I’m currently reading Holly George-Warren’s biography of Alex Chilton, he of Box Tops/Big Star/Indie Rock Godfather fame (hoping to review the book in the next week or two). I’m a big fan of Chilton’s music….well, his best music anyway. Divested of his great bands, he could certainly be, shall we say, eccentric. But that eccentricity was finally what (even in the context of his great bands) made him–a certain willingness to risk looking/sounding foolish, combined with that lacerating absence of esteem that is so often masked and/or bolstered by a show of arrogance and/or indifference.
Concurrent with my reading, I picked up his “lost” solo album 1970 (which was finally released a few years back). There’s a lot of good stuff on it–certainly much that looks forward to Big Star a year or two hence. But the main attraction when I saw the track listing on Amazon was the choice of covers.
One was “Jumping Jack Flash,” which turned out to be a disappointment. Sounding less professional than he was–spending hours chasing spontaneity–was a Chilton trademark. But, covering the Stones, he just sounds enervated.
Covering the Archies on the other hand…well, he sounds like the Stones. And not just any Stones–certainly not the crap-fest Stones of lo, these past three decades (at least)–but the Stones who were in the air in 1970, making some of the greatest music in the history of man.
In other words, he not only crushes it, but he’s loose and funny and irreverent in a way that I suppose taking on “Jumping Jack Flash” directly didn’t allow for.
I think the normal mantra in a case like this, is to chant on about how surprised one is to find “Sugar, Sugar” had this in it:
But really, it shouldn’t be suprising at all. It almost always had this in it:
And, truth to tell, neither of these amounts to expansion, so much as recognition…Of what it always was:
A work of genius in other words.