vocalist.

In 1998, the Alex Chilton/Chris Bell song "In the Street" (from the get-go Large Star anthology) was chosen as the theme music for the U.South. boob tube serial That '70s Show at the suggestion of Chilton's friend and occasional touring partner Ben Vaughn. Vaughn was working for the series at the fourth dimension, and oversaw a new recording of the song by vocalist Todd Griffin and a group of Los Angeles studio musicians; in subsequent seasons, a version recorded past the band Inexpensive Fob would exist used.

2000–2010 [edit]

Chilton toured and recorded less frequently in his last decade, choosing to spend more of his time at domicile in New Orleans. In 1995, Chilton purchased a 19th-century center-hall cottage in the Tremé neighborhood for $13,000, and he enjoyed working on his house and practicing Scott Joplin rags on his piano (an musical instrument he subsequently lost in Hurricane Katrina).^[15] "Thanks to his depression overhead, Chilton subsisted [during the 2000s] on periodic Big Star, Box Tops and solo gigs augmented by minor publishing income…He saw fiddling reason to hustle more than than was necessary to brand ends encounter and travel, a favorite pursuit," wrote New Orleans announcer Keith Spera in a profile published afterward Chilton'south death.^[15] Chilton was nowadays at his domicile in New Orleans during Hurricane Katrina and evacuated by helicopter on September 4, 2005.^[xvi] In 2009, he remarried. Chilton's last studio projects included playing bass on Cristina Black's The Ditty Session, ^{[17] [18]} and producing tracks by guitarist and vocaliser "Johnny J." Beninati, a one-time member of the New Orleans rockabilly group the Blue Vipers.^[xv] Chilton's final live functioning was in New Orleans on January 24, 2010, where he participated in a benefit evidence for Haitian earthquake victims.^[fifteen]

Death and memorial [edit]

Chilton was taken to a hospital in New Orleans on Midweek, March 17, 2010, complaining of health bug, and died the same day of a eye attack.^[19] Chilton had experienced at least two episodes of shortness of breath in the week prior to his fatal heart attack, though he did not seek medical attention in part because he did not take wellness insurance.^[20] He was survived past his wife, Laura, a son, Timothee, and a sister, Cecilia.^{[ane] [21]}

He had been scheduled to play a concert with Large Star at the South by Southwest music festival in Austin, Texas, on March twenty; the bear witness instead took identify as a tribute to Chilton, with guests Curt Kirkwood, Chris Stamey, K. Ward, Mike Mills, John Doe, Sondre Lerche, Chuck Prophet, Evan Dando, the Watson Twins, and original member Andy Hummel (who died 3 months later) joining the other members of Big Star.^[22]

Honors and awards [edit]

Star honoring Alex Chilton on the outside mural of the Minneapolis nightclub Kickoff Avenue

Alex Chilton was honored with a star on the outside mural of the Minneapolis nightclub First Avenue,^[23] recognizing performers that take played sold-out shows or take otherwise demonstrated a major contribution to the culture at the iconic venue.^[24] Receiving a star "might be the most prestigious public honor an artist can receive in Minneapolis," according to announcer Steve Marsh.^[25]

Discography [edit]

Albums [edit]

• Like Flies on Sherbert – (Peabody, 1979; Aureola, 1980)
• Bach's Bottom – (Line, 1980, remixed & reissued 1993 on Razor & Tie)
• Loftier Priest – (New Rose/Large Time, 1987; reissued 1994 on Razor & Tie)
• Clichés – (Ardent, 1993)
• A Man Called Destruction – (Ardent, 1995)
• 1970 – (Ardent, 1996 - Recorded between his tenures with the Box Tops and Big Star, just unreleased until 1996; reissued in 2012 equally Free Again: The "1970" Sessions – Omnivore Recordings OVCD-13, Ace Records OVLP13 CDWIKD 302)
• Cubist Blues, with Ben Vaughn and Alan Vega – (Discovery, 1997, reissued by Terminal Call in 2006 with an extra disc recorded live)
• Loose Shoes and Tight Pussy – (Last Telephone call, 1999 released every bit Set in USA – Bar/None, 2000)

Singles and EPs [edit]

• Singer Not the Vocal (EP) – (Ork, 1977) - Five songs from the 1975 session after released in full every bit Bach'due south Bottom and as well on the One Mean solar day In New York anthology. Original Ork release included "Costless Once again", "The Singer Not The Song", "Have Me Home & Make Me Similar It", "All The Time", and "Summer Blues".
• "Bangkok" / "Can't Seem to Brand You lot Mine" – (Fun, 1978)
• "Hey Picayune Child" / "No More than the Moon Shines on Lorena" – (Aura 1980 U.k.)
• Feudalist Tarts (EP) – (New Rose/Large Time, 1985; reissued 1994 on Razor & Tie)
• No Sex activity (EP) – (New Rose/Big Time, 1986; reissued 1994 on Razor & Tie)
• Black Listing (EP) – (New Rose, 1989; reissued 1994 on Razor & Tie)
• "All We E'er Got From Them Was Pain (Original Mix)" / "All We E'er Got From Them Was Pain (Demo)" – (Omnivore Recordings OVS7-14, 2011)

Live albums [edit]

• Live in London – (Aureola, 1982 UK). Recorded live at Dingwalls, London, England Wednesday, May 28, 1980.
• Live in Anvers – (Last Call/Rykodisc, 2004)
• Electricity By Candlelight / NYC two/13/97 – (Bar/None, 2013)
• Body of water Club '77 - (Norton Records, 2015). A 1977 live gig in NYC.

Compilation albums [edit]

• One Day in New York - (Trio Records, 1978). Combines the Vocalist Not the Song ep with a half dozen-song live set past Alex Chilton and the Cossacks, recorded in New York in 1977. Expanded with an boosted studio track from the Bach's Lesser session for a 1991 C.D. release.
• Lost Decade – (Fan Society, 1985)
• Certificate – (Aureola, 1985)
• Stuff – (New Rose, 1987)
• Best of Alex Chilton – (New Rose, 1991)
• 19 Years: A Collection of Alex Chilton – (Rhino, 1991)
• Top 30 – (Concluding Phone call, 1997)
• Complimentary Over again: The "1970" Sessions – (Omnivore Recordings OVCD-13, 2011)
• From Memphis to New Orleans - (Bar/None, 2019). A compilation of studio recordings from 1985-1989.
• Songs from Robin Hood Lane - (Bar/None, 2019). A compilation of traditional pop songs. The album combines five tracks from the solo acoustic album Clichés with seven band tracks in the jazz song idiom produced past bassist Ron Miller. Three of the ring tracks previously appeared on the Chet Bakery tribute album Imagination (Rough Trade, 1991), and 4 were previously unreleased.

Appeared on [edit]

• Caroline Now!: The Songs of Brian Wilson and the Beach Boys - (Marina 2000). Alex plays "I Wanna Pick You Upwardly".
• Step Correct Upward: The Songs of Tom Waits - (Manifesto, 1995). Alex plays "Downtown"
• Who Covers Who? - (CM Discs, 1993). A tribute to The Who. Alex plays "Anyway, Anyway, Anywhere".
• Imagination – (Crude Trade, 1991). A Chet Baker tribute credited to the group Medium Cool, a musical project organized past James Chance. Alex sings "Look for the Silverish Lining", "Allow'due south Go Lost", and "That Old Feeling". (All three tracks later on included on the Alex Chilton album Songs from Robin Hood Lane.)
• Play New Rose for Me - (New Rose, 1986). Alex plays The Troggs' "With a Girl Like Yous". Too included on the Rhino compilation xix Years.
• The Bigtime Syndrome - (Large Time, 1987). Alex plays the Porter Wagoner song "Rubber Room".
• Honey Is My Only Criminal offense - (Veracity, 1993). Alex plays the Jim McBride song "Bet Your Center on Me", a 1981 hit for country singer Johnny Lee. Listed on the anthology as "Y'all Tin Bet Your Eye on Me".
• Acoustic Music Projection - A Do good for Projection Open Hand - (Alias, 1990). Live versions of "Guantanamerika" and "No Sex" (unlisted bonus track). Recorded live at Not bad American Music Hall, San Francisco.
• Best of Mountain Stage Alive, Volume 3 (BMP, 1992). Alex plays "Guantanamerika".
• Alive at the Knitting Factory: Downtown Does the Beatles – (Knitting Manufactory Works, 1992)^[26] Alex plays "I Want to Hold Your Hand".
• Vera Groningen - Dazzler in the Underworld - (Vera, 1990). Alex plays the Porter Wagoner song "Rubber Room", recorded live on May 21, 1986 with René Coman and Doug Garrison at the Vera club in Groningen, Netherlands.
• Shoeshine Chartbusters - (Shoeshine, 1997). Alex plays "We're Gonna Make It" by Little Milton, "A Lot of Livin' to Do" from Bye Cheerio Birdie, the Fats Domino arrangement of "Margie", the Large Joe Turner vocal "Hide and Seek", and the standard "In that location Volition Never Exist Some other You", live recording, backed by Alan Hutchison (Superstar), bass, and Francis Macdonald (Teenage Fanclub), drums.
• The Weedkiller'southward Daughter – (John & Mary, 1993)
• I Shall Exist Released – (Carmaig de Wood, 1987)
• See My Friends – (Ray Davies, 2010)
• The Ditty Sessions – (Cristina Black, 2010)

References [edit]

1. ^ ^{a b c} Callahan, Jody; Mehr, Bob (March 17, 2010). "Memphis music loses 'Big Star' — singer, songwriter Alex Chilton dies at 59". Archived from the original on March 22, 2010. Retrieved March 18, 2010.
2. ^ "Alex Chilton, Influential Stone Singer, Dies at 59" The New York Times, March 19, 2010; page B17.
3. ^ Jovanovic, Rob. Big Star: The Story of Rock'southward Forgotten Ring. London: Quaternary Estate, 2004. ISBN 0-00-714908-five
4. ^ Holly George-Warren (March twenty, 2014). A Human Chosen Destruction: The Life and Music of Alex Chilton, From Box Tops ... Books.google.com. ISBN978-0698151420 . Retrieved April 28, 2016.
5. ^ ^{a b c d e f g h i j k l m} George-Warren, Holly (March 2014). A Human being Called Destruction: The Life and Music of Alex Chilton, from Box Tops to Big Star to Backdoor Man. Viking. ISBN978-0-670-02563-three.
6. ^ McLean, Greg (December 1981). "Alex Chilton, Maxwell's, Hoboken, JN". New York Rocker. New York, NY.
7. ^ Milano, Brett. "Pleased to Meet Him: An Interview with Paul Westerberg". Rockband.com. Archived from the original on May 15, 2010. Retrieved March 29, 2010.
8. ^ ^{a b} Watrous, Peter (May xxx, 1988). "Alex Chilton'south Ironic Guitar". The New York Times. New York, NY. Retrieved November 15, 2015.
9. ^ Gettelman, Parry (October 26, 1990). "Alex Chilton Is True To His Fans At Blue Notation". Orlando Spotter. Orlando, Florida. Retrieved Nov 15, 2015.
10. ^ Roberts, Michael (March 19, 2010). "Alex Chilton, R.I.P.: The lost Westword interview". Westword. Denver, Colorado. Retrieved November 15, 2015.
11. ^ Spera, Keith (May i, 1995). "Alex Chilton Lets Them Scream". OffBeat Magazine. OffBeat Magazine. Retrieved October half dozen, 2016.
12. ^ "Alex Chilton, Big Star Frontman, Dead At 59". MTV News . Retrieved March 9, 2018.
13. ^ "Alive in Memphis". Omnivore: Release. Omnivore Recordings. 2014. Archived from the original on November 12, 2014.
14. ^ "Alive in Memphis". Mojo Magazine. December 2014. Archived from the original on Nov 12, 2014.
15. ^ ^{a b c d} Spera, Keith (Apr 24, 2012). "Affiliate seven: Alex Chilton Cloak-and-dagger". Groove Interrupted: Loss, Renewal, and the Music of New Orleans . Picador. ISBN978-0-312-55225-1.
16. ^ "Alex Chilton's life in New Orleans was a mystery, and that's how the Big Star singer wanted it". The Times-Piffling. April half dozen, 2010.
17. ^ "Alex Chilton Tracks Unearthed for New Cristina Blackness Album". JamBands.com. Retrieved February 28, 2013.
18. ^ "Alex Chilton and Cristina Black: The Ditty Sessions". TwentyFourBit. Retrieved February 28, 2013.
19. ^ "Alex Chilton dead at 59; led Large Star, Box Tops, inspired countless bands". Chicago Tribune. March 18, 2010.
20. ^ Linkins, Jason (April nine, 2010). "Alex Chilton Was Uninsured at the Fourth dimension of His Death". The Huffington Mail service.
21. ^ "Rock Icon Alex Chilton Dies at 59". Fox xiii Memphis. March 17, 2010. Archived from the original on October 29, 2013. Retrieved Baronial 10, 2013.
22. ^ Graff, Gary (March 21, 2010). "Musicians pay tribute to Alex Chilton at SXSW". Reuters. Retrieved January 18, 2015.
23. ^ "The Stars". First Avenue & 7th Street Entry. Archived from the original on April eighteen, 2020. Retrieved May 10, 2020.
24. ^ Bream, Jon (May 3, 2019). "10 things you'll learn nigh First Avenue in new Minnesota History Middle testify". Star Tribune. Minneapolis-St. Paul, Minnesota. Retrieved May 10, 2020.
25. ^ Marsh, Steve (May 13, 2019). "First Artery's Star Wall". Mpls.St.Paul Mag. Minneapolis-St. Paul, Minnesota. Retrieved May 10, 2020.
26. ^ Live at the Knitting Manufacturing plant: Downtown Does the Beatles at AllMusic

Further reading [edit]

• George-Warren, Holly (March 2014). A Man Called Destruction: The Life and Music of Alex Chilton, from Box Tops to Big Star to Backdoor Man. Viking. ISBN978-0-670-02563-3.

External links [edit]

• Official Alex Chilton Facebook

ortizplas1979.blogspot.com

Source: https://en.wikipedia.org/wiki/Alex_Chilton

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