Big Star is one of the few bands that only gained more popularity and legendary status simply by not adding to its sparse and brief yet brilliant catalogue. The Memphis group, led by the tandem of Alex Chilton and Chris Bell, are the architects of what many consider to be today's power pop sound. It's the sound the R.E.M. among other bands were brought up on and cited as a huge influence. Hell, even the Replacements named a song after Alex Chilton! Regardless though, this collection is probably one of the better compilations you'll find this year. While most of the collection focuses on the three studio albums in the '70s, there are also some live cuts and a new track.
The Southern jangle of the guitars on the opening "September Gurls" is the sort of sound you immediately compare to Tom Petty and the Heartbreakers circa Damn the Torpedoes or You're Gonna Get It. The tight head-bobbing arrangement upstages the sweet harmonies and lovable musicianship. It's the sort of song Matthew Sweet is still looking to record but hasn't quite hit the sonic nail on the head. And while it's Chilton that had a hand in the band's large history, Bell also adds his talents to various tunes including "Don't Lie to Me". "Thank You Friends" is Petty-meets-the Byrds, a simple yet infectious pop rock song that never falters despite female backing harmonies.
While there is a certain timeless quality to some tracks, "Don't Lie to Me" has that early '70s Southern rock style oozing out of every speaker. Not in the same line as groups like Lynard Skynard, Big Star still managed to take a few tricks from their pockets. "Ballad of El Goodo" is slightly slower and resembles a soppy adult contemporary Supertramp tune, but thankfully the guitars kick in after the first 40 seconds, making the remainder very enjoyable. "They ain't no one going to turn me around," the chorus goes as guitars weave along with each other. "Holocaust" takes things down quite a few pegs, a slow and somber piano-driven tune that sounds like it's rapping on death's door.
"I Am the Cosmos" is another strong pop tune that sounds as if you heard it before somewhere. It's the timeless hook which grabs you and takes you in. "In the Street" resembles Petty rearranging "Dancing in the Street" (the Live-Aid track Bowie and Jagger did). It also has enough Richards-like shrugs after guitar licks to make it more than repeatable. "Thirteen" sets the precedent for a good portion of the album's second half. Bringing to mind latter-day Paul Westerberg solo albums, the song is sparse and tender without being too slick or cheesy. "Won't you tell your dad get off my back / Tell him what we said about 'Paint It, Black' / Rock and roll is here to stay", the lyric goes as either Chilton or Bell (hard to discern who) sings and strums the acoustic guitar. Later on "Motel Blues" recaptures the same small town desperado thread.
Big Star deserved far more acclaim than they got at the time of these albums, but thankfully songs such as the infectious and cavity-inducing "Back of a Car" and the sugar-coasted Biblical take of "Jesus Christ" still stand up against the next few generations of grand power pop bands. "Mod Lang" is dirty and a tad jagged but doesn't really sound like filler or a complete flop. The live track, "Baby Strange", is fairly tame but thankfully passes the bar easily. As does "O Dana", a simpler tune that has a great sing-along characteristic.
The closing duo of "Nightime" and "Hot Thing" are par for this delicious music course. Big Star might have been a shooting star, but despite the commercial anonymity, theirs was a bloody bright light!
— 16 October 2003
