That is the central theme of Drew DeNicola and Olivia Mori’s excellent documentary ‘Big Star: Nothing Can Hurt Me.’ That is, why the hell weren’t they the big stars they were supposed to be? Why wasn’t #1 Record a #1 record? The answers are many, and covered in great detail in the film. Stax bought out Ardent Studios (Big Star’s home), but had no idea how to handle a rock band. Then Stax went bankrupt in the early 70’s, and couldn’t promote the first record. Columbia Records bought the Stax label, and then refused to distribute the second record, Radio City. They were getting rave reviews in Rolling Stone, Creem and every other music publication, yet you could not find the record in any record store. The third record was so desolate and out there that it was not even released for three years (long after the band had actually broken up). Those three records (#1 Record, Radio City and Third/Sister Lovers) make up the remarkable core of their legacy.
Throughout the film, Alex Chilton remains a fantastic mystery and Chris Bell is finally given his due as an equal partner in Big Star, at least on that first record. The roots of the band and early days are well covered, but it is the disintegration and solo directions of Chilton and Bell that actually offer the most interesting moments of the film. (If you purchase the DVD, there is over an hour of deleted scenes that are quite good and fill the story out even more).
Chilton went on to turn his back on the melodic power pop revolution that he helped to inspire, and became one of the true eccentrics of music. From punk pop to experimental rockabilly/punk deconstruction to Sinatra covers, he was nothing if not unpredictable. Bell’s mental illness and tragic death in a car accident in 1977 are especially poignant in the film (with great interviews with David Bell, his brother and keeper of his legacy), including the stunning fact that a guy with that talent was working as a cook in a local restaurant at the time of his death (Alex Chilton quit music in the 80’s for a few years to be a tree trimmer in New Orleans, but that was more out of eccentricity). My only complaint regarding Bell is that they barely touch on his conflicted sexuality that was such a big part of his pain and confusion, which in turn influenced his work a great deal.
But for any Big Star fan, this film is a godsend. Fantastic footage, humorous and heartfelt interviews with the survivors (both Bell and Chilton, the key figures, are dead) and it does justice to the legacy of the greatest forgotten band. One of the most telling scenes in the film is the one regarding the early showcases where the audience is going absolutely nuts during the performances. The audience was comprised completely of music critics. No fans. They didn’t have any.
‘Big Star: Nothing Can Hurt Me’ (2012) **** out of *****
Big Star Record Guide
#1 Record (1972) *****
Many people slightly prefer the sophomore effort to the debut, but the first is still my favorite. Perhaps because this was still a joint Chilton/Bell band, and I am a huge Chris Bell fan. Shimmering, staggeringly great power pop. This record should have been huge, it is as much a bridge between the Beatles and Kinks to American power pop in the 70’s and 80’s as The Byrds were. Maybe even more so.
Radio City (1974) *****
Chris Bell had left the band due to depression, anger over the lack of success of #1 Record and confidence issues dealing with Chilton getting most of the press. His presence is still here, though (he is uncredited on some of these tracks). But you can tell that this is now an Alex Chilton enterprise. Things are a bit more chaotic, riskier. This is a rawer record than the debut, but just as great. Chilton is a master of power pop, and he lets a bit of off kilter madness into the mix as well.
NOTE: One of the best deals around is the twofer released in the late 70’s of #1 Record and Radio City. You can still buy it for the price of one cheap record. It is what introduced most people to the magic of Big Star.
Live (live) (1974/1992) **
A live radio session from ’74 while they were promoting Radio City that is pretty loose, but it does have Chilton’s brilliant cover of “Motel Blues.”
Third/Sister Lovers (1974/1978) ****
After the double failure of their first two records, Hummel also left and Chilton became pretty bitter. He was also struggling with some drug addiction. Out of the chaos comes the outstanding and disjointed third record. For all intents and purposes, this is an Alex Chilton record. None of this was suitable for radio play, and it wasn’t even released until several years after they broke up. That being said, much of it is stark and beautiful. “Holocaust,” “Nighttime” and “Kangaroo” simply must be heard. And “Thank You Friends” is a fantastic, sarcastic kiss-off to all to the nonexistent (at the time) Big Star fans.
Nobody Can Dance (compilation, live) (mid-70’s/1999) *
Is this a joke? This collection of rehearsals, outtakes and live tracks is unlistenable. Chilton at his most disdainful of his audience.
Columbia: Live at Missouri University (live) (1993) ***
After over a decade of not even being willing to discuss the topic of Big Star, Alex Chilton shocked listeners again by reforming the band. The reason was typical Chilton whimsy. Some Big Star fans at the University of Missouri asked him to reform the band and play at the university. So he did. Reuniting with Jody Stephens and adding Big Star acolytes Ken Stringfellow and Jon Auer (of The Posies), they played a joyous set. And stayed together and sporadically performed until Chilton’s death in 2010.
In Space (2005) ***
The latterday line-up released a much anticipated record in 2005. About half of it is excellent power pop. The other half sounds like Alex Chilton being very weird.
As far as compilations go, there are several out there. The box set Keep an Eye on the Sky (2009) **** is exhaustive, with some rare pre-Big Star tracks to boot. The live bonus disc is a bit disappointing, though.
Chris Bell solo
I Am the Cosmos (mid-1970’s/1992) ****
Chris Bell never released anything after Big Star in his lifetime, other than the stunning single and b-side “I Am the Cosmos" / "You and Your Sister” (both on this record). But he recorded sporadically in the mid-70’s, and these tracks were laid down in Memphis, England and France. So it would seem that this hodgepodge of tracks would not really hold together. On the contrary, it is a wonderful record and really does sound cohesive. Someone interviewed in the Big Star documentary (I forget who) said that Bell’s solo record (not released until 1992) is the actual sonic continuation of Big Star. I agree. “I Got Kinda Lost” is an infectious and loose rocker, the title track is majestic, “You and Your Sister” is likewise beautiful (and features Chilton on vocals). “Speed of Sound” is one of the most gorgeous songs I’ve ever heard.
Alex Chilton solo
You want to explore Alex Chilton’s solo work? Good luck to you. Spread over many records, EPs and one off singles, it is a maddening discography. I’ve got some of his material. Like Flies on Sherbert (1979) is either * or ***** depending on your personal philosophy regarding what music should be. Rhino’s 19 Years: A Collection of Alex Chilton (1991) *** is a fair representation of his overall solo career, but is also a mess. Like his work.
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