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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 /TiVo
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Alex Chilton, MainArtist - Chris Kenner, Composer
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 1995 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, Composer, MainArtist
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 1995 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, MainArtist - Keith Keller, Composer
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 1995 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, Writer, MainArtist - Jim Spaker, Writer
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 1995 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, MainArtist - Anthony Sepe, Composer - Daniel Pearson, Composer
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 1995 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, MainArtist - Adriano Celantano, Composer
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 1995 Ardent Music LLC., under license to Omnivore Recordings
Jimmy Reed, Composer - Alex Chilton, MainArtist
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 1995 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, Composer, MainArtist
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 1995 Ardent Music LLC., under license to Omnivore Recordings
Brian Wilson, Writer - Alex Chilton, MainArtist - Roger Christian, Writer - Jan Berry, Writer - BOB NORMAN, Writer
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 1995 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, Composer, MainArtist
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 1995 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, Composer, MainArtist
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 1995 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, Composer, MainArtist
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 1995 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, Composer, MainArtist
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 2017 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, Composer, MainArtist
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 2017 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, Composer, MainArtist
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 2017 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, Composer, MainArtist
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 2017 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, MainArtist - Robert Guidry, Writer - Paul Gayton, Writer
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 2017 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, Composer, MainArtist
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 2017 Ardent Music LLC., under license to Omnivore Recordings
Alex Chilton, Writer, MainArtist - John Addison, Writer - Jim Spake, Writer
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 2017 Ardent Music LLC., under license to Omnivore Recordings
Resenha do Álbum
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 /TiVo
Sobre o álbum
- 1 disco(s) - 19 faixa(s)
- Duração total: 01:01:42
- 1 Folheto digital
- Artistas principais: Alex Chilton
- Compositor: Various Composers
- Gravadora: Omnivore Recordings
- Género: Rock Alternativo & Indie
© 2017 Omnivore Recordings, a division of Omnivore Entertainment Group ℗ 2017 Ardent Music LLC., under exclusive license to Omnivore Recordings
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