Alex Chilton S&D

Alex had never met the Hi players in toto, except for Charles Hodges, who played on one track on Man Called Destruction, and never played with 'em again.

Did you note the "(Theme From) A Summer Place" quotation solo at the end of the first song on that video?

Excuse the typos. Alex also was actually literate, so I guess I need to be more careful. Also, I think the bio by George-Warren is very flawed. There's not one bit about his style or approach in a practical sense. No discussion of how he got his guitar sound. Very light on his last decade. Alex needed a very tough person who was also a discerning ear to how musicians achieve their effects, which she's just too travails-of-thwarted-star to bother with. I actually can't think of one piece or book that gets him. I've read just about every interview ever done with him and listened to every interview I can find. From that you begin to get the picture. Alex was both a synoptic student of pop and rock and a guy who actually contributed to it, fundamentally at a Sun Records level. Which is completely singular.

Edd, judging from the most recent thread revive, I think you are the one to write the book on LX.

Or if that's too stressful maybe we can have you hypnotized like the guy in PKD's Time Out of Joint so that you can write the book while you think you are doing something else.

Just was moved through the ILX pachinko game from the Doris Day to the Terry Melcher thread, which led me to listen to his jaw-dropping Is It Tone Deaf Or Genius? take on “Stagger Lee” which somehow reminded me of Alex’s approach.

Edd is now one of the lobes (along with ov mastermynd---Dickinson-Chilton-inspired---thee spirit and letter, incl. covers ov "Bangkok" and "Take Me Home and Make Me Like It," also a dystopian vision of Spooner and Karen Oldham----It Came From Nashville: https://f4.bcbits.com/img/a0267189080_10.jpg

In late 2020, after figuring out that the only thing I wanted to do musically was a kind of cabaret-style retrospect of some great songs I thought other people ought to know about, I assembled a group of Nashville musicians at Sundog Recording Studio with engineer and producer Michael Esser. We recorded six songs drawn from the mists of the 1970s, and added one instrumental I wrote myself. We cut with almost no rehearsal, and trusted to the unguarded moment to guide us in our reconstructions of these timeless tunes.
...Fayetteville, Paris, Nashville, Memphis, man, it's all the same on this record.
https://thecontactgroup1.bandcamp.com/album/varnished-suffrages
https://thecontactgroup1.bandcamp.com/album/varnished-suffrages

Sorry, I meant (along with *Michael Esser*)

Also meant *"1980,"* a dystopian vision of Spooner and Karen Oldham.

Nice!

Good production job Edd