When Alex Chilton re-emerged as a recording artist in the mid-'80s, he seemed perversely proud to upend his audience's expectations, delivering scruffy but emphatic R&B-influenced material rather than the visionary pop music he created in Big Star. In many respects, 1995's A Man Called Destruction found Chilton following the same path as he did on Feudalist Tarts and High Priest with its no-frills production, live-in-the-studio attack, and set list that mixed idiosyncratic covers with quirky original tunes. But while his ...
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When Alex Chilton re-emerged as a recording artist in the mid-'80s, he seemed perversely proud to upend his audience's expectations, delivering scruffy but emphatic R&B-influenced material rather than the visionary pop music he created in Big Star. In many respects, 1995's A Man Called Destruction found Chilton following the same path as he did on Feudalist Tarts and High Priest with its no-frills production, live-in-the-studio attack, and set list that mixed idiosyncratic covers with quirky original tunes. But while his '80s work often sounded like the work of a man who was getting back on his feet as a musician, A Man Called Destruction is thoroughly confident, the work of a man indulging his stylistic eccentricities and having a splendid time doing it. Chilton cut A Man Called Destruction at his old Memphis stomping grounds, Ardent Studios, with a band made up of old studio hands and frequent collaborators, and with Alex at the helm they generate a great sense of groove, loosely tight in the great Southern manner rather than shambolic like Like Flies on Sherbert. Chilton's gutsy guitar playing is at the center of the arrangements, and his picking is angular but expressive, generating potent kicks at every turn. For the most part, the covers here outshine Chilton's originals, especially a raucous take on Chris Kenner's "Sick and Tired," a playful version of the Jan & Dean chestnut "The New Girl in School" (co-written by Brian Wilson), and the charmingly cheesy soul workout "What's Your Sign Girl." But the instrumental "Boplexity" generates the album's most exciting performance, with Charles Hodges delivering a wild organ solo as he squares off against Chilton's guitar, and the rollicking "You're Lookin' Good" and "Don't Stop" make it clear Alex always knew how to rock. A Man Called Destruction proved to be one of Chilton's final solo efforts, and it's a shame he didn't try this again -- by this time, he was slowly but surely turning jamming in the studio into some sort of an ragged-but-right art form. ~ Mark Deming, Rovi
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Add this copy of A Man Called Destruction to cart. $12.49, fair condition, Sold by Service First Media rated 5.0 out of 5 stars, ships from Taylorsville, KY, UNITED STATES, published 2017 by Omnivore.
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Fair. Ex-Library rental. Disc(s) are professionally cleaned and may contain only light scratches that do not effect functionality. Includes disc(s), case, and artwork. May be missing booklet. Disc(s), case, and artwork may contain library/security stickers and ink writing. ARTWORK IS UNORIGINAL AND PRINTED BY LIBRARY. Case and artwork may show some wear. Case may not be an original jewel case. All disc(s) are authentic.
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