Tav Falco's Panther Burns at El Cortez, Brooklyn, NY 5/15/2018

Tav Falco's Panther Burns (or Tav Falco & The Panther Burns) formed in 1979 with Ross Johnson on drums and Alex Chilton (who would leave the band in 1981 but record and produce various Panther Burns albums into the 1990's) on lead guitar. Their initial brand of swampy rockabilly - something that would eventually be dubbed "Psychobilly"- with a garage rock sensibility would later see the band adopt elements of Blues, Tango and general Roots-Rock.

I've been a fan of Tav Falco and his Panther Burns since 1991, when I first heard the classic Chilton-produced Life Sentence In The Cathouse album. It was love at first listen. But I'd never seen them live. They played Rodeo Bar in NY mid-2013 but was unable to attend. I made sure I didn't miss seeing him on his latest Northeast jaunt. He's touring to promote a new a documentary Make Me Know You're Mine, about the man himself.

His band was comprised of younger musicians (Falco is an astonishing 73 years old...astonishing because the man moves and performs like he's a few dozen years younger). They were well-dressed with slim-fitting suits and Beatle-Boots. The audience treated Falco like the cult legend that he is. Aside from a completely random drunken fight between two jackass punters - who were swiftly shown the door - the night was basically an old-school rock and roll dance party. Tav offered anyone willing to tango to one of his songs - appropriately a tango - the opportunity to dance on stage, sadly, no one took the offer seriously enough to do it.

The Panther Burns played a nearly two-hour set of typically obscure classics ("Arkansas Stomp", "Bad Motorcycle" and the wonderful "Make Me Know You're Mine"). His encore included a nice tribute to Alex Chilton with a faithful cover of "Bangkok".

A great show from a legendary cult figure and his ever changing Panther Burns.

Alex Chilton: Ocean Club '77 (Norton Records/2015)

In 1977, Alex Chilton was in a time of transition. The band he'd fronted as a teen idol The Box Tops broken up in 1970 and the Power Pop legends Big Star – the band that Chris Bell had formed with Alex, Andy Hummell and Jody Stevens - had broken up in early 1975. Chilton had just released the Singer Not The Song EP and to properly promote it he moved in New York. There he formed a band with Chris Stamey (later of the dB's) on bass and Lloyd Fonroff on drums. Later that year the band was known as Alex Chilton and the Cossacks and had Fran Kowolski on keyboards.

Ocean Club '77 is what might be dubbed an official bootleg. It was approved by the Chilton estate. It claims to be a soundboard show. Which it may well be, albeit a poorly-mic'd one. The cover art font doesn't do it any favors either. However, the packaging is nice enough, with nice liner notes as well.

The first thing you hear is Chilton ordering a “Canadian Whiskey & Coca Cola on the rocks” from the stage to the bar. So, immediately you know it's going to be a fairly loose affair. Which it is. Although, it's not too loose as the rhythm section of Stamey & Fonoroff are tight-enough.

The song selection is pretty wonderful. “September Gurls”, “In The Street”, “O My Soul”, “Way Out West” and “Back Of A Car” all get confident airings. The Third nugget “Nightime” does as well – a good year before it's release. “The Letter” gets a different, slower arrangement. “Can't Seem To Make You Mine” (a cover of the Seeds' classic), “Window's Hotel”, “All Of The Time”, “My Rival” and “She Might Look My Way” all of which appeared on the rejected Elektra Demos, are in fine form here. As well as covers of the rock classics “Memphis”, “Wouldn't It Be Nice”, Walk Don't Run” and Nelson Slater's Lou Reed-produced “Dominating Force”.

Definitely recommended for the Chiltonphile of Big Star devotee.  

Here's the very special video review version:

Special Thanks to: Ebet Roberts, Norton Records and Dave Rerecich for making me vanish at the end. Into thin air. 

Big Star: Complete Columbia (Volcano/2016)

This year's Record Store Day spawned a number of interesting releases. One of which was Complete Columbia from Memphis, TN cult legends, Big Star. On April 25, 1993 Big Star reunited to play at University Of Missouri. The band hadn't played together since early 1975, and given Chilton's inclination to dismiss the band in interviews it was surprising to even drummer Jody Stevens that the reunion ever happened. Fortunately, it did. The two students who were in charge of the Spring Fling concert at the University Of Missouri were huge Big Star fans and called Jody Stephens, at Ardent Studios (where Stephens still works). He agreed to do the show if Chilton would. To everyone's surprise, Chilton agreed.

The Posies' Jon Aur and Ken Stringfellow, filled in the line-up to replace the late Chris Bell on guitar and the (now) late Andy Hummel on bass, respectively. The band played a great, if sloppy, performance. Legendary music journalist Bud Scoppa, a huge fan of the band, was at this time head of A&R at Zoo Records, recorded the show and it was released to favorable reviews. The album cover artwork is something of a reference to the Radio City artwork and even features a photo from William Eggleston (who also took the photo that adorns Radio City).

The RSD release is the first domestic vinyl release of the album and contains six additional bonus tracks from the show. Upping the number of tracks to 21 over the 1993 CD's 14. It's an excellent and must-have release of any Big Star fan.

Here's The Video Review:

Big Star: Jesus Christ 10" EP (Omnivore Records/2015)

This was a pleasant surprise. I didn't even know about this until I wandered in to a local record store and saw this item staring right back at me in the Record Store Day/Black Friday section of 10" vinyl by the counter. Apparently, this is a taster of the forthcoming Complete Third box set coming out in 2016. This is the third Big Star release on Omnivore Records in the last few years (the others being the Nothing Can Hurt Me soundtrack and Live In Memphis) and by all accounts they've done right by Big Star fans.

What's on it? It 's the album version of the now-semi-holiday classic "Jesus Christ", the demo version of "Jesus Christ" (which made it's debut on the Keep An Eye On The Sky 2009 Rhino box set). Two untitled instrumentals by Chris Bell (that were in the Nothing Can Hurt Me documentary). A demo of "Big Black Car". "Thank You Friends (TV Mix)". And "Another Time, Another Place & You"

"Another Time, Another Place & You"  is something of a holy grail amongst Big Star fans as there is still some debate as to who plays on it, when it was recorded and what it's intended purpose was. Even the songwriting credits are somewhat mysterious. It was co-written with sometime drummer Richard Rosebrough and either Chris Bell or Alex Chilton. The credits in Nothing Can Hurt Me attribute it to Bell/Rosebrough while this record credits Chilton/Rosebrough.

These songs were the some of the last that band recorded (either demos or studio cuts in 1974 for the legendary Third album, and/or the Chris Bell tracks). It's a beautiful looking blue 10" EP and it sounds beautiful as well. It comes with an mp3 download card. The cover art comes from a 1973 Ardent Records promotional Big Star poster. It's so nice that these rare tracks are finally becoming commonplace for all to obtain and are out on various releases for Big Star obsessives like myself to pick up.

If you're a Big Star fan and a vinyl connoisseur, this item is just waiting to be purchased by you.

Here's the video review:

Shoes: Black Vinyl Shoes (Sire U.K./1979)

Zion, Illinois' Shoes were influenced by the usual suspects that influenced Power Pop bands of the late 1970's; namely The Beatles, Nazz, The Who, The Raspberries, Big Star and Badfinger. Although they'd recorded three privately released albums in significantly small quantities the band commercially released their fourth album Black Vinyl Shoes. Released on their own Black Vinyl label and on US indie PVC shortly thereafter, the album was recorded in guitarist Jeff Murphy's living room on a TEAC 3340S reel to reel tape recorder.

The warm sound, low-key yet mellifluous multi-tracked harmony vocals and overall impact of the material made the entire recording industry sit up and acknowledge the fact that an album this professional sounding could be recorded at one's home and completely take place without the financial help of a major label. It was released on Sire Records in the UK in 1979 and in no time at all the band signed with Elektra in the US and went on to record albums that sounded not too different than Black Vinyl Shoes.

Musically the band has the crunch of the Dwight Twilley Band, the vocal harmonies of The Raspberries, the melodic punch of fellow Illinois bands Pezband and Off Broadway. Shoes' vocal harmonies and hooks seem to just roll off very naturally. Lyrically, Black Vinyl Shoes seems to be preoccupied with the politics and dynamics of romantic relationships. The songs can be pretty dark yet they never come off as such on the surface. There's a certain saminess to the material on this album (as there are on most Shoes albums). However, generally speaking, if you like Shoes sound, approach and material, you won't have a problem with this.

Here's the video review:

Alex Chilton: Dusted In Memphis (And Elsewhere 75-80) (Bangkok Productions/1980)

Alex Chilton had been a teen idol in the mid-late 1960's with blue-eyed soul band The Box Tops. He'd then been a power pop innovator in the early 1970's with Big Star. He then embarked on a long and sometimes controversial (amongst fans) solo career. The first release from his post-Big Star period was the Singer Not The Song EP released in 1977 on Ork Records. This was recorded in Memphis and was produced by rock critic Jon Tiven in 1975, and was released in its' entirety in 1981 as Bach's Bottom (a play on "Box Top"). But these recordings aren't really representative of the first true solo music Alex made with his first solo band.

Alex moved to New York City in February of 1977 and formed a band with Chris Stamey on bass (later of The dB's) and Lloyd Fonoroff on drums. Shortly thereafter Fran Kowalski joined the band on keyboards and they became known as Alex Chilton & The Cossacks. They regularly performed at CBGB's, Max's Kansas City and The Lower Manhattan Ocean Club. They were approached and courted by Elektra Records' Karin Berg, whom Alex had known for some time. Elektra funded recording sessions that were engineered by John Klett at Trod Nossel Studios in Wallingford, Connecticut with the hopes of signing the band.

These sessions yielded unique and interesting recordings of "She Might Look My Way" (which Alex had co-written with Tommy Hoehn), "Shakin' The World", "My Rival", "Windows Hotel", "A Little Fishy", "All Of The Time" and a cover of The Seeds' "Can't Seem To Make You Mine". Sadly, Elektra passed on these recordings deeming them "too uncommercial". This is a great shame as it is an excellent document of where Alex was at during this stage of his career (he wooed the critics during his time in NY, but not the major labels). Two recordings that were in fact released that Alex had recorded with Chris Stamey at Trod Nossel - the fantastically produced "The Summer Sun" b/w '"Where The Fun Is", released as a Chris Stamey single (produced by Alex, he also plays guitar, drums, percussion and shares vocal duties with Chris).

The Dusted In Memphis bootleg contains six of the seven Cossacks songs (omitting "All Of The Time"). Other songs included are a rough mix of "Lovely Day" (an outtake from Big Star's Third which eventually came out on the Keep An Eye On The Sky box set), "Baron Of Love Part Two" which appeared on the Peabody Records version of Like Flies On Sherbert in 1979 and "Take Me Home And Make Me Like It" & "The Walking Dead" (both later appeared on the Razor & Tie version of Bach's Bottom, the latter in an edited form). The Cossacks material (excepting "Little Fishy") later appeared in digital form on (also a bootleg) Beale Street Green.

"My Rival" was re-recorded in a drastically different arrangement and released on Like Flies On Sherbert and "Can't Seem To Make You Mine" was re-recorded an released on the B-Side of Alex's "Bangkok" single in 1978. A live version of "A Little Fishy" came out on the Japanese-only release One Day In New York. "She Might Look My Way" came out of Tommy Hoehn's Losing You To Sleep album.

Allegedly, the only copy of these recordings that anyone associated with band had was lost in the house fire that claimed Alex Chilton's mother's life. If this is true, and the masters have been lost, it is truly a great, great shame as these are possibly the best post-Big Star recordings of Alex's long solo career.

If you find this release, I high recommend you pick it up.

Here's the video review:

Special Thanks to: Ardent Records, Stephanie Chernikowski, Michael O'Brien & Allan Tannenbaum

The Box Tops: Soul Deep: The Best Of (Simply Vinyl/1999)

Memphis Tennessee’s The Box Tops were one of the greatest Blue-eyed soul bands of the 1960's. The band had a soulful pop sound that rested alongside bands like The Rascals, Mitch Ryder & The Detroit Wheels and The Righteous Brother quite comfortably. In addition to such fine hits as “The Letter”, “Neon Rainbow” & “Cry Like A Baby”, the band was also responsible for producing one of the largest cult artists of the modern rock era in Alex Chilton. Chilton joined the band at age 16 and shortly thereafter recorded “The Letter” which went to #1 and was the bands biggest selling single. The band released four albums and twelve singles (10 of which were in  Billboard 's Top-100) before disbanding in early 1970.

Soul Deep: The Best Of The Box Tops is the definitive Box Tops compilation album. Originally released in the US in 1996 on Arista and the UK in 1999 on the Simply Vinyl label. The record contains all ten of the bands' charting singles including the  cover of  Bob Dylan's "I Shall Be Released”, the ode to prostitution “Sweet Cream Ladies Forward March”, the big production of “I Met Her In Church” and the Mark James-penned “Turn On A Dream”. The album also contains four of the seven Chilton compositions the band recorded. “I Must Be The Devil” is a legitimate blues-excursion.“Together” is a perfectly hazy late 60's confection. “I See Only Sunshine” is the lone song that possibly hints to the writing Alex would do with Chris Bell on Big Star's Number One Record.

Perhaps overstated is how vastly different Alex Chlton's voice sounds after he left the Box Tops. He went from the growling old-man vocals “The Letter” which he recorded at age 16 with The Box Tops to the sweet harmony-laden vocals of “Thirteen” when he was 20 with Big Star. Chilton has said he was just copying the direction of Box Tops producer Dan Penn and found his own true voice after spending a year in with the folk-set in New York City in 1970.

The only real compliant is the absence of the final two singles the band released before Chilton left the band. Those are Randy Newman's “Let Me Go” (which appeared in the motion picture The Pursuit Of Happiness) and the Wayne Carson Thompson song “King's Highway”. Both are fine singles and easily could've replaced average album-fare such as “Happy Times”, “Fields Of Clover” or “She Shot A Hole In My Soul”.

 Recommended for Big Star fans looking for a starting point in finding out where Alex Chilton got his start. And truth be told The Box Tops are a fairly easy band to enjoy. Chilton himself professed to preferring the Box Tops to Big Star in the 1990's. The material is well-produced and holds up as well made 60's pop.

Here's The Video Review:

Thanks to: The Box Tops.