|Alex Chilton holds on in Memphis|
Let's get a few things out of the way. Like many people, I discovered Big Star retroactively, following the trail of breadcrumbs left by The Replacements. I'd heard of them, of course, often mentioned in the same breath as the Flamin' Groovies, but never heard a note - it wasn't easy to find their stuff for quite some time. When I did hear it, I connected with it immediately. Remembering Alex Chilton's voice on The Letter by The Boxtops, I kept thinking, "This is that guy?" Number One Record and Radio City are both classic albums and Third (Sister Lovers) is pretty fantastic, although fragmented. I also like a lot of I Am The Cosmos, the posthumously released album by Chris Bell, who was Chilton's main foil in the early days of Big Star.
For demos, most of these songs are nearly fully realized, with multiple instruments and a modicum of production. These aren't your "bash it out on an acoustic just to get the song on tape" kind of early takes, so they don't provide all that much insight into their writing process, except to point out that working in the studio was an essential part of it. Of the unreleased songs, Queen Of The U.S.A. had serious potential - all they would need to do is hack out the silly sound effects from the bridge and this thing could've been a hit. Always Be My Girl is tuneful and fast-paced - with a different drum approach, it could have been a With The Beatles outtake. Let This Dream Never End is almost pure lite-FM R&B, replete with Greg Phillinganes keyboards and Paul Jackson rhythm guitar. Michael Jackson, Elton John, hell, even Whitney Houston might have found success with it. Season Of The Witch is one of the great groove songs of all time, but Jellyfish never quite seem to find their place in it - completists will be thrilled, as they will be with the rest of this definitive reissue.
Since the demise of Jellyfish, Falkner and Manning have always been busy and in 2000 they teamed up with drummer/composer Brian Reitzell (Redd Kross, Air, numerous soundtracks, including Lost In Translation) to form TV Eyes. They made one album in 2006, which found release in Japan only, played three concerts, and promptly moved on. Looking for something different from what Falkner calls "the macho 'alternative' post-grunge fallout," they took inspiration from Gang Of Four and other post-punk bands, as well as early electronica like Kraftwerk, Japan and Gary Numan's Tubeway Army. The broad swaths of guitar also bring to mind the work of Bill Nelson, especially his Red Noise album, which proved old prog-rockers could get angular, too.
Now, thanks once more to Omnivore, this material is no longer for collectors only, and it's worth investigating. While none of the songs equal their influences at their best, each one is fully realized and built-out with all number of layered keyboards, processed drums, disengaged vocals and cool sonic touches. Falkner, Manning and Reitzell are all pros in the studio and it shows, with Reitzell showing his hand in an genuinely haunting re-mix of Time's Up, one of the bonus tracks. What's also clear is that their affection for their sources includes a little well-placed amusement - they know Cars is a funny song as well as a great one - and although they steer clear of parody, they're not afraid of a little pastiche. So check out TV Eyes for some expertly assembled machine-tooled post-punk paranoia, especially if you don't mind a dash of fun in the recipe.